{"scenes": ["EXT. THROMBEY ESTATE MANOR HOUSE - DAWN The grounds of a New England manor. Pre-dawn misty.", "INT. MANOR - PANTRY / LIVING ROOM / FOYER / HALLWAY - DAWN INSIDE THE MANOR Unlit and still. Gothic with a theme of antique games, arcane puzzles and decorative weapons. First floor : A drawing room, living room, kitchen. The detritus of a party. Stray champagne flutes.", "INT. THROMBEY ESTATE - 2ND FLOOR - DAWN Follow one housekeeper named FRAN carrying a tray of coffee up a flight of stairs. Second floor : a hallway, doors all closed. The house has not woken up, and Fran steps lightly. Up a much narrower creaky flight of steep stairs.", "INT. THROMBEY ESTATE - 3RD FLOOR MASTER BEDROOM - DAWN Third floor : the master bedroom suite. FRAN Morning Mr Thrombey But the bed is empty, unslept in. A robe thrown across it. Fran heads out onto the landing and UP an EVEN NARROWER half flight of stairs, which leads to a single door. FRAN -LRB- CONT'D -RRB- Mr Thrombey you up there? Mr Thrombey I'm coming in", "INT. HARLAN THROMBEY'S STUDY - DAWN A cramped attic study, every shelf crammed with curios. The door swings open and Fran sees : HARLAN THROMBEY himself. 85 years old. Slung across a white leather day bed. Throat slit. Drenched in blood. Very much dead. Fran's tray slips out of her hands for a second. FRAN Shit. CUT TO : Title card, on black. THEN TO :", "INT. MARTA'S BEDROOM - MORNING MARTA CABRERA wakes with a cry. Plain, modern, cramped. Marta, in her late twenties, takes a moment to catch her breath. Opens a window.", "EXT. SOUTH BOSTON HOUSING PROJECT - MORNING A tiny window in a cheap apartment building opens, Marta's face appears breathing deep. SUPER : `` ONE WEEK - after Harlan Thrombey's demise''", "INT. CABRERA KITCHEN - MORNING Marta sits in front of a laptop. Her MOM is at the table with her, her sister ALICE watches CSI on an iPad on the counter top. Murder related dialog from the show. Marta scroll through a jobs site, tired, eyes dead. Her mom watches, concerned. MOM Alice, turn that off now. ALICE Why it's almost over, what - they're finding out who did it and the wifi sucks in my room so it does n't play it's like two minutes left what there is n't even anything bad on it, it's just normal tv and they're just talking ok ok goddddd whatever ok whatever. MOM Now please just turn it off. Turn it off. Now. Alice. Off. They're talking about murder on it, your sister just had a friend she loves slit his throat open she does n't need to be hearing that right now let's be sensitive! Mom standing yelling, Alice slams the iPad cover closed. Marta puts her head in her hand. Looks at her mom, who looks back at her with protective sympathy. Marta starts laughing at the absurdity of it, but the laugh turns into crying. MARTA Alice you can keep watching your show it's alright. ALICE No, I guessed who did it anyway. I'm sorry Marta. Alice hugs her sister. Marta's phone rings. WALT THROMBEY. MARTA It's Harlan's son. -LRB- answers -RRB- Hi, Walt. -LRB- listens -RRB- Uh huh. Her face shifts in confusion. MARTA -LRB- CONT'D -RRB- What?", "EXT. PRIVATE ROAD - LATE MORNING A long narrow private road leading to the Thrombey estate. Marta's shitty SUBCOMPACT car buzzes by, towards the house.", "EXT. THROMBEY ESTATE FRONT DRIVE Several cars, including a police cruiser with a few uniformed officers by it. Marta pulls up. An officer eyes her, approaches. COP Hey! Excuse me ma'am. Are you with the help? MEG, Thrombey's college aged granddaughter, trots out. MEG Hey! Her name is Marta, she was granddad's nurse, she's with us. `` The help? ``. MARTA -LRB- to the cop -RRB- It's ok, sorry. MEG -LRB- mutters -RRB- No. It's not ok. What the hell? They hug, and are both instantly crying. They laugh. MARTA Not very good. Alone, lots of just, this -LRB- the crying -RRB- and not knowing what to do next. MEG Anything you need, you're part of this family Marta. MARTA Thank you.", "INT. FOYER Thrombey's eldest daughter Linda opens the door for Marta. LINDA How you doing kiddo. Linda is 60ish, well put together, sharp and steely eyed. She dresses and speaks with just a little more sharpness than any situation she's in requires. MARTA Hi Linda. How are you? LINDA Ueuh. The funeral helped. I guess. Just seeing him. I thought you should have been there. I was out voted. Linda's husband Richard walks in, on the phone. Same age as Linda, gruff and confident, will put his feet up on anything. RICHARD -LRB- ON PHONE -RRB- I'm not the cop so I do n't know. Alright fine, do n't come, get arrested. Die up your own ass all I care. -LRB- hangs up -RRB- He's not coming. -LRB- to Marta -RRB- Ransom. Little shit. Missed the funeral. STATE TROOPER WAGNER, fresh faced in his 30s, pokes his head in through a door. TROOPER WAGNER Excuse me, we're ready for you now, we'd like to see you one at a time. LINDA Alright I'll go first. I'm assuming this will all be wrapped up before the memorial tonight. TROOPER WAGNER We'll do our best ma'am. Linda exits with Wagner, leaving Richard and Marta. RICHARD So. How you doing kiddo.", "INT. LIBRARY Mystery and horror memorabilia scattered on the shelves. Linda sits opposite three men : LIEUTENANT ELLIOTT, in his 30s, in a working suit. Very good at his job. The young Trooper Wagner stands behind him. Sitting back behind both of them, almost blending into the background, is a slight man in a linen suit. Legs and arms fold sharply, like a paper crane. Silent, listening. LIEUTENANT ELLIOTT We are just going to reintroduce ourselves as a formality, I'm Detective Lieutenant Elliott, and this is Trooper Wagner. Now, I'm going to record, just makes it easier. -LRB- squints at his phone -RRB- Alright, we're with Linda Drysdale, nee Thrombey, Harlan Thrombey's eldest daughter, in discussing the events the night of his demise, one week ago, November 8th. TROOPER WAGNER We're sorry for your loss. LINDA -LRB- dry as chalk -RRB- Thank you that means a lot. Elliott checks his notes. LIEUTENANT ELLIOTT So we understand that night the family had gathered to celebrate your father's eighty fifth birthday. LINDA Yes. LIEUTENANT ELLIOTT How was that? LINDA The party? Pre my dad's death? It was great.", "INT. LIVING ROOM - NIGHT OF THE PARTY - FLASHBACK Warmly lit, classic rock playing, food laid out. Linda and Richard mingle happily with the rest of the family ( who we'll meet shortly. ) LIEUTENANT ELLIOTT -LRB- V.O. -RRB- Did anyone besides the family show face? LINDA -LRB- V.O. -RRB- Uh. There was Fran, the housekeeper. Marta, Harlan's caregiver, good girl, hard worker. Family's from Ecuador. And Wanetta - Greatnana, Harlan's mom. At the snack table wearing a dozen coats, a woman who might be three hundred years old. She pounds down chips and dip like a machine. LIEUTENANT ELLIOTT -LRB- V.O. -RRB- -LRB- wow -RRB- His mom? How old is she? LINDA -LRB- V.O. -RRB- We have no idea. LIEUTENANT ELLIOTT -LRB- V.O. -RRB- Okay, Your son Ransom, was he there as well? LINDA -LRB- V.O. -RRB- Yes but he left early. RANSOM DRYSDALE, roguishly handsome in his early 30s, breezes out the side door, past Greatnana. GREATNANA Ransom, are you leaving?", "INT. LIBRARY The strange man in the linen suit taps a piano key, as if reminding to ask him something. LIEUTENANT ELLIOTT Right, did all three of you show up at around the same time? LINDA N... o, Richard came early to help the caterers set up. She raises a questioning finger to ask about the man but LIEUTENANT ELLIOTT Okay and you and your husband Richard work for a real estate firm in Boston? LINDA -LRB- sharp -RRB- It's my company. LIEUTENANT ELLIOTT -LRB- checks notes -RRB- Sorry. Right. LINDA I built my business from the ground up. LIEUTENANT ELLIOTT Just like your dad. You two were very close? LINDA We had our own secret way of communicating. You had to find that with dad. You had to find a game to play with him. And if you did that, and played by his rules... CUT TO : Richard in the chair Linda was in, giving his statement. RICHARD Everyone idolizes their dad, right? LIEUTENANT ELLIOTT I do n't know, do they? RICHARD Very much not, do n't know why I said that. But Linda does.", "INT. LIVING ROOM - NIGHT OF THE PARTY Harlan Thrombey, surrounded by his family, Richard and Linda flanking him, a birthday cake with candles. All smiles. RICHARD -LRB- V.O. -RRB- Harlan started with a rusty Smith- Corona, built himself into one of the bestselling mystery writers of all time.", "INT. LIBRARY LIEUTENANT ELLIOTT Seems like all his kids are self made overachievers. Richard makes a ``... sure'' face. RICHARD Sure. CUT TO : WALT THROMBEY now sits in the questioning chair. Late 40s, softly obsequious in a sweater and loafers. His leg is in a cast. LIEUTENANT ELLIOTT For the record, I'm speaking to Walt Thrombey, Harlan Thrombey's youngest son. LIEUTENANT ELLIOTT -LRB- CONT'D -RRB- So you run your father's publishing company? WALT Yeah. It's my - it's our, it's the family's publishing company, dad trusts me to run it. 30 languages, over 80 million copies sold. A real legacy. You guys fans? LIEUTENANT ELLIOTT I do n't do much fiction - TROOPER WAGNER BIG fan. Big. TROOPER WAGNER -LRB- CONT'D -RRB- His plots, like something like `` A Thousand Knives,'' with the - I do n't want to spoil it but - the cow and the shotgun, like where do you come up with that? WALT Dad said the plots just popped into his head fully formed, that was the easy part for him - TAP from the linen suit man's finger. LIEUTENANT ELLIOTT You live in town, right? You guys probably arrived at around the same time? Walt looks at Linen suit, thrown. WALT Uh. We all got here around 8.", "INT. LIVING ROOM - NIGHT OF THE PARTY Walt laughing and mingling with his nervous wife DONNA. WALT -LRB- V.O. -RRB- My wife Donna, she's my rock. Richard backs up into Donna, who YELPS in fear and throws her martini in the air. Richard jumps, but Walt does n't even register it. RICHARD Jeeesus! Donna, you alright? WALT -LRB- V.O. -RRB- And my son Jacob, he's sixteen. Very politically active. His angry looking son JACOB, who is always on his phone.", "INT. LIBRARY Quick cuts, each in the chair : RICHARD The boy's literally a Nazi MEG He's an alt-right troll dipshit WALT Kids today, with the internet, amazing. LIEUTENANT ELLIOTT So the night went well?", "INT. LIVING ROOM - NIGHT OF THE PARTY The exact same moment we saw with Richard and Linda of Harlan in front of the birthday cake - but now it's Walt, Donna and Jacob next to Harlan. WALT -LRB- V.O. -RRB- I mean. We're all gutted but I'm happy we got that night with him. To be by his side, to think about our books and what we've accomplished with them, it's like I can still feel his hand on my shoulder.", "INT. LIBRARY WALT Passing the torch. CUT TO : JONI THROMBEY in the chair. A striking woman, tall and boho chic in chunky jewelry and a flowy dress. LIEUTENANT ELLIOTT So we are with Joni Thrombey, Harlan Thrombey's... daughter in law? JONI Mm. I was married to his son Neil, We had one daughter, Meg, and then Neil passed on fifteen years ago. LIEUTENANT ELLIOTT And you remained close to the Thrombeys.", "INT. LIVING ROOM - NIGHT OF THE PARTY Joni dances with various family members, free and flowing. JONI -LRB- V.O. -RRB- Oh they're my family. I feel simultaneously freed by and supported by them, that balance of opposites is the nugget of Flam.", "INT. LIBRARY - PRESENT LIEUTENANT ELLIOTT Sorry, the Nugget of? JONI Flam. LIEUTENANT ELLIOTT Ah! Yeah Flam, right, your skin care company. Sorry. JONI I forgive you, yes, it's skin care but it promotes a total lifestyle. Self sufficiency with an acknowledgment of human need. That's Flam, but it's also Harlan. He got me and Meg through some tough times. Meg in the chair. MEG Granddad gives my mom a yearly allowance, and he's never missed wiring a tuition payment to my schools. He's a genuinely selfless man. LIEUTENANT ELLIOTT You left his party early? MEG To see some friends at Smith.", "INT. LIVING ROOM - NIGHT OF THE PARTY Meg trots out. Linda, pissed, to Richard so Joni can hear : LINDA you know, Dad's paying for her crypto-Marxist postdeconstructual feminist poetry theory whatever major, she could have stuck around for the cake.", "INT. LIBRARY JONI I think Linda was upset. But Harlan understood. Tap. LIEUTENANT ELLIOTT Right. You two arrived together to the party at the same time? Joni looks at the linen suit man. JONI If I could - pause - because I, who is that guy? And why are we doing all this? Again? LIEUTENANT ELLIOTT Just some follow up questions, just being thorough, in order to determine the manner of death. Cut back to Walt in the chair. WALT -LRB- almost laughing -RRB- So by `` manner of death'' you mean if he was killed. If one of us killed him. One of his family? LIEUTENANT ELLIOTT None of us think that, this is pro forma, all of it. CUT TO : Richard in the chair. He does n't buy it. RICHARD Ok. So who the fuck is that? He points at linen suit. Elliott takes a breath. LIEUTENANT ELLIOTT This is Benoit Blanc. RICHARD -LRB- the hell? -RRB- Benoit Blanc? LIEUTENANT ELLIOTT Yes. Mr. Blanc is a private investigator of great renown. Joni in the chair. JONI Wait a minute - I read a tweet about a New Yorker article about you. The last of the gentlemen sleuths? You solved that case with the tennis champ - you're famous! LIEUTENANT ELLIOTT Mr. Blanc is not with the police department, he is not officially involved with the case but he has offered to consult. I happily obliged and I can vouch for him. Linda in the chair. LINDA Mr. Blanc, I know who you are, I read your New Yorker profile. It was delightful. I just buried my eighty five year old father who committed suicide. Why are you here? Elliott and Wagner turn back to Blanc, who leans forward slightly and speaks in the gentlest southern lilt you have ever heard in your life. BLANC I am here at the behest of a client. LINDA Who? BLANC I can not say, but let me assure you this : my presence will be ornamental. You will find me a respectful, quiet, passive observer. Of the truth. Elliott and Wagner turn nervously back to Linda. She does n't look thrilled. Cut to Richard. RICHARD Fine. Are we getting there? BLANC Nearly. Harlan's nurse. She was at the party in a professional capacity? Blanc begins idly playing with a silver dollar. RICHARD Marta?", "INT. LIVING ROOM - NIGHT OF THE PARTY The family is engaged in an animated discussion, Marta standing on the outskirts. RICHARD -LRB- V.O. -RRB- I guess. Harlan hired her to be around, take care of whatever medical needs pop up, but really she's like part of the family. Richard beckons with his cake, calls Marta into the discussion, into the circle of the family. RICHARD -LRB- V.O. -RRB- -LRB- CONT'D -RRB- Good kid, been a good friend to Harlan. Her family's from Paraguay. Linda really likes her work ethic.", "INT. LIBRARY RICHARD `` Immigrants - we get the job done.'' From Hamilton. Wagner gives him a smile to show he got the reference. TROOPER WAGNER Oh Hamilton! RICHARD I saw it at the public. Cut to Linda back in the chair. BLANC May I just - and then I'll recede, but as a self made man myself I have to express my admiration for how you've followed in your father's footsteps. LINDA Thank you. BLANC Just marvelous. The whole family too. Joni with her things, Walt with his publishing empire. LINDA Well. Blanc pauses. Does n't push anything. Just waits a moment. LINDA -LRB- CONT'D -RRB- Yes. I mean. Walt, yeah. He's done well with what dad's given him. Walt - not like it matters but he was sort of adrift, dad gave him the job, but really dad hands him a book twice a year and Walt publishes it, I mean... it's just not the same. BLANC But surely Walt runs the merchandising, adaptations, film and television rights... Linda squints, narrowing her eyes on Blanc. Softly : LINDA Are you baiting me, Detective? You know he does n't, and you think I'm dumb enough to be baited into talking family business, into shit talking my brother in front of a police detective and a state trooper - Richard in the chair. RICHARD Walt does n't run shit! There are no film or TV rights, Harlan's never allowed any adaptations of his books. Hates the idea. BLANC No! RICHARD Oh yeah! Drives Walt nuts, cause that's where the real money's at. When he gets a little Irish courage in him he'll get into it with Harlan. BLANC Did he get `` into it'' at the party? RICHARD Oh my god.", "INT. LIVING ROOM - NIGHT OF THE PARTY Walt with a drink in his hand has cornered Harlan. Richard watches across the room as Walt goes from arguing to pleading. RICHARD -LRB- V.O. -RRB- He would n't leave him alone, poor guy. Harlan had to give him the hook. Harlan has had enough, he takes Walt's arm and leads him into the drawing room for a private talk. RICHARD -LRB- V.O. -RRB- -LRB- CONT'D -RRB- I did n't hear what he said but he must have really handed him his lunch, Walt was like a wounded puppy the rest of the night.", "INT. LIBRARY Walt in the chair, indignant. WALT What? Richard said what? Jesus. No, we did n't get `` into it.'' BLANC I'm just trying to get an accurate impression - Harlan took you aside at the party, when you returned you were chastened, what did Harlan say to you? Walt starts to open his mouth, hesitates. Off his frightened face we FLASH BACK :", "INT. DRAWING ROOM - NIGHT OF THE PARTY Walt, drunk, Harlan guiding him firmly into the shadows. WALT The Netflix guys, their business affairs guy sent over something, hard numbers this time, and I think - this is a window, it's not going to last and you should just look at these numbers HARLAN Walt. Walt. WALT Dad you put me in charge of our books let me be in charge, let me do this! Please. HARLAN They're not our books, son. They're my books. And this is not how I wanted to have this conversation but, you're right, it's unfair of me to keep you tethered to something that is n't yours to control. WALT What? HARLAN I've done you a grave disservice all these years, I've kept you from building something of your own, that's yours. You're not going to run the publishing house anymore. You are free of it. WALT Dad. Are you firing me? HARLAN We'll talk about details tomorrow. But my mind's made up. Good boy. Harlan pats his face, then leaves him shell shocked.", "INT. LIBRARY Back to Walt's hesitating face. The briefest of moments has passed. Walt lies : WALT We talked, we had a business discussion, about e-books, Jesus, it was nothing. You want to talk about an argument, hell Ransom had an argument with him. BLANC Ransom, Richard and Linda's son? WALT Look we love Ransom, he is a good kid, we love him. BLANC... but WALT But he's always been the black sheep of the family, and I'm not, I, I keep stuff like this in the family, but with Ransom, he's never had a job. But dad for some unknown reason has always supported him, they've got this love hate bond. They fight. But that night, god. They had a blow out. BLANC About what?", "INT. LIVING ROOM - NIGHT OF THE PARTY The family having a conversation, everyone but Harlan, Jacob and Ransom. It grinds to a halt as through the door to Harlan's study indistinct shouting booms. WALT -LRB- V.O. -RRB- We could n't make it out, but it was huge. And it was strange they went in another room to do it - they usually love stoking up drama in front of the whole family. Ransom bursts out of the doors and storms out of the party, past Greatnana. GREATNANA Ransom are you leaving?", "INT. LIBRARY Richard in the chair. BLANC Speaking of getting into it, you were at the house early to help the caterer set up. Did you converse with Harlan at that time? RICHARD He was there, we must have spoke. BLANC In his study? RICHARD I do n't think so. BLANC You see, I spoke with the caterer this morning. She did n't see you helping her staff, but she did hear Harlan in a screaming match with someone that afternoon. In his study. RICHARD I do n't, a screaming match? No. Joni was here too, she was early, maybe it was her, ask her. BLANC These were two male voices.", "INT. HALLWAY - DAY OF PARTY A CATERER walks through with a platter. Pauses, hears shouting through the wall. BLANC -LRB- V.O. -RRB- Harlan shouted the phrase HARLAN -LRB- O.S. -RRB-... you tell her or I will!", "INT. LIBRARY BLANC You tell her. Or I will. Bells ringing? For a just a split second, Richard considers what he is going to say. In the second, we FLASH BACK :", "INT. SMALL STUDY - DAY OF PARTY Harlan showing Richard photos on a laptop. Long lens photos, of Richard kissing a woman who is not Linda. Richard glares at it, Harlan turns an old baseball over in his hands. RICHARD That's none of your business, Harlan. Stay out of my marriage. Harlan holds up a sealed small envelope with flowery embroidery, `` L'' written on the front. HARLAN I know my daughter. She'd want to know. I've put it all in this letter to her, tomorrow she gets it. RICHARD I'm warning you once, do n't do this like hell - HARLAN She deserves to know, you're going to tell her! Harlan slams the baseball down on the desk. HARLAN -LRB- CONT'D -RRB- You tell her or I will!", "INT. LIBRARY Back to Richard. He grins, snaps his fingers. RICHARD Yes. I know - yes, ha. So. Harlan decided to finally put his mom in a nursing home. Which Linda always opposed. And I was going to wait till we were back home in Boston to tell her, so there would n't be a whole scene, but Harlan wanted me to tell her then. That was it. Sorry. Forgot. Joni in the chair. JONI The house? BLANC Early. Richard said you were there. JONI I was. At the house early. BLANC To see Harlan? JONI To see Harlan. Yes. Joni stops, smelling something in the air. She's about to ask about it but - BLANC What were you seeing Harlan about? JONI It was just a mix up with the payment for Meg's tuition. BLANC I'm sorry to press, what kind of mix up? Joni hesitates, we FLASH BACK :", "INT. SMALL STUDY - DAY OF PARTY Harlan at his desk, toying with the same old baseball. This is a thing he does at his desk. Joni standing, arms crossed. JONI The school has n't got the check yet, I do n't know why Alan did n't mail it HARLAN Alan did n't mail it because he caught a discrepancy. Alan's office has been wiring tuition directly to the school, as per your request. But Phyllis's office that handles your yearly allowance has been wiring the tuition money directly to you as well. As per your request. You've been double dipping Meg's tuition, stealing from me. A hundred thousand dollars a year. For the past four years. Harlan shows Joni a letter from his business manager, with transaction receipts attached. JONI Harlan. I do n't know how this mix up happened but Harlan opens his ledger, hand writes a check. HARLAN I'm writing this tuition check, then that is the last money you or Meg will get from me. JONI Please you do n't understand HARLAN I know it'll hurt but it's for the best. Joni's speechless, her face frozen. Harlan puts the baseball down and detaches the check, holds it out to her. HARLAN -LRB- CONT'D -RRB- My mind's made up.", "INT. LIBRARY Back to Joni. She shakes her head. JONI Just a money wiring issue. With the office at the school. So I had to ask Harlan to cut a check for this semester. No big deal. LIEUTENANT ELLIOTT Why do n't we take a breather.", "INT. FOYER - DAY Joni comes out into the foyer from the library, obviously rattled. She pulls it together quick when Linda comes down the stairs. LINDA Joni. You have n't seen Richard have you? JONI No, I was just in with the - no.", "INT. SMALL STUDY LINDA -LRB- O.S. -RRB- Richard! Alone, Richard waits very still for Linda's footsteps to walk away, then when he knows she's not coming in he furtively rifles through desk drawers, finding various ridiculous ephemera. He finds a small locked drawer, jimmies it open with a letter opener. Inside - the small pink envelope Harlan threatened him with in his flashback. He rips it open, pulls out the card inside. It is blank. Richard almost laughs. Drops it onto the desk. RICHARD Son of a bitch. He spots Harlan's old baseball. Grabs it, spitefully chucks it out the open window.", "EXT. SIDE OF HOUSE - DAY Blanc, Elliott and Wagner stroll long the wide lawn beside the house. Blanc ignites a long thin cigar. LIEUTENANT ELLIOTT Maybe I'm a victim of my own expectations. But when the great Benoit Blanc knocks on my door, I expect it's going to be for something... if not extraordinary, at least interesting. This is an open and shut case of suicide. -LRB- checks watch -RRB- And Benny we're at the point where I need to know what we're doing here. Blanc notices the OLD BASEBALL lying in the grass. He picks it up idly. BLANC The method, throat slit. Typical of a suicide? LIEUTENANT ELLIOTT Dramatic. But look around. The guy practically lives in a CLUE board.", "INT. FOYER Marta sits alone, across from a portrait of Harlan. Muffled voices out on the patio. Cigar smoke drifts by outside. She creeps over to the glass door. Puts her ear to it. LIEUTENANT ELLIOTT -LRB- O.S. -RRB- You ask me to drag all these good people back for questioning, go over it all again, I do n't get it. This is a pleasant family with the usual quarrels but no possible motives for murder - where are you going? At that moment, BLANC's face appears right next to Marta's staring right at her through the distorted glass. She yelps and falls back.", "EXT. PATIO Blanc opens the glass door. Marta steps back sheepishly, but with a warm nod Blanc beckons for her to join them. BLANC Harlan Thrombey's nurse, Marta... MARTA... Cabrera BLANC Marta Cabrera. TROOPER WAGNER Miss Cabrera, you can just wait inside - we'll be with you soon. BLANC Miss Cabrera, I been doing a little poking, you're hired on a part time basis as a registered nurse, yes? MARTA Yeah, I do n't work for a VNA. Harlan hired me directly. BLANC You're paid a flat rate for how many hours a week? MARTA I started at 15, but slowly he... needed more help. BLANC Medical help? MARTA He needed a friend. Blanc smiles at the girl, genuinely touched. BLANC Does having a kind heart make you a good nurse? LIEUTENANT ELLIOTT Blanc. BLANC Yes. Marta we were just discussing possible motives in the family. I suspect Harlan has told you much unfiltered truth about each of them, and a little bird has told me, how shall I put this delicately? You have a regurgitive reaction to mistruthin'. MARTA Who told you that? BLANC Is it true? MARTA Yes. It's something that I have had as a kid. It's a physically thing that I - I - Just the thought of lying, yeah, it makes me puke. BLANC Really? Is Richard having an affair? Marta is stunned. She FLASHES BACK TO :", "EXT. PATIO - DAY - FLASHBACK She reads, Harlan sits at his laptop, heavy with sadness. HARLAN Why do men instinctively pull at loose threads on their parachutes? MARTA What? Harlan spins his laptop towards her - the Richard photos.", "EXT. PATIO - DAY Back to our scene. Marta looks queasy, tries to stall. MARTA Heh - Richard? - affair? Heh. BLANC A yes or no will do. She struggles, her jaw clenched, face working hard, then attempts - MARTA.....no And immediately VOMITS into a nearby planter. LIEUTENANT ELLIOTT Whoa! TROOPER WAGNER Oh my god! They all rush to her, Blanc brings water, awfully concerned. BLANC Dear girl I'm sorry. I assumed you were speaking figuratively. Blanc takes the shortest acceptable beat of concern before turning to Elliott. BLANC -LRB- CONT'D -RRB- Quite something. But I was obviously right, Richard is having an affair, his father in law found out and confronted him. `` You tell her. Or I will.'' LIEUTENANT ELLIOTT Even if it's true... you ok? Marta gives a weak thumbs up, recovering ELLIOTT Even if that was right, protecting his marriage is weak sauce as a motive. BLANC Well. And then there is... Joni. LIEUTENANT ELLIOTT Joni? TROOPER WAGNER Joni?! TROOPER WAGNER -LRB- CONT'D -RRB- Lifestyle guru Joni? No. Harlan was supporting her and her daughter, she had the opposite of a motive. Marta tries to quietly slip back into the house BLANC And if that support was threatened? Miss Cabrera one moment please MARTA I'm just going to go get some Scope BLANC Miss Cabrera, was Harlan planning on cutting off Joni's allowance? Off Marta's `` oh god no'' face :", "INT. STUDY - DAY - FLASHBACK Harlan looking at the letter from his business manager, with the transaction receipts. He sighs heavily. HARLAN Oh, Joni. MARTA What's up? He hands her the letter.", "EXT. PATIO - DAY Marta's face works against impending nausea. MARTA I... LIEUTENANT ELLIOTT Ok do n't answer that if you're going to puke. Please. But Blanc presses. BLANC Meg said Harlan pays the school directly, Joni says he sends the money to her. Both were true, she was pocketing the double payment, Harlan found out and cut her off without a cent. Yes? Marta starts to shake her head no, but her throat convulses. She nods. Blanc hands her a glass of water. TROOPER WAGNER And she bumps him off for the inheritance? Come. On! Have you seen her insta? She's an influencer. LIEUTENANT ELLIOTT An allowance as a motive, Blanc. She has her business. More weak sauce. Blanc idly scratches a spot on the side of his neck. BLANC Granted. But she lied. To me. All three of them did. LIEUTENANT ELLIOTT Three? BLANC Walter. LIEUTENANT ELLIOTT I see where you are going with this. BLANC But there was something else. Harlan had turned Walter down before regarding film rights, but that night something Harlan said shook him. We look at the pattern, Harlan was cleaning house. I wonder... -LRB- to Marta -RRB- did he plan to fire Walter? MARTA -LRB- honest & relieved -RRB- Can I wait inside? I do n't feel like I should be here. LIEUTENANT ELLIOTT Yes, please just wait inside but stay close. She steps back in, grateful. Blanc to Elliott : BLANC You've been very patient my friend, and you are right, none of these weak alibis and domestic squibbles answer your question : why is Benoit Blanc here? But now I will tell you why. -LRB- beat -RRB- I am here because this morning someone dodged one very important question. LIEUTENANT ELLIOTT Who? BLANC Me. Linda asked who hired me. LIEUTENANT ELLIOTT So who hired you? BLANC I. Do. Not. Know. An envelope of cash showed up at my apartment yesterday, with the news clipping of Thrombey's death. TROOPER WAGNER An envelope? That worked? BLANC An envelope of cash. Blanc indicates with his fingers - several inches thick. BLANC -LRB- CONT'D -RRB- So somebody suspects foul play, but goes through this ha cha dance of hiring me, of staying anonymous. It makes no damn sense. Compels me though. -LRB- beat -RRB- Walk me through everyone's whereabouts at the time of death. Elliott hesitates, but Blanc's got him hooked. He flips open his notebook. Blanc leans back, closes his eyes. LIEUTENANT ELLIOTT We know, the party broke up at 11:30.", "INT. SECOND FLOOR LANDING - NIGHT OF PARTY Marta and Harlan vanish up the stairs towards the third floor, while Richard and Linda head into the bedroom right next to the stairs. Down the hallway Joni waves, and ducks into another bedroom. LIEUTENANT ELLIOTT -LRB- V.O. -RRB- Marta took Harlan upstairs to give him his meds, Richard and Linda and Joni went right to bed. Now we do have this : the stairs leading up to Harlan's bedroom and his attic office creak horribly.", "INT. RICHARD AND LINDA'S GUEST ROOM - NIGHT OF THE PARTY Richard sleeps deep, Linda sleeps lightly. LIEUTENANT ELLIOTT -LRB- V.O. -RRB- And Linda is a light sleeper. So we know every time someone took the stairs that night.", "INT. JONI AND MEG'S GUEST ROOM - NIGHT OF PARTY Joni has decorated the room with colorful silks and candles. She is in lotus position on her bed, meditating. LIEUTENANT ELLIOTT -LRB- V.O. -RRB- The first was when Joni heard a ka- THUNK from somewhere above her in the house. Ka-THUNK! Joni looks up at the ceiling.", "INT. SECOND FLOOR LANDING - NIGHT OF PARTY Joni trots down the hall and up the creaky stairs. LIEUTENANT ELLIOTT -LRB- V.O. -RRB- She's concerned about Harlan, she went up to investigate. Waking Linda.", "INT. RICHARD AND LINDA'S GUEST ROOM - NIGHT OF PARTY CREAK CREAK CREAK! From outside. Linda's eyes pop open.", "INT. THIRD FLOOR LANDING - NIGHT OF PARTY Joni knocks on the door of Harlan's attic office. It opens, and Harlan answers. In the room behind him we see Marta, her back turned, preparing a hypo needle. LIEUTENANT ELLIOTT -LRB- V.O. -RRB- Harlan was in his attic office with Marta. He explained that they had just knocked the GO board over - that game with the grid and stones, they play it every night, and he was fine, go to bed. So she does. The spilled GO board on the floor. Joni kisses Harlan on the cheek, goes. He shuts the door.", "INT. RICHARD AND LINDA'S GUEST ROOM - NIGHT OF PARTY Linda has just gotten back to sleep. LIEUTENANT ELLIOTT -LRB- V.O. -RRB- Ten minutes later, Linda is woken a second time, by Marta leaving. CREAK CREAK CREAK! Linda wakes, supremely annoyed. MARTA -LRB- O.S. -RRB- Walt! I'm leaving!", "EXT. FRONT PORCH - NIGHT OF PARTY Walt and Jacob sit on the porch, Walt with a cigar, Jacob with his phone. Marta trots through, saying goodbye. LIEUTENANT ELLIOTT -LRB- V.O. -RRB- Walt was smoking a cigar on the porch with his son. He saw her leave and drive off, and noted the time - midnight. Walt glances at his watch. Midnight.", "INT. RICHARD AND LINDA'S GUEST ROOM - NIGHT OF PARTY Linda with a pillow over her head. LIEUTENANT ELLIOTT -LRB- V.O. -RRB- Fifteen minutes later, Linda is woken for the third and final time. By someone coming down the stairs. CREAK CREAK CREAK! Linda wakes. You've got ta be kidding me.", "EXT. FRONT PORCH - NIGHT OF PARTY Walt, still smoking with Jacob, spots Harlan through the glazed glass, coming down the stairs in the foyer. LIEUTENANT ELLIOTT -LRB- V.O. -RRB- Harlan. Who came down for midnight snacks, which Walt tried to discourage. WALT Dad, go to bed! Through the glazed glass, Harlan goes back up the stairs. LIEUTENANT ELLIOTT -LRB- V.O. -RRB- Based on this, the medical examiner determined time of death to be between 12:15 and 2am. As Walt was finishing his cigar, about 12:30, Meg came home. She went straight to bed. Walt and Jacob turned in shortly after that. Meg pulls up, trots past Walt and Jacob and inside.", "INT. JONI AND MEG'S GUEST ROOM - NIGHT OF PARTY Meg stirs, wakes. Joni is asleep. LIEUTENANT ELLIOTT -LRB- V.O. -RRB- Sometime later that night, undetermined but possibly near 3am, Meg woke up because the dogs were barking outside. She used the bathroom and went back to bed.", "EXT. PATIO - DAY Elliott snaps the notebook closed. LIEUTENANT ELLIOTT And that's it. Everyone's stories matched, every movement accounted for. BLANC There is no other staircase up to Harlan's room? Blanc scratches that same spot on the side of his neck. LIEUTENANT ELLIOTT No. Just the creaky one. Blanc seems intrigued by this. BLANC Interesting. TROOPER WAGNER So I guess we can rule out Ransom, he was n't there. And Marta, Harlan was alive after she left. But Meg got home during the time of death window. LIEUTENANT ELLIOTT Except it was a suicide. Harlan hit both carotids, we saw from the blood blood splat patterns that they were uninterrupted. Meaning, It's almost impossible for anyone to have been around him at the time. He's the one that cut his own throat. I do n't know why we keep going over this. BLANC Physical evidence can tell a clear story with a forked tongue. LIEUTENANT ELLIOTT What? BLANC And as we've seen this morning, everyone can lie. Well. Almost everyone.", "INT. LIBRARY - LATE AFTERNOON Marta in the chair. She shifts, uncomfortable. Blanc, Elliott and Wagner in their normal places. BLANC Ms. Cabrera, we've kept you waiting all afternoon because I wanted to hear from you last. I wanted to have the entire picture of the evening in my head. Your piece of it is at its very center. So please, take your time. You took Mr. Thrombey upstairs at 11:30. And left at midnight. Think very carefully. And with as much detail as possible, tell us what happened in that half hour. Marta is very still. A moment of silence. Blanc flips his silver dollar into the air. She does not say a word, but in that moment while the coin hangs in the air we FLASH BACK with her to :", "INT. HARLAN'S BEDROOM - NIGHT - FLASHBACK The night of the party. A clock on a nightstand : 11:32. Off screen we hear Marta leading Harlan up the creaky stairs. MARTA Up up up up - you got it? HARLAN I got it. Up up up I got it. Marta enters the room, and behind her we see Harlan keep climbing up the narrow stairs to his office. MARTA Up up nooooo no not tonight, no straight to bed tonight it is soooo late c'mon. Harlan. Harlan! She grabs a med kit from the bedroom and follows him, exasperated.", "INT. HARLAN THROMBEY'S STUDY - NIGHT - FLASHBACK Harlan sits, setting up a GO board. Marta enters. MARTA It's late, I had champagne no no no HARLAN It's my birthday, we are - You had one glass - we're not breaking tradition on my birthday. Marta puts two vials and a pill box on the GO board. She pulls out two plastic wrapped hypodermics. MARTA Take your goddamn medicine and go to bed. HARLAN If you're going to put that vile shit in me you will have to earn it. On my birthday. -LRB- playing it up -RRB- Eighty fifth. So old. Soo olddd MARTA Alright old man. 8x8 game. You ready? She sits and they start clacking white and black stones on the board. HARLAN Why ca n't I beat you at this game? Oh uh huh. MARTA Because I'm not playing to beat you, I'm playing to build a beautiful pattern. They play fast, and Marta is obviously winning. HARLAN Elder abuse. I'm calling the AARP. MARTA Do n't make me get the belt. HARLAN It's basically over. My only hope is that an earthquake will strike. But what are the chances - Harlan starts shaking the table with his knee. He looks around, startled. Marta just stares at him, deadpan. HARLAN -LRB- CONT'D -RRB- Get under a door frame! He tips the whole table and the GO board and med vials and syringe and med kit fall to the soft rug. Things spill out of the kit. A mess. Marta just shakes her head. MARTA Meds then beds. HARLAN Fair. HARLAN -LRB- cont'd -RRB- Ugh, Walt's smoking a cigar on the porch. Nasty things. She retrieves the vials and loads a syringe from one of them. Harlan rolls up his sleeve revealing a pre-inserted catheter. He crosses to close the room's only small window. MARTA How was tonight? She hooks the syringe up to the catheter and slowly injects him bit by bit while he talks. HARLAN Tonight was... good. MARTA Because I know you were n't looking forward to it. HARLAN No. But I did it. Cut the line on all four of them. It was not easy. This goddamn fortune. Sometimes I think, everything I've given my family, I've done, maybe without knowing it, maybe, to keep them beneath me. I should have what... maybe, I do n't know. Encouraged Walt to write his own stories, not just be a caretaker of mine. Like you said I should. Been a father, not just a provider, to Joni. Like you've also said. I should have been kinder to Linda. And Ransom. Harlan takes a curved ornamental dagger from a display mount, turns it over in his hands. HARLAN -LRB- CONT'D -RRB- Jesus there's so much me in that kid. Confident, stupid, I dunno. Protected. Playing life like a game without consequence, till you ca n't tell the difference between a stage prop and a real knife. He stabs it into the desk, sharp and real. Leaves it there. HARLAN -LRB- CONT'D -RRB- I do n't fear death. But god I'd like to fix some of this before I go. Close the book with a flourish. I guess we'll see. MARTA I guess we will. Hey. Old man. You've had a long day. Wan na do drugs. She loads the second syringe from the second vial. HARLAN you mean the good stuff? MARTA Yeah but just a tiny bit. HARLAN Send me to lala land. Why did I wait till my mid eighties to become a morphine user, what a schmuck, what a nud-nig, this stuff's the best. She pulls the needle from the second vial... then sees the label. Freezes. Blinks at it. MARTA Oh my god. She snatches up the first vial she just injected him from. Compares the label to the one she just picked up. They're similar but not the same. HARLAN Is there a problem? MARTA This is what I just gave you 100 milligrams of. But I messed up. HARLAN You gave me 100 milligrams of the good stuff. She immediately pulls an EMERGENCY KIT from a nearby shelf, starts calmly but quickly going through its contents. HARLAN -LRB- CONT'D -RRB- What's the good stuff dosage supposed to be? MARTA Lets not call it that right now - three milligrams. HARLAN That's much less. So what happens? MARTA I give you an emergency shot of Naloxone, so that you do n't die in ten minutes. HARLAN Well no pressure. You know that's an interesting, efficient method for murder, I need to write that down. He gets a little notebook and scribbles while she checks and rechecks the kit contents with increasing urgency. HARLAN -LRB- CONT'D -RRB- So if someone switched the meds on purpose I'd be dead in ten minutes, like stone cold dead? MARTA You'll feel symptoms in five. Sweats, disorientation. Then yeah, that big a dose, injected, within ten your respiratory - your - yes ten minutes. HARLAN From the time of injection, so eightish now. And even if the victim called an ambulance when he first felt symptoms, if he was at a country home like this one... where the ambulance takes fifteen minutes to arrive, it would be too late. If the victim did n't have this emergency Naxostuff. He watches her. She's now digging around the carpet, looking under the couch. She dumps the entire contents of the kit out and is now frantically going through it. A bead of sweat rolls down Harlan's brow. HARLAN -LRB- CONT'D -RRB- Marta. Do you have Naxostuff? MARTA Yes! Naloxone yes it comes with the emergency kit - it should be here, it's - fuck. No Harlan it's not here. It's not. Oh my god. MARTA -LRB- cont'd -RRB- Where's my phone? Shit - They look at each other for a second. She's panicked. He's thinking. She picks up a landline phone on the table, dials 911 with shaking hands - Before it can even ring, the line goes dead. She looks, unbelieving : Harlan's finger is on the cradle. His eyes are locked with hers, serious and certain. MARTA -LRB- CONT'D -RRB- Harlan what are you doing? HARLAN Marta, listen to me. MARTA Harlan we need to - are you crazy, we need to call, they need to get here I need to - HARLAN Stop. Stop stop, Marta listen there is n't time stop now stop She goes for her cell phone across the room and Harlan stops her - they trip and fall to the ground with a KA-THUNK. MARTA What are you doing are you nuts? HARLAN Marta it's too late it is over, it's too late I am dead listen. LISTEN. He actually puts his hand over her mouth. HARLAN -LRB- CONT'D -RRB- Listen. If what you said is true I am gone, there's no saving me, we have six minutes. There is one last thing I need to do in this world, and only you can help me do it. But you need to trust me and do everything I say. MARTA What do you want to do? HARLAN Get you out of this. Think of your mom - please trust me, we have to make this look ironclad like it ca n't have been your fault. You. Ca n't. Have done this. MARTA My mom...? CREAK on the stairs outside. HARLAN Get up. A knock on the door. JONI -LRB- O.S. -RRB- Harlan? Marta? Everything alright? Harlan and Marta stand. She's dazed, deer in the headlights, but he's focused and sharp. He turns her away from the door. HARLAN Stand here, keep your back to me, do n't say a word. Harlan opens the door. While he gets rid of Joni we stick with Marta, who stands stock still, tears running down her face, eyes wild - what does she do? HARLAN -LRB- CONT'D -RRB- Joni. JONI I - hi - I heard something, is everything ok? HARLAN Oh yes we just, I just knocked over the GO board, sorry about that. JONI Everything's alright? HARLAN Yes yes all fine, go to bed Joni. JONI Ok. And maybe we can talk tomorrow about the, uh, the thing with HARLAN Yes. Tomorrow. JONI Love you, Night. HARLAN Night night. Harlan shuts the door. Looks at the knife still sticking in the desk. Then takes Marta's shoulders, looks in her eyes. HARLAN -LRB- CONT'D -RRB- Pay attention now, your mom is still undocumented, if this is your fault she'll be found out and at best deported, your family will be broken. A new kind of fear in Marta's eyes. MARTA Oh god HARLAN But we're not going to let that happen. I have a plan, it's not going to be easy but you have to do exactly what I tell you. Will you do this Marta? This last thing. For me, and for your family. She's terrified. But she nods. MARTA What do you want me to do?", "EXT. FRONT PORCH - NIGHT OF THE PARTY - FLASHBACK Walt smoking and Jacob. HARLAN -LRB- V.O. -RRB- Go downstairs as noisily as you can, say goodbye loudly. MARTA -LRB- O.S. -RRB- Walt! I'm leaving! Marta exits quickly, down to her car. HARLAN -LRB- V.O. -RRB- Call attention to the time if you can. MARTA God it's midnight already. Walt checks his watch.", "INT. MARTA'S CAR - NIGHT - FLASHBACK She drives out the guard gate and down the private road. HARLAN -LRB- V.O. -RRB- Drive out the gate, then to avoid the security cameras, pull off the road BEFORE the carved elephant. Up ahead - a weathered wood carved elephant statue. MARTA Wait... was it before or after? HARLAN -LRB- V.O. -RRB- AFTER the carved elephant. MARTA No, he said - before? Was it? HARLAN -LRB- V.O. -RRB- BEAFTERFORE the carved elephant. MARTA Shit... She yanks the wheel and pulls off BEFORE the statue.", "EXT. WOODS - NIGHT - FLASHBACK Marta trudges away from the parked car, tree branches catching her hair. HARLAN -LRB- V.O. -RRB- Park and come back on foot up to the house,", "EXT. THROMBEY ESTATE SIDE GATE - NIGHT - FLASHBACK A waist-high stone wall with a little pedestrian gate. The house up ahead. Marta goes through the gate and up towards the house. HARLAN -LRB- V.O. -RRB- Take the side yard path, through that little gate. The DOGS sprint down the moonlit yard from the house towards Marta. HARLAN -LRB- V.O. -RRB- -LRB- CONT'D -RRB- The dogs will know you, they should n't bark. The dogs stop at Marta and lick her hand.", "EXT. THROMBEY ESTATE SIDE YARD - NIGHT - FLASHBACK Marta looks up the side of the looming house. A sturdy trellis on the wall, and high above a third story window. HARLAN -LRB- V.O. -RRB- You've got to get up to the third floor without being seen, and the only way is to climb the side trellis and come in through the trick hall window. MARTA You've got ta be kidding me. HARLAN -LRB- V.O. -RRB- I am not. Do it. Cut to : moments later, Marta climbing the trellis. It's easy going until a piece BREAKS under her foot, and she swings for a second by one hand. HARLAN -LRB- V.O. -RRB- -LRB- CONT'D -RRB- And for godssakes do n't make any noise.", "INT. THIRD FLOOR LANDING - NIGHT - FLASHBACK What appears to be a dead end hallway, with a painting at the end. BUT suddenly the end wall swings away like a door, revealing a WINDOW behind it. Marta heaves her way in through it, and steps lightly into Harlan's bedroom. HARLAN -LRB- V.O. -RRB- Once you're inside, this is the tricky part. MARTA -LRB- V.O. -RRB- THIS is the tricky part?", "INT. HARLAN'S BEDROOM - NIGHT - FLASHBACK HARLAN -LRB- V.O. -RRB- Get my robe and cap from my bedroom. And put them on. She picks them up from the bed. Stops. A moment of doubt.", "INT. HARLAN THROMBEY'S STUDY - NIGHT - FLASHBACK Back to the scene with Harlan. Marta stops him. MARTA Harlan this is - I - this is crazy - HARLAN We need to make this so airtight your average cop will entirely dismiss you as a suspect. This seems crazy but it will work.", "INT. HARLAN'S BEDROOM - NIGHT - FLASHBACK Marta in the robe, pulling the cap on, tucking her hair under it.", "INT. SECOND FLOOR LANDING - NIGHT OF PARTY - FLASHBACK Marta, in Harlan's robe and cap, creeps down the creaky stairs, then keeps going down. HARLAN -LRB- V.O. -RRB- Walt and Jacob are smoking outside. They'll see you...", "INT. FOYER - NIGHT OF PARTY - FLASHBACK Marta come down the stairs, and sees the outline of Walt and Jacob outside through the glazed window windows. HARLAN -LRB- V.O. -RRB-... through the glazed window. She holds her breath, a deer in the headlights. WALT Dad, go to bed. Marta heads right back up the stairs. HARLAN -LRB- V.O. -RRB- You were seen leaving, the security cameras show you driving off, and twenty minutes later I am seen alive and well by my son.", "INT. SECOND FLOOR LANDING - NIGHT Marta climbs the creaky stairs. HARLAN -LRB- V.O. -RRB- You've gone from suspect number one to an impossibility.", "INT. HARLAN'S BEDROOM - NIGHT Marta ducks in, ditching the robe and cap on the bed.", "EXT. THROMBEY ESTATE SIDE YARD - NIGHT Marta shimmies down the last of the trellis. HARLAN -LRB- V.O. -RRB- Leave the way you came. And do n't. Be. Seen. She hops to the ground, then FREEZES and almost shouts. She's facing a darkened first floor window. Wide open. And inside it, staring RIGHT AT her, is Greatnana. Marta is frozen. Greatnana is n't moving either. Just has her eyes locked on Marta. After what seems like forever, Greatnana cocks her head slightly and asks... GREATNANA Ransom? Are you back again already? Marta breathes. And backs away. Then turns and goes, quickly, down across the lawn. HARLAN -LRB- V.O. -RRB- Drive home. Sometime in the next few days the police will question you.", "INT. HARLAN THROMBEY'S STUDY - NIGHT Back to Harlan and Marta. MARTA Harlan I ca n't lie I'll puke HARLAN Do n't lie. Tell fragments of the truth. In this exact order :", "INT. LIBRARY - LATE AFTERNOON Blanc catches his coin. Lieutenant Elliott and Trooper Wagner look up at Marta, expectant. Just a brief moment has passed since we left them. MARTA I took him upstairs. We played our nightly game of GO, at some point he knocked the board over and Joni came up to check on us. Then I gave him pain medication, he pulled his shoulder last week, and left him in his study. At midnight. Said bye to Walt, went home. LIEUTENANT ELLIOTT What medication did he get? Marta chooses her words very carefully : MARTA Since his injury I've been giving him a 100 milligram IV push of Toradol, a non narcotic analgesic. And to help him sleep, 3 milligrams of morphine. LIEUTENANT ELLIOTT Anything unusual about his demeanor? Uh oh. Marta keeps it solid. Superhuman effort. MARTA No. The three men nod. Blanc holds Marta's gaze. She holds it right back. Then he smiles. BLANC Well that sounds about right. Thank you Ms. Cabrera.", "INT. FOYER - MOMENTS LATER Marta walks calmly out of the library. Then across the foyer into a small door.", "INT. HALF BATH Marta walks in, closes the door behind her, locks it, turns on both the taps, and PUKES into the toilet.", "INT. LINDA'S ROOM Linda stands in her childhood room, by the window in the ebbing light. From a shelf she pulls a stack of PINK NOTECARDS, identical to the one Harlan showed Richard in his office. But these are covered in writing, sweet little notes, a father to his daughter. WALT -LRB- O.S. -RRB- Hey sis. People are going to start getting here for the memorial pretty soon. Are you- Are you alright? She looks up. Walt in the doorway. She wipes her eyes, indicates the notes. LINDA I was just thinking about Dad's games. This all feels like one, it feels like something he'd write, not do. I keep waiting for a big reveal, where it all makes sense. How nice would that be? Her little brother hugs her. His eyes tired and dark.", "INT. LIVING ROOM - NIGHT HARLAN THROMBEY - his portrait, with an ambiguous look on his face. Marta. Soda water in hand at the reception that night. Staring shell shocked at Harlan. The reception for friends of the family. Tables of food. Twenty or thirty people milling, in dark tasteful clothes, with the whole Thrombey family. A tearful Fran has cornered Marta, talks through sobs : FRAN I do n't think he killed himself I do n't. I do n't. There's this Hallmark movie Deadly By Surprise where Danica McKellar plays a wife who gets poisoned by her husband but bit by bit so she thinks she's going crazy and she ends up killing herself, and my cousin who's the receptionist at the medical examiners office says that kind of thing can totally happen, she says it's not even like 3 % as crazy as stuff she's seen come through the - As Fran's talking, Marta looks at the room of family members, gathered around talking. She FLASHES BACK to :", "INT. LIVING ROOM - NIGHT OF PARTY - FLASHBACK - NIGHT NIGHT OF THE PARTY Harlan and Ransom go off together to have a private talk, leaving the family having a heated conversation in the living room. RICHARD I do n't like him no he's an asshole but maybe an asshole's what we needed oh uh-huh yeah there you go JONI Oh god. Yeah an asshole's what Germany needed in nineteen thirty ever Marta stays on the outskirts. Fran, with a tray of champagne flutes : FRAN Jesus. I'm gon na disappear until the politics talk is done. You want some champers? MARTA No I'm technically working. Thanks. Marta checks her watch. Meanwhile Donna, who's had a few, is tearing into the family fight. DONNA We're losing our way of life and our culture, there's millions of Mexicans coming and this is n't Joni do n't make this a race thing, I'd say the same thing if they were European immigrants - we allow them in and they think they own what's ours JONI Oh god really - yeah it's not a race thing yeah Oh yeah, if the Swiss were clogging in the streets - They're putting. Children. In cages. I mean these are camps. RICHARD Nobody's saying that is n't bad, but I blame the parents JONI For wanting a better life for their kids, is n't that what America RICHARD For breaking the law. You're going to hate hearing this but it's true, America is for Americans. Marta, come here. Richard beckons her over, waving his cake plate. We've seen this moment before, silent, during Richard's questioning. LINDA Oh god do n't. Marta is drawn over next to Richard, very uncomfortable. RICHARD No, Marta your family came from Uruguay but you did it right, she did it legally, I'm saying. You work hard, and you'll earn your share from the ground up just like dad and all of us did - Marta I bet you agree with me. LINDA Leave the poor girl alone. RICHARD No Marta do you agree, I'd like you to answer - you wan na become an American, there are legal ways to do it, but if you break the law it does n't matter if you have a good heart, you got ta face the consequences. At that moment booming shouts begin behind the study door - Harlan and Ransom going at it. Ransom bursts out. Marta takes the opportunity to slip into the hallway, alone. She breathes hard. Takes a champagne flute from the tray. Drinks it in one gulp.", "INT. LIVING ROOM - NIGHT END FLASHBACK. Marta in the same spot, Fran still talking her ear off. The room sways. Marta sucks in breath, sways, and braces herself against the wall. FRAN Oh my god Marta, what? Meg runs over, rubs her back. MEG Whoa hey, c'mere, hey. What do you, you want water? Breathe. Hey. Fran have you still got your stash?", "INT. DRAWING ROOM - NIGHT Empty and dark, fireplace blazing. Above the fireplace is an ornate mantle clock. Fran uses a key to unlock one of several tiny drawers hidden in its face, takes out a joint and hands it to Meg. FRAN Take em whenever you need em - they're just drying out since you gave me that Juul. MEG Thanks Fran. Fran leaves them alone. MARTA I'm sorry I'm sorry I'm sorry Meg lights the joint. MEG Stop saying you're sorry Jesus MARTA God my heart wo n't stop, I ca n't - it's just everything, no, thank you She refuses the joint, then realizes where it came from. MARTA -LRB- CONT'D -RRB- That's where Fran keeps her stash? MEG Who's going to open a clock?", "INT. LIVING ROOM Walt yells at a non responsive, bored Greatnana. WALT DO YOU WANT DINNER, NANA? DINNER? TO EAT? EAT? LINDA Walt she's fine, she ate the whole salmon spread already. Meg grabs Walt, pulls him to Marta. MEG Did you tell Marta yet? What we all talked about? WALT No, not yet, is now a good time? MEG Yes a very good time. Right now. WALT Marta. We've talked it over, and -LRB- wait -RRB- Have you been smoking grass? MEG No. WALT We talked it over and the whole family, we want to take care of you. MARTA What does that mean? MEG We all think you deserve something. WALT Financially, we want to help you out. You were never anything but good to dad. Because of that, you can count on us. Walt embraces her, Meg puts a hand on her back. Over Walt's shoulder, Marta sees Harlan's portrait again. Has its expression changed? It looks like it has a slight conspiratorial smile. Marta breathes - maybe this is all going to be ok. WALT -LRB- CONT'D -RRB- I thought you should have been at the funeral, by the way. I was outvoted.", "EXT. SIDE PORCH - NIGHT Later. Marta comes out to get some air. Exhales deeply. And then jumps - she's not alone. Benoit Blanc sits in a wicker chair in the dark, smoking a long thin cigar. MARTA Wah ha. Detective. You're still here? BLANC Mm. Silence. Blanc smokes and stares at Marta. Marta shifts. MARTA Did you know Harlan? BLANC He knew my father who was a police detective. Years ago. My father respected Harlan. That says quite a lot. MARTA So that's why you're here? BLANC Here now here? No. I stayed hoping to speak to you a little more. MARTA Uh? BLANC Something is afoot with this whole affair. I know it, and I believe you know it. MARTA So you're... going to keep digging. BLANC Harlan's detectives they dig, they rifle and root, truffle pigs. I anticipate the terminus of gravity's rainbow. MARTA Gravity's Rainbow. BLANC It's a novel. MARTA I know. I have n't read it. BLANC Neither have I. Nobody has. But I like the title. It describes the path of a projectile, determined by natural law. Voila, my method. I observe the facts without biases of the head or heart, I determine the arc's path, stroll leisurely to its terminus, and the truth falls at my feet. -LRB- beat -RRB- The medical examiner was ready to rule this a suicide, but Elliott agreed to keep it pending for forty eight hours. Tomorrow morning I search the grounds and the house, begin my investigation. I want you to be by my side for it. My confidant, my eyes and ears. MARTA What but - why me? BLANC I trust your kind heart. Also you are the only one who had nothing to gain from Harlan's death. So. Watson. Blank puts out his cigar, stands. MARTA You want my insight into this family? None of them are murderers. That's my insight. BLANC And yet. Be it cruel or comforting, this machine unerringly arrives at the truth. That's what it does. MARTA Always? He does a little bow. BLANC Tomorrow at eight. Marta watches him go.", "INT. CABRERA LIVING ROOM - NIGHT Marta gets home. Her mom is on the couch, zoning out in front of the TV, still in a cleaning uniform. Without a word Marta sits next to her. Stares at the TV. Off her eyes, we FLASH BACK with her :", "INT. HARLAN THROMBEY'S STUDY - NIGHT - FLASHBACK HARLAN I know I missed something... there's going to be something I missed. But I know you can beat it. Without losing your soul you have to do what you have to do to beat this, and win. MARTA I ca n't. HARLAN You can and you have to. For me. Right now. She's out the door and he shuts it.", "INT. OUTSIDE HARLAN'S ATTIC OFFICE DOOR - NIGHT - FLASHBACK Marta stands frozen. Soft voices of Walt and Jacob float up from downstairs. She turns back to the door. Silence. Moments going by. Shit. Can she do this? Shit. No. She turns and pushes back into the office -", "INT. HARLAN THROMBEY'S STUDY - NIGHT - FLASHBACK MARTA Harlan I have to get you help - Harlan reclines on the couch in the middle of the room, ornate dagger against his throat. Marta's eyes go wide. HARLAN Do what I say and everything's going to be ok, Marta. I promise. She makes a move to stop him and with one quick motion he DRAWS THE DAGGER across his throat. Blood sprays. She leaps back, hands to her mouth, spins and leaves the room, closing the door behind her.", "EXT. THIRD FLOOR LANDING - NIGHT - FLASHBACK Breathing hard, silent crying. Then her breathing slows. Her brain taking over. Resolve settling. The dice are thrown. She wipes her eyes. Then bounds down the stairs, out of frame.", "INT. CABRERA LIVING ROOM Back to Marta and her mom on the couch. She puts her hand on Mom's knee. MARTA Everything's going to be ok. I promise. MOM -LRB- of course -RRB- I know. They go back to watching TV. But Marta's mind is buzzing. On her white sneaker, we see but she does not - one single drop of blood.", "EXT. THROMBEY ESTATE GUARD GATE - MORNING The gate is open, Marta's car pulls up just inside it. The small Guard house next to the gate, Blanc, Elliott and Wagner outside it. Blanc waves to her.", "INT. GUARD HOUSE Thrombey's security man, MR PROOFROC, guides them into the cramped dusty space. Proofroc is old and salty. He shows them old photos of the house, stuck to a steel fridge with big brightly colored fruit magnets. MR PROOFROC Fifty years I worked this estate, you know security back then meant making the rounds with a 94, keeping your ears open. Before all this modern technology. Nothing in the room is newer than 1988. An 8 inch CRT monitor shows a phosphorescent live feed of the road outside the gate, and a top loaded VHS VCR sits next to it. MR PROOFROC -LRB- CONT'D -RRB- Well the video here, I saved the tape from that night, usually I erase'em with the magnetic de-gauser, but I thought better save that one. Cause, security. That's the live feed there. Marta notices something with alarm - the video feed shows the road outside, and at the top edge you can just barely see the carved elephant that marks the gardener's utility road. She realizes Harlan said HARLAN -LRB- V.O. -RRB-... to avoid the security cameras, pull off the road AFTER the carved elephant. Marta keeps a poker face, but.. shit. LIEUTENANT ELLIOTT -LRB- to Proofroc -RRB- Can we see the actual TAPE? MR PROOFROC Oh sure. CLACK! The tape loads into the mechanical VCR. An impossibly grainy, smeared night vision view of the road outside the gate. Time stamp : 10:02pm. TROOPER WAGNER It's like a Japanese horror movie. MR PROOFROC -LRB- proud -RRB- I record it SSLP, gets eight hours per tape. Nine pm to five am. BLANC Can we - -LRB- to Marta -RRB- Can we scan forward? MARTA -LRB- to Proofroc -RRB- Can we scan forward? MR PROOFROC Hold the play button down and press the FF down halfway till you feel it grind. Wagner does, the machine makes horrible noises and the picture frizzles and frazzles. Then stops and ejects. MR PROOFROC -LRB- CONT'D -RRB- And hold the tape down or it'll eject. BLANC Can your guys digitize it so we can scan it properly? TROOPER WAGNER I'm sure we can. MARTA I got it. Marta grabs the tape from the VCR.", "EXT. WOODS - DAY They all hack through the overgrown gardener's path. TROOPER WAGNER You know all these statues that you see around here - they are all straight out of his series the `` menagerie tragedy series'', pretty cool. LIEUTENANT ELLIOTT -LRB- dry -RRB- Awesome. Blanc the grounds are lovely but you think what, someone broke into the house? To kill Harlan? Is that why we're out here? BLANC I think it's an unlikely but if they did, there will be traces. TROOPER WAGNER I'll take that, thanks ma'am. Marta hands Wagner the VHS tape. Then she discretely pockets something she had held in her hand next to it - a few of the bright fruit MAGNETS from Proofroc's fridge.", "EXT. THROMBEY ESTATE SIDE YARD The group hikes up out of the woods, towards the low wall with a small pedestrian gate that leads to the east lawn. Marta is out in front. During the following, she notices something : The earth around and under the gate is soft and bare. And clear as day : HER FOOTPRINTS from the other night, the only ones from women's shoes. The same ones she has on now. Her breath catches. SHIT. LIEUTENANT ELLIOTT Any luck with - whatshisname? TROOPER WAGNER Ransom. No, but we have an address. Ten Kenoak street. BLANC Ten Kenoak. That's a pleasant thing to say. kenoak. I awoke amid Kenoak. TROOPER WAGNER Ugh this mud, my boots are going to stink. BLANC Mud - has it rained the past week? No - Nobody move! Freeze! Everyone! These footprints must not be disturbed! -LRB- sees -RRB- Marta! Marta has already walked through the pedestrian gate and up onto the lawn, stepping in her pre-existing prints. She turns back, playing dumb. MARTA What? BLANC Do n't - stop there, do n't - MARTA I ca n't hear you, what? She trots back to them through the gate, stepping into her returning prints. BLANC No no no no do n't - do n't step on the, ok, alright. Aughhhhh ok. MARTA What? Blanc sidesteps up to the gate, not stepping in the mud. LIEUTENANT ELLIOTT Alright, Wagner let's get the boys on it, check the prints, tape off this area, keep it clear. The dogs come running down the lawn, barking at the men. They tear through the gate, further messing up the mud. MARTA Hey boys, easy. Hey. Hey. She pets them and they quiet down. BLANC Best judge of character is a dog. I've found that to be true. The dogs start BARKING and bolt towards the house, where Richard and Linda are pulling up in their lux SUV. LIEUTENANT ELLIOTT They're doing the will reading at ten, whole family will be here soon. Elliott heads up towards the house. Blanc meanders up the lawn, and Marta follows. MARTA I've never been to a will reading. BLANC You think it'll be like a game show. No. Imagine a community theater performance of a tax return. They approach the side of the house. Blanc does a gentle, meandering study of the layout. Marta steals a look at the trellis she climbed. Oh no. A piece of the white lattice trellis that broke off when she was climbing - about eight inches long - lies in the grass beneath it. Her eyes dart up - yup, there's the broken spot. Shit. BLANC -LRB- CONT'D -RRB- SWEET BEANS Marta starts - did he spot it? No - he's come face to face with Greatnana, standing stock still on the porch. She stares at him like a bird. BLANC -LRB- CONT'D -RRB- Good morning Mrs. Thrombey. He approaches her, slowly. When his back is fully turned Marta takes her shot and KICKS the piece of trellis under some thick bushes at the base of the house. Blanc and Greatnana stare at each other. Blanc gets very close to her, great sympathy in his eyes. Greatnana stares back. It's almost like they're communicating. This goes on for a little too long. Then Blanc breaks from the trance, and turns to Marta. BLANC -LRB- CONT'D -RRB- Do you think you could handle the study?", "INT. HARLAN THROMBEY'S STUDY The blood is now only a subtle dark stain, but other than that the room has been left intact from the night of the party. Marta and Wagner observe as Blanc paces the room. BLANC -LRB- to Marta -RRB- Where's your medical bag? MARTA I... do n't know - I left it here, I always leave it with Harlan at night. TROOPER WAGNER They must have taken it in as evidence. I'll check on it. Blanc picks up the GO board and sets it on the table. Examines its grid idly. BLANC How'd the GO board get knocked over? MARTA We were just goofing around. -LRB- beat -RRB- What are you thinking? Blanc sighs gently, turns the baseball over in his hands. Looks like this was a bust. Blanc tips the GO board over, and it lands on the carpet with a nearly inaudible WHOMPH. He stares at it. But his concentration is broken by sharp barking outside. They go to the tiny window and look out. A DASHING MAN in his early 30s climbs out of a vintage Porsche. The dogs go NUTS, biting at his pant legs. BLANC Let me guess.", "EXT. THROMBEY ESTATE FRONT DRIVE The man kicks off the dogs and limps toward the house, cursing. Lieutenant Elliott and Trooper Wagner step out onto the porch. LIEUTENANT ELLIOTT Hugh Drysdale? RANSOM Ransom. Call me Ransom, my middle name. The help call me Hugh. LIEUTENANT ELLIOTT I'm Lieutenant Elliott, this is officer Wagner, we'd like to ask you a few questions about the night of RANSOM Uh huh. He blows past them and into the house.", "INT. LIVING ROOM Walt, Donna and Jacob ( nose in his phone ) sit around the room. Linda and Richard stand, on their phones. Ransom breezes in, bumping Donna who YELPS, startled. Elliott and Wagner follow. TROOPER WAGNER Sir excuse me, we are officers of the law. RANSOM You gon na run me in? I do n't feel like talking. I'm distraught. Ransom disappears into the kitchen, comes out eating a sleeve of pinwheel cookies. Blanc and Marta slip in. Elliott nods to Blanc. LIEUTENANT ELLIOTT Blanc, anything you need to ask him? RANSOM The hell anyway is this arrangement? BLANC Mr. Drysdale Ransom sizes up Blanc with a grin. RANSOM CSI KFC? Ransom grabs Fran the housekeeper's sleeve as she walks by. RANSOM -LRB- CONT'D -RRB- Hey Frannie can you get me a glass of cold milk? Meg and Joni have just entered, and Meg heard this. MEG Hey asshole. Not her name, not her job. Fran walks off with a scorching look at Ransom. RANSOM Meg. How's your SJW degree coming? MEG Trust fund prick. JONI Alright. Guys. ALAN STEVENS, the family's attorney, knocks and enters with an assistant, SALLY, who juggles several attache cases. ALAN Hey everyone. Hey. I'm just going to set up in the other room, be ready in ten minutes. They go off to the library, leaving the family all together in tense silence. WALT Funny Ransom, you skipped the funeral but you're early for the will reading. JONI Ok, people grieve in different ways, let's not WALT -LRB- to Ransom -RRB- It's funny you're here at all. Why are you even bothering, that's what I want to know. RICHARD What's that supposed to mean? WALT He knows what it means. LINDA Walt, what? WALT Jacob was in that bathroom the night of the party. JONI Is that where you were all night? RICHARD The hell were you doing in the bathroom all night? JACOB Nothing. MEG Swatting Syrian refugees. JACOB No. MEG Alt right troll. JACOB Liberal snowflake. WALT I do n't know what any of that means RICHARD It means your son's a little creep. WALT Oh MY son's a creep? JONI Guys! Walt he was in the bathroom... WALT He was in the bathroom RICHARD Joylessly masturbating to pictures of dead deer. WALT Ok you wan na go? They go at each other and do some half-hearted slap-fighting before Linda and Joni break them apart. Ransom's loving this. RANSOM We got ta do this more often. LINDA Alright! Enough. Jacob, we get where this is going. The bathroom's next to Harlan's office, where he had the big fight with Ransom. You heard something. Spill it. JACOB I just heard two things.", "INT. HALF BATH - NIGHT OF PARTY - FLASHBACK Jacob on the toilet, hearing non distinct yelling through a vent high in the wall. But two words poke through : HARLAN -LRB- O.S. -RRB-... my will!", "INT. LIVING ROOM JACOB And then there was more shouting, but I also heard Ransom say `` I'm warning you.'' Walt raises his arms, triumphant. LINDA Ransom? What's this mean? He just eats cookies, silent. WALT It means dad finally came to his senses and cut this worthless lazy brat out of the will. -LRB- to Ransom -RRB- And you better sell your little Beamer and you better give your notice at that country club and kick whatever fashion drugs you're on cause if you think after the bridges you've burned, the shit you've said and what you've put this family through for the past ten years that any of us are going to support you, are going to give you like dad used to say a single red dime you're nuts. Ransom looks around the room. Cold faces. RICHARD Son. RANSOM -LRB- mock gravity -RRB- Father? RICHARD Did Harlan tell you he was cutting you out of the will? RANSOM Yes. RICHARD Then he's done what we were n't strong enough to do - this might finally make you grow up. Ransom is really slapped by this but he does n't let it show. LINDA I think it might be the best thing that could happen to you. RANSOM Thanks - my mother, folks. JONI It wo n't be easy for you but it'll be good. Nothing good is ever easy. RANSOM Up your ass Joni, you've got your teeth bit into this family tit so hard MEG Oh'up your ass' very nice you homophobic privileged - RANSOM -LRB- going down the line -RRB- As a matter of fact - Eat shit, hows that? In fact eat shit, eat shit - eat shit - Definitely eat shit. Eat shit. And now everyone is shouting at each other. Blanc has heard enough. He sets the baseball down on a side table, and drifts out. Marta follows him.", "EXT. FRONT PORCH Blanc breathes in the air. Marta joins him. From inside the house, the shouting continues. MARTA What was that about will readings being boring? BLANC Exception that proves the rule. Fran bursts out of the living room, muttering FRAN Asshole. She storms off around the house. A beat of thought. Then : BLANC I'm warning you. Ransom said. I'm warning you. One of the dogs bounds up the steps to Blanc. MARTA You heard Ransom in there, it's the kind of thing he says. When Blanc goes to pet him, the dog drops something to his feet with a clatter. Marta freezes. MARTA -LRB- CONT'D -RRB- What's he got there? Hey boy. You find a stick? He's always bringing junk into the house - It's the piece of broken trellis. Blanc picks it up, examines it, and suddenly his eyes go sharp.", "EXT. THROMBEY ESTATE SIDE YARD Holding the piece up as he studies the trellis that runs up the side of the house. Marta runs up beside him. BLANC This looks like a relatively fresh break - yes. Right there. He's spotted the broken spot on the trellis. Just up from it, what looks like a boarded window. BLANC -LRB- CONT'D -RRB- Wait - that does n't make sense, where's that window?", "INT. LIVING ROOM The whole family in a screaming match, but Blanc and Marta walk through and up the stairs. Three people notice : Elliott and Wagner ( who follow ) and Ransom ( who does n't. )", "INT. THIRD FLOOR LANDING Blanc looks down the `` dead end'' hallway. Marta joins him, out of breath. BLANC Show me, but do n't step on the carpet. It's a runner rug, and Marta delicately steps on the wood siding as she goes to the wall with the painting. And swings it open, revealing the window. TROOPER WAGNER It's the trick window! From `` A Kill For All Seasons!'' Elliott and Wagner at the top of the stairs, and Blanc motions them not to approach. BLANC Off the carpet! He drops down to his knees, removes a loupe from his jacket, and holds it in his eye. Then, his face inches from the carpet, he scans it. All the way to the window. Then stops. BLANC -LRB- CONT'D -RRB- Traces of dried mud. I suspect they go the length of the hallway. MARTA Footprints? BLANC No, just traces. LIEUTENANT ELLIOTT Depending on when it was last cleaned, it could be from anytime BLANC But that would not explain this. He motions to the base of the window sill - obvious scuffs of dried mud. Marta winces. Blanc tosses the piece of trellis to Elliott. BLANC -LRB- CONT'D -RRB- Analyze this mud. It will match these traces, and you will find similar samples leading up the trellis on the side of the house. -LRB- beat -RRB- On the night of the party, somebody who did not want to be heard climbing the steps went to a great deal of trouble to break into Harlan Thrombey's rooms. The game is afoot, eh Watson?", "INT. LIBRARY - MINUTES LATER The whole family assembled. Marta stands in the back, with Blanc, Elliott and Trooper Wagner. Alan Stevens, Harlan's attorney, sits at a table with papers in front of him, assistant Sally beside him. ALAN Well. Thank you all for getting together like this, it is n't legally necessary but I thought because you're all in town and some of you are leaving soon, it would be best - BLANC Excuse me Mr. Stevens. As to that, ladies and gentlemen, I'd like to gently request you all remain in town until the investigation is completed. Should n't be more than two days. LIEUTENANT ELLIOTT He's gently requesting, I'm ordering. Nobody move until we figure this out. Nobody likes this. LINDA What? JONI Can we ask why? Has something changed? BLANC No. JONI No it has n't changed or no we ca n't ask? BLANC Mr. Stevens, please continue. ALAN Right. Well the other reason I thought this gathering would be, uh, beneficial is that as I told Walt, Harlan altered his will one week ago. He sealed it and asked me not to submit it to the courts for probate until after his death. So in case there's any confusion about anything we're all together, we can talk. I ca n't imagine any of it will be that complicated, Harlan's assets included um SALLY... the house ALAN the house which he owned outright, um SALLY sixty million ALAN right in various cash accounts and investments, yes and of course the real assets are sole ownership of um SALLY Blood Like Wine ALAN Blood Like Wine publishing, his publishing company. Ok. Walt's wife puts her hand on his knee. He squeezes it, smiled tightly. ALAN -LRB- CONT'D -RRB- Um, he did write up a statement when he made the recent changes, he wanted it read first, so : -LRB- reads -RRB- `` Some of you may be surprised by the choice I've made here. No pleasure was taken in the exclusion, and its purpose was not to sow greater discord in the family, quite the opposite. Please accept it with grace and without bitterness. But do accept it. It's for the best.'' Gently condescending eyes shift to Ransom. Linda sees this, puts her hand on her son's hand, and he immediately gets up and moves to a chair in the corner. Alan's assistant hands him an envelope and he removes a single sheet of paper with one short typed paragraph. ALAN -LRB- CONT'D -RRB- Ok. So - oh wow, yeah, not complex at all. This'll be quick. `` I Harlan Thrombey, being of sound mind and body, yada yada, my assets both liquid and otherwise, I leave in their entirety to Marta Cabrera. My entire ownership of Blood Like Wine publishing I leave in its entirety to Marta Cabrera. The copyright of its catalog likewise I leave in its entirety to Marta Cabrera. The air around Marta's head goes away. The room spins She's not sure what's happening. Blanc is looking at her. The whole family is looking at her. Walt bursts out of his chair and grabs the will WALT No. LINDA No. WALT No. What? -LRB- beat -RRB- That ca n't be - that ca n't be right RICHARD What the genuine shit WALT That ca n't be right it's right ALAN It's right Donna begins to hyperventilate. She puts her head between her knees, breathes deep. LINDA No no no no Alan this ca n't be legal, there are, we're his family WALT We're his family, Alan he obviously was n't, something - I do n't know what but something was n't right here RICHARD Are there safeguards against this? And from the back of the room, slowly rising above the din of confusion and cursing, slowly drawing even Marta's deer in the headlights attention... Ransom. LAUGHING. Loud and weirdly sincerely, tears down his cheeks, laughing his head off. JONI Alan there's a mistake MEG Mom if it's what granddad wanted JONI No this is a mistake, this is ours. LINDA Alan take that piece of paper and shove it up your ass and get out. And you cops, out! They do n't but Ransom slips out, his child-like laughter trailing after him. RICHARD Linda - LINDA No, we need to talk and we need to fight this thing and we're not going anywhere. GET OUT! We're the Thrombeys goddammit! This is still our house! A beat of silence. Then all eyes go to Alan. Who looks down at the will. His assistant Sally points helpfully. ALAN Sorry, there's, uh. `` Likewise the house at two Deerborn Drive and all belongings therein I leave to Marta Cabrera. Linda goes for Marta. LINDA You little bitch. Did you know about this? What did you do to him to make this happen, were you two what were you boinking my father? Marta recoils, stumbles back. MEG'Boinking?' RICHARD Linda! JACOB Anchor baby. WALT Marta! Jacob! And Linda - please! JONI Linda please - Marta, you need to tell us though, WALT Yes Marta, did dad discuss this with you? JONI You need to tell us everything you know about this and we need to talk about this, WALT This is n't what dad wanted, this is n't fair but we can work this out RICHARD Jesus do n't mob the girl, let's talk about this The whole family is coming towards her like zombies. Blanc takes her by the arm and steers her towards the door. BLANC I think heads have to cool a little, and in the meanwhile I'd maybe run.", "EXT. THROMBEY ESTATE FRONT DRIVE Marta stumbles out of the house in a daze. Behind her, the entirety of the family floods out after her, shouting reassurances and questions and accusations and a general din of confusion. MARTA I - I have no idea why he - I just need to think - I'll call you or have him call me or do something I do n't know She gets in her car and slams the door, and it's instantly like A Hard Day's Night - the family gathered around trying to talk through the window and rapping to get her attention. Marta keys the ignition - chug chug chug. Nothing. Oh god, not now - chug chug chug. It wo n't turn over. Richard opens the door, she pulls it closed again and locks it, this is like a horror movie. Blanc is trying to get the family to back off but no dice. Marta puts her head in her hands, all of it swirling and echoing and horrifying, she has no idea what to do. HONK! She turns - a honking car pulls up right beside her and through the family crowd she sees Ransom in his Porsche, waving `` get in.'' With no other options she pushes out of her car and through the family and JUMPS IN with him. As he GUNS IT and careens out of the driveway he shouts back at the family with a wave RANSOM I think this could be the best thing to happen to all of you! And they're gone. The family keeps shouting at each other. Blanc watches the Porsche recede, his expression unreadable. DING! His phone buzzing. He checks it. His expression darkens.", "INT. RANSOM'S PORSCHE Tearing down the private road, away from the house. He's still laughing, she's still shell shocked. Slowly, his laughter eases to a stop. A moment of silence. RANSOM Ok seriously though, what the hell? She shakes her head, looks at him. What the hell indeed.", "EXT. ROADSIDE FAMILY RESTAURANT - LATER The Porsche parked out front.", "INT. RESTAURANT - CORNER BOOTH Tucked into a dark corner, Marta is miserable. Ransom is bemused, but regards her closely. They sit in silence. A waitress sets a sausage plate down. RANSOM -LRB- to the waitress -RRB- Could we get an extra bowl please? -LRB- to Marta -RRB- You look like you're gon na pass out. Have you eaten all day? Eat. She joylessly shovels food in her mouth, starving. MARTA This is a nightmare. RANSOM Uh huh. So why. MARTA Why RANSOM Why. Hey, this is everything. There has to be a bigger reason why and you know it. MARTA Well Ransom how about it had more to do with you guys than with me. RANSOM -LRB- agrees -RRB- Yeah. -LRB- beat -RRB- Yeah that's the only thing that makes sense. Marta is unexpectedly effected by this. The waitress breezes by, sets an empty bowl on the table. MARTA Did he tell you anything? RANSOM Just I was n't getting a cent. MARTA He wanted you to build something from the ground up, like your parents RANSOM something from the ground up, like my parents RANSOM -LRB- CONT'D -RRB- yeah. My mom built her business from the ground up with a million dollar loan from granddad. My dad owns none of it, and mom made him sign a prenup. He lives in fear. I know that's what granddad wanted to protect me from by doing this, and I know I should n't say this out loud but when he told me, Jesus Christ I coulda killed him. -LRB- beat -RRB- After I left the party, though. I was driving fast, nowhere, just in the night. And I got this weird... clarity. That from here on I was going to have to do for myself. And that felt... good. The old bastard. -LRB- beat -RRB- Marta I know three things. One : I know he did n't commit suicide. MARTA What makes you think that RANSOM I do n't think it. I know it. Cause I knew my granddad. So you're not going to bullshit me. Because two : I know lying makes you puke. Cause of that mafia game last fourth of July. Marta sinks back, suddenly nervous. RANSOM -LRB- CONT'D -RRB- And three. I know that you just ate a full plate of sausage and baked beans. She looks down at her empty plate. Oh no. He pushes the large empty bowl in front of her. RANSOM -LRB- CONT'D -RRB- So look me in the eye. And tell me what really happened to my granddad. Her lip quivers. She looks like she might attempt it. But then tears drop from her eyes. MARTA You bastard. Ransom pull the bowl away, and puts his hand on hers. RANSOM Marta. Tell me everything.", "EXT. THROMBEY ESTATE - EVENING Dusk settles heavy. Warm light from the windows. WALT -LRB- O.S. -RRB- There have to be options here. ALAN -LRB- O.S. -RRB- No. I do n't know how many times I can repeat the same two simple pieces of information.", "INT. LIVING ROOM - EVENING Lit by a fire in the fireplace, the whole family pacing around, Alan the lawyer looking very tired seated at a table in the center of the room. ALAN If Harlan was of sound mind when he made the changes, and we've all confirmed he was RICHARD Would a sound person do this! Sound how? LINDA The very action speaks to unsoundness! ALAN not legally no, you not liking what they did does not speak to testamentary capacity. JACOB What about undue influence? WALT Yes! Undue influence! ALAN -LRB- weary -RRB- Did you just google that? WALT If Marta was manipulating dad somehow, if we found out that she had LINDA Gotten her hooks into him WALT Somehow or something ALAN You need a strong case for that. You've got nothing. `` She endeared herself to him through hard work and good humor'' wo n't cut the salami. JONI What about the slayer rule? All eyes turn to her. Her face is lit by her phone. JONI -LRB- CONT'D -RRB- I did just google that. ALAN The slayer rule obviously does not apply here. RICHARD What the hell is the slayer rule? JONI It's if someone is convicted of killing the person they ca n't get their inheritance. ALAN Not even convicted, even if they're held responsible for their death in civil court WALT Like OJ ALAN Like OJ, yes. But Harlan committed suicide. All eyes turn to Blanc, who this whole time has been sitting in a chair by the fire, lost in thought. JONI Detective Blank. You said that the investigation is continuing. You made a point of that. Do you suspect foul play? BLANC Mister Blanc. If you please. -LRB- beat -RRB- There is much that remains unclear. But yes. I suspect foul play. The eruption you would expect breaks out. RICHARD Marta? BLANC I have eliminated no suspects. RICHARD You're full of shit, I do n't trust this guy in the tweed suit, and Alan god bless you you're useless. ALAN Thank you. Alan takes that as an excuse to leave. RICHARD There's one answer to this : she can renounce the inheritance. WALT She knows it's what she should do, it's the right thing to do. LINDA We've got ta make her do the right thing. Meg rounds on her mom, speaks quietly, in tears. MEG Mom. If Granddad wanted Marta to have everything, that's what he wanted. JONI No, this was not him. He loved us, he wanted us taken care of. He wanted you to have an education. -LRB- MORE -RRB- JONI -LRB- CONT'D -RRB- Meg. You think I can pay for your school? This leaves Meg shaken.", "INT. RESTAURANT - NIGHT Beer bottles now stacked up in front of Ransom. Marta has just told Ransom everything. He stares into space, and makes the slightest hint of a laugh which I'll write as : RANSOM Heuh. MARTA I know, just saying it it sounds insane but it's all true. I think Blanc's been on to me from the start - I do n't care if I go to jail, but my mom... my sister, we ca n't - Nothing but silence from Ransom. Maybe he's deep in thought. A strange glint in his eye. MARTA -LRB- CONT'D -RRB- You going to say something? RANSOM I always thought I was the only one who could beat Granddad at GO. I always thought that meant something. MARTA I know you did. RANSOM At the party, that night, my last conversation with him, our last fight, that's what he told me, about you. That you beat him nearly every time. More than me. And I thought what a strange thing to tell me. But I think I get it now. I think it did mean something. -LRB- beat -RRB- I'm not telling the family shit. You're not going to jail. That detective is not going to catch you. And you're not giving up the family fortune. Think about what Granddad did to see this through, this was what he wanted not just for you but for his family, and for him. And yes for you. You've come this far. Let me help you go all the way. Marta looks at him hard. MARTA This is n't you. You could turn me in right now and get your cut of the inheritance. Why? RANSOM Because fuck my family. They do n't deserve any of this. I can help you and we can fool them all and get away with it... and then you will give me my cut of the inheritance. The perfect ending, we all win. You, me and Harlan. Deal? Silence. Broken by Marta's phone ringing. On the phone ID - `` MEG T'' Marta takes a breath, looks at Ransom. And picks it up. MARTA Meg MEG -LRB- ON PHONE -RRB- Marta. Oh that was nuts. MARTA I know MEG -LRB- ON PHONE -RRB- Are you ok? MARTA Yeah are you? MEG -LRB- ON PHONE -RRB- I'm fine, I mean everyone's nuts, they're all going, I do n't know, they've lost it. No one knows I'm calling you, I wanted to - I do n't know what I wanted, I wanted to say sorry for how everyone was. MARTA No... MEG -LRB- ON PHONE -RRB- And... I guess I wanted to ask... -LRB- beat -RRB- What are you going to do? MARTA What do you mean? MEG -LRB- ON PHONE -RRB- Well the... with the, will. What are you going to do? Marta looks at Ransom. What indeed. MARTA What do you think I should do? MEG -LRB- ON PHONE -RRB- You should do what you think is... right. I think you should give it back to us. Granddad always took care of us, we're his family, I know he was like family to you but we're his actual family. Marta you know this is n't fair, we've always been good to you and we're going to take care of you, everyone loves you and you're like family and we'll take care of you but you have to make things right, you know what's right. Marta, keeping eye contact with Ransom. Then, her voice quavering, Meg drops what is for her the big bomb : MEG -LRB- CONT'D -RRB- -LRB- ON PHONE -RRB- Marta, mom's broke, she says I'll have to drop out of school. MARTA No, no. I wo n't let that happen. -LRB- beat -RRB- Whatever money you need Meg, I'll help you. I do n't want you to worry.", "INT. DRAWING ROOM - NIGHT Meg on the phone. Her face horrified, mortified, barely comprehending what she's just heard. MARTA -LRB- ON PHONE -RRB- I'll take care of you. I promise. MEG Thanks. MARTA -LRB- ON PHONE -RRB- And once I get the - Meg hangs up, lets the phone drop from her ear. Tears in her eyes. She turns to her whole family gathered behind her, silent and expectant.", "INT. RESTAURANT - NIGHT Marta realizes the connection's dead, holds the phone in her hand like something delicate she just broke. RANSOM Ok then. Did the detective find anything suspicious at the house? MARTA -LRB- in a daze -RRB- Mud. Tracks upstairs - where I broke in through the window. Ransom winces. RANSOM Identifiable prints? MARTA No. RANSOM Good. Ok. Good. Hey. You've just got ta ride the next few days out until the investigation putters out, cause it will, cause no matter how sharp this Blanc guy is he's got nothing. Relax.", "INT. MARTA'S BEDROOM - EARLY MORNING She wakes to a sharp rapping at her door. Her sister Alice pokes her head in, flustered. ALICE Marta get your ass up, what the hell is happening? There's a guy here and a bunch of stuff, everything's going crazy, are we rich?? Marta lifts her head from her hands. MARTA Maybe, I dunno. ALICE I do n't even know what that means but you better get your ass up. Marta looks at her phone - 28 missed calls.", "INT. CABRERA LIVING ROOM Marta stumbles in - Alice in front of the TV, mom pacing. MOM -LRB- subtitled Spanish -RRB- Oh my god Marta what is all this, what did you do? The TV is tuned to local news - an anchor stands outside THEIR APARTMENT BUILDING. LOCAL NEWS ANCHOR -LRB- ON TV -RRB-... we again we do n't know much about Marta Cabrera or the exact relationship she had to Harlan Thrombey, beyond being his home nurse, and the Thrombey family has yet to release a statement... MARTA Is that here? ALICE Oh yeah it is. Wait so is that true? Are we rich? Marta looks out the blinds - several local reporters down in the streets with their vans and cameras. MARTA Oh my god.", "EXT. THROMBEY ESTATE FRONT DRIVE - DAY Wagner's prowler pulls up. Blanc gets out of the passenger side. Blanc nods to the Wagner and the officer.", "INT. GREATNANA'S ROOM Dim. By an open window stands GREATNANA. Blanc enters, she turns. They look into each others eyes. BLANC Good Morning Mrs. Thrombey. A long pause as he thinks of exactly the right word. BLANC -LRB- CONT'D -RRB- Why is grief the providence of youth? I do n't know. But I'd imagine that age deepens all feelings. Including grief. This was a long walk to offering condolences for the loss of your son. And asking you if it is n't presumptuous of me to not think too harshly of your family, if I am as I suspect the first to console you. They're young are n't they. Blanc sits. BLANC -LRB- CONT'D -RRB- One thing I do assume of age is weariness. Damned if I do n't get more tired every day. Tired of what I do. Following arcs, like lobbed rocks. The inevitability of truth. But the complexity and the gray lies not in the truth but what you do with the truth once you have it. Greatnana's eyes move slightly. BLANC -LRB- CONT'D -RRB- I think you have something you want to tell me. I think you're very perceptive and very capable of telling me what you saw the night of your son's party. But I'll happily wait. I'm in no rush. I find it quite pleasant. Sitting here with you. He reclines, not particularly looking at her. She looks back at him. Every now and then a breeze stirs the window sheers.", "INT. CABRERA LIVING ROOM MOM Lawyers were here, very big lawyers it looked like, and some other guys I did n't know, they left all this for you and business cards, so many business cards, and there was a pile of other stuff when I got home - Mom shovels some official looking legal letter and courier envelopes into Marta's arms. MOM -LRB- CONT'D -RRB- -LRB- subtitled Spanish -RRB- Hey. I do n't like this. MARTA -LRB- subtitled Spanish -RRB- I do n't like it either mom. I'm slipping out the back - I'll be back later, do n't talk to anyone.", "INT. APARTMENT BUILDING HALLWAY Dim and dingy. Marta comes out of their apartment door, then jump, startled - at the end of the hall, lurking : Walt. MARTA Hey. Walt's eyes are rimmed red. His heavy cane taps. WALT Hey. They're not sure what to do so they awkwardly hug. Marta still has the envelopes in her hands. WALT -LRB- CONT'D -RRB- How you doing? MARTA Well. Walt I want you to know I did n't know about any of this. This is WALT I know you did n't, we all went kinda crazy yesterday MARTA Understandable WALT You're still very important to all of us, I want you to know that. MARTA I have n't even looked at all this yet, this legal stuff, is this from you guys? Marta flips through the envelopes, squinting. WALT it is n't from us. Maybe just local lawyers and accountants who saw the news and want to jump on it, I'd be careful of it all. One envelope sticks out - a blank plain letter sized envelope, no postage, no return address. WALT -LRB- CONT'D -RRB- Marta. Is it your intention to renounce the inheritance? MARTA This is what Harlan wanted. WALT Well. Harlan has put you in a very hard position here. It was unfair of him. Walt's hand on his cane. Gripping tight. WALT -LRB- CONT'D -RRB- You see what this kicks up with the press and the scrutiny, and we know... with your mother... MARTA... with my mother. Marta's spine straightens. MARTA -LRB- CONT'D -RRB- What did Meg tell you. WALT This is n't about who - you're missing the point, we're not attacking you with this. Marta if your mom came here illegally, criminally, if you come into this inheritance with the scrutiny that entails I'd be afraid that could come to light. That's what we're all trying to avoid here. We can protect you from that happening, or if it happens. MARTA You're saying even if it came to light, with the family's resources you could help me fix it. WALT Yes. The right lawyers, none of those local guys but New York lawyers, DC lawyers, enough resources put towards it, yes. But there's no need it should ever even come up. But yes. MARTA Ok. Good. WALT Ok? MARTA Cause Harlan gave me all your resources. So that means with my resources I'll be able to fix it. So I guess I'm going to go find the right lawyers. WALT Marta. He shuffles towards her. For the first time she feels a hint of physical threat, and backs up quick into her apartment. WALT -LRB- CONT'D -RRB- You better be sure you want to - She slams the door", "INT. CABRERA KITCHEN and leans against it, breathing hard. But angry and focused. She dumps the legal envelopes in the trash but keeps the mysterious envelope, opens it and pulls out : Half a sheet of paper, roughly torn. A photocopy of the header of some sort of medical document, `` OFFICE OF THE CHIEF MEDICAL EXAMINER'' Under that, a photocopy of a tag with her name on it. And hand written in block letters at the top : `` I KNOW WHAT YOU DID.'' Marta's phone BUZZES, and she jumps. Caller ID : `` maybe B BLANC''. She hesitates, then sends it voicemail. Looks at the mysterious letter in her hands.", "INT. RANSOM'S LIVING ROOM Ransom studies the mysterious letter. Marta pushes aside a stack of New Yorkers and sits on the couch. RANSOM Well I do n't know what this is from Indicating the tag photocopy with her name. MARTA It's my medical bag tag. They have my medical bag. For some reason. RANSOM OK, but this is just a photocopy of the header of a blood toxicology report, from the local crime lab. On Harlan. Marta, it would show the morphine overdose. MARTA So I'm screwed! How do you know all this stuff? RANSOM I was Harlan's research assistant. For a summer. He sips his morning coffee. RANSOM -LRB- CONT'D -RRB- But what kind of blackmail scheme is this? I mean the actual evidence is sitting up the street at the crime lab. What was the point of sending you this?", "EXT. NORFOLK ROADS Siren blazing, the cop car SPEEDS into town.", "EXT. MEDICAL EXAMINER'S OFFICE The cop car pulls past an identifying sign into the parking lot of a one story stand alone building, joining several other cop cars, and fire trucks. Journalists kept at bay. The building is a charred brick husk. Black smoke, debris. It's been gutted with an explosion and a blazing fire. Blanc steps out of the cop car and finds Lieutenant Elliott. BLANC What's the cheese? LIEUTENANT ELLIOTT Five AM, security systems here was all triggered. It went up quick. Blood stores, records, all gone. No employees around, thank god. BLANC Any surveillance cams? Elliott gestures wearily to the charred remains of a security camera on the smoking shell of an awning. LIEUTENANT ELLIOTT And speaking of security, the security tape from the Thrombey residence was scrambled. For some reason. Blanc unsurprised. He motions back to the building. BLANC What was still pending from the autopsy? LIEUTENANT ELLIOTT The report on the blood work. BLANC Blood work? Blanc chews on this. Across the street, Marta and Ransom pull up in her car.", "INT. MARTA'S CAR MARTA Holy shit. This is insane. Ransom looks at her - yeah it's likely. They both instinctively duck down in case the cops look over. MARTA -LRB- CONT'D -RRB- Who would blow up a whole real official building just to blackmail me? RANSOM Marta this means that the blackmailer has the only paper copy of the thing that can prove your guilt. You did n't get any other instructions, no phone call no email, no nothing? Marta looks stunned. She stabs at her phone, quick swipes. MARTA... nothing... I did n't check my email. She shows him an email from 092832 @ shushmail.com. No subject line, simple text : 1209 Columbus Rd 10AM RANSOM That's it. 1209 Columbus Road, 10am. Marta looks at Ransom, then at the clock on her dashboard - 9:32, then at the charred building.", "EXT. MEDICAL EXAMINER'S OFFICE Blanc looks around, deep in thought. He spots Marta's car.", "INT. MARTA'S CAR Marta peeking up through the window. Blanc sees her. She sees him. Ducks back down. Shit. RANSOM You know what this means right? If you destroy that copy you are totally within the clear. Blanc begins to walk straight towards Marta. Quickly and with purpose. Shouts something, Lieutenant Elliott follows. RANSOM -LRB- CONT'D -RRB- Marta. Did you hear me. Marta peeks again - Blanc coming at them full speed. Twenty paces from the car. Closing in fast. MARTA Yeah. She sits up, throws the car in gear and FLOORS IT.", "EXT. MEDICAL EXAMINER'S OFFICE Her subcompact PEELS OUT and buzzes off down the road. Blanc, crestfallen, runs back towards the cop cars in the parking lot, shouting at Elliott, who flags a cop.", "INT. MARTA'S CAR The whine of the engine, Ransom puts on his seat belt. In the rear view, siren lights as cop cars pour out of the parking lot in pursuit. MARTA You regret helping me yet? RANSOM I regret not taking the beamer. Her phone buzzes - Blanc calling. IGNORE.", "EXT. NORFOLK ROADS Marta buzzing down the road, cop cars a quarter mile back.", "INT. COP CAR Blanc in back, Elliott in front, Trooper Wagner driving. TROOPER WAGNER -LRB- ON RADIO -RRB- Vehicles in pursuit in Washington Street LIEUTENANT ELLIOTT -LRB- into radio -RRB- No force - repeat that. Possible murder suspect. Their speedometer creeping up on 85", "INT. MARTA'S CAR Marta's speedometer creeping up on 55. MARTA Oh my god oh my god oh my god I am literally flooring it RANSOM Are you flooring it? Her phone rings - Blanc again. She looks over - cop cars are RIGHT ALONGSIDE them. Blank holds his phone up, looks at her quizzically. Points to the phone. RANSOM -LRB- CONT'D -RRB- This is going well. MARTA This is stupid, I'm pulling over RANSOM If you miss your shot at getting that tox report it's all over... MARTA Aaauuuuuawwwaaagghhhh She hits the brakes.", "EXT. NORFOLK ROADS Marta's car PEELS TO A STOP and the two COP CARS on either side blaze by, hitting their brakes. She pulls off onto a SIDE STREET and into narrower city streets, down narrow alleys, using her small car to nimbly dart though small spaces. The cops ca n't follow, and she loses them. She pulls to a stop in a secluded little back lot.", "INT. MARTA'S CAR Marta, breathing hard. Ransom is shocked. MARTA Ok. I'm all just pure adrenaline now it's like I swallowed bees. What's the the whatsitcalled address ok. And I just - I mean whatever they want, I just say yes right, just to get that report back. And destroy it. Ransom. Thank you. I could n't do this without you. RANSOM 1209 Columbus road. And destroy it. He smiles slightly. A quick moment of silence between them. Then : RAP RAP RAP on Ransom's car window. Blanc. Standing right outside. Marta looks in her rear view - the cop car has pulled up silently behind them. Another pulls up in front.", "EXT. PARKING LOT Ransom and Marta step out of the car, hands raised for some reason. LIEUTENANT ELLIOTT That was the dumbest car chase of all time. Put your hands down. BLANC -LRB- to Marta -RRB- I spoke to Wanetta Thrombey, Greatnana. The night of the party she saw someone climb the trellis to the third floor. LIEUTENANT ELLIOTT Mr. Drysdale, come with us please. Elliott leads Ransom off by the elbow. Ransom throws a look back at Marta - he has no idea what's going on. MARTA What's going on? BLANC `` Ransom came back'' she said. I do n't know what he came back to do, but we'll find out. Marta looks at Ransom - oh no. Senile Greatnana thought she was him. This is a mistake. But... she glances at her watch - 9:51. BLANC -LRB- CONT'D -RRB- Did he ask you to drive when he saw me coming? Ransom's being led to the police car. Marta decides : MARTA Yes. Marta gets back in her car. She pretends to take a sip from an empty soda cup, but actually SPITS UP a little into it. LIEUTENANT ELLIOTT -LRB- O.S. -RRB- Blanc. Coming with us? BLANC -LRB- O.S. -RRB- -LRB- to Elliott -RRB- I'll drive with Marta. To Marta's horror Blanc opens her passenger door. BLANC Let's go to the police station, I want a full run down of everything he said to you, and I can catch you up on where we're at.", "EXT. NORFOLK ROADS Cop cars coast through town, Marta's bringing up the rear.", "INT. MARTA'S CAR Marta glances at the dashboard clock - 9:55. Blanc, casual : BLANC Strange case from the start. A case with a hole in the middle. A donut. I'm just talking through my process here, let me know if this is boring. Marta's arms are locked, her eyes steal a glance at the clock - 9:58. BLANC -LRB- CONT'D -RRB- I feel the noose tightening - the family are truly desperate. -LRB- MORE -RRB- BLANC -LRB- CONT'D -RRB- Desperate motives, the mystery of who hired me, the impossibility of the crime, and yet - Up ahead, a street sign - `` Columbus Road.'' Marta tenses. BLANC -LRB- CONT'D -RRB- A donut! One central piece, and if it reveals itself the fog would lift, the arc would resolve, the slinky become unkinked MARTA Do you mind if I stop for a second. I need to pick something up. It will be very quick. BLANC Sure.", "EXT. NORFOLK ROADS Marta's car makes a sharp turn, leaving the cop caravan.", "EXT. 1209 COLUMBUS ROAD A row of storefronts - 1209 is vacant. Marta's car pulls a few stores past it. She gets out of the car. MARTA I'll just be a few minutes. Marta runs into a bustling hair salon.", "EXT. BACK ALLEY Marta ducks out the back door of the salon, goes two doors down to 1209, and slips into the back door.", "INT. 1209 COLUMBUS ROAD Dark, empty retail space. Lit only by the painted-over front windows. Marta edges her way in, her eyes still adjusting from the sun. MARTA Hello? Her foot hits something on the dirty concrete floor. HER MEDICAL BAG. She kneels, picks it up gently. Next to where it was lying, she finds something else curious - the burned remnants of a piece of paper. Only a charred corner remains. She turns her attention back to the room. Creeps forward. MARTA -LRB- CONT'D -RRB- Hello? Ahead - a silhouette. A person. Seated in a chair, in the center of the room. Silent, facing her. MARTA -LRB- CONT'D -RRB- Listen I do n't know what you want. Whatever you want we can work it out, but we have to figure it out right here, right now, and I'm leaving with that report. A beat of silence. Nothing. Something's not right here. MARTA -LRB- CONT'D -RRB- Hello? Marta takes a step closer, lifts her phone, and turns on its flashlight. Illuminating the ghostly face of FRAN, the housekeeper. Marta, barely breathing : MARTA -LRB- CONT'D -RRB- Fran? A SPIDER crawls across Fran's face. Marta STIFLES A SCREAM and leaps back, sucking in air. A moment of stillness. Her phone BUZZES - Blanc calling. Marta ignores the call, frozen. Her eyes go to : A white letter sized ENVELOPE in Fran's hand, resting on her lap. Marta swallows. Leans in, carefully and quietly for some reason, and SLIPS the envelope from the lifeless fingers. Unsealed. She opens it. It is empty. Before this can even sink in, a rattling, grating DRAW OF BREATH - from Fran. Marta starts - oh my god - and goes to her, checking a pulse, checking her eyes, lays her on her back. Fran sucks in thin breath, her eyes finding Marta in the glare of the dropped phone flashlight. MARTA -LRB- CONT'D -RRB- Fran! Fran! Can you hear me? Fran, give me a sign if you can hear me! FRAN You MARTA Me? Fran it's Marta, you called me here, you sent me the email, I'm here. I'm going to call an ambulance and you're going to be ok but can you tell me what happened, did you take something, what's happened to you - Weak, Fran grabs Marta's wrist, and Marta focuses on her. FRAN... copy... copy MARTA What? FRAN... stashed... These words are barely given breath : FRAN -LRB- CONT'D -RRB- you... did this... wo n't... get away.. with this Her eyes seize. Her breath gets ragged. Marta is paralyzed with shock and fear. Fran is dying. Marta looks at the medical bag in her hand. Then at Fran, struggling with her final breaths, eyes wide with fear. She takes a step back from the dying Fran. Fingers tight around the medical bag. Letting her die. But then, a decision : no. Marta dials 911 on speaker, drops to her knees and starts administering mouth to mouth. PHONE 911, what is your emergency?", "EXT. 1209 COLUMBUS ROAD Blanc sitting in the car, singing softly to himself. BLANC Sometimes I stand in the middle of the room... not going left... not going right... He looks at the hair salon - what's taking so long? And then sirens, as an AMBULANCE pulls up two doors down, and EMT's run into the abandoned storefront. BLANC -LRB- CONT'D -RRB- Oh lord. HARD CUT TO :", "INT. HOSPITAL WAITING ROOM - LATER Marta and Blanc sitting silently in the fluorescent-lit waiting room. Marta with her face in her hands. Blanc is on his phone, mostly listening. BLANC -LRB- listens -RRB- Alright my friend, thank you for the update. No I'm here with her. No need for that, I'll bring her in once we get word that the housekeeper is stable. It's still touch and go. -LRB- listens -RRB- Alright. He hangs up. Marta looks at him. MARTA This is over. People are getting hurt. I'm going to tell you the truth. BLANC Young Ransom just told Lieutenant Elliott everything. Who just told me everything. MARTA Good. Wait god I hope he did n't cover for me, did he tell the real truth, about me switching the- And the disguise and all the- And the blackmail with the- BLANC Yeah Yes Mm. MARTA But why did Fran take my morphine? Obviously she had swiped my bag from the house, but she did n't seem like a user to me, unless that's why she needed money... -LRB- beat -RRB- I dunno, does n't matter. I should tell the Thrombeys myself, I feel like I owe that to them. BLANC I do n't think that's a good idea MARTA No, I need to do it. I wo n't do any of this if I ca n't do that. I really need to. I gave the doctors my number, they'll call if anything changes with Fran. BLANC We'll round up the Thrombeys at the house, along with a police escort. MARTA For the arrest after. BLANC You can tell me your whole story on the drive over. I want no more surprises. Marta stands, a dead man walking, resigned.", "EXT. NORFOLK ROADS Marta's car drives through the scenic countryside. Inside we see but do n't hear her telling a long story to Blanc, who looks at the passing countryside, brow knit.", "EXT. THROMBEY ESTATE FRONT DRIVE - AFTERNOON All the family cars there, along with two police cruisers. Marta's pulls up.", "INT. MARTA'S CAR MARTA... said it was stashed, the copy, and then she told me `` you did this, you wo n't get away with it'' and then I called the ambulance. And that's it. She turns the engine off. Looks up at the house. Breathes. BLANC Alright. Are you ready?", "INT. FOYER Marta and Blanc enter. This really feels like a walk towards the gallows. Richard, Walt and Meg are there. Meg avoids eye contact with Marta. RICHARD Ah. Ok, has she come to her senses? WALT She's standing right there Richard she can speak for herself - BLANC Is the rest of the family here? WALT In the living room. BLANC I think maybe, if we could... Blanc beckons, and Richard and Walt file out. On her way out Meg hugs Marta, weeping. MEG I'm sorry, I'm so sorry I told them about your mom. I was angry and scared, I'm sorry MARTA It's ok, Meg. I understand. Believe me. It's alright. Meg sniffs, dries her eyes. MEG God I am so raiding Fran's stash after this. They hug one more time. Then when Meg walks off towards the living room, Marta realizes something. Blanc walks back. BLANC I still think this is a bad idea, but the family is assembled. MARTA -LRB- to Blanc -RRB- I know where the tox report is.", "INT. DRAWING ROOM Marta jimmies the clock drawer open with a letter opener. She pulls a FOLDED PIECE OF PAPER from inside, blows loose pot leaves off it. She hands it to Blanc. MARTA She practically told me where it was. Anyway this'll tie everything up. And I just handed it to you, god you're you're not much of a detective are you? BLANC To be fair you're a pretty lousy murderer. Perhaps we deserve each other.", "INT. LIVING ROOM The family gathered, impatient. Lieutenant Elliott and Trooper Wagner are there too, with another uniformed officer. Ransom sits in the corner, his face passive. Marta gulps. Blanc is a few steps behind her. As she speaks, he unfolds and reads the tox report. MARTA Um. You guys have always been good to me. And what I'm about to say is n't going to be easy, and you're going to be upset, but especially after everything you've gone through the past few days, I thought you deserved to hear it from me. Walt smiles at her, `` you're doing the right thing.'' Marta takes a deep breath. Blanc has finished reading the report. He refolds it carefully. MARTA -LRB- CONT'D -RRB- I - BLANC Excuse me. You have not been good to her. You have all treated her like shit to steal back a fortune that you lost and she deserves. You're a pack of bloody vultures at the feast, but you're not getting bailed out, not this time. -LRB- beat -RRB- Ms. Cabrera has decided definitively not to renounce the inheritance. WALT What? MARTA What? BLANC Furthermore it will be my professional recommendation to the local authorities that the manner of death in the case of Harlan Thrombey is ruled as suicide, and the case is closed. RANSOM What? MARTA What? No, Blanc - BLANC Thank you all for coming goodbye. He firmly guides Marta out by the elbow. A beat of silence. RICHARD Is anybody else confused? As the family breaks out in hubub, Linda notices her dad's OLD BASEBALL on the side table where Blanc left it. What's that doing here? She picks it up.", "INT. LIBRARY Blanc steers Marta into the library, as sounds of hubub and shouting come from the other room. MARTA What the hell? I want to come clean, this is over - BLANC Almost. Elliott bursts in, motions to the living room, then Marta, then Blanc. LIEUTENANT ELLIOTT What - with - what? BLANC I'm sorry - officer Wagner! Wagner enters. BLANC -LRB- CONT'D -RRB- Please keep the family out of this room and get them out of the house if you can. But stand by with your additional officer. TROOPER WAGNER Get the family out? BLANC Yes but not all of them. Blanc whispers something to Wagner, who nods and exits. LIEUTENANT ELLIOTT Blanc c'mon, what's all this Drama. BLANC Indulge me. Marta sits. Elliott remains standing. MARTA Blanc. I told Ransom, Ransom told you, I'm telling you now - it is an immovable fact that I killed Harlan. BLANC Yes you did, yes he did, yes you are, but. But. I spoke in the car about the hole at the center of this donut. And yes, what you and Harlan did that fateful night seems at first glance to fill that hole perfectly. A donut hole in the donut's hole. But we must look a little closer. And when we do, we see that the donut hole has a hole in its center - it is not a donut hole at all but a smaller donut with its own hole, and our donut is not whole at all! LIEUTENANT ELLIOTT Blanc I understand that this is amusing for you - BLANC Why. Was. I. Hired? Why would someone hire me? LIEUTENANT ELLIOTT Someone fishing for any crime that could help reverse the will. BLANC I was hired before the sealed will was read. Yes, the person must have known the contents of the will. But one step further - that same person must have known a crime was committed, and further, if the intent was to reverse Marta's inheritance, they must have known that Marta was responsible. -LRB- beat -RRB- An intriguing combination of factors. Someone who knew what Marta did, wanted to expose it, but could not reveal how they knew. MARTA Fran? She was blackmailing me, she knew what I did BLANC But Fran wanted money, ergo she did not want the crime exposed. LIEUTENANT ELLIOTT Did someone in the family see Marta doing something suspicious? BLANC They would have had no reason to not speak up. No. The answer is not so simple. Blanc sits, suddenly weary. BLANC -LRB- CONT'D -RRB- Now with the entire solution in my field of view, the arc of this case is a tragedy of errors. And Marta, it will not be easy to hear. But there is at least one truly guilty party behind it all, guilty in the true sense of acting with malice, and committing a heinous crime with selfish intent. -LRB- calls -RRB- Trooper Wagner. MARTA -LRB- stunned -RRB- Trooper Wagner?? Blanc squints at her. No. A moment later Wagner leads Ransom in. Ransom looks at Marta softly, sadly. RANSOM Marta I'm sorry. I told them everything, I figured it was all up. I'm sorry. MARTA It's alright Ransom, I'm glad you did. BLANC Not exactly everything though. MARTA Is this about what Greatnana told you? She saw me that night, she mistook me for Ransom BLANC We'll get to that. But first, Mr. Hugh Ransom Drysdale, you might tell us all why you hired me. RANSOM Why I hired you? BLANC You're right, let's back up. To the night of the party. Your argument with Harlan. What were the overheard words by the Nazi child masturbating in the bathroom - `` my will'' and `` I'm warning you.'' You and Harlan were `` drama mamas,'' you shared a love of twisting the knife into one another. I do n't believe he would have slipped it in halfway - no, I submit that Harlan told you everything.", "INT. SMALL STUDY - NIGHT OF PARTY Ransom and Harlan face each other. RANSOM You ca n't be serious. HARLAN Not a red dime or word of my work to a single one of them, you included.", "INT. LIBRARY BLANC Marta, remind me what Ransom said his conversation with Harlan ended with. MARTA Harlan told him that I could beat him in GO. BLANC And I asked myself - Marta? Why would the topic of the will have steered around to Marta? There is one obvious explanation...", "INT. SMALL STUDY - NIGHT OF PARTY RANSOM You are not this crazy. You would not just throw your fortune away HARLAN No. I'm giving it to Marta. All of it. RANSOM Ha. To your Brazilian nurse are you goddamn insane. HARLAN I'm sane for the first time in my life and I've done it I've made the change to my will it's done RANSOM I'm going to stop this Harlan, I - RANSOM -LRB- CONT'D -RRB- I'm warning you! Push into a vent in the wall.", "INT. LIBRARY RANSOM That is some heavy duty conjecture. BLANC Granted. But it's the only way what comes next makes sense. So you storm out, you drive off into the night. You tell Marta later of what was it, feeling an overwhelming sense of... MARTA Clarity. That he has to make do for himself from here on out. BLANC Exactly.", "EXT. NORFOLK ROADS - NIGHT OF PARTY Ransom's Porsche SKIDS TO A STOP on the side of the empty road. Sits idling. BLANC -LRB- V.O. -RRB- Marta. The will. Harlan. `` You wo n't get away with this.'' Do for yourself. And a plan forms. A beat. Then the Porsche roars into a skidding U-TURN and drives back the way it came.", "EXT. PRIVATE ROAD - NIGHT OF PARTY Ransom's Porsche kills its lights and drives slowly down the private road, hooking a left at the CARVED ELEPHANT that marks the utility road. BLANC -LRB- V.O. -RRB- You return, careful to avoid the gate's security camera range.", "EXT. WOODS - NIGHT OF PARTY The Porsche parked, Ransom hacks his way through the woods. BLANC -LRB- V.O. -RRB- Then on foot up towards the house,", "EXT. THROMBEY ESTATE SIDE YARD - NIGHT OF PARTY The party is still going on inside. Ransom slips through the side gate, up towards the house, and up the trellis. BLANC -LRB- V.O. -RRB- You sneak in, up the trellis so as not to be seen by the rest of the family, who are still having their party downstairs.", "INT. THIRD FLOOR LANDING - NIGHT OF PARTY The painting wall swings aside, and Ransom climbs through, leaving mud traces on the sill and the carpet. He heads straight down the narrow hall and into Harlan's bedroom. The party din from downstairs. BLANC -LRB- V.O. -RRB- What you need to do will take moments. But it is essential you are alone, and undetected. Ransom disappears into the darkened doorway. BLANC -LRB- V.O. -RRB- -LRB- CONT'D -RRB- You knew the medications Harlan took. You knew what Marta would be injecting him with that night. And you knew if Marta was responsible for his death, even unintentionally, the slayer rule would nullify the changed will, and you would get your share back.", "INT. HARLAN'S BEDROOM Dark and still. Marta's medical bag, open. Ransom has unwrapped two syringes and has the two vials out - the Toradol and the morphine ( the `` good stuff.'' ) Using the syringes he extracts the liquid from both vials... and then injects the liquids back into the opposite vials. He SWITCHES THE MEDICATIONS. BLANC -LRB- V.O. -RRB- You use the syringes in the kit to switch the liquids in the two medication vials. And as a final precaution, you take the Naloxone, the life saving antidote. Replacing the vials he takes an injection pen, closes the bag up and leaves.", "INT. LIBRARY Marta is stunned, she ca n't even process this. MARTA No, no that's impossible. BLANC It is the truth. Hand me that vial of morphine, I'll show you. Blanc has placed two identical vials on the table behind Marta. Her mind is still spinning, she glances at them, takes one and absently hands it to him. MARTA If he did that, if the meds were switched, then when I got them mixed up... -LRB- oh my god -RRB- I accidentally switched them back. But then I gave Harlan BLANC The correct doses. Yes. But not accidentally. I taped over the labels of these two vials. Blanc shows white tape over the one she just handed him. Picks up the other vial, shows the same. BLANC -LRB- CONT'D -RRB- The vials themselves are identical. How did you know that this was the morphine? MARTA I... just knew BLANC You knew because there is the slightest, almost imperceptible difference of tincture and viscosity between the liquids. You knew because you had done it a hundred times. You gave him the correct medication. Because you are a good nurse. MARTA Then Harlan was... BLANC I'm sorry Marta. But yes. Harlan was perfectly fine. He unfolds the tox report and hands it to her. BLANC -LRB- CONT'D -RRB- His blood was normal. The cause of death was truly, solely suicide, and you are guilty of nothing but some damage to the trellis and a few amateur theatrics. In fact if he had listened to you, he would be alive today. Marta is white as a ghost. She shudders, buckles over. LIEUTENANT ELLIOTT Hot damn. BLANC A twisted web, and we are not finished untangling it. Not yet. Marta when Greatnana spotted you climbing down the trellis she said", "EXT. THROMBEY ESTATE SIDE YARD - NIGHT OF PARTY Marta facing Greatnana, who says : GREATNANA Ransom? Are you back again already? BLANC -LRB- V.O. -RRB- Are you back again already, because earlier that night - CUT TO : the exact same scene but RANSOM hops down off the trellis, and is startled by Greatnana staring at him. GREATNANA Ransom, you're back! He puts his finger to his lips - shhh, and blows a kiss as he walks off into the night.", "INT. LIBRARY Marta with her fingers on her temples, still unbelieving. RANSOM Marta c'mon. -LRB- to Blanc -RRB- This is stoopid with two o's and you do n't have a shred of evidence, you're just spinning a fairy tale. BLANC Not a shred no, just as we have no real proof of Marta's mixing up the vials so it's your word against - RANSOM You have her confession! The sharpness of this makes Marta look at Ransom for the first time. BLANC Ah right, we do have that. If you'll indulge me, I'd like to spin a little further.", "EXT. THROMBEY ESTATE SIDE YARD - NIGHT OF PARTY - FLASHBACK Moonlit, silent. BLANC -LRB- V.O. -RRB- Much later that night you would have to come back to the house, to break back in and retrieve the incriminating tampered vials. A dark figure, Ransom, approaches the side gate. But when he opens it, the two dogs come bounding across the lawn, barking loudly. BLANC -LRB- V.O. -RRB- -LRB- CONT'D -RRB- However, this time the dogs were outside. They barked. Waking Meg. A light goes on upstairs. The dogs keep barking, paws on the gate. Ransom backs off. BLANC -LRB- V.O. -RRB- -LRB- CONT'D -RRB- No matter. You'll get the vials tomorrow.", "INT. LIBRARY BLANC But tomorrow brings news not of a medical error and guilty nurse, but of a slit throat and suicide!?", "INT. RANSOM'S APARTMENT LIVING ROOM - DAY A nervous Ransom tears a clipping from the local newspaper about Harlan's death, stuffs in it an envelope with a huge fold of cash, and addresses it to Blanc. The New Yorker profile open on the couch. BLANC -LRB- V.O. -RRB- Now the circumstances are perfect for the anonymous hiring of a me : you know a crime has been committed by Marta, you need her to be caught for it, you can not reveal how you know.", "INT. LIBRARY BLANC Enter Benoit Blanc. Elliott ca n't help but roll his eyes. LIEUTENANT ELLIOTT Benny look I hear what you are saying Trooper Wagner quickly shushs Elliott, enthralled by every word Blanc says. BLANC The body was discovered early the next morning. The police, the medical examiners, the family, everyone swarms in, -LRB- to Ransom -RRB- and there is no possible way you can get to Marta's medical bag to remove the vials. You must wait for your moment, when the investigation is over and you know the house will be empty. And that is why you missed the funeral.", "INT. THIRD FLOOR LANDING - AFTERNOON - FLASHBACK Ransom bounds up the stairs, climbs under the POLICE TAPE blocking Harlan's study, and enters. BLANC -LRB- V.O. -RRB- there is no one home to wonder why you're going into Harlan's study. Or so you think. Fran comes around the corner, spots Ransom and is about to say something, but does n't. BLANC -LRB- V.O. -RRB- -LRB- CONT'D -RRB- Poor Fran. She witnessed you tampering with Harlan's medication in the medical bag. She did not know what you were doing. But she knew you were up to no good. And so her mind begins to turn. Ransom pockets the two incriminating vials from the medical bag and replaces the Naloxone pen. When he stands to go she retreats.", "INT. LIBRARY MARTA Oh god that movie she told me about, with Danica McKellar, that's what she was talking about - TROOPER WAGNER Deadly by Surprise. BLANC She loved Harlan. She hates Ransom. So the poor girl decides to test her theory and make this asshole pay. She gets a copy of the toxicology report, I will be honest I have no idea how MARTA She has a cousin - she told me, she has a cousin who works as a receptionist at the examiners office! BLANC Well voila. The numbers mean nothing to her, but if Ransom is guilty its existence is a threat, so she photocopies the header and makes her blackmail note. MARTA So why did she send it to me? BLANC She did not. She sent it to Ransom.", "INT. RANSOM'S LIVING ROOM - DAY - FLASHBACK Ransom walks in sorting mail - finds the blank envelope, reads the blackmail note inside, and slowly grins. BLANC -LRB- V.O. -RRB- And when Ransom first gets it, what is his reaction? Elation! He still thinks Marta gave Harlan the tampered drugs! A blood tox report will prove Marta's guilt!", "INT. LIBRARY - DAY - FLASHBACK The will reading, the family assembled. Ransom sits in back, a sly smile on his face as the will is read. BLANC -LRB- V.O. -RRB- He goes to the will reading in high spirits, ready to see the family tear themselves apart, secure in the knowledge that it will all be undone when the tox report comes to light. And then...", "INT. RESTAURANT - NIGHT - FLASHBACK Beers stacked up. Marta has just confessed. Ransom's face is unreadable. BLANC -LRB- V.O. -RRB- Marta's confession. And everything turns on its head. Now he realizes that Marta has committed no crime, and the tox report will prove her innocence. The changed will is going to stand. He has lost. Unless.", "INT. LIBRARY Blanc rounds on Ransom. BLANC Unless you decide.", "INT. RESTAURANT - NIGHT - FLASHBACK Ransom giving Marta his pep talk - RANSOM... you're not going to give up the money.", "INT. LIBRARY BLANC You are not going to give up the money.", "INT. RESTAURANT - NIGHT - FLASHBACK RANSOM You've come this far!", "INT. LIBRARY BLANC You have come this far. Just one step further. Just one last act, in for a penny, in for a pound. You decide. You are in. CLOSE ON : A lighter ignites a rag stuffed in a tin gas can. THE CAN : Being thrown through a window in a brick wall.", "INT. MEDICAL EXAMINERS OFFICE MORGUE - FLASHBACK Empty, dark. The flaming can falls in slow motion from the high window. Hits the floor, ignites. BLANC -LRB- V.O. -RRB- Step one : destroy all evidence of Marta's innocence. The flames dance in the reflection of a glass case of refrigerated BLOOD SAMPLES. BLANC -LRB- V.O. -RRB- -LRB- CONT'D -RRB- Step two :", "INT. RANSOM'S APARTMENT - LIVING ROOM - NIGHT / DAY? CLOSE ON : The BLACKMAIL NOTE - at the bottom is written `` 1209 COLUMBUS ROAD 8AM'' A hand TEARS this bottom part off, then puts the top half in an envelope. BLANC -LRB- V.O. -RRB- Send Marta the anonymous email with a late morning rendezvous time, CLOSE ON : An email addressed to Marta being typed on a phone, `` 1209 COLUMBUS ROAD 10AM''", "INT. APARTMENT BACK HALLWAY - NIGHT - FLASHBACK Ransom creeps down the hall, slips the ENVELOPE into the letter slot of Marta's door. BLANC -LRB- V.O. -RRB- and deliver her the blackmail note.", "EXT. 1209 COLUMBUS ROAD - MORNING - FLASHBACK Ransom's Porsche pulls up. He gets out, pulling on gloves. BLANC -LRB- V.O. -RRB- Step three : keep your appointment with Fran.", "INT. 1209 COLUMBUS ROAD - 8AM - FLASHBACK Fran standing in the middle of the room, nervous. She turns as Ransom walks in and strides towards her. FRAN I knew it. I knew you were a no good son of a bitch, I knew Harlan would n't have just killed himself. RANSOM Yes, you were right Fran. Ransom sees the medical bag on the floor, kneels and pulls something out of it. FRAN I knew you were guilty as shit. Now you're gon na pay for it do n't come near me I'm warning you I - But he's upon her, hand over her mouth, stifling her scream as he pushes the syringe into her neck and PUSHES THE PLUNGER. MINUTES LATER - her inert body in the chair. He fishes through her pockets, finds the envelope, and takes the TOX REPORT from it, leaves the empty envelope in her hands. On his way out : lights the tox report on fire, drops it burning next to Marta's bag. We stay with it as it burns away. BLANC -LRB- V.O. -RRB- Now the board is set. Marta will get the blackmail note. You will put the pieces together for her - the tox report, her one chance at getting away with it all. You'll guide her to the rendezvous. You'll make an anonymous call to the police, they will catch her there with the body and the burned evidence. Marta will be arrested for killing Fran... and Harlan.", "INT. LIBRARY MARTA She said -", "INT. 1209 COLUMBUS ROAD - FLASHBACK Marta holding Fran on the floor, her dying words - FRAN you... did this...", "INT. LIBRARY MARTA She did n't say `` you did this,'' she was n't talking about me, she said", "INT. 1209 COLUMBUS ROAD - FLASHBACK Exact same moment but this time we hear - FRAN Hugh... did this...", "INT. LIBRARY MARTA Hugh did this. Cause you made the help call you Hugh. Cause you're an asshole. BLANC -LRB- to Ransom -RRB- It would have worked. If we had n't brought you in for questioning, so you could not make your anonymous call. And if Fran had not stashed a safety copy of the tox report.", "INT. 1209 COLUMBUS ROAD - FLASHBACK Marta turns away from the dying Fran. BLANC -LRB- V.O. -RRB- And if Marta had not outplayed you once again. Marta turns back, calls 911, gives mouth to mouth to Fran. BLANC -LRB- V.O. -RRB- -LRB- CONT'D -RRB- By having a kind heart. By saving Fran's life, though it meant her losing the inheritance and going to jail. She did n't play your game, she saved Fran's life.", "INT. LIBRARY For the first time, Ransom looks afraid. RANSOM Fran's alive? Marta's phone starts to ring. They all see the caller id - it's the hospital. BLANC -LRB- to Marta -RRB- Oh yes. Fran, who will confirm this fairy story or something close to it. -LRB- to Ransom -RRB- And will send you, Hugh, to jail. She answers the call, puts the phone to her ear. MARTA Yes. A long beat, then her face breaks in relief. MARTA -LRB- CONT'D -RRB- Yes. Thank you doctor, that's great news, we'll be there soon. She hangs up. And smiles with radiant joy. MARTA -LRB- CONT'D -RRB- She's okay. -LRB- to Blanc -RRB- She's ready to talk. Ransom stares at Marta, his face a mask. BLANC Trooper Wagner, if you would keep Mr. Drysdale in custody while Lieutenant Elliott, Ms. Cabrera and myself go to the hospital to take Fran's statement. Ransom stands. Steps to Marta, who's frozen, looking in his eyes. His poker face breaks. And he grins. RANSOM I want to say this just to you, not to a courtroom of cameras, just to you because you know it's the truth : we allowed you into our home. We allowed you to take care of granddad, to be part of our family and now you think you can steal it from us? You think I'm not going to fight for our birthright, our home, our ancestral family home? BLANC Harlan bought this house in the eighties. From a Pakistani real estate baron. RANSOM Oh shut up Blanc, shut up! Shut up with that Kentucky fried fog horn rag-horn drawl. Yeah I killed Fran but I guess I did n't, so what do you have on me. Nothing What? attempted murder - -LRB- to Blanc -RRB- I get arson for the bombing, maybe a few other charges, with a good lawyer I'll be out before you know it. Face to face, Ransom's face hateful, Marta's strong and set. RANSOM -LRB- CONT'D -RRB- -LRB- to Marta -RRB- And then you'll see just how much hell I can wreak on your life, you vicious little bitch. But then... Marta's face starts to do things. Odd things. Convulses. Her jaw clenches. Her cheeks bulge. And the PROJECTILE VOMITS into Ransom's face. RANSOM -LRB- CONT'D -RRB- AUGH! WHAT THE SHIT! He falls back cursing, she drops to her knees, spitting. Wagner, inappropriately excited : TROOPER WAGNER That means she was lying! MARTA That's right, Fran's dead. -LRB- to Ransom -RRB- And you just confessed to her murder. Ransom takes this in. Then he smirks. RANSOM Well. In for a penny... In one fluid motion he spins to the ornamental WALL OF KNIVES, grabs one - BLANC No! and TACKLES MARTA... Time slows as Blanc and Elliott lunge to stop him but it's too late - Ransom and Marta fall together, his arm arcing down And as the they hit the ground his arm comes down PLUNGING THE KNIFE UP TO THE HILT IN HER CHEST. They lie still, breathing hard. Her eyes wide with pain and horror. His cold and wild. But then she blinks. Squints. And he cocks his head. Realizing something. Withdraws the knife from her chest. Its fake blade had retracted into the handle. It's a theatrical prop. He pumps it up and down a few times, the spring making a pathetic toy noise. Ransom smirks. RANSOM Shit And is VIOLENTLY TACKLED out of frame by Trooper Wagner. Leaving Marta lying on her back. Blanc shouting if she's alright, Elliott and Wagner wrestling Ransom into cuffs, it all fades into the background as she holds the knife and stares at the ceiling.", "INT. SMALL STUDY CLOSE ON : Harlan's old baseball being set carefully back in place. By Linda. She's about to leave, but she notices the pink envelope on the desk. Picks it up, takes out the blank note. Seems to recognize it, and smiles sadly.", "EXT. THROMBEY ESTATE FRONT DRIVE - LATER Linda comes outside and joins the family. Several more police cars, and an ambulance. Ransom is loaded into the cop car. His family are held at bay by officers, but they react in different ways - Richard yelling at the cops. Walt sobbing, Donna collapsed against him, Jacob on his phone. Joni staring into space, ruined. Meg talking to Lieutenant Elliott, crying. She's just learned about Fran. Linda watches the circus, strangely disconnected, going to light a cigarette. With a strange smirk, she uses the flame to warm the blank note from the office, and HIDDEN WRITING starts to appear - a note from her father. Their secret communication. As the letters appear, her face changes.", "INT. LIVING ROOM Marta sits, a blanket over her shoulders. An officer who's just taken her statement walks away. Blanc approaches. MARTA Can I ask. At what point did you suspect I had something to do with Harlan's death? BLANC From the moment you first set foot in front of me. Taps her shoe. The tiny, faded spot of blood. MARTA Oh my god. BLANC I want you to remember something very important : you won not by playing the game Harlan's way, but yours. Through the window she sees the family outside. MARTA I should help them. Right? BLANC I have my own opinion. But I have a feeling you'll follow your heart. He gives her a wink, and strolls off.", "INT. FOYER - LATER Marta shuffles to the front doorway. One last glance at Harlan's portrait, its grin now gentle and content.", "EXT. FRONT PORCH / BALCONY She stands on the threshold. Sees Blanc get into the front door of a cruiser, and it drives off - Ransom in the back. He looks back at her through the window. The family out on the lawn. Not sure where to go or what to do. They all turn to see : Marta standing very small, but somehow not, in the doorway of her house."], "labels": [0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0], "summary": "The family of Harlan Thrombey, a wealthy mystery novelist, attends his 85th birthday party at his Massachusetts mansion. The next morning, Harlan's housekeeper, Fran, finds him dead with his throat slit. The police believe Harlan's death to be suicide, but private detective Benoit Blanc is anonymously paid to investigate. Blanc learns Harlan's relationships with his various family members were strained: on the day of his death, Harlan threatened to expose his son-in-law Richard for cheating on his daughter Linda, cut off his daughter-in-law Joni's allowance for stealing from him, fired his son Walt from his publishing company, and had an altercation with his grandson Ransom. Unknown to Blanc, Harlan's nurse, Marta Cabrera, accidentally mixed up his medications, making her think she overdosed him with morphine, and was unable to find the antidote, apparently leaving Harlan only minutes to live. Wanting to save Marta's family from scrutiny (her mother being an undocumented immigrant), Harlan gave her instructions to create a false alibi and then slit his own throat. Harlan's elderly mother saw Marta carrying out his instructions, but mistook her for Ransom. Marta cannot lie without vomiting, so she gives true but incomplete answers when questioned. She agrees to assist in Blanc's investigation, and she conceals evidence of her actions as they search the property. When Harlan's will is read, to everyone's shock, Marta is the sole beneficiary. Ransom helps her escape the family's wrath, but he manipulates her into confessing to him; he offers his help in exchange for a share of the inheritance. The other Thrombeys try to persuade Marta to renounce the inheritance; Walt threatens to expose her mother's immigration status. Marta receives a blackmail note with a partial photocopy of Harlan's toxicology report. She and Ransom drive to the medical examiner's office, but it has burned down. Marta receives an email proposing a rendezvous with the blackmailer. Blanc and the police spot them, and, after a brief car chase, Ransom is arrested; Blanc explains Harlan's mother saw Ransom climbing down from Harlan's room the night he died. At the rendezvous, Marta finds Fran, drugged. She performs CPR and calls an ambulance. She confesses to Blanc, though Ransom has already informed on her, and she decides to tell the family she caused Harlan's death, which would invalidate the will under the slayer rule. At the house, she finds a copy of the full toxicology report in Fran's cannabis stash. She gives it to Blanc without reading it herself. Reading it, Blanc sees it showed little morphine in Harlan's system, and interrupts Marta before she can confess. Blanc reveals his deductions: after Ransom learned Harlan was leaving everything to Marta, he swapped the contents of Harlan's medication vials and stole the antidote so that Marta would kill Harlan and thus become ineligible to claim the inheritance. But Marta actually gave Harlan the correct medication, subconsciously recognizing it by its viscosity, and she only thought she had poisoned him after reading the label. When the death was reported as a suicide, Ransom anonymously hired Blanc to expose Marta. Fran saw Ransom tampering with the crime scene and sent him the blackmail note. After he realized Marta was not responsible for Harlan's death, but Marta still thought she was, he forwarded the note to Marta and burned down the medical examiner's office to destroy evidence of her innocence. He overdosed Fran with morphine, intending for Marta to get caught with Fran's corpse. Marta tricks Ransom into confessing by lying that Fran has survived and will implicate him; then she vomits on him, revealing the lie. Enraged, he attacks her with a knife from Harlan's collection, which turns out to be a retractable stage knife. With Ransom's murder confession recorded and having witnessed his attempted murder of Marta, the police arrest him. Blanc tells Marta he realized early on she played a part in Harlan's death, noting a small spot of blood on her shoe. Linda finds a note from Harlan about her husband's adultery. As Ransom is taken into custody, Marta watches from the balcony of her mansion.", "name": "Knives_Out"}
{"scenes": ["EXT. DEEP SPACE A dark screen is lit up by twinkling stars. SON Baba? FATHER Yes, my son? SON Tell me a story. FATHER Which one? SON The story of home. A meteorite drifts into frame, heading towards tiny Earth off in the distance. FATHER Millions of years ago, a meteorite made of vibranium, the strongest substance in the universe struck the continent of Africa affecting the plant life around it. The meteorite hits Africa and we see plant life and animals affected by vibranium. FATHER -LRB- CONT'D -RRB- And when the time of man came, five tribes settled on it and called it Wakanda. The tribes lived in constant war with each other until a warrior shaman received a vision from the Panther goddess Bast who led him to the Heart Shaped Herb, a plant that granted him super human strength, speed, and instincts. A visual representation of the five tribes emerges as hands from the sand animation, and we see them unite, and then break apart as conflict arises. Bashenga rises above the conflict and eats the Heart Shaped Herb, proceeding to unite the tribes. FATHER -LRB- CONT'D -RRB- The warrior became King and the first Black Panther, the protector of Wakanda. -LRB- MORE -RRB- FATHER -LRB- CONT'D -RRB- Four tribes agreed to live under the King's rule, but the Jabari tribe isolated themselves in the mountains. We see the Jabari striding off towards the isolated mountain region. FATHER -LRB- CONT'D -RRB- The Wakandans used vibranium to develop technology more advanced than any other nation, but as Wakanda thrived the world around it descended further into chaos. We see images of war and slavery just outside Wakanda' s secretive border. FATHER -LRB- CONT'D -RRB- To keep vibranium safe, the Wakandans vowed to hide in plain sight, keeping the truth of their power from the outside world. We see the protective barrier rise around the Wakandan city, as we pull back on the Earth as it spins, now zooming in on another part of the world. . SON And we still hide Baba? FATHER Yes. SON Why?", "EXT. LAKE MERRITT APARTMENT COMPLEX, OAKLAND - NIGHT - 1992 Towering apartment buildings loom over the horizon. Kids play pickup basketball on a milk carton hoop when mysterious lights approach from the sky.", "INT. N'JOBU'S APARTMENT/HALLWAY - NIGHT An African man, N'JOBU ( 30s ) sorts through firearms and goes over maps with another man, JAMES ( 20s, African American ). Live news footage of the 1992 Los Angeles Riots plays on the TV. N'JOBU Hey look, if we get in and out quick wo n't be any worries. You in the van come in through from the west, come around the corner, land right here. Me and the twins pulling up right here, we leavin' this car behind, ok? We corning... Suddenly, N'Jobu hears something that we do n't. .. a familiar sound. N'JOBU -LRB- CONT'D -RRB- Hide the straps. James quickly moves into action, hiding the guns in the walls as N'Jobu peers out a window, then clears the maps from the table and unrolls a tapestry on the wall, hiding a bulletin board. James cocks a handgun. JAMES Is it the Feds? N'JOBU No. A KNOCK rattles the door. James walks over and looks out of a peep hole, then turns back with a confused expression. JAMES It's two Grace Jones looking chicks.. they're holding spears... N'JOBU Open it. JAMES You serious? N'JOBU They wo n't knock again. James opens the door and TWO DORA MILAJE ( members of the All Female Wakandan Special Forces ) slowly enter carrying LARGE SPEARS. They eye N' Jobu. DORA MILAJE 1 -LRB- SUBTITLE -RRB- -LRB- in Xhosa -RRB- Who are you? N'JOBU Prince N'Jobu, son of Azzuri. DORA MILAJE 1 -LRB- in Xhosa -RRB- Prove to me you are one of us. N'Jobu grabs his bottom lip and flips it, revealing a vibranium threaded TATTOO glowing blue with Wakandan script. The Dora SWIFTLY SLAM their spears down in unison, making the sound of an EMP. All electronics in the room instantly DIE OUT.", "INT. N'JOBU'S APARTMENT - NIGHT The room is pitch black, then. . . BOOM. The Dora hit the floor with their spears again and the lights come back ON, but now YOUNG T'CHAKA ( dressed in t he ceremonial garb of the Black Panther ) stands before them. N'Jobu kneels at the sight of him. He swats James, urging him to do the same. N'JOBU -LRB- in Xhosa -RRB- My King... Young T'Chaka looks at James, who gapes in awe. YOUNG T'CHAKA Leave us. N'JOBU This is James. I trust him with my life. He stays, with your permission, King T'Chaka. Young T'Chaka looks at him for a long beat. YOUNG T'CHAKA As you wish. At ease.. Young T'CHAKA removes his mask, hands it off to the Dora and the women step out into the hall, closing the door behind them. YOUNG T'CHAKA -LRB- CONT'D -RRB- -LRB- in Xhosa -RRB- Come baby brother. -LRB- in English -RRB- Let me see how you're holding up. N'Jobu stands. T'Chaka walks over to him and they embrace. YOUNG T'CHAKA -LRB- CONT' D -RRB- You look strong. N'JOBU Glory to Bast. I am in good health. How is home? Young T'Chaka's mood darkens. YOUNG T'CHAKA Not so good, baby brother. There has been an attack. Then, Young T'Chaka activates a simple looking beaded bracelet, KIMOYO BEADS, that project a hologram image of ULYSSES KLAUE. YOUNG T'CHAKA -LRB- CONT'D -RRB- This man, Ulysses Klaue, stole a quarter ton of vibraniurn from us and triggered a bomb at the border to escape. Many lives were lost. He knew where we hid the vibranium, and how to strike. N'Jobu takes the news in. YOUNG T'CHAKA -LRB- CONT'D -RRB- He had someone on the inside. Young T'Chaka waits for N'Jobu to come clean of the crime. He does n't. N'JOBU Why are you here? YOUNG T'CHAKA Because I want you look me in the eyes and tell me why you betrayed Wakanda. N'JOBU I did no such thing. Young T'Chaka snaps a look to James. YOUNG T'CHAKA -LRB- SUBTITLE -RRB- -LRB- in Xhosa -RRB- Tell him who you are. JAMES Zuri, Son of Badu. N'JOBU What? N'Jobu's face goes ashen as James is revealed to be YOUNG ZURI, a Wakandan spy. Zuri reveals his vibranium lip tattoo. N'Jobu grabs him. N'JOBU -LRB- CONT'D -RRB- James, James you lied to me? I invite you into my home and you were Wakandan this whole time? JAMES -LRB- ZURI -RRB- You betrayed Wakanda! N'JOBU How could you lie to me like - YOUNG T'CHAKA Stand down. Did you think that you were the only spy we sent here? Zuri walks to the wall and removes a duffle bag containing VIBRANIUM CANISTERS, glowing blue. He shows one to Young T'Chaka. YOUNG T'CHAKA -LRB- CONT'D -RRB- Prince N'Jobu, you will return home at once, where you will face the council and inform them of your crimes.", "EXT. LAKE MERRITT, OAKLAND - NIGHT A kid catches the basketball, gazing up as an AIRCRAFT WITH STRANGE LIGHTS rises into the sky and speeds off. The ball drops.", "INT. COMMAND CABIN, ROYAL TALON FIGHTER - NIGHT - PRESENT DAY T'Challa, dressed in his Black Panther armor, sits at the console in the back of the ROYAL TALON FIGHTER. A BBC news report plays on the screen. BBC ANCHOR The tiny nation of Wakanda is mourning the death of its monarch, King T'Chaka. The beloved ruler was one of many confirmed dead after a terrorist attack at the United Nations a week ago. The Suspect has since been apprehended. -LRB- MORE -RRB- BBC ANCHOR -LRB- CONT'D -RRB- Though it remains one of the poorest countries in the world, fortified by mountain ranges and an impenetrable rain forest, Wakanda does not engage in international trade or accept aid. The succession of the throne is expected to fall to the oldest of the King's two children, Prince T'Challa. Piloting the craft while seated in lotus position is OKOYE ( 30s, Head of the Dora Milaje. ) OKOYE My Prince, coming up on them now.", "EXT. NIGHT SKY, CHIBOCK - NIGHT An overhead view of a SIX CAR MILITARY CONVOY, moving like a sinister serpent through the surrounding wilderness. We pull back into the sky revealing the tip of a futuristic looking aircraft. This is the ROYAL TALON FIGHTER ( RTF ).", "INT. COMMAND CABIN, ROYAL TALON FIGHTER - NIGHT T'Challa stands, and moves to a sand model of the convoy down below. Okoye gets up out of her chair and grabs her SPEAR off the wall. She moves towards the back of the craft. T'CHALLA No need, Okoye. I can handle this alone. Okoye pauses, then returns her spear to the wall. T'Challa closes the model and steps to a marked circle in the floor. T'CHALLA -LRB- CONT' D -RRB- I will get Nakia out as quickly as possible. Okoye places six KIMOYO BEADS into T'Challa's gloved hands. OKOYE Just do n't freeze when you see her. T'CHALLA What are you talking about? I never freeze. T'Challa slips on his helmet, revealing himself to be Black Panther and folds his arms over his chest. Okoye opens her closed fist, dropping Panther out of the aircraft.", "EXT. NIGHT SKY, CHIBOCK - NIGHT Panther hurdles through the clouds and throws the spheres toward the cars below. The spheres CHANGE SHAPE into edged discs that we follow through the air as they zip toward. . .", "EXT. DIRT ROAD, CHIBOCK - NIGHT WHAM. The discs mount themselves to hoods of ALL THE VEHICLES, sending a sonic ripple through them, stopping the convoy in its tracks.", "INT./EXT. MILITANT LEADER'S PICKUP, DIRT ROAD, CHIBOCK - NIGHT The MILITANT LEADER riding shotgun watches as The DRIVER looks around, confused. He tries turning the key to start the truck up again -- nothing. The Militant Leader grabs his AK-47 and climbs out to the front of the truck, he spots the disk mounted to it, and tries pulling it off to no avail. He raises his fist. MILITANT LEADER Defense position! The militant leader slips down a Night Vision MONOCULAR as the other MILITANTS echo the call and begin to fall in line.", "INT. CARGO TRUCK, CHIBOCK - NIGHT Packed closely together, SEVERAL NIGERIAN WOMEN dressed in hijab sit, waiting. A CARGO TRUCK MILITANT sits amongst the women, RIFLE in hand, next to a YOUNG MILITANT, a child soldier no older than twelve. We find a WOMAN sitting in the back corner, her eyes observing the militants intensely. This is NAKIA ( 30's, a Wakandan spy ). The CARGO TRUCK MILITANT stands up and cocks his rifle. CARGO TRUCK MILITANT No games. He and the Young Militant exit the vehicle as Nakia watches closely.", "EXT. ROAD, CHIBOCK - NIGHT The pickup's driver climbs out, cocking a submachine gun and looks into the forest in the wrong direction. Slowly approaching, the militant leader points to SHIFTING FOLIAGE in the direction of Panther. The militants nod and the militant leader covers them while they go off into the grass. The militants move slowly following every sound. They point their guns at the base of a TREE, but it' s just a stray DOG. The gunmen approach the tree, eyeing around, then look up to find PANTHER stalking his prey from the tree tops.", "INT./EXT. MILITANT LEADER'S PICKUP, DIRT ROAD, CHIBOCK - NIGHT MILITANT LEADER -LRB- into radio -RRB- What do you see?", "INT./EXT. CARGO TRUCK, CHIBOCK - NIGHT Nakia climbs out of the truck while the other captive women look on.", "EXT. MILITANT LEADER'S PICKUP, DIRT ROAD, CHIBOCK - NIGHT ON MILITANT LEADER MILITANT LEADER -LRB- into radio -RRB- Come in! Come in! FROM THE ROAD We hear a faint struggle, then a MILITANT'S BODY is hurled into the side of the pickup truck as the other militants look on in horror! The. SO CAL GUNNER and all of the other men in the convoy BLINDLY OPEN FIRE into the trees. Then PANTHER emerges from behind them, flipping into the truck bed and SLASHING clean through the base of the. SO CAL, then taking the gunner out with a single blow.", "INT./EXT. CARGO TRUCK, CHIBOCK - NIGHT Slipping behind a MILITANT, Nakia picks up the man's RIFLE and quickly disassembles it as another MILITANT approaches and using the BARREL like a combat stick, puts him on his back, out cold. She leaps onto a second militant, easily taking him down and striking him in the throat.", "EXT. DIRT CLEARING, CHIBOCK - NIGHT The four men do n't see Panther coming and executing a BARRAGE OF PUNCHES AND KICKS, Panther viciously dispatches them. He spots the Young Militant firing at him then SLASHES through a car door, and THROWS THE DOOR at a Militant behind him- taking him out. ON PANTHER In a moment of desperation, the Young Militant rushes out, firing at Panther to no effect. Then, as Panther walks towards him, Nakia dives out, kicking the young militant's gun from his hand and grabs him in a neck-lock. Swinging around, Nakia kicks Panther in the chest, stopping his momentum. Caught off guard, Panther freezes. NAKIA This one is just a boy... he got kidnapped as well. Nakia pulls the wrap from the young militant's face, exposing his pre-teen expression. She removes her own hijab as well. Panther stares at her- for a beat too long. .. T'CHALLA Nakia... I... I wanted to... NIGERIAN MILITANT #2 -LRB- O.S. -RRB- Hey!! Panther and Nakia turn to find NIGERIAN MILITANT # 2 holding a CAPTIVE WOMAN at gunpoint. NIGERIAN MILITANT #2 -LRB- CONT' D -RRB- I have her! Do n't move, I will shoot! I will shoot her right now! Behind the militant, an UNSEEN FIGURE creeps out of the bush. The figure stands, revealing herself to be OKOYE. The militant' s rifle is SUDDENLY CUT IN HALF by Okoye who finishes him with another swipe of her spear. OKOYE You froze. T'Challa removes his helmet, facing Nakia. NAKIA Why are you here? Eesh, you ruined my mission! T'CHALLA My father is dead, Nakia. The news devastates her. T'CHALLA -LRB- CONT' D -RRB- I will be crowned King tomorrow, and I wish for you to be there. Nakia looks at T'Challa deeply. Then turns, catching eyes with one of the NIGERIAN CAPTIVES as Okoye brings them from around the truck. NAKIA Carry yourselves home now, and take the boy. Get him to his people. The Nigerian Woman nods. NIGERIAN WOMAN Thank you. OKOYE You will speak nothing of this day. T'Challa loo ks at the Young Militant for a beat before he, Nakia and Okoye disappear through the trees. The Nigerian Women and the Young Militant look up at the sky as the RTF takes off.", "EXT. WAKANDAN MOUNTAIN BORDER - BREAKING DAWN The RTF comes out of stealth mode and becomes visible as it glides over a mountain range.", "INT. ROYAL TALON FIGHTER - BREAKING DAWN T'Challa and Nakia sit close, silently. Nakia reaches out and touches his hand. He looks at her and smiles. OKOYE Sister Nakia... My Prince. We are home. Nakia approaches the front of the craft with T'Challa. They look out.", "INT./EXT. ROYAL TALON FIGHTER - BREAKING DAWN Several BORDER TRIBE SHEPHERDS look over their flocks of sheep and cattle. As the RTF's shadow passes over the STRAW THATCHED HUTS, SEVERAL CHILDREN run out into the pastures, smiling and waving at the Prince. TWO BORDER TRIBE KIDS ( one boy, one girl ) on horseback overtake them. Their horses hurdle ahead at a breakneck pace. The horse riders pump their fists in the air as the RTF soars over a second mountain range. T'CHALLA This never gets old.", "INT./EXT. RTF - BREAKING DAWN Nakia, T'Challa and Okoye regard a BEAUTIFUL RAINFOREST that expands for as far as the eye can see. Okoye dives the pl ane seemingly right into THE TREES. . . when at the last moment it passes through, revealing the forest is a massive hologram and below. . .", "EXT. THE GOLDEN CITY, CAPITAL OF WAKANDA - BREAKING DAWN A sprawling metropolis with elaborate veins of public transportation running through it at ground level and high arching skyscrapers. The RTF heads for the ROYAL PALACE, a magnificent building at the center of the city and touches down on the landing pad.", "EXT. LANDING PAD, ROYAL PALACE/INT. RTF - BREAKING DAWN RAMONDA ( S0s, Queen Mother of Wakanda ), and SHURI ( 18, Princess of Wakanda ) stand on the pad flanked by AYO. Okoye, Nakia and T'Challa exit the RTF and Nakia bows her head. NAKIA Queen Mother... Princess. My comfort for your loss. RAMONDA Thank you, Nakia. It is so good to have you back with us. Nakia nods. OKOYE -LRB- to Ayo -RRB- Take her to the River Province to prepare her for the ceremony. AYO Yes, general. Ayo nods and walks off with Nakia while Shuri watches closely. SHUR I Did he freeze? OKOYE Like an antelope in headlights. Shuri laughs at this. T'CHALLA Are you finished? Okoye slams her spear into the ground, signaling the rest of the Dora to follow her off. T'Challa turns to Shuri. T'CHALLA -LRB- CONT'D -RRB- So surprised my little sister came to see me off before our big day. SHUR I You wish. I'm here for the EMP beads, I've developed an update. T'CHALLA Update? No, it worked perfectly. SHURI How many times to I have to teach you, just because something works, does n't mean that it can not be improved. T'CHALLA -LRB- teasing -RRB- You are teaching me, what do you know? Shuri holds out her hand and T'Challa drops the beads into her hand. Shuri heads off. T'CHALLA -LRB- CONT'D -RRB- I can not wait to see what kind of update you make to your ceremonial outfit. Shuri flips him off. RAMONDA Shuri I T'Challa smiles at this. SHUR I Sorry mother. Ramonda turns to T'Challa. T'CHALLA How are you feeling today, mama? RAMONDA Proud... your father and I would talk about this day all the time. He is with us, and it is your time to be King.", "EXT. BRITISH MUSEUM, LONDON, UK - MORNING Museum employees congregate outside as tourists and school groups move toward the main entrance.", "INT. WEST AFRICAN EXHIBIT - MOMENTS LATER We see a black man in high-end street wear, around 30 years old. A RING hangs on a gold chain around his neck. This is ERIK KILLMONGER. Killmonger stands dangerously close to the glass containing SEVERAL WEST AFRICAN ARTIFACTS. They range from what looks like iron gardening tools to masks and short range weapons. Flanking the room are TWO SECURITY GUARDS, slight l y unnerved by his presence. We follow the MUSEUM DIRECTOR, a British woman ( mid-40's ) as she enters and walks up behind Killmonger as he studies t he war masks. MUSEUM DIRECTOR Good morning! How can I help you? KILLMONGER I was just checking out these artifacts. They tell me you're the expert. MUSEUM DIRECTOR You could say that. KILLMONGER They're beautiful. Killmonger points at one of the masks. KILLMONGER -LRB- CONT'D -RRB- Where's this one from? MUSEUM DIRECTOR From the Bobo Ashanti Tribe, prese n t day Ghana. 19th Century. KILLMONGER For real? What about this one? MUSEUM DIRECTOR That one's from the Edo people of Benin. 16th Century. KILLMONGER Now, tell me about this one. Killmonger points to a MINING TOOL off to the side. MUSEUM DIRECTOR Also from Benin. 7th Century. Fula tribe I believe. KILLMONGER Nah. MUSEUM DIRECTOR -LRB- amused -RRB- I beg your pardon? KILLMONGER It was taken by British soldiers in Benin but it's from Wakanda and it's made out of vibranium. Do n't trip, I'mma take it off your hands for you. She looks at Killmonger like he's crazy. MUSEUM DIRECTOR These items are n't for sale. KILLMONGER How do you think your ancestors got these? You think they paid a fair price? Or did they take it like they took everything else. MUSEUM DIRECTOR Sir, I'm going to have to ask you to leave. The Museum Director subtly looks back at the security guards, then makes a face and touches her stomach -- indigestion. Killmonger smiles and leans over, whispering in her ear. KILLMONGER You got all this security watching me ever since I walked in. But, you ai n't checking for what you put in your body. The museum director looks at Killmonger in terror as a security guard walks up behind him. SECURITY GUARD Alright, mate. Let's have it. Come on, mate. KILLMONGER I think she might not be feelin' too good. The Museum Director suddenly slumps to the floor, clutching her stomach. KILLMONGER -LRB- CONT'D -RRB- Hey! Hey somebody get some help! Come here! Call a doctor, please! Hey please, somebody come help! The security guards quickly rush to the museum director's aid. SECURITY GUARD -LRB- into radio -RRB- Medical Emergency right away in the West African Exhibit please. Right away! Killmonger stands back and looks toward the door. INT. CAFE, BRITISH MUSEUM - MORNING LINDA, A young black barista, looks on as TWO EMTs push a STRETCHER through the entrance. They head towards the West African Exhibit. LINDA I'm gon na take a break. Preoccupied with the commotion, her co-worker nods and Linda walks out.", "INT. WEST AFRICAN EXHIBIT, BRITISH MUSEUM - MOMENTS LATER The EMTs rush in, revealing the face of the lead paramedic. .. IT'S ULYSSES KLAUE ( Afrikaans, S0s. ) Another EMT, LIMBANI, mans the door. KLAUE Let's give the lady some space please. LIMBANI Step back please, gents, step back please. Museum-goers quickly bee l ine for the exit as Klaue approaches the guards. Uneasy, the security guards follow Klaue's instructions only to have KLAUE AND LIMBANI draw silenced pistols and rapidly shoot two of the three dead. Klaue looks at the one remaining. KLAUE Hey come here. Come here! It' s ok. You can go, but just do n't tell anyone, alright? The SECURITY GUARD looks back at him unsure, then takes off. Klaue then aims and shoots the Security Guard in the back. Killmonger looks on at him confused. KILLMONGER Bro, why you'aint just shoot him right here? KLAUE Because it's better to leave the crime scene more spread out... makes us look like amateurs. The LENS on a surveillance camera at the corner of the room looks on.", "INT. SECURITY DESK, BRITISH MUSEUM - MORNING MONITORS with feeds from the West African Exhibit show a looped video of patrons enjoying the displays as. . .", "EXT. BRITISH MUSEUM, LONDON, UK - MORNING Just outside the entrance, Linda exits, wearing plain clothes. She eyes her cellphone SCREEN where the same video plays. The source of the loop.", "INT. WEST AFRICAN EXHIBIT - MORNING Klaue looks down at the slumped bodies of the guards. Turns to Killmonger. KLAUE Now... let's see if you know what you're talking about... Klaue removes his glove to reveal a BIONIC PROSTHETIC hand. Klaue walks up to the PROTECTIVE GLASS surrounding a smaller case containing the mining tool and places his hand on it. An invisible charge SHATTERS the glass. KLAUE -LRB- CONT' D -RRB- That's just a taste. Klaue picks up the MINING HAMMER, studying it. The tool does n't look like anything special. Klaue' s hand SIZZLES BLUE and centuries of MUCK and GRUNGE drop off the hammer revealing that it's pure vibraniurn. Klaue smells it, and smiles. KLAUE -LRB- CONT'D -RRB- Whoo.. You' r e gon na be rich, boy. KILLMONGER You better sell that quick. KLAUE Oh it's already sold. Klaue waves Lirnbani over with the stretcher to load the hammer inside. He BREAKS the WOODEN HANDLE off the tool, taking only the vibranium head. KILLMONGER Whatever you try, the Wakandans' ll probably show up. KLAUE That' ll make my day. I can kill two birds with one stone. Lirnbani approaches Killmonger who eyes a third MASK, e xpertly crafted and slightly haunting. He slides th e mask inside the stretcher also. KLAUE -LRB- CONT'D -RRB- You're not tell ing me that's vibranium too, eh? KILLMONGER Nah, I'm just feeling it. Killmonger lays atop the gurney and Limbani places an oxygen mask over his face.", "INT. FOYER, BRITISH MUSEUM - MORNING The fake EMT's wheel the stretcher out of the exhibit toward the entrance.", "EXT. BRITISH MUSEUM, LONDON, UK - MOMENTS LATER Klaue and Limbani load the gurney onto an AMBULANCE and climb in. Killmonger moves towards the front of the truck and gives Linda a kiss before she hits the SIREN and speeds off.", "EXT. WAKANDAN RIVER - DAY Several incredible BARGES transport congregations from FOUR WAKANDAN TRI BES, ELDERS and their TRIBAL WARRIORS in traditional garb, others in modern Wakandan attire, the DORA MILAJE and KINGSGUARD wi th spears and shields down river.", "EXT. DORA MILAJE BARGE, WAKANDAN RIVER - DAY Okoye stands wi th her second in command, AYO, flanked by a legion of Kingsguard and Dora.", "EXT. ROYAL BARGE, WAKANDAN RIVER - DAY Ramonda and Shuri dance.", "EXT. RIVER TRIBE BARGE, WAKANDAN RIVER - DAY Nakia dances among her tribal leaders.", "EXT. DORA MILAJE BARGE, WAKANDAN RIVER - DAY The Dora slam their spears in unison, sonically triggering the massive drains at the top of the waterfall and we PULL BACK to reveal natural seating built into the rocks below.", "EXT. WAKANDAN FALLS - DAY THE ROYAL TALON FIGHTER flies up to the pool's edge and T'CHALLA steps off the aircraft, holding a short spear and shield and covered in leopard body paint. The crowd chants. ELDERS, WARRIORS, DORA Ngu T'Challa Lo. CROWD Ngu T'Challa Lo. T'Challa bows at Zuri's feet as the RTF lifts away.", "EXT. SEATING AREA, WARRIOR FALLS Thousands of Wakandans stand according to tribe, overlooking a challenge pool : the Border Tribe, the Mining Tribe, the Merchant Tribe and the River Tribe. FIVE KINGSGUARD DRUMMERS set up near the challenge pool. Ramonda stands at the edge of the pool with Shuri. Nakia is with the River Tribe, W'KABI ( the leader of the Border Tribe Army ) with the Border Tribe and Okoye with Ayo and the Dora Milaje.", "EXT. CHALLENGE POOL, WARRIOR FALLS - DAY In the water, ZURI ( Now Wakanda's High Shaman ), holding the massive SPEAR OF BASHENGA, addresses the arena. ZURI I, Zuri, Son of Badu, give to you, Prince T'Challa, the Black Panther! The Elders watch as Zuri holds up A CEREMONIAL VESSEL containing a mysterious concoction. ZURI -LRB- CONT'D -RRB- The Prince will now have the strength of the Black Panther stripped away. Zuri pours the solution into T'Challa's mouth. T'Challa reacts violently, choking on the red fluid. T'Challa spasms, his veins expanding and his muscles contracting as the poison spreads through him. But soon, he stops shaking and exhales easy. Zuri turns to the audience. ZURI -LRB- CONT'D -RRB- Damaku... CROWD Damaku... ZURI Victory in ritual combat comes by yield or death. If any tribe wishes to put forth a warrior, I now offer a path to the throne. The Merchant Tribe Warrior calls out. MERCHANT RIBE ELDER The Merchant Tribe will NOT challenge today. W'KABI, the head of the Border Tribe calls out. BORDER TRIBE ELDER The Border tribe will NOT challenge today. Nakia calls out, representing the River Tribe. RIVER TRIBE ELDER The River Tribe will NOT challenge today. The Mining Tribe Warrior calls out. ON SHUR I MINING TRIBE ELDER The Mining Tribe will NOT challenge today. ZURI Is there any member of royal blood who wishes to challenge for the throne? As she raises her hand, and a collective gasp is heard amongst the entire gathering. SHUR I This corset is really uncomfortable. So could we all just wrap it up and go home? Ramonda pinches her, as the ELDERS groan, and the YOUNG WAKANDANS can be heard laughing. BACK IN THE POOL T'Challa smiles and shakes his head. The sound of WOODEN DRUMS and loud chanting suddenly interrupts. Everyone looks to the mouth of the main CAVE where SIX JABARI WARRIORS and TWO JABARI DRUMMERS file out. Adorned in elaborate wooden armor, the warriors hold large wooden spears that look like javelins. The Kingsguard coil tightly as stunning the CROWD, the Jabari's imposing leader, M'BAKU, emerges last. ON THE AUDIENCE Where W'Kabi and Nakia unsheathe their weapons and Okoye readies the Dora Milaje. ON SHURI AND RAMONDA Shuri turns to her mother. SHURI -LRB- CONT'D -RRB- Are they Jabari? RAMONDA Yes. BACK IN THE POOL Zuri confronts M'Baku. ZURI M'Baku. What are you doing here?! M'BAKU It's challenge day. M'BAKU -LRB- CONT'D -RRB- We have watched and listened from the mountains. We have watched with disgust, as your technological advancements have been overseen by a child who scoffs at tradition. M'Baku points his spear at Shuri, who's eyes grow large. AYO steps in front of her. M'BAKU -LRB- CONT'D -RRB- And now... you want to hand the nation over to this prince... -LRB- he steps nose to nose with T'Challa -RRB- Who could not even keep his own father safe. Hmm? We will not have it. I said we will not have it! -LRB- beat -RRB- I, M'Baku, leader of the Jabari wish to -- T'CHALLA -LRB- interrupting -RRB- I accept your challenge, M'Baku. M'BAKU Glory to Hanuman. Zuri puts the Panther mask on T'Challa. M'Baku grins and places a WOODEN GORILLA MASK over his face. He clenches his fist and calls out for his Jabari soldiers to form a semicircle behind him, pointing their spears at his back. T'Challa lifts his hand and calls out for the Dora, who fall into place behind him, making a perfect CIRCLE OF SPEARS surrounding the fighters. Zuri raises his hand, ill-at-ease. ZURI Let the challenge begin! The warriors CLASH, both with great skill. M'Baku with superior strength. T'Challa eludes a salvo of swings, then is driven back by the tip of M'Baku's spear against his shield. Knocking M'Baku's spear free, T'Challa is HAMMERED ONTO HIS BACK but instantly springs up to dodge more attacks and counter with TWO FIERCE KICKS. M'Baku spits blood and bangs his chest. The rest of the Jabari warriors RESPOND. T'Challa salutes the crowd and they respond LOUDER! M'Baku charges at T'Challa, knuckle-walking, and slipping his assault, T'Challa grabs M'Baku's spear and cartwheels over it to land another KICK. The two continue to battle, BLOCKING and TRADING BLUNT STRIKES, until M'Baku delivers a backhand that KNOCKS T'CHALLA OFF HIS FEET near the Dora's spears. With the deadly spears at his back, T'Challa blocks COLOSSAL OVERHEAD BLOWS with his shield, then M'BAKU leans with all his strength trying to impale T'Challa on the TIPS. Clubbing M'Baku to his heels, T'Challa rushes forward for an aerial attack only to be met by a VICIOUS KICK to the chest, causing him to LOSE both his shield and spear! M'BAKU Where is your God, now?! Defenseless, T'Challa DODGES SPEAR-SWIPES before M'Baku corrals him into a BEAR HUG and delivers a CRUSHING HEADBUTT. M'Baku LAUGHS through his mask. M'BAKU -LRB- CONT' D -RRB- No powers. No claws. No s pecia l suit, oh! Just a boy, not fit to lead.", "EXT. SEATING AREA, WARRIOR FALLS - DAY From T'Challa's POV we see Ramonda cheering from the sidelines. RAMONDA Show him who you are!", "EXT. CHALLENGE POOL, WARRIOR FALLS - DAY T'Challa finds strength in RAMONDA'S VOICE. He shakes off the headbutt, stunning M'Baku with a SAVAGE ELBOW to free himself. M'Baku retaliates, GORING T'Challa's shoulder. T'CHALLA I AM PRINCE T'CHALLA SON OF King T'CHAKA! ON SHURI SHUR I You can do this T'Challa! BACK IN THE CHALLENGE POOL T'Challa wedges M'Baku' s spear UNDER HIS FOOT and PULLS M'Baku to the pool, FLIPPING his body into a SERIES OF LEG CHOKES. M'Baku FIGHTS, but ca n't escape. T'CHALLA Yield! Do n't make me kill you. M'BAKU I would rather die! T'Challa TIGHTENS HIS GRIP and M'Baku begins to fade. T'CHALLA What would the proud Jabari do without you? T'Challa tightens further. T'CHALLA -LRB- CONT' D -RRB- You have fought with honor, now yield! Your people need you. M'Baku looks up at the Jabari warriors. T'CHALLA -LRB- CONT'D -RRB- Yield, man! M'Baku grudgingly reaches out and TAPS. T'Challa lets him go and is barely able to stand himself as Zuri steps forward. The crowd ERUPTS as struggling to catch his breath, T'Challa proudly lifts his arm. ZURI I now present to you, King T'Challa the Black Panther!! T'CHALLA Zuri. ZURI My King. Drums begin to play and people start to dance. T'Challa and Nakia stare into each other's eyes amidst the celebration as. .. T'CHALLA Wakanda forever!! The arena ECHOES THE PHRASE emphatically.", "EXT. CITY OF THE DEAD - DUSK We move in on the Hal l of Kings.", "INT. HALL OF KINGS, CITY OF THE DEAD - DUSK zuri, wearing ceremonial face paint, mixes a Heart Shaped Herb concoction and pours it into T'Challa's mouth as he lies in a dirt plot in the middle of the room. ZURI Allow the Heart Shaped Herb to restore the powers of the Black Panther and take you to the Ancestral Plane. T'Challa closes his eyes. ZURI -LRB- CONT'D -RRB- T'Chaka, we call on you. Come here to your son.", "INT. HALL OF KINGS, CITY OF THE DEAD - FLASHBACK We see YOUNG T'CHALLA and YOUNG T'CHAKA smiling at each other.", "INT. UNITED NATIONS BUILDING - FLASHBACK We see images of T'Challa and T'Chaka from CA : CW. Father puts a hand to his son' s face lovingly.", "INT. HALL OF KINGS, CITY OF THE DEAD - DUSK T'Challa, eyes closed, struggles with the memories as he slips into the Ancestral Plane. ZURI Darnaku. The children begin burying T'Challa in the red sand.", "INT. UNITED NATIONS BUILDING - FLASHBACK The explosion from CA : CW kills T'Chaka, and we see T'Challa crawling towards him, then cradling him in his arms.", "EXT. UNITED NATIONS - FLASHBACK T'Challa puts on his father's ring.", "INT. HALL OF KINGS, CITY OF THE DEAD - DUSK zuri is the last thing T'Challa sees as his face is buried.", "EXT. BLACK PANTHER ANCESTRAL PLANE - UNKNOWN T'Challa comes out of the dirt. There are stars above. He's in a VAST GRASSLAND somewhere in Wakanda with wondrous acacia trees. It's surreal and beautiful. A massive ACACIA TREE stands in front of him. T'Challa sees several YELLOW EYES looking at him and realizes PANTHERS are resting on the branches of the tree. T'Challa approaches. A large panther jumps down, then stands on two feet to reveal it's T'CHAKA. T'Challa lo oks at his father and immediately pulls him into a hug. T'CHALLA Baba! T'CHAKA -LRB- in Xhosa -RRB- My son. T'Challa kneels down before his father, overcome with grief. T'CHALLA I am sorry. T'CHAKA Stand up! You are a King. T'Challa rises, and they begin to walk. T'CHAKA -LRB- CONT'D -RRB- -LRB- in Xhosa -RRB- What is wrong my son? T'CHALLA -LRB- in Xhosa -RRB- I am not ready, Baba. T'CHAKA -LRB- in Xhosa -RRB- Have you not prepared to be King your whole life? Have you not trained and studied, been by my side? T'CHALLA That is not what I am talking about. I am not ready to be without you. T'CHAKA A man who has not prepared his children for his own death has failed as a father. -LRB- beat -RRB- Have I ever failed you? T'CHALLA Never. -LRB- beat -RRB- Tell me how to best protect Wakanda. I want to be a great King, Baba. Just like you. T'CHAKA You're going to struggle. So you need to surround yourself with people you trust. You're a good man with a good heart. And it's hard for a good man to be King.", "INT. HALL OF KINGS, CITY OF THE DEAD - DUSK T'Challa is aggressively pulled from the dirt by Zuri. ZURI Breathe, T'Challa. Breathe! T'Challa breathes in deeply, coughing up dirt. His battle wounds have healed. T'CHALLA He was there! He was there. My father.", "EXT. STEP TOWN, GOLDEN CITY - DAY A bustling futuristic metropolis. T' Challa and Nakia stroll side by side. FOUR DORA MILAJE shadow them from a distance. T'CHALLA Co m e home, Nakia. NAKIA I'm right here. T'CHALLA Stay. NAKIA I came to support you, and to honor your father. But I ca n't stay. It's just... I found my calling out there. I've seen too many in need just to turn a blind eye. I ca n't be happy here knowing that there's people out there who have nothing. T'Challa thinks on this. T'CHALLA What would you have Wakanda do about it? Nakia thinks for a bit. NAKIA Share what we have. We could provide aid and access to technology and refuge to those who need it... other countries do it, we do it better. T' CHALLA We are not like these other countries, Nakia. If the world found out what we truly are, and what we possess -- we could lose our way of life. NAKIA Wakanda is strong enough to help others and protect ourselves at the same time. Nakia gives T'Challa a look. T'CHALLA If you were not so stubborn you would make such a great queen. NAKIA I would make a great queen because I am so stubborn. T' CHALLA Ah! So you admit it! NAKIA if that's what I wanted!", "EXT. WAKANDAN BORDER REGION - DAY We TRACK PAST several Border Tribesmen in a field, feeding and watering their pet HORSES and GOATS. Finally we come upon. . . W'Kabi feeding M20, his MASSIVE PET RHINO by hand. T'Challa stands beside him. T'CHALLA Is that him? Glory to Bast, man, is he still growing? W'Kabi laughs. W'KABI Of course. W'KABI -LRB- CONT'D -RRB- I see Nakia is back... you guys going to work it out? T'Challa shakes his head and crosses in front of W'Kabi. W'KABI -LRB- CONT'D -RRB- T'Challa, what's wrong? T'CHALLA Nakia thinks we should be doing more. W'KABI More like what? T'CHALLA Foreign aid... refugee programs. W'Kabi shakes his head. W'KABI You let refugees in, they bring their problems with them. And then Wakanda is like everywhere else. T'Challa thinks on this. W'KABI -LRB- CONT'D -RRB- Now, if you said you wanted me and my men to go out there and clean up the world, then I'd be all for it. T'CHALLA But waging war on other countries has never been our way. Then, both of their Kimoyo beads buzz. T' CHALLA -LRB- CONT'D -RRB- You too, huh? W' KABI Bast, are we in trouble? Their beads combine to project a display of Okoye. OKOYE -LRB- DISPLAY -RRB- My King. My love. You will never guess who just popped up on our radar.", "INT. TRIBAL COUNCIL ROOM - DAY An ornate chamber overlooking the Golden City. At the top of a golden pyramid, T' Challa, W'Kabi, Ramonda and ELDERS from each tribe except the Jabari sit in a circle as Okoye briefs them. W'Kabi and Ramonda flank T'Challa's throne. OKOYE A misidentified Wakandan artifact was stolen yesterday from a British museum. We have learned Ulysses Klaue plans to sell the vibraniurn to an American buyer in South Korea tomorrow night. There are audible murmurs at the name of Ulysses Klaue. T'CHALLA Klaue has escaped our pursuits for almost 30 years. Not capturing him was perhaps my father's greatest regret. I wish to bring Klaue back here to stand trial. MERCHANT RIBE ELDER Wakanda does not need a warrior right now. We need a King. W'KABI My parents were killed when he attacked. Not a day goes by when I do not think about what Klaue took from us, from me. OKOYE It's too great an opportunity to pass. W'KABI Take me with you. We'll take him down together side by side, eh? T'CHALLA I need you here protecting the border. W'KABI Then I ask, you kill him where he stands, or you bring him back to us. T'CHALLA You have my word I will bring him back. -LRB- beat -RRB- We will proceed with the mission. Ramonda looks on, irresolute. EXT/INT. MT. BASHENGA, TOP OF THE HILL - DAY The Great Mound. Where a meteorite hit, creating a cliff-face on one side and a large hill on the other. A DRAGONFLYER lands outside the WAKANDAN DESIGN GROUP.", "INT. WAKANDAN DESIGN GROUP, HALLWAY, MT. BASHENGA - DAY T'Challa walks with four Dora, including Ayo. The Dora stop outside Shuri's Lab. As T'Challa pushes inside, Shuri approaches and bows her head. SHUR I -LRB- mocking -RRB- My, King. T'CHALLA Stop it. Stop it. Shuri laughs and they do a special handshake before walking down the spiral walkway into her sprawling, futuristic lab.", "INT. SHURI'S LAB, WAKANDAN DESIGN GROUP - MOMENTS LATER Nexus of technology. Shuri strolls with T'Challa by work tables of high-tech weapons and gadgets. SHUR HOME I've already sent a car ahead to Busan for you. -LRB- beat -RRB- Who are you taking with you to Korea? T'CHALLA Okoye. And Nakia as well. Shuri makes a face at Nakia. SHURI You sure it's a good idea to take your ex on a mission? T'CHALLA Yes. We'll be fine. -LRB- beat -RRB- Besides, you will be on call, should we need backup. Shuri smiles at this and points out small communications devices. SHURI I have great things to show you, brother. Here are your communication devices for Korea. Unlimited range, also equipped with audio surveillance system. She walks him over to another table with WDG disks on them. SHURI -LRB- CONT'D -RRB- Check these out. Remote access Kimoyo beads. Updated to interface directly with my sand table. Curious, T'Chall a notices a pair of SLEEK SHOES. T'CHALLA And what are these? SHURI The real question is what are those? Why do you have your toes out in my lab? Shuri points at T'Challa's traditional sandals. T'Challa smiles. T'CHALLA What, you do n't like my royal sandals? I wanted to go old school for my first day. SHURI -LRB- rolls her eyes -RRB- Yea I bet the elders loved that. Try them on. T'Challa puts his feet into the shoes, and they lace up instantly, forming a perfect fit. SHURI -LRB- CONT'D -RRB- Fully automated, like the old American movie Baba used to watch. And I made them completely sound absorbent. T'Challa stomps his foot down without a sound. T'CHALLA Interesting... SHURI Guess what I call them. T'Challa thinks on this. SHURI -LRB- CONT'D -RRB- Sneakers... T'Challa looks at her blankly. SHURI -LRB- CONT'D -RRB- Because you... never mind. Shuri walks T'Challa over to two mannequins. One wears T'Challa's CURRENT SUIT. The other, just a panther tooth NECKLACE. SHURI -LRB- CONT'D -RRB- If you're going to take on Klaue you'll need the best the Design Group has to offer. Shuri points at T'Challa's current suit. SHURI -LRB- CONT'D -RRB- Exhibit A. Old tech. T'CHALLA Old...? Functional, but old. Eh, people are shooting at me. . . wait let me put on my helmet. . . T'Challa smiles, amused. T'CHALLA -LRB- CONT'D -RRB- Enough... SHURI -LRB- pointing to the necklace -RRB- Now look at these. T'Challa spots a GAUDIER GOLD TOOTH NECKLACE. She notices. SHURI -LRB- CONT'D -RRB- Do you like that one? T'CHALLA Tempting. But the idea is to not be noticed. This one. Shuri uses her Kimoyo beads to sync the suit to T'Challa. SHURI -LRB- pointing at the necklace -RRB- Now tell it to go on. T'Challa does, and without warning, MILLIONS of vibranium laced NANITES spill from the necklace and form a new BLACK PANTHER SUIT around the mannequin. SHURI -LRB- CONT'D -RRB- Oooh!! The entire suit sits within the teeth of the necklace. Strike it. T'CHALLA Anywhere? SHURI Mhm. T'Challa turns to the mannequin in a relaxed fighting stance. Shuri nods and T'CHALLA SPIN KICKS the shit out of the mannequin! SHURI -LRB- CONT'D -RRB- Not that hard, genius! T'CHALLA You told me to strike it, you did n't say how hard. Shuri picks the mannequin back up and drags it over to the same spot. SHURI I invite you to my lab, and you just kick things around. T'CHALLA Well maybe you should make it a little stronger, eh? Shuri shrugs as we see Wakandan Script built into the suit GLOWING INDIGO where the impact of T'Challa's foot landed. T'Challa looks closely at the glowing script. T'CHALLA -LRB- CONT'D -RRB- Wait a minute. SHURI The nanites absorb the kinetic energy and hold it in place for redistribution. T'CHALLA Very nice. SHURI Now strike it again, in the same spot. T'Challa backs up for a kick. Shuri presses record on her Kimoyo. T'Challa sees this and looks at her suspiciously. T'CHALLA You are recording? SHURI For research purposes... T'Challa loads up then BOOM! He kicks the indigo spot and goes flying back across the room, CRASHING INTO A TABLE full of Shuri's gadgets. Shuri cracks up. T'CHALLA Delete that footage...", "EXT. BUSAN CITY SKYLINE - NIGHT We move over the beautiful sky line.", "EXT. JAGALCHI FISH MARKET - NIGHT A LEXUS SEDAN drives through the market and pulls into a parking stall next to several expensive looking luxury cars. T' Challa, Okoye and Nakia climb out of the sedan dressed to kill. A WIG covers Okoye's tattooed head. NAKIA This way. OKOYE Bast willing this goes quickly, and I can get this ridiculous thing off my head. NAKIA It looks nice. Just whip it back and forth. OKOYE What? It's a disgrace. Looky - loos stare as Nakia leads them to an ELDERLY WOMAN ( Korean ), selling fish in front of an alley. Nakia greets her in perfect Korean. NAKIA -LRB- SUBTITLE -RRB- -LRB- in Korean -RRB- Hello Sophia, good to see you. Nakia smiles, but the Elderly Woman does n't smile back. ELDERLY WOMAN -LRB- SUBTITLE -RRB- -LRB- in Korean -RRB- Who are these two? NAKIA -LRB- SUBTITLE -RRB- -LRB- in Korean -RRB- My friends from Kenya. Very deep pockets. They're good. ELDERLY WOMAN -LRB- SUBTITLE -RRB- -LRB- in Korean -RRB- Good for trouble, like you? An awkward pause, then she smiles. A LARGE KOREAN TOUGH, wearing a black suit emerges from the alley, and motions for the Wakandans to follow him into. . NAKIA -LRB- SUBTITLE -RRB- -LRB- in Korean -RRB- Thank you.", "INT. ANTEROOM - NIGHT A small dark room with a A BACK DOOR with a Korean Character on it and TWO MORE KOREAN GOONS guarding each side. They eye our heroes closely. As they step through a large METAL DETECTOR and are WANDED DOWN. The door opens and they pass into...", "INT. UNDERGROUND CASINO, BALCONY - NIGHT They walk out onto the upper balcony of a buzzing, high-class casino. There are a few GAMING TABLES on the balcony level and a bustling pit down below. T'CHALLA Spread out. The buyer is likely already here. Okoye heads for the BALCONY VANTAGE POINT while T'Challa and Nakia go down to the FIRST FLOOR. T'CHALLA -LRB- CONT'D -RRB- The woman outside -- what trouble was she referring to? She plays along, alluring. NAKIA Ah, I got into a disagreement with some ivory traders. Made a bit of a mess. T'CHALLA And will there be any trouble tonight, Ms. Kenyan heiress? NAKIA Depends on how quickly we finish the mission... OKOYE -LRB- O.S. -RRB- -LRB- interrupting -RRB- Can we please focus. T'Challa and Nakia split up. T'Challa heads for the pit and Nakia walks over to the bar. ON OKOYE OKOYE -LRB- CONT'D -RRB- Thank you.", "INT. FIRST FLOOR, BLACKJACK TABLE - NIGHT Nakia slips into a seat at the bar and looks around clocking the room. NAKIA -LRB- in Korean -RRB- Over here. One whiskey, please. NAKIA -LRB- CONT'D -RRB- Eyes up. Americans. I count... three. We see Nakia's POV as she makes out THREE CIA AGENTS on the first floor, spread out under the balcony. OKOYE -LRB- O.S. -RRB- Five. How could you miss `` Greased Lightning'' there behind you. Standing over the balcony looking, Okoye spots TWO MORE CIA agents, both with greasy hair. An elegant waitress carries a tray of drinks to a CRAPS TABLE where we find T'Challa. The woman places the drinks down as T'Challa peers across the gambling pit at someone he recognizes and starts that way. T'CHALLA -LRB- into comm -RRB- Six. Just spotted an old friend who works for the CIA. It just got a little more complicated. T'Challa steps up to another crowded CRAPS TABLE next to EVERETT ROSS, the sixth CIA agent he spotted. T'CHALLA -LRB- CONT'D -RRB- Agent Ross. ROSS Your highness. Ross plays it cool. T'CHALLA You are buying from Klaue... ROSS What I'm doing or not doing on behalf of the US government is of none of your concern. Now, whatever the hell you're up to, do me a favor and stay out of my way. T'CHALLA I gave you Zemo. ROSS And did n't I kept it under wraps that the King of a third world country runs around in a bulletproof cat suit. I' d say we were even. Ross places a Pass bet. T'Challa dumps a stack of chips on Do n't Pass. All of the SHOOTER'S FRIENDS blow on the dice. ROSS -LRB- CONT'D -RRB- You really need to leave, now. They watch the dice roll. They land on 3. The dea l er takes away Ross' bet, and slides T'Challa's massive payout over to him. T'CHALLA Klaue is leaving out that door with me. You've been warned. T'Challa walks toward another craps table, leaving the pile of chips behind ( money means nothing to him ). ROSS -LRB- to the empty chair -RRB- Hey, you won. Ross scratches his brow as a THIRSTY GAMBLER ( Stan Lee ) who was sitting next to T'Challa grabs them. Ross eyes the Thirsty Gambler who shrugs. THIRSTY GAMBLER You know what, I think I'll just take these, bring'em over here and hold on for safe keeping. He slides them all onto the DO N'T PASS bet and Ross walks off in search of T'Challa. ROSS -LRB- into comm -RRB- Ok heads up, the King of Wakanda is here. He can not leave with Klaue. T'Challa stands at a ROULETTE TABLE when Ross walks up to him. ROSS -LRB- CONT'D -RRB- Alright, vibranium from the attack on Sokovia links back to a person that I'm not actually saying I'm here to make a deal with but that deal will not be called off. When the dust settles you and I can work something out. T'CHALLA I am not here to make a deal. Ross rolls his eyes.", "EXT. JAGALCHI FISH MARKET - NIGHT SEVERAL BLACK 4RUNNERS pull up in front of the Korean Woman and a platoon of EIGHT SOUTH AFRICAN TOUGHS dressed in suits hop out of the trucks protecting Klaue. Klaue winks at the Korean Woman as he wal ks past her. She smiles back and nods to the TOUGH behind her.", "INT. ANTEROOM - NIGHT Klaue and his men walk through the metal detector, and EVERY SINGLE ONE OF THEM LIGHTS IT UP. The TOUGHS watch as they go throug h.", "INT. UNDERGROUND CASINO BALCONY - NIGHT Klaue and his eight man entourage confidently stream inside the casino, spreading out across the balcony, gaining every va ntage poin t. ON ROSS AND T'CHALLA At a stalemate. Then. . . NAKIA -LRB- O.S. -RRB- Klaue plus 8! Ross looks to the entrance and immediately moves away from T'Challa. T'Challa watches Ross approach a third CRAPS TABLE. T' C halla turns his back to avoid being seen. T'CHALLA General. OKOYE -LRB- O.S. -RRB- In position to secure our exit. T'CHALLA And the vibranium. ON NAKIA Who changes position from the bar to the CRAPS TABLE where T'Challa was initially standing. NAKIA I do n't see it yet. ON OKOYE As TWO OF KLAUE' S TOUGHS post up on either side of her on the balcony. She tries to play it cool as they look around at the patrons s uspiciously. ON KLAUE OKOYE I thought there were no weapons allo wed in here. NAKIA -LRB- O.S. -RRB- There's not supposed to be. OKOYE Someone did not get the memo. Definitely armed. Klaue spots Ross and smiles as he heads down the stairs flanked by a couple of his TOUGHS.", "INT. FIRST FLOOR, CRAPS TABLE - NIGHT Ross keeps his cool as Klaue approaches. ROSS Well that is quite the entourage. You got a mixtape coming out? Klaue cuts Ross a look. KLAUE Yeah! Yeah, actually there is one. Shocked, Ross is unsure if Klaue is serious. KLAUE -LRB- CONT'D -RRB- Yea I'll send you the soundcloud link if you like. Klaue turns to one of his goons. KLAUE -LRB- CONT'D -RRB- Aye, Dave. Get him the link to the tape. The SOUTH AFRICAN TOUGH reaches into his pocket for his phone. ROSS Please do n't make me listen to your music. I just meant, you got a lot of people with yo u. KLAUE Oh, you think they're for you? Klaue laughs at this. KLAUE -LRB- CONT'D -RRB- Do n't worry. I can do a deal with you all by myself, thank you very much. He rubs Ross on the shoulder, hard, and for way too long. As several more SOUTH AFRICAN TOUGHS come pouring out of the VIP lounges. NAKIA -LRB- O.S. -RRB- Six more, it' s a set up. KLAUE You got the diamonds? Klaue is still rubbing Ross' shoulder. ROSS Ok, that's enough. A CIA AGENT walks a FANCY SLIM BRIEFCASE towards Ross. ON NAKIA NAKIA We need to move on Klaue. ON T'CHALLA T'CHALLA Stand down. We ca n't afford a shoot- out. BACK IN THE PIT Ross eyes Klaue as the CIA agent brings him the briefcase. ROSS The vibranium? Klaue looks around, and reaches into his pants and pulls out a wrinkled, sweaty paper bag, with `` FRAGILE'' written on it with a sharpie. Ross looks at the bag. ON NAKIA KLAUE I was going to buy a fancy suitcase, but I thought I'd save myself some money. NAKIA It's now or never. Nakia continues towards the CIA agent. ON OKOYE OKOYE -LRB- in Xhosa -RRB- STAND DOWN! A South African Tough hears her, and turns towards her. ON OKOYE SOUTH AFRICAN TOUGH Hey. Okoye pretends she does n't hear him. SOUTH AFRICAN TOUGH -LRB- CONT'D -RRB- Hey! OKOYE -LRB- into comms -RRB- -LRB- in Xhosa -RRB- I've been made. Okoye starts for the stairs when ANOTHER TOUGH moves to cut her off. Okoye slows down and the TOUGH trailing behind her reaches out to grab her hand and turn her around. As soon as the goon touches Okoye, she TWISTS him into an ARM- BAR, throws her purse at the OTHER TOUGH and extends her spear, stabbing the OTHER TOUGH in the foot. She then throws her WIG into the ARM BAR TOUGH's face, and hurls him over the railing. DOWNSTAIRS The arm-bar tough CRASHES DOWN onto a gaming table behind Klaue and startled patrons, scramble in every direction. Klaue spins toward the commotion as. .. Klaue looks back to Ross and spots T'Challa. Producing a HANDGUN from his waist, Klaue opens fire on Ross and the CIA agent. Ross uses the SLIM SUITCASE as a shield as he ducks down below the craps table and. . . T'Challa leaps to action, KICKING and FLIPPING THE TABLE on its edge to block GUNFIRE from Klaue's other toughs. With bullets flying everywhere. .. PANICKED PEOPLE run for their lives. It's CHAOS. Surrounded by TOUGHS, Klaue retreats for the stairs. KLAUE Get the diamonds, quick! EVERY ONE OF KLAUE'S TOUGHS unload, raining shells on the overturned craps table with Ross and T'Challa behind it. The TOUGHS move in only to have T'Challa leap from the table, staying low to FOOTSWEEP one onto his back. T'Challa kicks him back then disarms another TOUGH and kicks him into the bar. T'Challa then spins and kicks the next TOUGH over the roulette table and through the bar railing. Nakia grabs a goon in an ARM TWIST trying to relieve him of his gun. She takes off one shoe and knocks out another approaching gun. Swings the arm twisted goon to the floor, knocks him out, taking his gun and shooting up towards the balcony where Okoye is fighting. ON OKOYE Okoye BATTLES TWO TOUGHS with her full-length spear, dropping both with proficiency. She kicks the gun away from one, fights another with her spear, then kicks a TOUGH over the rail. Okoye JUMPS down to the casino floor and stabs a goon on her way down, tucks and rolls. Okoye takes out a TOUGH with her spear. Nakia flips a TOUGH over her back. T'Challa sends a TOUGH and table flying. Beats down two more TOUGHS, he turns for more. T'Challa spots Klaue nearing the entrance and breaking away from the fight, LEAPS HALF WAY UP onto a column, bounds off to the UPPER BALCONY", "INT. UNDERGROUND CASINO, BALCONY - NIGHT T'Challa lands 10 feet behind Klaue. T'CHALLA -LRB- in Xhosa -RRB- Murderer! Klaue stops and turns around to face T'Challa. He tries to fire his gun but discovers he' s out of ammo. Klaue smiles, dropping his gun and puts his hands up -- as KLAUE'S PROSTHETIC LEFT ARM suddenly splits open, revealing itself to be a SONIC DISRUPTER! KLAUE You know, you look just like your old man. T'Challa snatches up a ROLLING CHANGE CART TABLE just as Klaue fires the blaster at him. BOOOOM!! ! A COLOSSAL SONIC BLAST hits the cart, blowing it to pieces and sending T'Challa FLYING THROUGH THE UPPER BALCONY RAILING back down into the pit. With money FLOATING in the air, T'Challa lands hard. KLAUE -LRB- CONT'D -RRB- I made it rain! ON NAKIA AND OKOYE Nakia and Okoye make their way to the top of the stairs as.", "EXT. JAGALCHI FISH MARKET - NIGHT Klaue and FOUR TOUGHS exit with Nakia and Okoye giving chase. KLAUE That was awesome! That was awesome! Let's go! Go, go, come on! Klaue jumps in the first of FOUR IDLING 4RUNNERS. The convoy instantly skids away as. .. Nakia and Okoye emerge. Okoye throws an EMP bead from her pocket and it lands on a parked LEXUS LC. NAKIA Do we just leave him? OKOYE He'll catch up. Nakia starts the car and Okoye climbs in. T'Challa sprints out of casino. T'CHALLA Shuri!", "INT. SHURI'S LAB, WAKANDAN DESIGN GROUP - NIGHT Shuri stands in front of a rectangular VIBRANIUM CASING that lowers. The SAND inside FORMS into the Lexus LC's cockpit. GRIOT -LRB- O.S. -RRB- Remote driving system activated. SHURI -LRB- excited -RRB- Yes yes yes! Wait... Which side of the road is it? We see a three-dimensional HOLOGRAM VIEW from inside the Lexus LC's cockpit appear as Shuri climbs in. T'CHALLA -LRB- O.S. -RRB- For Bast sake just drive!!! SHURI Okay okay, calm down brother!", "EXT. JAGALCHI FISH MARKET - NIGHT PANTHER SPRINTS AFTER THE CARS AS NANITES SCRAMBLE FROM HIS NECKLACE, COVERING HIS ENTIRE BODY, FORMING HIS NEW MASK OVER HIS FACE. . . Black Panther. Panther continues running as the LEXUS pulls up behind him, at the last second he single-leg flips and lands on the hood of the Lexus LC, digging his HAND and BOOT claws into the hood as it SCREAMS OFF.", "I NT. /E XT. LEXUS LC/SHURI'S COCKPIT - NIGHT SHURI Wool Let's go!", "INT. KLAUE'S 4RUNNER, BUSAN STREETS - NIGHT Klaue turns to the driver. KLAUE Put some music on! What do you think this is a funeral?", "EXT. BUSAN STREETS - NIGHT The 4RUNNERS cross through one intersection at speed, then make a hard right at the next INTERSECTION. Nakia remains on them as at the far end of the street we see PANTHER'S LEXUS LC join the chase. The CONVOY makes a right at a `` T'' and races down a TWO LANE STREET toward a split in the road.", "EXT. BUSAN ROAD SPLIT - NIGHT The FIRST ( Klaue ) and THIRD 4RUNNERS continue on the two lane street with NAKIA' S LEXUS SEDAN on their tail. NAKIA Which one is he in now? I NT. KLAUE'S 4RUNNER, BUSAN STREETS - NIGHT Klaue picks up his radio. KLAUE -LRB- into radio -RRB- Hey, split up!", "I NT. /E XT. NAKIA'S LEXUS SEDAN SPLIT STREET - NIGHT OKOYE They're trying to lose us. NAKIA We'll take the right.", "EXT. BUSAN ROAD SPLIT - NIGHT While the SECOND and FOURTH SUV skid left down a SINGLE LANE ROAD followed closely by. ..", "I NT. /E XT. LEXUS LC/SHURI'S COCKPIT - NIGHT A skilled driver, Shuri shifts gears, darting left, in behind the trucks with Panther anchored atop. SHURI We'll take the other two! I see a short cut.", "EXT. WASHIRO (YEONGDOGU), PANTHER'S HILLS - NIGHT With the LEXUS LC closing in, the SECOND and FOURTH 4RUNNERS make a right turn, dropping down a STEEP HILL. Panther chases the SUV's off the hill. The lead SUV collides with a car in crossing traffic.", "INT./EXT. LEXUS LC/SHURI'S COCKPIT - NIGHT SHURI We're not going to make it!", "EXT. WASHIRO (YEONGDOGU), PANTHER'S HILLS - NIGHT T'CHALLA Keep going! Panther uses his claws to make a sharp turn and avoid the wreck.", "INT./EXT. LEXUS LC/SHURI'S COCKPIT - NIGHT SHURI Wool Brother!", "EXT. WASHIRO (YEONGDOGU), PANTHER'S HILLS - NIGHT Panther catches up with the Rear SUV, he takes fire and leaps on the roof of the SUV. Panther rips the SUV roof open. The scared driver leaps out of the car, causing the SUV to collide with parked cars, `` Sidewinder''. Shuri runs over the escaped driver on accident.", "INT./EXT. LEXUS LC/SHURI'S COCKPIT - NIGHT SHURI Hey, what was that!?", "EXT. WASHIRO (YEONGDOGU), PANTHER'S HILLS - NIGHT T'CHALLA Do n't worry about it. You're doing great. Panther leaps back onto the hood of the Lexus and they speed off.", "INT./EXT. KLAUE'S 4RUNNER, SPEAR STREET - NIGHT Klaue looks back as Nakia closes in. The driver f l oors it as a GUNMAN in the THIRD SUV opens fire on Nakia's Lexus. The bullets carom off the hood.", "INT./EXT. NAKIA'S LEXUS SEDAN, SPEAR STREET - NIGHT Nakia and Okoye. .. unfazed by the gunfire. OKOYE Guns. So primitive.", "INT./EXT. KLAUE'S 4RUNNER, SPEAR STREET - NIGHT Klaue barks into his comm. KLAUE -LRB- into radio -RRB- It' s a vibranium car you idiots!! Bullets wo n't penetrate!!", "INT./EXT. NAKIA'S LEXUS SEDAN, SPEAR STREET - NIGHT Okoye slides out the passenger window and climbs onto the roof, stabbing her short spear into the top of the vehicle as a handle, her dress blowing in the wind. NAKIA What are you doing? OKOYE Just drive. NAKIA Eesh. Nakia drops back and weaves through traffic as Okoye, engages her SPEAR MECHANISM, then steadies herself and let's her long spear fly, launching the weapon like a javelin.", "INT./EXT. THIRD 4RUNNER, SPEAR STREET - NIGHT The SPEAR rockets through the REAR AND FRONT WINDOW of the truck, SPIKING THE GROUND and bringing the SUV to a stop with the force of a head on collision!", "INT./EXT. NAKIA'$ LEXUS SEDAN, SPEAR STREET - NIGHT NAKIA Wool Int./ext. KLAUE'S 4RUNNER, SPEAR STREET - NIGHT KLAUE Oh shoot.", "EXT. YEONGDOGU, ENTRANCE TO DIAMOND BRIDGE - NIGHT The SECOND and FOURTH SUV $ tear from the hills onto the DIAMOND BRIDGE with Panther's Lexus right behind them. Closing in, Panther takes HEAVY GUNFIRE.", "INT./EXT. LEXUS LC/SHURI'S COCKPIT, DIAMOND BRIDGE - NIGHT Speeding through BUSY BRIDGE TRAFFIC, Panther surfs the roof of the BULLET RIDDLED LC. SHURI -LRB- O.S. -RRB- Hey, look at your suit! You' ve been taking bullets charging it up with kinetic energy! Panther looks down at the GLOWING GLYPHS of kinetic energy built into his suit as. .. T'CHALLA Pull around the truck.", "EXT. DIAMOND BRIDGE - NIGHT The LC accelerates ahead, closing in on the SECOND SUV, but just as Panther is about to look inside, a passing TRACTOR- TRAILER BLOCKS his view. The 4Runner loses sight of Panther as he LEAPS TO THE TRAILER, bounding across the top of the big rig separating the Lexus and the 4Runner.", "INT./EXT. SECOND 4RUNNER, DIAMOND BRIDGE - NIGHT Klaue' s gunmen search furiously for Panther as the Lexus LC suddenly cuts in front of them, without Panther on to p. DRIVER Where'd he go!? Then out of nowhere, PANTHER LANDS HARD on the hood of the SUV. Looking inside, Panther does n't see Klaue and launches off the 4Runner, distributing the kinetic energy from his suit with IMMENSE CONCUSSIVE FORCE, causing both TRUCKS TO CRASH and FLIP down the bridge.", "INT./EXT. LEXUS LC/SHURI'S COCKPIT, DIAMOND BRIDGE - NIGHT Shuri swerves the Lexus, skillfully catching Panther on the roof again as. .. SHURI You show off.", "EXT. DEONGSEO, WHOOP STREET - NIGHT Nakia's Lexus sedan trails Klaue's 4Runner. \u2022. both going airborne over hilltops.", "INT./EXT. NAKIA'S LEXUS SEDAN, WHOOP STREET - NIGHT NAKIA There he is! Hold tight!", "INT./EXT. KLAUE'S 4RUNNER, WHOOP STREET - NIGHT As the SUV catches air over a rise in the road, Klaue slides his body out of the truck. KLAUE Right, let's have some fun. Sitting on the windowsill, Klaue aims his SONIC DISRUPTER.", "INT./EXT. NAKIA'S LEXUS SEDAN, WHOOP STREET - NIGHT Nakia is locked in and Okoye prepares to throw her SPEAR again but they suddenly LOSE SIGHT of Klaue as the Lexus hits the rise.", "EXT. DEONGSEO, WHOOP STREET - NIGHT Ahead, Klaue's 4Runner launches off a second, STEEPER RISE.", "INT./EXT. NAKIA'S LEXUS SEDAN, WHOOP STREET - NIGHT Nakia loses sight of Klaue again as. ..", "INT./EXT. KLAUE'S 4RUNNER, WHOOP STREET - NIGHT The SUV LANDS HARD on the downside of the hill. Klaue, still at speed, steadies his disrupter and as NAKIA'S LEXUS appears in MID-AIR over the rise, he FIRES.", "INT./EXT. NAKIA'S LEXUS SEDAN - NIGHT Klaue's SONIC SHOT hits the Lexus sedan head on and DISMANTLES IT, piece by piece to its studs. . . SENDING NAKIA AND OKOYE FLYING. ON OKOYE As she twists through the air, her feet remain planted on a shredded piece of the cars' roof. She l ands on her feet, speed-skating to a stop. ON NAKIA Nakia skids up next to Okoye on the driver's seat, still buckled in.", "EXT. DEONGSEO, WHOOP STREET - NIGHT Ross pulls up in a SUBURBAN and stops in front of Nakia and Okoye. ROSS Hop in. Put that spear in the trunk.", "EXT. CENTUM CITY BRIDGE - NIGHT T'CHALLA Faster, Shuri.", "INT. SHURI'S LAB, WAKANDAN DESIGN GROUP - NIGHT Tracking Kla ue' s SUV, Shuri drives in the sand cockpit. SHURI I' m going as fast as I can!", "EXT. CENTUM CITY BRIDGE - NIGHT We see KLAUE' S 4RUNNER racing across the Centum City Bridge. .. the Diamond Bridge can be seen in the background.", "EXT. GWANGALLI ROAD, CHEETAH STREET - NIGHT Klaue is back inside the SUV as it WEAVES through traffic. Then, we spot a rapidly closing LEXUS LC WITH PANTHER on the roof.", "INT./EXT. KLAUE'S 4RUNNER, GWANGALLI ROAD, CHEETAH STREET - NIGHT Klaue turns to his driver. KLAUE Take a right, take a right!", "EXT. GWANGALLI ROAD, CHEETAH STREET - NIGHT Klaue' s 4Runner and Panther's LC make left turns, booking down a short road, then make quick rights.", "EXT. HAEUNDAE DISTRICT - NIGHT The 4Runner barrels along a brightly lit TWO LANE ROAD with the Lexus LC chasing.", "INT./EXT. KLAUE'S 4RUNNER, HAEUNDAE DISTRICT - NIGHT Unnerved seeing Panther closing in, Klaue slides his body back out to the SUV's windowsill as his driver makes a sharp right onto a WIDER AVENUE.", "INT./EXT. LEXUS LC/SHURI'S COCKPIT, HAEUNDAE DISTRICT - NIGHT Determined, Shuri rounds the turn, focused. The DIGITAL DASH shows 115 mph and climbing. But, hanging out of the truck, Kla ue fires a MASSIVE SONIC BLAST that Shuri ca n't evade. SHURI No no no no no no no!! And. .. HIT. .. t he LEXUS LC SUDDENLY GOES TO PI ECES. . . whole parts and panelling to a million fragments.", "INT. SHURI'S LAB, WAKANDA DESIGN GROUP - NIGHT Shuri' s driver seat EXPLODES INTO A TRILLION GRAINS OF SAND and she hits the floor. SHURI Brother!", "EXT. HAEUNDAE DISTRICT - NIGHT But PANTHER. .. launches himself out of the DISASSEMBLING CAR to ward a BUILDING and in fo ur strides a l ong the side of the structure, he LEAPS OFF at KLAUE' S 4RUNNER.", "INT./EXT. KLAUE' S 4RUNNER, HAEUNDAE DISTRICT - NIGHT Klaue's driver spots PANTHER FLYING AT THEM and tries to swerve, but Panther LATCHES to the side of the SUV and DIGS IN with his claws. Panther GRABS THE RIM of the front tire and STOPS THE WHEEL dead in its tracks! The lug nuts SHEAR OFF from the force and Panther discards the tire, causing the truck's nose to CRASH DOWN, skidding across the street with SPARKS FLYING. Panther ROLLS clear as the 4RUNNER HITS the curb, FLIPS OVER to its roof and SLIDES TO A STOP in the middle of a busy outdoor cafe as its PATRONS scramble.", "EXT. HAEUNDAE DISTRICT - NIGHT With the SUV upside-down and customers looking on, Panther approaches to find Klaue struggling to climb out of his window. T'CHALLA Klaue!! Klaue slowly gets to his feet and tries to level his disrupter but running up, Panther evades the BLAST and is only nic ked on the shoulder. Panther grabs Klaue's arm, CLAWING into the sonic disrupter and COMPLETELY PULLS IT OFF. T'CHALLA -LRB- CONT'D -RRB- Did you think we would forget!? Klaue laughs. T'CHALLA -LRB- CONT'D -RRB- Look at me murderer! Where did you get this weapon? KLAUE You savages didn' t deserve it. T'Challa grabs him by the throat and slams him into the SUV. KLAUE -LRB- CONT' D -RRB- Oh, mercy! King, mercy! Seething, Panther exposes his claws prepared to strike. T'CHALLA Every breath you take is mercy from me. OKOYE -LRB- 0. S. -RRB- -LRB- in Xhosa -RRB- King! T'Challa turns to find Okoye and Nakia getting out of Ross' Suburban. NAKIA -LRB- SUBTITLE -RRB- -LRB- in Xhosa -RRB- The world watches. The pier has crowded with Koreans RECORDING them on cellphones as SIRENS can be heard in the distance. ROSS Come on guys, let's go huh? T'Challa eyes around. He has little choice and nods.", "EXT. TRAVEL AGENCY, SOUTH KOREA - DAY Fast-paced, loud and dirty.", "INT. TRAVEL AGENCY LOBBY, SOUTH KOREA - DAY SOUTH KOREAN EMPLOYEES busily work at desks. Nakia is among them, watching the passing cars. Guard duty.", "INT. BLACK SITE OFFICE, TRAVEL AGENCY, SOUTH KOREA - DAY Agents and CIA analysts move about. On the table sits KLAUE'S PROSTHETIC WEAPON and THE VIBRANIUM sitting atop the paper bag.", "INT. INTERROGATION ROOM, TRAVEL AGENCY, SOUTH KOREA - DAY Klaue, strapped to a chair, makes faces at the two way glass. KLAUE Hello! I can see you! I can, I can see you.", "INT. BLACK SITE OFFICE, TRAVEL AGENCY, SOUTH KOREA - DAY ROSS So, this is a big mess, huh? I figured we can go good cop bad cop. I'll talk to him first, then you guys go in -- Okoye turns to T'Challa. OKOYE -LRB- SUBTITLE -RRB- -LRB- in Xhosa -RRB- We ca n't let him talk to Klaue alone. T'CHALLA -LRB- in Xhosa -RRB- Better to let him talk to Klaue alone for 5 minutes than to make a scene here. T'Challa turns to Ross. T'CHALLA -LRB- CONT'D -RRB- After your questioning, we will to take him back to Wakanda with us. Ross stares at T'Challa for a beat. ROSS What? No. Look I like you, a lot. But he's in my custody now. He's not going anywhere. Listen, I'm doing you a favor by letting you even be in here. Ross reaches out and touches T'Challa. Okoye steps in. OKOYE -LRB- SUBTITLE -RRB- -LRB- in Xhosa -RRB- If he touches you again, I am going to impale him to this desk. Ross looks at Okoye, sensing the thinly veiled threat. He looks to T'Challa. ROSS Does she speak English? OKOYE When she wants to. Ross and Okoye eye each other for a long beat. ROSS I'm going in. And when I'm done, you guys are up. T'CHALLA -- Agent Ross. ROSS Yea. T'Challa puts his hand on Ross's shoulder. T'CHALLA I do appreciate your help in Busan. ROSS You see that? It's called diplomacy. You're welcome. Ross walks through the door, closing it behind him. T'CHALLA Okoye! Play nice. OKOYE Eh, Americans...", "INT. INTERROGATION ROOM, TRAVEL AGENCY, SOUTH KOREA - DAY Strapped to his chair, Klaue sings. KLAUE You know, you really shouldn' t trust the Wakandans. I'm much more your speed. ROSS I do n't trust anybody, not in this job. But what I am interested in is that arm cannon out there. Where'd you get that? KLAUE It's an old mining tool that I made some adjustments to. But I can get you one if you'd like. ROSS Why do n't you give me the name of your supplier and I'll ask them. KLAUE He's right outside, why do n't you ask him yourself? ROSS T'CHALLA? You're telling me that weapon on your arm is from Wakanda? Klaue nods. KLAUE Bingo. KLAUE -LRB- CONT'D -RRB- What do you actually know about Wakanda? ROSS Shepherds. Textiles. Cool outfits. Ross stops as we notice a MICRO AUDIO BUG on his shoulder that T'Challa planted before he entered the room.", "INT. BLACK SITE OFFICE, TRAVEL AGENCY, SOUTH KOREA - DAY T'Challa and Okoye secretly listen to Klaue's interrogation.", "INT. INTERROGATION ROOM, TRAVEL AGENCY, SOUTH KOREA - DAY KLAUE It's all a front. Explorers searched for it for centuries. El Dorado : The Golden City. They thought they could find it in South America, but it was in Africa the whole time. A technological marvel. All because it was built on a mound of the most valuable metal known to man- Isipho- they call it. The gift. Vibranium... ROSS Vibranium yea. Strongest metal on Earth. KLAUE It's not just a metal... They sew it into their clothes, it powers their city, their tech, their weapons... ROSS Weapons? KLAUE Oh yes. Makes my arm cannon look like a leaf blower. ROSS That's a nice fairy tale but Wakanda is a third world country and you stole all their vibranium. KLAUE -LRB- laughing -RRB- I stole all of it? Klaue can barely contain himself. KLAUE -LRB- CONT'D -RRB- All of it? I took a tiny piece of it. They have a mountain full of it. They've been mining it for thousands of years and still have n't scratched the surface. -LRB- MORE -RRB- KLAUE ( CONT'D ) I'm the only outsider who's seen it, and got out of there alive. -LRB- beat -RRB- If you do n't believe me you ask your friend what his suit is made of... what his claws are made of... Ross looks back at the two way glass, then heads towards the door.", "INT. BLACK SITE OFFICE, TRAVEL AGENCY, SOUTH KOREA - DAY ROSS exits the interrogation room and approaches T'Challa and Okoye.", "INT./EXT. PAINT TRUCK, BACK ALLEY, SOUTH KOREA - DAY Lirnbani drives wi th Linda in the passe nger seat. Attached to the dashboard is a GPS TRACKING TABLET DEVICE with a blinking BEACON ( Klaue's prosthetic ) inside the travel agency. We also see everyone's HEAT SIGNATURE, including Klaue seated alone.", "INT. TRAVEL AGENCY LOBBY, SOUTH KOREA - DAY Through the FRONT WINDOW, Nakia watches a PAINT TRUCK pass the building that does n't seem right.", "INT. BLACK SITE OFFICE, TRAVEL AGENCY, SOUTH KOREA - DAY Ross studies T'Challa. ROSS Your father to l d the UN that Klaue stole all the vibraniurn you had. But now he's telling me you have more? T'CHALLA And you believe the word of an arms dealer, strapped to a chair. Ross hesitates, but doesn' t bite.", "INT./EXT. PAINT TRUCK, BACK ALLEY, SOUTH KOREA - DAY The truck pulls to a stop at the rear of the building. Killmonger emerges from the back of the truck with an ASSAULT RIFLE with a GRENADE LAUNCHER ATTACHMENT.", "INT. TRAVEL AGENCY LOBBY, SOUTH KOREA - DAY On a computer monitor, we see SECURITY CAMERA FEEDS from outside the black site. Nakia wanders past the desk, eyeing over a travel agency employee's ( CIA Agent ) shoulder and freezes. SECURITY CAMERA FEED the alley is empty, but there is a VISIBLE GLITCH in the footage. NAKIA -LRB- in Korean -RRB- Where is that? CIA AGENT -LRB- in Korean -RRB- Back there. He points in the direction of the interrogation room.", "INT./EXT. PAINT TRUCK, BACK ALLEY, SOUTH KOREA - DAY Killmonger slips on the AFRICAN MASK from the British Museum, then carries a DAISY-CHAIN OF EXPLOSIVES toward the building. He sets the CHARGES against the outer wall of Klaue' s room and fearlessly leans against the structure next to the charges, he holds a detonator in his hand as Linda and Limbani lean against the wall next to him.", "INT. BLACK SITE OFFICE, TRAVEL AGENCY, SOUTH KOREA - DAY ROSS How much more are you hiding? Then suddenly. . . Nakia SLAMS through the door. CIA AGENTS draw their weapons. Nakia is unfazed. NAKIA -LRB- in Xhosa -RRB- Something's happening out back.", "EXT. REAR OF TRAVEL AGENCY, SOUTH KOREA - DAY Then. .. BOOM! THE CHARGES BLOW \u2022. . carving a hole in the wall.", "INT. BLACK SITE OFFICE, TRAVEL AGENCY, SOUTH KOREA - DAY Startled. .. they all break for the interrogation room but..", "INT. INTERROGATION ROOM, TRAVEL AGENCY, SOUTH KOREA - DAY Killmonger suddenly spins inside, laying down cover fire, RIDDLING THE DOORWAY WITH BULLETS and SHATTERING THE TWO-WAY GLASS.", "INT. BLACK SITE OFFICE, TRAVEL AGENCY, SOUTH KOREA - DAY Besieged with automatic GUNFIRE, everybody DUCKS down. On instinct, Ross shoves Nakia to the floor, taking a round to the back, saving her while. .. T'Challa's SUIT FORMS and he shields a CIA Agent. Okoye dives clear of the doorway and the other agents scramble out into the travel agency for cover.", "INT. INTERROGATION ROOM, TRAVEL AGENCY, SOUTH KOREA - DAY Linda and Lirnbani GRAB KLAUE carrying his entire chair with him still strapped to it as. .. Edging back toward the breach, Killmonger throws a live GRENADE through the shattered two-way window into the black site office.", "INT. BLACK SITE OFFICE, TRAVEL AGENCY, SOUTH KOREA - DAY Panther instantly dives on the grenade and it EXPLODES, doing no damage to him or the room, but lights up his entire suit. Panther bounds back to his feet to give chase as. ..", "INT./EXT. REAR OF TRAVEL AGENCY, SOUTH KOREA - DAY Klaue cackles maniacally being loaded into the paint truck by Linda and Lirnbani. KLAUE I see you took your time did n't you! Killmonger continues to FIRE as Lirnbani and Linda hop in and begin to pull off. Walking backward after the truck, Killmonger swings the RPG up to his shoulder as Panther emerges. The truck turns out of the alley as Killmonger aims. Panther charges at Killmonger and he FIRES! Taking the ROCKET head on, Panther is ENGULFED IN THE MASSIVE IMPACT and blown backward. Panther's suit is lit to the max with kinetic energy as he labors back to his feet, he spots the RING dangling around Killmonger's neck on his gold chain. ( It' s identical to the ring T'Challa inherited from T'Chaka in CA : CW. ) . OKOYE -LRB- O.S. -RRB- -LRB- in Xhosa -RRB- My King! Panther turns to find Okoye. OKOYE -LRB- CONT'D -RRB- -LRB- in Xhosa -RRB- My King... Nakia.", "INT. BLACK SITE OFFICE, TRAVEL AGENCY, SOUTH KOREA - DAY Panther and Okoye enter discovering agents and Nakia hovering around Ross on the floor. The receptionist ( also an agent ) applies pressure to his gunshot wound as a MALE CIA AGENT checks his pulse. Shaken, Nakia looks to Panther. NAKIA He just jumped in front of me. Gravely wounded, Ross is barely conscious. NAKIA -LRB- CONT'D -RRB- I do n't think he'll make it here, it hit his spine. T'CHALLA Give me a Kimoyo bead. T'Challa looks at Nakia and motions towards her Kimoyo bead. She pulls one off and hands it to him. T'Challa inserts it into Ross' wound. T'CHALLA -LRB- CONT'D -RRB- This will stabilize him for now. T'CHALLA -LRB- CONT'D -RRB- Give him to us. We can save him. The agents stare at Panther and his glowing high-tech suit.", "INT. COMMAND CABIN, ROYAL TALON FIGHTER - DAY Okoye is at the helm with Nakia standing next to her. Neither can believe Ross is on board. Further back in the aircraft, we find Ross' unconscious body. T'Challa looms nearby, lost in thought. OKOYE Our missions was to bring back Klaue. We failed. This man is a foreign intelligence operative. How do we justify bringing him into our borders? NAKIA He took a bullet for me. OKOYE That was his choice. T'Challa stiffens. Okoye has gone a little too far. Torn, Nakia stares off, thinking about the Nigerian women they did n't bring back to Wakanda and her culpability in Ross' injury. NAKIA So now we are just supposed to let him die? OKOYE Let us consider that we heal him. It is his duty to report back to his country. And as King, it is your duty to protect ours. T'CHALLA I am well aware of my duties, General. I can not just let him die knowing we can save him. OKOYE -LRB- chagrined -RRB- Where exactly are we taking him?", "INT. WAKANDAN DESIGN GROUP, HALLWAY, MT. BASHENGA - LATE AFTERNOON Shuri covertly leads T'Challa, Okoye and Nakia inside, carrying Ross' s body on a Maglev stretcher. She turns to T'Challa. SHURI Great, another broken white boy for us to fix. This is going to be fun. T' Challa cuts Shuri a look.", "INT. SHURI'S LAB, WAKANDA DESIGN GROUP - LATE AFTERNOON Ros s is placed on a table surrounded by futuri s tic medical equipment. As Shuri works on him. SHURI He will live. The security alarm on Shuri's Kimoyo bead GOES OFF. SHURI -LRB- CONT'D -RRB- W'Kabi is here. Shuri, Nakia and Okoye quickly hide. T'Challa hurries up the ramp. Hoping for good news, W' Kabi approaches T'Challa. W'KABI What' s going on, brother? Where is Klaue? T'CHALLA He's not here. T'Challa's eyes lower regretfully. T'CHALLA -LRB- CONT'D -RRB- He slipped through our hands. W' KABI Slipped? For 30 years your father was in power and did nothing. With you I thought it would be different. But it's more of the same. Deeply disappointed, W'Kabi ca n't muster words. He looks at T'Challa and wal ks out.", "INT./EXT. ABANDONED AIRFIELD/GARAGE, SOUTH KOREA - EVENING An airplane graveyard. The paint truck pulls to a stop on the airstrip. Killmonger, Klaue, Limbani and Linda hop out, and hump their gear to a FOUR- SEATER ESCAPE PLANE parked on the airstrip. LIMBANI Let's get going, boss. KILLMONGER You always sell to the CIA? KLAUE I sell to the highest bidder. Do n't you worry when I get back to Jo-burg and lay low for a bit, I' ll make sure both you guys get paid. KILLMONGER Oh I ai n't worried about the money, bro. I know you're good for it. Klaue smiles. KILLMONGER -LRB- CONT'D -RRB- On our way back, just drop us of in Wakanda. KLAUE You do n't wan na go there, boy. KILLMONGER Yea I do. Killmonger suddenly draws a HANDGUN and SHOOTS LIMBANI DEAD. Reacting to the shot, Klaue crowds Linda with a skilled GRAPPLING MOVE and snatches her gun away before she can fire on him. Killmonger finds Klaue holding Linda's gun to her head, using her as his shield. KLAUE -LRB- stumped -RRB- Drop it, or your little Bonnie and Clyde routine ends today. Put your gun down now! LINDA I'm sorry. I'm sorry, Erik. KILLMONGER It's gon na be ok. Killmonger fires without hesitation. The BULLET TRAVELS THROUGH Linda, ki lli ng her while Klaue dives behind the plane, WOUNDED IN THE SHOULDER from the round. Killmonger moves to finish Klaue but he's gone. Following Klaue's blood trail, Killmonger STALKS Klaue through the SCRAPYARD. Klaue fires at Killmonger, missing. Killmonger stops and turns, ducking between planes. Killmonger spots Klaue THROUGH THE GLASS of a cockpit window and FIRES. Sniped through the window with precision, Klaue falls, losing Linda's gun. Killmonger approaches and Klaue rolls to his back to face him. KLAUE... Y-You really wan na go to Wakanda? They're savages. Klaue shows his BRANDED neck. KLAUE -LRB- CONT'D -RRB- This is what they do to people like us. KILLMONGER I ai n't worried about no brand. Check these out. Killmonger rolls up his sleeve, uncovering SEVERAL AFRICAN SCARIFICATION MARKS on his forearm. KILLMONGER -LRB- CONT'D -RRB- Each one is for a kill. KLAUE You can sca r yourself as much as you like. To them, you'll just be an outsider. You're crazy to think that you could walk in there. Killmonger flips the inside of his bottom lip, revealing a glowing Wakandan TATTOO. Klaue ca n't believe his eyes. KLAUE -LRB- CONT'D -RRB- And to think I saw you as some crazy American. Klaue starts laughing, hard. Killmonger aims and pulls the trigger at point blank range.", "INT. HALL OF KINGS, CITY OF THE DEAD - NIGHT T'Challa enters to find Zuri tending to the garden. He looks around to the other Shamans. T' CHALLA Leave us. They immediately head out. zuri turns to T'Challa. ZURI So your mission did not go as planned. T'CHALLA What happened to my Uncle N'Jobu? My father told me he disappeared... there was a man today wearing a ring identical to this one. Zuri turns back and T'Challa lifts his hand, showing his VIBRANIUM RING from CA : CW. Zuri turns away uncomfortable. ZURI That is not possible. T'CHALLA He helped Klaue escape from us and he was wearing this ring. My grandfather' s ring. Do not tell me what is possible tell me the truth. ZURI Some truths are too much to bear, T'Challa. T'CHALLA That is not your choice to make. What happened to him? ZURI I promised the King to say nothing. T'CHALLA I am your King now! Zuri looks up. ZURI Your uncle took a War Dog assignment in America. Your father placed me there to observe unbeknownst to him. Your uncle fell in love with an American woman. They had a child. The hardships he saw there radicalized your uncle.", "INT. N'JOBU'S APARTMENT - NIGHT - FLASHBACK N'JOBU makes his plea to YOUNG T'CHAKA, picking up where we left off in the Oakland sequence. N'JOBU I observed for as long as I could! Their leaders have been assassinated, communities flooded with drugs and weapons, they are overly policed and incarcerated. All over the planet our people suffer because they do n't have the tools to fight back. With vibranium weapons they could overthrow every country and Wakanda could rule them all, the right way...", "INT. HALL OF KINGS, CITY OF THE DEAD - NIGHT ZURI He knew your father would not support this, so your uncle betrayed us. T'CHALLA No... ZURI He helped Klaue steal the vibranium. T'CHALLA No no no no no no...", "INT. N'JOBU'S APARTMENT - NIGHT - FLASHBACK Young T'Chaka turns to N'Jobu. YOUNG T'CHAKA You will return home at once, where you will face the council and inform them of your crimes. N'Jobu reaches into his waistband and pulls a HANDGUN, aiming it at James/Young Zuri's head, freezing him. ZURI -LRB- 0. S. -RRB- He drew his weapon on me Young T'Chaka pops his claws. He quickly springs forward, digging his CLAWS into the slide and destroying it, before he can pull the trigger. He then buries his CLAWS into N'Jobu's chest, killing him instantly. He lets N'Jobu's body drop to the floor, and closes his eyes. ZURI -LRB- CONT'D -RRB- Your father killed his own brother...", "INT. HALL OF KINGS, CITY OF THE DEAD - NIGHT ZURI To save my life.", "INT. N'JOBU'S APARTMENT - NIGHT - FLASHBACK Young Zuri looks at Young T'Chaka with tears welling up in his eyes. YOUNG T'CHAKA Speak nothing of this.", "INT. HALL OF KINGS, CITY OF THE DEAD - NIGHT T'CHALLA And the child... ZURI We left him.", "EXT. LAKE MERRITT APARTMENT COMPLEX, OAKLAND - NIGHT - FLASHBACK One of the young kids playing basketball, who is now revealed to be YOUNG KILLMONGER stands looking up at the sky where the mysterious lights flickered.", "INT. HALL OF KINGS, CITY OF THE DEAD - NIGHT ZURI We had to maintain the lie. Gutted, T'Challa ca n't reconcile what he's just heard. He turns his back on Zuri.", "EXT. WAKANDAN BORDER REGION, MOUNTAIN PLAINS - MORNING Dragging a LARGE BAG, Killmonger approaches. In the distance, we see the four-seater plane. W'Kabi approaches as Killmonger drops the bag. W'KABI What is this? KILLMONGER Just a'lil gift. Killmonger opens his bag, revealing KLAUE'S CORPSE. W'Kabi's eyes widen, and his men draw their swords. W'KABI -LRB- SUBTITLE -RRB- -LRB- Xhosa -RRB- Who are you?", "INT. SHURI'S LAB, WAKANDA DESIGN GROUP - MORNING Ross suddenly opens his eyes and reaches for his gunshot wound finding it astonishingly almost fully healed. Shuri tinkers with the circuitry of a PAIR OF MASSIVE CLAWED VIBRANIUM GAUNTLETS across the room as Ross sits up. ROSS Alright, where am I? Startled, Shuri spins. SHURI Do n't scare me like that, colonizer. ROSS Colon-who? My name is Everett. SHURI Yes, I know. Everett Ross former airforce pilot and now, CIA. ROSS Right. Groggy, Ross gazes around at the completely unique technology. ROSS -LRB- CONT'D -RRB- Ok, is this Wakanda? SHURI -LRB- still working -RRB- No, it' s Kansas. ROSS... How long ago was Korea? SHURI Yesterday. ROSS I do n't think so. Bullet wounds do n't just magically heal overnight. SHURI They do here. But not by magic, by technology. -LRB- beat -RRB- Do n't touch anything. My brother will return soon. Leery, Shuri watches Ross wander about out of the corner of her eye. He walks over to the observation deck and gazes in awe at the exposed GLOWING ROCKS inside of the VIBRANIUM MINE. Suddenly an AUTOMATED MINING CART whips between light panels, floating above a rail. ROSS These train things... that's magnetic levitation, right? SHURI Obviously. ROSS Obviously... but I've never seen it this efficient. The light panels, what are they? SHURI Sonic stabilizers. ROSS Sonic what? SHURI In it's raw form, vibranium is too dangerous to be transported at that speed, so I developed a way to temporarily deactivate it. ROSS -LRB- in disbelief -RRB- There's vibranium on those trains? SHURI There is vibranium all around us. That's how I healed you. Ross tries to process this as a 3D PROJECTION OF OKOYE unexpectedly forms. OKOYE'$ PROJECTION Where is T'Challa? His Kimoyo beads have been switched off. Ross, amazed, tries to touch the sand projection. SHURI Well we are not joined at the hip, Okoye. OKOYE'$ PROJECTION A man showed up at the border who claims to have killed Klaue. SHURI What? OKOYE'$ PROJECTION W'Kabi is transporting him as we speak to the pa l ace. We need to find your brother. SHURI An outsider? OKOYE'$ PROJECTION No, a Wakandan. An IMAGE OF KILLMONGER from the border appears on Shuri's monitor. Then. . . Ross slowly walks into sight, staring at the screen. ROSS He's not a Wakandan. He's one of ours.", "EXT. WAKANDAN COUNTRYSIDE - MORNING T'Challa and Nakia gaze out off the side of a beautiful overlook. T'CHALLA He killed his own brother... and left a child behind with nothing. What kind of King \u2022.. what kind of man does that? NAKIA No man is perfect. Not even your father. T'CHALLA He didn' t even give him a proper burial... My Uncle N'Jobu betrayed us, but my father may have created something even worse. NAKIA Hey. Look at me. You ca n't let your father' s mistakes define who you are. You get to decide what kind of King you are going to be. They share a look as T'Challa's Kimoyo beads buzz. SHURI'S PROJECTION Brother, you need to get here now. T'Challa and Nakia look at each othe r.", "INT. SHURI'S LAB, WAKANDA DESIGN GROUP - DAY T'Challa, Shuri and Nakia listen as Ross briefs them on Killmonger. A BODY SCAN IMAGE of Killmonger is on Shuri's monitor. ROSS Eric Stevens. Graduated Annapolis age 19. MIT for grad school. Joined the SEALs and went to Afghanistan where he racked up confirmed kills like it was a video game. They started calling him Killmonger. He joined a JSOC ghost unit. -LRB- MORE -RRB- ROSS -LRB- CONT' D -RRB- Now these guys are serious. They will drop off the grid so they can commit assassinations and take down governments. T'CHALLA Did he reveal anything about his identity? SHURI He has a War Dog tattoo but we have no record of him. T'CHALLA and Shuri share a look.", "INT. TRIBAL COUNCIL ROOM - DAY T'Challa sits on his throne surrounded by the Tribal Elders, Ramonda, Shuri, Okoye, and the Dora. RIVER TRIBE ELDER Is this man Wakandan or not? MINING TRIBE ELDER -LRB- in Xhosa -RRB- Tell us what is going on. Killmonger is escorted in by W'Kabi. W'Kabi tensely steps next to T'Challa as Killmonger takes his place before the circle. T'CHALLA -LRB- in Xhosa -RRB- Speak. W' KABI -LRB- translates for -LRB- Killmonger -RRB- Speak. KILLMONGER I'm standing in your house. Serving justice to a man who stole your vibranium and murdered your people. Justice your King could n't deliver. T'Challa walks close enough to Killmonger to be able to whisper to him. T'CHALLA I do n't care that you brought Klaue, the only reason I do n't kill you where you stand is because I know who you are... now what do you want? KILLMONGER I want the throne. The entire room scoffs at this. Some ELDERS even hold their heads back and laugh. MINING TRIBE ELDER -LRB- in Xhosa -RRB- My goodness. KILLMONGER Y'all sittin' up here comfortable. Must feel good. There's about 2 billion people all over the world that looks like us but their lives are a lot harder, Wakanda has the tools to liberate them all. T'CHALLA And what tools are those? KILLMONGER Vibranium. Your weapons. T'CHALLA Our our weapons will not be used to wage war on the world. It is not our way to be judge jury and executioner for people who are not our own. KILLMONGER Not your own? But did n't life start here, on this continent? So ain' t all people your people? T'CHALLA I am not King of all people. I am King of Wakanda. And it is my responsibility to make sure our people are safe and that vibranium does not fall into the hands of a person like you. The elders murmur at Killmonger's disrespect. They wait to see how T'Challa will respond. Then, Ramonda suddenly speaks. RAMONDA Son, we have entertained this charlatan for too long. Reject his request. Killmonger eyes the Elders with an amused grin. KILLMONGER Oh, I ai n't requesting nothing! Ask who I am? SHURI You are Eric Stevens. An American black operative. A mercenary nicknamed Killmonger. That's who you are. KILLMONGER -LRB- laughing -RRB- That's not my name, Princess. Ask me, King? T'CHALLA No. KILLMONGER Ask me. T'CHALLA Take him away. RIVER TRIBE ELDER -LRB- in Xhosa -RRB- Who are you? KILLMONGER -LRB- Xhosa -RRB- I am N'Jadaka, son of Prince N'Jobu. A hush falls over the room. The tribal elders knew N'Jobu. This changes EVERYTHING. MINING TRIBE ELDER -LRB- in Xhosa -RRB- The son of N'Jobu? KILLMONGER I found my daddy with Panther claws in his chest. You ai n't the son of a King you're the son of a murderer! RAMONDA -LRB- in Xhosa -RRB- You' re lying! -LRB- in English -RRB- Lies. W'KABI I'm afraid not Queen Mother. W'Kabi produces Killmonger's GOLD NECKLACE and RING. Holding it up for everyone to see. MINING TRIBE ELDER -LRB- in Xhosa -RRB- The descendant of N'Jobu. KILLMONGER Hey Auntie. KILLMONGER -LRB- CONT'D -RRB- I'm exercising my blood right to challenge for the mantles of King and Black Panther. Utter silence as all eyes turn to T'Challa. T'Challa desperately wants to refuse but knows that is n't possible. RAMONDA Do not do this T'Challa. BORDER TRIBE ELDER As the son of N'Jobu he is within his rights. RAMONDA He has no rights here. RIVER TRIBE ELDER The challenge would take weeks to prepare. KILLMONGER Weeks? I do n't need weeks. The whole country ai n't got ta be there I just need him... and somebody to get me out of these chains. RAMONDA T'Challa, what do you know of this? T'CHALLA I accept your challenge. W'Kabi looks at T'Challa closely.", "EXT. WARRIOR FALLS, CHALLENGE POOL - LATE AFTERNOON T'Challa and Killmonger stand opposite one another. Killmonger SNAPS OFF a spear' s shaft with his foot and holds a SWORD to go with the SPEARHEAD. The Tribal Elders, W'Kabi, and the Dora look on from their respective places. Shuri watches with Ramonda, but the stands are entirely empty. ON SHURI AND RAMONDA SHURI He will never beat T' Challa. He should have just come to t he first challenge and gotten it over with. Ramonda looks concerned. She' s not so sure.", "EXT. WARRIOR FALLS, CHALLENGE POOL - LATE AFTERNOON Zuri brings T'Challa the DEATH HERB and he repeats the process, poisoning T'Challa while Killmonger stares on silently. ZURI The King will now have the strength of the Black Pa nther stripped away. Staring T'Challa down, Killmonger suddenly turns to Zuri. They recognize each other. Zuri looks away ashamed. IN THE SEATING AREA Nakia arrives through a tunnel and wal ks up to Okoye, who turns to her. OKOYE Where is Agent Ross? NAKIA I locked him in the office. He's not going anywhere. IN THE CHALLENGE POOL T'CHALLA holds his short spear and shield. He stares at his cousin. T'CHALLA This is your last chance, thro w down your weapons and we can handle this another way. Killmonger slams his blades into the stone. KILLMONGER I lived my entire life waiting for this moment. I trained, I lied, I killed, just to get here. He takes off his vest and tears at his shirt, revealing the SCARIFICATION MARKS that go up his arm and across his entire back. They number in the hundreds. KILLMONGER -LRB- CONT'D -RRB- I killed in America, Afghanistan, Iraq. I took life from my own brothers and sisters right here on the continent. And all this death, just so I can kill you. T'Challa looks to Zuri and nods. ZURI -LRB- reluctant -RRB- Let the challenge begin. Killmonger tears forward with expert knife work and T'Challa with skilled defense. T'Challa PARRIES several strikes, countering with a LEG TAKE- DOWN but hesitates with his sword and does n't strike as they roll toward the edge of the waterfall. Back on their feet, they circle, and Killmonger lunges at T'Challa who dodges. T'Challa manages to knock Killmonger off his feet, gaining the advantage. T'CHALLA Yield! Killrnonger FEROCIOUSLY BOBS INSIDE, but T'Challa lunges at Killrnonger, giving him a superficial SLASH ACROSS his cheek. Fueled by rage, Killmonger begins to overpower T'Challa. He slices T'Challa' s thigh. ON SHURI SHURI Snap out of it T'Challa! IN THE CHALLENGE POOL Wielding both blades, Killmonger slashes deep across T'Challa's stomach, then spins, CUTTING deep into his bicep. Hurt, T'Challa realizes his compassion was a mistake and he must fight back but blood leaks from his side. Killmonger dodges T'Challa' s next attack. Stumbling, T'Challa is unable to avoid Killmonger's BLADE BEING THRUST into his ribs. The elders gasp as Ramonda looks away and Shuri just stares.", "EXT. WARRIOR FALLS, CHALLENGE POOL - LATE AFTERNOON Killmonger snatches the knife out. T'Challa can barely stand. Killmonger punches him. ON NAKIA NAKIA Get up. IN THE CHALLENGE POOL He continues to PUNCH T'CHALLA REPEATEDLY until he topples over. KILLMONGER This is for my father. Killmonger walks swiftly toward T'Challa to deliver his deathblow. . . only to have a guilt-ridden Zuri STOP HIM with his SPEAR, knocking his blade away. T'CHALLA Zuri, no. IN THE STANDS OKOYE Zuri. RAMONDA Zuri do n't! IN THE CHALLENGE POOL ZURI I am the cause of your father's death. Not him. Take me. Regrouping, Killrnonger grabs Zuri's spear. T'Challa labors to get up but ca n't. KILLMONGER I'll take you both, Uncle James... Killmonger skewers Zuri with his spear. Killmonger drives the spear in further and GRABBING THE BLADE with both hands in death, Zuri falls with it to the shallow water as T'Challa watches in utter torment. T'CHALLA Nol Zuri no! Zuri!! Noo! Fueled by rage, T'Challa lifts back up to his feet. He charges Killmonger, who ducks his attacks, while talking to the audience. KILLMONGER Is this your King? Huh? T'Challa swings his spear, Killmonger ducks. KILLMONGER -LRB- CONT'D -RRB- Is this your King? The Black Panther, who's supposed to lead you into the future. ON SHURI, NAKIA, OKOYE AND AYO SHURI Come on brother! Nakia looks on, trying to hide her tears with Okoye and Ayo. AYO Is there nothing that can be done? IN THE CHALLENGE POOL KILLMONGER Him? He's supposed to protect you. Killmonger ducks another attack from T'Challa and scoops him onto his shoulders.", "EXT. WARRIOR FALLS, CHALLENGE POOL - LATE AFTERNOON Killmonger walks to the edge of the challenge pool. ON NAKIA AND RAMONDA RAMONDA No. NAKIA No! IN THE CHALLENGE POOL Killmonger heaves T'Challa off the waterfall. Staggered, everyone watches T'Challa DISAPPEAR BELOW to his death. Ramonda screams. KILLMONGER Nah. I'm your King. ON NAKIA Nakia shuttles Shuri and Ramonda into the caves while Okoye stays behind. NAKIA We have to go now! Queen mother, let's go! IN THE CHALLENGE POOL Staggered, the new Shaman gives him the Panther necklace. Everyone slowly salutes Killmonger.", "INT. TRIBAL COUNCIL ROOM - NIGHT The room seems empty until we come upon Okoye grieving alone. After a moment, the door opens and Okoye quickly wipes her eyes. Pulling it together, she stands as Nakia approaches. The two women silently take each other in, sharing in their sorrow. OKOYE The Queen Mother and Shuri... they are safe? Nakia nods. NAKIA Yes. OKOYE -LRB- in Xhosa -RRB- Thank you. NAKIA We should get to them immediately. OKOYE -LRB- in Xhosa -RRB- I can not... NAKIA What... OKOYE Though my heart is with you. NAKIA We can not turn over our nation to a man who showed up here only hours ago. OKOYE He is of royal blood. NAKIA He killed T' Challa. OKOYE In ritual combat. NAKIA Does that really matter? Okoye quiets. NAKIA -LRB- CONT'D -RRB- You are the greatest warrior Wakanda has. Help me overthrow him before he becomes too strong. Okoye stares at Nakia in disbelief. OKOYE Overthrow?! Nakia, I am not a spy who can come and go as they so choose. I am loyal to the throne, no matter who sits upon it. What are you loyal to? NAKIA I loved him. I love my country too. OKOYE Then you serve your country. NAKIA No. I save my country. Nakia takes off.", "INT. T'CHALLA'S OFFICE, ROYAL PALACE - NIGHT Ross walks around the office, admiring masks on the wall. He looks around as the door unlocks to Nakia, holding several blankets. Ross realizes something is wrong. ROSS What's wrong? Nakia tosses the blanket to Ross. NAKIA The King is dead. Come with me, unless you want to join him. Ross's heart sinks as. . .", "INT. HALL OF KINGS, CITY OF THE DEAD - NIGHT Killmonger enters and a Shaman guides him to a dirt plot where they begin to bury him.", "EXT. CITY OF THE DEAD JUNGLE OUTSKIRTS - NIGHT Shuri and Ramonda, wrapped in blankets as a disguise, sit on a log surrounded by a THICKET OF TREES. Grief stricken, they hold each other closely. SHURI First Baba, and now my brother. Mama, we did n't even get to bury him. Ramonda does n't have an answer. The women hear a rustle in the trees, Ramonda moves to protect Shuri, holding ONE OF NAKIA'S RINGBLADES as Nakia and Ross emerge from the foliage. Ramonda eyes Ross. NAKIA It's me. RAMONDA Nakia. Who is this man? NAKIA He's a friend of T' Challa's he saved my life. Ramonda studies Ross, then looks to Nakia. RAMONDA Where is Okoye? NAKIA Okoye is not corning. She and Dora Milaje will serve the new King. -LRB- beat -RRB- Wait here. RAMONDA What has happened to our Wakanda? Nakia turns and heads into an even thicker BATCH OF FOLIAGE.", "INT. HALL OF KINGS, CITY OF THE DEAD - NIGHT A SHAMAN scoops water into the Heart Shaped Herb ceremonial vessel and grinds it. Killrnonger opens his mouth and she pours the solution in as his eyes slowly close. SHAMAN Allow the Heart Shaped Herb to give you the powers of the Black Panther and take you to the Ancestral Plane.", "EXT. LAKE MERRITT, OAKLAND - NIGHT - FLASHBACK We see the kids gazing up as an AIRCRAFT WITH STRANGE LIGHTS rises into the sky and speeds off. Young Killrnonger runs into the apartment complex.", "INT. N'JOBU'S APARTMENT - NIGHT - FLASHBACK YOUNG KILLMONGER enters to find N'Jobu's dead body on the floor. He runs over to his dad, cradling him in his arms, sobbing.", "INT. HALL OF KINGS, CITY OF THE DEAD - NIGHT They scoop dirt on top of Killrnonger's face.", "INT. N'JOBU'S APARTMENT - NIGHT Adult Killmonger enters his childhood apartment and sees the place where his father died. He walks over to the WALL HIDE and digs out a METAL STASH BOX. He breaks open the box and inside finds N'JOBU'S JOURNAL, cash and a pistol. Opening the diary, he finds details of Wakandan history and life, including drawings. He finds his father's RING on a necklace and puts it on. Then, Killmonger looks up and N'JOBU is sitting across from him alive. N'JOBU What did I tell you about going into my things? -LRB- playful smile -RRB- What did you find? Killmonger is now replaced by his younger self. YOUNG KILLMONGER Your home. N'JOBU I gave you a key hoping that you might see it someday. Young Killmonger flips down his lip, touching his Wakandan tattoo. N'JOBU -LRB- CONT'D -RRB- Yes. The sunsets there are the most beautiful in the world. But I fear you still may not be welcome. YOUNG KILLMONGER Why? N'JOBU They will say you are lost. YOUNG KILLMONGER But, I'm right here. N'JOBU doesn' t have an answer for this. N'JOBU No tears for me? YOUNG KILLMONGER -LRB- cold -RRB- Everybody dies. It's just life around here. N'Jobu's gaze darkens with regret. N'JOBU Well look at what I have done. I should have taken you back long ago. Young Killmonger has now been replaced by adult Killmonger, who sheds a tear. N'JOBU -LRB- CONT'D -RRB- Instead, we are both abandoned here. KILLMONGER Well maybe your home is the one that's lost. That's why they ca n't find us. N'Jobu stares at his son, heartbroken.", "INT. HALL OF KINGS, CITY OF THE DEAD - NIGHT Killmonger's eyes open - a new man. Powerful. And ready to conquer the world. He gasps for air. As he climbs to his feet encircled by Kingsguard and shamans. SHAMAN Breathe, my King. Breathe!", "INT. CATACOMBS, CITY OF THE DEAD - NIGHT Nakia drops through a hole into the warren of tunnels, emerging in the. ..", "INT. HALL OF KINGS, CITY OF THE DEAD - NIGHT Reveling in the power of the Heart Shaped Herb, Killmonger walks toward a dirt plot filled with the HEART SHAPED HERBS. The shamans trail behind him. KILLMONGER The Heart Shaped Herb did that? The shaman nods. KILLMONGER -LRB- CONT'D -RRB- This is all of it? SHAMAN Yes. So when it comes time for another King, we will be ready. KILLMONGER Another King... yea go ahead and burn all that. Alarmed, the shamans do n't move, hoping Killmonger does n't mean it. .. but he does. SHAMAN My King, we can not do that. It is our tradition -- Killmonger smiles, the n quick l y grabs the Shaman by the throat. KILLMONGER When I tell you to do something, I mean that shit. Burn it all! He lets her go as she gasps for air. Shell-shocked, the shamans move into action. ON NAKIA Nakia digs out a flawless Heart Shaped Herb and in an instant darts back for the catacombs, glancing back at Killmonger from the shadows.", "INT. HALL OF KINGS, CITY OF THE DEAD - NIGHT Kill monger stands in front of the dirt plots as the herb garden is engulfed in FLAMES around him.", "INT. TRIBAL COUNCIL ROOM - DAY Every Elder, the Border Tribe military leaders, including W'Kabi, the Kingsguard leaders, Okoye, and the Dora prepare for a council meeting. Killmonger strolls in, wearing the new gold panther necklace. KILLMONGER You know, where I'm from, when black folks started revolutions, they never had the firepower or resources to fight their oppressors. Where was Wakanda? Hmm? Yea all that ends today. We got spies embedded in every nation on Earth. Already in place. Killmonger stands and walks looking each of them in the eye. KILLMONGER -LRB- CONT'D -RRB- I know how colonizers think. So we're gon na use their own strategy against them. We' re gon na send vibranium weapons out to our War Dogs. They'll arm oppressed people all over the world, so they can finally rise up and kill those in power, and their children and anyone else who takes their side. It' s time they know the truth about us. We're warriors. The world's gon na start over and this time we're on top. Killmonger sits. KILLMONGER -LRB- CONT'D -RRB- The sun will never set on the Wakandan Empire. Okoye looks to W'Kabi. OKOYE Wakanda has survived for so long by fighting when only absolutely necessary. W'KABI Wakanda has survived in the past this way, yes. But the world is changing, General. Elders, it is getting smaller. The outside world is catching up and soon it will be the conquerors, or the conquered. I'd rather be the former. KILLMONGER You heard your orders. Let's get to it. W'Kabi salutes while Okoye looks on.", "EXT. JABARILAND OUTSKIRTS, WAKANDAN MOUNTAINS - MORNING Nakia leads Shuri, Ramonda and Ross through the bitter wind and harsh conditions. ROSS So where are we going again? NAKIA We're taking the Heart Shaped Herb to Jabariland. ROSS Heart Shaped Herb, what is that? SHURI It gives whoever takes it heightened abilities. NAKIA It's what made T'Challa so strong. Ramonda stops in her tracks. RAMONDA Nakia. I do n't like this. The Herb belongs to us. We may be creating a bigger monster with M'Baku. -LRB- beat -RRB- Nakia, you should take it yourself. NAKIA I'm a spy with no army. I would n't stand a chance. RAMONDA We'll go. They keep walking. Suddenly, they are surrounded by MEMBERS OF THE JABARI ARMY. NAKIA Stay calm.", "INT. M'BAKU'S THRONE ROOM, JABARILAND - NIGHT M'Baku stares down from his throne at Nakia, Ramonda and Shuri. He glowers at Ross for a long beat, unnerving everyone, before finally turning to Ramonda. RAMONDA My son was murdered in ritual combat. M'BAKU Were the odds fair? NAKIA Yes, but... M'BAKU So, it was less a murder than a defeat? This irks Shuri. SHURI Do not rub our noses in it -- M'BAKU Silence! I make the pronouncements here, girl. ROSS Look uh, your highness, the new King is a -- M'Baku drowns out Ross' voice with loud barks. The surrounding Jabari follow suit. M'BAKU You can not talk. One more word and I will feed you to my children. Ross looks petrified until M'Baku winks at Ramonda. M'BAKU -LRB- CONT'D -RRB- I'm kidding. We are vegetarians. Stepping in, Nakia pulls out the HEART SHAPED HERB. NAKIA Great Gorilla M'Baku. This is why we are here. To offer this to you. An outsider s i ts on our throne. Only you can help us stop him. M'Baku considers. His ego stroked. But. . . M'BAKU Come with me.", "INT. JABARI HEALING GROUNDS HUT - NIGHT M'Baku leads Nakia, Ross, Ramonda and Shuri to JABARI HEALERS working on T'Challa in a small hut in the snow. NAKIA Impossible. -LRB- beat -RRB- Is he breathing? M'BAKU He is in a coma, barely clinging to life.", "EXT. RIVERBANK, JABARILAND - DAWN - FLASHBACK ONE DAY BEFORE A tough weathered JABARI FISHERMAN walks along a frigid river with his YAK. M'BAKU -LRB- V. 0. -RRB- One of our fishermen found him at the edge of the river border. He brought him to me. The yak pulls a wooden sleigh carrying T'Challa's body, toward Jabariland.", "INT. JABARI HEALING GROUNDS HUT - NIGHT M'Baku, Ramonda, Nakia, Ross, and Shuri remain standing over T'Challa in the snow. SHURI Why do you have him in the snow?! M'BAKU It is the only thing keeping him from joining the ancestors. SHURI We need to get him to my lab! I can heal him there. M'BAKU Take him. He' ll be dead in seconds. RAMONDA Nakia, the Herb. Ramonda takes the herb from Nakia and pushes past M'Baku who looks on. RAMONDA -LRB- CONT'D -RRB- I call upon the ancestors. I call upon Bast. I am here with my son T'Challa. Heal him. We must bury him. Resigned, Shuri and Nakia watch closely sitting down next to her as Ramonda performs the ritual on T'Challa, pouring the solution in his mouth, while praying in Xhosa, then scooping the snow atop his body. RAMONDA -LRB- CONT'D -RRB- -LRB- in Xhosa -RRB- Praise the ancestors. NAKIA -LRB- in Xhosa -RRB- Praise the ancestors. ROSS -LRB- in Xhosa -RRB- Praise the ancestors. SHURI -LRB- in Xhosa -RRB- Praise the ancestors. NAKIA Wake up, T'Challa. Wake up.", "EXT. BLACK PANTHER ANCESTRAL PLANE - DAY T'Chaka beckons T'Challa toward several other black panthers and people in the distance. T'CHAKA -LRB- in Xhosa -RRB- My son. He looks at his ancestors. T'CHAKA -LRB- CONT'D -RRB- The time has come for you to come home and be reunited with me. T'CHALLA -LRB- in Xhosa -RRB- Why? -LRB- in English -RRB- Why did n't you bring the boy home? T'Chaka looks back at him. T'CHALLA -LRB- CONT'D -RRB- Why, Baba? T'CHAKA He... he was the truth I chose to omit. T'CHALLA You were wrong to abandon him. T'CHAKA I chose my people. I chose Wakanda. Our future depended on -- T'CHALLA You were wrong! All of you were wrong! To turn your backs on the rest of the world. We let the fear of our discovery stop us from doing what is right. No more! I can not stay here with you. I can not rest while he sits on the throne. He is a monster of our own making. I must take the mantle back, I must. I must right these wrongs. T'Chaka looks at his son, his disappointment giving way to a proud smile.", "INT. JABARI HEALING GROUNDS HUT - NIGHT T'Challa suddenly awakens and is pulled from the snow by Ramonda unsure where he is. T'CHALLA Do you have a blanket? They embrace. T'Challa turns to see Nakia and Shuri as well. The four of them embrace as M'Baku looks on.", "INT. M'BAKU'S THRONE ROOM, JABARILAND - DAY Our entire team of heroes : T'Challa, Nakia, Shuri, Ramonda, Ross talk. NAKIA Killmonger has the full support of our military. And he burned the garden of the Heart Shaped Herb. ROSS Of course he did. The T'Challa turns to Ross. ROSS -LRB- CONT'D -RRB- That's what he was trained to do. His unit used to work with the CIA to destabilize foreign countries. -LRB- MORE -RRB- ROSS -LRB- CONT' D -RRB- They would always strike at transitions of power... like an election year or the death of a monarch. You get control of government, the military T'CHALLA Our resources. The Great Mound. SHURI Our vibranium. All of my designs. T'CHALLA He will send our weapons all over the world. T' Challa turns to Nakia. T'CHALLA -LRB- CONT'D -RRB- -LRB- motioning to Shuri and Ramonda -RRB- You must get them out of Wakanda safely. RAMONDA What? SHURI What about you? T'CHALLA The challenge will have to continue. RAMONDA T'CHALLA, we will not leave Wakanda. T'CHALLA It is my duty to keep you safe. SHURI If he gets control of our technology, no where will be safe. Shuri pulls T'Challa's PANTHER TOOTH NECKLACE from her pocket and places it on his neck. T'Challa smiles. SHURI -LRB- CONT'D -RRB- The Black Panther lives. And when he fights for the fate of Wakanda I will be right there beside him. NAKIA As will I. T'Challa smiles he looks to Nakia and Ramonda who looks back at him with confidence. ROSS I'm in too. The Wakandans cut Ross a look ROSS -LRB- CONT'D -RRB- What? You're gon na need all the help you can get. The Wakandans smile at Ross as M'Baku interrupts. M'BAKU Are you done? Are you - are you done? T'CHALLA Could you give me and Lord M'BAKU a moment? Everyone exits and M'Baku gazes at T'Challa. T'CHALLA -LRB- CONT'D -RRB- Thank you. M'BAKU I owed you a great debt. A life for a life. Consider it paid. T'CHALLA Please allow my mother to stay here. M'BAKU No harm wi l l come to her I give you my word. T'CHALLA You know I could use an army as well. M'BAKU -LRB- laughs -RRB- I bet you could. But no. I will give no Jabari lives towards your cause. T'CHALLA It is our cause. It is for all of us. M'BAKU Us? You are the first King to come here in centuries. And now you speak of us? T'CHALLA I can not speak for past Kings. But an enemy sits on the throne right now. We both know the power of vibraniurn. If Killmonger gets control of it, who do you think he will come for next? M'Baku sits. M'BAKU We will not help you. T'CHALLA walks out, leaving M'Baku to think.", "INT. VIBRANIUM MINE- DOWNSHAFT A train car carrying carts full of vibranium moves across the ground, it then takes a turn up the sides and up to the surface out to -- -", "EXT. MT. BASHENGA, TOP OF THE HILL - DAY Where several BORDER TRIBE WARRIORS and KINGSGUARD load the cargo onto the bottom of a TALON FIGHTER. The Dora Milaje keep watch in the distance. Killmonger, dressed in casual clothes, his gold panther toothed necklace exposed. With W'Kabi and Okoye flanking him, he walks around watching impatiently as cargo is revealed to be being loaded up onto an entire FLEET of WAKANDAN AIRCRAFT. W'KABI Everything is on schedule. KILLMONGER Have the spies been alerted? W'KABI Yes. Some have been resistant to our new mission. But the War Dogs in London, New York and Hong Kong are standing by. KILLMONGER We'll strike there first. The others will come around. Killmonger picks up a Kingsguard spear. KILLMONGER -LRB- CONT'D -RRB- Look at this. A handheld sonic cannon powerful enough to stop a tank. Untraceable by metal detectors, and we got thousands of'em. The world's gon na find out exactly who we are. Across from them, a TALON FIGHTER takes off, loaded with cargo. Killmonger watches, then turns to W'Kabi. As they smile the talon fighter EXPLODES in the air above them, startling Killmonger, W'Kabi, Okoye and the remaining Wakandans. They watch in shock as the debris rains down from the sky. Killmonger looks closely, trying to make something out.", "EXT. MT. BASHENGA, TOP OF THE HILL - DAY Killmonger, Okoye, and W'Kabi line up at the lip of the great mound, surrounded by hundreds of Border Tribesmen they look on with confusion as. . Several hundred yards away, at the foot of the mountain, PANTHER EMERGES FROM THE WRECKAGE, suit engaged in all of his glory. He starts walking towards the top of the hill. Okoye smiles. OKOYE He lives... ON PANTHER As he walks closer to the lip of the mound and retracts his mask. T'CHALLA N'Jadakalll! KILLMONGER Wassup? T'CHALLA I never yielded, and as you can see, I am not dead. KILLMONGER All that challenge shit is over with. I'm the King now. ( turns to Kingsguard ) Get those planes in the air! Carry out the mission! T'CHALLA -LRB- into comm -RRB- Shuri, now! SHURI -LRB- O.S. -RRB- Copy that.", "INT. SHURI'S LAB, HALLWAY, MT. BASHENGA - DAY Wearing Blanket disguises, Nakia, Ross and Shuri duck around a corner, avoiding detection by a group of Border Tribesmen running outside. SHURI -LRB- CONT'D -RRB- Go! Go go go go go! Come on, Ross!", "EXT. MT BASHENGA, TOP OF HILL - DAY Killmonger stands with W'Kabi at the top of the mound. KILLMONGER W'Kabi, kill this clown. OKOYE W'Kabi, the challenge is not complete. BORDER TRIBE COMMANDER What will we do? The Border Tribe soldiers look on at T'Challa and grow visibly nervous. W'KABI Border Tribe! BORDER TRIBE Ay! Ay! W'KABI Phambili! W'Kabi pulls his sword and triggers the SONIC FIELD around it. He points it towards T'Challa and the Border Tribesmen line up in a battle formation and charge towards T' Challa. A Dragonflyer takes off overhead and leads the charge downhill. Okoye turns to Killmonger. OKOYE You! Your heart is so full of hatred you are not fit to be a King. She slams her spear and the Dora fall in line behind her as Killmonger stares her down. Killmonger pulls his blades, and activates his PANTHER SUIT from his necklace as Talon Fighters take off in the background. OKOYE -LRB- CONT' D -RRB- Ayo. The King. Some of the Dora take off down the hill to fight for T'Challa. Okoye calls for the attack. One of the Dora jumps at Killmonger Panther followed by another Dora. They attack. A third Dora jumps and side kicks Killmonger Panther. DOWNHILL The DRAGONFLYER overtakes the Border Tribesmen and begins shooting sonic blasts at T'Challa, that create a large impact on the ground as he runs. The Border Tribesmen continue to run down towards T'Challa and fall into a PHALANX FORMATION. The VIBRANIUM STITCHING on their blankets activates and high tech sonic shields emerge from the blankets and build on each other. The shields stretch out and up, making a barrier impossible for Panther to pass. Panther SUPER JUMPS over the sonic shield as it rises hurdling barely escaping it' s vertical edge. He lands behind the 1ST WAVE of Border Tribesmen, delivering a massive sonic blow that sends them flying as well as lifting some of the spilled spears into the air. Panther grabs a spear and with expert precision throws it at the Dragon Flyer. The spear explodes on impact, sending the DRAGONFLYER careening towards the ground right over T'Challa's head. W'Kabi sees this and leads the charge of the 2ND WAVE of Border Tribesmen down towards T'Challa, and they engage him swinging their blades wildly and using their shields to corner him. Ayo and the Dora collide with the 2ND WAVE of Border Tribesmen, fighting them off with precision. Engaging with the Border Tribesmen, T'Challa lands a hard blow on W' Kabi that sends him back through the grass. T'CHALLA W'Kabi stop this! Stop this now! W' Kabi runs on top of a large rock to ga i n a vantage point, and pulls out a large HORN. T'CHALLA -LRB- CONT' D -RRB- NOO!! W'Kabi blows on the horn. We push in on the DRAGONFLYER WRECKAGE, as a rumbling sound is heard. Suddenly ARMORED RHINO # 1 crashes through the bit of the wreckage wearing a RED BLANKET. Then a second RHINO, ARMORED RHINO # 2, crashes through the other side, bigger and faster than the last and wearing a WHITE BLANKET. The camera continues to push in as BOOM, the Dragonflyer is split into two and M20, W'Kabi' s personal rhino, emerges right towards camera. The Border Tribesmen lift their swords and cheer as the Rhinos run past them. W'Kabi hops on, and goes right for the pack of DORA, sending a third of them FLYING!", "INT. SHURI'S LAB, WAKANDA DESIGN GROUP - DAY Shuri, Nakia, and Ross are now running down the ramp, throwing off their disguises. Shuri motions for a SAND TABLE to rise, revealing a new tech armor rack. She grabs the communication devices. SHUR I Nakia and I will get control of the Royal Talon with this. ROSS Ok, so what do I do? Shuri slips a kimoyo bead bracelet on Ross' hand. SHURI You will have to fly it. ROSS What? SHURI You were a great pilot. Do n't worry, I'll guide you through it. It's just like riding a hoverbike. ROSS You guys have hoverbikes? Shuri raises a sand table. She hurries back to the first table, grabs the gauntlets and points out some Dora armor. SHURI Nakia, take that. NAKIA I'm not a Dora. SHURI Just put it on, it's armor! Shuri runs up the ramp. Nakia begrudgingly grabs the DORA MILAJE UNIFORM and runs after her. SHURI -LRB- CONT'D -RRB- Good luck, Agent Ross! ROSS Yea I don' t know what I'm doing -- NAKIA We're counting on you!", "EXT. MT. BASHENGA, TOP OF THE HILL - DAY Okoye jumps over and throws her spear at Killmonger, it bounces off, Okoye catches in stride. She's on the attack. The Dora Milaje advance on Killmonger, but DORA MILAJE # 1 strikes too quick l y, and Killmonger uses his superior strength and speed to grab her mid-strike, using her as a shield to hold off Okoye and the other Dora. DORA MILAJE 1 Wakanda Forever. Killmonger then slits her throat with his vibranium sword. Okoye, devastated, leads another attack on Killmonger.", "EXT. MT. BASHENGA, TOP OF THE HILL - DAY As Nakia and Shuri sneak out onto the deck, and plant the Kimoyo bead puck on the RTF.", "INT. SHURI'S LAB, WAKANDA DESIGN GROUP - DAY Ross paces waiting for word from Shuri or Nakia about what to do, when suddenly the SAND TABLE drops to the ground, revealing an F- 16 cockpit. GRIOT -LRB- O.S. -RRB- Remote piloting system activated. SHURI -LRB- O. S. -RRB- I made it American style for you! Get in! Ross hops in and starts up the ship.", "EXT. MT. BASHENGA LANDING PAD - DAY The RTF clumsily takes off, its thrusters blowing back two Kingsguard pilots. SHURI/NAKIA Yes!! SHURI -LRB- into cornms -RRB- Go! We ca n't let those weapons get beyond Wakanda.", "INT. SHURI'S LAB, COCKPIT - DAY ROSS Alright, I'm on it.", "EXT. MT. BASHENGA, TOP OF THE HILL - DAY The RTF starts in one direction does au-turn and TAKES off after the other ships. DOWNHILL T'Challa runs full speed next to RHINO # 2 swings around its horn and does a takedown maneuver causing the Rhino to fall into the TRENCH left by the wing of the TALON FIGHTER. T'Challa flips out of the trench while the Rhino is trapped by the steep incline.", "EXT. MT. BASHENGA, TOP OF THE HILL - DAY Killmonger is surrounded by Okoye and two Dora. They continue to back him up with synchronized hits, until they surround him with a TRIPLE SPEAR TRAP around his neck. OKOYE -LRB- in Xhosa -RRB- Lock! Get him down! They tighten their grip around his neck. OKOYE -LRB- CONT'D -RRB- -LRB- in Xhosa -RRB- Get the necklace! But Killmonger drops to his knees and expels his suit's kinetic energy, blowing the Dora down the hill. Nakia takes off to ward Killmonger. NAKIA Wakanda Forever!! He moves towards them with rage in his eyes. He engages Shuri and Nakia in battle, Nakia holds her own with her advanced ringblades while Shuri strafes from the side with her panther gauntlets -- shooting Killmonger from a distance.", "INT. SHURI'S LAB, COCKPIT - DAY Ross flies the RTF over Wakanda, and sees the group of aircraft in the distance. ROSS Ok Shuri, I got'em what do I do? SHURI -LRB- 0. S. -RRB- Shoot them down genius! ROSS Alright... Ross places his hands on the firing mechanism. ROSS -LRB- CONT'D -RRB- Here goes nothing. A RED TARGETING CURSOR pops up on the display. Ross reacts, then guides the cursor over the cargo ship, and fires!", "EXT. WAKANDAN AIRSPACE The RTF goes into battle mode. Weapons pop out from opening all over the craft in quick succession. The RTF launches a SONIC BLAST that tears through the wing of the first cargo ship. Causing it to spiral down into the docking shores below.", "INT. SHURI'S LAB, COCKPIT - DAY Ross watches as the cargo ship drops. ROSS Alright, I got'em.", "EXT. WAKANDAN AIRSPACE The DRAGONFLYER PILOTS see the cargo ship drop and turn back around towards the RTF. THREE DRAFONGFLYERS immediately begin firing at the RTF. ROSS -LRB- CONT'D -RRB- Oh shit shit shit.", "EXT. MT. BASHENGA - DAY Panther tangles with the Border Tribe, but is suddenly SMASHED in the back by M20 and is sent flying through the air, and into a large rock.", "EXT. MT. BASHENGA, TOP OF THE HILL - DAY Killmonger lands two hard swiping blows on Nakia, slashing her arm and her leg, then throws her down the hill, leaving him alone with Shuri, who BLASTS AWAY at Killmonger, until he suddenly springs at her, GRABBING HER GAUNTLETS WITH HIS CLAWS and BREAKS THEM! DOWNHILL On the ground, Panther is suddenly swarmed by Border Tribesmen and PINNED DOWN, stabbed, kicked and slashed with blades by the mob. He sees Killmonger in the distance closing in on Shuri, and then expels the kinetic energy in his suit and. . . WHAM! ! ! T'CHALLA Shuri!! The DOG PILE is LAUNCHED off through the air! ON KILLMONGER AND SHURI KILLMONGER What's up, Princess? SHURI You' ll never be a true King. Killmonger ominously edges closer and flips his broken SPEAR preparing to go in for the kill when. .. Shuri DUCKS as Panther TACKLES KILLMONGER IN THE BACK, sending them both plunging down into the mine shaft! SHURI -LRB- CONT'D -RRB- Brother!!", "INT. VIBRANIUM MINE SHAFT - DAY Both falling down the massive cavern, Panther and Killmonger fight on their way down.", "INT. VIBRANIUM MINE BOTTOM - DAY Panther crashes to the bottom of the vibranium mine, wounded. Panther rolls over and barely dodges a knee drop from Killmonger. Killmonger and T'Challa exchange blows, Killmonger getting the better of T'Challa in his exposed areas, while T'Challa is getting nowhere. They both go for a super punch and knock each other back. T'Challa lands on his back and looks up at the sonic stabilizer. He radios to Shuri. T'CHALLA Shuri! SHURI -LRB- O.S. -RRB- Brother! T'CHALLA Turn on the train on the bottom track! SHURI -LRB- O.S. -RRB- But the stabilizers will deactivate your suit... you wo n't have protection! T'CHALLA Neither will he. SHURI Okay!", "EXT. MT. BASHENGA, TOP OF THE HILL - DAY Shuri activates a button on her Kimoyo beads.", "INT. VIBRANIUM MINE BOTTOM - DAY In the vibranium mine, down the track from Panther and Killmonger's fight, we see a light come on in the train port. As they fight, the panels light up in succession, and we see a silent, Maglev train hurdling right at them. Both fighters evade the train at the last second as the train whips past, creating a barrier between them too big to jump over. T'Challa stands up as his suit partially retracts into his necklace leaving his skin exposed. Killmonger, on the other side of the train, looks at his malfunctioning suit in confusion. He turns and looks back at the stabilizer. KILLMONGER I do n't need a suit to kill you. They look at each other from across the blinding fast train. KILLMONGER -LRB- CONT'D -RRB- Your reign is over. You sat up here safe and protected. T'CHALLA You want to see us become just like the people you hate so much? Divide and conquer the land as they did? KILLMONGER No I learn from my enemies -- beat them at their own game. T'CHALLA You have become them. You will destroy the world, Wakanda included. KILLMONGER The world took away everything away from me! Everything I ever loved! But I'm gon na make sure we're even. -LRB- MORE -RRB- KILLMONGER -LRB- CONT'D -RRB- I'm gon na track down anyone who would even think about being loyal to you, and I'm gon na put they ass in the dirt, right next to Zuri. Hatred flashes over T'Challa's eyes as he reengages his mask and the train clears. Killmonger engages his mask, and they leap at each other again.", "EXT. MT. BASHENGA, TOP OF THE HILL - DAY Shuri moves to Nakia's side and helps her up. SHURI Nakia! Are you alright? NAKIA I'm ok. You? SHURI Yes. NAKIA Let's go. They join the fight with Okoye and Ayo.", "INT. SHURI'S LAB, COCKPIT - DAY Ross begins maneuvering the controls like an expert pilot. He guides the ship through a canyon, chasing the remaining CARGO SHIP, while firing at the THREE DRAGONFLYERS that are all attempting to take him down. ROSS Shuri, I've lost one of them but two are on my tail.", "EXT. WAKANDAN CANYON The CARGO SHIP hurdles ahead, while the RTF navigates DRAGONFLER BLASTS and ROCK OUTCROPPINGS.", "INT. SHURI'S LAB, WAKANDAN DESIGN GROUP The building begins to shake as Ross, confused. ROSS What the hell was that? GRIOT -LRB- O.S. -RRB- The lab is under attack. ROSS What? Where? GRIOT -LRB- O.S. -RRB- Deactivating hologram. The display in front of Ross comes down, revealing A MASSIVE DRAGONFLYER FIRING SONIC BLASTS outside of the windows of the lab. Ross jumps at the sight of this. Realizing he is now sitting in a death trap. SHURI -LRB- O.S. -RRB- Ross! You have to get out of there now! ROSS How long have I got? GRIOT -LRB- O.S. -RRB- Glass integrity is at 50 % Ross looks at the window and thinks about it for a beat. He re-grips the pilot handles. ROSS Put me back in. SHURI -LRB- O.S. -RRB- Ross! Ross?! The ship projection comes back up, and Ross continues to fly.", "EXT. MT. BASHENGA, TOP OF THE HILL - DAY As our heroes fight, the Border Tribesmen continue to use their advanced shields to close them off into an impenetrable circle. Okoye looks around, searching for an option for escape through the sea of Border Tribesmen. We find W' Kabi in the distance perched atop M20 looking back at her. W'KABI Surrender now! You have three seconds to lay down your weapons! Okoye looks back resolute. W'KABI -LRB- CONT'D -RRB- One... two... The sound of an attack is heard from behind W'Kabi. LOUD CHANTS seemingly come from every direction as the entire perimeter of the Border Tribe is showing signs of being breached. Shuri, Okoye, Nakia, and Ayo look around confused, as one of the interior shield holding Border Tribesmen is suddenly lifted up by his collar, his shield disappearing as a result. We tilt up to reveal M'Baku holding him with one hand and SI X Jabari warriors behind him. M'BAKU Witness the might of the Jabari firsthand! M'Baku throws the border Tribesman into the sonic shield and we go around the horn to see the JABARI WARRIORS tearing through the border tribe perimeter with their wooden weapons. M'Baku, seeing the breaks in the interior shield calls for his troops to move forward. M'BAKU -LRB- CONT'D -RRB- Abya!!!! He jumps down from the rock followed by his troops. Okoye sees this and calls her troops forward. OKOYE Phambili!!!! Okoye leads the women forward through the gaps in the shield. M'BAKU breaks through, swinging his knobkerrie to change the tide of the battle. M'BAKU Abya!!!", "INT. VIBRANIUM MINE BOTTOM - DAY Killmonger and Panther continue to brawl. Killmonger lands a deadly headbutt and an oncoming train knocks them both to opposite sides of the track. As the train passes, Killmonger picks up the knife that fell into the mines along with them. ..", "EXT. WAKANDAN AIRSPACE - DAY The RTF does battle with the DRAGONFLYERS, using the sonic blasters to shoot down two of them, but taking significant damage. Ross has a clear line of sight to the last Talon Fighter. GRIOT -LRB- O. S. -RRB- Glass integrity is at 15 %. The two remaining Dragonflyers shoot vibranium drills into the hobbled RTF, slowing it down and allowing the Talon Fighter to pull away. The drills send an electronic pulse into the RTF. GRIOT -LRB- O.S. -RRB- -LRB- CONT'D -RRB- Critical weapons failure. ROSS Shuri! The last cargo ship is almost at the border, but they've got me trapped with some kind of cables. SHURI -LRB- O.S. -RRB- Make an X with your arms! Confused, Ross crosses his fists in front of him. GRIOT -LRB- O.S. -RRB- Sonic overload initiated. SHURI -LRB- O. S. -RRB- Now break it! Ross swings his arms open.", "EXT. WAKANDAN AIRSPACE - DAY The RTF lights charge up to the max and emit a powerful explosion of sonic energy- decimating the cables along with the dragonflyers they are attached to. The RTF lights go dead, and the massive ship begins to drop out of the sky, falling end over end towards the ground below. GIOT -LRB- O.S. -RRB- System rebooting in 5, 4, 3, 2... The RTF falls closer and closer to the ground. A bead of sweat drips off of Ross' temple. GRIOT -LRB- O.S. -RRB- l... system rebooted!", "EXT. WAKANDAN BORDER REGION - DAY The RTF lights come back on, and the sonic emitters at the bottom of the ship kick back into full capacity, causing the RTF to stop on a dime, hovering 12 feet from the ground. The sheer force from the sonic emission cracks the ground leaving a cymatic signature.", "INT. SHURI'S LAB, COCKPIT - DAY Ross punches it- heading straight for the last cargo ship.", "EXT. WAKANDAN AIRSPACE - DAY The cargo ship makes it over the last mountain of the Wakandan border and activates the cloaking technology. The RTF guns in the air at a 45 degree angle and BAM, it explodes as it collides with CARGO SHIP, deactivating its cloaking mode, causing pieces of the RTF and the CARGO SHIP to rain down over the Wakandan border.", "INT. SHURI'S LAB - COCKPIT - DAY Ross's cockpit disintegrates back into a pile of sand. Ross drops into it. ROSS Yes! We did it! SHURI Great! Now get out of there! Ross gets up and heads towards the ramp in the lab, as the glass blows out.", "EXT. MT. BASHENGA, TOP OF THE HILL - DAY M'Baku, surrounded by Border Tribesmen is held up while W'Kabi atop M20 comes charging straight at him, giving him nowhere to go, but at the last second, Okoye steps in front of M'Baku, staring M20 down who gallops towards her, and stops at the very last second, his horn inches from Okoye's face, M20 licks her face lovingly. W'Kabi dismounts and approaches Okoye slowly. Okoye points her spear at him. OKOYE Drop your weapon. W'KABI Would you kill me, my love? OKOYE For Wakanda? -LRB- she draws her weapon -RRB- Without question. W'Kabi sees the fire in Okoye's eyes. He looks around at the battlefie l d where the remaining Border Tribesmen are surrendering to the Jabari and Dora. W'Kabi looks at Okoye for long beat, then throws his sword into the dirt and kneels in front of her.", "INT. VIBRANIUM MINE BOTTOM - DAY Killmonger slashes at T' Challa with the spear, backing T'CHALLA up towards the lip of the track. As the train comes speeding towards them, both their suits retract, and T'Challa holds Killmonger off as Killmonger pushes the blade of the spear towards his face. KILLMONGER This is it for you, cousin. T'Challa turns towards the train and sees that it is about to end. He lets Killmonger swing towards him and dodges, backing up even closer to the edge of the track, and Killmonger swings again - but this time T'Challa punches Killmonger's arm, jarring the blade lose and sending it flying up into the air. T'Challa then does a ROLLING ARM BAR TAKEDOWN as the BROKEN SPEAR flips through the air. We track with the spear as the SONIC STABILIZATION FIELD turns off, and the train passes the two fighters. As the BROKEN SPEAR drops T'Challa catches it with his right hand and slams it into Killmonger's chest, just as both their suits form around them. Killmonger removes his helmet, then looks down at the blade that is buried in his chest. T'Challa, realizing this is it, removes his mask as well. KILLMONGER -LRB- CONT'D -RRB- Hell of a move. Killmonger struggles to breathe. KILLMONGER -LRB- CONT'D -RRB- My pops said Wakanda was the most beautiful thing he'd ever seen. He promised he was going to show it to me some day. Can you believe that? Kid from Oakland running around believing in fairy tales. Killmonger winces from the pain. T'Challa stands and picks Killmonger up, dragging him to his feet.", "INT. VIBRANIUM MINE ELEVATOR - DAY T'Challa supports Killmonger as both men ride a vibranium lift towards the mouth of the mine.", "EXT. MT. BASHENGA - SUNSET T'Challa stands at the top of the great mound next to Killmonger who is kneeling. Watching the sun creep down behind the horizon. KILLMONGER It's beautiful. T'Challa thinks for a long beat. T'CHALLA Maybe we can still heal you. Killmonger thinks on this. KILLMONGER Why? So you can just lock me up? Nah. Just bury me in the ocean, with my ancestors that jumped from the ships...'cause they knew death was better than bondage. Killmonger pulls the knife out of his chest, killing himself instantly. T'Challa looks down at his cousin's now lifeless body and becomes emotional.", "INT. TRIBAL COUNCIL ROOM - DAY In full royal regalia, T'Challa strolls in with confidence. Shuri, Ramonda, the Dora, including Okoye, Ayo and all of the Elders, even M'Baku, are present.", "EXT. STEP TOWN, GOLDEN CITY - MORNING T'Challa and Nakia stand together. T'CHALLA Thank you. You saved me. You saved my family. Our nation. NAKIA There is nothing to thank me for. It is our duty to... it was my duty to fight for what I love. I should have -- T'Challa kisses her. T'CHALLA You ca n't blame me I almost died. Nakia looks at him deeply, and kisses him back. T'CHALLA -LRB- CONT'D -RRB- Stay. I think I know a way you can still fulfill your calling. Please stay. Nakia looks at T' Challa with curious eyes. She kisses him.", "EXT. LAKE MERRITT APARTMENT COMPLEX, OAKLAND-DAY T'Challa and Shuri, dressed in subtle clothing, look at the now abandoned apartment building. In the distance a group of SIX KIDS ( mostly Black, some Latino ), play three on a rugged basketball hoop. SHURI When you said you would take me to California for the first time, I thought you meant Coachella, or Disneyland. Why here? T'CHALLA This is where our father killed our uncle. Shuri looks at T'Challa, shocked by his bluntness. She turns and stares closely at the building. We see her POV of large SIGNAGE that hints that the building is soon to be demolished. SHURI They are tearing it down. Good. T'CHALLA They're not tearing it down... I bought this building. Shuri turns to him confused. T'CHALLA -LRB- CONT'D -RRB- And that building, and that one over there... This will be the first Wakandan International Outreach Center. Shuri smiles at the surprise. T'CHALLA -LRB- CONT'D -RRB- Nakia will oversee the social outreach... And you will spearhead the science and information exchange. Shuri turns to T'Challa in shock at what this means. SHURI You're kidding! T'Challa hits a button on his Kimoyo bead, and the RTF comes out of cloaking, revealing itself to have been parked behind the kids playing basketball. A YOUNG BLACK KID turns back to see the ship as the other kids collectively lose their shit. OAKLAND KID #1 What?! Man what the hell is that? OAKLAND KID #2 That's like a Buggati space ship! OAKLAND KID #3 Woah, it came out of nowhere!!! Did y'all see that? YOUNG BLACK KID What... They start to run up to the ship and touch it. Unsure at first. OAKLAND KID #1 -LRB- O.S. -RRB- We can take this back to the house y'all... OAKLAND KID #2 -LRB- O. S. -RRB- We could pull up to school in this! OAKLAND KID #3 -LRB- O.S. -RRB- Hey look, we can break it apart and we can sell it! OAKLAND KID #2 -LRB- O.S. -RRB- On Ebay! OAKLAND KID #3 Everybody get like a million a piece. She starts off towards the kids, walking past the Young Black Kid. SHURI -LRB- O. S. -RRB- Uhhh I would n't do that if I were you guys... OAKLAND KID #1 -LRB- O.S. -RRB- Where you come from? SHURI -LRB- O. S. -RRB- From Wakanda. OAKLAND KID #1 -LRB- O.S. -RRB- What is a Wakanda? The Young Black Kid approaches T'Challa. YOUNG BLACK KID Hey yo! Is this yours? YOUNG BLACK KID -LRB- CONT'D -RRB- Who... who are you? T'Challa thinks on this and smiles. CUT TO TITLE : BLACK PANTHER TAG 1", "INT. UNITED NATIONS ASSEMBLY BUILDING, ROTUNDA - DAY T'Challa walks, flanked by Nakia, Okoye and Ayo.", "INT. UNITED NATIONS ASSEMBLY BUILDING - DAY Several assembly members move around the room preparing for a meeting. Suddenly a hush falls over the hall as the Wakandans enter and walk up to the center pit. T'CHALLA My name is King T'Challa, son of King T'Chaka. I am the sovereign ruler of the Nation of Wakanda and for the first time in our history we will be sharing our knowledge and resources with the outside world. Wakanda will no longer watch from the shadows. We can not, we must not. We will work to be an example of how we as brothers and sisters on this Earth should treat each other. Now more than ever, illusions of division threaten our very e xistence. We all know the truth : more connects us than separates us. In times of crisis, the wise build bridges, while the foolish build barriers. We must find a way to look after one another, as if we were one single tribe. The audience of WORLD LEADERS look around, bemused, wondering what Wakanda could possibly have to offer. A FRENCH AMBASSADOR ca n't help but lean into his microphone. FRENCH AMBASSADOR With all due respect, King T'Challa, what can a nation of farmers offer to the rest of the world? There are a few chuckles from the gallery. Nakia, Okoye and Ayo share a look. T'Challa smiles. TAG 2", "INT. WAKANDAN MEDICINE HUT - DAY Open on three NECROPOLITAN CHILDREN WITH PAINTED FACES looming directly over something, staring with curiosity. 122. The camera moves, startling the children who quickly flee the hut.", "EXT. WAKANDAN MEDICINE HUT - CONTINUOUS The kids race out of the hut and over to Shuri. SHURI Are you playing around with that man again? WAKANDAN CHILD No. Nol SHURI You're teasing him again? Bucky exits the hut to the sight of a beautiful Wakandan lakeside. He takes it all in with a deep breath. Outside the hut are WAKANDAN SHAMAN ( Man and Woman ) and SHURI, embracing the three giggling CHILDREN. TWO DORA MILAJE observe Shuri from a close distance. WAKANDAN CHILDREN Emhlophe Ingcuka. ( white wolf ) Bucky settles next to Shuri taking in her view of the lake. SHURI Good morning, Sgt. Barnes. BUCKY Bucky. SHURI How are you feeling? BUCKY Good. Thank you. Shuri smiles. SHURI Come. Much more for you to learn. He follows Shuri towards the other huts."], "labels": [1.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 1.0], "summary": "Thousands of years ago, five African tribes war over a meteorite containing the metal vibranium. One warrior ingests a \"heart-shaped herb\" affected by the metal and gains superhuman abilities, becoming the first \"Black Panther\". He unites all but the Jabari Tribe to form the nation of Wakanda. Over centuries, the Wakandans use the vibranium to develop advanced technology and isolate themselves from the world by posing as a Third World country. In 1992, Wakanda king T'Chaka visits his brother N'Jobu, who is working undercover in Oakland, California. T'Chaka accuses N'Jobu of assisting black-market arms dealer Ulysses Klaue with stealing vibranium from Wakanda. N'Jobu's partner reveals he is Zuri, another undercover Wakandan, and confirms T'Chaka's suspicions. In the present day, following T'Chaka's death, his son T'Challa returns to Wakanda to assume the throne. He and Okoye, the leader of the Dora Milaje regiment, extract T'Challa's ex-lover Nakia from an undercover assignment so she can attend his coronation ceremony with his mother Ramonda and younger sister Shuri. At the ceremony, the Jabari Tribe's leader M'Baku challenges T'Challa for the crown in ritual combat. T'Challa defeats M'Baku and persuades him to yield rather than die. When Klaue and his accomplice Erik Stevens steal a Wakandan artifact from a London museum, T'Challa's friend and Okoye's lover W'Kabi urges him to bring Klaue back alive. T'Challa, Okoye, and Nakia travel to Busan, South Korea, where Klaue plans to sell the artifact to CIA agent Everett K. Ross. A firefight erupts, and Klaue attempts to flee but is caught by T'Challa, who reluctantly releases him to Ross' custody. Klaue tells Ross that Wakanda's international image is a front for a technologically advanced civilization. Erik attacks and extracts Klaue as Ross is gravely injured protecting Nakia. Rather than pursue Klaue, T'Challa takes Ross to Wakanda, where their technology can save him. While Shuri heals Ross, T'Challa confronts Zuri about N'Jobu. Zuri explains that N'Jobu planned to share Wakanda's technology with people of African descent around the world to help them conquer their oppressors. As T'Chaka arrested N'Jobu, the latter attacked Zuri and forced T'Chaka to kill him. T'Chaka ordered Zuri to lie that N'Jobu had disappeared and left behind N'Jobu's American son to maintain the lie. This boy grew up to be Stevens, a black ops U.S. Navy SEAL who adopted the name \"Killmonger\". Meanwhile, Killmonger kills Klaue and takes his body to Wakanda. He is brought before the tribal elders, revealing his identity to be N'Jadaka and stating his claim to the throne. Killmonger challenges T'Challa to ritual combat, where he kills Zuri, defeats T'Challa, and hurls him over a waterfall to his presumed death. Killmonger ingests the heart-shaped herb and orders the rest incinerated, but Nakia extracts one first. Killmonger, supported by W'Kabi and his army, prepares to distribute shipments of Wakandan weapons to operatives around the world. Nakia, Shuri, Ramonda, and Ross flee to the Jabari Tribe for aid. They find a comatose T'Challa, rescued by the Jabari in repayment for sparing M'Baku's life. Healed by Nakia's herb, T'Challa returns to fight Killmonger, who dons his own nanotech suit, similar to T'Challa's. W'Kabi and his army fight Shuri, Nakia, and the Dora Milaje, while Ross remotely pilots a jet and shoots down planes carrying the vibranium weapons. M'Baku and the Jabari arrive to reinforce T'Challa. Confronted by Okoye, W'Kabi and his army stand down. Fighting in Wakanda's vibranium mine, T'Challa disrupts Killmonger's suit and stabs him. Killmonger refuses to be healed, choosing to die a free man rather than be incarcerated; T'Challa takes him to the waterfall where they fought, where Killmonger dies peacefully. T'Challa establishes an outreach center at the building where N'Jobu died, to be run by Nakia and Shuri. In a mid-credits scene, T'Challa appears before the United Nations to reveal Wakanda's true nature to the world. In a post-credits scene, Shuri helps Bucky Barnes with his recovery.", "name": "Black_Panther"}
{"scenes": ["\"PET SEMATARY\" FADE IN ON that most persistent summer SOUND : crickets in high grass - ree - ree - ree - ree. This in dark which slowly", "EXT.  A GRAVE MARKER  SUMMER DAY It's a plywood cross leaning aslant. Written on the crossarm in black paint which has faded : SMUCKY HE WAS OBEDIENT. The letters are faded. They are also straggling and ill - formed - the work of a child. MAIN TITLES BEGIN.", "EXT.  ANOTHER GRAVE MARKER A child's printing again, this time on a chunk of warped crating : BIFFER BIFFER A HELLUVA SNIFFER UNTIL HE DIED HE MADE US RICHER 1971 - 1974. MAIN TITLES CONTINUE", "EXT.  TWO MARKERS I think all these shots are LAP DISSOLVES. All is silence but for the crickets and the wind stirring the grass. Around the markers themselves, the grass has been clipped short, and by some markers there are flowers in cheap vases. Crisco cans, Skippy peanut butter jars, etc.. These two markers : IN MEMORY OF MARTA OUR PET RABIT DYED MARCH 1, 1965 -LRB- on a wide flat board -RRB- and GEN PATTON -LRB- OUR! GOOD! DOG! -RRB- APRIL 1958 -LRB- another board -RRB-. MAIN TITLES CONTINUE", "EXT.  FIVE OR SIX MARKERS We ca n't read all of them ; some are too faded -LRB- or the `` gravestones'' themselves too degenerated -RRB-, but we can see now that this woodland clearing's a rather eerie - and well - populated - animal graveyard. We can see : POLYNESIA, 1953 and HANNAH THE BEST DOG THAT EVER LIVED. HANNAH'S tombstone is part of an old Chevrolet hood, painstakingly hammered flat. MAIN TITLES CONTINUE.", "EXT.  ANGLE ON THE PET SEMATARY From here we can see most of the clearing, which is surrounded by forest pines. We can see that the graves - maybe 80 in all - are arranged in rough concentric circles. On the far side of this clearing is the end of a path which spills into this graveyard clearing. The end of the path is flanked by wooden poles which hold up a crude arch. We can see no writing on this side - the words on the arch face those arriving along the path. MAIN TITLES CONTINUE", "EXT.  THE ARCH, FROM THE PATH SIDE, CU MAIN TITLES CONCLUDE. Written on the arch in faded black paint is the work of some long - gone child : PET SEMATARY. THE CAMERA HOLDS ON THIS FOR A MOMENT OR TWO, THEN PANS SLOWLY DOWN to look through the arch. From this angle we are looking across to a deadfall - a tangle of weather - whitened old dead branches at the back of the graveyard. It's maybe twenty - five feet from side to side and about nine feet high. At either end are thick tangles of underbrush that look impassible. AS MAIN TITLES CONCLUDE, THE CAMERA MOVES SLOWLY IN on the deadfall. And as it does, we realize that there is a horrible snarling face in those branches. Is this an accident? Coincidence? Our imagination? Perhaps the audience will wonder. THE CAMERA HOLDS ON IT and then we BLACK. And a white title card : MOVING DAY.", "EXT.  A HOUSE IN THE COUNTRY  EVENING SOUND of crickets : ree - ree - ree - ree. To the left of this house : a big empty field. Behind it : the woods. Before it : a wide two - lane road. The house is a pleasant two - story New England dwelling with a shed/garage attached. In front of it is a sign which reads QUINN REALTORS 292 HAMMOND STREET, BANGOR. A big SOLD strip, like a bumper sticker, has been plastered across it diagonally. GROWING SOUND : the rumble of a truck. A big, big truck. It belts between the CAMERA and the house - a tanker truck with a silver body and the word ORINCO written on the side in blue letters. Its short - stack is blowing quantities of dark brown smoke. Behind it comes a Ford wagon, which slows, signals, and turns into the driveway of the house we've been looking at.", "EXT.  REAR OF THE WAGON As LOUIS CREED brings it to a stop we get a good look at the license plate -LRB- Illinois -RRB- and a bumper sticker -LRB- HAVE YOU HUGGED YOUR M.D. TODAY? -RRB- The ENGINE SOUND stops. For a moment or two we hear only the ree - ree - ree - ree of crickets. Then : ELLIE CREED -LRB- voice. -RRB- Is this our new house, daddy? LOUIS CREED -LRB- voice. -RRB- This is it.", "EXT.  THE WAGON, A NEW ANGLE The two front doors and one back door open. LOUIS CREED, about 32, gets out from the driver's side. RACHEL CREED, his wife, gets out from the passenger side. From the rear door comes ELLIE CREED, a girl of 6. They are staring, fascinated, at the house. They come together, the three of them, by the front of the wagon, still staring at the house. LOUIS is clearly nervous. LOUIS So. what do you think? RACHEL begins to smile. She turns to LOUIS and hugs him. RACHEL It's gorgeous! ELLIE Am I really gon na have my own room? LOUIS Yes. ELLIE Yaay! She looks toward the side lawn and sees a tire on a rope hanging down from the bough of a tree. ELLIE -LRB- to RACHEL. -RRB- Is that a swing? RACHEL Yes, but the rope might be - ELLIE Yaay! She goes running toward it. RACHEL gives LOUIS a tired smile. LOUIS Let her go. It's cool. RACHEL Louis, the house is beautiful. They kiss - gently at first, then more passionately. As he draws her more tightly against him, a baby - GAGE - begins to cry from the car. LOUIS and RACHEL break the clinch. RACHEL The Master of Disaster awakes. This SOUND is joined by the unhappy yowling of a pent - up tomcat. LOUIS And Buckaroo Banzai. RACHEL Come on - let's parole'em. They walk to the car, RACHEL going to one of the back seat doors, LOUIS to the rear of the wagon.", "INT.  THE FRONT SEAT, WITH RAHEL AND GAGE GAGE is sitting in his car seat, not exactly crying but certainly yelling to be let out. The seat, dash, and floorboards are littered with roadmaps, soda cans, Big Mac boxes, and similar crud. These folks have driven all the way from Chicago to Maine in this station wagon, and the wagon looks it. RACHEL Decided to wake up and see what home looks like, huh? She begins to unbuckle the straps and harnesses. GAGE is just wearing a t - shirt and a diaper. He's fifteen months old.", "EXT.  THE REAR OF THE WAGON, WITH LOUIS He opens the doorgate and lifts out a cat carrier. We see a big tomcat inside - mostly what we're aware of are shining green eyes. ELLIE -LRB- voice. -RRB- Daddy! Mommy! I see a path! LOUIS, cat carrier still in hand, turns toward :", "EXT.  ELLIE IN THE TIRE SWING She's got it penduluming back and forth in long wide arcs.", "EXT.  THE VIEW UP TOWARD THE WOODS, ELLIE'S POV We see the field, and a clearly marked and mown path leading up its flank and into the dark woods. THE CAMERA DIPS AND PENDULUMS as ELLIE swings.", "EXT.  RACHEL AND GAGE (FRONT OF THE CAR) RACHEL -LRB- irritated. -RRB- Not so high, Ellie! You do n't know how strong that rope is. She puts GAGE down. He totters a bit on his little legs and then stands there, looking at his sister.", "EXT.  THE ROPE AND THE BRANCH, CU The bark has rubbed off the branch - it looks like a bone peeping through decayed flesh. The rope is old, discolored. And it is fraying away as we look at it. Soon ELLIE, like Humpty Dumpty, is going to have a great fall.", "EXT.  LOUIS (REAR OF THE CAR) He's set the cat - carrier down and is straightening up. ELLIE -LRB- raptuous voice. -RRB- Wheee! LOUIS Ellie, you heard your m - His eyes widen.", "EXT.  ELLIE ELLIE Wh - SOUND : A heavy twang! as the rope breaks. The tire swing - with ELLIE still inside it - goes crashing to the grass. ELLIE screams and begins to cry - a little hurt and a lot surprised. LOUIS and RACHEL run to her. LOUIS Ellie! Are you all right? RACHEL Honey? Are you okay?", "EXT.  ELLIE, RACHEL, LOUIS, A CLOSER SHOT ELLIE'S parents reach the tangle of tire, rope, and six - year - old girl. ELLIE Hurrts! It hurrrrts! LOUIS Anyone who can scream that loud is n't ready for intensive care just yet - looks like she just skinned her knee. Nevertheless, he begins to rapidly disentangle his daughter from the tire. RACHEL helps.", "EXT.  GAGE He's standing in the driveway by the front of the car, utterly forgotten in the heat of the moment. His diaper is sagging quite a bit ; the boy needs a change. He stares toward the scene of the accident for a bit, then loses interest. CAMERA FOLLOWS as he walks down the side of the station wagon, little bare feet slapping on the asphalt. He stops for a moment at the back, looking at the cat - carrier, which LOUIS never got around to opening. CHURCH is staring hopefully out through the mesh. GAGE Hi - Durch! CHURCH Waow! GAGE bends down and tries to open the cat - carrier's door. No soap. Either he ca n't solve the latch or his fingers do n't have the strength. Anyway, he stops trying after a moment. SOUND : Growing thunder of an approaching truck - a big one.", "EXT.  THE ROAD (GAGE'S POV) A big tanker truck - silver body, ORINCO written on the side in blue letters - blasts by.", "EXT.  GAGE, BY THE CAT CARRIER The windlash if the passing truck blows GAGE'S hair back from his forehead. We should be scared here - not by the truck, but by GAGE'S lack of fear. He's smiling, happy. GAGE Druck! He starts down the driveway toward the road.", "EXT.  LOUIS, RACHEL, ELLIE (AT THE SWING) ELLIE has been disentangled from the swing. She's sitting by the wreckage at the end of the driveway, weeping hysterically -LRB- as much from tiredness as from pain, I think -RRB- as LOUIS and RACHEL examine her scraped knee. The wound does n't look too serious. LOUIS -LRB- to RACHEL. -RRB- Would you get the first aid kit? ELLIE -LRB- screaming. -RRB- Not the stingy stuff! I do n't want the stingy stuff, daddy! RACHEL suddenly looks around toward :", "EXT.  THE FRONT OF THE WAGON (RACHEL'S POV) No one there.", "EXT.  RACHEL, ELLIE, LOUIS, BY THE SWING RACHEL Gage's gone! LOUIS Jesus, the road! They get up together.", "EXT.  GAGE, AT THE EDGE OF THE ROAD A truck is coming. A great big one.", "EXT.  ANGLE ON THE TRUCK, CU The grille looks like a tombstone that's learned how to snarl.", "EXT.  GAGE He takes a step into the road. and then big, gnarled hands grab him. GAGE looks rather surprised at this, but not worried - this kid is used to being picked up and treated humanely. To GAGE strangers are as interesting as. well, as interesting as Orinco trucks.", "EXT.  GAGE AND JUD CRANDALL The fellow who has picked GAGE up is a man of about eighty in old blue jeans, a faded Bruce Springsteen t - shirt. Over this he wears a faded khaki vest with bright silver buttons. His face is deeply wrinkled and kindly. JUD CRANDALL -LRB- to GAGE. -RRB- No you do n't, my friend - not in that road. But he softens this with a grin. GAGE grins back at him. GAGE Drucks! JUD -LRB- low. -RRB- No shit, Sherlock. JUD carries him up the driveway to the station wagon. Here he's joined by LOUIS and RACHEL, out of breath and really scared. ELLIE brings up the rear. She's still sniffling. RACHEL Gage! JUD -LRB- hands him to her. -RRB- He was headed for the road, looked like. I corralled him for you, missus. RACHEL Thank you. Thank you so much. LOUIS Yes - thanks. I'm Louis Creed. He sticks out his hand and JUD shakes it. LOUIS takes it easy - no crushing JayCees grip, or anything like that - the old guy looks as if he might have arthritis. JUD Jud Crandall. I live just across the road. RACHEL I'm Rachel. Thanks again for saving the wandering minstrel boy, here. JUD No harm, no foul. But you want to watch out for that road. Those damn trucks go back and forth all day and most of the night. He leans over toward ELLIE. JUD Who might you be, little Miss? ELLIE I'm Ellen Creed and I live at 642 Alden Lane, Dearborn, Michigan. -LRB- Pause. -RRB- At least, I used to. JUD And now you live on Route 9 in Ludlow, and your dad's gon na be the new doctor up to the college, I hear, and I think you're going to be just as happy as a clam here, Ellen Creed. ELLIE -LRB- to LOUIS. -RRB- Are clams really happy? They all laugh - even GAGE. RACHEL Excuse me, Mr. Crandall - I've got to change this kid. It's nice to meet you. JUD Same here. Come over and visit when you get the chance. As RACHEL, carrying GAGE, moves away : ELLIE -LRB- worries. -RRB- Daddy, do I really have to have the stingy stuff? LOUIS No - I guess not. ELLIE Yayyy! She goes belting off. JUD -LRB- amused. -RRB- I guess your daughter there ai n't going to die after all. LOUIS -LRB- also amused. -RRB- I guess not. JUD House has stood empty for too long. It's damn good to see people in it again. SOUND : A truck engine, gearing down.", "EXT.  A MOVING VAN It blinks and comes lumbering into the Creed's driveway.", "EXT.  LOUIS AND JUD LOUIS Hey - they actually found the place! JUD Movin' in's mighty thirsty work. I usually sit out on my porch of an evening and pour a couple of beers over m ` dinner. Come on over and join me, if you want. LOUIS Well, maybe I - RACHEL -LRB- voice. -RRB- Louis, what's this?", "EXT.  RACHEL AND GAGE GAGE has been changed, and RACHEL is following him as he explores the nearest edges of the new homestead. They are fairly close to the wreckage of the tire swing, and here is the head of the path ELLIE has already glimpsed.", "EXT.  LOUIS AND JUD They cross to the van. The FIRST and SECOND MOVERS are just climbing out of the van. FIRST MOVER You Mr. Creed? LOUIS Yes. Just a second.", "EXT.  RACHEL AND GAGE, AT THE HEAD OF THE PATH She's holding GAGE on her hip now, and both of them are looking at that strange -LRB- and oddly enticing -RRB- path which disappears into the deepening twilight. LOUIS and JUD join them. LOUIS The movers - RACHEL Yes - I know. This path, Louis? Where does it go? LOUIS I do n't have the slightest idea. When I saw the house, this field was under four feet of snow. RACHEL -LRB- smiling. -RRB- I bet Mr. Crandall knows! JUD nods. He smiles, too, but underneath the smile we sense that he is serious. JUD Oh, ayuh! I know. It's a good story, and a good walk, too. I'll take you up there sometime, and tell you the story, too - after you get settled in. He smiles at them and they smile back - it is a look of understanding and real liking, in spite of the age difference between the CREEDS and JUD.", "EXT.  THE CREED HOUSE  NIGHT SOUND : Crickets. Ree - ree - ree - ree. There's one light upstairs, one downstairs. Perhaps we see the path, glimmering away into the field? Either by virtue of it being mown, or by virtue of some gentle optical trick? Maybe.", "INT.  THE LIVING ROOM  NIGHT There's a light on in the kitchen, but it just casts a dim glow in here. The room has a fireplace and a lovely wooden floor. It's going to be nice, but now it's just a big bare box with movers' cartons stacked all over the place. LOUIS is drinking a can of Pepsi, and he looks pretty damned tired - anyone who's ever moved house and can remember the first night in the new place will understand. He finishes the last of the Pepsi and surveys the living room. He sits on one of the bigger boxes, takes cigarettes from his pocket, and lights one. He drops the spent match in the empty can, and taps into the can during the scene. SOUND : Feet coming down the stairs. The door on the far side of the room opens and RACHEL comes in, wearing a nightgown. RACHEL -LRB- crossing to LOUIS. -RRB- Kids are asleep, doc. LOUIS Great. He hugs her. She hugs him back warmly - for a moment they are just two good people in all the big darkness of their new house. RACHEL You're not really going over to have a beer with that old guy, are you? LOUIS Well, I've got a million questions about the area, and - RACHEL - and you'll end up doing a free consultation on his arthritis or urinary problems and - LOUIS Did you see his shirt? RACHEL -LRB- giggles. -RRB- Sure. Bruce Springsteen. LOUIS I really do have a million questions about the area. but the thing I'm really curious about is how come this octogenarian Yankee is decorating the slumped remains of his pecs with the Boss. She laughs.", "EXT.  THE PATH OF THE CRANDALL HOUSE  NIGHT Pervasive SOUND of the crickets as LOUIS comes rather hesitantly up the crazy - paved path from the road's edge. JUD -LRB- voice. -RRB- That you, doc?", "EXT.  THE SCREENED-IN PORCH OF THE CRANDALL HOUSE We hear the SQUEAK of a rocker ; we see the dim red fitful glow of JUD'S Pall Mall. We see by its glow that he is wearing Walkman earphones.", "EXT.  LOUIS LOUIS It's me.", "INT.  THE PORCH, WITH JUD The Walkman is in his lap. He switches it off and puts the headphones casually around his neck, like a kid. JUD Well, come on up and have a beer.", "INT.  THE PORCH, A SLIGHTLY WIDER SHOT LOUIS comes on up. JUD has got a pail of ice beside his chair with some cans of beer in it. He opens one and hands it to LOUIS. JUD You need a glass? LOUIS Not at all. JUD Good for you. LOUIS drinks half the can at a draught. LOUIS God, that's fine. JUD Ai n't it just? The man who invented beer, Louis, that man was having a prime day for himself. LOUIS What were you listening to? JUD Allman Brothers. LOUIS What? JUD The Eat A Peach album. God, they were good before drugs and bad luck caught up with them. Listen to this, Louis. He passes the headphones over. LOUIS puts them on. JUD presses the Walkman's PLAY button. SOUND : Ramblin' Man blasts us out of our seats. LOUIS winces and rakes the spidery earphones off his head. JUD I'm sorry. Wait. He turns it down. JUD Try that. LOUIS puts the earphones back on and listens for a few moments. It's the instrumental break. Gregg and Duane Allman dueling hot Fenders. LOUIS takes the earphones off. LOUIS Nice. JUD I like rock and roll. No. I guess that's too mild. I love it. Since my ears started to die out on me, it's the only music I can really hear. And since my wife died. I dunno, some - times a little rock and roll fills up night. Not always, but sometimes. -LRB- Pause. -RRB- One more time - welcome to Ludlow. Hope your time here will be a happy one. LOUIS -LRB- great sincerity. -RRB- Thank you, Mr. Crandall. He drinks again - they both do. There's a moment of companionable silence here, broken by the SOUND of a big truck. They look toward :", "EXT/INT.  THE ROAD (THROUGH THE PORCH SCREEN) One of those big tanker trucks goes rumbling by - now there are little amber running lights on top of it. It's going fast, too - sweeps by in a blast of air.", "INT.  THE PORCH, WITH LOUIS AND JUD LOUIS -LRB- wincing. -RRB- Jesus! JUD -LRB- lights a cigarette. -RRB- That's one mean road, all right - you remember that path your wife commented on? LOUIS The one that goes into the woods - sure. JUD That road - and those Orinco trucks - are the two main reasons it's there. LOUIS What's at the end of it? JUD -LRB- smiles. -RRB- Another day - after you get settled in a bit. Meantime, doc - Here JUD raises his glass in a toast. JUD -LRB- continues. -RRB- Here's to your bones. LOUIS clinks his glass against JUD'S. LOUIS And yours. They drink.", "EXT.  ROUTE 9  NIGHT LOUIS crosses from the CRANDALL side to his own, and the CAMERA FOLLOWS as he walks slowly up the driveway and past the wagon. He pauses for a moment, looking thoughtfully - hopefully - at his new house. Then something - the CRY of an OWL, perhaps - draws his attention the other way. toward the path. He walks to its head and stands looking out at it - it glimmers in a wide cut swath that's a bit ghostly in the dark. A SHAPE suddenly lurches out of the high grass at him, and LOUIS recoils with a startled, muffled cry.", "EXT.  CHURCH The cat, sure ; who - or what - else? We see his big green eyes in the dark as he cries his strange feline hello : Waow!", "EXT.  LOUIS AND CHURCH, AT THE HEAD OF THE PATH LOUIS Church! God, you scared the life out of me! CHURCH Waow! LOUIS bends and picks up the cat. As he does, that truck SOUND comes again and he looks toward :", "EXT.  THE ROAD, LOUIS'S POV Another Orinco tanker drones by, fast.", "EXT.  LOUIS AND CHURCH LOUIS -LRB- to the cat. -RRB- I know one thing that will keep you home, good buddy. He starts toward the house. BLACK. And in that blackness, we see a second title card : THE DEAD SPEAK.", "INT.  A KITCHEN BLACKBOARD, CU  DAY Written on it is : MONDAY 1. -RRB- CHURCH SPAYED 10 A.M. QUENTIN JOLANDER, D.V.M. And below, in even bigger letters : 2. -RRB- ELLIE'S FIRST DAY OF SCHOOL! THE CAMERA PANS LEFT, showing us the kitchen. There are still a few cardboard cartons around, but the place is getting in shape. We look out the window and see the CREEDS, led by JUD CRANDALL, climbing the path toward the woods. LOUIS has got GAGE in a Gerrypak.", "EXT.  AT THE TOP OF THE HILL, WITH CREEDS AND JUD They are also at the edge of the woods. JUD stops and lets them catch up. JUD Take a look behind you. They turn around, and their faces express their wonder. LOUIS My God! RACHEL It's beautiful!", "EXT.  THE VIEW It is indeed beautiful. The CREED house is in the f.g., Route 9 just behind it -LRB- with one of the ever - present Orinco trucks droning along -RRB-, but behind that is the great sweep of the Penobscot river valley, dozing under a fall sky of clear blue.", "EXT.  AT THE TOP OF THE HILL, WITH JUD AND THE CREEDS JUD You folks ready to go on? LOUIS Sure. ELLIE But where are we going, Mr. Crandall? JUD You'll see soon enough, hon. They go into the woods, still following the path.", "EXT.  FOREST  DAY These are old woods indeed - huge trunks with dusty sunlight shafting through them. It looks as though man has never made his mark here. THE CAMERA PANS SLOWLY DOWN to them, on the path. Here it is carpeted with pine needles, but it is just as clearly marked. JUD stops. LOUIS looks glad of the rest ; he's sweating and there are wide dark patches under his arms where the Gerrypak's straps are. LOUIS Who owns the woods up ahead? Paper companies? JUD Nope. The Micmac Indians. What's up ahead is all that's left of their tribal lands. ELLIE -LRB- giggling. -RRB- Micmac, Ricmac, Kickmac, Sickmac. JUD -LRB- smiles. -RRB- Ayuh, it's a funny word, ai n't it? You tired of totin' that yowwen yet, doc? LOUIS Not yet. how much further is it? JUD Aw, you'll be okay. Less than a mile. He starts off again, fresh as a daisy. ELLIE scampers after him. LOUIS rolls his eyes at his wife and RACHEL rolls hers back. Then they press on.", "EXT.  THE ARCH READING PET SEMATARY", "EXT.  JUD AND THE CREEDS, ON THE PATH JUD -LRB- stopping. -RRB- This is the place, honey. ELLIE is of course second. Se tries to read the words on the arch but ca n't. She whips around to look at her mother. ELLIE What's it say, mommy? A strange expression has come over RACHEL'S face - she does n't like this. Not a bit. RACHEL It says Pet Cemetery, hon. It's misspelled, but. that's what it says. She runs for the arch. RACHEL starts ; looks more uneasy than ever. RACHEL Ellen -!", "EXT.  ELLIE She's almost under the arch. She looks back, questioning.", "EXT.  RACHEL, LOUIS, JUD RACHEL -LRB- a bit lame. -RRB- Be careful.", "EXT.  ELLIE She goes racing into the Pet Sematary.", "EXT.  RACHEL, LOUIS, JUD JUD lights a cigarette with a wooden match, using his thumbnail. JUD I told you it was a bad road, Louis - it's killed a lot of pets and made a lot of kids unhappy. But at least something good come of it. This place. ELLIE -LRB- excited voice. -RRB- Mom! Dad! Y' oughtta see it!", "EXT.  ELLIE, AT THE EDGE OF THE SEMATARY She surveys the rude markers with puzzled delight, then runs toward the center, pausing to investigate some of the markers as she goes. We clearly see the symmetrical pattern of rings.", "EXT.  RACHEL, LOUIS, JUD They are walking slowly toward that rude archway. LOUIS is extremely interested in all this, but it's becoming clearer and clearer that RACHEL is troubled. They stop and look in. RACHEL How can you call it a good thing? A graveyard for pets killed in the road! Built and maintained by broken - hearted children! JUD Well, but Missus Creed! It ai n't quite that way, deah! LOUIS I think it's rather extraordinary. RACHEL Extraordinarily morbid, maybe. She's growing more and more upset. JUD looks at her curiously. JUD Well. they have to learn about death somehow, now do n't they, Missus Creed? The little ones? RACHEL -LRB- coldly. -RRB- Why? JUD Well. well, because - ELLIE -LRB- voice. -RRB- Mommy! Daddy! Look at me!", "EXT.  ELLIE, ON THE DEADFALL She has begun to climb it, and this looks like an extremely dangerous proposition. ELLIE, however, is having the time of her life. A branch breaks under one of her feet and she switches nimbly to the next one up.", "EXT.  THE GROWNUPS, AT THE ARCH JUD -LRB- alarmed. -RRB- No, honey! You do n't want to go climbing on that! Come on down! He hurries in.", "EXT.  ELIIE, ON THE DEADFALL She looks back at JUD. ELLIE It's okay, Mr. Crandall -", "EXT.  ELLIE'S FOOT, CU The branch she's on breaks with a dry CRRRACK. Her foot drops down suddenly.", "EXT.  ELLIE AND JUD She totters backward, pinwheeling her arms, and JUD catches her as she falls. Not much of a catch because she was n't too far up. LOUIS joins JUD and ELLIE. GAGE jounces along on his back. LOUIS Have you got a death - wish, Ellen? ELLIE Well, I thought it was safe - JUD Best never to go climbing on old blowdowns like this, Ellie - sometimes they bite. ELLIE Bite? JUD Ayuh.", "EXT.  RACHEL, STANDING AT THE ARCH Her discomfort makes one thing very clear - she does n't want to come in. RACHEL -LRB- calls. -RRB- Is she all right, Louis?", "EXT.  LOUIS, JUD, ELLIE LOUIS -LRB- calls back. -RRB- Fine! Come and see!", "EXT.  RACHEL, STANDING AT THE ARCH RACHEL -LRB- calling. -RRB- I think I'll sit this one out, doc.", "EXT.  LOUIS, JUD, ELLIE--BY THE DEADFALL ELLIE I want to look around, daddy - may I? LOUIS For a little while. JUD looks toward :", "EXT.  RACHEL AT THE ARCH (ELLEN IN F.G.) RACHEL has retreated a bit. She sits on the pine needle carpet of the path, opens her purse, and draws out cigarettes.", "EXT.  LOUIS AND JUD JUD looks at LOUIS as if to say `` What's all this about?'' LOUIS looks away. ELLIE -LRB- voice. -RRB- Dad! Daddy! Look! A goldfishie!", "EXT.  ELLIE She runs from one tombstone to the next, cheerful as maybe only a kid could be in such a place. She looks at BIFFER'S tombstone ; at SMUCKY'S.", "EXT.  LOUIS AND JUD They are walking slowly toward her. LOUIS is looking at the tombstones. LOUIS I can hardly read these. JUD Ayuh - they get older as you go toward the middle. -LRB- Points. -RRB- Pete LaVasseur's dog is buried there. -LRB- points. -RRB- the Stoppard boys' racing pigeon that Missus Cowley's cat got. and I think that's the cat himself right there, although it's been so many years I ca n't tell for sure. -LRB- calling. -RRB- Missy Ellen! Come over here just a minute!", "EXT.  ELLEN She runs amid the tombstones - they have worked their way near to the center and there are quite a few of them - and joins the adults. JUD I see you're quite a reader for such a little girl. Can you read that? He points again, and Ellen goes over for a look - see.", "EXT.  ELLEN, AT THE GRAVE MARKER It is a small slate marker slanted to one side. ELLEN reads the words laboriously, tracing them with her finger. ELLEN `` Spot a good fellow we love you boy.'' -LRB- Pause. -RRB- `` Owned by Judson. Judson.'' Gee, I ca n't read the rest.", "EXT.  JUD AND LOUIS JUD Last name's Crandall, little missy. LOUIS looks at him sharply as ELLIE rejoins them. JUD That's where I buried my dog Spot when he died of old age in 19 and 14. Dug it good and deep. By the time I finished, I had blisters all over my hands and a hell of a crick in my back. Soil's stony up here. ELLIE looks awed. LOUIS looks a little awed, too. JUD sweeps a hand around, indicating the whole sematary, but is still looking at ELLEN. JUD Do you know what this place is, Ellie? Oh, I know you know it's a boneyard, but a bone ai n't nothing and even a whole pile of'em do n't amount to much. Do you know what a graveyard really is? ELLIE Well. I guess not. JUD It's a place where the dead speak, Missy. He sees her startled, uneasy expression and laughs. He ruffles her hair reassuringly. JUD No - not right out loud. Their stones speak. or their markers. Even if the marker ai n't nothing but a tin can someone wrote on with a Magic Marker, it speaks. Ai n't that so, Louis? LOUIS I think it is so, Ellie. ELLIE What if you ca n't read what's written on there anymore? JUD Well, it still says some animal got laid down here after, do n't it? ELLIE Yes - LOUIS And that someone cared enough about that animal to mark the spot. ELLIE To remember. JUD -LRB- smiles. -RRB- Yes. To remember. This ai n't a scary place, Ellie. It's a place of rest and speaking. Can you remember that? ELLIE -LRB- a little awed. -RRB- Yes, sir. They start to walk slowly back toward the arch.", "EXT.  RACHEL, OUTSIDE THE ARCH It's clear she's impatient and out - of - sorts with the whole thing. RACHEL -LRB- calls. -RRB- Louis, can we go? I'm tired!", "EXT.  LOUIS, ELLIE, JUD ELLIE Mommy! This is a place where dead animals talk! Mr. Crandall said so!", "EXT.  RACHEL AND ELLIE But RACHEL is not amused. She does n't like any of this. RACHEL -LRB- soft. -RRB- Did he.", "EXT.  LOUIS AND JUD LOUIS My wife is not crazy about cemeteries of any kind. As you may have noticed. JUD Me neither. But I believe in knowing your enemy. LOUIS looks at him, startled, then decides this is a joke. He laughs. JUD smiles, a trifle thinly.", "EXT.  THE ARCH, A NEW ANGLE The men rejoin RACHEL and ELLIE. LOUIS -LRB- voice. -RRB- Did we take too long? RACHEL -LRB- curt. -RRB- Well, if supper's burned, I'm not the one going out for pizza. They move away.", "EXT.  THE DEADFALL, FROM THE ARCH The face we saw at the beginning of the movie was n't there when the visitors were there. but it's sure there now, leering at us.", "INT.  THE KITCHEN TRASH CAN  NIGHT There are two greasy boxes poking out with NAPOLI PIZZA stamped on them. Guess dinner was burned. THE CAMERA PULLS BACK and we se LOUIS sitting at the kitchen table. The table is covered with newspapers. On it, LOUIS is putting together a complicated model boat, using glue and tweezers. He's wearing glasses. ELLIE comes in, wearing a nightgown. She watches him for awhile. LOUIS -LRB- not looking around. -RRB- Hi, babe. ELLIE Daddy, that Pet Sematary is there because of the road, is n't it? LOUIS looks around at her, surprised. ELLIE That's what I think. I heard Missy Dandridge tell Mom when Church was fixed he would n't cross the road so much. LOUIS Well, it's always better to take precautions - but I'm sure Church will be all right, honey.", "INT.  JUST OUTSIDE THE KITCHEN DOOR RACHEL is coming along with some dirty dishes. She hears voices and stops, listening, her face troubled and afraid. ELLIE -LRB- voice. -RRB- No he wo n't! Not in the end! He wo n't be all right in the end no matter how you fix ` im!", "INT.  LOUIS AND ELLIE Ellis has started to cry. ELLIE In the end he's gon na croak, is n't he? LOUIS Lovey. Church might be still alive when you're in a high school. and that's a very long time. ELLIE It does n't seem long to me. It seems short. I think the whole thing about pets dying s - s - sucks! Poor kid's bawling her eyes out now. LOUIS folds her into his arms and she hugs him tightly, wanting his comfort. LOUIS If it was up to me I'd let Church live to be a hundred. but I do n't make up the rules. ELLIE -LRB- muffled. -RRB- Well who does? God, I suppose. But he's not God's cat! He's my cat! Let God get His own, if He wants one! Not mine! Not mine! Not - She breaks down completely, sobbing, and LOUIS rocks her back and forth.", "INT.  THE HALLWAY OUTSIDE THE KITCHEN, WITH RACHEL She is crying silently.", "INT.  ELLIE'S BEDROOM  NIGHT She is a dimly perceived hump in the darkness. An oblong shaft of light falls on her, illuminating her more clearly. She's asleep with her teddy encircled by one arm and her thumb corked into her mouth.", "INT.  THE DOORWAY, WITH RACHEL RACHEL looks at her daughter with infinite love and then quietly closes the door.", "INT.  LOUIS'S AND RACHEL'S BEDROOM  NIGHT LOUIS is in his pajamas, propped up on pillows on his side of the bed. There a number of medical books scattered around him and he's making notes from one as RACHEL comes in. RACHEL She's finally asleep. LOUIS She was a little over - excited, that's all. Poor kid. RACHEL It was that place. That creepy cemetery up in the woods. Whatever disease the kids in this town have got, I do n't want Ellie to catch it. LOUIS Jesus, Rachel, what's got into you? RACHEL Do you think I did n't hear her tonight, crying as if her heart would break? Here she is thinking Church is going to die. It should be clear to us by now that, despite her words, RACHEL is much more upset than ELLIE was. LOUIS slowly puts his notebook aside and caps his pen. LOUIS Rachel. someday Church is going to die. RACHEL -LRB- whirls on him. -RRB- That is hardly the point! Church is not going to die today, or tomorrow - Never mind. I can see you do n't have the slightest idea what I'm talking about. She stalks to the bathroom, which adjoins. LOUIS follows. She goes in and slams the door. He goes for the knob. LOUIS Rachel -! SOUND : CLICK OF THE LOCK. LOUIS stares at the door, bewildered and upset.", "EXT.  ROUTE 9  NIGHT Here comes a big Orinco truck, droning along, headlights glaring.", "INT.  LOUIS'S AND RACHEL'S BEDROOM The headlights of the truck illuminate the room and we see LOUIS and RACHEL asleep, each as far over to his/her own side as he/she can get, with a big empty space in the middle. Lights and TRUCK SOUNDS slowly fade.", "INT.  GAGE  MORNING Cheerful little clots of scrambled eggs are scattered all the way across the tray of his high - chair - it looks a little like a map of the Pacific islands done by a guy who only had a yellow crayon. Now he scoops up a handful and throws them.", "INT.  THE KITCHEN TABLE, WITH ELLIE Splat! Eggs on the serving plate of toast. ELLIE Yee - uck! Gross!", "INT.  THE KITCHEN, A WIDER SHOT RACHEL is at the sink, doing dishes -LRB- we see the blackboard with its message near her -RRB-. LOUIS comes in, wearing a sport - coat and slacks, ready for his first day on the job. and ELLIE is in a pretty first day of school dress. LOUIS He ca n't help it, babe. Emily Post is going to be beyond him for a few years.", "INT.  BY THE KITCHEN DOOR Here is the cat - carrier with CHURCH inside it. He waows unhappily.", "INT.  THE KITCHEN TABLE, WITH ELLIE AND GAGE ELLIE gets down and goes across to the cat - carrier. ELLIE I do n't want him to get his nuts cut, daddy! What if he dies?", "INT.  RACHEL AND LOUIS, BY THE SINK LOUIS looks shocked and amused by ELLIE'S colorful choice of words. LOUIS Good God! Where'd you hear that?", "INT.  ELLIE ELLIE Missy Dandridge. And she says it's a operation!", "INT.  RACHEL AND LOUIS, BY THE SINK LOUIS tries to kiss RACHEL'S mouth. She turns her head slightly so he gets her cheek instead. She's still mad. LOUIS'S amusement dies. RACHEL Honey, Church will be fine.", "INT.  ELLIE, BY THE CAT CARRIER ELLIE But what if he dies and has to go to the Pet Sematary?", "INT.  LOUIS AND RACHEL, BY THE SINK She gives him a look as if to say : `` There! Now do you understand what you did?'' RACHEL Do n't be silly. Church is not going to die. LOUIS According to what Mr. Crandall says, the road's a lot more dangerous than the operation. Church will be just the same. Well - almost the same - and we wo n't have to worry about him getting turned into catburgers by one of those damn Orinco trucks. At this RACHEL tightens up still more in that funny way - she's actually angered by LOUIS'S reference to catburgers - but under the anger we sense she is deeply shocked, as a prudish woman might be shocked by a dirty joke. For RACHEL, that's just what death is. RACHEL That's enough of that kind of talk! LOUIS I just said - RACHEL I know what you just said. Ellie, clear your place. ELLIE goes slowly back to the table. ELLIE -LRB- sets the plate down. -RRB- I'm scared. What if school here is n't like in Chicago! I'm scared and I want to go h - h - home! ELLIE bursts into loud tears and puts her hands over her face.", "INT.  THE KITCHEN, A NEW ANGLE (FEATURES LOUIS AND RACHEL) THE CAMERA FOLLOWS as they go to the table to comfort ELLIE. RACHEL You'll be fine, Ellie. Now you can be excused. Go and wash your face. LOUIS And Church will be fine. ELLIE -LRB- anxious. -RRB- Do you promise, Daddy? LOUIS Well, honey. you know that. RACHEL Do n't shilly - shally, Louis. Give the little girl her promise. LOUIS -LRB- reluctantly. -RRB- Church will be fine. I promise. ELLIE Yayyyy! She runs off, cheered up. And RACHEL is cheered up, too. RACHEL Thank you, Louis. LOUIS Oh, you're welcome. Only if some - thing should go wrong while he's under the gas - it's a one - in - a - thousand shot, but it happens - you explain to her. He gets up and leaves the table. She looks after him, stunned and a little frightened.", "INT.  GAGE GAGE -LRB- conversationally. -RRB- Here, Durch! He picks up a large glob of scrambled eggs from his tray and throws it in the direction of the cat - carrier.", "INT.  THE CAT-CARRIER CHURCH is close to the mesh, looking out. Scrambled eggs hit the mesh, driving him back, surprised.", "EXT.  THE CREED HOUSE  MORNING The school bus pulls up, red lights flashing. ELLIE runs toward it across the lawn, with her lunch - box.", "EXT.  LOUIS, RACHEL, AND GAGE, IN THE FRONT DOORWAY RACHEL Have a great day! LOUIS grabs GAGE'S hand and makes him wave it. GAGE Bye - bye!", "EXT.  THE BUS ELLIE climbs aboard. The red flashers go out and the bus pulls away.", "EXT.  THE CREED DRIVEWAY  MORNING The station wagon is parked there. LOUIS comes out with a heavy briefcase in one hand and the cat - carrier in the other. He opens the wagon's doorgate. A small car turns into the CREED driveway and parks beside LOUIS. A rather sour - looking middle - aged woman gets out and crosses the front of her car. Her color is bad. This is MISSY DANDRIDGE. She looks at the cat - carrier. MISSY Gon na get his - LOUIS - nuts cut, yes. Thank you, Missy, for introducing that colorful phrase into my daughter's vocabulary. MISSY Do n't mention it. She opens the passenger side door of her car and we see a big neat pile of folded sheets. She reaches for them, then winces and presses her hands against her midriff for a moment, as if with an attack of indigestion. LOUIS -LRB- sees this. -RRB- How's that belly - ache of yours? MISSY -LRB- gets the sheets. -RRB- No better and no worse. LOUIS You ought to see a doctor about it. MISSY It'll pass. They always do. She starts toward the house with the sheets.", "EXT.  THE SIDE YARD  MORNING RACHEL hurries past MISSY, who turns to look and then goes on into the house. LOUIS has just put the cat - carrier into the back of the wagon and closed the doorgate as RACHEL reaches him. RACHEL -LRB- anxious. -RRB- Still friends, doc? LOUIS appears to consider this seriously for a moment. and then he smiles and hugs her. They kiss. RACHEL Thank God. I was a little worried there. Have a great first day at school, doc. No broken bones. LOUIS -LRB- smiles. -RRB- Not so much as a sprain.", "EXT.  VICTOR PASCOW AND FRIENDS  MORNING PASCOW is in a blanket that is being carried by three boys and one girl. They are all yelling at each other not to joggle him, not to drop him. A small knot of horrified college kids moves with the bearers. PASCOW'S head is upside down to the CAMERA, which retreats ahead of the advancing students. Fixed eyes stare. Half of his head has been shattered inward. Before the catastrophe he was a husky male of about twenty. He's dressed in a U of M muscle shirt and red jogging shorts. THE CAMERA PULLS JERKILY TO ONE SIDE, allowing the bearers to mount the steps of a brick building. The infirmary. The lookers - on break to either side. The infirmary doors open.", "EXT.. NURSE CHARLTON, AT THE DOORS She's the head nurse, a tough old babe of about fifty. CHARLTON Holy Jesus. -LRB- turns. -RRB- Steve! Steve! Dr. Creed! Dr. Creed, we've got a mess here! Stat! The bearers sweep past her and inside, leaving a red smear of blood across the midriff of MARCY CHARLTON'S uniform.", "INT.  THE INFIRMARY RECEPTION AREA THE CAMERA will show us all we need to see, but its movements will seem almost random ; this is like being in the hotel kitchen after Sirhan shot Bobby. As the students bring in PASCOW, LOUIS comes running, followed by STEVE MASTERTON, his P.A. Standing to one side are two student nurses in candystriper uniforms. They're boggled and horrified. LOUIS kneels. THE CAMERA RUSHES FORWARD, shoving between onlookers. LOUIS looks at the wound. There's shattered bone and pulsing brain tissue beneath. There's a scream ; the girl who was carrying one corner of the blanket is having hysterics. GIRL Vic! Vic! Oh Christ! Vic! LOUIS -LRB- to CHARLTON. -RRB- Get her out. Get them all out. CHARLTON puts her arms around the girl. GIRL -LRB- struggling. -RRB- No! No! He ca n't die! He ca n't die! THE CAMERA MOVES BACK DOWN as LOUIS takes an opthalmascope from STEVE and shines it in PASCOW'S bulging, fixed eyes. CHARLTON is just pushing the last of them gawkers and bearers out the door. LOUIS Steve, get the ambulance over here right now. He's got to go to EMMC. STEVE The ambulance is at Sonny's Sunoco downtown, getting - LOUIS - a new muffler, oh shit - PASCOW makes a weird gargling noise. Blood suddenly spurts out of his mouth. He begins to seizure. One of the candystripers shrieks. THE CAMERA JERKS UP TO COVER the student nurses. One turns and throws up on the wall. CHARLTON rushes over. CANDYSTRIPER I ca n't look at it. I ca n't stand it. CHARLTON -LRB- slaps her. -RRB- Yes you by God can. Go get the hard stretcher! As they start away, one helping the other down the hall, and as CHARLTON starts over to where PASCOW lies dying on his blanket, THE CAMERA DROPS TO LOUIS AND STEVE. LOUIS Help me hold him. They hold PASCOW'S spasming body. STEVE It would n't matter if we did have the ambulance. LOUIS It would n't matter if we had the SST. PASCOW begins to quiet. LOUIS He's going. Steve, go call the motor - pool. Marcy, roll out the crash wagon. CHARLTON It wo n't - LOUIS I know it wo n't! But let's for God's sake do it by the rules! She leaves. LOUIS is alone with PASCOW. CHARLTON has drawn the drapes, so the doctor and the dying man have complete if temporary privacy.", "INT.  LOUIS AND PASCOW, A CLOSER SHOT LOIS There was n't even supposed to be a sprain today, my friend - that's what I told her. PASCOW'S fixed eyes suddenly roll and his left hand bear - traps LOUIS'S right wrist. The dying man pulls him slowly but relentlessly down, until their faces are only inches apart. PASCOW Pet Sematary. LOUIS recoils, breaking the grip of the hand. but he can not quite snap the grip of those bright dying eyes. Blood leaks from PASCOW'S mouth. LOUIS -LRB- whispers. -RRB- W - What did you say? PASCOW struggles hard to speak again. At first he can only gurgle. PASCOW It's not the real cemetery. -LRB- Long pause. -RRB- The soil of a man's heart is stonier, Louis. a man grows what he can. and tends it. LOUIS leans forward again, terrified, yet needing to know. LOUIS How do you know my name? PASCOW -LRB- gurgling. -RRB- I'll come. to you. LOUIS grabs PASCOW'S bloody shoulder. LOUIS -LRB- low but urgent. -RRB- Dammit, how do you know my name?", "INT.  HALLWAY ENTRANCE TO RECEPTION, WITH STEVE STEVE Louis, they're sending a -", "INT.  LOUIS AND PASCOW PASCOW begins to spasm again. LOUIS -LRB- snaps. -RRB- Help me! PASCOW spews more blood as STEVE kneels beside LOUIS.", "INT.  THE MAIN INFIRMARY HALLWAY CHARLTON is pushing along your basic MEDCU goodie - cart, covered with emergency life - saving gear.", "INT.  LOUIS, STEVE, PASCOW PASCOW'S spasms are weakening. LOUIS -LRB- to CHARLTON. -RRB- Never mind. He's going. PASCOW'S hand comes up and paws at LOUIS'S shirt, leaving a bloody handprint. Then it falls limply back. PASCOW is dead. LOUIS Steve, will you get a sheet to cover him with? STEVE leaves the frame and LOUIS stares fixedly down at the body of VICTOR PASCOW. He closes the eyes.", "EXT.  A COUNTRY ROAD, LATE AFTERNOON It's the leading edge of Maine fall, sunny and wonderful. Here comes LOUIS'S station wagon. As it reaches THE CAMERA, it swivels to TRACK. RADIO -LRB- voice - over. -RRB- Tragedy struck on the first day of the University of Maine's fall semester when Victor Pascow, a nineteen - year - old sophomore -", "INT.  THE CAR, WITH LOUIS He still looks shocked by the tragedy. The dying man's bloody handprint is partly visible on LOUIS'S shirt in spite of his sport - coat. LOUIS abruptly turns off the radio and swerves over to the side of the road.", "EXT.  THE STATION WAGON IT comes to a slueing, shuddering stop, almost going in the ditch.", "INT.  LOUIS, BEHIND THE WHEEL LOUIS He said my name. I heard it. He said my name. He stares blankly through the windshield.", "EXT.  THE CREED HOUSE  NIGHT All lights are off. It's late.", "INT.  THE CREED BEDROOM  NIGHT LOUIS and RACHEL are asleep, each on his/her own side of the big double. THE CAMERA MOVES IN ON LOUIS. SOUND : Loud, hollow BANG. It's very loud - loud enough to wake the dead. LOUIS sits up. Beside him, RACHEL sleeps on. LOUIS'S eyes widen in terror as he stares at :", "INT.  THE DOORWAY, WITH PASCOW He's exquisitely dead. Now pallid as well as smashed up. PASCOW Come on, doc. We got places to go.", "INT.  LOUIS He is in terror. but he is also in a state of near - trance.", "INT.  PASCOW PASCOW Come on, doc - do n't make me tell you twice.", "INT.  LOUIS He glances at RACHEL. Although PASCOW has spoken in a fairly loud voice - and the opening door was like a bomb - she's still fast asleep. LOUIS looks back toward PASCOW. and then gets out of bed. He's naked except for a pair of pajama bottoms.", "INT.  PASCOW He turns and leaves the doorway.", "INT.  LOUIS He reaches the bedroom doorway himself and looks back at :", "INT.  THE BED, LOUIS'S POV RACHEL is sleeping as before, and LOUIS himself is also in bed asleep, although his rest is uneasy. as if he's having a bad dream.", "INT.  THE DOORWAY, WITH LOUIS LOUIS -LRB- relieved. -RRB- Oh. Thank God. PASCOW -LRB- Voice. -RRB- Hurry up, doc.", "INT.  THE KITCHEN LOUIS enters and crosses toward the door which gives on the shed/garage. This door stands open. LOUIS pauses by it. PASCOW -LRB- low. -RRB- Come on, doc. LOUIS goes into :", "INT.  THE SHED/GARAGE The station wagon is a dark hulk. LOUIS crosses to it and stands, perplexed. PASCOW looms softly behind him and puts an arm around him. LOUIS turns. and suddenly his face is less than an inch from PASCOW'S mutilated face. PASCOW Let's go, doc. LOUIS -LRB- moans. -RRB- I do n't like this dream. PASCOW Who said you were dreaming? He begins to move toward the garage door. After a moment LOUIS follows him.", "EXT.  THE FIELD BEHIND THE HOUSE, LONG  NIGHT We can see two shapes moving up the path toward the woods - PASCOW and, behind him, LOUIS.", "EXT.  THE PET SEMATARY ARCH CAMERA HOLDS, THEN PANS DOWN as LOUIS passes under the arch.", "EXT.  LOUIS, CLOSE He looks around, obviously afraid.", "EXT.  THE PET SEMATARY, LOUIS'S POV We can see why. By starlight this is one scary place.", "EXT.  LOUIS He suddenly sees something else, and now his fear is close to terror.", "EXT.  THE DEADFALL, LOUIS'S POV The face is back in the tumbled branches. It yawns and snarls.", "EXT.  LOUIS He walks toward the deadfall as if hypnotized. PASCOW'S hand falls on his shoulder. LOUIS turns, terrified.", "EXT.  PASCOW, CLOSE He really is a dreadful mangled mess. PASCOW This is the place where the dead speak.", "EXT.  LOUIS He closes his eyes. LOUIS I want to wake up. I want to wake up, that's all. I -", "EXT.  LOUIS AND PASCOW PASCOW The door must not be opened. The barrier must not be crossed. Do n't go on, doc. No matter how much you feel you have to. There's more power here than you know. He points at :", "EXT.  THE DEADFALL That grinning face - and perhaps now there are other effects as well, subtle but there? Dim red light? A misty smoke drifting through the tumbled dead branches? The director will know. After a moment there is a HUGE GRUNTING ROAR from the woods behind the deadfall - it sounds like no animal we've ever heard before. There is the sound of something huge shifting and snapping a tree like a toothpick.", "EXT.  PASCOW AND LOUIS LOUIS has crumbled to PASCOW'S feet. His eyes are squeezed tightly shut. LOUIS Please, I want to wake up. Leave me alone. It's not my fault you died ; you were as good as dead when they brought you in - PASCOW The power of this place is old and always restless. Sometimes the dead do more than speak. Remember, doc. CAMERA BEGINS MOVING SLOWLY IN ON LOUIS. LOUIS Leave me alone! PASCOW Remember. CAMERA IS TIGHT ON LOUIS. RADIO -LRB- voice. -RRB- - another beautiful day in Maine! This is Michael O'Hara sayin' that the git - go ai n't gon na be that bad. Temps are going all the way up to 70. We got the Ramones for Ludlow. here's `` Sheena.'' As the Ramones start blasting `` Sheena Is A Punk Rocker'' :", "INT.  LOUIS, IN BED His eyes snap open. He's in his own bedroom. As he sits up THE CAMERA ANGLE WIDENS OUT so we can see that he's in bed alone ; the covers on RACHEL'S side are thrown back. After the initial confusion and fear, LOUIS looks deeply relieved ; he looks the way I suppose we all look upon waking up and realizing our worst dreams were only dreams after all. RACHEL -LRB- calls. -RRB- You up, doc? LOUIS Getting there. RACHEL I got eggs down here! LOUIS Good d - He throws the covers back and freezes.", "INT.  LOUIS'S FEET, LOUIS'S POV They are covered with mud and pine needles. The sheets are greased with woods - muck.", "INT.  LOUIS, CU Utter terror.", "INT.  THE LAUNDRY CHUTE, CU LOUIS'S hands enter the shot and dump a bundle of sheets into the chute.", "INT.  LOUIS, IN THE UPSTAIRS HALL He's naked but for a towel around his waist. He's obviously fresh from the shower. He starts down to the bedroom to dress. BLACK. And on it a third title card : CHURCH. Over this the SOUND of a RINGING TELEPHONE. LOUIS -LRB- voice. -RRB- Hello?", "INT.  THE CREED LIVING ROOM  AFTERNOON There's a bowling match on TV. LOUIS, dressed in his Saturday afternoon grubs -LRB- jeans and a Maine sweatshirt -RRB-, has the phone to his ear. JUD CRANDALL -LRB- phone filter. -RRB- Louis? ` Fraid you may have a spot of trouble. LOUIS -LRB- frowning. -RRB- Jud? What trouble?", "INT.  THE CRANDALL LIVING ROOM, WITH JUD He's on the phone, looking out his window. JUD Did you tell me Rachel took the kids back to Chicago for a few days?", "INT.  THE CREED LIVING ROOM, WITH LOUIS LOUIS For Ellie's birthday, yes. I did n't go because her old man thinks I'm a shit and the feeling is heartily re - ciprocated. they'll be back tomorrow night. Jud, what's this about?", "INT.  THE CRANDALL LIVING ROOM, WITH JUD JUD Well, there's a dead cat over here on the edge of my lawn, Louis. I think it might be your daughter's.", "INT.  THE CREED LIVING ROOM, WITH LOUIS LOUIS Church? Oh. Oh, Jesus.", "EXT.  THE CRANDALL HOUSE, MEDIUM-LONG We're looking across from the CREED lawn. LOUIS waits for one of those trucks to go blasting by and then crosses. It's cold and windy. Downed autumn leaves fly. LOUIS and JUD stand over a small furry body like mourners. JUD -LRB- voice. -RRB- Well?", "EXT.  THE CAT'S BODY It's lying on its belly and does n't look much damaged. Hands - LOUIS'S - come into the frame. He puts one hand under the cat's head and lifts it so the open eyes, now a dull green, stare into THE CAMERA. There's some blood on its ruff. That's all.", "EXT.  LOUIS AND JUD, ON THE EDGE OF THE CRANDALL LAWN LOUIS It's Church. JUD I'm sorry. At least it do n't look like he suffered. LOUIS Ellie will, though. She'll suffer plenty. From his jacket pocket he takes a green plastic garbage bag and hands it to JUD. JUD holds the bag's mouth open on the ground while LOUIS kind of shoves the body in. During this : JUD Loved that cat pretty well, did n't she? LOUIS Yes. LOUIS twists the bag shut and puts one of those plastic ties on it. Then he holds it up. LOUIS Bagged cat. What a mess. JUD You going to bury him in the Pet Sematary? LOUIS -LRB- a little bitter. -RRB- I guess that's what it's there for, huh? During all of this JUD has grown peculiarly intense. JUD Going to tell Ellie? LOUIS I do n't know. JUD Seems like you told me about a promise you made -", "INT.  THE CREED KITCHEN  MORNING GAGE is in his high chair. ELLIE, in her first - day - of - school dress, is in her place. LOUIS is sitting at his own place staring, hypnotized, at the middle of the table, where there is a large serving dish. On the dish is scrambled eggs, strips of bacon, and CHURCH'S corpse - staring eyes, bloody ruff and all. RACHEL -LRB- impatiently. -RRB- Do n't shilly - shally, Louis. Give the little girl her promise.", "EXT.  THE CRANDALL LAWN, WITH JUD AND LOUIS LOUIS -LRB- defensive. -RRB- That was a mistake. But Rachel. she does n't like to talk about death, or even think of it. Her younger sister died of spinal meningitis when Rachel was eight. Rachel was there when it happened. Alone. I guess you could say it made a complex. JUD Cat's just as dead, Louis. LOUIS -LRB- snaps. -RRB- Well that's a big help! -LRB- Pause. -RRB- I'm sorry, Jud. JUD No need to apologize. LOUIS Maybe when they call I'll just tell Ellie I have n't seen the damn cat around. You know? JUD -LRB- after a long pause. -RRB- Maybe there's a better way.", "EXT.  THE START OF THE PATH TO THE PET SEMATARY, LONG  EVENING LOUIS and JUD cross the road from the CRANDALL side. LOUIS is carrying the plastic bag in one hand and a flashlight in the other. JUD has a pick and shovel in one hand and a flashlight of his own in the other. Evening shadows have grown long. It's maybe an hour until dark. JUD and LOUIS stop near the replaced tire - swing.", "EXT.  LOUIS AND JUD JUD has a Walkman clipped to the belt of his pants and earphones slung around his neck. LOUIS Jud, this is crazy. It's going to be almost dark before we get back. JUD It's going to be dark before we even get where we're going, Louis. But we can do it. and we're going to. LOUIS But - JUD Does she love the cat? LOUIS Yes, but - JUD Then come on. He puts the earphones on, effectively forestalling further argument, and pushes the PLAY button on the Walkman. We can hear Marshall Crenshaw singing `` Crystal Girl.'' JUD starts away. After a moment, LOUIS follows.", "EXT.  THE PET SEMATARY AND THE BACK OF THE ARCH  LATE EVENING The SOUND of crickets. ree - ree - ree. The SOUND of footfalls. Faintly, the SOUND of Huey Lewis and the News, singing `` Working For A Living.'' It's now almost twilight. JUD and LOUIS enter the Pet Sematary. LOUIS is looking around curiously. LOUIS Well, folks, here we are, in Louis Creed Dreamland. JUD snaps off the Walkman and puts the earphones around his neck again. JUD What say, Louis? LOUIS Nothing. -LRB- Pause. -RRB- Do we plant him on the outer circle or start a new one? JUD We're still not where we're going. He walks past LOUIS and toward the deadfall. LOUIS follows. LOUIS What do you mean? JUD The place we're going is on the other side of that. He points at the deadfall. LOUIS We ca n't climb over that. We'll break our necks! JUD No. We wo n't. I have climbed it a time or two before, and I know all the places to step. Just follow me. move easy. do n't look down. and do n't stop. If you stop, you'll crash through for sure. LOUIS I'm not climbing that. JUD Give me the cat. I'll take care of it myself. He holds out his hand and LOUIS sees the old man means exactly as he says. After a moment he says : LOUIS Let's go. JUD starts up one side of the deadfall, and in spite of its snarled tangles, he mounts as easily as a man climbing a flight of stairs. After a few second, LOUIS follows. LOUIS -LRB- low. -RRB- Thank God my Blue Cross is paid up.", "EXT.  THEIR FEET First JUD'S pass THE CAMERA, then LOUIS'S, partly obscured by the swinging cat - bag. Their feet unerringly find the right branches and just as unerringly miss holes which look like ankle - breakers.", "EXT.  LOUIS He's grinning, exhilarated. LOUIS God, this is amazing!", "EXT.  JUD There are beads of sweat on the old man's face. He looks both stern and a little scared. JUD Just do n't stop and -", "EXT.  LOUIS He looks down.", "EXT.  LOUIS'S FEET A dead branch snaps under one of them like a gunshot and that foot plunges down maybe six inches.", "EXT.  LOUIS He lurches to the edge of balance, then regains it. LOUIS And do n't look down. Right. He continues.", "EXT.  THE DEADFALL, REVERSE  TWILIGHT JUD reaches the top and starts down the far side. LOUIS reaches the top.", "EXT.  LOUIS LOUIS -LRB- amazed. -RRB- Holy!", "EXT.  BIG GOD WOODS, LOUIS'S POV In the dying glow of twilight, this should be a mystic, awe - inspiring shot. There's no more scrub underbrush and junk pines and juniper - bracken here ; ancient firs rise almost like Sequoias. The sunset light shafts among them. This is a real forest. an old forest. And winding upward among the trees along that needle - carpeted floor, clearly marked by large white stones, the path goes on.", "EXT.  LOUIS He's stopped on top of the deadfall, still surveying all this with frank amazement.", "EXT.  JUD JUD -LRB- turns to look. -RRB- Come on, Louis - do n't stop!", "EXT.  LOUIS, ATOP THE DEADFALL LOUIS -LRB- grinning. -RRB- I'm all right! I'm f -", "EXT.  LOUIS'S FEET One of the branches snaps. LOUIS'S foot plunges. His cuff rips.", "EXT.  LOUIS, JUD'S POV We're looking up at a fairly steep angle as LOUIS staggers off - balance. He steps with his other foot, misses, and goes flying.", "EXT.  LOUIS, CLOSER He does a half - somersault in the air and hits the deadfall on his back, the green garbage bag flying out of his hand. His flashlight also goes. Branches crack. White dust puffs out from under him.", "EXT.  JUD, AT THE BASE OF THE DEADFALL LOUIS thumps to the ground nearby. JUD kneels beside him. JUD Louis! You all right? LOUIS sits up groggily. His pants are torn. His sweatshirt is torn. His ankle is bleeding. LOUIS -LRB- dazed. -RRB- Sure. I guess I just lost my happy thoughts for a second there. LOUIS gets slowly up and retrieves the bag, which is rather shredded now - and we can see catfur through some of the rents. LOUIS -LRB- continues. -RRB- I should n't have stopped. and it does bite. He whaps the flashlight against his palm a time or two and the light comes on. Satisfied, he shuts it off. JUD No, you should n't have stopped. But you got away with it. Important thing is are you sure you're all right? LOUIS Yes. -LRB- Pause. -RRB- Where are we going, Jud? JUD You'll see before long. Let's go. He starts off up the path. After a moment LOUIS follows, carrying the bag.", "EXT.  LOUIS AND JUD, FROM THE DEADFALL Again, there should be a sense of awe and mystery as they go tolling up the path into the twilight, dwarfed by those ancient firs. SOUND OF CRICKETS, LOW at first, then UP TO LOUD : Ree - ree - ree.", "EXT.  LOUIS AND JUD, AT THE EDGE OF LITTLE GOD SWAMP  TWILIGHT Lots of undergrowth here, and creeping ground - mist, too. The SOUND OF CRICKETS is now only a part of the soundtrack : BUZZ OF CICADAS, THUMP OF FROGS. Swamp - sounds. LOUIS looks frankly doubtful. JUD This next bit's like the deadfall, Louis - you got to walk steady and easy. Just follow me and do n't look down.", "EXT.  LITTLE GOD SWAMP, LOUIS'S AND JUD'S POV  DEEP TWILIGHT Mysterious. awesome. scary. Dead trees poke out of the murk like twisted hands. There's scummy water standing around tussocks covered with long grass, most of it dead. There's a lot of choking underbrush. All of this fades away into a grim, obscuring fog.", "EXT.  LOUIS AND JUD JUD Micmacs used to call it Little God Swamp. LOUIS Is there quicksand? JUD Ayuh. LOUIS -LRB- nervous ; joking. -RRB- Are there ghosts? JUD looks at him expressionlessly. JUD Ayuh. JUD starts off, stepping to the first tussock. After a moment, LOUIS follows.", "EXT.  JUD, CU His face is set, strange. JUD There's a lot of funny things down this way, Louis.", "EXT.  LOUIS, BEHIND JUD LOUIS You're telling me.", "EXT.  JUD JUD -LRB- still walking. -RRB- The air's heavier. more electrical. something. You might see St. Elmo's Fire. what the sailors call ` foo - lights.' It makes funny shapes, but it's nothing.", "EXT.  LOUIS HE looks up and his eyes widen as he sees :", "EXT.  ANGLE ON LITTLE GOD SWAMP, LOUIS'S POV A faintly glowing, ethereal shape hangs in the branches of one of the dead trees. It looks a bit like a corpse. In fact, I think it looks quite a bit like PASCOW'S corpse. As we watch it fades. fades. is gone.", "EXT.  LOUIS He's somewhere between being mystified and puzzled and being scared. Now a weakly glowing fireball rolls slowly across the surface of the standing water toward him. and then just fades into the thick mist. LOUIS It's funny, all right.", "EXT.  JUD JUD Just do n't stop, Louis. You do n't ever want to stop down here in Little God. -LRB- Pause. -RRB- And you do n't ever want to look behind you, whatever you hear.", "EXT.  JUD AND LOUIS, LONG ANGLE  NIGHT We see them moving through the mist like wraiths, JUD with his digging tools, LOUIS with his light and his Hefty - Bag coffin. The whole swamp is glowing dimly.", "EXT.  THE FAR SIDE OF LITTLE GOD SWAMP  NIGHT In the extreme f.g. we can see firm ground sloping up. Ahead is a thick white mist. And here comes JUD and LOUIS slogging through it and out of it. Both of them are wet from the knees down. They head into the woods on the far side.", "EXT.  A LOW, STONY BLUFF OR STEEP HILL In the book this is described as being almost a cliff, but a rocky hill rising out of the woods would serve just as well. We can see steps cut into the side, and two figures - LOUIS and JUD - toiling up them.", "EXT.  JUD AND LOUIS, A CLOSER SHOT JUD'S panting and out of breath ; LOUIS is, if anything, in worse shape. JUD Almost there, Louis. LOUIS You keep saying that. JUD This time I mean it. He tops the last step and stands on a rocky level under the stars, the wind blowing his hair off his deeply lined brow. A few moments later LOUIS joins him and stares with undisguised wonder.", "EXT.  THE MICMAC BURYING GROUND, LOUIS AND JUD'S POV The top of this hill or bluff is rocky and bare, but there are a number of rocky piles. But for every pile of rocks we can see, there are ten littered heaps, as if the neat piles had been burst apart. There's a shape to all of this, and it is the shape of the Pet Sematary : concentric circles. SOUND : The wind, blowing ceaselessly.", "EXT.  LOUIS AND JUD, AT THE EDGE OF THE BURYING GROUND LOUIS -LRB- awed. -RRB- What is this place? JUD This was their burying ground, Louis. LOUIS Whose burying ground? JUD The Micmac Indians. I brought you here to bury Ellen's cat. LOUIS Why? For God's sake, why? JUD I had my reasons, Louis. We'll talk later. All right? LOUIS I guess so. but. JUD You want to rest a bit before you start? LOUIS No, I'm okay. Will I really be able to dig him a grave? The soil looks thin. JUD Soil's thin, all right. But you'll manage. He hands him the pick and shovel. JUD I'm going to sit over yonder and have a smoke. I'd help you, but you've got to do it yourself. Each buries his own. That's how it was done then. JUD walks away, leaving LOUIS with the digging tools in one hand and the flashlight in the other. After a minute, LOUIS walks out into the burying ground.", "EXT.  LOOKING DOWN INTO A SHALLOW HOLE  NIGHT SOUND : The wind. It blows ceaselessly up here. The hole's about two and a half feet deep. Stubby rocks protrude from the sides. The pick comes down, hits a rock at the bottom, and flashes fire.", "EXT.  LOUIS He drops the pick and sticks his hurt hands in his armpits. Beside him we see a low pile of rocks and earth. JUD -LRB- voice. -RRB- Should be deep enough. He joins LOUIS. He's got a lot of rocks in his arms. LOUIS You think so? He notices the rocks. LOUIS What are those for? JUD Your cairn.", "EXT.  THE MICMAC BURYING GROUND, LOUIS'S POV Those tumbled piles of rock are very obvious.", "EXT.  LOUIS AND JUD, BY CHURCH'S GRAVE LOUIS Does n't look like they last long. JUD Do n't worry about that. LOUIS Jud, why am I doing all this? JUD Because it's right. He walks off again. LOUIS looks after him for a moment, then kneels down.", "EXT.  LOUIS, BY THE GARBAGE BAG He opens it and looks in at CHURCH'S stiffening corpse. LOUIS Pax vobiscum, Church old buddy. You were a hell of a god cat. I doubt if you were worth all this aggravation, but you were a hell of a good cat. He tumbles the bag containing the body into the grave, and then begins pushing the stony soil over it with the spade.", "EXT.  THE CAIRN, CU  NIGHT LOUIS'S hands come into the frame and add a final two or three stones.", "EXT.  LOUIS, BY THE CAIRN He looks at it for a moment and stands up. JUD is right there. JUD That's fine. You did real good. LOUIS looks at him.", "EXT.  THE CREED HOUSE  NIGHT There's a light on in the kitchen, but that's all. There's silence at first, and then the PHONE STARTS RINGING.", "EXT.  LOUIS'S FIELD  NIGHT LOUIS and JUD are coming down the path with their tools and their lights. They are both clearly fagged out. SOUND, FAINT : The telephone. LOUIS Oh, shit! Rachel! He drops the tools and sprints.", "EXT.  THE CREED'S SIDE YARD, BY THE TIRE SWING LOUIS runs into the side yard. SOUND of the phone is louder.", "EXT.  THE KITCHEN DOOR OF THE CREED HOUSE, WITH LOUIS He runs to the door and inside.", "EXT.  THE END OF THE PATH, WITH JUD He stands there, eyes inscrutable.", "INT.  THE LIVING ROOM, WITH THE PHONE It stops. A beat later LOUIS enters the room. He picks it up, although he already knows it's too late. He listens to the SOUND of the dial tone and then drops it back into the cradle, disgusted. He starts to dial a number from memory. JUD -LRB- voice. -RRB- Louis.", "INT.  THE KITCHEN/LIVING ROOM DOORWAY, WITH JUD JUD When you talk to'em, not one word about what we done tonight.'S ` far's you know, the cat's still fine.", "INT.  LOUIS, BY THE PHONE After a moment he lowers it into the cradle.", "INT.  JUD JUD You'll understand. In the meantime, keep your peace. What we did, Louis, was a secret thing. Women are supposed to be the ones who are good at keeping secrets, but any woman who knows anything at all would tell you she's never seen into a man's heart. The soil of a man's heart is stonier, Louis - like the soil up there in the old Micmac burying ground. A man grows what he can. and tends it. During this, he's come across the room to LOUIS and dropped his hand on LOUIS'S shoulder. LOUIS But - JUD No buts! Accept what's done, Louis. What we done was right. Another time it might not be, but tonight it was. at least I hope to Christ it was. Now you make your call. but not a word about tonight.", "EXT.  THE ROAD, WITH JUD SOUNDS : Boops and beeps of a touch - tone telephone. Ringing. Then : DORY GOLDMAN -LRB- voice. -RRB- Goldman residence. LOUIS Hi, Dory. it's Louis - During this, another SOUND has been growing : an approaching truck. As JUD gains his side of the road, he looks back, and we read fear on his face - no matter what he said to LOUIS, he's sorry for tonight's piece of work. A moment later a highballing Orinco truck cuts between THE CAMERA and JUD.", "INT.  LOUIS, IN THE LIVING ROOM  NIGHT He's on the phone, smiling and happy. RACHEL -LRB- voice. -RRB- You want to talk to the birthday girl? LOUIS That'd be real fine. ELLIE -LRB- voice. -RRB- Hi. daddy? LOUIS -LRB- sings. -RRB- Happy birthday to you/Happy birthday to you/Happy birthday, dear Ellie/Happy birthday to you! ELLIE -LRB- voice. -RRB- That was awful, daddy. LOUIS Yeah, I know. how are things out there in Chicagoland? ELLIE Fine. except when Mom was airing Gage's diaper rash, he walked away and got into Grampa's study and pooped in Grampa's favorite chair. LOUIS -LRB- grinning broadly. -RRB- Way to go, Gage! ELLIE -LRB- voice. -RRB- What? LOUIS I said that's too bad. What did you get for presents from Gramma and Grampa? ELLIE -LRB- voice. -RRB- Lots of stuff! I got two dresses. and a Chatty Cathy doll.", "INT.  THE GOLDMAN LIVING ROOM, WITH ELLIE She's dressed for bed, in fuzzy pink pajamas. Her Chatty Cathy is crooked in one arm. In her lap is a Garfield transistor radio. ELLIE and a Garfield radio! How's Church, dad? Does he miss me?", "INT.  THE CREED LIVING ROOM, WITH LOUIS The smile fades off his face. It's replaced with a look of combined guilt and unhappiness. He's looking at his hands, which are still dark with the dirt from CHURCH'S grave. LOUIS Well. I guess he's just fine, Ellie. I have n't seen him this evening, but -", "INT.  THE GOLDMAN LIVING ROOM, WITH ELLIE RACHEL, holding GAGE, sits on the arm of ELLIE'S chair. ELLIE Well, make sure you put him down cellar before you go to bed so he ca n't run out in the road and get greased. And kiss him goodnight for me. LOUIS -LRB- voice. -RRB- Yuck! Kiss your own cat! ELLIE Want to talk to Gage? Before he can answer, she puts the phone in GAGE'S hand. ELLIE and RACHEL watch, amused, as GAGE gobbles into it. Perhaps RACHEL encourages him to say a few words.", "INT.  THE CREED LVING ROOM, WITH LOUIS From the telephone comes the sound of GAGE talking and chortling. LOUIS is not listening. His eyes - and his mind - are far away.", "EXT.  THE CREED HOUSE  MORNING LOUIS is raking leaves on the side lawn, near the tree with the tire swing. After a moment or two of this he props the rake against the tree and starts toward the garage. He goes in.", "EXT.  THE GARAGE, WITH LOUIS It's dim in here. LOUIS is crossing to the door which communicates to the kitchen. As he passes the station wagon, he hears a cat HISS. He turns.", "INT.  CHURCH, ECU He's on top of the car, but at this point we probably do n't notice ; THE CAMERA is so close that CHURCH looks like he's coming right down our throats. He's hissing angrily.", "INT.  LOUIS He recoils and stumbles backward with a cry. He hits a tool - rack on the wall and a lot of them fall down with a LOUD JANGLING NOISE.", "INT.  ON TOP OF THE STATION WAGON, WITH CHURCH He jumps down, frightened by the noise, and the CAMERA TRACKS as he goes flying out the garage door into the sunlight.", "INT.  LOUIS He gets slowly to his feet again. He's getting over his fright but we can see he's totally freaked out by what gave him that fright. He goes to the garage door and looks out. LOUIS -LRB- calls. -RRB- Church?", "EXT.  THE SIDE YARD, LOUIS'S POV Grass and fallen leaves. No sign of CHURCH.", "EXT.  LOUIS'S STUNNED FACE, CU", "INT.  THE KITCHEN, WITH LOUIS He's spooning cat - food into a dish. He goes to the door - there should be a total of three doors in the kitchen : one to the living room, one to the shed/garage, and one which leads directly outside. LOUIS uses this latter door now.", "EXT.  THE KITCHEN STOOP, WITH LOUIS He puts the dish of food down and sits beside it. LOUIS Food, Church. food! SOUND : Miaow.", "EXT.  THE SIDE OF THE HOUSE, LOUIS'S POV CHURCH comes slinking out of the bushes and comes slowly toward THE CAMERA. He stops, looking mistrustful.", "EXT.  LOUIS LOUIS Come on, Church! Chow down!", "EXT.  CHURCH He crosses to the stoop and begins eating the food. LOUIS -LRB- to himself. -RRB- Christ. I do n't believe this. He picks CHURCH up. CHURCH miaows again - he wants the food. LOUIS -LRB- wincing. -RRB- God, you stink, Church. CHURCH is looking at the food, trying to get out of LOUIS'S arms. LOUIS In a second. He tilts the cat's head back so he can get a look at CHURCH'S neck.", "EXT.  CHURCH'S NECK, CU (LOUIS'S POV) There's some sort of mark here - a clear remnant of the crash. A line of white fur, or perhaps a dark red scar where no fur at all grows.", "EXT.  LOUIS AND CHURCH, ON THE STOOP LOUIS sees something else as he lets the cat's neck go. He tweezes something out of CHURCH'S whiskers.", "EXT.  LOUIS'S HAND, ECU It's a shred of green plastic.", "EXT.  LOUIS AND CHURCH LOUIS Chewed his way out. Jesus Baldheaded Christ, he ch - CHURCH suddenly claws at his face. LOUIS Ow! He claps his hand to his face. CHURCH leaps for the food. LOUIS slowly takes his hand away. There are claw marks on his cheek, welling blood. He looks at the cat.", "EXT.  JUD CRANDALL'S GARDEN, WITH JUD The garden is a plot of about half an acre. JUD comes trundling slowly along a row, pushing a wheelbarrow. There are several pumpkins in it. JUD is wearing old khaki gardening pants and a Ramones sweatshirt. He's wearing his headphones and we can hear the Romantics doing `` What I Like About You.'' JUD is singing along and bopping a little - as much as his arthritis will allow, if you can dig it. He sees a real big pumpkin, stops, and bends over to get it. He takes out his pocket - knife and slits the pumpkin - vine. He gets the pumpkin in his arms and stands up. He turns. and LOUIS is right there -LRB- kind of a cheap jump, but always fun -RRB-, looking totally stunned. JUD, startled, drops the pumpkin. LOUIS reaches out and slides the phones off JUD'S ears. LOUIS What did we do?", "INT.  THE CRANDALL KITCHEN LOUIS is sitting at the kitchen table. JUD is at the fridge. JUD comes back with a couple of long - necked bottles of beer and opens them. JUD I most generally do n't start before noon, but this looks like an exception. LOUIS What did we do, Jud? JUD Why, saved a little girl from being unhappy. that's all. Drink up, Louis! LOUIS drinks about half the beer. LOUIS I tried to tell myself I buried him alive. You know - Edgar Allan Poe meets Felix the Cat. But. JUD Would n't wash? LOUIS No. I'm a doctor. I know death when I see it, and Church was dead. He smells horrible and he uses his claws, but he's alive. and I feel like I'm going crazy. It was that place, was n't it? JUD Ayuh. It was the rag - man told me about the place - Stanley Bouchard. Us kids just called him Stanny B. He was half Micmac himself. LOUIS drains his beer. LOUIS Can I have another one? JUD I guess it would n't hurt. He gets up and goes to the fridge.", "INT.  JUD, AT THE FRIDGE JUD The Micmacs used to bury their dead up there long before the whites came. He returns to the table with the beer. JUD They buried their dead and for a long time their dead stayed buried. Then something happened. Half the tribe died in a season. The rest moved on. They said a Wendigo had soured the ground. LOUIS Wendigo? JUD Spirit of the north country. Not a good spirit. Wendigos are great liars and tricksters, according to the stories. And if one touches you. JUD pauses, perhaps a flustered, and gathers his thoughts. JUD Maybe it really was a Wendigo - I ai n't the one to say it was n't - or maybe it was just some disease. Whatever the reason, those that were left moved on. But they left that place. the way it is now. JUD shrugs, and drinks.", "EXT.  JUD AS A BOY, CU/SEPIA TONE  DAY The time here is about 1910. JUD is wearing short pants. He's crying, not in any big - deal histrionic way, but as if he means to keep doing it for a long time. I mean he looks really sad. JUD -LRB- voice. -RRB- I loved my dog a lot, Louis. When Spot died, I thought I was gon na die. JUD is sitting on the front stoop. It's the same house JUD lives in now, but the porch has n't been added yet, and the road is dirt rather than tar. Along this road comes a horse - drawn wagon - STANNY B.'S wagon. The wagon's full of junk, rags, bottles. stuff to sell and swap. Strung across the top are bells, and we can hear their CHIMING SOUND. but faint, like bells heard in a dream. STANNY B. is old and drunk. Dust spumes up behind the wagon as he draws up to the CRANDALL house and stops. He gets down, almost falls, takes a bottle out of his back pocket, drinks, and approaches JUD. We can see him speaking.", "INT.  JUD'S KITCHEN, WITH JUD AND LOUIS LOUIS You and this old Indian rag - man - JUD Stanny B. did for me what I did for you last night, Louis. Only I was n't alone when Spot came back.", "EXT.  THE CRANDALL BACK YARD/SEPIA TONE  DAY JUD'S MOTHER is back to THE CAMERA, hanging sheets on the line. The sheets billow. And suddenly, pushing out from behind them, quite near her, is a small mongrel dog. SPOT. He's covered with graveyard dirt. His eyes are red and rolling. He splashes the sheets with the muck of his passage. JUD -LRB- voice. -RRB- My mother was with me. She sees who it is - what it is - and backs away, screaming, horrified.", "EXT.  SPOT, CLOSER/SEPIA JUD -LRB- voice. -RRB- He'd got caught in bobwire that infected. You could still see the marks on him. And so we can, around his neck and along the side of his head. These marks are the counterpart of the marks we've already seen on CHURCH. SOUND of JUD'S MOM SCREAMING. Like the bells, these are screams heard in a dream.", "EXT.  THE BACK STOOP OF THE CRANDALL HOUSE/SEPIA The BOY JUD comes running out, dressed in a night - shirt.", "EXT.  JUD'S MOM/SEPIA (JUD'S POV) She's cringing against the fence at the rear of the yard. SPOT stands in front of her, swaying from side to side, as if doped. JUD'S MOM -LRB- dim ; far. -RRB- Get your dog, Jud! He stinks of the ground you buried him in! Come here and get your dog! She is in utter terror.", "EXT.  THE BOY JUD/SEPIA Horrified. ashamed.", "EXT.  JUD'S MOM/SEPIA JUD'S MOM -LRB- terror. -RRB- COME AND GET YOUR DOG!", "INT.  JUD AND LOUIS, IN JUD'S KITCHEN LOUIS How did your mother take it, Jud? How did she take it when your dog came back from the dead? JUD'S face is a complication. He's lying to LOUIS, certainly - but is he also lying to himself? Yes, I think so. JUD Well, she was a little upset at first, and that's why I thought you ought to hold your peace when you talked to your people last night. you did, did n't you, Louis? LOUIS Yes. JUD Why, then, things should be fine. LOUIS A little upset is all she was? Because I'll tell you, Jud, my brains feel a little like a nuclear reactor on the edge of a meltdown. JUD She got used to the idea. Spot lived another four years. He died peacefully in the night that second time, and I buried him in the Pet Sematary. where his bones still lie.", "EXT.  THE ROAD BETWEEN THE TWO HOUSES, WITH LOUIS AND JUD We see them crossing. LOUIS -LRB- voice. -RRB- You still have n't told me why you did it.", "EXT.  JUD AND LOUIS, ON THE CREED FRONT LAWN JUD A man does n't always know why he does things, Louis. I think I did it because your daughter ai n't ready for her favorite pet to die. LOUIS What? JUD Ellie's a little scared of death. And the main reason Ellie's that way is because your wife is a lot scared of death. Now you just go ahead and tell me I'm wrong. But LOUIS'S reaction tells him he's not wrong - in fact, JUD has hit the nail right on the head.", "INT.  BATHTUB FIXTURES, CU LOUIS'S hands come into the frame and turn the spigots.", "INT.  THE BATHROOM, WITH LOUIS He starts to undress, still looking troubled. We should notice that the door behind him is firmly shut. The bathroom has no windows.", "INT.  THE BATHTUB SPIGOTS The hot water is steaming. LOUIS'S hands enter the frame and turn off the faucets. SOUND of LOUIS climbing in.", "INT.  LOUIS IN THE TUB A big sigh and an expression of exquisite pleasure. He relaxes in the hot water. After a few moments he puts a wet washcloth over his face.", "INT.  BY THE KITCHEN SINK, WITH RACHEL RACHEL Do n't shilly - shally, Louis. Give the little girl her promise.", "INT.  THE KITCHEN TABLE GAGE is in his high chair. ELLIE is at her place, crying. In RACHEL'S place sits VICTOR PASCOW, bloody and wrecked. LOUIS sits in his place. On the platter of bacon and scrambled eggs is CHURCH'S mangled body. PASCOW The door must not be opened. The barrier must not be crossed. LOUIS You do n't understand -", "INT.  THE BATHTUB, WITH LOUIS The washrag is slipping, but it still covers his face. LOUIS -LRB- mutters. -RRB- - I'm a doctor.", "INT.  THE CREED KITCHEN TABLE In attendance : PASCOW, LOUIS, ELLIE, GAGE in his high chair. Lying in the middle of the table, clotted with dirt and blood, eyes staring, neck a gory mess of infected wounds, is SPOT. He's also dotted with clots of scrambled egg and bits of bacon. PASCOW Sometimes the dead do more than speak. Remember, doc.", "INT.  RACHEL, AT THE KITCHEN SINK RACHEL -LRB- with great force. -RRB- Do n't shilly - shally, Louis. Promise me. Promise me. Promise me.", "INT.  THE BATHTUB, WITH LOUIS The washcloth has slipped enough so we can see his eyes are closed - he's dozing. LOUIS Promise.", "INT.  THE CREED KITCHEN TABLE To LOUIS, ELLIE, PASCOW, GAGE, and the corpse of SPOT enters JUD, his eyes shocked and staring. JUD -LRB- to LOUIS. -RRB- You do it for all the best reasons, but that ai n't why. You do it because it gets hold of you. you do it because you have to.", "INT.  LOUIS, IN THE BATHTUB, CU The washrag has worked its way down to his mouth by now. His doze is deepening ; he's started to snore a little. SOUND : A splash. Something has been dropped into the bath. LOUIS opens his eyes. Looks puzzled. Looks down. Eyes widen in shock.", "INT.  THE BATHWATER, LOUIS'S POV A very large and very mangled dead rat floats in the bath, actually brushing against LOUIS'S chest. Blood has begun to stain the water.", "INT.  LOUIS Turns his head, preparatory to leaping out.", "INT.  THE TOILET LID, WITH CHURCH Its mouth yawns open. It hisses, showing bloodstained teeth.", "INT.  THE BATHROOM LOUIS leaps from the tub. Grabs a towel and begins to rub himself frantically. He's grossed out. The cat tries to arch against him and he hits it. CHURCH falls to the floor, hissing. LOUIS looks at the closed door. LOUIS How the hell did you get in? He may not know that, but he knows how it's going to get out. He opens the door to the upstairs hall. If CHURCH does n't go at once, LOUIS helps it with his foot. Then he looks down at :", "INT.  THE BATHTUB WITH BRER RAT, LOUIS'S POV", "INT.  LOUIS Staring at the rat. Over this : THE SOUND OF JET ENGINES.", "EXT.  A DELTA 727 Its landing gear unfolds preparatory to touching down at Bangor International Airport.", "INT.  A DEPLANING AREA  DAY Lots of people making their way up the jetway.", "INT.  LOUIS, OUTSIDE THE SECURITY POINT He's looking anxiously for his people. In one hand he's got half a dozen roses. His face lights up.", "INT.  THE DEPLANING AREA, LOUIS'S POV Here comes LOUIS'S family. ELLIE is a little ahead. RACHEL is pushing GAGE in his stroller. ELLIE sees LOUIS and lights up. ELLIE Daddy! She runs for him.", "INT.  JUST OUTSIDE THE SECURITY POINT ELLIE comes belting up to LOUIS, weaving among the deplanees like a slalom skier. She leaps into his arms. LOUIS swings her cheerfully. LOUIS Hi, sugar! She smacks him noisily. He smacks her back just as noisily. ELLIE Daddy, is Church all right? LOUIS'S face changes. All at once he's watchful. LOUIS Yes. I guess so. He was sleeping on the front porch when I left. ELLIE Cause I had a bad dream about him. I dreamed he got hit by a car and you and Mr. Crandall buried him in the Pet Sematary. LOUIS -LRB- trying to smile. -RRB- That was a silly dream, was n't it? ELLIE Is he really all right? LOUIS Yes. ELLIE Because you promised. LOUIS I know. RACHEL reaches them. She's pretty tired. Hair hanging in her face, good travelling clothes now looking a bit wrinkled and a bit stale. RACHEL Want to take your son, doc? LOUIS does. GAGE is ecstatic. LOUIS kisses RACHEL deeply.", "INT.  THE CREED KITCHEN, NIGHT CHURCH at the door, waiting to be let out. ELLIE does the honors. CHURCH oils out into the shed/garage. ELLIE closes the door. She looks distressed. She crosses the kitchen again.", "INT.  THE CREED LIVING ROOM, NIGHT RACHEL, in a flannel nightgown, is watching TV. LOUIS is reading a medical tome and making notes. GAGE, zipped into a warm blanket suit, is sacking on the couch. ELLIE -LRB- entering. -RRB- Can cats have shampoos? RACHEL Yes - you have to take them to someone who grooms animals, though. I think it's pretty expensive. ELLIE -LRB- still upset. -RRB- I do n't care. I'll save up my allowance and pay for it. Church smells bad. LOUIS I've noticed it, too. I'll cough up the money, Ellen. ELLIE I hate that smell.", "INT.  LOUIS, CU He looks both grim and sad - a man discovering that what you pay for you own, and what you own always comes home to you. LOUIS Yes - I hate it, too. BLACK. And on it, a fourth title card : MISSY DANDRIDGE. SOUND : A pen scratching over paper.", "INT.  A STUDY DESK, CU A single sheet of lined paper is spotlighted by the glow of the desk - lamp. On it, MISSY'S right hand is just finishing : `` Dr. says Intestinal Cancer. Can not face this Pain. Sorry.'' The hand puts the pen down. It tears the paper in two, leaving just the half with the message.", "INT.  THE DANDRIDGE CELLAR, NIGHT A light comes on and we see a hangman's noose strung over a beam. It dangles above a kitchen table which has been relegated to cellar duty. SOUND : Descending footsteps.", "INT.  THE NOOSE, CU SOUND of MISSY climbing onto the table. Her face enters the frame. She looks very sick. She puts her head into the noose and rakes it tight at the hyoid bone.", "EXT.  THE DANDRIDGE HOUSE, NIGHT One light on. a cellar light. SOUND : Ree - ree - ree. then. SOUND : Kick! THUMP! SOUND : Ree - ree - ree.", "INT.  THE CELLAR, WITH MISSY DANDRIDGE She hangs limply, hands dangling at her sides, above the table, which now lies upon its side. We can see the note clearly. She pinned it to the bodice of her housedress. SOUND : Car engines starting up.", "EXT.  IN FRONT OF THE GRACE METHODIST CHURCH  DAY People are coming out and getting into their cars and turning on the headlights, even though it is only mid - morning. In the immediate f.g. is a hearse. Four pallbearers are loading a coffin into it.", "EXT.  LOUIS AND ELLIE, ON THE CHURCH STEPS ELLIE They're all turning on their lights! Daddy, why are they all turning on their lights in the middle of the day? JUD, dressed in a rusty old black suit and a black tie, comes out and stands with them. He looks haggard and old. JUD They do it to honor the dead, Ellen. ELLIE Is that right, dad? LOUIS Yes. To honor the dead.", "EXT.  THE CHURCH PARKING AREA More cars start up ; more lights come on ; the back doors of the hearse swing closed.", "EXT.  LUDLOW CEMETARY  DAY -LSB- NOTE : In the book LOUIS finds it difficult to enter at night because of a high iron fence. Here we should see there's no such problem ; there's only a low stone wall between the graveyard and the public road. -RSB- The mourners are of course gathered around the grave of MISSY DANDRIDGE. The coffin rests above it on runners. MINISTER -LRB- voice. -RRB- May the Lord bless you and keep you ; may the Lord make his face to shine upon you, and comfort you, and lift you up, and give you peace. Amen.", "EXT.  LOUIS, ELLIE, JUD As the mourners begin to break up, these three start back toward LOUIS'S car. JUD Rachel not feeling well? LOUIS Well. a touch of the flu. ELLIE She's in bed. She was throwing up. Ever since Mrs. Rogers called and said Missy - LOUIS That's enough, Ellen. They've reached the CREED station wagon. JUD Out of the mouths of babes, Louis. LOUIS This babe has said enough. He opens the front passenger door. LOUIS Hop in, Ellie. She does, and LOUIS closes the door. JUD Poor Missy. God, I was sorry to hear. I remember when she was no older'n Ellen there, walking down to the store with her Raggedy Anne doll draggin' behind her in the dust. I do n't know why God takes someone like her, who should have a bunch of years still in front of them, and lets an old shit like me just go on and on. LOUIS My father used to have a saying, Jud - `` God sees the truth, but waits.'' JUD Ayuh. how is your cat, Louis? LOUIS It's Ellie's cat. JUD Nope. He's your cat now. JUD opens one of the back doors as LOUIS goes around to the driver's side.", "INT.  THE BACK SEAT OF THE WAGON JUD has tilted over in one corner and is snoring. His Walkman ` phones are on and we can hear the tinny sounds of Billy Idol. A little old man's drool trickles down from one corner of his mouth. SOUND : ELLEN < crying.", "INT.  THE FRONT OF THE WAGON, WITH LOUIS AND ELLIE Tears are spilling freely down ELLIE'S face. LOUIS Ellie? What's wrong? ELLIE No more chocolate chip cookies. LOUIS Huh? ELLIE Missy made the best chocolate chip cookies in the world - even Mom said so. Now there wo n't be any more because she's gon na be dead forever! She cries harder. LOUIS reaches out and strokes her hair.", "EXT.  THE STATION WAGON, DAY Moving up the country road toward home through blazing fall foliage.", "INT.  TV SCREEN, CU  NIGHT On it is a scene from `` Night of the Living Dead.'' NEWSCASTER Bizarre as it may seem, it now seems almost beyond doubt : the dead are returning to eat the living. ELLIE -LRB- voice. -RRB- Daddy?", "INT.  THE CREED LIVING ROOM  NIGHT There's a VCR on top of the TV ; LOUIS has been watching `` Night.'' Now he quickly uses the remote control to shut down the TV. She's dressed for bed, and comes toward him slowly. LOUIS What's up, sugar? ELLIE Daddy, do you think Missy Dandridge went to heaven? LOUIS What?", "INT.  THE KITCHEN, WITH RACHEL She's putting away the last of the supper things. She hears this and moves toward the living room door to listen. She does n't look at all well. Her eyes are red from crying and her face is haggard.", "INT.  THE LIVING ROOM, WITH LOUIS AND ELLIE She's gotten up into his lap. ELLIE At school Michael McDowell said she was gon na fry in hell. Michael McDowell says all sewersides fry in hell. LOUIS Well, I think Michael McDowell is so full of shit he probably squeaks when he walks, my dear.", "INT.  RACHEL, AT THE DOOR She smiles a little at this.", "INT.  LOUIS AND ELLIE, IN THE LIVING ROOM LOUIS But do n't you dare say that. ELLIE I wo n't. is Missy in heaven, do you think? LOUIS I do n't know, honey. Different people believe all sorts of different things happen to us when we die. Some believe in heaven or hell. Some think we're born again as little children - ELLIE Sure, carnation. Like in that movie you rented, Audrey Rose. LOUIS Well, it's actually reincarnation, but you get the idea. And some people think we just wink out. like a candle flame when the wind blows hard. ELLIE Do you believe that? LOUIS looks toward :", "INT.  THE LIVING ROOM SOFA, WITH CHURCH, LOUIS'S POV CHURCH is sleeping.", "INT.  LOUIS AND ELLIE LOUIS I think we go on. I'm not sure what happens after we die, but yeah - I have faith in that. ELLIE You believe in it. LOUIS Oh, faith's a little more than just believing.", "INT.  RACHEL, AT THE KITCHEN DOOR Listening intently.", "INT.  LOUIS AND ELLIE LOUIS -LRB- continues. -RRB- I'll tell you what faith is - it's the evidence of the heart ; the assurance of things not seen. ELLIE I do n't get it. LOUIS Well, here we are, sitting in my chair. Do you think my chair will be here tomorrow? ELLIE Yeah, sure. LOUIS Then you have faith in that. But we do n't know it will be ; after all, some crazed chair - burglar might break in while we're away and steal it, right? ELLIE'S giggling.", "INT.  RACHEL, AT THE DOOR She's smiling, too. but tears are running down her cheeks.", "INT.  LOUIS AND ELLIE LOUIS But we plan on that chair. We believe in that chair. And I plan on going on somehow as Louis Creed, after I die. I believe I will. ELLIE -LRB- awed. -RRB- You have faith in that. LOUIS Yes ma'am. Just like I have faith that it is now time for Ellen Creed to get ready for bed. So buzz. He gets her off his lap. ELLIE I'm not tired! LOUIS I'm sure you're not. ELLIE Then why do I have to go to bed? LOUIS Because your mother and I need the rest, sugar. Now buzz. She heads toward the stairs.", "INT.  LOUIS AND RACHEL'S BEDROOM LOUIS is in bed, reading. RACHEL, wearing a robe over her nightgown, comes in. RACHEL I heard you tonight. LOUIS I thought maybe you did. I know you do n't approve of the subject being raised - RACHEL That's not true. The subject scares me. Because of Zelda. LOUIS puts his book down and looks at her thoughtfully. LOUIS Your sister, I know. RACHEL sits down on the end of the bed. She's clasping her hands nervously together. RACHEL Sometimes you're so good with her, Louis - so straight with her - that you make me ashamed of myself. LOUIS sits up and scoots down the bed to her. He tries to put an arm around her. She rejects it - but gently. RACHEL I'm sorry I could n't go with you to Missy's funeral. And that I blew up when we went to that silly animal graveyard. LOUIS That's forgotten. RACHEL Not by me, it is n't. I know how badly I acted, how unfair I was. It's just that I. you know. LOUIS Yes, I guess I do. He makes a place for her beside him and hugs her. They lie silently together for awhile, taking comfort from each other. RACHEL I'm going to try to do better. LOUIS You're doing fine. BLACK. And on it, a fifth title card : GAGE. SOUND : An idling truck motor.", "EXT.  THE GRILLE OF A TRUCK  DAY It looks monstrous. as high as a mountain.", "EXT.  THE TRUCK, A NEW ANGLE It's an Orinco tanker. The driver, a young man in khaki fatigues and a baseball cap, climbs up into the cab. He slams the door and jams the truck into gear. IRWIN GOLDMAN -LRB- voice. -RRB- I knew something like this would happen.", "EXT.  THE ORINCO SHIPPING YARD  DAY The truck comes rolling slowly toward the main gate. stops so the driver can look both ways. and then pulls slowly out onto ROUTE 9. IRWIN -LRB- voice continues. -RRB- I told her when you were first married. ` You'll have all the grief you can stand, and more,' I said.", "INT.  A FUNERAL CHAPEL, WITH IRWIN GOLDMAN AND LOUIS  DAY There are others here, but they are in the b.g., and concentrating on the scene the old man is making. He's RACHEL'S dad. LOUIS is sitting in the aisle seat of a pew - like bench. He looks terribly shattered - they both do, actually. He's staring at the old man as if he can not in the least comprehend what he's saying. IRWIN -LRB- continues. -RRB- And now look at this! He gestures toward :", "INT.  THE FRONT OF THE FUNERAL CHAPEL  DAY Here, half - buried in floral tributes, is a child - sized coffin. GAGE'S.", "INT.  IRWIN AND LOUIS  DAY IRWIN -LRB- weeping. -RRB- Run over in the road like a. a chipmunk!", "EXT.  ROUTE 9, W/TRUCK  DAY Getting up to speed.", "EXT.  A KITE, CU There's a hand holding it - LOUIS'S. The kite begins to move and THE CAMERA TRACKS IT. It flaps and flutters.", "EXT.  THE FIELD BESIDE THE CREED HOUSE, WITH LOUIS He runs with the kite beneath a gorgeous fall sky in which fat clouds move like airy ocean liners. ELLIE -LRB- voice. -RRB- Go, daddy!", "EXT.  A PICNIC TABLE  DAY The remains of a picnic lunch are spread here. Looks like everyone ate well. In attendance : RACHEL, ELLIE, GAGE, and JUD CRANDALL. GAGE Go, dayee! They all laugh - JUD ruffles the kid's hair.", "EXT.  LOUIS, RUNNING WITH THE KITE He's paying out string - and the kite is going up. LOUIS -LRB- voice. -RRB- Where's Rachel?", "INT.  THE FUNERAL CHAPEL, WITH LOUIS AND IRWIN IRWIN looks toward :", "INT.  THE BACK OF THE CHAPEL, WITH RACHEL AND DORY GOLDMAN They are by the sign - in book. Both are dressed in black. Both look haggard. But RACHEL looks more than haggard ; she looks damned near insane with grief and horror.", "INT.  LOUIS AND IRWIN IRWIN -LRB- leaning forward. -RRB- With her mother! Where she should be! As for you, I hope you rot in hell! In hell, do you hear me? We should ; by now he's screaming his head off.", "INT.  THE CAB OF THE ORINCO TRUCK  DAY The driver is whistling. A transistor radio hangs from the rear - view mirror on a strap. He turns it on. The Ramones. `` Sheena.'' Hey - ho, let's go.", "EXT.  ROUTE 9, TRUCKER'S POV Unrolling before us at a good clip - too good, maybe.", "INT.  THE TUCKER'S FOOT Stamping the pedal closer to the metal.", "EXT.  THE ONCOMING TRUCK Belting toward THE CAMERA. SOUND of the GROWLING ENGINE.", "EXT.  THE SKY, WITH THE KITE LOUIS has clearly gotten it up okay.", "EXT.  LOUIS, IN THE FIELD He's holding the string, looking up at the sky. Now he looks back at the picnic table. LOUIS Hey, Gage!", "EXT.  THE PICNIC TABLE GAGE gets down and runs toward his father.", "EXT.  ROUTE 9 WITH THE ORINCO TANKER Belting along fast. SOUND of the Ramones.", "EXT.  THE FIELD, WITH LOUIS AND GAGE GAGE runs to his dad, chubby legs working. He reaches him, and LOUIS transfers thee ball of string to GAGE'S hands. GAGE Dat? LOUIS String! You're flying it, Gage - you got the hammer, my man! GAGE Gage fline it? LOUIS Bet your boots. Look - LOUIS puts his hands over GAGE'S hands and pulls them down.", "EXT.  THE KITE It dips in the sky.", "EXT.  LOUIS AND GAGE LOUIS See? GAGE Gage fline it! LOUIS -LRB- tenderly. -RRB- Bet your ass, little hero. He kisses his son. They look up at :", "EXT.  THE KITE Dipping and drifting in that gorgeous fall sky. IRWIN GOLDMAN -LRB- voice. -RRB- Where were you while he was playing in the road? Thinking about your stupid medical articles? You stinking shit! You killer of children!", "INT.  THE FUNERAL CHAPEL, WITH LOUIS AND IRWIN IRWIN You - But there is no way he can express his outrage with mere words. As LOUIS sits staring numbly up at him, IRWIN punches him in the nose. LOUIS sprawls backward, falling out of the pew onto the floor.", "INT.  THE REAR OF THE CHAPEL, FEATURING RACHEL AND DORY RACHEL screams and starts forward. DORY pulls her back. RACHEL Louis! Daddy! Stop it! STOP IT!", "INT.  LOUIS AND IRWIN LOUIS is getting up groggily. Hs nose is pouring blood. IRWIN How do you like that, you son of a bitch? I should have done it sooner! IRWIN punches him in the stomach. LOUIS `` oofs'' and doubles over.", "INT.  ANGLE ON THE OTHER MOURNERS Among them we see STEVE MASTERTON and MARCY CHARLTON. STEVE -LRB- getting up. -RRB- Hey!", "INT.  LOUIS AND IRWIN LOUIS is slowly straightening up. IRWIN is in a sour frenzy of glee. IRWIN How do you like that? How do - LOUIS pushes the old man with both hands.", "INT.  IRWIN GOLDMAN He goes stumbling and flailing backwards. strikes the coffin. knocks it off its bier. A SCREAM goes up from the mourners.", "INT.  RACHEL AND DORY RACHEL screams. Her mother struggles to hold her but RACHEL easily breaks free and goes running down the aisle.", "INT.  ANGLE ON MOURNERS, WITH MARCY AND STEVE MARCY Stop them. Right now. STEVE gets up and goes toward :", "INT.  THE FRONT OF THE CHAPEL, WITH IRWIN He's picking himself out of a tangled mess of coffin and overturned floral tributes. His suit is wet from spilled water. He's weeping. LOUIS has just reached him, and that stunned look is gone. I think he intends to do the Cool Jerk all over IRWIN GOLDMAN'S puny little body. IRWIN strikes a Gentleman Jim Corbett pugilistic pose. IRWIN Come on! I'm ready for ya! I'll take y' apart! As LOUIS wades in, STEVE MASTERTON gets between them. at the last possible moment. STEVE Stop it! LOUIS swings. STEVE manages to block the punch with his body. STEVE Stop it! Jesus, what's wrong with you, Louis? It's your son's funeral, not a boxing match! That gets to LOUIS. He drops his fists. That stunned expression creeps over his face again - that look that says he does n't have the slightest clue as to what's going on or how it could possibly have happened.", "INT.  LOUIS PASCOW -LRB- voice. -RRB- The soil of a man's heart is stonier, doc - LOUIS turns toward :", "INT.  THE FRONT PEW, WITH PASCOW AND CHURCH PASCOW, bloody and ruined in his jogging shorts and muscle shirt, has the pew to himself. except for CHURCH, who is sitting on his lap and PURRING. PASCOW A man grows what he can. and tends it.", "INT.  LOUIS, CU A sense of horrible awareness comes into his face. and then he covers it with his hands and begins to SOB. SOUND, COMING UP : A TRUCK MOTOR.", "INT.  THE CAB OF THE TANKER The trucker is singing along with the radio.", "INT.  THE GAS PEDAL It's closer to the floorboards than ever.", "EXT.  LOUIS AND GAGE WITH THE KITE, IN THE FIELD We are at some distance - far enough to see that the two of them have moved quite close to the road.", "EXT.  LOUIS AND GAGE, A NEW ANGLE (KITE'S POV) We can see their faces upturned to us - we can hear the AMPLIFIED RATTLING SOUND of the kite itself. THE CAMERA PANS TO THE LEFT - to the road. And we can see the truck, fairly close by now, and coming closer.", "EXT.  THE PICNIC TABLE, WITH RACHEL, ELLIE, AND JUD JUD'S lighting a cigarette. His Walkman ` phones are around his neck. ELLIE I want to fly it! Can I fly it now, mommy! RACHEL In a minute, hon. Let Gage finish his turn.", "EXT.  LOUIS AND GAGE This is the last moment of happiness in this man's life - so let's make it very happy. As he and GAGE stare up at the kite : IRWIN -LRB- voice. -RRB- Jesus. Louis. I'm sorry -", "INT.  THE FUNERAL CHAPEL The fight has gone out of IRWIN and STEVE has backed away - but cautiously. He's ready to jump back in if one or the other goes mad again. But IRWIN is shuffling toward LOUIS, hands out - everyone else has gathered in a knot near the front of the chapel. Among them is RACHEL and her mother, weeping in each others' arms. IRWIN I do n't know what happened to me. Louis, please - LOUIS brushes by him with no acknowledgement that IRWIN even exists. He kneels down slowly by the coffin and puts his head against it. LOUIS -LRB- weeping. -RRB- I'm sorry, Gage - I'm so sorry, little hero.", "EXT.  LOUIS AND GAGE, IN THE FIELD There's a strong gust of wind. The ball of string falls out of GAGE'S hand.", "EXT.  THE KITE, BLOWING AWAY", "EXT.  THE PICNIC TABLE ELLIE It got away from him! That numb shit! RACHEL -LRB- outraged. -RRB- Ellen Creed!", "EXT.  THE BALL OF KITE TWINE It is bouncing and unraveling. More importantly, it is being carried directly toward the highway.", "EXT.  GAGE He takes off after the ball of twine. GAGE Kite fline too fast! SOUND : The oncoming truck.", "EXT.  THE TRUCK Slamming toward us - a brutal leviathan on eighteen wheels.", "EXT.  LOUIS He's looking - looking toward his people at the picnic table. LOUIS -LRB- shrugs, good - humored. -RRB- What can you d - TRUCK SOUND CONTINUES.", "EXT.  THE PICNIC TABLE TRUCK SOUND LOUDER. Alarm hits JUD'S face. He rises. JUD Do n't let him go in the road, Louis! RACHEL looks ; registers terrible alarm. RACHEL -LRB- screams. -RRB- Get him, Louis!", "EXT.  GAGE He's still scampering after the bouncing ball of kite - twine, which has now almost reached the road. TRUCK SOUND LOUDER.", "EXT.  LOUIS The SOUND is loud enough so he's having trouble hearing. LOUIS -LRB- cups his ear. -RRB- What?", "EXT.  THE PICNIC TABLE RACHEL -LRB- shrieks. -RRB- GET THE BABY! JUD is running toward the road, although he'll never get to GAGE in time ; only LOUIS has a chance.", "EXT.  LOUIS Horrible understanding dawns on his face. He whips around and sees :", "EXT.  GAGE, LOUIS'S POV The kid's almost in the road ; the ball of twine is in it. RISING DRONE OF THE TRUCK.", "EXT.  THE ONCOMING TRUCK", "EXT.  GAGE, RUNNING INTO THE ROAD GAGE -LRB- cheerful. -RRB- Geddit - geddit - geddit!", "EXT.  EVERYONE, KITE'S POV GAGE reaches the middle of the road as the truck comes around the corner. LOUIS is running across the field, getting close to the side of the road. RACHEL is clutching ELLIE by the picnic table. JUD is helplessly trying to wave the truck down as it passes him.", "EXT.  GAGE, IN THE ROAD As he reaches the broken white line he grabs the ball of string. SOUND OF THE ONCOMING TRUCK. GAGE turns his head. GAGE -LRB- not afraid. -RRB- Druck!", "EXT.  THE ONCOMING TRUCK AND THE DRIVER, GAGE'S POV Suddenly THE DRIVER'S face turns into a Halloween mask of horror. He BLASTS THE AIR - HORN.", "EXT.  LOUIS, ON THE VERGE OF THE ROAD LOUIS -LRB- shrieks. -RRB- NO!", "EXT.  GAGE BLARE OF THE AIR - HORN. A shadow falls over his face. There is an audible CLICK! and we FREEZE FRAME. What we have now is a tremen - dously winning photograph of a little boy, not quite two, with a ball of string in his hand. and a shadow lying across his face.", "EXT.  PHOTO MONTAGE a. -RRB- LOUIS is pushing RACHEL out of a hospital door. RACHEL is in a wheelchair and looks radiantly happy -LRB- so, for that matter, does LOUIS -RRB-. I think we may safely assume that the small blanketed bundle in RACHEL'S arms is GAGE. b. -RRB- LOUIS, bare to the waist, is tubbing a two - month - old GAGE in a baby - tub. He's laughing. The infant looks confused but calm. c. -RRB- The whole family by the Christmas tree, following an orgy of present - opening. ELLIE, about five, has a doll in each hand. LOUIS and RACHEL are in pajamas. GAGE, about five months, is lying in a drift of wrapping paper. He looks confused but calm. d. -RRB- A child's sneaker lying in the road. It's splashed with blood. e. -RRB- GAGE - he's about nine months old in this snap - is propped up in the angle of a sofa. There's a big white rabbit in his lap. GAGE looks c. but c. f. -RRB- ELLIE and GAGE, bundled up against the Chicago winter. ELLIE is pulling a child's chair - sled. GAGE is propped up in the chair. He's about eleven months old in this snap. He's laughing. g. -RRB- The Orinco tanker, overturned on the far side of Route 9. h. -RRB- This one was taken at Gage's first birthday party. He's wearing a party - hat and looking at a birthday cake with a single candle on it while LOUIS kisses one cheek and RACHEL kisses the other. i. -RRB- LOUIS, in the road. He's holding GAGE'S jumper, which is torn, blood - soaked, and inside out. LOUIS is looking up toward the sky and screaming. j. -RRB- Here is a full - face studio portrait of GAGE. He is smiling at us, heartbreakingly lovely. CAMERA HOLDS ON THIS while : JUD -LRB- voice. -RRB- Sedative finally took hold. She's asleep.", "INT.  THE KITCHEN TABLE, WITH LOUIS He's holding the studio portrait in his hands and looking at it fixedly. The other photos -LRB- the good ones, that is ; not the screamers - those, we may assume, exist only in LOUIS'S tortured memory -RRB- are scattered on the table. We only saw a few ; there are actually hundreds. LOUIS puts the photo down as JUD comes in and crosses to the fridge. LOUIS'S nose is badly swelled. He also has a black eye. JUD gets a couple of beers and comes back toward the table. JUD Your father - in - law packs a wallop, for an old guy. He and his wife gone back to Chicago? LOUIS No. squatting out there at the Holiday Inn like a couple of vultures. He really thinks Rachel's going to go back with them. Her and Ellie. JUD Louis - The swing door opens. They look toward :", "INT.  ELLIE She looks dazed and shocked. There are brown circles under her eyes, but otherwise her complexion is much too white. She's wearing fuzzy pj's. She's carrying the picture of her pulling GAGE on the sled.", "INT.  JUD AND LOUIS, AT THE TABLE ELLIE -LRB- coming to the table. -RRB- I want to go back to my own room. I ca n't sleep with mommy. She keeps stealing the covers. JUD What you got there, Ellie? At first she does n't want to show him, but JUD is very kind. JUD -LRB- studying it. -RRB- Why that's real nice. you pullin' him on a sled. Bet he liked that, did n't he? ELLIE nods. She is starting to cry. JUD is also leaking at the eyes. ELLIE -LRB- crying. -RRB- I used to pull ` im a lot. LOUIS, looking down at his hands, nods. ELLIE I'm going to carry this picture, Mr. Crandall, until God lets Gage come back. JUD reacts violently. And LOUIS looks up, dully curious. but has n't the thought already passed through LOUIS'S mind? Yes - I think it has. JUD Ellie. God does n't do things like that. I know you loved y' brother, but - ELLIE He can if He wants to. He can do anything, just like Inspector Gadget on TV. But I have to keep things ready for him, that's what I think. I've got his picture and I'm going to sit in his chair - LOUIS Ellie - ELLIE And I'm going to eat his breakfast cereal, too, even though it tastes like boogers. And. and. She bursts into tears. JUD Louis, take care of your little girl. she needs you.", "INT.  LOUIS, CU His face is stricken.", "INT.  ELLIE'S BEDROOM  NIGHT LOUIS comes in with ELLIE in his arms. He puts her gently into her bed and pulls the covers up. She's already mostly asleep. LOUIS -LRB- kisses her. -RRB- Good night, Ellie. ELLIE G'night daddy. He starts for the door.", "INT.  ELLIE, CU ELLIE God could take it back if He wanted to, could n't He? If He really, really wanted to? Can I have faith in that?", "INT.  LOUIS, AT THE DOOR He stands looking at her for a long time, apparently thinking about this quite deeply. LOUIS Yes - I suppose you can. Good night, Ellie. He steps out, closing the door.", "INT.  ELLIE, IN BED In some sense comforted - it may be a poison comfort but she surely does n't know this - she turns over on her side to go to sleep. We can see the picture of GAGE under her arm.", "INT.  THE UPSTAIRS HALL, WITH LOUIS The light here is fairly dim. LOUIS goes down and opens another door. He pokes his head in.", "INT.  THE MASTER BEDROOM, WITH LOUIS He reacts first with surprise, then a species of horrified disgust.", "INT.  LOUIS AND RACHEL'S BED, LOUIS'S POV CHURCH is crouched on RACHEL'S sleeping form.", "INT.  THE BED, A NEW ANGLE LOUIS comes in and swats the cat a damned good one. LOUIS -LRB- low snarl. -RRB- Fuck off, hairball!", "INT.  CHURCH, CU It hisses at him through a mouthful of fangs, its eyes big green balls. and then it flees. CAMERA FOLLOWS IT out the door.", "INT.  LOUIS, BY THE BED RACHEL stirs and mutters thickly, then lies still again. she's doped to the gills. LOUIS bends over and kisses her gently. He leaves the room and closes the door behind him.", "INT.  THE UPSTAIRS HALL, WITH LOUIS He tries the door a couple of times to make sure it's firmly on the latch -LRB- his face wears an expression of `` How'd he get in there in the first place?'' -RRB- . Then he walks down the hall to the stairs.", "INT.  ON THE STAIRS, CU The cat is on one of the risers. LOUIS trips over it.", "EXT.  ON THE STAIRS WITH LOUIS, WIDER For a moment he's pinwheeling madly for balance, on the verge of falling. He regains his balance as the cat goes shooting across the dining room toward the kitchen. LOUIS regains his equilibrium after a bit and continues on down.", "INT.  THE KITCHEN, WITH JUD AND LOUIS AND CHURCH As LOUIS enters through the swing door from the dining room, JUD is just letting CHURCH out the back door. As JUD closes the door : LOUIS -LRB- slightly antagonistic. -RRB- I thought you'd be gone by now. JUD I got you a fresh beer out of the fridge, Louis. He indicates the table, where there is indeed a fresh beer. LOUIS Jud, I buried my son today and I'm very tired. I wonder if we could just - JUD You're thinking of things best not thought of, Louis. LOUIS I'm thinking about going to bed. But he begins pouring the beer into a glass. JUD You never asked me if anyone had buried a person up there in the Micmac burying ground - LOUIS'S hand jerks. Beer goes foaming across the kitchen table. JUD - but I think the thought has crossed your mind. LOUIS Shit! Look at this mess! JUD Ayuh - it's a mess, all right. As LOUIS goes to get a cloth to wipe up the mess : JUD I know the Micmacs thought it was a holy place. and then they thought it was a cursed place. That's why they moved on. LOUIS Because something called a wendigo soured the ground. JUD And because the dead walked. LOUIS stops sopping and looks at him.", "INT.  JUD, CU JUD Oh, ayuh. It's been done. What you've been thinking of has been done.", "EXT.  A COUNTRY RAILROAD STATION/SEPIA  DAY The time is the late summer of 1944, although I do n't believe we need to know that specifically. The sign on the station reads LUDLOW. There are a few 40s cars parked near the station - they have gas - ration coupons on the windshields. And a hearse. A train is coming.", "EXT.  THE HEARSE, WITH UNDERTAKER AND BILL BATERMAN/SEPIA We can see the UNDERTAKER is trying to talk to BILL BATERMAN, a man in his forties who periodically wipes his brow with a bandana. BILL walks away. He does n't want to talk ; he does n't want comfort. He's a grief - stricken, bitter man. JUD -LRB- voice over. -RRB- Timmy Baterman was on his way home from the war with his Purple Heart when he got killed in some stupid car accident down in Georgia.", "EXT.  THE TRAIN, IN FRONT OF THE DEPOT/SEPIA The door of the mail - car is open. The UNDERTAKER and three trainmen are unloading TIMMY BATERMAN'S coffin, which is draped in a 48 - star flag. BILL BATERMAN stands by, watching balefully as they carry his son's final apartment to the back of the hearse and load it in. JUD -LRB- v - o continues. -RRB- Bill was bitter - his son had been in the thick of it two years and then got shot in the leg - a clean flesh - wound. He was supposed to be coming home safe and sound. Instead, he come home in a box after all.", "EXT.  THE REAR OF THE HEARSE/SEPIA The doors close. The hearse pulls away. THE CAMERA PANS TO BILL BATERMAN, who stands staring balefully after it and mopping his brow. JUD -LRB- v - o continues. -RRB- He was n't able to get to the bottom of the truth, Louis.", "INT.  THE CREED KITCHEN, WITH LOUIS AND JUD  NIGHT LOUIS is now sitting down, drinking a beer, staring at JUD. LOUIS I'll bite - what's the bottom of the truth, Jud? JUD Why. that sometimes dead is better. That's all. Sometimes dead is better. LOUIS -LRB- bitter. -RRB- Tell that to my wife and little girl. JUD It ai n't your wife and little girl that's got me worried, Louis.", "EXT.  THE LUDLOW CEMETARY/SEPIA  DUSK We're featuring a fresh grave. that of TIMMY BATERMAN. A truck, showing only parking lights, turns into the graveyard and drives slowly up to it. It stops, and BILL BATERMAN gets out. HE looks at the grave and then goes to the back of his truck. JUD -LRB- voice - over. -RRB- Timmy was buried on July 22nd, as I remember.", "EXT.  BILL BATERMAN AT THE BACK OF HIS TRUCK/SEPIA  DUSK He reaches in. and brings out a pick and shovel.", "EXT.  MARGIE WASHBURN, ON HER PORCH/SEPIA  DAY She's a middle - aged woman dressed in mid - forties style. She's got a rug - beater in one hand ; the other is up to her eyes to shade the sun. She's staring at something, horrified. JUD -LRB- v - o continues. -RRB- It was four or five days later when.", "EXT.  A COUNTRY DIRT ROAD, WITH TIMMY BATERMAN/SEPIA  DAY A young man dressed in jeans and a plaid shirt is shambling up the road. His eyes are vacant. His shirt is half untucked. His hair is sticking up in a wild crow's - nest thatch. There is an ugly mess of healed scars on his neck and one side of his face. I think one of his ears may be gone - torn off in the accident. JUD -LRB- v - o continues. -RRB- Margie Washburn seen him walking up the road toward Yorkie's Livery.", "EXT.  MARGIE/SEPIA She's screaming - we hear her faintly.", "EXT.  TIMMY/SEPIA He turns toward her and we see a green light like the St. Elmo's fire in the Little God Swamp glow dimly deep in his eyes. He grins at MARGIE.", "EXT.  IN FRONT OF THE LUDLOW TOWN OFFICES, WITH MARGIE/SEPIA She hesitates for a moment or two and then walks up toward the door. JUD -LRB- v.o. -RRB- Lots of people saw Timmy Baterman walking back and forth between the home place and the town line. But it was Margie.", "INT.  THE TOWN OFFICES, WITH MARGIE/SEPIA She's in a hallway in front of a door with LUDLOW SELECTMEN printed on the frosted glass. After a moment she opens it and goes in. JUD -LRB- v.o. continues. -RRB- who finally got up enough guts to talk to the town fathers about it. She knew it had to be stopped, Louis.", "INT.  THE SELECTMEN'S OFFICE/SEPIA MARGIE and four men are grouped around a desk. She's talking ; they're listening. THE CAMERA LAZILY PANS the four men - one, of course, is JUD as a YOUNG MAN. JUD -LRB- v.o. continues. -RRB- She knew it was an abomination. George Anderson, the town postmaster, was there. and Alan Purinton. Hannibal Benson. and me. I was there.", "EXT.  THE BATERMAN PLACE/SEPIA  SUNSET It's a ramshackle old farm which looks remarkably like the estate of that gentleman farmer Jordy Verrill. An old Ford pulls into the driveway, and the four men get out. SOUND BLEEDS IN : Most of all the SOUND OF THE CRICKETS. They go to the door, and JUD is wordlessly elected as the prime honcho. He knocks. No answer. Again. No answer. SOUND : Crazy laughter. BILL BATERMAN -LRB- voice. -RRB- Stop that, Timmy! The four men look at each other. JUD Come on. They start around to the back.", "EXT.  THE BACK YARD, WITH BILL AND TIMMY/SEPIA TIMMY BATERMAN is staring directly into the setting sun, his eyes glowing with green fire. He's laughing like Goofy gone insane. BILL, scared, is trying to make him stop, to turn away from the sun.", "EXT.  THE BACK YARD, A NEW ANGLE/SEPIA The four men come around the side of the house. They freeze when they see BILL and TIMMY. ALAN Oh holy Jesus lookit that. BILL whirls around and sees them. BILL You men get out of here! JUD I heard your boy was killed down Georgia. BILL -LRB- agitated. -RRB- That was a mistake! HANNIBAL Was it? BILL You see him standing there, do n't you? Now get out! Get the Christ off my land! Now TIMMY turns around and comes shambling forward. TIMMY -LRB- laughing. -RRB- Ge ow! Ge Cwise off eye an! GEORGE -LRB- revolted. -RRB- Oh Jesus, Jud! He's dead! I can smell him! BILL He ai n't dead! Give him a day or two and he'll be fine! Do n't you say that! JUD Bill, this ai n't right - you can see that yourself - BILL -LRB- screaming. -RRB- GET OUT! YOU HEAR? GET OUT!", "EXT.  TIMMY BATERMAN/SEPIA TIMMY -LRB- laughing. -RRB- Dead! We love dead! Hate living! Abruptly he reaches up with both hands and scratches down his cheeks, goring deep grooves in his flesh. Blood flows sluggishly out. Very weird blood.", "EXT.  THE ENTIRE GROUP/SEPIA BILL grabs TIMMY, who's still laughing wildly, and gets him turned around. TIMMY shambles back to where he was originally standing. BILL goes with him like a man who has charge over a trained baboon. A stupid trained baboon. BILL -LRB- over his shoulder. -RRB- You want to get out of here before I get my shotgun! You boys are trespassing!", "EXT.  THE FOUR MEN/SEPIA JUD God help you, Bill.", "EXT.  BILL AND TIMMY BATERMAN/SEPIA BILL -LRB- snarls. -RRB- God never helped me. I helped myself.", "EXT.  TIMMY BATERMAN, CU/SEPIA Staring directly into the setting sun and laughing wildly, mindlessly.", "INT.  THE CREED KITCHEN, WITH LOUIS AND JUD LOUIS What happened?", "EXT.  THE BATERMAN PLACE--MONTAGE  NIGHT a. -RRB- A car pulls up with its lights off and stops. JUD -LRB- v.o. -RRB- There was a fire. b. -RRB- We see legs as people get out of the car, and hands holding tin cans of gasoline. c. -RRB- Hands splash gasoline from the cans along the sides of the house.", "EXT.  THE BATERMAN PORCH  NIGHT JUD -LRB- as a young man -RRB- rings the bell - an old - fashioned twist type. BILL -LRB- voice. -RRB- Who's there? TIMMY -LRB- laughing, screeching voice. -RRB- Ooo air? Ooo air? JUD Get out, Billy - the place is going up. He walks away. BILL BATERMAN, wearing a strappy tee - shirt, looks out the window. BILL I seen you! I seen you, Jud Crandall!", "EXT.  THE BATERMAN PLACE--MONTAGE  NIGHT a. -RRB- A match is struck. and applied to wet boards. Whoosh! b. -RRB- The other side of the house : The same. c. -RRB- In the back yard, JUD lights a torch and heaves it through the kitchen windows. Ka - PLOOM! d. -RRB- The men draw away toward the front, their faces grim and judgmental.", "EXT.  THE BATERMAN PLACE  NIGHT Burning. Going up fast.", "EXT.  THE MEN ALAN You think Bill's gon na get out, Jud? JUD -LRB- stony. -RRB- If he do n't, he do n't.", "EXT.  THE FRONT DOOR It bursts open. We see two men struggling at the forefront of an inferno - correction, one man and an undead monster. TIMMY is giggling and screaming, trying to pull his father back into the flames. BILL -LRB- struggling. -RRB- No! No, Timmy! Let me go! TIMME -LRB- laughing. -RRB- Love dead! Hate living! He sinks his teeth into his father's arm. BILL screams. A beam falls on TIMMY, lighting him afire. BILL breaks free and runs down the porch steps.", "INT.  THE FRONT HALL, WITH TIMMY He's burning and laughing. TIMMY LOVE DEAD! HATE LIVING! And into the fire he goes, still shrieking and laughing.", "EXT.  THE FRONT YARD  NIGHT BILL BATERMAN is collapsed on the lawn as sparks drift down around him, his face hidden against his thighs, weeping. CAMERA MOVES SLOWLY IN on the four men, who are grouped at the end of the driveway by the road and staring with awe at :", "EXT.  THE BLAZING FARMHOUSE  NIGHT", "INT.  THE KITCHEN, WITH LOUIS AND JUD JUD -LRB- softly. -RRB- Sometimes dead is better, Louis. BLACK. And on it, a sixth title card : THE DEAD WALK. SOUND BLEEDS IN : JET ENGINES.", "EXT.  BANGOR INTERNATIONAL TERMINAL  DAY A jet plane rises into the sky from behind the building. GATE AGENT'S VOICE This is the final call for United's flight 61 to Chicago.", "INT.  A BOARDING GATE, WITH LOUIS AND RACHEL In the b.g. we can see IRWIN and DORY GOLDMAN waiting by the jetway with ELLIE as the last few passengers board. RACHEL looks confused and grief - stricken. She also looks punchy, doped up. I imagine she's floating on a sea of Valium, and that makes her easier to deal with. LOUIS'S battle - scars are fading a little. The GATE AGENT is standing by the jetway with a mike in one hand and a bunch of boarding passes in the other. GATE AGENT -LRB- concludes. -RRB- All passengers should now be aboard. LOUIS You better get going, hon. RACHEL Oh Louis, I just do n't know about this - LOUIS I told you last night - this can be the start of patching things up with your folks. If something good does n't come of Gage's death, I think I'll go crazy. RACHEL Louis, are you sure? LOUIS I'm sure.", "INT.  THE GOLDMANS, WITH ELLIE ELLIE I do n't want to go to Chicago, Gramma Dory. DORY Why not, darling? ELLIE I had a bad dream last night. A nightmare. IRWIN -LRB- kindly. -RRB- About what? ELLIE About Daddy. -LRB- Pause. -RRB- And Gage. DORY and IRWIN exchange a knowing, sad glance over the child's head. ELLIE And someone named Paxcow.", "INT.  RACHEL AND LOUIS LOUIS guides her to the jetway. LOUIS Come on, you guys - before you miss the boat. He kisses DORY. IRWIN hugs him. IRWIN Louis, I am sorry. What can I say? That I lost my mind? It's the truth, but no good excuse. LOUIS -LRB- hugs him back. -RRB- We all lost our minds, Irwin. LOUIS kisses RACHEL. Then he kneels and hugs ELLIE. LOUIS Be good to your mother, darlin'. She needs you. ELLIE Come with us, daddy. Please come with us! LOUIS I'll be there in three days - four at the most. I've got to get the electricity shut off and square things with your school so the truant officer ai n't after you, and -", "INT.  ELLIE, CU ELLIE -LRB- crying. -RRB- Please, daddy! I'm scared!", "INT.  LOUIS AND ELLIE LOUIS Of what? ELLIE -LRB- crying harder. -RRB- I do n't know. LOUIS -LRB- great emphasis. -RRB- Everything's going to be all right, Ellie. Now go on - get aboard. ELLIE Do you swear? LOUIS I swear. The Voice of Authority has spoken. We can tell by ELLIE'S face that while things are still not all right, they are a little better. She joins her mother. The four of them - RACHEL, ELLIE, and THE GOLDMANS - start down the jetway. ELLIE looks back once, as if begging him to come. and then they're gone.", "INT.  LOUIS, CU LOUIS'S face changes. Now it is a stony and contemplative face. Not, when you get right down to it, a very nice face. He turns and strides away.", "INT.  THE AIRPORT PARKING LOT, WITH LOUIS The family station wagon is in the f.g.. We hear the SOUND OF JET ENGINES, and as LOUIS reaches the wagon he turns and watches :", "EXT.  THE TERMINAL,, LOUIS'S POV From behind it a United Airlines jet lifts into view and banks away.", "EXT.  LOUIS, IN THE PARKING LOT Face set, he gets into the wagon and drives away.", "EXT.  ROUTE 15 IN BREWER The CREEDmobile pulls up across from the Brewer Tru - Value Hardware and LOUIS crosses to it.", "INT.  THE HARDWARE STORE COUNTER, CU On it : A six - cell flashlight, Duracell D - batteries, a pick, a shovel, and a nylon drop - sheet in cellophane packaging. Now the CLERK'S hands come into the frame and drop a pair of heavy work - gloves into the pile.", "INT.  LOUIS AND CLERK (SMALL PUN, HEE-HEE) CLERK Anything else for you today? LOUIS -LRB- after a look. -RRB- I think we got it all. The CLERK starts to ring things up. CLERK Looks like heavy work. LOUIS It could be. The quality of LOUIS'S reply is somehow unnatural. The CLERK looks at him, momentarily unsure and uncertain. Then he starts ringing things up again.", "INT.  A UNITED JETLINER, WITH ELLIE AND RACHEL ELLIE is in the window - seat, asleep. RACHEL is holding a paperback but not reading it. Her eyes are red. She's looking into space. CAMERA DRIFTS TO ELLIE. Her sleep is not easy. Her head turns from side to side, as if in negation. She becomes steadily more upset. She's starting to mutter. Suddenly her eyes flare open and she screams.", "INT.  JETLINER, SLIGHTLY WIDER We can see the GOLDMANS in the seats behind the CREEDS. They are startled. So are other passengers. A stewardess comes running. ELLIE Paxcow says it's almost too late! RACHEL Ellie. Ellie. what. ELLIE Paxcow says it's almost too late! We have to go back! Paxcow says it's almost too late!", "EXT.  LUDLOW CEMETARY  DAY The CREED wagon turns in and drives up one of the lanes. It stops and LOUIS gets out.", "EXT.  LOUIS He walks to a fresh grave on which the first flowers are already starting to wilt. He sits down and takes a flower. He plucks it, looking at the grave steadily. He says nothing for a long time. LOUIS It's wrong. -LRB- Pause. -RRB- What happened to you is wrong.", "EXT.  GAGE, IN THE FIELD He runs toward THE CAMERA, happy and laughing, in SLOW MOTION.", "EXT.  LOUIS, BY GAGE'S GRAVE LOUIS is now weeping, but he seems calm just the same. PASCOW -LRB- voice. -RRB- Remember, doc. LOUIS looks at :", "EXT.  A TOMB, LOUIS'S POV PASCOW, bloody and mutilated, is standing by it. PASCOW The barrier was not meant to be crossed. The ground is sour.", "EXT.  LOUIS, BY GAGE'S GRAVE He is not put out of countenance in the slightest by PASCOW'S appearance ; he probably knows PASCOW is just a figment of his conscience or imagination, and so do we. LOUIS I'll tell you where the ground is sour - the ground in my heart is sour. Let me tell you something else, Vic - baby : Wrong is wrong.", "EXT.  PASCOW PASCOW Timmy Baterman. That was wrong.", "EXT.  LOUIS, BY GAGE'S GRAVE LOUIS Do n't talk like an asshole even if you are just a bit of underdone potato or a blot of mustard.", "EXT.  PASCOW, BY THE TOMB He stands mute, just looking.", "EXT.  LOUIS LOUIS -LRB- weeping. -RRB- He was my son! He was n't even two and he was run down in the fucking road and he was almost in pieces, and if you do n't think I'm going to try.", "EXT.  THE TOMB, SANS PASCOW VIC has put on his boogie shoes.", "EXT.  LOUIS, BY GAGE'S GRAVE He's crying harder. Abruptly he reaches out at the floral tributes and knocks a bunch of them over. LOUIS If it does n't work - if he comes back like Timmy Baterman - I'll put him to sleep. But I'm going to try. -LRB- Pause. -RRB- And if it does n't work. they do n't ever need to know.", "EXT.  THE GOLDMAN HOUSE IN LAKE FOREST, ILLINOIS  NIGHT", "INT.  UPSTAIRS HALL  NIGHT THE CAMERA MOVES LEISURELY along this hallway, which is lined with pictures of RACHEL, ELLIE. and GAGE -LRB- there may even be a couple in which LOUIS is featured, but damned few -RRB-. Near the end of the hall a door is open and light spills out. RACHEL -LRB- voice. -RRB- Honey, you just had a bad dream. You know that, do n't you? ELLIE -LRB- voice. -RRB- It was n't a dream. It was Paxcow. THE CAMERA GOES THROUGH THE DOOR and into the room where ELLIE is staying. She's in bed, still badly upset. RACHEL is sitting on the bed beside her. There's a single lamp on the bedside table. ELLIE Paxcow says Daddy's going to do something really bad. He - RACHEL Who is this Paxcow? Is he like the boogeyman? ELLIE He's a ghost. But he's a good ghost. RACHEL turns off the bed - lamp. RACHEL There are no ghosts, Ellie. I want you to go to sleep and forget all this nonsense. ELLIE Will you at least call and make sure daddy's okay? RACHEL Of course I will. She kisses ELLIE. RACHEL Now will you try to go to sleep? ELLIE -LRB- turns over on her side. -RRB- Yes, Mom. RACHEL gets up and leaves the room.", "INT.  THE UPSTAIRS HALLWAY PASCOW is here, halfway down the hall to the stairs, bloody as ever. RACHEL does n't see him. She looks perplexed, a woman trying to think of something. She stops very near him. RACHEL -LRB- to herself. -RRB- Paxcow, why do I know that name? PASCOW Pascow. RACHEL suddenly straightens. She looks startled and afraid. RACHEL Pascow? Was she saying Pascow? She suddenly heads for the stairs, fast.", "EXT.  THE CREED HOME IN LUDLOW  NIGHT SOUND : A car starting up. The station wagon backs out and heads down the driveway. As it passes THE CAMERA, we see LOUIS driving. The wagon turns onto Route 9 and heads off. CAMERA HOLDS ON THE HOUSE. A beat of silence. Then : the telephone starts ringing.", "INT.  THE GOLDMAN LIVING ROOM  NIGHT IRWIN and DORY are watching RACHEL with some anxiety. RACHEL is holding the phone to her ear. We can hear the FILTERED SOUND of one ring after another. She hangs up. RACHEL He's not home. DORY Why, he probably went out for a hamburger or a chicken dinner, dear. You know how men are when they're alone. Good old IRWIN'S face says that maybe LOUIS went out for a couple of grams of coke and a whore in Nazi SS boots. RACHEL is dialing another number.", "EXT.  THE CRANDALL HOUSE  NIGHT SOUND : Phone starts to ring.", "INT.  THE CRANDALL KITCHEN, WITH JUD He shuffles to the telephone. His Walkman ` phones are around his neck. He's got a bottle of beer in one hand. JUD -LRB- picks up. -RRB- Hello - you got Judson.", "INT.  THE GOLDMAN LIVING ROOM, WITH RACHEL RACHEL It's Rachel Creed, Jud. I'm calling from Chicago. JUD -LRB- surprised voice. -RRB- Chicago! Is Louis with you? RACHEL No. we're going to be here awhile, and he wanted a few days to wind up our affairs there. I just wondered if he was with you.", "INT.  THE CRANDALL KITCHEN, WITH JUD His face says this is very serious. JUD No - but if he drops by, I'll tell him to call you.", "INT.  THE GOLDMAN LIVING ROOM RACHEL Jud, do you remember the name of the student that died on Louis's first day at work? The one that was hit by a car? JUD -LRB- voice. -RRB- I do n't - RACHEL Was it Pascow?", "INT.  THE CRANDALL KITCHEN, WITH JUD JUD Ayuh, I think't was. If I see Louis come home before I go to bed, I'll tell him to -", "INT.  THE GOLDMAN LIVING ROOM, WITH RACHEL RACHEL Do n't bother. I'm coming home. JUD -LRB- alarmed voice. -RRB- Rachel! RACHEL Thank you, Jud. Goodbye. She hangs up.", "INT.  THE CRANDALL KITCHEN, WITH JUD JUD No! Rachel! Do n't do that! Rachel -! The buzz of an open line. Connection broken. JUD slowly replaces the receiver. The man looks very grim.", "INT.  THE FRONT HALL OF THE GOLDMAN HOUSE RACHEL comes down the stairs, dressed for travelling. She's carrying a suitcase in one hand. Her parents meet her at the foot of the stairs. DORY Rachel. darling. you're upset. a night's sleep. RACHEL I have to go. The connections are tight, and I have to be at O'Hare in forty minutes. Will you drive me, daddy? IRWIN You know something's wrong, do n't you? You know. And Ellie does, too. RACHEL Yes. IRWIN I'll drive you. ELLIE -LRB- voice. -RRB- Mommy? They all turn to :", "INT.  ELLIE, ON THE STAIRS ELLIE Please hurry.", "INT.  RACHEL AND THE GOLDMANS RACHEL I will. Come and kiss me. ELLIE races into her arms.", "EXT.  LUDLOW CEMETERY  NIGHT SOUND Of a car engine, THROBBING AND LOW. It cuts off. CAMERA MOVES IN on the low stone wall between the cemetery and the road. Beyond it we can see the roof of the CREED station wagon. LOUIS appears, dressed in dark clothes. He looks both ways, then tosses a big duffle bag over the wall. Stuff clanks inside. LOUIS climbs over the wall, grabs his bag, and checks out the scene.", "EXT.  LUDLOW CEMETERY, LOUIS'S POV A quiet city of the dead. Spooky. SOUND of crickets : Ree - ree - ree.", "EXT.  LOUIS He heads for GAGE'S grave.", "INT.  THE GOLDMAN CAR, WITH RACHEL AND IRWIN IRWIN I'll come with you if you want, honey. RACHEL -LRB- shakes her head. -RRB- I've got three planes to catch and I got the last seats on two of them. It's like God saved them for me.", "EXT.  O'HARE UNITED AIRLINES TERMINAL, WITH IRWIN'S CAR IRWIN'S car heads for it.", "EXT.  THE GRAVE OF GAGE CREED LOUIS approaches it slowly and sets down his bag of grave - robbing equipment. He sets aside the remaining floral tributes and then opens the bag and takes out the spade. He looks down at the grave for a long second. LOUIS -LRB- low. -RRB- Gon na bust you out, son. He starts to shovel.", "EXT.  THE SHOVEL, CU Digging. throwing. digging again. Already the shape of the excavation is beginning to show. The work is easy ; this earth is new and fresh.", "EXT.  JETLINER, IN A LINE-UP OF JETLINERS", "INT.  JETLINER, WITH RACHEL Everyone looks impatient, but RACHEL looks half crazy. PILOT -LRB- voice. -RRB- This is the Captain speaking. I'm sorry about this delay, folks, but we've got a real low ceiling tonight and air traffic control's playing it safe. Looks like it's going to be about half an hour before we get on a roll, so I'm turning off the NO SMOKING sign. SOUND : Bing! There's a general groan. CAMERA MOVES IN ON RACHEL, who has closed her eyes. I think she's praying.", "EXT.  GAGE'S GRAVE  NIGHT Now it's pretty deep. Four feet, maybe. LOUIS is standing in it. We see his feet as the shovel goes up and down, up and down.", "EXT.  LOUIS  NIGHT He's sweating and dirt - streaked. He's tossing dirt on a big pile. Suddenly, as he takes another shovelful, we hear a SCRAPING SOUND. He tosses the shovel aside and squats.", "EXT.  IN THE GRAVE, WITH LOUIS There's a white streak on the bottom of the grave - the top of GAGE'S coffin. LOUIS swipes his hand through the loose dirt, uncovering more, and then he begins to sweep off the top of the coffin with his hands.", "EXT.  THE CRANDALL PORCH JUD comes out. He's wearing a light jacket. His Walkman ` phones are around his neck. He's got a six - pack. He looks at :", "EXT.  THE CREED HOUSE, JUD'S POV It's dark.", "EXT.  THE CRANDALL PORCH, WITH JUD He sits down. JUD You done it, you stupid old man. now you got to undo it. He puts his earphones on. Cracks a beer. Lights a cigarette. Pushes the PLAY button on the deck. Faint SOUNDS of The Clash buzz - sawing `` Rock The Casbah.'' JUD begins to watch.", "EXT.  LOUIS He climbs out of the grave and opens his duffle bag. He starts to pull out the pick. SOUND of an approaching car. LOUIS freezes.", "EXT.  THE ROAD OUTSIDE OF THE CEMETERY A police car comes cruising slowly along. The spotlight on the driver's side comes on and runs along the graveyard's stone wall.", "EXT.  LOUIS Watching. Waiting. Hardly breathing.", "EXT.  THE POLICE CAR It reaches the end of the wall. Everything looks jake. The spotlight goes out and the police car speeds up.", "EXT.  LOUIS He relaxes perceptibly. He gets the pick and drops back into the grave.", "EXT.  THE TOP OF THE COFFIN, CU LOUIS inserts the tip of the pick in the flange of the coffin and levers it. CRACKING SOUND. Again. More CRACKING. Again. And the lock breaks. The coffin lid comes up a little, dirt gritting in the hinges.", "EXT.  LOUIS, CU Here's a man on the thinnest edge between sanity and madness.", "EXT.  JETLINER LIFTING OFF FROM O'HARE", "INT.  RACHEL AND HER SEATMATE SEATMATE Think you'll make your connection in Boston? RACHEL I have to.", "EXT.  LOUIS, BY GAGE'S GRAVE He's lying on his stomach, reaching in. We hear the SOUND of dirt grating in hinges again.", "EXT.  LOUIS, CU We're looking up into his face. If GAGE had a POV, this would be it. LOUIS'S face fills with a terrible grief. LOUIS Oh, Gage - oh, honey.", "EXT.  JUD CRANDALL, ON HIS PORCH His chin slips to his chest, even though we hear Creedence on his ` phones and to him the sound must be at blastoff levels. There's a long round ash on his cigarette in the tray. A couple of empty beer cans on the table beside him. A truck blasts by, startling him out of his doze. He jerks his head up suddenly. and slaps himself. He's okay. for now.", "EXT.  THE GRAVEYARD, WITH LOUIS He is sitting on the edge of the grave, holding his dead son in his arms, rocking him. GAGE is back to us. We see only a small limp figure in a dark suit. Hair flops limply. LOUIS It's going to be all right. I swear it's going to be all right. The canvas tarp has been spread open to the right. LOUIS begins to lay his son down on it.", "EXT.  THE GROUND BESIDE THE TARP, CU It's littered with flower petals. One limp hand appears among them.", "EXT.  LOUIS He closes the tarp over GAGE, making a roll. He then produces rope from the duffle bag. He cuts the rope and begins to tie one piece around one end of the canvas roll containing the corpse of his son.", "EXT.  JETLINER IN THE NIGHT SKY PILOT -LRB- voice. -RRB- Good evening again, ladies and gentlemen.", "INT.  THE JETLINER, WITH RACHEL Her seatmate is knitting something. Across the aisle sits VICTOR PASCOW, bloody but serene, hands clasped in his lap, looking straight ahead. RACHEL looks around tensely. PILOT -LRB- continues. -RRB- I'm delighted to tell you that we've got a strong tail - wind tonight and we expect to arrive at Boston's Logan Airport almost on time. PASCOW clenches his fist in a `` That's one for our side!'' gesture. RACHEL -LRB- softly. -RRB- Thank God. Her SEATMATE looks at her a bit strangely.", "EXT.  THE GRAVEYARD, WITH LOUIS He's got the bundle containing his son and the duffle - bag with the tools. He runs bent over. He reaches the wall and there's the SOUND of another motor. He crouches at the base of the wall.", "EXT.  THE ROAD Here comes that same police car. The spotlight runs along the wall.", "EXT.  LOUIS Crouching against his side of the wall and sweating.", "EXT.  THE POLICE CAR It stops. The COP gets out. He walks slowly toward the wall.", "EXT.  LOUIS Crouched. Now we see the COP looking over the top. If he looks down. but he does n't. Instead he turns around so we see his back. LOUIS looks up, miserably scared, pouring sweat. Silence. Then : SOUND of the cop taking a whiz.", "EXT.  THE COP Ah! Relief. SOUND of his fly being zipped. He looks back at the cemetery for a moment. COP I ai n't afraid of no ghost. He walks back to his cruiser, gets in, and hauls ass.", "EXT.  LOUIS, BEHIND THE WALL He collapses with relief. Then he gets up and looks cautiously over the wall. Nothing there but his car, parked a little way down on the other side of the road. He tosses the duffle bag over the top of the wall. He puts the canvas roll containing GAGE on top of the wall. Then he vaults over.", "EXT.  THE STREET SIDE OF THE WALL, WITH LOUIS He takes the roll, gets the duffle bag hooked over his shoulder by the string, and runs across the road like a soldier crossing enemy territory. He goes to the rear of the wagon.", "EXT.  THE REAR OF THE WAGON, WITH LOUIS He puts the body down. He feels in his pocket for his keys. No keys. Mild consternation. He looks around, feeling exposed. The other pocket. Still no keys. More consternation. He begins to hunt feverishly through his pockets. Maybe in his jacket? Nope. SOUND : An approaching car.", "EXT.  PASSING CAR A civilian - not the ubiquitous cop.", "EXT.  LOUIS He turns his pockets out, spilling change everywhere. Nothing. Suddenly a little light goes on in his eyes. He goes to the driver's side of the car and looks in at :", "INT.  IGNITION, LOUIS'S POV The keys are in the switch.", "EXT.  LOUIS He snatches the keys and returns to the back of the wagon. He uses the key to open the doorgate. He puts GAGE'S body in gently, then the duffle bag. He closes the doorgate and returns to the front of the car. He opens the driver's door and freezes. LOUIS returns to the rear, gets his keys from the doorgate, comes back to the front, gets in, and drives away.", "INT.  A JETWAY AT LOGAN INTERNATIONAL People are debarking into the gate area. Through them comes RACHEL, running fast, pushing some people, excusing herself incoherently. PASCOW is walking near her. PASCOW There's just time. If you run. Without looking at PASCOW, RACHEL takes off her shoes and runs.", "INT.  THE CONCOURSE, WITH RACHEL She's sprinting down the concourse - look out, Joanie Benoit!", "INT.  GATE 27, WITH FEMALE GATE AGENT AND PASCOW The FEMALE GATE AGENT is starting to close the jetway door. PASCOW Do n't do that, babe. The GATE AGENT looks puzzled, as if she just had a thought -LRB- or maybe a gas pain -RRB-. She stops closing the door. RACHEL runs into the area. She sees :", "INT./EXT.  THE JET PLANE, THROUGH THE GATE WINDOWS It is just starting to swing ponderously away from the jetway.", "INT.  RACHEL AND FEMALE GATE AGENT (PASCOW IS GONE) RACHEL Make it come back! FEMALE GATE AGENT I ca n't - RACHEL bolts down the jetway. The GATE AGENT stares after her, and then runs for her stand, where we can see FLIGHT 61 and BANGOR on the slide - cards. She picks up her mike.", "EXT.  THE JETWAY  NIGHT RACHEL stands all alone at the end of it. AMPLIFIED SOUNDS OF JET ENGINES. RACHEL -LRB- screams. -RRB- COME BACK, MOTHERFUCKER!", "EXT.  THE JET, RACHEL'S POV It starts to swing back to pick her up.", "EXT.  RACHEL PASCOW appears behind her and puts a hand on her shoulder. PASCOW You're doing just fine.", "EXT.  JUD CRANDALL, ON HIS PORCH He's fast asleep with the tinny sound of Graham Parker coming out of his Walkman ` phones. SOUND : An approaching car.", "EXT.  THE CREED HOUSE The station wagon turns in and parks. LOUIS gets out. He opens the back, removes the body in the tarp and the duffle bag filled with tools. He manages to get everything together and walks to the edge of the path. He looks at :", "EXT.  THE PATH TO THE PET SEMATARY, LOUIS'S POV Off it goes, glimmering in the dark.", "EXT.  LOUIS He holds the corpse of his little boy to him. LOUIS Please God - let this work. He sets off.", "EXT.  JUD, ON HIS PORCH Zonked out. He missed the whole thing. Nice going, Jud.", "EXT.  OUTSIDE THE ARCH TO THE PET SEMATARY, WITH LOUIS Louis passes under like a ghost.", "EXT.  THE PET SEMATARY, WITH LOUIS LOUIS is crying. He crosses to the deadfall. LOUIS Ai n't gon na stop, Gage. Ai n't gon na look down. He begins to mount the deadfall.", "EXT.  LOUIS, A NEW ANGLE He reaches the top. And woven into the deadfall, behind him, facing the Pet Sematary, is that snarling face. LOUIS descends the other side.", "EXT.  THE FOOT OF THE DEDFALL, WOODS SIDE LOUIS reaches the bottom and looks at :", "EXT.  THE WOODS, LOUIS'S POV The path winds onward through those gigantic trees - it glows slightly.", "EXT.  LOUIS, MOVING UP THE PATH", "EXT.  LOUIS, AT THE EDGE OF LITTLE GOD SWAMP That phosphorescent glow is a lot more pronounced. SOUNDS of CRICKETS and FROGS. The water is mucky and still. Hummocks stick up like knobs on the back of a creature best not seen. Fog drifts through the dead trees. LOUIS does n't want to go in there. Smart man. I would n't either. But he does.", "INT.  THE HERTZ DESK, AT BIA WITH RACHEL AND CLERK--AND PASCOW PASCOW is lounging back against the rack of folders - and getting some of them bloody. HERTZ CLERK I'm sorry. it's been very busy tonight. I really do n't have anything. PASCOW What about the Aries K with the scratch on the side? The CLERK starts looking through her papers. CLERK I do have an Aries K, but it came in sort of beat up - there's a long scrape up one side - RACHEL I'll take it.", "EXT.  LOUIS, IN LITTLE GOD SWAMP He comes walking toward THE CAMERA with GAGE in his arms and the duffle bag over his shoulder. Mist swirls around him. The landscape is weird, surreal. CRICKET SOUNDS, AMPLIFIED. In fact there are a lot of swampy, marshy SOUNDS - too many. It sounds almost prehistoric. SOUND : HARSH, SCREAMING LAUGHTER LOUIS stops. He looks slowly around at :", "EXT.  MIST-FACE, LOUIS'S POV A demonic face takes shape in the mist and FLOATS SLOWLY TOWARD THE CAMERA. It runs out a tongue that's about nine feet long. Its eyes blow out. Blood and thick, gooey stuff runs from the sockets.", "EXT.  LOUIS He closes his eyes. After a moment he opens them.", "EXT.  LITTLE GOD SWAMP, LOUIS'S POV Nothing there.", "EXT.  LOUIS LOUIS See? Just imagination. Just -", "EXT.  LOUIS'S FEET We can barely see them because they are thick in mist, but he is standing on a couple of low, marshy tussocks. Suddenly a thick tentacle slimes its way out of the standing water and slithers around his ankle.", "EXT.  LOUIS, LOOKING DOWN LOUIS Nothing. there. He turns around and begins to walk again.", "EXT.  LOUIS'S FEET The tentacle falls away.", "EXT.  LOUIS, IN LITTLE GOD SWAMP MYRIAD SOUNDS, none of them pleasant - laughter, gobbling howls, screams. Sounds like the swamp has been invaded by a pack of escaped lunatics. LOUIS continues on regardless.", "EXT.  WOODS LOUIS comes into the frame. He's obviously tiring now, but he keeps moving along. SOUND : Approaching footsteps. Big ones. Thudding ones. Something is coming which sounds approximately the size of a Tyrannosaurus Rex. And it just keeps getting louder and louder and louder. LOUIS looks plenty scared. SOUND : A falling tree.", "EXT.  WOODS, LOUIS'S POV Those SOUNDS keep getting closer and closer. Another tree falls - we see this one. And now we see a SHAPE - just a SHAPE.", "EXT.  LOUIS He's scared almost to death. His face turns up. up. up.", "EXT.  THE WOODS--AND THE SHAPE, LOUIS'S POV It is vaguely manlike : perhaps sixty feet tall, perhaps eighty. We do n't see it very well, nor do we have to - I'm not even sure it's flesh and blood. But there is a clear suggestion of a head. Now it turns and looks down. looks at LOUIS CREED. We see great yellow eyes the size of lighthouse lamps. It makes a huge GRUNTING SOUND. and then walks on.", "EXT.  LOUIS The SOUND OF FOOTFALLS is slowly diminishing. LOUIS It was the Wendigo. Dear God, I think the Wendigo just passed within sixty feet of me. Slowly he begins to walk again.", "EXT.  LOUIS, A NEW ANGLE In the extreme f.g. is a tree which has just fallen - it is no small tree, either, but a great big old fir. LOUIS approaches it. Stops. Looks at the tree. Looks down at :", "EXT.  THE FOREST FLOOR, LOUIS'S POV Here is a gigantic animal track - if it was full of water, LOUIS could swim in it. It looks like no animal track we've ever seen before. Three big claws at the end of it.", "EXT.  LOUIS Looks up again. His face is set and hard. LOUIS It does n't matter. Come on, Gage. He starts to walk again.", "EXT.  THE MICMAC BURYING GROUND SOUND : The wind, lonesome and keening. THE CAMERA MOVES SLOWLY toward the slope, dreaming its way over those rocky cairns. most of them burst apart. SOUND : Tortured breathing. Panting. LOUIS toils his way into view, carrying his bundle. He reaches the top. He makes his way slowly into the burying ground. He stumbles over a rock. Falls down. Slowly gathers his things together and gets up again. He goes a little further and then stops and looks at :", "EXT.  A BROKEN CAIRN AND THE GRAVE BENEATH, LOUIS'S POV We can also see the shredded remains of a green garbage bag.", "EXT.  LOUIS He slowly kneels down. He puts the canvas tarp to one side and slowly takes the pick and shovel from the duffle bag. By now he is clearly a man approaching total exhaustion.", "EXT.  A COUNTRY ROAD, WITH AN ARIES K It tracks past THE CAMERA.", "INT.  THE ARIES K WITH RACHEL AND PASCOW Both of them look tense. RACHEL is bolt upright behind the wheel. Suddenly, BANG! as one of the tires blow.", "EXT.  THE ARIES K It goes skidding and slueing across the road, the rear tire half off the rim. IT climbs the curb and hits a tree.", "INT.  RACHEL She lurches forward, but she's wearing her seat - belt - good girl! She unbuckles it and gets out.", "EXT.  RACHEL She looks at the car, which now has quite a bit more wrong with it than just a scratch up the side. RACHEL slumps, near tears. LOUIS is n't the only one who's been through a lot tonight. RACHEL Now what? PASCOW comes from around the tree as RACHEL walks to the road, looking for cars, or something. He looks urgent and upset. PASCOW It's trying to stop you. Do you hear me? It's trying to stop you. RACHEL looks around uncertainly. a little afraid. As she scans the scene she looks at - and through - PASCOW. RACHEL Is anyone there? After a moment of silence she turns back to the road. Lights appear and brighten as a car approaches. RACHEL steps to the shoulder and after a moment she sticks out her thumb, surely for the first time in her life. The car sweeps by her without slowing.", "EXT.  GAGE'S CAIRN, CU LOUIS'S hands enter the shot and put a few more rocks on it. THE CAMERA PULLS BACK and we see him surveying his work. Beside him is the canvas tarp, now open and empty. Absently, LOUIS stuffs the tarp into the duffle bag -LRB- where his tools have also been replaced -RRB- and stands up with a wince. One hand goes to his lower back. He looks down at the cairn. LOUIS Come back to me, Gage. Come back to us. He turns away toward the stairs.", "EXT.  RACHEL, ON ROUTE 9 She's walking down the shoulder with her high heels in one hand. Lights. An approaching car. She turns, thumb out. The car blasts by. RACHEL -LRB- shouts. -RRB- MAY THE SEWERS OF RANGOON BACK UP IN YOUR BEDROOM, ASSHOLE! She starts walking again.", "EXT.  THE FIELD BESIDE LOUIS'S HOUSE LOUIS is moving down the path. As he passes the tire swing he pushes it, setting it in motion.", "INT.  THE GARAGE LOUIS slings the duffle bag wearily to one side and goes into the kitchen. CHURCH is under the table but LOUIS Does n't see him.", "INT.  THE UPSTAIRS HALL SOUND of LOUIS slowly plodding up the stairs. He comes into view, dirty and exhausted, his hair hanging in his face. He walks down the hall toward the master bedroom.", "INT.  THE BEDROOM The clock on the bedtable reads 2:17 A.M. LOUIS falls face - first on the immaculate bedspread and lies still. In this shot we should note the closet door is standing open.", "EXT.  THE MICMAC BURYING GROUND, FEATURING GAGE'S CAIRN THE CAMERA MOVES IN SLOWLY. Holds. Nothing for a beat. Then : A small white hand slams up through the rocks, hopefully scaring the living shit out of us. CAMERA MOVES CLOSER as the hand begins to feel around. It takes one of the rocks and pushes it aside. Another. Another. Another. The SOUNDS are not encouraging. It is GRUNTING and GROWLING. There is nothing human here. Rocks begin to tumble as GAGE starts to come out of his grave.", "INT.  THE CREED BEDROOM, WITH LOUIS Fast asleep on the coverlet in his dirty jeans and black sweater.", "EXT.  RACHEL My babe is still takin' a hike. But here comes another vehicle.", "EXT.  THE DEADFALL IN THE PET SEMATARY THE CAMERA MOVES IN on that snarling face. SOUNDS : GAGE coming. Dead dry breath. Low snarling noises. Now we see small feet in dirty black shoes walking down the deadfall.", "EXT.  RACHEL Suddenly, as the lights appear, she does a Claudette Colbert, pulling her skirt up and exhibiting a very lovely leg. Lights - it's an Orinco truck, naturally - spotlight her. The truck stops.", "EXT.  RACHEL AND THE TRUCK The driver leans over and opens the door. DRIVER Hop in, baby. RACHEL Thank you. She does.", "INT.  THE CREED KITCHEN, WITH CHURCH He's under the kitchen table, green eyes gleaming. I think he loves dead, hates living. SOUND : The doorlatch. CHURCH MIAOWS.", "INT.  THE KITCHEN, A NEW (LOW) ANGLE GAGE'S shoes grit slowly across the linoleum, leaving dirty tracks. CHURCH turns to watch GAGE'S passage, and then follows.", "INT.  THE BEDROOM, WITH LOUIS CAMERA HOLDS ON LOUIS as those gritting footsteps approach. Then we pan to the closet. On the floor is LOUIS'S little black bag. We hold on this as the footfalls near. A small white hand enters the frame and pulls the doctor - bag out of the closet. Now another hand enters the frame and opens the bag. The hands search around inside and bring out a scalpel. They hold it up. The GAGE - THING makes a contented SOUND.", "EXT.  THE ORINCO TRUCK, ON ROUTE 9  NIGHT It sweeps past THE CAMERA", "INT.  THE CAB, WITH RACHEL AND DRIVER RACHEL Ca n't you go any faster? TRUCKER Lady, I got nine points on my license right now. RACHEL I understand. It's just that - She looks at him, pleading. The TRUCKER speeds up. RACHEL Thank you. If you only understood how important this is - TRUCKER That's all right, babe. Only if we get stopped, next time I'll be the one hitchin' and you can give me a ride.", "EXT.  JUD, ON HIS PORCH More deeply asleep than ever. Suddenly, from inside, comes the sound of Quiet Riot singing/screaming `` Bang Your Head.'' It's the stereo, and boy, is it cranked. JUD straightens up so suddenly he almost falls off his chair. His hands go first to his earphones - his first thought on waking is that it's coming from there - and then he hurries inside. CAMERA PANS DOWN to small muddy tracks on the porch floor.", "INT.  THE LIVING ROOM, WITH JUD He hurries in, turns on the light, and rushes across to his stereo system, which is state - of - the - art digital - it looks like a flying saucer among the more traditional furnishings of the room. He shuts it off and looks around, frowning. SOUND : Todd Rundgren, singing `` Bang on the Drum All Day'' at the top of his voice. JUD'S head snaps toward the SOUND.", "INT.  A SONY RADIO, CU THE CAMERA PULLS BACK as JUD hurries across the kitchen to the counter, where the radio is. He turns it off, looking around, more bewildered than ever. JUD -LRB- sharply. -RRB- Who's here? He walks toward the door which gives on the hall.", "INT.  THE HALL, WITH JUD It's dimly lit by light - spill from the living room and kitchen. JUD Come on, stop playing games! SOUND : Molly Hatchet, `` Flirtin' with Disaster,'' being played top end, from upstairs. JUD hurries up. Let me suggest that there is a certain psychology at work here - for the moment he's more concerned about waking the neighborhood with all this high - decible rock and roll than with the prowler. and he would certainly know who - or what - that prowler was, if he had time to think.", "INT.  JUD'S BEDROOM He enters and turns on the light. We see a portable phonograph with the record, turning. JUD rushes over and turns it off. He looks around, and we see by his face that he knows. JUD Gage? -LRB- Pause. -RRB- Are you the one playing games? He goes to the window and looks out at :", "INT./EXT.  THE CREED HOUSE, WITH THE STATION WAGON, JUD'S POV", "INT.  THE BEDROOM, WITH JUD He turns slowly and walks toward the bed. JUD Gage? Come on out. He reaches in his pocket and brings out a pocket - knife. He unfolds the blade. JUD I want to show you something. SOUND : Miaow!", "INT.  THE DOORWAY, WITH CHURCH, JUD'S POV", "INT.  JUD, BY THE BED JUD -LRB- to the cat. -RRB- How did you -?!", "INT.  JUD'S FEET A small hand holding a scalpel shoots out from beneath the skirt of the coverlet and slashes JUD'S calf,", "INT.  JUD He screams with pain and staggers backward.", "INT.  JUD'S FEET The other hand shoots out. GAGE grabs one of JUD'S ankles and pulls.", "INT.  JUD With a startled yell, he falls.", "INT.  JUD AND GAGE This one's got ta be pretty rough. George will know what to do. We finally see GAGE, but it should be clear to us that it's not really GAGE at all. Some daemonic presence is riding inside the mouldering, disfigured shell of GAGE. There is a struggle. JUD is repeatedly slashed with the scalpel. Perhaps he gets GAGE a time or two with the pocketknife. GAGE screams and gibbers - nothing intelligible here ; only sounds. JUD expires. GAGE sits on top of him. and then bites into his throat.", "EXT.  ROUTE 9, BETWEEN THE CRANDALL AND CREED HOUSES Headlights. RACHEL'S truck has arrived. It pulls up. RACHEL opens the passenger door, which is on JUD'S side.", "EXT.  ANGLE ON THE CAB We can see PASCOW sitting in the passenger seat where RACHEL just was. RACHEL Thank you so much. TRUCKER I did n't get a ticket, so you're welcome, lady. -LRB- And, more seriously. -RRB- Whatever your problems are, I hope they work out. PASCOW It's the end of the line for me, too - I'm not allowed any further. RACHEL -LRB- to the trucker. -RRB- I'm sure things will be fine. PASCOW I'm not. She closes the door and steps down. The truck starts off with a HISS OF RELEASED AIRBRAKES. As it pulls past her, RACHEL starts across the road, when : GAGE -LRB- soft voice. -RRB- Mummy! She stops, startled. Her face wears a `` did I hear that?'' expression. She looks back toward JUD'S house. GAGE -LRB- soft voice. -RRB- Mummy! RACHEL walks halfway up JUD'S paved walk and looks at :", "EXT.  JUD'S HOUSE, RACHEL'S POV The one place in the whole world we do not want RACHEL to go.", "EXT.  RACHEL She goes. Up the steps to the porch. All through this she's been travelling with two bags : her handbag and a light tote with her initials on it. Now she sets the tote down on the top step and opens the porch door. She looks very uncertain. This is the wee hours of the morning, and someone else's house. But. that voice. GAGE -LRB- voice. -RRB- Mummy, I need you! RACHEL looks stunned - rocked. She steps onto the porch. RACHEL Who - The door to the house swings open. After a moment CHURCH comes into the doorway and sits down. CHURCH Miaow! RACHEL Church! GAGE -LRB- voice. -RRB- Mummy, I need you! She crosses to the open door. RACHEL Gage? Gage? No answer. RACHEL steps in.", "EXT.  THE CREED HOUSE  MORNING", "INT.  THE CREED BEDROOM, WITH LOUIS He's restless, having a very bad dream, from the look. He rolls back and forth. Closer and closer to the edge. Finally, with a wild yell, he goes over onto the floor.", "INT.  LOUIS, ON THE FLOOR He comes awake. Sits up. Ouch! He's aches from top to bottom and side to side. but his back is worst. His hands go to it. LOUIS Jesus! He starts to get up very slowly, and this his eyes fix on :", "INT.  GAGE'S TRACKS ON THE BEDROOM FLOOR, LOUIS'S POV They enter the house, go to the closet, then leave again.", "INT.  LOUIS LOUIS Gage -? He scrambles for the closet, his aches and pains forgotten. He stares in wildly.", "INT.  THE DOCTOR-BAG It's open.", "INT.  LOUIS He pulls the doctor - bag out. His original hope is now tempered with the first signs of fear. He begins to go through the doctor - bag. Suddenly he brings out a case and opens it. The case is empty, but the indented shape is clear. There was a scalpel in this case. but not anymore. LOUIS Oh my God. -LRB- Pause. -RRB- Gage!", "INT.  THE HALL, WITH LOUIS LOUIS Gage! LOUIS stands there, tensely listening, for a moment or two, but there's only silence. He rushes down the hallway and opens the door to GAGE'S room.", "INT.  GAGE'S ROOM, LOUIS'S POV Empty.", "INT.  LOUIS, ON THE STAIRS He goes downstairs, yelling GAGE'S name.", "INT.  THE KITCHEN, WITH LOUIS Nothing. The phone RINGS. LOUIS almost jumps out of his skin reaching for it. LOUIS Hello! IRWIN -LRB- voice. -RRB- Hello, Louis - it's Irwin. I just wanted to be sure Rachel got back all right. As IRWIN says this, LOUIS'S eyes fix upon something.", "INT.  THE FLOOR, WITH TWO SETS OF GAGE-TRACKS, LOUIS'S POV One set comes in from the shed - garage and heads for the parlor and upstairs. The other comes out of the parlor and crosses to the kitchen door giving directly on the outside.", "INT.  THE KITCHEN, WITH LOUIS In his eyes we suddenly see that he understands everything. or almost everything. IRWIN -LRB- voice. -RRB- Louis. are you there? LOUIS -LRB- slowly. -RRB- Yes - I'm here. IRWIN -LRB- voice. -RRB- Did she get there all right? LOUIS Yes, she's fine. IRWIN -LRB- voice. -RRB- Well, put her on at that end and I'll put Ellie on at this one. Ellie's very worried about her mother. -LRB- Pause. -RRB- She's almost in hysterics. LOUIS She. Rachel's asleep. IRWIN -LRB- an edge in his voice now. -RRB- Then I suggest you wake her up. Ellie. I think she had a dream that her mother was dead. LOUIS I'll call you right back. IRWIN -LRB- voice. -RRB- Louis -! But LOUIS, whose last few responses have been almost trancelike, hangs up. He looks at the tracks, then goes into the parlor.", "INT.  THE CRANDALL LIVING ROOM, WITH THE PHONE Tiny bloody hands lift it off the cradle. A tiny bloody finger dials.", "INT.  THE CREED KITCHEN The phone starts to ring. After two or three ringy - dingys, LOUIS, looking extremely upset, comes out of the parlor and picks it up. LOUIS Irwin, you'll just have to - GAGE -LRB- voice. -RRB- I'm at Jud's, daddy. Will you come over and play with me? LOUIS is dumbfounded. slack - mouthed with terror. LOUIS -LRB- a bare whisper. -RRB- Gage? GAGE -LRB- voice. -RRB- Mommy already came. We played, daddy. First I played with Jud and then mommy came and I played with mommy. We had an awful good time. Now I want to play with you. GAGE begins to giggle. a really awful sound. LOUIS What did you do? What did you - CLICK! The GAGE - THING hangs up, still giggling.", "INT.  THE CREED BED, CU He puts the doctor - bag down on the bed and roots through it. He comes up with three syringes, still wrapped in paper, and puts them aside. Then he roots around some more and comes up with several ampoules. He holds one up for inspection and we can read the word MORPHINE on it very clearly.", "INT.  THE BEDROOM, WITH LOUIS He carries the syringes and ampoules of morphine over to the window. His hair has gone partially white. He fills all three syringes with morphine -LRB- using two ampoules for each syringe - i.e., enough to kill a polar bear -RRB- and puts them in the left breast pocket of his shirt. He puts the spare ampoules in the right breast pocket of his shirt. LOUIS is slowly going insane. What remains of his rationality is like a rapidly fraying rope. LOUIS What you buy is what you own, and sooner or later what you own comes home to you. Was n't that what you said, Jud? Was n't that pretty much it? He leaves the room.", "EXT.  THE FRONT DOOR OF THE CREED HOUSE LOUIS comes out the door. In one hand he's got a raw pork chop. In the other he is carrying a pair of Playtex rubber gloves. He walks to the soft shoulder and waits for an Orinco truck to pass. Then he crosses.", "EXT.  THE CRANDALL WALK, WITH LOUIS He walks most of the way to the house, then stops.", "EXT.  CHURCH, LOUIS\"S POV He gets up, humping his back warily.", "EXT.  LOUIS LOUIS Hi, Church. Want some grub? He tosses the pork chop onto the grass.", "EXT.  CHURCH He hurries down the steps, goes to the chop, sniffs it, and starts to chow up. He looks up at :", "EXT.  LOUIS He is pulling on the rubber gloves. LOUIS Do n't mind me. Eat it while you can. Eat all you want.", "EXT.  CHURCH He starts worrying the chop again. Smack - smack - smack.", "EXT.  ANGLE ON LOUIS AND CHURCH LOUIS Eat all you can. all you want. that's right. today's Thanksgiving day for cats, but only if they came back from the dead. He finishes with the gloves, gets one of the loaded syringes out of his breast pocket, holds it up, squirts a drop out of the tip, then moves toward CHURCH. CHURCH looks up. LOUIS stops moving. CHURCH starts eating again, and LOUIS starts moving again as soon as he does. All the time he talks to the cat in that soothing voice. He bends down. and grabs him. CHURCH begins to squall and fight. LOUIS holds onto him. He tries to get the syringe into the cat and CHURCH almost gets away. LOUIS No, you do n't!", "EXT.  CHURCH, CU The syringe plunges into his haunch.", "EXT.  CHURCH AND LOUIS The needle is still dangling out of CHURCH'S haunch. The cat looks dazed. It tries to walk and falls over on its side. It tries to get up. and then falls over again. LOUIS Go on. Lie down. Play dead. Be dead. He walks to the porch steps and picks up the tote - bag.", "EXT.  THE TOTE-BAG, LOUIS'S POV Any doubt he might have allowed himself the luxury of having is erased by the initials - R.C., same as the cola.", "EXT.  LOUIS Twang! One of the few remaining strands of sanity has now parted. He looks back at :", "INT.  CHURCH, ON THE PATH, LOUIS'S POV Dead.", "EXT.  LOUIS He climbs the steps and goes onto the porch.", "EXT. LOUIS, ON THE PORCH He strips off the rubber gloves. He tosses them onto the table beside JUD'S beer - cans as he goes inside.", "INT.  THE FOYER OF THE CRANDALL HOME, WITH LOUIS It's dark in here, and spooky. LOUIS Rachel? -LRB- Pause. -RRB- Jud? -LRB- Longer pause. -RRB- Gage? No answer. He looks down and sees :", "INT.  A SHOE, LOUIS'S POV One of RACHEL'S shoes. It lies by the foot of the stairs.", "INT.  LOUIS He goes over and picks up the shoe. It's a three - quarter heel, and it's pretty badly scuffed. RACHEL, after all, did some pretty hard travelling to get here. There's a spot of blood on it. SOUND : A low giggle. LOUIS looks up :", "INT.  THE STAIRS, LOUIS'S POV Mighty dark. Mighty shadowy. SOUND : Another giggle.", "INT.  LOUIS, AT THE FOOT OF THE STAIRS LOUIS Gage?", "INT.  THE STAIRS GAGE -LRB- voice. -RRB- Let's play, daddy! Let's play hide and go seek!", "INT.  LOUIS He takes one of the loaded syringes from his pocket. LOUIS All right, Gage. let's. He begins to climb the stairs.", "INT.  UPSTAIRS, WITH LOUIS LOUIS arrives on the landing. We begin the nerve - wracking business of checking rooms. First, the bathroom. and the shower curtain is of course pulled. LOUIS yanks it back. Nothing. He checks the linen closet. Nothing. Goes back to the hall. Looks down it. He walks slowly along it. He checks one room. It's a guest room. Shadowy and empty. Down the hall. A closet door. A bag falls off the top shelf, and a bunch of ceramics inside it SHATTER LOUDLY. LOUIS flinches back. Down the hall. Now he's at JUD'S room. He goes in.", "INT.  JUD'S ROOM, WITH LOUIS He checks the closet. No go. He steps around the bed and sees :", "INT.  THE FLOOR, LOUIS'S POV A bloodstain.", "INT.  LOUIS He gets down on his hands and knees and examines the bloodstain. He sees the skirt on the bedspread. He lifts it. He is nose to nose with JUD, who is dead with his eyes open, an expression of incredible horror on his face. The DOOR SLAMS. LOUIS bolts to his feet as GIGGLES fade down the hall. Slowly, he kneels down and speaks to the skirt of the spread, which has mercifully fallen back into place. LOUIS I'm sorry, Jud. I'm so sorry. I'm - There's a SQUEAKING, SQUEALING SOUND. LOUIS turns around. He gets up again. He starts for the door. Then he turns back and speaks to JUD again. LOUIS I'm going to set things back in order. I. I know just what to do. He goes out.", "INT.  THE HALLWAY, WITH LOUIS He takes one of the two remaining loaded syringes from his breast pocket. LOUIS Gage? Another SQUEAKING SOUND. And another GIGGLE. LOUIS starts slowly forward. He gets about halfway down the hall - and our nerves are tuned to the breaking point - when there is a SQUEALING CREAK and a GRATING THUMP from overhead.", "INT.  CEILING TRAPDOOR This happens fast. The trap - which presumably gives on the attic with a set of folding stairs - rises, and RACHEL'S body plunges down through and then hangs, swinging : she has been bound around the armpits and as become a grotesque parody of MISSY DANDRIDGE. Half her face is gone. Eaten.", "INT.  LOUIS He SCREAMS and backs against the wall. Twang! The last silver thread parts.", "INT.  THE TRAPDOOR, WITH GAGE He leaps down, crashes on the floor, and then picks himself up. He is waving the scalpel. GAGE -LRB- screeching. -RRB- Allee - allee - in - free! allee - allee - in - free! Allee - allee - in - free!", "INT.  LOUIS AND GAGE I wo n't choreograph all the moves, but GAGE slashes his stunned father up pretty badly with the scalpel. He's screeching the whole time. LOUIS finally begins to react. He grapples with the little critter, and tries to get the syringe into him. No good. It's batted out of his hand just before he can do it. It breaks. LOUIS and GAGE fall to the floor. LOUIS gets the other syringe out of his pocket, but it's also knocked out of his hand. Only consolation is this one is n't broken. It rolls off along the floor. LOUIS finally manages to get it again as the struggle goes on, and plunges it into GAGE'S neck. GAGE No fair! NO FAIR! He gets to his feet, clawing for the needle lolling out of his neck. He's lost all interest in his father. He goes staggering away. He's slowing down. He goes to his knees. and falls on his face. LOUIS watches this. and then his vacant, half - catatonic gaze goes to :", "INT.  RACHEL, LOUIS'S POV She swings slowly back and forth.", "EXT.  THE BACK YARD OF THE CRANDALL HOUSE Time has passed. It's late afternoon. LOUIS comes out with a sheet - wrapped form in his arms. RACHEL, of course. He sets the body down and goes back inside.", "INT.  THE KITCHEN, WITH LOUIS He's splashing around a can of coal - oil. When he's got the room wetted down to his satisfaction, he goes to the door, lights a match, and tosses it. Flame runs across the floor. The fire is slow at first, but then it begins to gain rapidly. LOUIS goes out.", "EXT.  THE BACK LAWN, WITH LOUIS He picks up the sheet - wrapped form of his wife and walks around the side of the house as flames shoot through the kitchen windows.", "EXT.  THE FRONT OF THE CRANDALL HOUSE, FROM ACROSS THE ROAD LOUIS appears with his shrouded burden and approaches the road. - PAGE 134 MISSING FROM HARD COPY -", "EXT.  THE SMOULDERING RUINS OF THE CRANDALL HOUSE  NIGHT CAMERA HOLDS FOR A MOMENT, then rises and looks toward the CREED house. There's one light on - in the kitchen. TOLLING CONTINUES : Three. four. five.", "INT.  THE KITCHEN TABLE, WITH LOUIS LOUIS is filthy, covered with dried blood. He is playing at Patience. He holds a handful of cards. TOLLING CONTINUES : Six. seven. SOUND : The back door opens. SOUND : Crickets from outside. Ree - ree - ree. SOUND : Gritting footsteps. LOUIS looks up. He does n't look behind, at what's coming. He looks straight ahead. LOUIS And what you own always comes home to you. He flips up one card. TOLLING CONTINUES : Eight.", "INT.  THE CARD It's the Bitch, the Queen of Spades, she who supposedly poisoned the laddies in the Tower. LOUIS'S hand falls upon it. TOLLING CONTINUES : Nine. ten.", "INT.  LOUIS, CU A hand clotted with grave - dirt falls on his shoulder. A woman's hand. TOLLING CONCLUDES : Eleven. twelve. RACHEL -LRB- voice. -RRB- Darling. 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They befriend their elderly neighbor Jud Crandall, who takes them to an isolated pet cemetery (misspelled \"sematary\") in the forest behind the Creeds' new home. On his first day at work, Louis encounters Victor Pascow, a jogger who has been mortally injured after being hit by a truck. He warns Louis about the pet cemetery before he dies, calling Louis by name despite the fact they have not previously met. That night, Pascow comes to Louis as a ghost and leads him to the Pet Sematary, warning him not to cross the barrier because the ground beyond is \"sour\". Louis awakens, assuming it was a dream, but notices his feet are covered in dirt. During Thanksgiving while the family is gone, Ellie's cat, Church, is run down on the highway. Realizing that Ellie will be devastated, Jud takes Louis beyond the cemetery and deep into the woods, where they reach an ancient Mi\ua78ckmaq burial ground. Jud instructs Louis to bury the cat and warns him not to tell anyone else about what they have done. The next day a reanimated Church returns to the house, a shell of what he was before; he stinks, moves sluggishly, and is vicious towards Louis. Jud explains that as a boy he himself revived his beloved pet dog in the Mi\ua78ckmaq ground and that although the cat might be different, it will save Ellie the grief of losing her favorite pet. Sometime later, Gage is killed by a truck along the same highway. The family is devastated, and Jud anticipates that Louis is considering burying his son in the Mi\ua78ckmaq ground, although Louis denies it. Jud believes that introducing Louis to the ritual ground aroused the malevolent forces present there, which caused Gage's death. He tells him the story of a local named Bill Baterman who buried his son Timmy in the Mi\ua78ckmaq ground after he was killed in World War II. Timmy returned as a malevolent zombie, terrifying the townsfolk. A group of men including Jud tried destroying Timmy by lighting the Baterman house on fire, only for Bill to perish with his son. Jud insists that the burial ground is evil and Louis must never try to bury his son there. After the funeral, Rachel and Ellie leave for Chicago while Louis remains home. Despite Pascow and Jud's warnings, Louis exhumes his son's body and buries him at the ritual site. In Chicago, Pascow appears to Ellie in a dream and warns her that Louis is about to do something terrible. Rachel is unnerved by her daughter's dream but is only able to reach Jud when she calls, who tells her Louis is not home. She decides to return to Maine, much to Jud's alarm. That night, Gage returns home and steals a scalpel from his father's bag. He taunts Jud before slashing his Achilles tendon and his mouth horizontally through the lips, before biting his throat, killing him. Rachel returns home and is lured into Jud's house by the voice and specter of her dead sister Zelda, only to discover that she is actually seeing Gage, holding a scalpel. In shock and disbelief, Rachel reaches down to hug her son and he kills her. Waking up from his sleep, Louis notices Gage's muddy footprints in the house and discovers that his scalpel is missing. Receiving a phone call from Gage that he has \"played\" with Jud and Mommy, he fills three syringes with morphine and heads to Jud's house. Encountering Church, he kills the cat with an injection before entering the house. Gage taunts him further and Louis is startled by Rachel's falling corpse hanged from the attic before he is attacked by his son. After a brief battle, Louis kills Gage with the morphine injection. He then lights the house on fire, leaving it to burn as he carries Rachel's body from the fire. Pascow appears and warns Louis not to \"make it worse\" but grief-stricken Louis believes that because Rachel was not dead as long as Gage was, burying her \"will work this time\". Pascow cries out in frustration and vanishes as Louis passes through him. That night, Rachel returns to Louis and the couple embrace. Rachel takes a large knife from the counter as Louis screams.", "name": "Pet_Sematary_(film)"}
{"scenes": ["EXT.  MANHATTAN - DAY The whole island, from the south. For a second. Literally.", "EXT.  NEW YORK SKYLINE - DAY Closer, just the skyline. For another second.", "EXT.  UPPER WEST SIDE - DAY Closer still, the Upper West Side. For another second. No time to waste admiring the scenery.", "EXT.  WEST 83RD STREET - DAY Race across a field of PEDESTRIANS to pick up three women hurrying down the sidewalk. LYDIA LYNCH, a real estate broker, vaults down the sidewalk, she's got a hell of a stride. MEG ALTMAN, thirtyish, struggles to keep up with her, she's tall, wafer - thin, pale as a ghost. SARAH, a nine year old girl, flat out runs to keep up, dribbling a basketball as she goes. The kid's athletic, much tougher than Meg, who she resembles. Lydia reads from a sheet she carries in her bouncing hands. LYDIA - seventeen feet wide, fifty - five feet deep, forty - two hundred square feet, four floors with a rentable basement apartment, so five altogether, courtyard in back - MEG Could you slow down a little? -LRB- looking back over her shoulder. -RRB- Or we could wait for the car. LYDIA No cars. Feet are faster. MEG How many more do we have after this? LYDIA None, there's nothing else, you know how tight the market is. MEG This is it? I told you on the phone, I have to be moved in in two weeks. Sarah, please do n't bounce that here. SARAH Mom, it's the sidewalk. LYDIA Oh, that miserable little prick is already leaving. They approach a row of brownstones, narrow four story townhouses, nice looking buildings, a hundred years old or more. EVAN, a sour - looking man, has just locked the front door of number 26 and is coming down the steps. He sees them coming. EVAN One day you will learn to respect other people's time, Lydia, one day you - LYDIA Evan, I am so sorry, you were a saint to wait for us!", "INT.  TOWNHOUSE - FOYER - DAY Evan throws open the front door, revealing the airy foyer of the townhouse. The place is completely empty. He talks fast, races through the tour. The three of them come in, Sarah still bouncing her basketball. EVAN This is the middle of the house, the entry floor, living room's over there. The kitchen floor's below us and there's two bedroom floors above. The front door closes behind them, with a THUD so authoritative it seems to say no one's ever getting out. Meg tries to get her daughter's attention, to tell her to stop bouncing the ball in the house. EVAN It's an enormous amount of space for the money and I'll be perfectly honest, the family is in no hurry whatsoever. Meg whispers Sarah's name, but Sarah still ignores her, goes on bouncing the ball. EVAN I do n't have to tell you there is an acute shortage of living space in Manhattan right now and this is a highly unique property. LYDIA No ball, kid. Sarah immediately stops bouncing. She wanders into the living room, peers through the big French doors, which look out over the courtyard area. There's another row of brownstones on the next block, and all the patios back up to one another. It looks tranquil out there, oasis in the city. Sarah leans up against the door, sighs, her breath fogs the window. There is a profound melancholy about her. Meg watches her, tries to catch eyes with her in the reflection. Ca n't. Evan flings open the door of an old - fashioned cage - style elevator. EVAN Working elevator. Mr. Pearlstine, the previous owner, was disabled the last ten years of his life. Highly unusual, the elevator, you will not find this in ninety percent of brownstones. MEG Will they take asking price? I need a two week escrow and I'm already approved for the loan. Lydia turns, gives Meg an `` are you insane?'' look. EVAN What say we see the house before we dicker, hmm? -LRB- starting up the stairs. -RRB- I have to warn you, this is exactly the response we expected to get. It's a very emotional property. As he disappears upstairs, Lydia turns to Meg, lowers her voice. LYDIA Who taught you to negotiate? SARAH It's not like Saks', Mom, you do n't have to pay the price on the tag. She gets in the elevator and RATTLES the door shut with a bang. That kid's got an attitude. Meg takes a deep breath, turns to Lydia. She brushes her hair behind an ear, we notice her thin hand is shaking. MEG I'm sorry. Apartments, and. money, and. this is more my husband's area. She digs in her purse for a prescription pill bottle and some water. MEG Was. His area. I'm not very good at. Lydia watches as she swallows a pill, waiting for Meg to finish her sentence. Not very good at what? MEG Things, and if I ca n't prove to my soon to - be ex - husband that I can provide a suitable place for our daughter to live in the next fourteen days, it's going to get ugly between us. Uglier. Lydia just looks at her, no idea what to say. These two are from different places. EVAN -LRB- O.S. -RRB- -LRB- from upstairs. -RRB- It would be so lovely if I could shot the property before I leave!", "INT.  TOP FLOOR BEDROOM - DAY Evan, Lydia, and Meg poke their heads in a series of rooms, one after the other, the tour flying by quickly. First, an upstairs bedroom. Nice, roomy, looks out on the courtyard. EVAN Top floor. Two bedrooms, one bathroom.", "INT.  DEN - DAY Another floor, another empty room. The trio passes through. EVAN Third floor, spare bedroom, den, what have you. Mr. Pearlstine used it as an office. LYDIA -LRB- low voice, to Meg. -RRB- He's talking about Bernard Pearlstine. Meg shrugs, who's that? EVAN -LRB- moving, through a bathroom. -RRB- Master bath. LYDIA The hotel guy? It's been in the papers lately. His kids are all suing each other over his estate. He was a total recluse, paranoid, rich as hell, he was worth thirty million or something, now it turns out they ca n't find half of it. -LRB- singsong. -RRB- Somebody took something did n't belong to them! EVAN I hardly see how family gossip is germane to showing the property. LYDIA -LRB- low, to Meg. -RRB- Stop calling it the property, you sound ridiculous. EVAN -LRB- through a closet. -RRB- Master closet. From the hallway, there is a GROANING METALLIC sound, the elevator, and the happy laughter of the little girl as she puts it through its paces. Evan winces, speaks as if his mouth hurts when he moves it. EVAN Could the child please stop that? LYDIA KID! NO ELEVATOR! She looks at Meg and winks.", "INT.  MASTER BEDROOM - DAY EVAN And we emerge in the master bedroom. He checks his watch. Meg looks around, studying the dimensions of the room. She looks at the far wall, the one that borders the house next door. She looks at the wall that corners it, opposite the window wall. She takes two steps back from it. MEG Something's weird. LYDIA What? MEG I do n't know, does n't that corner seem funny to you? She points to the far end of the wall, near the entrance to the closet. There is a mirrored door that leads to the closet, and a mirror on the wall alongside it. If you look closely, you'll see that the mirrors are raked slightly toward one another, which causes an optical illusion in which the corner of the room appears much closer to the door than it is. EVAN I was waiting to see if you'd notice! On caravan, no one from our office had the slightest idea. He pushes on the top of the mirror on the wall. It makes a faint CLICK, then glides open a few inches off the wall. He pulls it toward him, opens it all the way, a hundred eighty degrees, and it fastens magnetically to the back of the closed door. There is smooth wall behind it, but if you look closely, there is a faint vertical crack in the wall. Meg looks at him - what in the world? Even pushes again, twice this time, first at the top, then at the bottom, and the smooth wall CLICKS ajar. He pulls it wide open. Meg and Lydia step forward, fascinated.", "INT.  PANIC ROOM - DAY From the opposite end of a lone, narrow, windowless space, we see the three of them standing in the open doorway, silhouetted by the sunlight streaming through the bedroom windows behind them. EVAN It's called a panic room. He hits a switch and a row of bulbs flick on overhead. MEG A what? EVAN A safe room. An inner sanctum. A castle keep, in medieval times. LYDIA Oh, I've seen these. EVAN It's quite in vogue in high end construction right now. One really ca n't be too careful about home invasion. The other two walk inside, but Meg lingers near the door, looking around, studying the neatly arrayed survival supplies - water, food packs, batteries, flashlights, tools, rope, clothes, blankets - you get the idea. LYDIA Hey, this is perfect for you. -LRB- Meg scoffs. -RRB- Absolutely! You're a woman, you're living alone now. Your alarm goes off, or you head glass break, or for whatever reason you think someone's broken into your home in the middle of the night. What are you going to do? Call the police and wait until they get here on Tuesday? Traipse downstairs in your sexy little underthings and check it out? I think not! EVAN Reinforced steel core walls. Buried phone line, completely separate, not connected to the house's main line and never exposed throughout the house's infrastructure or outside the house - you can call the police ; nobody can cut you off. Your own ventilation system, complete with oxygen scrubber, so you've got plenty of fresh air for as long as you like. And a bank of video monitors - He hits a switch next to a dozen tiny video monitors, revealing a dozen different views of the house. EVAN - covering almost every corner of the house. Meg nods, starting to sweat. MEG Makes me nervous. LYDIA Why? MEG Ever read any Poe? LYDIA I do n't think so, but I love her album. MEG No, Edgar Allen. LYDIA -LRB- thinks. -RRB- The furniture guy? MEG -LRB- giving up. -RRB- What's to keep them from prying open the door? Evan reaches past Meg and pushes a red button on the wall behind her. With a sudden WHANG of steel, a heavy metal door leaps out of a slot in the wall and SLAMS shut, like a submarine hatch. A series of metal latches CLICK into place inside it, from top to bottom, securing it into place. EVAN Steel, four inches thick. Meg takes a step back. They're now enclosed in the room. EVAN Everything's spring - loaded, even if the power's out it's fully functional. MEG Open it. LYDIA Old Bernie did n't miss a trick with this room, did he? MEG Open the door. LYDIA And with kids like he's got, no wonder he wanted a place to hide. EVAN That's highly inappropriate. MEG I said open the door. Evan hits a green button and the door GROANS slowly open, recoiling its massive spring, and revealing Sarah, the little girl, standing in the entryway, grinning widely. SARAH My room. Definitely my room. She bolts in, just as her mother bolts out.", "INT.  MASTER BEDROOM - DAY Meg stands just outside the door to the panic room, regaining her composure. Not crazy about tight spaces. Which we already knew. LYDIA That door is a safely hazard. EVAN Not at all. He points. There's a tiny red beam that shines across the doorway, one at shoulder height - EVAN Infrared. Like the beam in an elevator doorway. Wo n't let the door close if something's blocking it. - and one at shin height. Even bend down, blocks the one at shin height with his hand. EVAN Watch. He reaches up, to push the close button, but with one hand anchored at the floor, he ca n't quite reach it. EVAN -LRB- to Lydia. -RRB- Push that button for me, will you? MEG Do n't! Lydia pushes the close button, nothing happens. Evan pulls his hand put of the beam, takes a step back. Lydia pushes the button again. WHANG! The metal door rockets shut, the metallic slang reverberating in the room. Almost immediately, the fake piece of wall HUMS shut, of its own accord, followed a moment later by the mirror, which detaches itself from the back of the closet door and HUMS silently back into place, closing over the hidden door, making the corner of the room look like a corner again. As the mirrored door closes, it shows Meg her own reflection. She looks at herself, still rattled. She wipes a trickle of sweat from the side of her face.", "INT.  TOWNHOUSE - FOYER - DAY The same house, two weeks later. The entry floor is piled high with moving boxes. Sarah and Meg lie sprawled out in the middle of the black and white tile, arms and legs splayed wide, exhausted. They stare up at the ceiling, beat. SARAH Too many stairs. MEG Got us in here, did n't I? SARAH Shoulda got an apartment. MEG Well, I know that now. SARAH 478 - 0150. Meg raises her hand to her face, she's got her cell phone in her palm. MEG Battery's dead.", "INT.  KITCHEN - DAY Meg picks up the wall phone in the kitchen, gets a dial tone. MEG The phone works. -LRB- to Sarah. -RRB- Hey, I hooked up the phone. SARAH -LRB- sarcastic. -RRB- The crowd goes wild. MEG -LRB- ignoring the slight. -RRB- 478. SARAH 0150. Meg finishes dialing. It rings, someone answers. VOICE Perry's Pizza, please hold.", "INT.  KITCHEN - NIGHT Night has fallen. Meg and Sarah sit at a small table in the middle of the kitchen, surrounded by packing boxes. They eat pizza. They chew, silently. Sarah drinks a diet Dr. Pepper. Meg finishes a glass of wine. Meg's eyes are moist. Sarah notices. She notices her noticing, shrugs. I'm human, what do you want me to do, hide it? Sarah looks away, goes back to chewing. After a moment : SARAH Fuck him. MEG Do n't. SARAH Fuck her too. Meg looks at her, not sure how to confront the open defiance. MEG I agree. But do n't. Sarah stares at her for a moment, then goes back to eating. Meg picks up the bottle of wine. Sarah's eyes flick over and watch as wine GLUGS into her mother's glass.", "INT.  SARAH'S BEDROOM - NIGHT Sarah's bedroom is full of unpacked boxes, but her twin bed has been set up and Sarah is in it, hair wet, pajamas on. She reads from a book -LRB- `` Tom Swift and His Repelatron Skyway'' -RRB- while Meg, drowsy, lies next to her, listening. SARAH `` Tom's throat felt so dry and tight that it was a moment before he could make any sound come out. `` Dad!'' He croaked. `` I'm - inside - the - machine!'' `` Great Scott!'' The elder scientist gasped. He dashed across the laboratory and switched off the repelatron's motor. `` What happened, son?'' `` The Durafoam hardened, Dad. Get a solvent, quick - you know the formula!''", "INT.  BATHROOM - NIGHT In the master bathroom, Meg soaks in a bath. She is exhausted. She reaches for her wine glass, finishes the last of it. She stretches for the bottle, which is on the floor next to her. She refills the glass. Again.", "INT.  MASTER BEDROOM - NIGHT Meg, dressed in an old Knicks T - shirt and boxer shorts, stands next to the alarm panel in the master bedroom, reading from an instruction manual. She's frustrated. She mutters, slurring, a bit drunk. MEG Bypass non - ready zones. shunt, enter, zone number. She tries it, pushing a few buttons, but the alarm panel BEEPS at her disapprovingly. She's doing something wrong. She sighs, sits on the floor, gets serious about figuring out the instructions. MEG Bypass non - ready zones. ah, shunt, enter, shunt again, zone number. wait. HER FINGERS dance over the alarm panel, some time later. She seems to have figured it out, and a small light on the panel lights up. SYSTEM ARMED The very moment the red light goes on, we cut sharply to -", "INT.  PANIC ROOM - NIGHT - the darkened panic room, where the dozen small video screens all suddenly wink to life, showing a dozen views of the house. Whatever she pushed turned these on too, probably not what she meant to do, but at least she got the alarm on for the night. The door that leads from the panic room to the master bedroom hangs open. In the middle of the floor in here, somebody has made a small tent of blankets and couch cushions. Sarah must have been playing here before bed.", "INT.  MASTER BEDROOM - NIGHT Meg puts sheets on her bed in the master bedroom. She fills a glass of water, puts it on a box she's using for a night table. She plugs in a battery charger for her cell phone, places the phone in the cradle. It BEEPS. `` Charging.'' She sets the digital clock, puts it next to the glass of water. It's 12:26. She gets in bed, her side, the left side. She lies in the dark, half an acre of empty bed across from her. We drift off her, see the clock again. The time changes, the number one dissolves away, changing the time to -", "INT.  MASTER BEDROOM - NIGHT - 2:26. Meg is in a hard, boozy sleep. We drift out the door of the master bedroom, into the third floor hallway, and down the open stairwell. We glide through the entry floor, still gently falling through the stairwell's airway, dropping even further, all the way down to the kitchen floor, the ground floor. We drift across the darkened kitchen, serpentine through the canyon of moving boxes, approach the window that looks out on the street. We move right up against the window, peer through the glass just as - - a van pulls up across the street and stops. Ca n't see through its windows. No movement for a moment, then the driver's door opens and a MAN climbs out. He wears dark clothes. The Man closes the door, looks both ways, and starts across the street towards us. He's carrying a bag of some kind. He goes to the door, and we drift down toward the doorknob. We hear a key slide into the door, rattle. But the lock does n't turn. The key slides out, back in again, jiggles. Still wo n't open the door. The Man steps away from the door, goes to the kitchen window, which is heavily barred, and peers inside, right at us. Ca n't see anything, it's darker in here than it is out there. He turns, looks both ways on the street again, then steps up, onto the window ledge. Now we can only see his legs, ca n't tell what he's doing. He's reaching up, stretching for something. It drops into view with a metallic SCRAPE. The fire escape. The Man climbs, his feet disappearing from our field of vision. We turn around, facing the other way in the kitchen. We start back the way we came, through the canyon of boxes in the kitchen, toward the stairwell.", "INT.  STAIRWELL - NIGHT Back in the stairwell, the exact reverse of the shot we saw earlier. We're drifting up, off the kitchen floor, through the entry floor, and as we rise we notice something all the way up on the roof that we could n't see before, when we were looking down. A skylight. We continue to rise, drawn toward it. We move up, through the master bedroom floor, creeping up alongside the stair banister, now reaching the top floor of the house, and just as we near the skylight - - a figure appears, visible through it. The Man in dark clothes, on the roof now. He stops, peers down through the skylight, looking at us without seeing us again. He steps across the skylight. This is not the way he intends to enter. We drift again, following his soft footsteps on the roof, which we can hear faintly through the ceiling. Here in the hall, just outside Sarah's bedroom, a closet door is ajar. We squeeze through the gap and into the closet. IN THE CLOSET, it's completely dark. Ca n't see a thing. But then a sliver of light appears, coming from above. We look up. There is a ladder that's bolted to the wall in this closet, it leads up to a square panel in the ceiling. Roof access. And that roof access panel is moving, ever so slightly, moonlight spilling in as it twists in its setting. A shiny silver something slides through the crack along the edges of the portal. It slithers along the edge of the hatchway, searching for something. It finds a small round nub in the crack. The silver something stops. It HUMS with electricity for a moment, then there is a bright spark and a soft CRACK.", "INT.  MASTER BEDROOM - NIGHT In the master bedroom, a message appears on the alarm panel : ZONE 19 DISABLED", "INT.  CLOSET - NIGHT In the closet, the silver something withdraws and the roof access panel is removed. A million stars are visible in the night sky above. But we're inside. And in a moment, so is this intruder. The Man peers down, through the open hatchway, then slips through the opening and climbs silently down the ladder.", "INT.  MASTER BEDROOM - NIGHT In bed, Meg stirs. An alcohol sleep is a restless one, and she's suffering. She sits up groggily, chugs a glass of water. Lies down again.", "INT.  FOURTH FLOOR HALLWAY - NIGHT One floor up, the Man steps into the hallway and starts for the stairs, moving quickly and confidently. Knows where he's going, knows what he wants. He starts down the stairs, happens to glance to the side as he does so. He freezes. He's looking in the open doorway of the top floor bathroom, staring hard at something that clearly disturbs him. A nightlight. Plugged into an outlet in the baseboard in the bathroom. -LRB- For the record, it's the Power Puff Girls. -RRB- The Man climbs the stairs again, concerned, goes to the door of the bathroom. He looks from the nightlight to the countertop. There's a moving box on the countertop. His eyes widen. This is news to him, bad news. He takes a step back and a breath. He turns, looks to the end of the hall. His eyes now adjusted to the darkness, he notices something he did n't see before, something coming from under the door to the fourth floor bedroom. Light. From inside. From another nightlight.", "INT.  SARAH'S BEDROOM - NIGHT In the top floor bedroom, a nightlight burns in another outlet. Nearby, Sarah is asleep in bed, the covers kicked off. The door to Sarah's bedroom glides open, terribly slowly. The Man stands in the doorway, staring, aghast, at the mountain of moving boxes piled in the room. His gaze falls on Sarah in the bed. The Man just stares, beside himself. His lips mouth a word, soundlessly. Does n't take a lip reader to guess it.", "INT.  MASTER BEDROOM - NIGHT In the master bedroom, Meg flops over in bed, facing away from the doorway, really having a rough go of it. She slept too hard before, now she's awake, her head is killing her, she's really paying the price of four glasses of wine. She lies still, on her side, facing us. Behind her, the bedroom door moves, silently. Opening. The Man stands there, one finger still on the door he's just pushed open. He stares at the sleeping form of Meg on the bed, whose back is to him. He has no idea she's awake. Meg lies in bed, eyes wide open, no idea a Man is standing in the doorway to her bedroom. Noiselessly, the Man moves away, down the hall. The moment his head disappears down the stairwell - - Meg flops over again, facing the doorway. She closes her eyes, gives sleep another try.", "INT.  KITCHEN - NIGHT The Man walks across the kitchen, shaking his head in exasperation at the packing boxes all around him. He goes to the front window, peers outside. He reaches for a light switch on his right. Through the window, we can see the stoop light go on. Then off, then on and off again. Still through the window, we see the side panel door of the van slide open. TWO MORE MEN climb out. They are also dressed in dark clothes. They also carry satchels. They walks calmly across the street, grow large in the window as they approach us. The first intruder -LRB- who has a name, it's BURNHAM -RRB- steps over to the kitchen door, runs his silvery strip through the gap. Another HUM and spark. AN ALARM PANEL flashes again. ZONE 1 DISABLED IN THE KITCHEN, Burnham opens the kitchen door, letting the two other guys slip inside. RAOUL is a hulking figure whose back seems to rise up over the top of his slouching head ; when he walks it looks like gravity does all the work, just pulling him forward. JUNIOR is much smaller, very high - strung, dresses like a homey, very street, but ca n't hide the fact that the street is Park Avenue. They all freeze, staring at the moving boxes. JUNIOR Fuck. BURNHAM I know. RAOUL What? BURNHAM A woman and a little girl, both asleep upstairs. JUNIOR Fuck! BURNHAM Keep your voice down. JUNIOR They're not supposed to be here! BURNHAM This was your department, Junior. JUNIOR They're not supposed to be here! BURNHAM That's why the key did n't work, they changed the locks. JUNIOR Fourteen day escrow, man, that's almost three weeks! They should n't be here for another week! They do n't own this house yet! BURNHAM -LRB- pause. -RRB- Exactly how is fourteen days almost three weeks? JUNIOR Fourteen business days. Escrow is always business days. Burnham sighs. JUNIOR I mean, right? Is n't it? BURNHAM You're an idiot. Raoul steps forward, shoves Burnham with both hands in the chest. RAOUL Watch your mouth. JUNIOR It's okay, Raoul. BURNHAM -LRB- to Junior. -RRB- Who is this guy? JUNIOR Raoul is cool. That's all you need to know. BURNHAM This is insane. I'm outta here. He starts for the door. JUNIOR Wait a minute, wait a minute. We can still handle this. -LRB- to Raoul. -RRB- Can we still handle this? RAOUL It's just the woman and the kid? BURNHAM Unless Daddy comes back later. JUNIOR Daddy's not coming back, she's in the middle of a divorce, it's just the two of them. We're okay, here. -LRB- to Raoul. -RRB- We can do this, right? RAOUL You're fuckin' A we can do this. BURNHAM Not with me. Not with people. JUNIOR Forty - five minutes. That's all you said you need. That's like nothing. BURNHAM She'll call the cops, they'll be here before I get unpacked. JUNIOR So we keep an eye on her. Raoul can totally administrate that part. RAOUL No problem. BURNHAM I do n't want Raoul to administrate that part. JUNIOR They wo n't get hurt. BURNHAM What about us? What if she has a gun? JUNIOR Raoul, what in God's name do we do if she has a gun? Raoul pulls up his sweatshirt, revealing a.38 tucked into his belt. BURNHAM Asshole. JUNIOR A guy shows you a gun, Burnham, and you insult him? Hey, who's the idiot? Huh? BURNHAM Where did you get this clown? JUNIOR I met him at the tables, same as you. And frankly, I'm grateful we have a little muscle right about now. BURNHAM What tables? I've never seen him before. JUNIOR Different tables. BURNHAM -LRB- to Raoul. -RRB- The fuck did you bring a gun for? RAOUL You're welcome. BURNHAM Peace out. He moves for the door. Junior, trying desperately to hold this together, gets there first, blocks the door with his back. JUNIOR We ca n't do it without you, Burnham. Junior starts at Burnham. Raoul stares at Burnham. JUNIOR It's still a good plan. It's just. got a twist. BURNHAM Yeah. Kidnapping. JUNIOR Not if we keep'em here. You ca n't kidnap somebody in their own house. It's just breaking and entering, unless we take'em someplace. Or something like that, I'm pretty sure. BURNHAM Pure idiot. JUNIOR I am. I'm an idiot's son. An idiot's grandson. I'm third - generation idiot. But for once in my life I had a good idea, and I'm not giving up so easy. You are? Are you actually telling me that for the first time in your life you're gon na throw your cards on the table and go home early? I ca n't believe my eyes. -LRB- Burnham hesitates. -RRB- Fourteen million dollars upstairs, Burnham. You'll be out of the hole. Baby, you'll be so far out of the hole you could draw bricks every night for the next twenty years and still shit green. -LRB- Burnham sways. -RRB- Come on, Buddy. One more hand.", "INT.  MASTER BEDROOM - NIGHT Meg sits up in bed. She's bleary, her head feels like someone rested a manhole cover on it. She gets up, in the dark, and staggers off toward the bathroom door, feeling her way with her arms, her eyes not adjusted to the dark. She steps through the door.", "INT.  PANIC ROOM - NIGHT She walks into the bathroom and feels around for a light switch, but ca n't find it. She blinks, squints, tries to get her bearings. The only light is a harsh white glow that comes from along one wall, from a bank of tiny video monitors. She finds the light switch, flicks it on, it nearly blinds her. She's not in the bathroom. She's wandered into the panic room by mistake. She turns around, walks out, leaving the lights on behind her. We linger for a look at the video screens. If only she'd done the same, she'd see what we see. ON THE MONITORS, we see the three men, still in the kitchen, huddled in a group, silently debating what to do.", "INT.  MASTER BEDROOM - NIGHT Using the light that spills from the open door to the panic room, Meg comes back into the master bedroom and finds the proper door to the bathroom.", "INT.  BATHROOM - NIGHT Meg SNAPS the cap off a jug of Advil and dumps three into her palm. She pops them in her mouth, searches for a glass for water, finds none, bends to the spout for a gulp to wash them down. She turns to the toilet.", "INT.  PANIC ROOM - NIGHT On the monitor, we see the three men leave the kitchen and start up the stairs.", "INT.  BATHROOM - NIGHT Meg stands, flushes the toilet.", "INT.  LIVING ROOM - NIGHT One floor down, Burnham, Raoul, and Junior freeze, just coming up the stairs from the kitchen. They look up, hearing the water rushing through the pipes in the ceiling directly above them. They stare at the ceiling, following with their eyes as a pair of feet pad across the CREAKY floor. Finally, they hear a SQUEAK of bedsprings as Meg climbs back into bed. They hold a moment longer, a silence grows. Raoul reaches into his jacket pocket and pulls out a ski mask. He pulls it over his head. They look at him. RAOUL -LRB- whispers. -RRB- No face. Burnham rolls his eyes. Does n't know this guy much, but hates him so far. They start across the foyer toward the stairs.", "INT.  MASTER BEDROOM - NIGHT Meg rolls over, to go back to sleep. She sees she's left the lights on in the panic room. She TSKS, gets out of bed, and walks across the floor toward it.", "INT.  PANIC ROOM - NIGHT Meg steps into the panic room, raises her hand to the light switch - - and stops, her hand frozen in mid - air. She cocks her head, looking at something she ca n't understand. She blinks. Takes a step, further into the room. She stares at the video monitors - at the three men in dark clothes, stealing silently across the foyer. This ca n't be. These are just pictures, they have no relation to reality. She drops to her knees, her face inches from the screens, and reaches out to touch them, as if trying to make sure they're really there.", "INT.  STAIRWELL - NIGHT They reach the base of the stairs, Junior in the lead. As he reaches a bend at the base of the stairs, he places one foot short on an angled step and it slips off. He trips, falls forward.", "INT.  PANIC ROOM - NIGHT Watching the video monitors, Meg stares in horror as the image of Junior slipping is verified by the SLAP of his hands on the stairs as he catches himself, audible through the open door to the panic room. She GASPS. It is real.", "INT.  STAIRWELL - NIGHT In the living room, Burnham's eyes are wide as saucers, staring at Junior as he turns and pulls himself to his feet. Junior points at Raoul, speaks in an urgent whisper. JUNIOR Top floor, get the little girl and keep her there. I'll bring the woman up. Gim me. He holds out his hand for the gun and Raoul gives it to him. JUNIOR -LRB- points to Burnham. -RRB- Stay here. Nobody gets past you. He heads for the stairs. Raoul follows close behind him. Burnham stays, reluctant - what the fuck has he gotten himself into?", "INT.  PANIC ROOM - NIGHT Meg moves. Leaps to her feet and dashes out of the room.", "INT.  MASTER BEDROOM - NIGHT Meg races across her bedroom, flies out the door, and bolts up the carpeted stairs, headed for the top floor.", "INT.  SARAH'S BEDROOM - NIGHT Meg races into Sarah's room, drops onto the bed, and grabs Sarah by the shoulders, trying to rouse her. MEG Wake up. wake up. But she's in a profound child's sleep and wo n't wake up.", "INT.  THIRD FLOOR HALLWAY - NIGHT One floor down, Junior and Raoul reach the third floor landing. Still moving stealthily, Junior heads down the hall for the master bedroom, where he thinks Meg is sleeping. Raoul heads for the stairs that lead to the top floor.", "INT.  SARAH'S BEDROOM - NIGHT Meg is desperate, still ca n't wake Sarah. MEG Wake up. come on, come on. She sees a plastic cup on her night table/box, half filled with water. She snatches it and tosses the water in her face. Now she's awake. And pissed off. She SPUTTERS, SHOUTS. SARAH WHAT DID YOU DO THAT FOR?!", "INT.  THIRD FLOOR HALLWAY - NIGHT Raoul, at the base of the stairs that lead to the top floor, hears the kid shouting. He starts up the stairs, quickly.", "INT.  SARAH'S BEDROOM - NIGHT On the top floor, Meg is already dragging Sarah out of the room and into the hallway.", "INT.  HALLWAY - NIGHT Meg and Sarah come out of Sarah's bedroom just as Raoul reaches the top of the stairs at the other end. They're cut off. Meg freezes, staring at the hulking ski - masked figure at the end of the hallway. She thinks, no idea what to do for a second. She looks frantically to her right - the bathroom, dead end. She looks to her left. The elevator. She yanks open the elevator door, throws aside the gate, and races inside with Sarah. Raoul takes off down the hall, lunging for the elevator.", "INT.  ELEVATOR - NIGHT Meg SLAMS the gate shut and PUNCHES the button for the first floor. The elevator GROANS to life and starts down - slowly. Sarah looks up at her, terrified. SARAH What's going on?! MEG People. In the house. As the elevator descends, they see Raoul, through the window in the door, as he drops to his knees, to get a good look at them.", "INT.  TOP FLOOR HALLWAY - NIGHT Raoul turns from the elevator, SHOUTS to the open stairwell. RAOUL IN THE ELEVATOR! BOTH OF'EM HEADED TOWARD YOU!", "INT.  THIRD FLOOR HALLWAY - NIGHT Junior turns from the open doorway of the master bedroom and races back down the hall, toward the elevator. He reaches the door, peers through the window. He sees the bare feet of Meg and Sarah, dropping toward him. He grabs the door handle, pulls as hard as he can, but it stays locked, with the elevator moving beyond. He bangs on the button, hoping the elevator will stop. As Meg and Sarah drop fully into view, he stands there, eye to moving eye with her for a moment. But the elevator does n't stop, it keeps going down.", "INT.  ELEVATOR - NIGHT Meg stands frozen, terrified, staring at Junior as they move past him. Junior has another go at the door, pulling as hard as he can, actually bending the door, but the elevator is still moving, the catch holds fast and the door wo n't open. As they pass, his face suddenly disappears, he takes off.", "INT.  STAIRWELL - NIGHT Junior flies down the stairs, to cut them off at the first floor.", "INT.  ELEVATOR - NIGHT MEG He's going down. SARAH That room! MEG What?! SARAH PANIC ROOM! Meg thinks, then punches the button for three, to go back up. But the elevator continues down. She jabs at it, futilely. SARAH No. you got ta. She reaches past her, pushes the STOP button. The elevator jerks to a halt. Then Sarah pushes three. Now the elevator starts to rise. Meg looks at her, impressed. Love that kid.", "INT.  ENTRY FLOOR - NIGHT In the foyer, Junior freezes, hearing the elevator stop and start again. JUNIOR SHE'S COMING BACK UP TOWARD YOU! He takes off up the stairs again. Burnham ca n't take it anymore, he takes off after Junior, following him upstairs.", "INT.  FOURTH FLOOR HALLWAY - NIGHT Raoul, still on the top floor, heads for the stairs, fast.", "INT.  STAIRWELL - NIGHT Junior races back up the stairs. They have her caught in the middle.", "INT.  THIRD FLOOR HALLWAY - NIGHT The door to the elevator BANGS open on three, the gate RATTLES aside, and Meg and Sarah leap out. They take off down the hall, toward the doorway to the master bedroom. Raoul flies down the stairs, not twenty feet behind them.", "INT.  MASTER BEDROOM - NIGHT Meg and Sarah run through the master bedroom. As she passes the night table, Sarah swings an open hand to grab her cell phone from its cradle. But in her haste she starts to pull it out at an angle and the prongs at the bottom stick in the charger. The phone slips from her fingers, bounces off the corner of the table, caroms off her foot, and skitters under the bed. Sarah turns, looks to the head of the stairs just as Junior turns the corner and Raoul thunders down the steps from four. She abandons the phone, grabs Sarah, and they lunge through the open doorway to the panic room. Junior and Raoul burst through the doorway to the bedroom, just a few steps away.", "INT.  PANIC ROOM - NIGHT Meg and Sarah trip over each other coming through the doorway, they tumble to the floor of the panic room, the door wide open behind them. Meg spins around, hurls herself at the red button on the wall - - Junior leaps, sailing through the air toward them - - Meg SLAMS her open palm on the red button, the massive coiled spring that holds the metal door open is released, the steel barrier leaps forward out of the wall - - and WHANGS shut in a split - second.", "INT.  MASTER BEDROOM - NIGHT Junior SLAMS into the closing metal door, banging his shoulder into it, and slithers to the ground, too late.", "INT.  PANIC ROOM - NIGHT Meg rolls over and pulls Sarah into her arms, both of them breathing hard, asking each other if they're okay, scared out of their minds. But safe. She spots the telephone, the one with the special buried phone line. She lunges for it, snatches it from its cradle, listens for a dial tone. Nothing there either. MEG Damn it! SARAH It does n't work?! MEG Different phone line, I never hooked it up! She hurls it down, looks back at Sarah. She seems a bit pale, scared. She goes to her, holds her, reassures her.", "INT.  MASTER BEDROOM - NIGHT Junior is slumped at the base of the door, livid, in pain, pounding on it with his fists, screaming `` NO!'' over and over again, crazy with rage. Raoul stands in the middle of the room, chest heaving, hands on his knees. Burnham finally walks into the room and stops in the doorway, looks from Raoul to Junior to the door to the panic room, figures out the situation. BURNHAM Tell me. tell me they're not in there. We rise up, above them, above the room, looking down on them, the rats - in - a - maze shot. We rise up further still, above where the ceiling ought to be, to look down on this room and the one beside it, the room behind the four inches of reinforced steel, the panic room in which Meg and Sarah kneel in the middle of the floor, holding each other tight. Standoff.", "INT.  PANIC ROOM - NIGHT Very close on the metal door, from inside the panic room. An ear moves slowly into frame, presses against the cold steel. Listens. Meg pulls away from the door, shaking her head. MEG Ca n't hear a thing. SARAH What do they want? MEG I do n't know. Rob us. I do n't know. She sits back against a wall, looks around, at the tiny room. She's trying not to show how freaked out she is. SARAH What do we do? MEG Wait. SARAH What if they get in here? MEG They ca n't. They ca n't get in here. No. They ca n't. SARAH I heard you. MEG Feel okay? SARAH Yeah. MEG Shaky? SARAH Nope. MEG Chills? SARAH Huh uh. She checks her wristwatch, for some reason. SARAH Do n't worry about me. The implications being, worry about yourself. Sarah crawls over to the bank of video monitors, studies them. Meg crawls over to join her. They scan the screens. ON THE MONITORS, there are a dozen different views of the house. Front stoop. Kitchen. Dining room. Entry floor. Living room. Master bedroom. Den. Top floor bedrooms, both of them. Top two floor hallways. Even one with a shot of the inside of the elevator. The three intruders are gathered in the living room, standing in a tight circle, having a hell of an argument. Lots of gesturing, fingers jabbing in chests, but we ca n't hear a word. IN THE PANIC ROOM, Meg furrows her brow, noticing something interesting to the right of the video monitors. She slides over, studies a panel there with sixteen different buttons and a small grilled area. MEG Hey. Sarah joins her, looks at the buttons. Each one is labeled with a different room name - den, kitchen, master bedroom, etc.. Up in the corner there is a button that says `` ALL PAGE,'' down in the opposite corner there's a button marked `` TALK.'' Meg looks at Sarah. SARAH Go ahead. Meg is reluctant, frightened. Sarah is encouraging, for the first time. SARAH You can do it. Meg leans forward, clears her throat.", "INT.  LIVING ROOM - NIGHT Burnham, Raoul, and Junior are standing in the half - darkened living room, in the middle of their argument, when a VOICE booms around them. MEG -LRB- O.S. -RRB- Excuse me. They practically jump out of their shoes, looking around for the source of the voice. MEG -LRB- O.S. -RRB- The police are on their way. Only Burnham has remained relatively calm. After he gets over the initial shock, he walks toward the tiny camera that's hidden in an upper corner of the living room wall and stares up at it. Raoul, who has taken off his ski mask, is careful to move out of the camera's range, and turn his back to it. MEG I suggest you leave. ON THE MONITORS, Burnham looks up at the camera and shakes his head, wagging a finger from side to side. He raises a hand, makes a gesture like a telephone, then wags his finger again. The message is clear - you do n't have a phone. IN THE PANIC ROOM, Meg is puzzled. MEG How'd he know that? She presses the talk button again. MEG -LRB- into speaker. -RRB- Take what you want and get out. That sounded fairly tough. She looks at the monitor again. ON THE MONITORS, the three of them have an urgent, whispered conference, then they all start patting their pockets for some reason, turning in circles, looking for something. IN THE PANIC ROOM, Meg and Sarah watch them, confused. ON THE MONITORS, Burnham holds up a finger to the camera - wait a second - while Raoul and Junior rush off screen, looking for something. Junior returns a moment later holding something and the three of them hunch over a box, working on something. After a moment, they break apart and Junior steps up to the camera holding a pad of paper. He shows it to the camera. On the top page, in big block letters, they've written. WHAT WE WANT After a suitable pause for reading, he turns to the second page, where four more words are written. IS IN THAT ROOM. IN THE PANIC ROOM, Sarah GASPS, Meg sits back. MEG `` What we want is in that room.'' SARAH They're coming in here, are n't they? MEG No, I told you, they ca n't. It's not a possibility. Angry, she sits forward and jabs the talk button. MEG -LRB- into speaker. -RRB- What do you know about this room? ON THE MONITORS, there is more frenzied writing, more arguing, and a first draft of a response torn up. Finally, Junior steps forward with another sign : MORE THAN YOU. IN THE PANIC ROOM, Meg's confidence is ebbing, but she does n't want to show it. She hits the talk button again. MEG -LRB- into speaker. -RRB- We're not coming out. We're not letting you in. Get out of my house. -LRB- clicks off. -RRB- SARAH Say fuck. MEG -LRB- into speaker. -RRB- Fuck. SARAH `` Get the fuck out of my house.'' MEG -LRB- into speaker. -RRB- Get the fuck out of my house! She clicks off again, looks to Sarah for approval, and gets it, sort of, in Sarah's half - smile. But Sarah's eyes go back to the screen. SARAH Answer. Meg follows Sarah's eyes back to the screen, where another message is being held up for them. ON THE MONITORS, the notepad says : WE WILL LET YOU GO. IN THE PANIC ROOM, Meg and Sarah speak at the same time. MEG Oh, please. SARAH Give me a break.", "INT.  LIVING ROOM - NIGHT In the living room, her voice booms from the speaker. MEG -LRB- O.S. -RRB- Conversation's over. With an audible CLICK, she signs off. Burnham, Raoul, and Junior stand arrayed beneath the camera, staring up at it, dumbfounded. BURNHAM Got her right where you want her, Junior. JUNIOR Shut up. BURNHAM When you said you'd let'em go I thought she'd come running right out for sure. JUNIOR Shut up and let me think. He opens a pack of cigarettes, takes out a joint and lights it. BURNHAM I'm afraid to let you think, Junior. Things get worse when you think. -LRB- sniffs. -RRB- Oh, that's gon na help. JUNIOR -LRB- holding in a hit. -RRB- Okay, fuckball, you think. What are we gon na do? RAOUL What if she called the cops? BURNHAM She did n't. JUNIOR She said she did. BURNHAM She lied. Cops woulda been here by now if she called'em. Besides, Junior cut the phones. Burnham goes to the window and stares outside. He laughs, covers his face. RAOUL What the fuck is funny about this? BURNHAM God. RAOUL There is not one thing funny here. BURNHAM Who else but God could think this shit up? I spend ten years building those fucking rooms to keep people out, now I got ta figure out how to get in. God, man, He just loves the irony. JUNIOR Yes. Yes, it's all terrible ironic and amusing. You fuck. Now how are you gon na get us into that room? BURNHAM Ca n't. Whole point. Ca n't get in the room. RAOUL So what the fuck are we supposed to do?! BURNHAM Make her come out. And when she does, that's when we got ta be careful. She ca n't get out of this house. She ca n't even think she can get out of this house. We just keep them here and keep them quiet for forty - five minutes. And I do n't want. -LRB- Raoul. -RRB- Joe Pesci here standing over them with his fat sweaty finger on the trigger. That's a sure way for us to end up with two dead bodies and little puffs of smoke burning out of our heads up in Greenhaven. So we're gon na seal the place up. They wan na hole up in here? Fine, we'll help'em. Make it impossible for them to leave. Once they come out of that room. JUNIOR And why exactly would they want to come out? At the window, Burnham notices something sitting just outside the French doors, on the balcony. It's a large outdoor barbecue grill. He thinks, takes a step closer. He sees a white five gallon tank of some kind underneath the grill. BURNHAM Workin' on it.", "INT.  PANIC ROOM - NIGHT In the panic room, Meg is sitting cross - legged on the floor, leaning against a wall, but Sarah is in motion, sorting through shelves, opening drawers. Every drawer has something in it, sealed under plastic. She opens and closes, sorts and lifts finds the following : Waterproof matches and lighters. Flashlights. Unopened packages of batteries. Sealed water bags stamped `` PURE FIVE YEARS FROM DATE.'' Tinned food. Flares. Pillows, fireproof blankets -LRB- we know because the bags are stamped FIREPROOF BLANKET -RRB-. A complete tool kit. As Sarah explores, she discovers something in the far wall at the end of the room, down on the floor at eye level. It's a small round portal, about eight inches across, with a four - pronged cloverlike seal. The portal is closed tight, as Sarah pokes and scrapes at it idly with a finger or two, it resists her attempts to crank it open. Meg notices. MEG Hey. Relax, okay? But Sarah keeps at it, feels along the edges of the portal, then all along the wall, looking for some kind of hidden switch that controls it. MEG I mean it, lie down. You get your adrenaline up and you know what's gon na happen. Sarah stops, looks at her mother, who is pale and wan, huddled in the corner. SARAH Are you freaking out? MEG Little bit. Yeah. Sarah looks around the room. SARAH Small space? MEG -LRB- nods, fast. -RRB- Do n't though. -LRB- talk about it, that is. -RRB- Sarah looks at her, thinks. It's not an unfamiliar situation, her needing to comfort her mother. SARAH Why did the chicken cross the road? MEG What am I, a five year old? SARAH Why did the chicken cross the road? MEG I do n't know, why? SARAH To prove he was n't chicken. Meg tries to push a smile across her face, but it's immediately dashes as she looks back at the video screens. Her eyes show alarm, staring at the kitchen. MEG What the hell are they doing?", "INT.  KITCHEN - NIGHT The contents of one of the satchels is dumped out over the kitchen counter, every kind of tool imaginable, many that are unfamiliar to us. They sort through the pile, choosing things.", "INT.  KITCHEN FLOOR - REAR DOORS - NIGHT At the French doors that lead to the garden, Burnham has a cordless screwdriver and a pile of long screws in his hand. He reaches up, drills a screw through the door, into the corner of the door frame. He does the same at the bottom of the door. He unlocks the doorknob, tries it. The screws hold the door fast. He moves on, to the next door.", "INT.  PANIC ROOM - NIGHT In the panic room, Meg stares at the video screens, eyes wide, terrified. She watches them. Ca n't take her eyes off them. MEG -LRB- barely audible. -RRB-. locking us in.", "INT.  LIBRARY - NIGHT In the library, in the front of the house, Raoul screws shut a window, driving the long screws into its frame. He looks out at the street, at two CLUBGOERS walking home. He pulls the drape.", "INT.  PANIC ROOM - NIGHT Meg's hands are over her mouth, she's trembling, shaking her head from side to side. This ca n't be happening.", "INT.  KITCHEN - NIGHT In the kitchen, Junior goes to the wall phone Meg used to call for pizza earlier. He cuts the phone wire with a knife. He stands there, staring at the phone, wiping the sweat from his palms on his pants. Not satisfied, he pulls the phone itself out of the wall, cuts the cord for the handset too.", "INT.  PANIC ROOM - NIGHT Meg pushes herself back into the corner of the panic room, horrified. Sweat has broken out on her forehead, her whole body seems to vibrate. Sarah comes over, leans in front of her. SARAH Mom? But Sarah's voice is hollow, seems far away. SARAH Are you okay? Meg looks at her. As she watches, Sarah floats away from her. In fact, the entire room is floating away from her, elongating. And narrowing. Meg looks to the sides, and the walls do n't just seem like they're pushing in on her, they are pushing in on her. Meg opens her mouth, screams, but no sound comes out. Sarah stands up and bends over her, but now she's just a figure far away, all the way at the end of a long, impossibly narrow hall. SARAH -LRB- barely heard. -RRB- MOM?! MOM! Meg crawls out, into the middle of that hallway, to get away from the wall, but they both continue moving in on her. MEG Not here. not here. someplace else. someplace else. Her eyes roll back into her head, we see just the whites, and she loses her balance, falling over onto her back. We fall with her, move in tight on her face, and the dark hallway carpet beneath it turns to green, all green, grassy green. She sits up, looks around, and we realize she is in fact somewhere else, she's -", "EXT.  GREAT LAWN - DAY - in the middle of the Great Lawn, in Central Park. She stands, turns in a circle, she's completely alone on the great green grassy plain in the middle of a beautiful spring day, tall buildings sparkling in the distance. Meg stretches her arms out, smiles, but far off in the distance, she hears a voice calling to her, dimly : SARAH -LRB- O.S. -RRB- Mom?! Mom! Meg ignores the voice, she's so happy to be out here, out in the open, in the beautiful wide open, she could stay here forever, she spins around, throws her head back, but there's that voice again, insistent : SARAH -LRB- O.S. -RRB- Mom, please! There is the sharp sound of a SLAP, and Meg's face abruptly jerks to the side. She touches her cheek, confused, as a hot red handprint rises up on it. What the hell was that? BAM! Now the perfect spring day is shattered suddenly by a deafening CRUNCH. The smile vanishes from Meg's face, she turns. Where did that come from? BAM! Another one, even louder. Meg's whole body winces at the sound. BAM! A third one, and on this one Meg falls to her knees, covering her ears, walls spring up around her, right there on the Great Lawn, we rush in on her, the walls close in, and she's right back -", "INT.  PANIC ROOM - NIGHT - in the panic room, where she always was, and that pounding is real, it's right outside the door, it's like somebody's trying to smash their way right through the wall. Sarah is right over Meg, holding her by the arms, and that handprint on Meg's face is real, Sarah must have slapped her to try to bring her out of it. SARAH THEY'RE COMING IN! THEY'RE COMING IN! Meg looks to the wall, watches it seem to vibrate as another deafening BANG crunches into it from outside. BAM! BAM! BAM! The sound is deafening. Sarah throws both hands over her ears. Meg looks around, still disoriented. SARAH YOU CA N'T DO THAT! YOU CA N'T FREAK OUT LIKE THAT! YOU HAVE TO STAY HERE WITH ME! MEG I am. I'm here. SARAH YOU HAVE TO! MEG I'm here. I'm here. They huddle there, terrified. Meg blinks, wipes the sweat from her forehead, begins to come back around. She turns her head, sneaks a look at the funny wristwatch Sarah wears, tries to look without her daughter knowing. It's not an ordinary watch, it only has one number, a tall, flashing digital display : 120 Meg nods, as if reassuring herself. MEG We're fine. We're okay. She turns, looks at the video monitors to see what the hell they're doing out there.", "INT.  MASTER BEDROOM - NIGHT BAM! In the master bedroom, a claw hammer CRUNCHES into the sheetrock on the outer wall of the panic room. The intruders are in the master bedroom now, and Burnham is like a man possessed, tearing at the sheetrock with the sharp end of the tool while Junior shines a flashlight into the hole. As the sheetrock tears away, we see the skeleton of the wall behind it. There's a latticework of two by four studs, and beyond those the dull shine of the wall's metal core. But that's not what he's after. He continues tearing, reveals an air duct running through the wall, feeding into the panic room through a welded hole in the steel. Burnham tears away with the hammer, exposing a short section of the duct. CLANG! The claw hammer drops into an opened toolbox. Burnham drops to his knees, rips open another tool case. This one has a sophisticated looking power drill in it, along with a couple dozen specialized bits. He selects one, twists it into the drill. At the wall, Burnham puts drill to metal and hits the switch. A horrendous METAL SCREECH fills the air and the drill bit tears into the duct, opening up a jagged hole about the size of a quarter. Raoul hurries through the doorway of the bedroom, carrying a coiled garden hose. Burnham snaps his fingers for it, Raoul tosses it to him, holding one end, and the hose uncoils in the air as it snakes across the room. Burnham shoves the end of the garden hose into the hole he's just drilled in the air duct. RIP! He tears off a length of duct tape and seals the connection, makes it airtight. SLIT! Using a large hunting knife, Raoul hacks a ten foot section of the garden hose off the coil. He stretches it out, across the room, to the white five gallon tank we saw before, which is now sitting on the floor up here. We move in close as Burnham snugs the cut end of the garden hose over a spigot at the top of the tank. Red block letters are easy to read on the side of the tank. PROPANE CAUTION - FLAMMABLE Along with a number of other dire warnings. Burnham raises his hand to the knob, hesitates, does n't really want to do this, but does n't stop himself either. He spins it open. Halfway. JUNIOR Open it. BURNHAM I did. RAOUL He said open it. BURNHAM Just sending a message. She'll get the point. Gas HISSES through the spigot and into the hose. We follow along the length of the hose, across the floor of the room, through the hole in the sheetrock, into the hole that's been drilled in the air duct - INSIDE THE WALL - through the wall itself, where we see the horizontal lines of an air vent up ahead. We squeeze between two of the horizontal lines -", "INT.  PANIC ROOM - NIGHT - and come out in the panic room. Three red streamers, tied to the air vent, flap to life as the gas HISSES into the panic room. Directly underneath the vent, Meg is hunched up against the wall, her arm around Sarah. She sniffs. Again. Sarah sniffs. They look at each other. She looks up. Sees the streamers floating above her. She leaps to her feet, steps up onto a shelf, and stretches her nose toward the streamers. Just as she does -", "INT.  MASTER BEDROOM - NIGHT Near the tank, Raoul shoves Burnham out of the way. RAOUL We ai n't playin', here. He cranks the valve handle of the grill open all the way. The gas pours into the hose with an audible WHOOSH.", "INT.  PANIC ROOM - NIGHT Meg, at the vent, falls back, two lungfuls of propane, and drops to her knees on the floor. SARAH What, what, what is it?! MEG On the floor! Get on the floor! Now Sarah coughs. The gas is pouring into the room.", "INT.  MASTER BEDROOM - NIGHT Raoul is standing guard over the tank, to make sure no one messes with the valve. BURNHAM Look, do n't be stupid. Junior has his head pressed against the door to the panic room, trying to hear any sounds from within. JUNIOR Be quiet. BURNHAM We're trying to scare them, not kill them! JUNIOR They're coughing. BURNHAM They're gon na die in there! JUNIOR Nobody is gon na die, man, will you please have the balls to follow through with a good idea? Think about it, what would you do if you were them, stay in there and choke to death, or come out?! Huh? We're just getting them to come out for forty - five minutes, forty - five fucking minutes! The worst that's gon na happen is they pass out, we drag'em out here into the fresh air, and they'll be fine. BURNHAM Junior, you gigantic idiot, how are we supposed to get into the room if they pass out? Pause. Junior turns to Raoul. JUNIOR Cut it back a little bit. RAOUL No fucking way. JUNIOR He's right, we ca n't get into the room if they're dead!", "INT.  PANIC ROOM - NIGHT Meg and Sarah are down on the floor, rags covering their mouths, trying like crazy to filter the air, but it's not working. Sarah is crawling around the base of the wall, near to where she was before, clawing at the strange portal thing again. Finally, she finds a small metal handle, folded back into the clover - leaf seal on the portal. She unfolds it, twists it. The portal cranks open, revealing it to be at the end of a tube, about a foot long, an emergency ventilation source directly through to the exterior of the house. She bends down and looks through it. It's covered by a metal mesh at the opposite end, but she can see and smell the outside through it. She sits up, gestures to her mother to bend down next to her. She does, and they both jam their mouths up near the end of the tube, gulping fresh air greedily. Meg looks at Sarah, good job, and they both drop to the floor at the portal and suck air. It's temporary, but it works.", "INT.  MASTER BEDROOM - NIGHT In the master bedroom, the debate has turned physical. Burnham lunges across the room at Raoul, to get his hands on the valve, to turn off the gas. But Raoul catches him and hurls him aside. Burnham SLAMS into the wall, bounces off and SCREAMS at Raoul, who SCREAMS right back. Junior leaps into the middle, trying to break it up, to get them to shut up, keep their voices down. It's bedlam.", "INT.  PANIC ROOM - NIGHT In the panic room, Meg knows this ca n't go on forever. She turns away from the portal, looks up at the vent, where the streamers still stream. She looks to the other side of the room, to where Sarah found the waterproof matches and lighters. She thinks. Takes a deep lungful of fresh air from the tube and crawls over to the lighters. She selects one, snatches up a screwdriver. Sarah looks at her, has a vague idea of what she's thinking, but ca n't believe it. She shakes her head vehemently. In response, Meg picks up two or three of the fireproof blankets and piles them over Sarah, right up to her disbelieving eyes. She bends down, takes another gulp of air. but she's getting woozy. This ca n't go on much longer. She staggers across the room, hoists herself back up onto the shelf she stood on before, and gets right up next to the vent. Holding her breath to avoid breathing the toxic gas, she unscrews the vent cover. The duct is wide enough to put your arm in. She reaches in, past a bundle of multicolored wires that run down through the wall. She reaches all the way in, lighter in hand. INSIDE THE DUCT, we see her hand crawl in, lighter clenched between her fingers. She raises a thumb to the flint wheel, cranks it once. Too slow. Not even a spark. Her hand shakes. She tries again. Still no spark. But with the effort and the angle, when she thumbs the lighter it makes her hand twitch, banging up against the sides of the duct with a hollow BOOM.", "INT.  MASTER BEDROOM - NIGHT Burnham turns abruptly. He turns around. They all freeze, listening. He hears it again. The hollow BOOM, coming from inside the wall. Now a third time. He walks forward, slowly, toward the wall. BOOM. He moves closer, gets right up next to the wall. He leans into the wall, putting his ear right up next to the air duct. This close, he hears the sound in more detail, realizes it's two sounds. SCRATCH. BOOM. He arches an eyebrow. INSIDE THE DUCT, Meg's hand is trembling, tiring. She tries again, thumbs the flint wheel. It SCRATCHES as it rolls, her hand twitches, BOOMS against the side of the duct. Still, the gas HISSES through. IN THE PANIC ROOM, Meg's face is turning color, she's running out of air. Her feet tremble on the shelf, she's about to lose her footing. INSIDE THE DUCT, she tries again. SCRATCH. BOOM. IN THE BEDROOM, Burnham's eyes suddenly pop wide as he identifies the sound. BURNHAM Oh. He tears himself away from the wall - INSIDE THE DUCT, - Meg's thumb tenses for one good hard turn - IN THE BEDROOM, - Burnham leaps through the air, hurling himself toward the propane tank - INSIDE THE DUCT, - Meg cranks the wheel, a spark sparks, a flame flames, and a hot blue cloud shoots out in two directions, one toward the panic room, the other toward the bedroom. IN THE PANIC ROOM, Meg jumps off the shelf, throwing herself as far away from the vent as she can, her arm engulfed by licking blue flame. She drops to the floor of the room, covering her daughter's body just as the entire ceiling of the panic room turns into a lake of fire with a deafening WHOOMP. The fluorescent light tubes EXPLODE, showering glass everywhere. IN THE BEDROOM, the blue flame shoots out of the wall, into the hose, through the hose, backing up toward the tank. Burnham CRUNCHES to the floor next to the tank, knocking the other end of the hose away from the spigot just as the blue flame erupts from the end of the hose. The flame engulfs his entire body, his hair starts on fire, his chest, his arms. Raoul lunges forward, Junior tears the blankets from the bed and throws them over him, Burnham HOWLS and rolls on the floor in pain. IN THE PANIC ROOM, the blue cloud on the ceiling suddenly evaporates with another angry WHOOMP, leaving a few little pockets of flame that Meg extinguishes by swatting with a blanket. Only one of the fluorescent lights is left intact ; it casts a flickering, uneven light on the room. She stands in the middle of the still - smoky panic room, breathing hard. She shouts, SCREAMS incomprehensibly, making no sense whatsoever. She stops, noticing the look Sarah is giving her. Wide - eyed admiring, frightened, you are an insane woman. Meg looks to herself. Her arm is signed, the hair burned off. The sleeve of her T - shirt is burned back to the shoulder. Her face is sooty, blackened. Meg GRUNTS, half frightened by herself.", "INT.  MASTER BEDROOM - NIGHT Out in the bedroom, it's worse for Burnham, who has lost most of his hair and shirt. But his skin is n't badly burned, which is something, I guess. Still, he's in a rage. He POUNDS the metal door of the panic room. BURNHAM I'M COMING IN THERE, BITCH, I AM COMING IN THERE! I AM COMING IN THERE!", "INT.  PANIC ROOM - NIGHT Meg whirls, goes to the door herself, SCREAMS right back. We can hardly make out a word she's saying, but it sounds threatening. Suddenly, she stops, hearing something else. Outside the door, Burnham continues to rant, but there's a second sound, a sound coming from the long wall of the panic room, the wall that's shared with the brownstone next door. It's a faint - very faint - POUNDING sound, along with a high pitched, complaining voice, so faint it can hardly be heard. Sarah hears it too. SARAH Neighbor! Meg and Sarah leap as one, facing the common wall, SHOUTING at the tops of their lungs - get help, call the police, please, call the police, that sort of thing. They shout and shout, but the soft pounding continues, and if their voices are as soft on the other side as the COMPLAINING VOICE is on this side, they have no hope. Their voices crack and they begin to cough, too irritated by the gas to shout for very long. Long after they stop, the soft POUNDING from next door continues. Their pleas are not heard.", "INT.  MASTER BEDROOM - NIGHT The Intruders have stopped their racket too, and are listening carefully at the common wall. Eventually, the soft POUNDING stops, the complaining voice complains no more. Burnham stands there, in pain. Things are falling apart. Raoul stands in the doorway, silhouetted by the hallway light. He draws himself up to his full, bulky height. He's big. RAOUL -LRB- to Junior. -RRB- We're gon na talk. Downstairs. Junior nods and starts out. Raoul lets him pass, but when Burnham tries to follow him, Raoul puts a big hand on his chest stopping him. RAOUL You stay. Make sure she do n't come out. Burnham swallows. But stays. Raoul turns, follows Junior downstairs. As he descends, he looks up, making eye contact with Burnham. And holding it. Something on his mind, that's for sure.", "INT.  PANIC ROOM - NIGHT THUNK. Meg's head falls back against a wall ; she sags to the floor, legs folded in front of her, completely drained. But Sarah's not drained, Sarah's full of nervous ingenuity, rustling around through the stuff in the panic room, an idea forming in her head. She finds a powerful - looking flashlight and loads it up with batteries. She tries it, flashing around the room. Halogen bulb, very powerful, hurts her mother's eyes as she flashes it past. Meg watches her. What's she up to? Sarah lays on the floor in front of the ventilation tube she discovered earlier. She squints through it. THROUGH THE TUBE, she can see out of the house, into the courtyard behind the brownstone. About thirty yards away she can see the backs of the brownstones on the next block, and directly across -LRB- because the tube does n't leave much room for lateral vision -RRB- she can see straight into somebody's bedroom. There's a light on. A SLEEPING MAN is in bed, an open book on his chest. IN THE PANIC ROOM, Sarah sits back. She grabs the flashlight, looks for a little button on the top, the kind you can flick the flashlight on and off with. Shining it on the wall of the panic room, she flashes it at a wall, three times, on and off. Satisfied, she turns back to the tube. Meg, curious, crawls across the floor to join her. Sarah shoves the flashlight all the way into the tube, leaving enough room on either side of it for them to see through. Meg lays down flat, squints into the tube, Sarah alongside her. She looks at her daughter, curious - your plan? Sarah reaches into the tube, finds the little flash button on the top of the flashlight. THROUGH THE TUBE, the piercing halogen beam begins to flash, across the courtyard and into the bedroom of the Man in the bedroom. The light flashes on the wall over his bed. The flashes are in a rhythm. Short. Short. Short. Long. Long. Long. Short. Short. Short. IN THE PANIC ROOM, Meg turns to Sarah, impressed. MEG Morse code? SARAH -LRB- nods. -RRB- Dot dot dot, dash dash dash, dot dot dot. MEG Where'd you learn S.O.S? SARAH `` Titanic.'' THROUGH THE TUBE, the flashes continue - dot dot dot, dash dash dash, dot dot dot. But the Man continues to sleep, the light on the wall behind him has no effect. IN THE PANIC ROOM, Sarah is frustrated. She adjusts the flashlight. THROUGH THE TUBE, the beam of light lowers jerkily from the wall until it is shining directly into the Sleeping Man's eyes. IN THE PANIC ROOM, Sarah strains to keep the light in that perfect spot. She's starting to sweat. Meg leans over, sneaks a peek at the watch Sarah wears on her left wrist. The readout : 114 THROUGH THE TUBE, the Sleeping Man stirs. Opens his eyes. Winces from the light, which is flashing directly in his eyes. IN THE PANIC ROOM, MEG Got him! SARAH Come on, come on. THROUGH THE TUBE, the Sleeping Man sits up. Raises a hand, trying to block the light, which keeps flashing on him. He gets up, out of bed. He comes to the window. IN THE PANIC ROOM, MEG Yes, yes, yes, yes. Sarah keeps it up, flashing faster. THROUGH THE TUBE, they see the Man come all the way to his window. He leans against it, cups his hands so he can see better. The flashes continue, right on top of him now. Clearly, the Man is reading the flashes! He takes a steps back from the window - - gives them the finger - - and angrily yanks shut his drapes. A moment later, the light goes out and the room is black. IN THE PANIC ROOM, Meg and Sarah drop their heads to the carpet, defeated. Sarah rolls over, knocks the flashlight away, stares up at the ceiling. Meg puts a hand in her hair. It was a good idea. SARAH We're never getting out of here. MEG Shhh. She looks at the wristwatch again. 103 She's concerned.", "INT.  MASTER BEDROOM - NIGHT Burnham is concerned as well. He's still in the master bedroom, but barely, he's standing in the doorway, straining like hell to hear a conversation that Junior and Raoul are having in the foyer, one floor one. They're trying to keep their voices down, but stray words float up through the open stairwell - words like `` him'' and `` warning'' and `` dangerous.'' Burnham chews a fingernail. If only he could get closer. He throws a look back at the door to the panic room. He looks back out the bedroom door. Listening.", "INT.  FOYER - NIGHT Junior and Raoul are huddled together in the foyer. They're keeping their voices low, but their conversation is heated. JUNIOR We're not gon na do anything about him, he's fine. RAOUL If you think I'm gon na let my half of the fourteen million bucks slip away because of - JUNIOR `` Half?'' What did you, take a nap in math class? Three people, three shares, one third. Four point six six six repeating. RAOUL I'm just saying, the man is a problem. And he's your problem. Was n't me idea to bring him along. JUNIOR That's right, Raoul, it was n't your idea, none of this was your idea, it was mine, it's my family we're ripping off, it's my prick grandfather who built that fucking room, it was my idea to get the plans, I found the floor safe, and it was my idea to ask a guy who builds these rooms to help break into one! Me, me, me, I, I, I, at no point did I say `` you'' or Raoul,'' got it? RAOUL He puts his hands on me again I'll bury a slug in his ear. JUNIOR No, you will not, because without Burnham there's no way in hell we're gon na get into that safe, so as far as I'm concerned he can paint your ass blue and run it up a flagpole and you wo n't lay a finger on him, you understand me? RAOUL Do n't take no tone of voice with me, Homes. JUNIOR What is this shit you're talking all of a sudden? You're a bus driver, `` Homes,'' you live in Flatbush, so please do n't start spouting some Elmore Leonard shit you just heard because I saw that movie too, ON THE VIDEO MONITORS, Junior and Raoul are visible, still arguing in the foyer. On the next monitor over, Burnham is visible, standing in the master bedroom doorway, listening. IN THE PANIC ROOM, Meg is watching the monitors, thinking. She notices something, sits forward abruptly, looking at the monitor that covers the master bedroom. She squeezes right up close, staring at the screen. ON THE MONITOR, we peer closely at the box next to her bed, the one she was using for a night table. On top of the box, she sees the charger for her cellular phone, sitting empty. IN THE PANIC ROOM, Meg sits back, eyes alive with an idea. If only she could get to that phone, which must be still under the bed. She looks back at the monitors, at Burnham lingering in the doorway to the room. MEG Damn. She turns away from the monitors, to check on Sarah, who's settled into a corner of the room, looking pale.", "INT.  MASTER BEDROOM - NIGHT In the bedroom, Burnham is desperate. The argument downstairs is entering round two, and he's got to hear what they're saying. He takes a few steps out of the bedroom -", "INT.  THIRD FLOOR HALLWAY - NIGHT - and comes into the hallway. He leans over the stairwell. Where he's standing, he is directly under the camera that covers the hallway - ON THE MONITORS, - and ca n't be seen on the monitor that covers the hallway. IN THE PANIC ROOM, Meg turns back from Sarah, to look at the monitors again. She see Burnham is no longer in the bedroom. And does n't appear to be in the hallway, either. MEG Oh yes, yes. She looks at another monitor. ON THE MONITOR, she sees Junior and Raoul in the foyer. IN THE PANIC ROOM, Meg sits back. That leaves Burnham unaccounted for. MEG the hell is he? IN THE HALLWAY, Burnham is still lingering under the camera. IN THE PANIC ROOM, Sarah has come forward to the monitors as well. SARAH Do it. MEG Yeah, but where's the third guy? SARAH Not in the bedroom. Do it! Meg goes to the door, raises a hand to the green `` open'' button. Hesitates. IN THE MASTER BEDROOM, we see Burnham, lurking in the hallway, just about six feet from the door to the panic room. Do n't open that door! IN THE PANIC ROOM, Meg wipes sweat from her palm. MEG If it looks like I ca n't get back, just close the door. SARAH No. MEG Close it! Sarah nods, looks back to the button. IN THE HALLWAY, a shouted CURSE rises up from downstairs. Burnham takes a step toward the stairs. ON THE MONITORS, he suddenly appears, in the hallway. IN THE PANIC ROOM, Sarah sees it. SARAH WAIT! Meg freezes. She looks at the monitor, wide - eyed. Close one. IN THE HALLWAY, Burnham ca n't take it anymore. BURNHAM Oh, hell. He turns and takes off down the stairs. ON THE MONITORS, Burnham flies down the stairs and appears in the foyer, next to Junior and Raoul. IN THE PANIC ROOM, Meg and Sarah see all three men accounted for, downstairs. SARAH GO GO GO! Meg leaps up, runs to the door, and punches the green button.", "INT.  MASTER BEDROOM - NIGHT The door begins to crank open, Meg slips through the gap sideways before it's even all the way open. She darts across the room - - slides to the floor next to the bed - - and flattens herself, reaching underneath it to get the phone. Damn, that phone slid far, it's right in the middle, would n't you know it. IN THE FOYER, the three men hear her footsteps, as one, they take off for the stairs. IN THE MASTER BEDROOM, Meg continues to stretch, her fingers inches from the phone. ON THE STAIRWELL, feet race up toward her - IN THE MASTER BEDROOM, Meg's fingernails paw the phone, pull it closer to her. She grabs it, stands - IN THE HALLWAY, the three men come off the stairs and race toward her, they see her as she lunges across, toward the panic room, she hurls herself through the door - IN THE PANIC ROOM, - and Sarah SMACKS the red button. The steel door closes with a deafening WHANG. Safe. IN THE ENTRYWAY, the echo of the metallic WHANG reverberates through the house.", "INT.  PANIC ROOM - NIGHT In the panic room, Meg punches 9 - 1 - 1 on her cell phone with trembling fingers.", "INT.  MASTER BEDROOM - NIGHT The big empty charger cradle is in the foreground when the three men burst into the room. Burnham stops in the middle of the floor, turns in a frantic circle. BURNHAM What'd she get, what'd she get, what'd she get. His eyes fall on the empty charger. BURNHAM Cell phone. JUNIOR Shit!", "INT.  PANIC ROOM - NIGHT Meg raises the cell phone to her ear - - and gets a rapid busy signal. MEG Oh, no. No, no, no no no no no. She looks at the phone. It's showing just one signal bar, and even that one is flashing on and off. MEG Oh come on, come on, come on. She walks around the room, raises the phone high and low, trying crazily to find a signal. But ca n't.", "INT.  MASTER BEDROOM - NIGHT In the bedroom, Burnham stands just outside the door, fingertips lightly resting on it, the ghost of a smile on his face. BURNHAM -LRB- softly. -RRB- I do n't think we'll be talking on our cell phone from in there.", "INT.  PANIC ROOM - NIGHT Inside the room, Meg does n't seem upset. Rather, she's staring at the cell phone in her hand, thinking. Remembering something. MEG Wires.", "INT.  MASTER BEDROOM - NIGHT At the same moment, Burnham is having the same thought. He's still at the door, fingertips still resting there. BURNHAM Phone.", "INT.  PANIC ROOM - NIGHT MEG wires.", "INT.  MASTER BEDROOM - NIGHT Burnham looks down, at the baseboard below. What is he looking at?", "INT.  PANIC ROOM - NIGHT Meg steps up, onto the shelf she climbed earlier, and comes up next to the vent. SARAH What are you doing? MEG I saw something, I saw. In the vent, alongside the duct, she sees the bundle of multicolored wires she saw earlier. MEG phone wires! She jumps down off the shelf, goes to the tools, starts searching for something. MEG I may not have hooked up the phone in here, but I hooked up the main line, and there's a jack at the base of this wall outside, I saw it!", "INT.  MASTER BEDROOM - NIGHT Yes, that is correct, there is in fact a jack in the base of the wall outside the door to the panic room. Burnham bends down into frame, studying it, thinking the same thing she is. He clears his throat. BURNHAM Say, while we're on the subject of phones. He turns, looks up at Junior. BURNHAM When I said cut the line, did you cut the main line at the junction box in the basement like I said, and which I repeated, or did you just cut the cord on the phone in the kitchen? Pause. Swallow. JUNIOR I, uh, I. Shit. JUNIOR hit a little snag finding the one in the basement. Shit. Pause. Then, as if a starting gun has been fired, Burnham leaps to his feet and races out of the bedroom.", "INT.  PANIC ROOM - NIGHT That same starting gun has been fired in the panic room. With a strong RIP, Meg pulls the whole bundle of multi colored wires out of the wall and drops onto the floor with it. She trusts it at Sarah, finds a wire cutter in the assorted tools, and gives her that too. MEG Strip'em, expose the ends, try blue first, blue is phones! SARAH Blue is phones? MEG Yes, no, I do n't know, do'em all! While Sarah goes to work on the wires, Meg turns to the phone itself, the one with the buried phone line that is n't working yet. She rips the phone out of its housing, tears free the wire on the end of it.", "INT.  ENTRY FLOOR - NIGHT Burnham flies down the stairs from the third floor, races across the foyer, flies down the stairs to the kitchen floor.", "INT.  KITCHEN - NIGHT Burnham races across the kitchen floor, whips open a door and heads down another, narrow, darkened stairway.", "INT.  PANIC ROOM - NIGHT Meg and Sarah are like animals, clawing and tearing at the ends of their respective phone cables, foregoing tools and stripping the wires with fingers and teeth, it's faster. With the phone receiver cradled on her shoulder, Meg starts twisting the ends of wires onto the exposed ends of the wires from the phone unit. First wire - nothing. She tries a second wire.", "INT.  MECHANICAL ROOM - NIGHT Burnham SLAMS open the door to a dark room, pulls the string on a bare bulb. Burned out. BURNHAM God damn it! Without light, he ca n't see a thing. He SMACKS the bulb, it swings wildly, SMASHES on the cement wall. He turns and races out of the room.", "INT.  PANIC ROOM - NIGHT Meg tries another wire. Still no dial tone. Sarah shoves another wire at her. She tries again. Nothing. She moves on.", "INT.  LIVING ROOM - NIGHT Burnham slides to his knees, snatches a flashlight from his duffel, leaps up and takes off again.", "INT.  PANIC ROOM - NIGHT Another wire. Nothing. Another wire. DIAL TONE! Meg SHRIEKS and punches 911.", "INT.  STAIRWELL - NIGHT Burnham flies down the stairs, flashlight beam bouncing crazily in front of him.", "INT.  PANIC ROOM - NIGHT The phone is ringing. An operator picks up. OPERATOR 911 emergency - MEG I'm at 26 West - OPERATOR - please hold. It's a mechanical voice, which gives over to MUZAK. MEG NO!", "INT.  MECHANICAL ROOM - NIGHT Burnham BANGS through the door again, starts searching the darkened mechanical room, shining harsh light around its dingy walls.", "INT.  PANIC ROOM - NIGHT MUZAK continues to play. MEG Damn it! No more time to hold. Meg hangs up the phone, dials another number, a seven digit one she knows by heart. SARAH Call Dad! MEG On it!", "INT.  MECHANICAL ROOM - NIGHT In the mechanical room, the bouncing flashlight beam falls on a metal cabinet across the way. Burnham runs to it, flings it open. Circuit breakers. SLAMS it shut.", "INT.  PANIC ROOM - NIGHT Meg listens as a phone rings on the other end. And rings. And rings again. This is torture.", "INT.  MECHANICAL ROOM - NIGHT Burnham turns, sees another, smaller metal box, this one clearly labeled : PHONES", "INT.  PANIC ROOM - NIGHT On the other end of the phone, a husky MALE VOICE answers ; clearly he's been awakened. VOICE Hello? MEG Listen to me! There are three -", "INT.  MECHANICAL ROOM - NIGHT With a subhuman ROAR of anger, Burnham rips the entire phone panel off the wall with his bare hands.", "INT.  PANIC ROOM - NIGHT With an abrupt SHRIEK, the line goes dead. Meg pauses, ca n't believe it. MEG Hello? Do n't. are. She looks up, see Sarah looking at her, her eyebrows arches, her face all hope. Meg keeps her cool, but it take a hell of an effort. Sarah reads her face. She turns away. She hangs up the phone. Sarah goes to a corner of the room, faces away from her. Meg does n't know what to say. MEG He'll do something. SARAH Uh uh. MEG He'll know we're in trouble. He heard me, I said `` There are three.'' SARAH He wo n't even know who it was. MEG What would you think, in the middle of the night? I mean, three what, three bears? He'll call the police. SARAH Stop it. MEG He's just across the park, this is why we got places so close to each other, in case we needed each other, we're still a family, he'll help us. SARAH He - MEG He WILL. She practically shouted. Sarah drop her head into her arms. MEG I'm sorry. SARAH I'm sorry. MEG Why? SARAH I was trying not to tell you. MEG What? SARAH I'm dizzy and thirsty. Meg blanches. This is very bad news.", "INT.  MASTER BEDROOM - NIGHT Tired, Burnham drags himself back up the stairs and into the doorway of the master bedroom. Raoul and Junior stand there, staring at him. Long pause. JUNIOR She's never coming out. BURNHAM Hey. JUNIOR And we're never getting in. BURNHAM Do me a favor and do n't talk. JUNIOR Jesus, what was I thinking?", "INT.  PANIC ROOM - NIGHT Meg has torn open one of the water packets and is trying to get Sarah to drink, but the little girl has gone completely pale and seems to have lost some of the strength in her neck, she's having trouble holding her head up. Most of the water runs down her chin. MEG Come on, come on. stay with me. you got ta drink. She takes Sarah's hand, checks her wristwatch thing. The readout is now 82 She swallows. She grabs Sarah by the face. MEG Okay, listen, honey, you went double digit here, you must have been shooting out adrenaline like crazy, we got ta bring your blood sugar back up, okay? Can you hear me? SARAH I'm dizzy, not deaf. MEG Hey, she's still a smart ass, excellent sign. Did you see any sugar in here? Any candy bars, anything sweet? SARAH Huh uh. MEG Okay, you just got ta calm yourself down, that's all, just stay calm and your adrenaline will go back to normal and you'll be fine. SARAH What if I keep dropping? MEG Not an option. SARAH What if I do?", "INT.  MASTER BEDROOM - NIGHT In the bedroom, Junior has had enough. JUNIOR We're leaving. RAOUL The hell we are. BURNHAM Hey man, after all we went through I am not walking out when we're this close. JUNIOR Close? Are you insane? We're nowhere near close! Fuck this, I'll make an anonymous phone call on Monday, they'll find the floor safe, and I'll inherit the shit. Little piece of it, anyway, it's better than nothing. BURNHAM What about us? Junior thinks, then pulls out his wallet. He thrusts a fistful of bills at them. JUNIOR Here. For your time. They both just stare at him. JUNIOR Five hundred bucks here. Neither one of them moves to take it. Junior shurgs, drops it on the floor. JUNIOR Suit yourself. RAOUL Nobody leaves. JUNIOR Observe. He heads for the door, expecting Raoul to block him, but as he draws close - - Raoul just steps out of the way. Junior passes through and heads for the stairs. BURNHAM We're not leaving. I'm getting in that room, and I'm opening that safe. JUNIOR Lookin' doubtful there, Big Guy, but ten out of ten for attitude. And he disappears, down the stairs, Burnham still pleading with him.", "INT.  PANIC ROOM - NIGHT Meg rifles the foodstuffs that are stored in the room. Sarah, in the corner, is starting to tremble. SARAH What if I spazz out? MEG -LRB- forced calm. -RRB- No biggie, we've been through it a dozen times, I just jab you with the Glucogen. Pause. She keeps looking. SARAH Where is the Glucogen? MEG Oh, you know, it's uh. it's in the little fridge in your room. SARAH -LRB- pause. -RRB- I'm sorry, Mom. MEG Hey, quit apologizing, you're starting to sound like Grandma. You're not gon na have an attack. Okay? SARAH Okay. She lays back, oddly passive, her lips changing color. She stares at the monitors.", "INT.  LIVING ROOM - NIGHT Junior strides into the living room, purposefully. He tosses some tools into his duffel bag and heads for the stairs down to the kitchen. Burnham is behind him. BURNHAM Would you wait? Would you please just wait a minute? But Junior heads down. Burnham follows. Raoul is just coming down from upstairs.", "INT.  KITCHEN - NIGHT Junior reaches the door of the kitchen, tries to open it, realizes it's screwed shut. He takes out a screwdriver and starts unscrewing the screws. Burnham stops at the stairway. BURNHAM You walk out that door and you lose your share of the money. JUNIOR Yeah, whatever. BURNHAM I mean it! JUNIOR Adios. He gets the last screw out, throws open the door, and BLAST of wind gusts in, it's a blustery night out there, he takes a step into the doorway - - and with a quiet PFFFT from right behind Burnham, a bullet whizzes across the kitchen and hits Junior in the back of the head. He crumples, right in the open kitchen doorway. Burnham SHOUTS incoherently and turns. Raoul is standing there, two steps up, a silencer twisted onto the barrel of his gun. RAOUL Nobody leaves.", "INT.  PANIC ROOM - NIGHT Sarah is staring at the video monitors, eyes wide. She raises one trembling finger, points at the kitchen monitor, tries to mouth the words, ca n't. Meg looks up.", "INT.  KITCHEN - NIGHT Burnham is freaking out, but trying to stay calm. BURNHAM Oh God. oh, my God. Raoul walks past him calmly, grabs Junior by the ankles, and drags him back into the house. He turns, looks at Burnham, whose jaw is dropped in horror. RAOUL You should see the look on your face. BURNHAM The fuck did you do that for?! RAOUL Fuckin' asshole, thinks he knows me. Drives his German car up to 125th Street a couple of times, buys a few rounds, thinks he's a tough guy, thinks he knows me. -LRB- to the corpse. -RRB- You do n't know one thing about me! While Burnham stares down at the body in shock and Raoul stares at Burnham, his back to the outside, a small, thin VOICE comes from the still - open doorway. VOICE What the h - They turn. A man, fiftyish, stands there in hastily thrown on clothes, staring down at the dead body in mute shock.", "INT.  PANIC ROOM - NIGHT Meg, watching the monitors with Sarah, GASPS as she sees the man, whose name is HARRIS. While she and Sarah watch - ON THE MONITORS, - they see the silent image of Harris, set upon by Raoul, who grabs him roughly and drags him inside. Burnham hurries to the door -", "INT.  KITCHEN - NIGHT - and SLAMS it shut. He puts his back to it, thinking, terrified, things are spinning out of control, fast. Raoul, in the middle of the kitchen floor, is venting some more of his rage on Harris, whom he has hurled to the floor. He lands a solid boot in the side of Harris's head, leaving him GROANING in pain, completely disoriented. Harris rolls groggily into the spreading pool of blood coming from underneath Junior. BURNHAM Stop it! Stop it! RAOUL -LRB- turning on him. -RRB- Who's the clown now? Huh?! Who's the fucking clown now?! He pulls his gun, shoves it into Burnham's eye, hard, we can hear the faint SIZZLE of skin burning. BURNHAM Me. I am. RAOUL That's right. BURNHAM Burning me. It's burning my eye. RAOUL I have the gun. BURNHAM Yes. RAOUL Remember that. BURNHAM Please. Raoul pulls the gun back, just an inch. The skin around Burnham's eye is an angry red. His eyes dart, strain to look over at Harris, MOANING on the floor. And at Junior, dead. BURNHAM What? What do you want me to do? RAOUL What do you think? Get us into that room. BURNHAM I ca n't. Raoul pushes the gun barrel back into Burnham's eye socket. RAOUL You can. You're full of ideas. You just need to squeeze one out. BURNHAM I ca n't. RAOUL You got till the count of three. Then you end up like him. He tilts his head over to Junior, whose brains are spreading out on the kitchen floor. RAOUL One. Squeeze. BURNHAM This is ridiculous. RAOUL Two. Squeeze harder. BURNHAM I ca n't just. RAOUL Th - BURNHAM Okay, okay! Okay. RAOUL You got an idea? BURNHAM Yeah. Yeah, I got an idea. I got ta check something. Raoul GRUNTS, satisfied. Pulls the gun back. Burnham slides away, shaking. He bends down, to the floor. He looks at Harris's left hand. At his index finger. He sees a white strip of skin, where Harris wore his wedding ring, until recently.", "INT.  MASTER BEDROOM - NIGHT Harris, still semi - conscious, is hurled against the metal door of the panic room. He collapses at its base. Burnham, bends down next to him. BURNHAM Okay, look. I know you can hear me. Your wife and kid are in there. You're gon na get'em to come out. Or - He looks up at Raoul, hulking overhead, gun in hand. BURNHAM Or I ca n't stop what he's gon na do. Do you understand? Harris, regaining some semblance of consciousness, nods feebly. BURNHAM Good. Burnham stands up, turns to the video camera, and SHOUTS. BURNHAM OPEN THE GOD DAMN DOOR!", "INT.  PANIC ROOM - NIGHT Sarah and Meg see the horrifying sight on the video monitors.", "INT.  MASTER BEDROOM - NIGHT Burnham SHOUTS at the door to the room. BURNHAM OPEN UP! ON THE MONITORS, they see Burnham, standing over Harris ; they faintly hear him call to them to open the door. And then they hear another VOICE, calling back to them. Sarah sits up, recognizes her father's voice. SARAH -LRB- O.S. -RRB- DADDY!", "INT.  MASTER BEDROOM - NIGHT Harris is SHOUTING against the closed door. HARRIS DO N'T DO IT! NO MATTER WHAT HAPPENS, DO N'T OPEN THE DOOR! DO N'T O - He's silenced by a vicious kick to the ribs. Raoul begins to beat him. Burnham stands by, powerless, horrifies, watching as Raoul savages Harris, who continues to call out, as long as he has strength, telling Meg not to open the door, no matter what.", "INT.  PANIC ROOM - NIGHT Meg and Sarah SHOUT in horror, she covers her daughter's face, turn her away from the screen, SCREAMS in incoherent anger of her own. But she does n't open the door.", "INT.  MASTER BEDROOM - NIGHT Burnham SHOUTS at Raoul, pleading. BURNHAM STOP IT, MAN, STOP IT, THAT'S HIS KID IN THERE, HIS KID IS WATCHING THIS! But Raoul whips the gun up, into Burnham's throat, backing him off, shutting him up. He resumes his pounding of Harris. Burnham turns, looks up at the camera in the corner of the room. He ca n't stand it anymore. He whips off his jacket, runs to the camera, and covers the lens.", "INT.  PANIC ROOM - NIGHT While Meg watches, the monitor that cover the master bedroom abruptly goes black, mercifully sparing them the sight of Harris's beating. She holds Sarah, who's sobbing, shaking.", "INT.  MASTER BEDROOM - NIGHT Harris finally lapses into unconsciousness. Raoul stands over him, chest heaving. Burnham stand in the doorway, neither in nor out of the room, a silhouette, head hung.", "INT.  PANIC ROOM - NIGHT Meg tries desperately to see something on the bedroom monitor, but it's hopeless, it's covered. On the hallway monitor, she can just see shadows, as two men in the bedroom lift a third off the floor and carry him across the room. A sudden BEEPING sound tears her attention away. Still holding Sarah, she pulls her back, off her shoulder. Her face is completely white, her lips blue, her eyes rolled back into her head. The BEEPING sound grows louder, she checks Sarah's wristwatch, the reading is dire : 57 Meg GASPS, horrifies. MEG Oh God, oh my God. Sarah begins to convulse, she bucks right out of Meg's arms and falls back onto the floor of the panic room. Meg clears everything away from her, tries to make room for her. The convulsion worsens. Meg searches through the piles of supplies, comes up with a plastic - handled screwdriver. She opens Sarah's jaws, wedges the plastic handle between her teeth. She helps Sarah ride out the convulsion. Finally, her eyes roll back into her head, she slowly re - orients herself. Sarah reaches over, turns off her still - BEEPING wristwatch/monitor herself. Sarah sighs, a shuddering sigh of relief, but she is nowhere near normal. Her skin has passed through white and is turning a sallow yellow color. She moves her lips, Meg ca n't hear her, she bends down : SARAH You got ta jab me, Mommy. Meg turns, looks back at the monitors. What she sees is good news - ON THE MONITORS, the jacket has been removed from the bedroom camera. Burnham and Raoul are gone, the only person there is HARRIS, who lies slumped on the far side of the bed. IN THE PANIC ROOM, Meg looks quickly over at the monitor for the living room. ON THAT MONITOR, she sees Burnham and Raoul having an urgent conversation, Burnham sitting in a chair, Raoul pacing in front of him, ranting. IN THE PANIC ROOM, Meg's face lights up, she practically laughs, she's so overjoyed at this turn of events. She turns, looks back at Sarah, who is starting to tremble again. That does it. Meg leaps up, hits the button that controls the steel door, and it starts to crank open, almost impossibly slowly.", "INT.  MASTER BEDROOM - NIGHT Meg steps out of the panic room, into the master bedroom. She looks at Harris, on the bed. With his back to her she ca n't even tell if he's alive or dead, but first things must be first, so she turns and races out of the room.", "INT.  HALLWAY - NIGHT Meg flies up the stairs, bare feet on padded carpet.", "INT.  LIVING ROOM - NIGHT In the living room, Raoul looks up, hearing the pitter - pat of her feet on the stairs above. He smiles and pulls his ski mask back on, to cover his face. Coming around behind him, we see Burnham sitting in the chair. Except it is n't Burnham at all, it's Harris, unconscious, wearing Burnham's shirt. And if Harris is the person in the chair, that means -", "INT.  MASTER BEDROOM - NIGHT - the person on the bed in the bedroom is Burnham, wearing Harris's shirt. His eyes pop open, he sits up, sees the wide open door to the panic room.", "INT.  SARAH'S BEDROOM - NIGHT Meg races into Sarah's bedroom and tears open the door of a mini - fridge. Inside are dozens of little bottles of insulin and something called Glucogen. She grabs a bottle of Glucogen and a black leather pouch and takes off.", "INT.  HALLWAY - NIGHT As Meg nears the bottom of the stairs, she sees a horrifying sight. It's Raoul, ski mask over his face, standing in the doorway of the master bedroom. She SCREAMS, he SLAMS the door, she takes off down the hall, reaches the end, throws the door open -", "INT.  MASTER BEDROOM - NIGHT - and races into the master bedroom, where Raoul is motoring, fast, headed for the panic room, where she can already see Burnham, standing in the middle of the open doorway, in front of Sarah, wearing Harris's shirt and a grim `` tricked you'' expression. Meg hurls herself at Raoul, lands clinging to his back. She claws and wrestles with him, gets one hand on his ski mask, tears it from his head. He reaches up to try to stop her from pulling it off - - his gun slips from his fingers, falls to the floor - - and caroms off his boot, spinning across the floor away from them. Raoul flips her off his back violently, she CRUNCHES to the floor, clutching his mask and getting a good long look at his face. He makes a move toward his gun, but she's faster, she's already pawing herself frantically across the hardwood toward it. Raoul measures the distance, knows he'll lose, and sprints for the panic room instead. Meg turns, looks down at the medicine in her hands, then at the door to the panic room, where Raoul is right now reaching up to push the button that controls the steel door. She makes a fast decision and lunges, hurling the plastic bottle of Glucogen and the black leather pouch through the gap just before - - the spring - loaded steel door SLAMS shut with tremendous ferocity. And then it's silent. Meg WAILS in agony, POUNDS on the door. She stands back, chest heaving, sobbing. A looooong moment goes by. Finally, a VOICE comes over the house's intercom system. RAOUL -LRB- O.S. -RRB- -LRB- calmly. -RRB- If you leave the house, we'll kill her. Meg sobs. RAOUL -LRB- O.S. -RRB- If I see a uniform in the house, we'll kill her. MEG Oh. oh. RAOUL -LRB- O.S. -RRB- You understand? ON THE MONITORS, Meg looks up at the camera in the master bedroom. She nods, terrified. IN THE PANIC ROOM, Burnham pushes past Raoul, at the speaker button, and leans forward. He's approaching exhaustion. BURNHAM -LRB- into speaker. -RRB- I just. I just need forty - five minutes. Raoul stands behind him, muttering to himself. RAOUL Saw my face, man. Saw my face. ON THE MONITORS, we see Meg's face, agonized, as she lunges toward the camera, SCREAMING something up at it, the same thing, over and over. But in here her voice is nearly muted, what bleeds through the walls is n't enough to be heard. IN THE PANIC ROOM, Raoul looks at her image on the monitor, irritated. RAOUL Shut up. IN THE MASTER BEDROOM, we abruptly hear her voice, full - throated. MEG -LRB- shouting into the camera. -RRB- - cine, she needs the MEDICINE! GIVE HER THE - IN THE PANIC ROOM, Sarah shivers in a corner, knees pulled up to her chest, staring at the intruders, scared out of her wits, and looking very, very sick. Burnham looks at her, musters the most reassuring face he can come up with under the circumstances. BURNHAM It's gon na be cool, kid. Be outta here before you know it. No response from Sarah. Burnham cocks a head, really looking at her. BURNHAM Are you okay? RAOUL Hurry up, for Christ's sake! Burnham turns, grabs his satchel, and drops to his knees in the middle of the floor. Over his shoulder, we can see the face of Meg on one of the monitors, shouting into the camera, begging them to give Sarah her medicine. Using his hand, Burnham measures six lengths in from the wall, then digs his fingernails into the weave of the carpet, looking for a seam. He finds one, gets hold of it on one edge, and runs his other hand along the seam till he finds a place where it seems to turn a corner. He stands, hovering over the carpet, and pulls back evenly with both hands. The concealed carpet flap pulls back neatly, with the soft sound of tearing VELCRO. Underneath the flap - - is the smooth metal door of a floor safe. Burnham unsnaps his satchel and gives it a shove. It rolls out and opens up onto the floor, revealing a neat array of safecracking tools. He begins his delicate work, but is suddenly jarred by a POUNDING on the metal door. He turns, annoyed. Meg is still SCREAMING outside the door. BURNHAM The hell does she want? RAOUL I do n't know, she keeps screamin' the same thing over and over. Burnham turns, looks at the monitors. ON THE MONITORS, Meg is staring up at the camera, miming the act of giving herself an injection in the arm. IN THE PANIC ROOM, Raoul laughs. RAOUL Drugs. She wants drugs. What the fuck? But Burnham thinks. His eyes fall on the bottle and the leather pouch she hurled through the door, then whip over to Sarah, who sags over into a fetal position on the floor. Her lips are moving. BURNHAM Oh, man. He crawls over to Sarah, puts his ear down next to Sarah's lips. BURNHAM What is it? Sarah tries to summon enough strength to speak, but her breath comes hard. SARAH I need. BURNHAM Yeah? SARAH ` jection. BURNHAM An injection? Sarah nods. Burnham points to the pouch and the Glucogen, on the floor nearby. BURNHAM That stuff? Sarah nods again. BURNHAM Can you do it yourself? Sarah shakes her head no. BURNHAM Well, I do n't know how. Sarah looks at him, eyes pleading. Raoul stands behind Burnham. RAOUL I do n't fucking believe this. -LRB- to Sarah. -RRB- You got ta wait. Sarah just looks at Burnham. Please. BURNHAM Yeah, just like a half hour, maybe a little more, and your mom'll give it to you. You can wait a half hour, ca n't you? RAOUL Yeah. She can. She's fine, she's just like, tired, she's got ta rest. You rest, Kid. Half an hour. Sarah looks terrified, shaking her head no. RAOUL Come on. He starts to pull Burnham away, but Burnham shakes his hand off, violently. He bends down very close to Sarah's lips. BURNHAM Tell me the truth, okay? What's gon na happen if you do n't get this? Sarah swallows, licks her cracking lips. When she speaks, it's breathy, almost inaudible. But the words are clear. SARAH Coma. Die.", "INT.  MASTER BEDROOM - NIGHT Seen from overhead, Meg paces in the master bedroom, out of her mind with worry, no idea how to communicate to the people in the room the desperate situation. Suddenly, a VOICE comes over the intercom speaker. BURNHAM -LRB- O.S. -RRB- I understand. I'll give her the shot.", "INT.  PANIC ROOM - NIGHT A HAND comes down into frame and picks up the Glucogen and the leather pouch. Burnham stands, looking down at them. Raoul grabs him, pulls him to the far end of the room. RAOUL You're wasting your fucking time, man, you're wasting my time. You do n't know how to do this, and the longer we stay in here, the more likely she's gon na lose it and call the cops! BURNHAM Are you gon na open the safe? Raoul looks at him. BURNHAM Then shut up and get out of my way. As Burnham crosses the room, Raoul makes eye contact with Sarah, who is staring at him. RAOUL Do n't look at me. ACROSS THE ROOM, Burnham drops to his knees next to Sarah and unzips the pouch. BURNHAM Okay, kid, all I know about this is what I've seen on TV, you got ta talk me through it. Sarah tries to form words, but she's too weak. Burnham swallows. BURNHAM Okay. No talking. No problem. TV do n't lie, right? He reaches into the pouch, take out a syringe, a sterile pad, and a length of rubber tubing. He takes Sarah's arm, stretches it out, exposing the underside of her forearm. BURNHAM You seem like a good kid. Your mom. only saw her for a second, but, woah. Beautiful, huh? No answer. Burnham ties the rubber tubing around Sarah's arm, pulls it tight. BURNHAM Hey, nod or something, show me you're still alive, will ya? Sarah nods. BURNHAM Attagirl. That too tight? Sarah shakes her head no. Burnham takes the syringe, starts to fill it from the Glucogen bottle. BURNHAM You guys are pretty rich, huh? Sarah shrugs. While Burnham goes through the process of finding an exposed vein and giving the injection itself, he goes on, as much to comfort Sarah as to comfort himself : BURNHAM Yeah, you do n't think about that stuff. Good for you. He looks at her, sees her looking at him. Thinking about him. BURNHAM I know, I know. I really screwed the pooch this time. I never did anything like this before. Break into somebody's house? Not even close. Bad cards, Kid. I swear to God, I been on the wrong end of maybe six straight years of bad cards. House. Car. Wife. -LRB- snaps his fingers - gone. -RRB- Those are some seriously bad cards. And still, every time I pick up a fresh hand I swear to God, the rush comes so hot and prickly I feel it right down to my toes because this time, this one time, it might be there, this time it might be that hand, that perfect hand, that monster hand. -LRB- shakes his head. -RRB- And you thought you were sick. The shot successfully given, he pulls Sarah's sleeve back down. BURNHAM Feel better? Sarah nods, and she seems better already. Burnham helps her to sit up, to lean against the wall. BURNHAM Woulda been a hell of a dad.", "INT.  MASTER BEDROOM - NIGHT A VOICE comes over the intercom in the master bedroom. It's Raoul. RAOUL -LRB- O.S. -RRB- She's okay. Now sit down and wait. He CLICKS off. Meg is hugely relieved. And extremely pissed off. She goes to the corner of the room and picks up the gun, the one that Raoul dropped. She heads downstairs.", "INT.  PANIC ROOM - NIGHT Sparks fly as Burnham goes to work on the floor safe with a small, specialized drill. Raoul bends down next to him. RAOUL Congratulations. You saved her life for ten minutes. Burnham looks up at him - what? But Raoul turns and walks away. Burnham goes back to work.", "INT.  LIVING ROOM - NIGHT Meg is in the living room, with Harris, who is still slouched in the chair. He's in awful shape, barely conscious. Out of the silence, a sudden, deafening sound. The DOORBELL. Her eyes go wide. She darts a look over to the door -LRB- the one that leads to the stoop, not the bloody kitchen door downstairs -RRB-, then back at Harris. HARRIS Police. MEG -LRB- gasps. -RRB- You called the police? He nods. HARRIS You. scared. Shit. This is exactly what she prayed for him to do, now it's the worst thing that could happen. She stands, thinking, desperate. She walks toward the door, stops, thinks some more. The doorbell RINGS again. She comes up with a plan. She goes back to where Harris is in the chair, pulls the chair back a few feet, out of view of the door. She puts the gun in his lap, puts his hand over it to steady it. She leans down, WHISPERS to him. MEG Do n't. Say. A word. He nods. Meg takes a breath, walks across the foyer, tousling her hair as she goes. IN THE PANIC ROOM, Raoul is staring at the monitors, aghast. RAOUL Holy shit. holy shit. Burnham races over, looks over his shoulder. One monitor covers the front stoop, and on that monitor they can clearly see TWO UNIFORMED COPS. RAOUL She's fuckin' crazy, she killed the kid! She just killed her own kid! BURNHAM It's not her fault, it's not her fault, the guy must have called them. Look, look, look, she's telling us. He points to another monitor, the one in the foyer, where Meg is looking up at the camera, miming to them - do n't worry, I'll take care of this. BURNHAM She's gon na handle it. RAOUL She better.", "INT.  ENTRY FLOOR - NIGHT Meg's shaking hand rises up to the doorknob and pulls open the big front door. On the stoop, the two Cops turn to look at her. She acts as if she's just been awakened. She looks it, too, still in T - shirt and boxer shorts. The wind is gusty and cold outside. MEG Yeah? COP 1 Everything okay? MEG Huh? COP 2 Are you all right? MEG What are you guys - what time is it? COP 1 ` Bout four o'clock. MEG I do n't get it. COP 2 We got a call. Cop 1 looks at him. Cop 2 stops talking. MEG Somebody called you? COP 1 Can we come in? MEG What do you want? COP 1 We'd like to come in. MEG No, you ca n't come in. COP 2 Are you okay? MEG I'm fine. COP 1 Can we come in? MEG Stop asking me that. I'm fine. Who called you? COP 1 You do n't look so good. MEG You wake me out of a sound sleep at four in the morning and then tell me I look like hell? Of course I look like hell, you do n't look so hot yourself, Jack. I'm freezing here, thank you for checking, can I go? Cop 1 studies her, notices the burned sleeve of her T - shirt, the black smudges still on her face. COP 1 Your husband says you said `` There are three.'' right before you got cut off. MEG Oh, that phone call. Cop 1 takes a step forward and lowers his voice to just above a whisper, unconsciously making her lean forward in order to hear him. COP 1 Ma'am, if there's something you want to say to us right now that maybe you ca n't say to us right now, maybe you just want to make a signal, by blinking a few times, something like that. She just looks at him. Wow, this guy's intuitive. She is sorely tempted. But she ca n't. COP 1 That's something you could do. Safely. She thinks, thinks - - and burst out laughing. MEG Man, you are good! You mean, like, if somebody was in the house or something? That's great, they really train you guys these days, do n't they? Cop 1 looks at her, not sure if he believes her or not. MEG No. I'm fine. Cross my heart. Cop 2 turns to go, but Cop 1 lingers. COP 1 May I ask what the rest of that sentence was going to be? MEG -LRB- stalling. -RRB- Huh? COP 1 The sentence that started `` There are three.'' What was the rest? Pause. She stares at him. MEG Okay, look. My husband and I just broke up. It's my first night in the new house, and I was feeling a little lonely and a little drunk. The sentence, if you insist on knowing, was going to be `` There are three things I'll do for you if you come over right now and get in bed with me.'' Cop 2 stifles a laugh. MEG But thank God I came to my senses before I said all that and hung up instead, so nobody would ever know what I was thinking, unless, of course, two policemen showed up in the middle of the night to interrogate me about it. That was good. Cop 1 is embarrassed. Cop 2 thinks it's funny. COP 2 You want her to show you which three things, Rick, or should we just go? Cop 1 looks at Meg, a long look, he holds it for one last moment, trying to read her mind. ON THE MONITORS, we see the video image of the Cops as they turn and head away down the front steps. Meg closes the doors, looks up into a camera, right at us. IN THE PANIC ROOM, Burnham and Raoul breathe a sigh of relief. Burnham goes back to work on the safe. He's making progress. Raoul looks at Sarah. Stares actually. He's thinking too. Bad thoughts. He moves over, crouches down next to Burnham. RAOUL She saw my face. The kid too. Sarah overhears that. She raises her head, alarmed. Burnham turns, looks over at her, and she just gets her head back down in time. Burnham and Raoul close themselves off, for a private conversation. Sarah edges closer. She overhears a fragment. BURNHAM That's your problem. RAOUL That's their problem. Sarah is terrified. Does n't know what to do. She looks to her immediate left, sees the intercom panel. She edges closer. BURNHAM Let me fucking finish this so we can get out of here. RAOUL You finish. Then we finish. Sarah sneaks up a hand and pushes a button - `` ALL PAGE.''", "INT.  LIVING ROOM - NIGHT In the living room, there is an audible CLICK as the speaker is activated. Meg looks up, hears Burnham's voice, in the middle of a sentence. BURNHAM -LRB- O.S. -RRB- - posed to mean? RAOUL -LRB- O.S. -RRB- You're here with me, you're already on the hook for one. Buy one, you get the rest for the same price. You know that. BURNHAM -LRB- O.S. -RRB- Get the fuck away from me. RAOUL -LRB- O.S. -RRB- The kid in here. The other two when we come out. Meg listens, horrified.", "INT.  PANIC ROOM - NIGHT Sarah holds the intercom button down with a trembling finger. BURNHAM Bullshit. RAOUL You know how this got ta end.", "INT.  LIVING ROOM - NIGHT Meg stares, in shock, as Raoul's voice echoes in the empty room. RAOUL -LRB- O.S. -RRB- They stay in the house. There in an abrupt CLICK, and the speaker turns off. Meg turns, goes to Harris, falls to her knees, no idea what to do. She holds him close, their foreheads touching. She's terrified, exhausted, wants to collapse in his arms. Instead, she starts to pull the gun from his fingers. He tightens his grip, what are you doing? He tries to hold onto the gun, but she pulls his fingers off it, takes it away from him. He is too weak to resist.", "INT.  PANIC ROOM - NIGHT In the panic room, Sarah has her hands clamped over her ears, her mouth is wide open, and a hideous METAL SHRIEK seems to be coming out of it. But the SHRIEK is actually coming from the safe, where Burnham continues to work, another drill, a bigger bit. The noise is deafening. ON THE MONITORS, Sarah sees her mother approaching the monitor in the bedroom, carrying a jacket. Meg tosses the jacket, this time she does n't want them to see what she's doing. The monitor goes black.", "INT.  MASTER BEDROOM - NIGHT In the master bedroom, Meg pulls on a pair of jeans that are hanging over a chair. She steps into a pair of boots. She shoves the gun into her belt. Here in the bedroom, she can hear the drill. From the house next door, she hears POUNDING again, more MUFFLED CURSES. Apparently the neighbor can hear the drill too. Meg looks from the walls of the bedroom to the walls of the panic room. Her eyes light up with an idea. She goes to the front wall of the bedroom, stands with her back against the exterior wall -LRB- street side -RRB-, with her left shoulder against the common wall that's shared with the neighbor's brownstone. She begins to step off the distance, heel to toe, measuring with her feet until she reaches the metal door that is the entrance to the panic room. MEG Fourteen. She hurries out of the bedroom. What's she doing?", "INT.  LIBRARY - NIGHT Meg comes into a small room full of empty bookshelves, a library. There is a window that looks out over the sidewalk, one floor up, same level as the stoop. She looks up, into the corners of the room. MEG No camera, no camera, no camera. They're bare, no video cameras. Good. She goes to the window, tries to open it. Screwed shut, of course.", "INT.  PANIC ROOM - NIGHT The safe is almost cracked. Raoul is watching the monitors carefully. ON THE MONITORS, we see Meg as she searches through the tools in the living room, finds a screwdriver, a sledgehammer. IN THE PANIC ROOM, Raoul furrows his brow. Now what?", "INT.  LIBRARY - NIGHT Meg is back in the library, hurriedly unscrewing the window. She gets the last screw out, shoves the window up. The wind BLASTS in, it's a hell of a spooky night out there. She leans out the window. We lean with her. The sidewalk is empty -LRB- we see it only from our vantage point inside the house -RRB-. She's one floor up. To her right is the house's front stoop. She tosses the sledgehammer over, onto the stoop. Climbs up onto the window ledge, and slithers out herself. We lean further, watch her as she edges along the ledge, hops down onto the stoop, and freezes, staring in horror - - at the video camera that covers the front stoop. ON THE MONITORS, we see her staring straight up at the camera, clearly standing on the front stoop, outside the house, where she was specifically told not to go. IN THE PANIC ROOM, Sarah sees the image of her on the stoop. Raoul happens to be looking away at the moment, at the safe, but he starts to turn around, to look at the monitors again - - and Sarah kicks him, hard, in the ass. RAOUL Hey! He turns, away from the monitors. SARAH Sorry. Ca n't control it sometimes. Raoul scowls at her. Behind him - ON THE MONITORS, Meg darts down the front steps and disappears from view on the monitor. IN THE PANIC ROOM, Sarah sees her mother go. SARAH -LRB- to Raoul. -RRB- Wo n't happen again.", "INT.  LIBRARY - NIGHT Still leaning out the window, we can see Meg from here as she reaches the sidewalk and runs up the front steps of the neighbor's house, which is contiguous. Straining to see -LRB- yet stay in the house -RRB-, we see Meg all the way at the right edge of the frame, as she shifts the gun to the back of her pants and knocks on the neighbor's door, sledgehammer held slightly behind her leg. After a long moment, we hear the neighbor's front door open. The conversation begins. The wind is gusting right in our faces, we ca n't make out the details, but the gist is clear - let me into your house, and do n't as me a lot of questions. The NEIGHBOR - and by the tone of the voice it sounds like an old woman - is slow to respond, grumpy. Losing patience, Meg just pulls the Neighbor out of the way and shoves into the house. The Neighbor stumbles out onto her front stoop, and we were right, it's an old lady in a nightgown, but she's no shrinking violet. In fact, she's royally pissed off and not at all intimidated. NEIGHBOR What the hell do you think you're doing, young lady?! She storms back into her house, following Meg. As both of them disappear from the frame, we move out of the library, into the foyer, and move along the common wall, the one shared with the neighbor's brownstone. From the other side of the wall, we can hear muffled voices, arguing, Meg and the Neighbor shouting at each other. We drift up, up the stairs, and hear the THUNDERING of footsteps on the stairs next door. We keep pace with them, from inside this house. We pass right through the floor -", "INT.  MASTER BEDROOM - NIGHT - and rise up out of the floor in the master bedroom, and now we can hear the conversation on the other side of the wall in here, the Neighbor's fearful, angry tones, Meg's firm, urgent declarations. We move with Meg, even though we ca n't see her, we know what she's doing, she's stepping off the paces on the other side of the wall. We drift down that wall, fourteen steps, until we reach the metal door to the panic room, then we pass through that door -", "INT.  PANIC ROOM - NIGHT - and arrive inside the panic room, where Burnham is this close to getting the safe open, when all of a sudden - WHOMP. CRUNCH. Burnham and Raoul freeze, alarmed. It's coming from the long wall, the shared wall. They look at each other. WHOMP. CRUNCH. They look at the wall. Somebody is on the other side, pounding like hell. RAOUL The walls are steel, right? BURNHAM Not that one. RAOUL NOT THAT ONE?! BURNHAM Hey man, it's the neighbor's house, who breaks in through the neighbor's house?! WHOMP! CRUNCH! Louder. Closer. Burnham turns, SCREAMS at the wall. BURNHAM WHO THE FUCK BREAKS IN THROUGH THE NEIGHBOR'S HOUSE?! RAOUL We've got the Kid! -LRB- shouting at the wall. -RRB- WE'VE GOT YOUR KID! What the fuck is she thinking?! WHOMP! CRUNCH! BURNHAM She's got your gun, that's what she's thinking! The FUCK you had to bring a gun for?! Burnham throws himself back on the floor, goes back to work on the safe. Fires up the drill again, it SCREAMS into the metal. BURNHAM Almost there. The POUNDING keeps up from next door. We hear sheetrock torn away on the far side. Bricks, SCRAPING out of place. Sarah, in the corner, is energized, excited. While Burnham and Raoul are distracted, she grabs the leather pouch, palms the three syringes that are left in there. BURNHAM ALMOST THERE. Finally, the door to the safe CRUNCHES in on one side, yielding to the drilling - - at the very moment that the head of a sledgehammer CRASHES through the wall of the panic room. Raoul grabs hold of Sarah, Burnham maintains his focus, throwing open the safe, revealing - - nothing. CRUNCH! The sledgehammer head strikes again, opening up a hole about a foot across. Light spills through from the other side, as well as the voice of the hysterical Neighbor. Raoul hurls Sarah against the far wall, leaps over to the side of the hole, and waits, poised above it. At the safe, Burnham does n't lose his cool, just opens a false bottom in the safe, revealing a manila envelope. He snatches it up, RIPS it open, and his eyes dance as he holds up fourteen individual one million dollar U, S, Treasury Bearer Bonds. He fans them out, eyes drinking from his Grail. BANG! A gunshot whizzes right through one of the bonds, setting it aflame before it SLAMS into the far wall, sending up a little cloud of plaster dust. BURNHAM JESUS! He whirls, sees an arm poking through the hole in the wall, gun extended. But Raoul is standing just above the hole, and already has his boot raised, over the hand. He brings it down, a CRUNCHING blow that stomps right on Meg's wrist. Meg SCREAMS, loses her grip on the gun, and it CLATTERS into the space between the houses. BETWEEN THE WALLS, the gun falls into oblivion, the space between the walls, where no one can get to it. IN THE PANIC ROOM, Burnham shoves the loose bonds into his jacket. BURNHAM I GOT THE MONEY, LET'S GO! Raoul grabs Sarah and turns, jabs the green button to open the door. Behind them, Meg SCREAMS in anger and wriggles through the opening. Before she's even all the way through, she gets hold of Raoul's leg and pulls herself into the panic room, scraping and bloodying herself on the edges of the too - small hole. BURNHAM GO, LET'S GO, OUTTA HERE! But Raoul is deep in a violent rage. Still holding Sarah with one hand, he bends down, grabs Meg by the hair, and drags her toward the doorway. RAOUL YOU KNOW HOW THIS IS GON NA GO! BURNHAM FUCK YOU, I'M GONE! He bolts out of the room, through the metal door, which is just finishing its slow crank open, its heavy spring coiling in the wall. Raoul drag Meg across the floor by the hair, right into the track of the open steel door. She looks up, sees the infrared safety beam over her head, and realizes with horror what his intention is. Still with one arm holding Sarah, who is kicking and struggling viciously, Raoul holds Meg's head down on the floor, below the safety beam that would prevent the door from closing. He reaches for the `` close'' button. Sarah raises her arm, stuffed with three syringes, and jabs them into Raoul's neck. Raoul SCREAMS in pain. Meg manages to raise her head, breaking the beam.", "INT.  HALLWAY - NIGHT On the stairwell, Burnham, stops, frozen, his face twitching with indecision. He hears the murder taking place just above him. He runs down three steps. Stops again. Runs down the rest of the stairs.", "INT.  MASTER BEDROOM - NIGHT Raoul stretches to push the red `` close'' button for the door, but he has to hold Meg's head down, out of the lower beam with one hand, all with Sarah savagely attacking him at the same time, and three syringes hanging out of his neck. Finally, he gets Meg's head all the way down, onto the floor. Looking up, Meg sees the red beam become complete again. Raoul jabs the button - - just as Sarah throws her hand into the upper beam, the one at shoulder level. Sarah's hand turns red, the beam is broken, the door will not close. Raoul ROARS in anger and twists violently, sending Sarah flying across the room. Meg strains, gets her head off the floor again, breaking the beam. Raoul starts jamming the close button, over and over again, the beam completes, then breaks, completes, then breaks, never the button and the beam at the same time. But it ca n't go on forever. Meg's tiring, she ca n't keep it up, her head trembles - - and collapses onto the floor. The beam completes - - Raoul SMACKS the red button - - and Burnham appears on the other side of the door. He reaches in, grabs hold of Raoul, to pull him off her, but Raoul loses his balance, falls forward - - into the gap - - and his head is crushed by the spring - loaded steel door that SLAMS forward just as Meg draws herself back. Meg falls across the panic room, grabs Sarah, and holds on tight. The door detects the obstruction and opens again, slowly. Raoul's body slumps to the floor, dead. Burnham stands there, looking down at Meg and Sarah. They stare at each other, wordless, their first face to face contact. She sees the bonds protruding from his jacket. She just looks at him. There will be no understanding here. He zips his jacket, turns, and hurries away.", "INT.  ENTRY FLOOR - NIGHT Burnham races down the steps, hurries to the entry door, throws it open - - and finds a gun barrel pointed directly into his nose. He blinks, tries to focus on whoever's on the other end of that gun. It's the Cop, the first Cop, the one who came to the door and was so suspicious of Meg. The Cop looks down, sees blood smeared all over Burnham's jacket, sees more than enough to know his suspicions were correct. COP 1 Put your hands up. Burnham freezes, silhouetted in the doorway. Wind and leaves blow into the house, a real gale outside. From behind Cop 1, MORE COPS SHOUT, all at once, must be a half dozen of'em there, but Burnham ca n't see anything in the stinging light, and ca n't hear much either, over the ROARING wind. Burnham moves suddenly, flinging the door shut right in the Cop's face. The door SLAMS hard, Burnham turns to run but does n't get more than a few paces before three sharp GUNSHOTS CRACK through the door behind him. Brilliant white light spills through the bulletholes in the door, but it's not the light that gets you, it's the chunks of lead. They rip through Burnham's back and come out his chest, a triangle pattern. Burnham stops, sags to his knees. He reaches into his jacket, pulls out the loose stack of bonds. He fans them out, stares down at them, holds them like playing cards. BURNHAM Monster hand. Behind him, the front door CRACKS open, half a dozen COPS appear and start SHOUTING, all at once. Burnham tosses the bonds to the floor, the same gesture as folding a hand of poker. He GROANS and collapses, slowly, falling through the bonds, twisting as he goes down. He SLAPS onto his back in the foyer as the wind gusts through the open door, scoops the bonds up off the floor, and blows them back into the house, as if they were never meant to leave. Burnham lies there on the floor, eyes open, staring up at the ceiling, looking at the bonds that swirl in the blast of air, suspended there, twisting and bucking and diving just over his head as he dies.", "EXT.  CENTRAL PARK - GREAT LAWN - DAY The swirling bonds melt into swirling leaves, blowing in the air over Central Park on a crisp fall day. The leaves float down, over the Great Lawn, that massive expanse of grass we saw in Meg's hallucination. But on a day like this the Great Lawn's full of people, throwing frisbees, playing football, lying there doing nothing. The leaves land on the grass next to Meg and Sarah, stretched out on a blanket, a newspaper spread in front of them, open to the ads. Meg is on her back, arms folded behind her head, staring up at the clouds. Sarah is intent on the paper, circling the occasional ad. SARAH I mean, uptown is close to Dad's place, but somebody at school said the Village is really cool, so. I do n't know, it's so great to be close to the park and everything. What do you think, I mean, give me a clue, here, where are we gon na live? Meg rolls over, props herself up on one elbow. She seems years younger. She looks at Sarah, reaches out, brushes her daughter's hair behind one ear. She smiles. She is calm. Behind her, a flock of pigeons takes off, leaping into the clear autumn sky. FADE OUT."], "labels": [0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 1.0, 1.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0], "summary": "Recently divorced Meg Altman, and her eleven-year-old daughter, Sarah, move into a four-story brownstone on the Upper West Side of New York City. The house's previous owner, a reclusive millionaire, installed a \"panic room\" to protect the house's occupants from outlaws. The room is protected by concrete and steel on all sides, a thick steel door, and an extensive security system with multiple surveillance cameras, a public announcement system, and a separate phone line. On the night the two move into the home, it is broken into by Junior, the previous owner's grandson; Burnham, an employee of the residence's security company; and Raoul, a hitman recruited by Junior. The three outlaws are after $3 million in bearer bonds, which are locked inside a floor safe in the panic room. Discovering that the Altmans have moved in earlier than expected, Junior convinces a reluctant Burnham, who had assumed the house was unoccupied until he had noticed a glowing night light, to continue with their heist. As they begin the robbery, Meg wakes up and happens to see the gang on the video monitors in the panic room. Before the three can reach them, Meg and Sarah run into the panic room and lock the door. They are unable to use the dedicated phone in the room, which was never hooked up by Meg. Intending to force the two out of the room, Burnham introduces propane gas into the room's air vents. However, a trigger-happy Raoul dangerously increases the amount of gas. Unable to seal the vents, Meg ignites the gas, while she and Sarah cover themselves with fireproof blankets, causing an explosion which vents into the room outside and causes a fire, giving Junior a 2nd degree burn. The Altmans make several attempts to call for help, including signaling a neighbor with a flashlight through the opening of a ventilation pipe, but the neighbor ignores it. Meg then taps into the main telephone line and gets through to her ex-husband Stephen, before the felons smash the main line with the sledgehammer and sever their communication. All attempts to get into the room fail. Junior lets slip that there is much more money in the safe than he let on, and gives up on the robbery. About to leave the house, he is shot dead by Raoul, who then forces Burnham, at gunpoint, to finish the robbery. Stephen arrives at the home and is taken hostage by Burnham and Raoul\u2014who severely beats him. Sarah, who has diabetes, suffers a seizure. Her emergency glucagon syringe is in a refrigerator outside the panic room. Raoul dons an unconscious Stephen's trench coat to trick Meg into momentarily leaving the panic room. Burnham enters and finds Sarah motionless on the floor. After retrieving the glucagon syringe, Meg struggles briefly with Raoul, who is thrown into the panic room, his gun knocked out of his hand. As Meg throws the syringe into the panic room, Burnham frantically locks himself, Raoul, and Sarah inside, crushing Raoul's hand in the sliding steel door and severing some of his fingers. Meg, who now has the gun, begs the two intruders over the PA system to give Sarah the injection. Burnham, who has no interest in hurting anyone, injects Sarah. While doing so, he tells Sarah he did not want this, and the only reason he agreed to participate was to give his own child a better life. Sarah thanks him for the injection and he tells Meg that Sarah is now alright. Having earlier received a call from Stephen, two policemen arrive, which prompts Raoul to threaten Sarah's life. Knowing the danger to her daughter, Meg lies to the officers and they leave. Burnham opens the safe and finds $22 million in bearer bonds inside. As the burglars attempt to leave using Sarah as a hostage, Meg, thinking the burglars intend to kill Sarah, rigs booby traps and clashes a sledgehammer over Raoul's head while Burnham flees. After a badly injured Stephen shoots at Raoul and misses, Raoul disables him and prepares to bludgeon Meg to death with the sledgehammer, but Burnham, hearing Stephen's screams of pain, returns to the house and shoots Raoul dead, saying, \"You'll be okay now,\u201d to Meg and her daughter before leaving. The police, alerted by Meg's suspicious behavior earlier, arrive in force and capture Burnham, who lets the bearer bonds go and they fly away with the wind. Later, Meg and Sarah, having recovered from their harrowing ordeal, begin searching the newspaper for a new home.", "name": "Panic_Room"}
{"scenes": ["EXT. HILLTOP - NOON One might describe the scene as beautiful, if one could get by the child's coffin. A wooden sign in the dirt reads. `` Here lies Daniel Nicholson. Beloved by all. Died October 3, 1897'' A wilting man in his late forties sits on the grass next to the much too small box. MAN -LRB- smiling -RRB- Who will plague me with questions now?... Who will pinch me to wake me up? Who will laugh at me when I fall? -LRB- voice cracks -RRB- Who's breath will I listen to so that I may sleep? Who's hand will I hold, so that I may walk? The wilting man's face trembles. Behind him, a respectful thirty feet away, stand a group of about sixty people, equally still. CUT TO :", "EXT. SUPPER TABLE \u2013 AFTERNOON An enormous handmade wooden table sits in the center of asmall village of log cabins. All sixty members of the village are seated for the meal. The women wear bonnets. The men have their farmer's shirts rolled up at the sleeves. A man in his late forties stands. He has the eyes of a child ; innocent and pure. This is EDWARD WALKER. WALKER We came here to start anew -- Beat. Eyes look up one by one. Edward Walker stands silently, appearing suddenly overwhelmed. A hand reaches up and squeezes his arm. Edward Walker looks down to wilting man we saw earlier. They look at each other quietly. Walker turns back to the table. WALKER We came here to start anew. We are grateful for the time we have been given. Walker sits. Movement begins across the table as hands begin to pass bread and corn and meat. AND THEN WE HEAR IT, THE SOUND CARRIES THROUGH THE AIR AND BLEEDS INTO THE VILLAGE. IT COMES FROM THE WOODS. SCREAMS. IT IS NOT HUMAN. All movement at the table stops, except for a TALL BOY at the end of the table. He is barely in his twenties. He is mentally handicapped. He starts clapping wildly. Everyone else sits uncomfortably still. No expressions on their faces. They wait. THEN THE SCREAMS SLOWLY START TO MOVE AWAY. The boy's clapping slows and then stops as well. The happiness trickles from his face. The rest of the table waits till the last of the nonhuman screams have moved away. And then quietly hands start reaching across the table again. CUT TO :", "EXT. WATER PUMP \u2013 LATE AFTERNOON A group of women and girls are washing and drying the wooden bowls and plates at a hand water pump that stands in the ground. A strong older woman pumps the handle. Bursts of water spurt out from the pump's mouth. Two girls are holding bowls under the water. One girl gets splashed by the other. They both s tart laughing. The older woman makes a disapproving noise with her mouth. The girls looks over, nod and return to washing the bowls ; little grins on their little faces. CUT TO :", "EXT. PORCH \u2013 LATE AFTERNOON Two young women sweep the porch of a cabin. One of the young women starts mimicking the other's movements. They begin to sweep in synch. They both begin to smile as they sweep. They begin to move around the porch like dancers. They're giggling stops as one spots something. They both stop dancing. They look down at the base of the post that holds the porch roof up. There are two RED WILDFLOWERS peeking out from the fist full of weeds. They bend down quickly and yank the red wildflowers out. They move off the porch and kneel down in the dirt next to the porch. They use their hands to a dig a small hole in the dirt. They put the crushed red wildflowers into the hole and methodically bury it. The two young women stand, look around, and wipe themselves off before returning to the porch and picking up the brooms again. CUT TO :", "EXT. COURTYARD BELL \u2013 LATE AFTERNOON A MEDIUM SIZED BRASS BELL hangs from a wooden t-post. A hand reaches out and takes hold of the rope that dangles from its side. The hand pulls once strong and hard. CUT TO :", "EXT. STORAGE CABIN \u2013 LATE AFTERNOON Men stow away farm equipment. Hoes and sickles are stacked neatly in piles. A LONG BELL TOLLS. The men stop working. They put down their tool where they stand. One man leans into the storage cabin to tell those inside. MAN Drill bell. CUT TO :", "EXT. WATER PUMP \u2013 LATE AFTERNOON The older women usher the girls into an orderly line as they leave the area of the water pump. Dirty dishes are left on the ground. CUT TO :", "EXT. CLUSTER OF CABINS \u2013 LATE AFTERNOON We see the courtyard. There are clusters of cabins on every side. We watch as one by one everyone in the courtyard and everyone coming in from the fields, disappears into different cabins like ants retreating into ant holes. CUT TO :", "INT. CABIN \u2013 LATE AFTERNOON We are in someone's home. A group of about eight women and children walk in through the front door. They move to the back of the small cabin where a woman reaches down and pulls on a handle in the floor. CUT TO :", "INT. DIFFERENT CABIN \u2013 LATE AFTERNOON We are in another two-room cabin. A group of men wait their turn as each man climbs into the trap door in the floor. When the last is in. The final man reaches up and brings down the trap door, closing them all in. CUT TO :", "INT. UNDERGROUND ROOM \u2013 LATE AFTERNOON A collection of two men, four women and three children are huddled together in a four by eight space in the ground. The adults have to sit down to fit in this space. A THIN STRIP OF LIGHT FALLS ON THE FACES from the seam in the trapdoor. All we hear is the nine of them breathing. Their eyes all stare at the CRACK OF LIGHT. A child coughs. A woman reaches over a couple bodies and pats the coughing child on his back. The child settles. They all return to staring at the light. Beat. THE BRASS BELL SOUNDS AGAIN. The two men reach up and open the door. LIGHT POURS IN. One by one, they all climb out of the four by eight space in the ground. CUT TO :", "INT. FAMILY CABIN \u2013 LATE AFTERNOON The men, women and three children walk out into the afternoon light. One woman immediately grabs a broom and continues cleaning the porch. The community returns to doing their chores. CUT TO :", "EXT. CABIN \u2013 NIGHT We are in the darkness, looking into the LIGHT OF A CABIN WINDOW. We see a child's bedroom -- A small bed -- A small wooden desk. On the child's desk there is nothing. The wilting man lays curled up on the little bed. He stares out with red eyes. CUT TO :", "EXT. CABIN \u2013 NIGHT In another cabin we see a woman pouring water from a jug into a large white bowl by the side of the bed. We see her speak to her husband who sits reading in bed. She leans over and begins washing her face with the water in the bowl. CUT TO :", "EXT. CABIN \u2013 NIGHT Three children kneel and pray by their bedside. Their parents begin blowing out the oil lamps in their room. CUT TO :", "EXT. TOWER \u2013 NIGHT A young man blows his nose into a handkerchief. He wipes his face and resumes standing. His eyes gaze down quietly. The ORANGE LIGHT FROM THE TORCH LIT NEXT TO HIM, FLICKERS ON HIS FACE. He is standing on a platform, thirty feet in the air. It is a tower on the edge of this community. He is keeping guard. Arms folded, he stares at the darkened woods. CUT TO :", "EXT. SCHOOL HOUSE \u2013 MORNING A group of children carrying cloth bags with books in them, crowd around something in the dirt. Edward Walker moves through the tiny gathering. WALKER What manner of spectacle has caught your attention so splendidly? I ought to carry it in my pocket to help me teach. Edward Walker parts the final layer of titillated children. He stares down at the thing on the ground. Beat. His expression becomes grave. WALKER Who came upon this? It takes a moment before a little boy steps forward. His eyes never look up. WALKER Philip, did you move this? PHILIP shakes his head, `` No.'' Everyone watches Walker who turns and looks down again quietly. IT IS HARD FOR US TO SEE THROUGH ALL THE TINY LEGS AND FEET OF THE CHILDREN. THERE IS SOMETHING DARK AND MOIST LYING IN THE DIRT. CUT TO :", "INT. CLASSROOM \u2013 MORNING The classroom is overcome by whispering. Walker uses chalk to write the date, `` October 5, 1897'' on a gray slate board framed in wood. He turns to the children who age from seven to twelve. WALKER Okay, lets have it. What delicious conclusions have you come to? THIN BOY An animal God created was slain. WALKER Donald, please try to speak plainly. It disturbs your mother when you speak so darkly. Everything need not be said with such drama. Another hand shoots up. WALKER Marybeth. MARYBETH I inspected it carefully. Its head was twisted back and much of its fur removed. WALKER I see. DONALD It was murdered. Now the children become quiet. WALKER So who is the culprit? Who has done this heinous act? Beat. MARY Those We Do n't Speak Of, killed it. WALKER And there it is. -LRB- beat -RRB- Why would such a notion enter your heads? TWELVE-YEAR OLD BOY Those We Do n't Speak Of have claws. WALKER Children... Those We Do n't Speak Of have not breached our border for many years. We do not go into their woods and they do not come into our valley. We do not threaten them. W hy would they do this? DONALD It is a warning of doom to come. WALKER -LRB- stern -RRB- Donald. Walker gazes out at the classroom of concerned children. WALKER Is it possible, in your haste, you have missed the simplest explanation? That this small animal was slain by a slightly larger animal like a fox, and that this said fox carried it into our v illage to avoid other scavengers from coming and eating his prize. And when our village awoke and started its morning business, the fox was scared off and left its prize for us to find. -LRB- beat -RRB- I ca n't say if that's what really happened, but it's certainly more reasonable to think that, than something... unprecedented. MARY I did see two foxes on the hill yesterday. Walker watches the image of foxes scamper through the minds of the children. WALKER Does anyone have further questions pertaining to our immediate doom? Walker winks at Donald. No one raises their hand. WALKER Then if it is agreeable, let us begin our studies. One by one, the children reach into their cloth bags and retrieve their notebooks. CUT TO :", "INT. MEETING HALL \u2013 AFTERNOON We are in one of the largest cabins. Wooden chairs are scattered throughout. This is some sort of gathering place. Twelve of the chairs have been brought together in a circle. Twelve of the oldest members of the village are seated in the chairs. The wilting man and Edward Walker are among them. FIDGETY WOMAN We ought not to overlook the Flight of the Birds. We did n't have it last year and I for one missed it desperately. I know Tabitha missed the children dressed in feathers and such. A small gentle women with her air tied back, looks up. TABITHA sits to Edward Walker's side. TABITHA I am fond of it. The two women slowly turn to Edward. EDWARD I do not have a say in this matter. August Nicholson is Chair of today's meeting. All eyes turn to the wilting man, AUGUST NICHOLSON. He appears exhausted. August nods as he shuffles the papers in his hand. AUGUST The Flight of the Birds will be returned to this year's Fall Festival. The group nods quietly. FIDGETY WOMAN Let us speak of food then. THERE IS A KNOCK at the far end of the room. All attention moves in that direction. Another man in his mid forties steps in. He carries a tiny smile, his eyebrows are raised. MAN There is a young man who has requested a word with the elders. The group looks to one another. This is unusual. AUGUST Do have him come forward. The man with the raised eyebrows steps out. Beat. The door stays still for a moment, and then it opens. A sinewy young man in his twenties steps in. His deep-set brow and dark green eyes never look up as he walks forward to the group. There are many glances to a pretty elder in her forties. Edward looks to her as well. She stares back with the identical dark green eyes as the boy. She shakes her head slightly ; She does n't know why he's here. The young man s lows to a stop a few feet from them. His hands brings a paper up. He begins to read carefully. GREEN EYES My mother is unaware of the reason for my visit today. She did not give her consent or consult me in any form. The woman with green eyes moves forward in her seat without knowing it. GREEN EYES I have spent all but my first years in this village. It is all that I know. It is a blessed place, this village. Our days are filled with love and compassion and joy. His green eyes flick up, just for a moment... He returns to the paper. GREEN EYES But there is also some suffering and fear. The passing of little Daniel Nicholson from illness -- August Nicholson goes still. GREEN EYES -- and other events have weighted on my thoughts. We have been taught o f the greed and corruption that exists in the towns. And the countless wasted lives centered on the exchange of money there. But we have also been taught about their fascination with science and machines and medicine. Could they have rescued Daniel from his terrible illness? -LRB- beat -RRB- I ask permission to cross into the forbidden woods and travel to the nearest town. I will gather new medicines and information of what has happened in the world, and I will return. Beat. GREEN EYES With regards to Those we do n't speak of, I am but a single person, I am not a threat to them, I am certain they will let me pass. -LRB- beat -RRB- Creatures can sense emotion and fear. They will see I am pure of intention and not afraid. The end. The young man with green eyes lowers his hands with the paper and stares at the group. No one move at first. Edward Walker begins to smile. WALKER -LRB- soft -RRB- Lucius Hunt, that is the most I've heard you speak in many years combined. The young man with green eyes stands quietly before the group. CUT TO :", "INT. CABIN \u2013 NIGHT The pretty woman with green eyes sits on the edge of her bed in her night robe. She hear her son descend the ladder from the loft space he lives in. ALICE HUNT watches him through her bedroom doorway. ALICE What goes on in that head of yours? LUCIUS turns to face her. ALICE Say something Lucius. Beat. Lucius stares. LUCIUS -LRB- soft -RRB- Finton Coin is in the Tower. I promised to sit with him. Alice lies back in her bed. She pulls the covers over herself. She gazes at her son from the pillow. ALICE Why do you not tell me what you feel? I do not know if you think about love. I do not know what your dreams are. When you stood today, you spoke in such a gentlemanly manner. I scarcely recognized you. Her eyes close. ALICE How can a mother fail to recognize her son? Tell me. Tell me that... Lucius watches his mother become quiet. Her breathing becomes steady and soft. Lucius walks into her room and takes the quilt from the rocking chair and gently places it over his mother's sleeping shoulders. He whispers in her ear. LUCIUS I do think about love. Lucius walks out of his mother's room and exits the cabin quietly. CUT TO :", "EXT. TOWER \u2013 NIGHT FINTON COIN is a skinny boy with big curly hair. He is on the platform tonight, thirty feet in the air. The trap door opens as Lucius climbs up. Finton immediately relaxes. FINTON Did anyone see your approach? Lucius shakes his head. `` No.'' FINTON I saw Christop Crane sniffing around. He suspects something. He has announced, more than once, in my presence that only one man should hold post in the tower each night. Why would he say such a thing if he did n't suspect? What a wretch he is? Is it so bad to be a trifle timid? Are you sure you were not detected? Lucius shakes his head again, `` No'' as he takes his seat in the corner. Beat. FINTON And I shared a portion of my chicken with him not two days ago. A fine, tender piece. The two young men fall into silence ; one sitting, one standing. And then out of the silence -- LUCIUS Do you ever think of towns Finton? Finton turns to the sound of Lucius' voice. FINTON The towns? What for? They're wicked places where wicked people live, that's all. Finton does n't notice the expression on Lucius' face as he sits in the shadows. Finton shrugs his shoulders and returns to looking out. Beat. FINTON -LRB- soft -RRB- I do hope no one saw you. CUT TO :", "EXT. APPLE ORCHARD \u2013 DAY Along the hilltop runs a group of twenty apple trees ; their branches bursting with deep red pickings. On the ground near the trees are baskets filled with apples. A few are toppled over. Standing in a tight group a few feet from the abandoned baskets are a group of women. The same quiet fearful expressions on their faces. They stare at something at the base of a tree. We ca n't see what it is, but we can HEAR THE FLIES BUZZING around its dead carcass. ALICE -LRB- O.S. -RRB- We understand the depth of your worries, but you need n't be alarmed. CUT TO :", "INT. MEETING HALL \u2013 AFTERNOON Every member of the village is jammed into this little building. The elders are standing towards the front of the room. Alice Hunt's green eyes look compassionately over the gathering. ALICE What we seem to have amongst us, is a scavenger of some type. Most likely a coyote or wolf. It's manner of killing and removing the fur, but leaving the flesh torn may be a sign that the animal may suffer from madness. An uncomfortable murmur flutters in the meeting room. ALICE For the next fortnight we should be vigilant for sightings of this coyote. Keep careful watch over the little ones as they play on the hills. -LRB- lowers voice -RRB- As for the other notion... we do not believe our boundary has been breached. Those We Do n't Speak Of are much larger creatures than coyotes. We would know if they had been here. CUT TO :", "EXT. COURTYARD \u2013 AFTERNOON We pick up Edward Walker as he leaves the meeting hall with the rest of the congregation. A young woman in her early twenties catches up to him. She has a round attractive face. She is the lively sort. She practically bounces to his side. GIRL It's frightful, this business with the coyote, is it not Papa? WALKER Do not feel worried Kitty? KITTY You are not troubled? WALKER I am certain it will all end soon. KITTY Can we speak on other matters then? WALKER It would be a relief. KITTY WALKER takes his arm and whispers in his ear as they walk. KITTY I am in love. He looks at his daughter as they turn the corner onto a path where they are alone. Kitty beams at his side. WALKER I have great reverence for the word'love' Kitty. It should not be thrown about lightly. It is the greatest force on this earth. KITTY These feelings are so strong, it can be nothing else Papa. WALKER I see. KITTY You do not believe me. WALKER I have no judgment yet. KITTY It must have been bubbling inside me for a long time, for it came bursting forth not three days ago. I have thought of nothing since. Edward nods his head. WALKER'Bursting forth' is it? KITTY I realized since I'm the eldest of your children and since you were stricken with five girls and no boys, I decided to act as if I were the son and ask your permission. WALKER I must correct you on the word'stricken'. I would not trade any one of my five daughters for a hundred of the finest boys. So now, what is it you are asking permission for? KITTY I would like permission to marry, Papa. WALKER There is a proper manner in which these things are to happen. Such as the boy would normally be standing next to you at a moment such as this. Where is the boy in all of this Kitty? KITTY I have n't spoken to him as of yet. Now Edward stops walking. WALKER The young man is unaware of your intentions? KITTY He has a quiet way. I was going to talk with him, but I wanted your blessings papa. I wo n't talk with him without your blessings. Edward starts walking again. WALKER Kitty -- KITTY It's Lucius Hunt. WALKER -- Lucius? Kitty sees the expression on her father's face. KITTY You think badly of him? WALKER No, no... I've just been thinking on him recently. Kitty's face returns to beaming. KITTY He's not like the other boys. He does n't joke and bounce about. WALKER He certainly does n't. KITTY Do I have your blessings then? He looks down at his eldest daughter. He nods, `` yes.'' She hugs him tight as they come to a stop in the far end of the courtyard at the base of the medium sized town bell. WALKER Do me one favor first Kitty. Do not tell anyone else of your' burstings' until you have spoken with the young man. Kitty nods earnestly. Beat. Edward Walker gets lost in his thoughts again. KITTY -LRB- whispers -RRB- Papa, something does trouble you? Edward looks down and sees the concern in his daughter's eyes. Beat. He then reaches up and pulls long and hard on the rope that tolls the brass bell. We see in the background everyone stops what they're doing and begins walking in lines towards the cabins. We watch as people walk in from the stream and from the orchards. They disappear quietly into the cabins. CUT TO :", "EXT. FIELD \u2013 AFTERNOON Lucius stands at the edge of a field of crops. He methodically removes the clumps of dirt from the prongs of the tools he's used on the soil that day. KITTY Good afternoon Lucius. Lucius' hands stop their work. He turns and looks over his shoulder at the young woman that stands before him. She rises on her tip-toes and returns to earth again. Lucius never lets go of his tools. He nods hello to her. KITTY I wanted to tell you something. Lucius stares. KITTY My goodness, my heart is pounding so fast, I think I may faint on this spot... You'd probably catch me course, before I fell. Lucius continues to stare. KITTY Seeing as you're of age... and seeing as I'm of age... and seeing as we get along so well like this... A thought entered my head that may have entered your head as well. Lucius blinks his green eyes. Kitty takes this as a positive gesture and smiles sweetly. KITTY -LRB- soft -RRB- I love you Lucius. I love you like the day is long. I love you more than the sun and moon together. And if you feel the same way, we should not hide it any longer. It's a gift, love is. We should be thankful. We should bellow it with all the breath in our lungs, `` Thank you! Thank you! Thank you!' Kitty finishes her flurry by rising up on the tips of her toes and returning to earth again. Lucius stares. CUT TO :", "INT. WALKER CABIN \u2013 NIGHT Kitty is wailing. Edward carries his youngest daughter in his arms as his petite wife holds their next two youngest on their laps. They watch with concern as Kitty cries loudly from her bedroom Kitty is being consoled by her closest sister. Kitty has her head in her sister's lap. IVY WALKER strokes the hair of her older sister gently. Ivy is thin, almost too thin. Her long blond hair falls over her sharp striking face. She wipes the tears from her sister's cheeks. Beat. Ivy begins to sing softly. IVY -LRB- sings -RRB- Why are you sorrowful, why do you weep? Why do you ask me to rock you to sleep? Could you but see thro' this world's vale of tears... Edward and Tabitha Walker hold their three youngest girls and listen quietly from the other room. IVY -LRB- sings -RRB- Light would your sorrows be, harmless your fears, all that seems darkness to you would be light, all would be sunshine where now is but night... Ivy wipes the last tears from her sister's face. Ivy's voice fills the cabin and wraps them all like a blanket. CUT TO :", "INT. AUGUST NICHOLSON'S CABIN \u2013 NIGHT Lucius knocks on the half open door with his elbow. He waits a moment and pushes the door open. Lucius carries a large pile of firewood in his arms as he steps into the cabin. He sees the wilting man, August Nicholson, sleeping in a chair. Lucius moves to the hearth. Some of the kindling falls off the pile onto the floor. August stirs awake. He sees Lucius kneeling with the wood. AUGUST You are very kind. Lucius nods. AUGUST You must pardon my manners. I have n't slept in many nights. Lucius nods again and starts making a pile next to the hearth. Beat. AUGUST -LRB- O.S. -RRB- -- like a dog can smell you. Lucius turns. August has his eyes closed. Beat. LUCIUS Did you say something Mr. Nicholson? August does n't reply. He is fast asleep in the chair. Lucius returns to the pile. He transfers the last of the firewood from his arms. AUGUST -LRB- O.S. -RRB- -- you may run from sorrow. As we have. Sorrow will find you. Lucius turns to see August, eyes open this time, staring into the corner of the cabin. AUGUST It can smell you. Lucius follows the elder's gaze to the corner of the room where a WOODEN BLACK BOX, one foot by one foot, sits on a table all by itself. Lucius turns back to August. AUGUST -LRB- reverent -RRB- There were pastries with cream in them. Lucius watches as August Nicholson's eyes slowly close again.Beat. Lucius rises to his feet. He walks across the cabin to the door. AUGUST -LRB- O.S. -RRB- -- my wife and I, we used to throw dinner parties. Lucius looks back. August stares sleepily at him. August's words are so soft, the crackle of the fire almost covers them. AUGUST -LRB- quiet -RRB- -- in town. -LRB- beat -RRB- We served pastries with cream in them. Lucius waits till August is asleep again. The young man's green eyes stare quietly at the wilting man. CUT TO :", "EXT. BORDER \u2013 NIGHT We are at the edge of the village. Yellow cloth flags are attached to the trees that create the natural border between the grassy slopes and the woods. The yellow flags and torch lit lamp curve into the distance as far as one can see. A fifteen-year old boy in overalls stands on a stump right at the edge of the grass. His back is to the woods. His arms outstretched at his sides. His body makes the form of the crucifix. He is trembling. YOUNG MAN -LRB- O.S. -RRB- He has tears in his eyes, Christop. A group of young men are huddled behind a rock ten feet down the slope and watch the fifteen-year old on the stump. CHRISTOP CRANE is a thin, tall, very neatly combed young man. CHRISTOP He's doing capitol. Just a few more moments... The young men fight each other for best view. CHRISTOP Do not jostle about so. You'll ruin my shirt. The fifteen-year old's eyes are filling with water. He's straining to hold up his arms. WE ARE IN THE DARKNESS OF THE WOODS, WE ARE BEHIND THE BOY, WE SEE THE SILHOUETTE OF HIS SLIGHT FIGURE STANDING ON THE TREE STUMP. The boy makes a noise -\u2013 a slight whimper. A NOISE IS HEARD FROM THE WOODS. The boy stiffens. He whispers out to the boys behind the rock. BOY ON STUMP -LRB- loud whisper -RRB- They made a sound when I made a sound. They mimic before they attack. Christop pops his head out. CHRISTOP -LRB- loud whisper -RRB- That's a wives tale. It is n't true. Do not falter... A few moments more. A BRANCH SNAPS IN THE WOODS. The fifteen-year old's eyes flick up. All the heads from behind the rock peek out. The boy LISTENS desperately. He wants to look behind, but he does n't. THERE ARE NOISES IN THE WOODS. THE SOUND OF LEAVES BEING CRUNCHED. The boy begins to shake. A LARGE BRANCH SNAPS. The fifteen-year old lets out a SMALL SQUEAL as he lowers his arms and jumps from the stump. He starts running. He runs past the young men in hiding behind the rock. As he does, they start running too. Everyone evacuates in a hurry. They all start racing down the slope back to the FIRE LIGHTS FLICKERING in the distance from the village. CUT TO :", "INT. VILLAGE COURTYARD \u2013 NIGHT The gang of young men, are moving at a fast walk through the courtyard, trying to catch their breath. The fifteen-year old walks in the center receiving various pats on the back. His face is still ashen. The group walks by a contemplative Lucius. He does n't look up as they pass in a flurry of youthful conversation. Lucius moves silently in the opposite direction, the weight on his shoulders, almost visible. CUT TO :", "EXT. SCHOOLYARD FIELD \u2013 DAY The mentally handicapped young man we saw clapping at the supper table is wrestling in the dirt with two young men who try to restrain him. He is strong and quick. The two young men end up in the dirt over and over as the mentally handicapped young man slips them and throws them down. The children watch the dust and dirt kick up as the three continue scuffling. CUT TO :", "EXT. SCHOOLHOUSE - DAY A trail of dark blood runs down the forehead of a hysterical child. Kitty gently escorts him off the playground. They pass Ivy seated on a bench that overlooks the back of the schoolyard. Kitty speaks over her shoulder as she climbs the steps into the school building. KITTY Noah ought to be punished. He wacked little Joseph with a stick again. Ivy nods. Kitty and JOSEPH disappear into the school building. Ivy takes hold of the wooden cane lying next to her. She rises from the bench. She moves towards the NOISE OF THE PLAYGROUND. The wooden cane moves deftly back and forth in front of her. Her STRIKING BLIND EYES focus on nothing. CUT TO :", "EXT. SCHOOLYARD \u2013 DAY The wrestling has gotten fierce. NOAH PERCY is almost pinned when he suddenly throws them and frees himself. The two young men immediately go for his legs. IVY Noah Percy, stop your fussing right this moment. Noah stops and stares at Ivy. The two young men on the ground stop. They realize they are holding each other's leg. Noah stands as the two young men lie on the ground. Noah smiles sweetly at Ivy. CUT TO :", "EXT. QUIET ROOM \u2013 DAY A heavy lock is undone. The tall wooden door swings open. We look into a small cabin. It has only one room. It has a wooden chair in the center. A few potato sacks have been piled in the corner. The room is dusty. Ivy and Noah stand and look in. Noah holds her arm. IVY You're in trouble you know? NOAH No hitting. IVY I'm to place you in the quiet room. NOAH -- I'll cry quarts. IVY What if we strike a deal? NOAH Capitol! Capitol idea! IVY It would be prudent to keep our deal a secret. Can you do that? NOAH Like a church mouse. This makes Ivy laugh. Noah laughs too. IVY You need n't go to the quiet room if you take an oath to never strike any person again. NOAH No hitting. Ivy puts out her hand to shake. IVY No hitting. Noah shakes hands, up and down big, like the elders do. Ivy taps her cheek. Noah leans down, for he stands a good six inches taller than her, and kisses softly once. IVY The deal is struck. Noah is beaming. Ivy closes the door to the quiet room. IVY We ought not return right away. What shall we do with our stolen time? -LRB- beat -RRB- Shall we have a foot race? Up the hill to the resting rock. NOAH No cheating. IVY What a deeply scandalous thing to say. I insist you take that back... Is that the school bell? Noah looks back. Ivy takes off. She's a good ten feet down the path before he turns to see her not there. CUT TO :", "EXT. RESTING ROCK \u2013 DAY Noah is bigger, stronger and faster, but he has a hard time catching the blind young woman running ahead of him. She moves effortlessly. She does not use her stick. She knows every step of these hills. She taps a tree as she runs by. She is laughing as she runs. Noah passes her just as they finish. They both are out of breath as they reach the rock formation. One rock juts out at the base of an enormous wall of rock buried into the side of the hill. There is shade here. This is Resting Rock. There is someone sitting there when they arrive. Noah goes right over and sits with him. Ivy sits and catches her breath before looking in their direction. IVY My sister cried a lot. Lucius stops eating the biscuit he has wrapped in his handkerchief for his lunch break. Beat. IVY Do you wonder how I recognized you. Lucius stares at the striking girl with the sweaty face and messed hair. IVY Some people, just a handful mind you, give off the tiniest color. It's faint, like a haze. It's the only thing I ever see in the darkness. Papa has it too. Lucius gazes quietly at Ivy as if she was a sorcerer. Noah just smiles. Beat. IVY Do you wonder what your color is? Well that, I wo n't tell you. It's not ladylike to speak of such things. You should n't even have asked. Lucius fights a smile. Noah runs off after some nearby birds. Ivy smoothes her wrinkled, dusty frock. It is an uncharacteristic nervous gesture. IVY -LRB- serious -RRB- I know why you denied my sister. Lucius' smile melts away. IVY When I was younger you used to hold my arm when I walked. Then suddenly you stopped. -LRB- beat -RRB- One day, I even tripped in your presence and nearly fell. I was faking of course, but still you did not hold me. Sometimes we do n't do things we want to do, so that others wo n't know we want to do them. Lucius is about to say something when Noah comes back. Noah sits down between them. Lucius turns his piercing eyes back to his biscuit. Noah reaches into his pocket. He clutches something in his hand. He puts it into Ivy's lap. IVY What's this? She feels it in her hands. IVY A flower, what a splendid present. Lucius glances over. He goes still. Beat. LUCIUS -LRB- low -RRB- Be cautious. You are holding the bad color. Ivy's face changes as she holds the RED FLOWER. IVY -LRB- even -RRB- Noah it is not allowed. This color attracts Those We Do n't Speak Of. You must bury it. She holds it out to a saddened Noah. Her hand is trembling slightly. He takes it back after a moment. IVY You ought not to pick that color flower anymore. Lucius gazes at the flower in Noah's hand. LUCIUS He did not pick that now. Beat. Ivy's head turns a quarter turn towards Lucius. IVY What's wrong? You're breathing has changed. LUCIUS I've never set eyes on such a flower. Lucius and Noah look at each other. Beat. LUCIUS -LRB- quiet -RRB- Noah... where did you find this? CUT TO :", "EXT. BORDER \u2013 AFTERNOON Ivy's fingers trace along Noah's arm. She finds his hand. She moves over his finger that is pointing. She turns and faces that direction. Beat. IVY Are you sure? Noah nods. NOAH No cheating. Ivy, Noah, and Lucius stand at the top of the hill and stare. Beat. Lucius turns and starts walking down the hill. LUCIUS -LRB- V.O. -RRB- My mother is unaware of the reason for my visit today. She did not give her consent -- CUT TO :", "INT. MEETING HALL - AFTERNOON WALKER Lucius. Lucius' green eyes look up from his paper. WALKER You do not need to address us so formally. You may just speak. Lucius stares at the group of elders seated on the wooden chairs before him. Alice watches her son lower the paper at his side. He just stands there. Beat. LUCIUS We must n't -- Lucius eyes drift down. He tilts the paper slightly as he tries to read the words at a steep angle at his side. LUCIUS We must n't -- Edward smiles. WALKER Lucius, you may read from the paper if you wish. Lucius brings the paper back up. LUCIUS -- or consult me in any form. -LRB- beat -RRB- Today at Resting Rock. Noah Percy handed Ivy Walker a flower of the bad color. Edward Walker sits up just a bit at the sound of his daughter's name. LUCIUS When asked where he found this flower, for it was not like others I have seen, he took us there. He led us to the peak of the hill, by the tree stump. There he pointed to a bush covered in flowers of the bad color. Lucius looks up. He does n't look down when he says the next six words. LUCIUS He was pointing into Covington Woods. Lucius returns his eyes to the paper. LUCIUS By my eye, the bush of the bad color was, at the very least, seventy-five paces past the forbidden line. Beat. LUCIUS It is my belief that Noah Percy has entered the woods, and has done so on many occasions. It is also my belief, that because of his innocence, those creatures who reside in the woods did not harm him. -LRB- beat -RRB- This strengthens my belief that they will let me pass if they sense I am not a threat. I ask for further consideration in my request to travel into the woods so that I may gather medicines and informations from the nearby town. Lucius slowly lowers his paper. He exhales very slowly. The elders just stare. CUT TO :", "EXT. SCHOOLYARD \u2013 AFTERNOON Noah makes monster sounds. He holds his hands up like claws as he slowly chases the pack of laughing and screaming children around the playground. The group of elders have gathered at the edge of the schoolyard. They watch Noah carefully as he runs around with the other children. Noah bares his teeth and growls as he catches one of the laughing ten-year-old boys in the pack. Noah picks him up and throws him to the ground hard. The child starts crying. TEACHER Noah Percy! Noah stops acting like a monster. He runs and hides behind the other children. The elders watch as the teacher pull Noah off the schoolyard. Noah is throwing a slight tantrum as he is led to his punishment. CUT TO :", "INT. HUNT CABIN \u2013 NIGHT Alice Hunt sits at her small table. Hands folded on her lap. ALICE We shall speak of the town, just this once, and we shall never speak of it again. Lucius sits across from her. His eyes flicker from the lamp light on the shelf. ALICE When we lived there, the three of us, you were but an infant. I would be telling an untruth if I said there was no joy. We were contented souls : the three of us... But contentment is an unwelcomed alien in the towns. There is something in the very nature of the cities and towns that rejects it. Society survives on greed, and desire. Its heart is fed by wants. It has no place for something so untradable and old fashioned as contentment. -LRB- beat -RRB- Your father left for the market on a Tuesday at quarter past nine in the morning... He was found robbed and naked in the river two days later. Lucius is shaking. LUCIUS -LRB- barely audible -RRB- Why do you tell me this blackness? ALICE So you will know the nature of what you desire. LUCIUS I do not desire it! Alice is sincerely unsettled by the sight of her son on the verge of yelling. LUCIUS My intentions are true to my word. I think of nothing but the people of this village. Alice lowers her eyes. Beat. She speaks in a softer voice. ALICE I know that. Forgive me. I am but scared for my only son's life. LUCIUS I am not the one with secrets. Alice's eyes lock on his. ALICE What is your meaning? -LRB- beat -RRB- Speak! Do not retreat to your silence yet. Lucius stands from the table. He moves across the small room. LUCIUS There are secrets in every corner of this village. Do you not feel it? Do you not see it? Lucius points to the black box seated in the corner of the room on a small table. It is identical to the one we saw in August Nicholson's house. ALICE That is for our own well being. So the things that scare us do not have power over us. LUCIUS Then let us open it. ALICE No -- Alice looks ready to rise from her chair to stop him. Lucius does n't move. Beat. Alice visibly composes herself. Her hands return to her lap. ALICE -LRB- soft -RRB- Perhaps we should speak with Edwar d Walker together. He may -- LUCIUS He hides too. Alice stares quietly at the stranger before her. LUCIUS -LRB- soft -RRB- He hides his feelings for you. Alice instantly rises from the table and moves into her room with great dignity. LUCIUS -LRB- calls to her -RRB- Sometimes we do n't do things -- yet others know we want to do things -- so we do n't do them. Lucius does n't even understand what he said. Alice walks back out of her room. ALICE What nonsense are you saying? Lucius is flustered. He gathers his thoughts and looks to his mother. Beat. LUCIUS You need n't worry. Nothing will happen to me. Alice gazes upon her son. ALICE -LRB- gentle -RRB- You remind me of a colt sometimes. Alice moves back to the chair she started in. Lucius takes his seat across from her. Beat. Alice cleans some dust off the table as she speaks. ALICE What makes you think he has feelings for me? Beat. Lucius thinks of other things as he says the words. LUCIUS He never touches you. Alice shakes her head, `` No'' to herself. They both sit at the table plowing through their own thoughts. CANDLELIGHT flickers on this painting of a mother and son at a wooden table. CUT TO :", "EXT. BORDER \u2013 DAY We are at the edge, where the grass ends and the woods begin. On every tree that touches the grass is a yellow slash of paint. Every fourth tree holds a flag of the same color. Two young men replace a broken flag. They both wear hooded cloaks that touch the ground. The cloaks are a mustard-yellow. The young man, who has been boosted up, loses his balance. He quickly grabs a branch and steadiest himself. He looks down to his partner. They share a tension filled look as they glance into the forest. They work as if they are on a tight wire. A third young man in a mustard yellow cloak passes them. Lucius carries a wooden bucket of yellow paint. He nods to them as he passes. Lucius walks along the perimeter of trees. He stops a handful of trees down the line. The paint on this tree is fading. Lucius dips the handmade brush into the bucket and puts another coat on the tree. He picks up his bucket and continues on. He glances over his shoulder as the figures of the two young men get smaller and smaller. Lucius keeps walking. He passes the large tree stump. Now he slows to a stop again. He looks to the woods... Seventy five paces away from where he stands, nestled between two thin trees, is A BUSH BLOOMING WITH RED FLOWERS. He looks down the line of trees to the two young men ; they move along the perimeter and slowly move out of sight. Lucius steps to the edge of the grass. His shoes are inches away from the dirt of the forest floor. In the dirt, clearly visible to the eye, are groups of LARGE CLAWED FOOTPRINTS. The indentations from the claw points dig deep into the soil. Lucius does not acknowledge any of this. He stares quietly into the woods, lowers his bucket to the ground. Beat. HE STEPS OVER THE FORBIDDEN LINE INTO COVINGTON WOODS. Lucius takes the last few steps to the bush. He reaches into it and snaps off a branch. He straightens up. And then for the first time we sense him pausing. He turns and looks slowly over his shoulder. THERE IS SUDDEN MOVEMENT. LEAVES AND BRANCHES SNAP AS WE SEE, FIFTY FEET AWAY, THE DARK FORM OF A HUMPED CREATURE, STANDING UPRIGHT. IT SUDDENLY MOVES. WE SEE IT STRIDE AWAY INTO THE DENSENESS OF THE WOODS. Lucius turns and starts walking. Branch in hand, he moves at a calm even pace as he heads back to the bucket with yellow paint. CUT TO :", "EXT. WALKING PATH \u2013 NIGHT Lucius moves along a walking path. He passes by a LAMP LIGHT. He gets pulled from the strong current of his thoughts by the rattling of a bush. He sees someone crawling around in the foliage. GIRL'S VOICE FROM BUSH There is no escape. Lucius watches as Ivy Walker crawls out and stands. She looks in Lucius' direction. IVY Oh, Hello. Ivy runs her hands over her frock. Dirt and leaves fall off. IVY I was just playing a game with Noah. The rascal must have gone to hide in my house again. Houses are against the rules. He knows that. Lucius stares at Ivy who has dirt and leaves in her hair. She bends down and picks up her cane. IVY Are you okay? Your quiet is a different quiet than your usual quiet. Lucius nods. IVY I assume you're nodding. Ivy smiles. IVY Well I better get back home and confront the scoundrel. -LRB- beat -RRB- You could walk with me if you like. There is an awkward moment. CUT TO :", "EXT. WALKER BACK PORCH \u2013 NIGHT Ivy and Lucius arrive in silence to the back porch of the Walker cabin. In the LAMP LIT windows we see Kitty and her younger sister talking. IVY We were tending to the children tonight, Kitty and I... I should be with her. -LRB- beat -RRB- Be well. Ivy climbs the stairs and stops. IVY I heard my parents speaking of you. I know of your request to go to the towns. I think it is noble, but I do not think it is right. Beat. LUCIUS There may be things we do not know that may help us. IVY You speak as if we are plagued. There is nothing to cure. Beat. LUCIUS Are you not angry you have no sight? Perhaps your eyes could have been saved as a child by knowledge held in the town's medicines. IVY I know it upset Papa very much when it happened to me. He would not speak for three days I was told. But it does not bother me Lucius. LUCIUS What of Noah then? What if there was medicines for Noah that could help him be still? Help him learn? Beat. This affects Ivy. IVY May we stop speaking of this? It is putting knots in my stomach. Lucius nods. Ivy climbs a few more steps and stops. She turns. IVY Kitty is to be married. Lucius looks a little confused. IVY She has found love again. With Christop Crane. Lucius raises his eyebrows. IVY -LRB- soft -RRB- You think it an odd choice right? You know he wo n't sit back in his chair for fear of setting wrinkles his shirt. -LRB- beat -RRB- But he does have a gentlemanly way about him and he does care for my sister deeply. I think Kitty is blessed. I am blessed as well... My older sister is now spoken for. I am now free to receive interest from anyone... who might have interest. Lucius stares at the striking blind girl who stands in the shadows with a mischievous smile. IVY -LRB- soft -RRB- Goodnight Lucius Hunt. Ivy turns and walks into the house. We see through the open back door as Noah leaps out from behind a water basin and scares her. Ivy starts chasing the tall boy around the room playfully. CUT TO :", "EXT. TOWER \u2013 NIGHT Finton Coin sits huddled in the corner of the tower perch. His knees are tucked into his chest. There is an oil lamp on the floor by his side. The oil lamp moves as the tower creaks. Finton sits up. THE LAMP LIGHT ON FINTON'S TENSE FACE FLICKERS AND THEN RETURNS. FINTON Lucius? SILENCE. Finton crawls over to the trap door in the floor. He listens a moment before reaching for the rope handle. He pulls back the wooden door slowly. Finton looks down the ladder that drops twenty feet away to the ground. The thick legs of the tower can also be seen. FINTON Lucius? SOMETHING PASSES UNDERNEATH. IT IS DARK IN FORM AND MOVES DEVILISHLY QUICK INTO THE SHADOWS. All the air leaves Finton Coin's lungs. Finton shuts the trap door quietly. He moves the wooden bolt into the lock position. All his movements are slow and trancelike. Finton places his hands on the railing and pulls himself up. He steadies himself on his feet. And then peers over the railing. CUT TO :", "EXT. COURTYARD \u2013 NIGHT People of the village move normally through the courtyard. AND THEN THE WARNING BELL SOUNDS IN THE DISTANCE. IT IS VERY DIFFERENT THAN THE PRACTICE BELL IN THE YARD. ITS SOUND IS DEEPER MORE POWERFUL AND RESONANT. ITS SHORT REPEATED RINGING ECHOES THROUGH THE AIR. Everyone in the courtyard suddenly freezes and then starts running. Everyone except Lucius. He turns and looks over his shoulder towards the direction of the tower. CUT TO :", "INT. WALKER CABIN \u2013 NIGHT Kitty and Ivy look up as they dress their little sisters for bed. THE DISTANT REPEATED SOUND OF THE WARNING BELL silences all the chatter. Beat. Kitty turns to Ivy. KITTY -LRB- low -RRB- Close all the doors. Kitty scoops her little sisters off their bed and moves directly towards the trapdoor in the back of the cabin. CUT TO :", "EXT. CABINS \u2013 NIGHT Lucius ushers a group of people into a cabin. He closes the door and shuts them in. He moves quickly across the path to a woman who tries desperately to close the shutters on her cabin. The shutters stick on their rusty hinges. Lucius comes over and closes it shut. He turns as a SHADOW PASSES OVER HIM. Lucius ducks into the darkness by the side of the cabin. There is movement all around him. HE WATCHES AS A CREATURE MOVES SLOWLY TOWARDS THE FRONT DOOR OF THE CABIN. Lucius steps back farther into the shadows. He presses his back against the side of the cabin and loses sight of the creature. CUT TO :", "INT. WALKER CABIN \u2013 NIGHT Noah jumps up and down, agitated and excited. Kitty tugs at his arm as she pulls him towards the trap door. She looks across the cabin and sees Ivy standing in the open front door. KITTY -LRB- yells -RRB- You must close the door! Ivy looks out in the direction of the STRANGE SOUNDS. IVY Lucius is out walking. Kitty leads Noah down into the crawl space where the two younger sisters wait frightened and silent. KITTY -LRB- yells -RRB- He's inside safe somewhere. Close the door! Ivy turns and looks back at her sister, strain and strength on her face. IVY He'll come back to make sure we're safe. Kitty walks down into the underground room with Noah and the children. Only her head can be seen as she watches her little sister, across the cabin stand in the doorway to the outside. Ivy puts out her hand through the open doorway. She holds it out to the darkness. THE WARNING BELL RINGS OVER AND OVER IN THE DISTANCE. STRANGE SOUNDS CAN BE HEARD THROUGH THE WALLS IN THE BACK OF THE CABIN. Kitty listens to them, tears fill her eyes. Her head turns back to Ivy and screams across the cabin floor. KITTY Ivy please! OUTSIDE : THERE ARE SHADOWS ALL AROUND THE WALKER CABIN. A HUMPED CREATURE EMERGES FROM THE DARKNESS. IT STARTS RUSHING TOWARDS THE PORCH. Ivy holds her hand out as she stares blankly into the darkness outside. Tears stream down her face. She is terrified. IVY -LRB- soft -RRB- No. KITTY Do n't let them in! THE LARGE DARKENED FIGURE OF THE CREATURE CLIMBS ONTO THE PORCH. A HAND GRABS IVY'S HAND. SLOW-MOTION : Ivy turns as Lucius moves with her through the doorway. They close the door shut quickly and bolt it. Lucius and Ivy run together across the cabin. Lucius never lets go of her hand. They reach the open trapdoor. Lucius helps Ivy in and then follows her down. His arm spears out and grabs hold of the rope handle. The door shuts over their heads. CUT TO :", "INT. UNDERGROUND ROOM \u2013 NIGHT REAL TIME : Six individuals huddle together in the darkness. A TINY STREAM OF LIGHT FALLS ON THEIR FACES. SOUNDS OF SCRATCHING AND CLAWING CAN BE HEARD ON THE WALLS OF THE CABIN. THE DISTANT SOUND OF THE WARNING BELL IS MUFFLED IN THIS UNDERGROUND SPACE. Kitty holds her little sister tight. Noah claps his hands joyously in the small space he has to move. Lucius and Ivy are crouched together close to the stairs. Their faces are almost touching. They both stare up at the crack in the door and listen. They both breathe hard ; their breath falling on each other. Ivy's face tilts slowly to her lap. Lucius' hand is still holding hers. CUT TO :", "INT. UNDER GROUND ROOM #2 \u2013 NIGHT A large number of men and women are crammed together in another underground room. THEY LISTEN AS NOISES AND GRUNTS MOVE AROUND THEM OVERHEAD. CUT TO :", "INT. UNDERGROUND ROOM #3 \u2013 NIGHT A group of children are huddled together in the darkness of another underground room. The children's hands cover their ears. They try to block out the SOUNDS STABBING AT THEM THROUGH THE CRACKS IN THE TRAP DOOR. We see their tiny bodies jerk with every sound. Their scared faces dissolve into the darkness. FADE TO BLACK : CUT TO :", "EXT. VILLAGE \u2013 DAY A gentle breeze pushes leaves around in circles. There is no one in the courtyard. There is no one on the walking path. The front doors of the cabins ate closed. On each door are TWO RED SLASHES OF COLOR FORMING AN `` X''. The crimson markings are seen throughout the empty village. CUT TO :", "INT. MEETING HALL \u2013 DAY All members of the village, young and old, are gathered together. THE SOUND OF SOME CHILDREN WHIMPERING can be heard in the tense silence. Edward looks at the faces. WALKER We may question ourselves at times such as these. Did we make the right decision to settle here? We must remember why we came here. It was for goodness and a rare type of innocence. That is worth a struggle I think. -LRB- beat -RRB- Let it be known for all to comfort in, that no person was injured lat night. We have always had, from the day we settled here, a gentle understanding with those who visited us. -LRB- beat -RRB- I have always pictured them, in some ways, as our protectors. They have allowed us to live here nestled amongst them in this untouched place. -LRB- beat -RRB- By the markings we find this morning on our homes, I feel they were warning us. They acted as if threatened. We will do our best to discover what it is that has set them to action. Beat. Edward suddenly looks older. His childlike eyes flicker with emotion. WALKER -LRB- soft -RRB- I myself wonder if this simple way of life can go on... If it was meant too... August touches him on the shoulder in a brotherly way to stop him from speaking. August looks out over the congregation. AUGUST If any want to talk of their worries or concerns, we would welcome them. A note is passed from the gathering. Vivian Percy is the closest of the elders and accepts it. She checks the front and back for an inscription. She looks out over the room of faces. VIVIAN Who has written this note? The room of faces do not respond. Vivian opens it. Vivian turns to the elders at her side. VIVIAN It is the wish of the writer for this to be read aloud. They all nod. Vivian throws a quick look to Alice before turning back to the paper. VIVIAN -LRB- reading -RRB- Please read so that all may hear. -LRB- beat -RRB- My mother is unaware that I wrote this note. She did not give her consent or consult me in any form. -LRB- beat -RRB- I have brought this burden upon us. On the day before last, I crossed the forbidden line into Covington Woods and was witnessed there by Those We Do n't Speak Of. Whispers fill the meeting hall. Alice closes her eyes. August looks down. VIVIAN -LRB- reading -RRB- I am deeply sorry. I have shamed myself and my family. I pray that my actions will cause no further pains. -LRB- beat -RRB- With deepest sorrow, Lucius Hunt. Ivy sits in the crowd. She stares blankly at a point in space. There are nothing but murmurs for a moment. Edward Walker silently steps forward. The crowd moves aside as he walks through them. He moves to the back corner, where the crowd parts and reveals Lucius sitting against the wall. His eyes are red. Tears fall from his cheeks. Edward Walker kneels down in front of him. WALKER Do not fret. Walker's face trembles with emotion as he stares at the young man. Edward Walker leans forward and whispers in the young man's ear. WALKER -LRB- barely audible -RRB- You are fearless in a way, I shall never know. Lucius looks up. The two men stare at each other. The crowd goes quiet around them. The overwhelming pride and emotion in Edward Walker's eyes slowly start to change Lucius. He grows stronger with every second he gazes at his elder. DISSOLVE TO :", "INT.CLASSROOM \u2013 DAY Vivian Percy claps her hands. MRS. PERCY Ta. Tee-tee. Ta. CLASS Ta. Tee-tee. Ta MRS. PERCY Splendid. Shall we take it from the first phrase of the song? She stares at the quiet faces of the children. MRS. PERCY It has been difficult to concentrate, I admit. The visit from Those We Do n't Speak Of three weeks past, are still with us... I know some of you are frightened still. This is why our job is so vital. We must lift everyone's spirits. Kitty Walker's wedding will be a glorious time. We will sing and dance and be merry again. Now let us be strong little souls and begin the song again from the very beginning. The children nod gently. They are ready. CUT TO :", "EXT. CLEARING \u2013 DAY A collection of fifteen men and women are constructing a wooden canopy. Noah Percy helps cut a rope that tethers one of the frames of the canopy to a statue in the ground. An elder holds the rope and points. Noah slices it. He laughs when the rope splits. He waves the knife in the air joyously. The elder quickly takes the knife away from him and smiles. Edward and Tabitha Walker guide the others as the two sides of the canopy-frame are brought up into their standing positions. They look up at the structure for their daughter's wedding with wonder in their eyes. Beat. They are gathered by the others and begin tying garlands of flowers to the frame. CUT TO :", "EXT. RESTING ROCK \u2013 DAY Lucius unwraps his biscuit from his handkerchief. IVY -LRB- O.S. -RRB- I know you have been ignoring me. Lucius looks up to find Ivy standing before him. IVY It is the day of my sister's wedding and I am beginning to believe you would let the day pass without saying a word to me. Lucius does n't say a word. IVY Perhaps you sensed I was angry when you revealed you crossed into the woods. In fact I was. If you want to act foolish, that is your choice. But I do not find any reason to risk such dangers in the woods for anything. It was wrong. -LRB- beat -RRB- I say this as your friend, because friends may say anything to each other. Ivy lets out a breath. IVY I'm glad we've had a chance to talk. -LRB- beat -RRB- Kitty needs help getting ready. Enjoy your biscuit. Ivy turns and walks away. Lucius' green eyes watch her as her as he brings the biscuit to his mouth. CUT TO :", "EXT. SUPPERTABLE \u2013 AFTERNOON WALKER We came here to start anew -- We are grateful for the time we have been given. Edward Walker looks to Kitty at his side. Christop sits across from her. They are both dressed in white. Edward smiles t o them as he takes a seat. August stands. It is unexpected. Eyes watch him. AUGUST These are the experiences we came here to have. This is good. This is pure. Beat. August takes a seat. The table is covered in a feast of foods. Hands start reaching across the table. The business of a festive dinner begins. DISSOLVE TO :", "EXT. BORDER \u2013 AFTERNOON The SOUND OF WOODEN FLUTES AND HAND MADE INSTRUMENTS CAN BE HEARD IN THE AIR. Two young girls in mustard yellow cloaks lead two young men in hooded cloaks. The girls walk procession-like with flowers in their hands, The two young men carry a wooden box with rope handles. The group stops ten feet from the border into the forest. The girls turn ceremonially together and wait for the young men to open the lid of the one-foot by one-foot square box. The girls then toss their flowers in the box and step aside. The young men raise the hoods of their cloaks over their heads. The lid is closed and the box is picked up by it's handles again. The girls stay where they are as the young men carry the box right to the edge of the forest. There the lid is reopened. The two young men reach down and pull out the contents of the box. The flowers the girls threw in the box, trickle off the blood red surface of the LARGE SLAB OF MEAT. The two hoods turn and look into the forest. About five feet into the forest is a large flat rock. Its surface is stained dark from dried animal blood. The young men start swinging the meat to gain momentum. On the third swing, they throw the large slab of meat into the air and over the forbidden boundary. It makes a SOUND as it lands on the rock. The young men glance at the forest for a moment, and then turn and walk back to the girls. They turn and start walking in a procession back down the hill and towards the MUSIC. CUT TO :", "EXT. CANOPY \u2013 AFTERNOON A canopy of flowers and vines has been made on the grass next to the stream. Candles hung by string are tied throughout. A quartet of young musicians play on stools. Vivian Percy and the children sing next to them. Kitty is dressed in a beautiful simple white frock. Christop looks neat and handsome. They stand on either side of August Nicholson who holds a weathered book in his hands. He quietly quietly instructs the couple where to stand and what to do The some of the guests are seated in wooden chairs, some are seated in the grass. Ivy is seated on the grass nearby with an older woman with thick gray hair. We have seen this woman sitting with the elders many times. This is MRS. CLACK. MRS. CLACK -LRB- whispers -RRB- I had an elder sister. Ivy turns to Mrs. Clack and smiles. IVY -LRB- whispers -RRB- Mrs. Clack, you have been keeping secrets. MRS. CLACK -LRB- whispers -RRB- Kitty reminds me of her so. IVY -LRB- whispers -RRB- What manner of person was she? MRS. CLACK -LRB- smiles -RRB- Saucy. We fought endlessly. IVY -LRB- smiles -RRB- May I ask her name? Beat. MRS. CLACK Your father created a miracle here in this place. Sheltered us from darkness. Ivy can hear the change in Mrs. Clack's voice. IVY Why did she not come to Covington Woods? MRS. CLACK My sister did not live past her twenty- third birthday. A group of men took her life in an alley by our home. Mrs. Clack fixes her frock with her puffy hands. August Nicholson turns to the congregation. He calls out. AUGUST Please rise. Everyone in chairs and on the grass stands for the ceremony. CUT TO :", "EXT. CANOPY - NIGHT The MUSIC IS LIVELY. The musicians are up on their feet. People are dancing. Kitty and Christop stand side by side and greet each family of the village. They are presented handmade gifts wrapped intwine. Kitty is glowing as she accepts the wedding gifts. Ivy steps up and hugs her sister tight. Kitty hugs her back and lets go. Ivy keeps hugging. Kitty realizes Ivy is crying. Ivy kisses Kitty on the cheek and finally lets go. Kitty watch with confusion as her sister moves away. CHRISTOP She's not going to squeeze my shirt like that is she? Kitty forces a smile and accepts the next gift. CUT TO :", "EXT. CANOPY ENTRANCE \u2013 NIGHT Edward and Tabitha Walker greet the elders that swarm around them and congratulate them. Alice Hunt steps up and kisses Tabitha. She moves to Edward who finishes shaking a man's hand. ALICE Many blessings on this most joyous of days. Alice puts out her hand. EDWARD It was a rare and lovely ceremony, was it not? ALICE Glorious. I saw your hand move to your eyes on more than one occasion. EDWARD Must have been dust of some matter. Edward smiles at her. Alice smiles gently back. She lowers her untouched hand back to her side. They both nod at each other. Alice steps away. She is flustered. She holds her hands nervously as she walks. Alice turns and glances back over her shoulder. Edward Walker is greeting Vivian Percy. HE SHAKES HER HAND as she congratulates him. Alice turns back and keeps walking. She looks around to see if anyone is watching her. Her face is bright red with embarrassment. CUT TO :", "EXT. CANOPY \u2013 NIGHT The swirl of dancing captures more and more people. Ivy stands to the side. Kitty's hand reaches out from the dancers. Kitty takes hold of her sister and pulls her in. Ivy resists for a moment and then lets herself join the celebration. CUT TO :", "EXT. BORDER \u2013 DUSK Long deep shadows fall in the woods. The two young men in yellow hooded cloaks walk the final steps to the edge of the forest. They look to the flat stained rock in the woods. THE SLAB OF MEAT HAS BEEN REMOVED. A fresh stain sits where the raw meat used to be. The young men turn quietly and head back to the little girls. They lower their hoods. They nod their heads to the girls who then smile. The four start walking towards the music in two lines of two. CUT TO :", "EXT. SLOPE TO CANOPY \u2013 NIGHT Lucius Hunt sits along the slope that leads to the wedding canopy. THE MUSIC AND LAUGHTER FLOAT THROUGH THE AIR. He looks down to the CANDLELIT GLOW of the flowered canopy. Almost everyone is dancing. SOMETHING MOVES IN THE DARKNESS BEHIND HIM. Lucius looks back over his shoulder. THERE IS A RUSTLE IN THE BUSHES ON THE SLOPE ABOVE HIM. Beat. LUCIUS Who's come to visit me? A LOW GRUNT. WE SUDDENLY HEAR SOUNDS OF SCURRYING. Lucius rises to his feet immediately. CUT TO :", "EXT. CANOPY \u2013 NIGHT Ivy is in the thicket part of the dancing. Her hair has come loose from its upturned position. She laughs as she turns in circles with her sister and friends. THE FIRST SCREAM MIXES WITH THE LAUGHTER AND DISAPPEARS. The dancing goes on. THE SECOND SCREAM CAN BE HEARD MUCH MORE CLEARLY. Ivy is among the first few who stop dancing. CUT TO :", "EXT. SLOPE TO CANOPY \u2013 NIGHT Lucius leans down and picks up an oil lamp that has been knocked to the ground. It is one of a few that have been strung along a walking path. Lucius looks to Covington Woods in the distance. THERE IS THE DISTANT SOUND OF BRANCHES SNAPPING. Lucius turns as the SOUND OF A SCREAM CUTS THROUGH THE MUSICAL DIN FROM BELOW. He stares down at the warm glow of the canopy. He can see everyone has stopped dancing. There is commotion. Lucius wheels in the direction of the tower. We see a young man in a yellow cloak standing sentry. We see him standing bored -\u2013 elbows on the edge of the railing. Lucius watches him for a moment, then turns back confused. CUT TO :", "EXT. CANOPY \u2013 NIGHT The dance floor is full of confusion. A few YELLS SPIKE THE AIR. Ivy is unintentionally bumped a few times as people start panicking. She is separated from her sister. Ivy puts her arms out. She tries to move out of the knot of people. PANICKED CONVERSATIONS GET LOUDER ALL AROUND HER. She is bumped two more times. She struggles to keep moving in the crowd. A HAND TAKES HOLD OF HERS. She feels Lucius leading her out of the congestion. She holds his hand tight as they move towards the entrance of the canopy. CUT TO :", "EXT. CANOPY ENTRANCE \u2013 NIGHT Lucius and Ivy emerge amongst a group of elders that are gathered around two young boys. The boys are around ten years old. They are terrified. Everyone close at hand listens in hushed silence. Edward Walker is seated in a chair. The boys stand before him at eye level. BOY They are in the village. EDWARD It can not be. BOY It saw us. It ran off into the darkness. WALKER You are certain? The boys nod. They are both crying. Beat. Ivy moves next to her father. Edward takes her hand. Edward looks at the boys. WALKER You two boys stay close to Ivy here. She'll tell you some funny stories and have you laughing soon. Ivy gathers the boys close as Edward stands. He turns to the worried crowd around him. WALKER We will go together. All of us. CUT TO :", "EXT. WALKING PATH \u2013 NIGHT A SNAKE OF HANDHELD LIGHTS MOVE SLOWLY towards the village. The members of the village move in a group led by elders. Lucius walks towards the front holding one of the lanterns. Kitty and Christop move in the middle and walk in tense silence. The procession moves towards the DIM LIGHTS OF THE CABINS. CUT TO :", "EXT. COURTYARD \u2013 NIGHT The elders have already moved into the courtyard. They walk in stunned silence. Lucius and the young men are next to follow. When Kitty arrives her hands move to her mouth. Christop stops in front of her. THE COURTYARD BEFORE THEM IS LITTERED WITH DEAD ANIMALS. CHICKENS, AND SQUIRRELS AND RACCOONS. THEY HAVE ALL BEEN SLAUGHTERED AND SKINNED, THERE ARE A HANDFUL OF SKINNED ANIMALS DANGLING FROM ROPES TIED TO THE POSTS OF THE HOUSES. The villagers move like ghosts through their courtyard. Edward Walker moves amongst them. He walks up to one of the hung animals and with shaking hands, slowly unties the knot and lowers the animal to the ground. A young man walks up to Edward Walker, hesitates and then taps him on the shoulder. GERALD speaks in a whisper when Edward turns. GERALD They would like you at the shed, sir. Everyone is moving towards doorways. Christop is trying to pull a stunned Kitty through the chaos. Elders usher people towards the nearest porch. Lucius picks up two children in his arms and moves them to a doorway. Ivy follows a group of people into a cabin. Kitty stands in HER BEAUTIFUL WHITE WEDDING FROCK. Christop tugs at her arm. She finally is pulled across the littered courtyard and disappears into the darkness of a cabin. CUT TO :", "EXT. SHED \u2013 NIGHT Alice Hunt stands alone by the open entrance to the shed. Edward Walker approaches her. She steps away so he may look inside. Edward steps into the doorway of the shed. He stares quietly into the shadows of the food shed. Empty cages hang open throughout the structure. Alice speaks softly from outside. ALICE All the livestock has been taken, and skinned. The fur and feathers are missing. -LRB- beat -RRB- There are marks on the door, where it was opened. Edward's eyes move to the doorjamb. He sees the fresh torn wood at eye level. ALICE The marks are high. Coyotes can not reach that height. Beat. Edward stares into the darkness of the shed. WALKER -LRB- soft -RRB- Are you scared Alice? ALICE -LRB- whispered -RRB- I am, sir. WALKER -LRB- soft -RRB- So am I. CUT TO :", "EXT. CANOPY \u2013 NIGHT There is no one in the wedding canopy. THE CANDLES HAVE ALL BUT FLICKERED OUT. A handful of chairs lay on their sides. CUT TO :", "EXT. TOWER \u2013 NIGHT Two young men stand in the tower. One man eats leftover cake from a wooden plate. He cuts a piece off and hands it to his partner. They eat wedding cake as they stare into the darkened woods. CUT TO :", "INT. IVY'S BEDROOM \u2013 NIGHT Ivy lies in bed. She is awake. THE MOONLIGHT STREAMS IN THROUGH THE HALF CLOSED WOODEN SHUTTERS. THERE IS THE SMALLEST OF NOISES OUTSIDE. Ivy gets out of bed. She moves to the window slowly. Her outstretched fingers reach the shutter first. She pushes the shutter open. She stares out into the darkness. CUT TO :", "EXT. WALKER PORCH \u2013 NIGHT Ivy walks out with a shawl over her night dress. She moves to Lucius who sits on the stairs of the porch. He turns as she sits down next to him. Beat. IVY The elders are going to have an inquiry tomorrow. Each member of the village is to be questioned in the meeting hall. LUCIUS To see how the border was breached? IVY Yes. Lucius nods silently. Beat. LUCIUS It is cold outside. You ought to go in. IVY Why are you on this porch? LUCIUS It is not safe. IVY There are other porches. Beat. There is an awkward moment. Ivy searches for something to say. IVY Do you find me too much of a tomboy? Lucius shakes his head lightly, `` No.'' IVY I do long to do boy things. -LRB- whispers -RRB- Like that game the boys play at the stump. They put their backs to the woods and see how long they can wait before getting scared. It's so exciting. -LRB- softer -RRB- I understand you hold the record. It will never be broken they say. LUCIUS It's just children's games. IVY How is it you are brave when all the rest of us shake in our boots? LUCIUS I do not worry about what will happen. Only what needs to be done. Beat. LUCIUS How did you know I was here. IVY I saw you out the window. -LRB- beat -RRB- No, I wo n't tell you your color. Stop asking. Beat. The wind blows stronger. They see leaves move all around them. IVY When we are married, will you dance with me? Lucius looks at her. IVY I find dancing very agreeable. Beat. IVY Why can you not a say what is in your head? LUCIUS Why can you not stop saying what is in yours? Ivy is surprised by the strength in Lucius' voice. LUCIUS Why must you lead, when I want to lead? If I want to dance, I will ask you to dance. If I want to speak, I will open my mouth and speak. Everyone is forever plaguing me to speak further. Why? What good is it to tell you, you are in my every thought from the time I wake? What good can come from my saying I sometimes can not think clearly or do my work properly? What gain can rise from my telling you the only time I feel fear as others do is when I think of you in harm? That is why I am on this porch Ivy Walker. I fear for your safety before all others. -LRB- beat -RRB- And yes I will dance with you on our wedding night. Ivy sits in the moonlight. Tears stream down her cheeks. A hand reaches out and wipes a tear. This causes more tears to fall. Lucius Hunt leans forward and kisses Ivy Walker on the porch of her father's home. CUT TO :", "INT. WALKER BEDROOM \u2013 MORNING Ivy and Kitty sit on their old bed together. Ivy squeezes her sister's hand. IVY Kitty, I wanted to speak with you first. I would not want you to feel pain in any fashion. You are my cherished one. If you were to feel badly about Lucius, I would not have it. One love to sacrifice another love is not right. The two sisters sit quietly. Kitty moves the stray hairs from Ivy's face. KITTY -LRB- soft -RRB- Do not fret, younger sister. Ivy closes her eyes. KITTY There is nothing you can do that would sacrifice my love for you. You are my cherished one as well. -LRB- Kisses Ivy on the head -RRB- God bless you and your life together. The two sisters sit holding hands in the room they used to share. CUT TO :", "INT. MEETING HALL \u2013 MORNING A woman in her twenties stands before a committee of five elders. WOMAN... I had been to the storage shed twice to fetch food prior to the wedding ceremony. ALICE And the livestock was untouched at that time? WOMAN Yes, Mrs. Hunt. All was as it should be. Beat. Alice nods. WOMAN Could this be a new creature? ALICE What do you mean? WOMAN If there are Those We Do n't Speak Of in the woods, could there not be yet another creature, similar, but different to our own creatures. August Nicholson and the rest of the elders stare quietly at the woman. Beat. ALICE I suppose it is possible. -LRB- beat -RRB- Thank you Beatrice. BEATRICE nods and starts out. BEATRICE I beg your pardon... The elders look up to find Beatrice still in the meeting hall. BEATRICE Is it true, about Lucius and Ivy? Alice is taken a little off guard. BEATRICE There are whispers all over the village. She glances to Edward and Tabitha who smile back. Alice turns to the woman. ALICE We were informed early this morning of their intentions. BEATRICE It is amazing to witness which two people love chooses to unite. It follows no rules. ALICE -LRB- soft -RRB- No, it does n't. Alice gently looks down. BEATRICE God bless them both. ALICE Thank you dear. -LRB- smiling -RRB- Please ask the next person to enter. CUT TO :", "EXT. MEETING HALL \u2013 MORNING A line of villagers wait patiently outside the doors of the meeting hall cabin. Beatrice walks out and lets the next person in. CUT TO :", "INT. HUNT CABIN \u2013 MORNING Lucius Hunt opens the front door to his cabin. LUCIUS What's happened? Noah Percy stands in the doorway sobbing. Beat. Noah walks in. Lucius closes the door. LUCIUS Is this about Ivy and myself? Noah does n't answer. Beat. Lucius heads back to his desk. Lucius folds the piece of paper he was writing and places it in the drawer. LUCIUS I know you are very fond of her. Noah shakes his head. He move to Lucius. LUCIUS I know she is fond of you. -LRB- turns -RRB- There are different types of love Noah -- Lucius barely sees THE SHARP BLADE. NOAH AND LUCIUS STAND EYE TO EYE. BEAT. NOAH PULLS OUT THE BLADE FROM LUCIUS' STOMACH. WE WATCH LUCIUS FOLD TO THE FLOOR OF HIS CABIN. NOAH, STILL CRYING, CHANGES THE GRIP ON HIS KNIFE AND BENDS DOWN OVER LUCIUS. CUT TO :", "INT. PERCY BEDROOM \u2013 MORNING Vivian Percy is helping Robert with his vest. She gently straightens out his collar. They've done this routine many times. THERE IS A NOISE FROM THE CABIN'S ENTRANCE. VIVIAN Noah, you'll be late for the meeting hall. Would you like your father to walk you there? Robert Percy places his eyeglasses on. VIVIAN Noah? CUT TO :", "INT. PERCY CABIN \u2013 MORNING WE ARE MOVING THROUGH THE PERCY CABIN. THE MAIN SITTING ROOM IS EMPTY. WE SEE THE FRONT DOOR IS OPEN. WE MOVE TOWARDS IT. THERE IS A NOISE, A CREAKING THAT GROWS IN STRENGTH. WE MOVE TO THE FRONT DOOR AND THEN THROUGH IT. WE ARE ON THE PORCH. THE CREAKING SOUND IS VERY LOUD. WE TURN AND SEE NOAH SEATED IN A ROCKING CHAIR. HE ROCKS BACK AND FORTH CREAKING ON THE NOISY WOOD OF THE PORCH. HE TURNS AND LOOKS OVER WHEN HE FEELS HIS PARENTS PRESENCE. VIVIAN AND ROBERT PERCY STAND FROZEN LIKE A BAD PAINTING. NOAH POINTS AT HIS WET SHIRT. NOAH -LRB- whispers -RRB- The bad color. CUT TO :", "INT. MEETING HALL \u2013 MORNING The elders look away from the man who stands before them, They turn to the SOUNDS OF COMMOTION COMING FROM OUTSIDE THE MEETING HALL CABIN. The door opens, a short flustered man enters. THE NOISE AND GROWING COMMOTION SPILLS INTO THE MEETING HALL. A couple of the elders stand. FLUSTERED MAN I beg your pardon -- EDWARD What is it? Beat. FLUSTERED MAN There has been an accident. CUT TO :", "EXT. WALKING PATH \u2013 MORNING Ivy and Kitty step off their porch together. They make their way down the walking path. There is a GROWING SOUND OF VOICES ahead of them. Two people come rushing past. KITTY Helen what is it? One of the girls stops and comes back. She speaks in a frantic whisper. GIRL Noah Percy was found with quarts of blood upon his clothes and hands... The blood was not his own and he will not speak as to whose it is. KITTY Dear God in heaven. HELEN runs off. Ivy's face changes. Beat. Ivy lets go of her sister's hand. She starts moving away. KITTY Ivy, where are you going? Ivy does not respond. Her walk becomes quicker and quicker. Kitty stares after her as her sister breaks into a run. CUT TO :", "EXT. COURTYARD - MORNING WE HEAR IVY COUNTING UNDER HER BREATH AS SHE RUNS. IVY Eighteen -- nineteen -- twenty -- On the twentieth step she reaches the end of the path and makes the turn around a cabin into the courtyard. THERE IS A COMMOTION ALL AROUND HER. SHE HEARS KNOCKS AND DOORS OPENING AND CLOSING. ELDERS YELL OUT. AUGUST -LRB- O.S. -RRB- Are there any injured in here? ALICE -LRB- O.S. -RRB- Has anyone been hurt in this home? Ivy runs past all the voices. She runs past all the frantic people and movement. THE SOUNDS OF COMMOTION ARE BEHIND HER. She crosses the entire courtyard, brushing people as she runs. She reaches the quiet part of the village ; the part not searched yet. Her feet hit the walking path stones similar to the ones near her house. She drops her walking stick and keeps going. She reaches a turn in the path and goes in the wrong direction before realizing and changing directions. She starts running again. Her hair comes flying out from its bindings. IVY -LRB- exhales -RRB- -- Twenty-two -- twenty-three. She comes to a quick stop and puts her hands out. She feels the wood of the front door of the Hunt cabin. She pushes it open. CUT TO :", "INT. HUNT CABIN - MORNING She steps into the silent cabin. IVY Lucius? Ivy uses her hands to find the first piece of furniture. It's a chair. She walks around it. IVY Lucius Hunt you answer me this moment! Ivy moves slowly across the room, heading towards Lucius' loft. Her foot HITS SOMETHING. SHE STOPS. She is now standing in the middle of the cabin. Ivy bends down and gropes with her hand. Her hand comes back dripping. Ivy kneels to the ground and searches with her hands for Lucius' head. She finds his shoulders and pulls with all her strength to get him onto her lap. THERE ARE VOICES AND NOISE OUTSIDE. FOOTSTEPS ARE HEARD. A young man steps into the doorway. He is instantly stopped by what he sees. He quickly runs away. WE HEAR MANY FOOTSTEPS NOW. Edward Walker is the first one in the doorway. He begins shaking his head violently. Tears instantly fall over his anguished face. WE HEAR MORE FOOTSTEPS APPROACH. The area behind Walker gets filled with villagers. Edward Walker gathers himself for a moment. He speaks to those closest behind him. WALKER Do not let Alice Walker come here. A handful of those in shock behind him, leave. Ivy Walker sits on the floor of the cabin with a bloodied lump of clothes and flesh in her arms. She looks in the direction of her father's voice. IVY -LRB- desperate -RRB- I can not see his color. CUT TO :", "EXT. SICK CABIN \u2013 DAY The entire congregation of the village waits outside the sick cabin. Everyone is silent. All watch the windows of the narrow cabin. A FLAG OF WHITE FLIES at half mast next to the cabin. Ivy walker listens TO THE SNAP OF THE WHITE FLAG. A door to the cabin opens. Mrs. Clack walks out and approaches the group. She glances at Ivy and then looks to the group. MRS. CLACK It is best to be direct at moments such as these. He has suffered a great deal. He is very weak. He may pass at any time. Some women in the group begin to cry. Parents hold their children a little tighter. MRS. CLACK Please give him all your prayers and good thoughts. He will hear them. Ivy concentrates on the SOUND OF THE FLAG. She listens to the RHYTHMIC SNAPS. Then slowly, her face begins to tremble. She finally begins to cry. CUT TO :", "INT. THE QUIET ROOM \u2013 DAY The heavy wooden door to the quiet room is being unlocked. Robert Percy turns from the door. His face ashen. He steps aside. Ivy moves to the door. She opens it. Next to the sacks of potatoes, in the corner of shades, Noa h Percy sits in the only chair in the room. He sits eerily straight up. When he sees who it is, he smiles. The CHAIR CREAKS AS HE STANDS. Ivy walks straight to THE SOUND. She reaches for his face. Finds it... and CRACKS HIS FACE WITH A VIOLENT SLAP. Noah covers his face with his hands. She slaps him again and again. Her hands hitting his ears, his hands. She stands there hitting him. He stands there taking it. Robert Percy takes hold of her and gently pulls her off him. After a moment, she stops raising her hand. She lets herself be quietly taken form the room. The door is closed again. Locked again. FROM INSIDE THERE IS A SUDDEN BURST OF SCREAMS. IT DIES DOWN TO A WHIMPER. CUT TO :", "INT. SICK CABIN \u2013 DAY One of the oldest of the elders, VICTOR, stands near the door to the sick cabin with Tabitha and Edward Walker. In the background we can see Alice Hunt sitting next to the only occupied cot. There are low sounds coming from the lump that is Lucius. The three elders in the doorway, speak in whispers. TABITHA -LRB- whispers -RRB- I am very worried for Alice. She will not speak. EDWARD -LRB- whispers -RRB- Her son is to die. There is nothing to say. Beat. Edward turns to Victor. EDWARD -LRB- whisper -RRB- There is nothing to say. Victor am I correct in that statement? Victor shakes his head. VICTOR -LRB- whisper -RRB- There were six wounds inflicted. Five of the wounds are not life threatening. The sixth was made to the chest. When I listen to his breastplate, I can not hear airflow as I should. The sound is deadened. He is having greater and greater difficulty breathing. EDWARD -LRB- whisper -RRB- What can be done to mend him? VICTOR -LRB- whisper -RRB- We can only pray. Beat. EDWARD -LRB- whisper -RRB- If there were no limitations, what could be done? Tabitha's eyes move to her husband's. Victor looks directly at Edward who stares back quietly. Beat. VICTOR -LRB- whisper -RRB- What are you asking me? EDWARD -LRB- whisper -RRB- Is there anything at all that can be done to mend the boy? Beat. Edward's eyes are tearing up. EDWARD -LRB- whisper -RRB- Please Victor, would you be so kind as to answer my question... Tabitha and Victor stare in stunned silence. Beat. VICTOR There is one other option. CUT TO :", "EXT. WALKER PORCH \u2013 DAY Ivy Walker sits still in a rocker on the porch of her cabin. She does not look over as her father comes onto the porch and stands by her. Beat. IVY Has he passed? WALKER No. -LRB- beat -RRB- You know the moment I heard my child's vision had finally failed her, and that she would forever be blind, I was sitting in that very chair. -LRB- beat -RRB- I was so ashamed. IVY -LRB- soft -RRB- Why? WALKER -LRB- soft -RRB- For not protecting you. -LRB- beat -RRB- Could we take a walk Ivy? CUT TO :", "EXT. WALKING PATH \u2013 DAY Edward and his daughter move along a walking path. Edward leads her off the path onto the grass. They continue walking. WALKER What do you know about your grandfather? IVY He was the wealthiest man in the towns. WALKER That he was. He had a gift for that. If he was given one dollar, in less than a fortnight he would have turned it into five. You do not know of money. It is not a part of our life here. Money can be a wicked thing. It can turn men's hearts black... Good men's hearts. My father could not see this. For all his gifts, he was a poor judge of a man's character. Your grandfather was a good man Ivy. He had a laugh that could be heard three houses away. He used to hold my hand as I hold yours. -LRB- beat -RRB- He taught me strength and showed me love and told me to lead when others would only follow. -LRB- beat -RRB- Your grandfather James Walker, died in his sleep. A man put a gun to his head and shot him while he dreamed. I tell you this, so you will understand some of the reasons for my actions and the actions of others. -LRB- beat -RRB- You are a strong one Ivy. You lead when others would follow. You see light when there is only darkness. I trust you among all others. They stop walking. IVY Thank you father. WALKER Ivy do you know where you are? IVY At the old shed that is not to be used. They stand next to a worn shed hidden in tall grass. Edward opens the lock on the small shed. WALKER Ivy... IVY Yes, father. WALKER Do your best not to scream. IVY What? CUT TO :", "INT. SHED \u2013 DAY WE ARE IN THE DARKNESS OF A SHED. LIGHT POURS IN AS EDWARD OPENS THE DOOR. He steps in. He puts out his hand and helps Ivy inside. IVY There is an odd smell. WALKER It is ahead of you. IVY What is it? WALKER I can not explain in words. -LRB- beat -RRB- It is just a few steps. Beat. Ivy steps forward. Her hands go out -\u2013 searching. Her fingers reach into the shadows of the shed. She touches something. Her hand glides over the GLISTENING FUR. Her fingers graze the TEETH. IT MOVES. Ivy pulls back and stifles a scream with her own hands. Edward catches her. IVY -- Those We Do n't Speak Of. Edward holds her gently. WALKER Do not be frightened. It is only farce. WE SEE IN THE DARKNESS NOW. HANGING FROM WOODEN RAFTERS ARE NINE OR TEN SUITS OF FUR AND CLAWS. EACH ONE HAS A HUMP -- EACH HAS DARK AND LIFELESS EYES. THE COSTUMES CREAK AS THEY SWING SLIGHTLY ON THEIR HOOKS. CUT TO :", "EXT. BEHIND OLD SHED \u2013 DAY Ivy is seated in the grass with her back to the shed. Edward stands near her. WALKER There did exist rumors of creatures in these woods. It is in one of the history books I used to teach in the towns. Ivy nods as if she understands. IVY The ceremony of meat. WALKER We remove it ourselves. An elder is always assigned. IVY The drills? They are farce too? WALKER We did not want anyone to go to the towns Ivy. IVY What about the animals? The skinned ones? Are the elders responsible for that too? WALKER It was not us. We do not know what did that. Beat. Ivy's face begins to tremble. Edward kneels down. Edward Walker reaches out and takes Ivy's hand in his. He places a TINY FOLDED PAPER in her hand and closes her fingers over it. WALKER -LRB- whispers -RRB- On this paper has been written a tool of medicine. It is common in the towns. Ivy looks up. Edward holds his hands tight over his daughter's closed fingers. WALKER -LRB- whispers -RRB- Lucius Hunt will pass if he does not receive this soon. He may pass regardless. -LRB- beat -RRB- You are to go with two others and follow the path near the stream. A half day's journey will bring you to a hidden road. There, the two others will wait as you continue. You alone will follow the hidden road to the end of Covington Woods. -LRB- beat -RRB- You are to tell no one in the towns where we are and return with haste. -LRB- beat -RRB- You gave your heart to this boy. His mother is in need. Are you ready to take on this burden, which, by right, is yours and yours alone? Father and daughter are crying. They are leaning towards each other now. Their foreheads almost touching. IVY -LRB- whispers -RRB- I do. CUT TO :", "INT. WALKER CABIN \u2013 DAY Edward Walker sits at the small table next to the stove. He waits outside the open door to Ivy's bedroom. Through the doorway we see her packing a cloth bag. Her yellow cloak lies on the bed. CUT TO :", "EXT. COURTYARD \u2013 DAY Ivy moves through the courtyard. Her walking stick moves steadily back and forth. Her cloth bag is stuffed and hangs against her back. CUT TO :", "EXT. RESTING ROCK \u2013 DAY Ivy sits in her yellow cloak. Her hood is up over her head. She sits on the enormous rock embedded in the base of the hill. Her hand moves under her hood. She looks like she's wiping tears, but we can not see her face. Ivy just sits there... gathering strength. THERE IS A NOISE. She looks up. Two cloaked figures emerge from the path. They stand in silence across from her. CUT TO :", "INT. SICK CABIN \u2013 DAY Alice sits in a chair to the side of Lucius' bed. Lucius lies under the sheets asleep. His hair is damp. His face is white. His breathing is shallow and labored. THE SOUND OF THE DOOR TO THE CABIN OPENING AND CLOSING CAN BE HEARD. Edward walks into the cabin. He moves towards Alice and Lucius. They are the only three in the cabin. Beat. EDWARD -LRB- soft -RRB- Alice, I have sent for help. Alice looks up. Beat. EDWARD -LRB- soft -RRB- I have sent Ivy to the towns. Now Alice stands. ALICE -LRB- soft -RRB- -- You can not Alice starts crying. Edward wants to touch her. He leans towards her. EDWARD -LRB- soft -RRB- It is all that I can give you. -LRB- trembling -RRB-... It is all that I can give you. Alice looks at the man standing so close to her. She looks in his childlike eyes. ALICE -LRB- soft -RRB- I accept. They stand together, almost touching. They both are trembling. Beat. Edward gently nods and steps away. Alice slowly takes a seat next to her son. She holds her son's hand tight. CUT TO :", "EXT. BORDER NEAR CREEK \u2013 DAY Three cloaked figures move towards the line of trees at the start of the woods. The two large figures flank the smaller one. They all carry cloth bags on their back. There is a creek to their right. It travels from the woods into their valley. The three stop at the border. We see their faces under their hoods. Ivy Walker is in the center. To her one side, is Christop Crane. To her other side is Finton Coin. Ivy's fingers run over the yellow slash of paint on the tree bark. She listens and hears the SNAPPING OF THE YELLOW FLAG ABOVE HER. YELLOW FLAGS SNAP IN THE DISTANCE ON THE EITHER SIDE OF HER. Finton glances to the soil and sees the claw marks in the dirt just in front of them. He looks over to Christop who has seen them too. Finton looks like he may faint on the spot. Ivy is the first to move. She holds out her stick and takes a step. Her foot presses into the dirt amongst the large clawed footprints. The others follow. Ivy steps into the woods. She makes it to her sixth step before Finton's trembling hand touches her shoulder. She turns to him. FINTON Christop. Ivy turns and faces back the way she came. Christop stands on the other side of the border. He has not stepped into the woods with them. IVY Christop make haste. Christop stands crying at the forbidden line. CHRISTOP -LRB- crying -RRB- I beg your pardon. IVY You need n't be scared. You were told. CHRISTOP -LRB- crying -RRB- I will be unable to join you. IVY They had costumes Christop. FINTON Please Christop, do not leave us. IVY There is nothing to fear. CHRISTOP -- Then why do you wear the cloak of the safe color? Finton looks at Ivy wearing her yellow cloak. Her hood is up. He realizes the truth in what Christop is saying. IVY We will light torches. It will be safe. Ivy stares in the direction of Christop's voice. Her eyes are steeled. IVY Do not worry what will happen. Only what needs to be done. Christop wavers for a second. Beat. He is still crying as he backs away. CHRISTOP -LRB- crying -RRB- It is forbidden. Finton watches as Christop backs away. He turns and moves down the slope out of sight. Beat. IVY Come if you are coming. Finton turns and finds Ivy walking into the woods. Her walking stick taps trees as she moves. Finton stands where he is. He lets her get ten feet away before running and catching up to her. CUT TO :", "EXT. TREE TOPS \u2013 DAY We look down from the branches of the trees. Below us is a bed of leaves and dirt. The leaves come to life and begin swirling in agitation. The wind moves through the trees like a presence. Down below, two specters in yellow move through the woods. Their hoods pulled tight over their scared faces. CUT TO :", "EXT. BACK OF SICK CABIN \u2013 DAY The elders have gathered behind the sick cabin. They wait and watch as August Nicholson comes around the corner. He hurries over. AUGUST -LRB- whispers -RRB- I had a difficult time getting away. -LRB- beat -RRB- What is it? Everyone turns to Edward. He gathers himself before he speaks. EDWARD -LRB- whispers -RRB- I have sent Ivy to the towns to retrieve medical supplies. The elders are stunned. Mr. and Mrs. Percy stand like ghosts. MRS. CLACK What have you done? EDWARD Lucius has a chance -- MRS. CLACK We have agreed, never to go back -\u2013 never. EDWARD What was the purpose of our leaving? Let us not forget, it was out of hope of something good and right. MR. PERCY You should not have made decisions without us. You have gone too far. EDWARD I am guilty Robert. I made a decision of the heart. I can not look into Alice's eyes and see the same look I see in August's. It is too painful. August stares at Edward. EDWARD I can not bare it. MRS. CLACK You have jeopardized everything we have made. EDWARD Yes I have. I hope I am always able to risk everything for the right and just cause. If we did not make this decision -\u2013 we could never again call ourselves innocent. And that in the end is what we have protected here -\u2013 innocence. -LRB- beat -RRB- That, I am not ready to give up. Beat. AUGUST There is still hope. Edward looks to August and smiles. EDWARD Yes there is my dear friend. MRS. CLACK How could you have sent her? She is blind. Edward stares at Mrs. Clack. EDWARD I sent her because I trust her. And it is in her blindness that our town's hope lives. Beat. They all stand in silence. CUT TO :", "EXT. WOODS \u2013 AFTERNOON Two torches have been lit and fit atop two thick branches stuck into the ground. We hear the SIZZLE OF TINY RAIN DROPS AS THEY HIT THE FOREST FLOOR. Ivy and Finton tie a heavy cloth trap by its corners to nearby trees. They are racing the growing drizzle around them. CUT TO :", "EXT. TENT \u2013 LATE AFTERNOON Finton and Ivy are seated with knees to their chests under the cloth tarp. THE OVERWHELMING SOUND OF A DOWN POUR ECHOES THROUGHOUT THE FOREST. Finton stares through the gray wall of pounding rain all around him. Everything is a blur. In the haziness of the world of trees around him, THERE IS A THING OF DARKNESS. Finton leans forward a bit as he stare more intently. Rain continues to cloud and obscure his view. THE THING OF DARKNESS FAR AWAY SEEMS TO FLICKER AND MOVE. Finton's mouth opens a bit as he stares. THE THING OF DARKNESS SEEMS TO GET SMALLER AND THEN GETS WASHED AWAY BY THE RAIN. Finton waits and watches. There is nothing to be seen but the constant downfall of rain. Beat. Finton turns to Ivy. She remains huddled and quiet. Finton turns back to the rain and looks around nervously. CUT TO :", "EXT. TENT SITE \u2013 DUSK The rain has stopped. Finton stands with his bag over his shoulder. He peels away layers of soggy cloth from the torches. FINTON They are useless. Finton turns and walks slowly over to Ivy who stands by the tent. Beat. FINTON Ivy. IVY You may go. FINTON Darkness will be here soon. IVY It is always here for me. FINTON It is not too late to return. -LRB- beat -RRB- There must be another way to help Lucius. Beat. Ivy continues to stand with her back to Finton. FINTON Do not pretend you do not feel it. There is something in these woods. It turns my stomach to rot. The elders themselves admit there were stories of creatures in these woods long before they arrived. Ivy does not turn to face him. Beat. FINTON -LRB- emotional -RRB- You will be safe. They will not harm you because you can not see. They will take pity on you as they took pity on Noah when he ventured into the woods. -LRB- beat -RRB- They will kill me Ivy. I can not stay. We see Ivy's face. She is frightened. IVY It is my burden, Finton. You may go. When she hears THE SOUND OF FINTON'S FOOTSTEPS RUNNING AWAY, all she can do is close her eyes. CUT TO :", "EXT. TENT \u2013 NIGHT The forest has turned to shadows and black. There is a small figure huddled under the cloth tarp. She is huddled under her yellow cloak. Her hood is pulled low over her face. She lets only her tired eyes peek through. THE SOUND OF THOUSANDS UPON THOUSANDS OF CICADAS FILL THE AIR WITH THEIR HIGH PITCHED VIBRATO. THE SOUND SEEMS TO GET LOUDER AND LOUDER. UNNATURALLY LOUD. Ivy has to cover her ears. Her head bows and we lose sight of her eyes. CUT TO :", "EXT. WOODS \u2013 MORNING A slender hand is held out in the air. It slowly pivots till A PATCH OF SUN WASHES OVER ITS PALM. Ivy uses the heat from the sun to guide her direction. Ivy's silhouette moves against the harsh slant of the morning sun. Her cane moves back and forth in front of her. Tap. She adjusts and moves around a tree. Her feet are stepping in mud. She keeps moving. Tap. She adjusts and continues forward. He left foot lands in deeper mud. She pulls it out and keeps going. Tap. She changes position and takes a step. THERE IS NO GROUND WHERE SHE STEPS. HER HANDS GO OUT AS SHE FALLS. SHE GRABS THE EARTH AS IT SLAMS INTO HER ARMS. SHE IS HANGING ON AN EDGE. SHE TRIES TO PULL HERSELF UP. THE GROUND IS ALL MUD -\u2013 SHE BEGINS TO SLIDE. SHE FLAILS AS SHE DISAPPEARS INTO THE HOLE IN THE FOREST. WE WATCH FROM ABOVE as she comes to a stop ten feet down the hole's wall. CUT TO :", "EXT. HOLD \u2013 MORNING Ivy is in a hole about fifteen feet deep. At the bottom there are the SOUNDS OF WATER RUNNING OVER ROCKS. Her walking stick has wedged into the roots of some trees that are sticking out in this hole in the ground. Some loose rocks and dirt come free as Ivy finds her footing in the mud wall. The debris falls to the rock floor. Ivy catches her breath before pulling herself up. CUT TO :", "EXT. WOODS NEAR HOLE \u2013 MORNING We see her stick climb over the edge of the hole. Her hand is the next in view as it takes hold of some roots to drag herself out. She finds the base of a tree and moves to standing. Her fingers travel over an unusual CROOKED BRANCH of the tree. She ducks under it and steps away from the hole. She takes a couple heavy breaths... and begins to laugh. It is a tired laugh as she whips her hands at her sides to get the thick mud off her fingers. She puts her hand to her cloak. It comes away full of mud... She slowly stops smiling. Her other hand goes to the surface of her cloak. It comes away with slick mud. WE SEE IVY NOW, FULL FIGURE. HER CLOAK AND HOOD IS COATED IN MUD. HARDLY ANY OF THE SAFE COLOR YELLOW CAN BE SEEN. Ivy starts wiping the mud from her cloak. Her movements are even at first and then become more desperate as her hands just slide over the slick mud. We watch her in SILHOUETTE frantically trying to wipe off the mud. CUT TO :", "EXT. WOODS \u2013 DAY The mud caked figure of Ivy moves through the forest. Her walking cane swings back and forth. Tap. Crack. Ivy stops walking. She runs her hand over the cane and finds it fractured three-quarters of the way down. Her fingers tremble over the crack. She takes hold of each end and checks its strength. THE CANE SNAPS. THE SOUND ECHOES THROUGH THE AIR. A moment later, WE HEAR ANOTHER SNAP SOMEWHERE FAR AWAY. Ivy turns. Beat. She remains still under her hood. We watch as she slowly lowers to the ground. Her hand reaches out to the ground. Her fingers search the leaves. After a moment, her hand finds a rock. She hesitates, and then throws the rock as far as she can. It lands with a CRUNCH IN A BED OF LEAVES. Ivy stays crouched and listens. THE WIND RUSTLES. Beat. AND THEN WE HEAR IT -- THE IDENTICAL SOUND OF A ROCK LANDING IN A BED OF LEAVES SOMEWHERE BEHIND HER. Ivy rises in terror. Her hood slips off her head as she starts to move. Her hands go out in front of her as she begins to run. Branches slap at her arms and face. Her hand slams into a tree, she SCREAMS IN PAIN. She tries not to stop, she moves around it and keeps running. Another tree catches her shoulder. She spins and almost falls to the ground. She clutches her shoulder as she gathers her balance. She keeps running. She holds her hand up as she runs through a collection of small branches. They shatter against her forearm. She does not stop. Ivy's hands start waving in front of her like her walking stick. She is running as fast as she can. SHE PASSES INCHES FROM A LARGE TREE THAT WOULD HAVE CRUSHED HER. She keeps running. The branches stop striking her arms. She is racing through a slight clearing. She is out of breath. She slows and stumbles to an exhausted stop. She breathes slowly and looks around, listening in all directions. WE PULL BACK AND SEE SHE IS STANDING ALONG A HILLSIDE COVERED IN RED FLOWERS. THE BAD COLOR BLANKETS THE GROUND ALL AROUND HER. Beat. AS HER BREATHING BECOMES SOFTER AND MORE NORMAL ANOTHER SOUND CAN BE HEARD. IT IS ALSO BREATHING, BUT IT IS MORE ANIMAL IN NATURE -\u2013 STRONG SNORTING SOUNDS -\u2013 HORSE LIKE. Ivy turns slowly in a circle till she finds the direction of the SLOW ANIMAL SNORTING. Beat. STANDING FORTY FEET AWAY FROM HER IS THE LARGE DARK UPRIGHT FIGURE OF A HUMPED CREATURE. IT STANDS WITH ITS BACK TO IVY. THIS CREATURE IS LARGER AND HAIRIER THEN THE COSTUMES THE ELDERS HAD. THE CREATURE ROCKS A BIT SIDE TO SIDE LIKE ITS AGITATED. Ivy moves ultra-slow. She begins backing up. She makes it a few feet before bumping up against the thick trunk of a tree. THE CREATURE REMAINS WHERE IT IS, WITH ITS BACK TO US, ROCKING BACK AND FORTH. Ivy edges around the trunk of the tree. She moves around it till she is hidden. WE LOSE SIGHT OF THE CREATURE FORTY FEET AWAY. Ivy has her back to the bark. Her chest rises and falls with her panicked breaths. She listens. WE CAN NOT HEAR THE ANIMAL BREATHING. Beat. Ivy leans back around the tree slowly. WE SEE FORTY FEET AWAY, THE CREATURE IS NO LONGER THERE. WE SUDDENLY HEAR A VERY LOUD ANIMAL SNORT. Ivy jerks back. Ivy's face tilts down. WE SEE AT THE BASE OF THE TREE, AN ENORMOUS MOUND OF FUR. THE MOUND SHAKES AS IT BREATHES OUT LOUDLY. THE CREATURE LIES ON THE OTHER SIDE OF THE TREE. Ivy begins the longest walk of her life. Her striking face remains quiet with exhaustion and fear as she keeps moving. The tree in the background behind her gets smaller and smaller. She gets a hundred feet away before we HEAR THE ANIMAL GROWL LOW AND MENACING. Ivy stops. She has to turn and face the sound. THE CREATURE IS NOW STANDING NEXT TO THE TREE. WE BARELY SEE ITS DULL LIFELESS EYES UNDER ITS FUR. There the two face each other across a hundred feet of woods. There is a terrible stillness ; the kind of stillness people often feel before something awful is about to happen. Suddenly the creature starts moving in long and fast strides towards Ivy. Ivy reacts too slow to the ON COMING SOUND. She turns and begins running... THE ANGRY ANIMAL SOUNDS GAIN ON HER... SHE SCREAMS... THE FIRST BLOW IS FAST AND SUDDEN. ALL WE SEE IS FUR AND CLAWS. IVY IS KNOCKED TO THE GROUND VIOLENTLY. THE CREATURE CONTINUES PAST HER MOVING INTO THE WOODS. WE SEE IT START TO TURN BACK ABOUT FIFTY FEET AWAY -\u2013 LIKE A BULL IN A BULL FIGHT. Ivy get ups. She has a set of fresh cuts along the side of her neck. Ivy turns and runs into the thickest part of the forest. CUT TO :", "EXT. DENSE WOODS \u2013 DAY Her hands go out again as branches and trees close in around her. She fights her way through. HER OWN BREATHING, AND THE BREAKING OF BRANCHES AND THE CRUSH OF LEAVES FILL HER EARS AS SHE RUNS. A tangle of branches from a clump of trees slows her. She slaps and strikes at the branches. They snap and break off. She runs untill she can run no more. She slows out of pure exhastion. She comes to a stop. Her hands hold onto a thick branch in front of her as she rests. THERE ARE NOISES BEHIND HER. She is too tired to move. Her hands tremble on the branch. THE NOISES GET LOUDER. Her fingers slide over the CROOKED BRANCH. Her fingers stop with recognition. They go back over the crooked bend in the branch. WE HEAR LOUD MOVEMENT -- GALLOPING IN THE DRY LEAVES. BRANCHES SNAP QUICKLY BEHIND HER. Ivy steps around the branch. Beat. Ivy closes her eyes... THE CREATURE STRIDES TOWARDS HER... Ivy raises her arms at her sides. Her body makes the form of the crucifix. She stands steady as THE SOUNDS OF THE CREATURE RUSH TOWARDS HER... She holds. THE CREATURE IS SUDDENLY UPON HER... At the last possible second, she moves. It is fast and unexpected. HER FEET SLIDE ON THE MUDDY EDGE AS SHE DIVES QUICKLY TO THE SIDE... THE CREATURE'S CLAWS JUST GRAZE HER MUDDIED ROBE AS IT DROPS INTO THE HOLE IN THE WOODS. CUT TO :", "INT. QUIET ROOM \u2013 DAY The door to quiet room is unlocked. Robert and Vivian Percy open the door. They hold food in a wooden plate in their hands. VIVIAN PERCY Noah? They step into the musty room. Their eyes go to the center of the room's floor. A handful of floorboards have been pulled up. In the hole beneath the floor boards THERE ARE CHICKEN FEATHERS AND BITS OF ANIMAL FUR. A PATCH WHERE TWO FUR PIECES HAVE BEEN KNITTED TOGETHER LIES ON THE WOODEN FLOOR BY THE OVERTURNED FLOOR BOARDS. Vivian Percy drops the plate of food. In the back of the quiet room, the potato sacks have been pushed aside. Where they sat against the wall is an opening three feet in width and height. HARSH SUNLIGHT POURS IN THROUGH THE OPENING. CUT TO :", "EXT. HOLE IN WOODS \u2013 DAY The creature lies utterly still. WE SEE THE CREATURE'S FUR IS RAGGED AND MADE UP OF DOZEN AND DOZENS OF ANIMAL FURS PATCHED TOGETHER. THE CHICKEN FEATHERS THAT HAVE FILLED IT'S HUMP HAVE SPILLED OUT OVER THE VIOLENTLY SHAPED ROCKS THAT THE CREATURE IS LAYING ON. ITS HEAD LAY HALF ON AND HALF OFF. Noah Percy is bloodied and crying. A surge of pain makes his face a tight knot of strain. He gasps as his boyish eyes dart around in panic. He wants to scream. He ca n't. A wave of pain crushes his face again and then slowly relaxes. He makes small whimpering sound. Tears fall down his cheeks. He does not make another sound. His eyes stare forever frozen in a moment of a young boy's shock. WE SEE THE SILHOUETTED FIGURE OF IVY STANDING ON THE EDGE OF HOLE LOOKING DOWN. SHE IS LIKE A GOTHIC HOODED FIGURE against the bright sky. CUT TO :", "EXT. EDGE OF HOLE \u2013 DAY Ivy listens for noises below. None comes. She backs away form the edge. She turns and shakily moves through the tangle of branches. Her hands find the crooked branch. She feels its strength and then takes hold of it. She pulls and tugs at it until she feels it crack. She pulls down with all her weight and the thick branch snaps off. CUT TO :", "EXT. WOODS \u2013 DAY Ivy's new walking stick moves back and forth in front of her. TAP. It hits a tree, she moves around it. The wind starts to blow hard. Leaves start to swirl around her. THEN SHE HEARS THE FIRST WAIL FROM THE WOODS. Her stick stops moving. THE WAIL IS LIKE A SCREAM AND IT IS NOT HUMAN. THE FIRST WAIL IS JOINED BY ANOTHER AND THEN ANOTHER. THE SCREAMS AND WAILS COME FROM ALL DIRECTIONS. THE SOUND IS OVERWHELMING. Ivy drops her stick and covers her ears. WE SEE WHAT SHE CAN NOT... THE TREES IN THESE WOODS HAVE HOLES THROUGH THE CENTERS OF THEM. WE WATCH AS WIND TRAVELS THROUGH THESE HOLES AND CAUSES A SOUND... A SCREAM. IVY -LRB- yelling -RRB- It is for love that I am here! I beg you to let me pass! Beat. THE SCREAMS CONTINUE FORM THE WOODS AS THE LEAVES KEEP SWIRLING. Ivy's hands lower from her ears. WE HEAR NON-HUMAN SCREAMS FROM FAR OFF IN THE WOODS. Ivy reaches down and finds the branch she was using as a walking stick. She rises to her feet defiantly. IVY -LRB- crying -RRB- It is for love -- THE SCREAMS AND WAILS SEEM TO MOVE AND SWARM AROUND HER. She takes her first step. She is trembling but finds strength to take a second. Her stick starts moving back and forth as her steps turn into a walk and her walk turns into a run. CUT TO :", "INT. SICK CABIN \u2013 AFTERNOON Lucius Hunt struggles hard to breathe. Alice Walker keeps a steady watch over her son. Edward Walker steps next to her chair. He watches Lucius fighting to live. EDWARD -LRB- soft -RRB- His will to live is very strong. Alice turns in Edward's direction. ALICE -LRB- soft -RRB- Love of your daughter makes him strong. Edward nods. He moves towards the entrance to the sick cabin. His wife Tabitha waits for him there. He opens the door and he and Tabitha exit together. CUT TO :", "EXT. GRAVEL ROAD \u2013 AFTERNOON Ivy's stick moves back and forth through high weeds. She holds her palm out and continues to check the location of the sun. Suddenly, the weeds are gone. The stick moves back and forth unimpeded. THERE IS A CRUNCH UNDER HER FEET. Ivy stops. She taps her stick to the ground and HEARS THE SMALL TICKS OF STONES. Ivy instantly becomes agitated and excited. She starts moving forward, her STEPS CRUNCHING UNDERNEATH HER. She moves until she feels her stick hitting weeds again. She knows the width of the GRAVEL ROAD she is on. She turns around and counts her steps back to the centre. She holds her hand up and searches for a patch of sun. She finds it. She turns and faces her body east. Ivy is breathing heavy form excitement. She starts forward. With each step there is a CRUNCH. THE CRUNCHES START TO GET CLOSER TOGETHER AS IVY STARTS PICKING UP HER PACE. Ivy removes the cloth bag from her shoulder. She lets it drop to the gravel and dirt as she walks. She starts walking faster. Ivy starts tugging at her mud caked cloak. She juggles her walking stick as she pulls the dirty cloth over her head. She slips her arms out of the tangled cloth and drops the crumpled cloak to the gravel and dirt floor. Ivy starts running. CUT TO :", "INT. WALKER CABIN \u2013 AFTERNOON Edward Walker and Tabitha are standing in their cabin. They are holding hands. The cabin is silent. There is no one else there. Edward gently lets go of his wife's hand and moves to the corner of the cabin. Tabitha's eyes follow her husband. She turns and walks to the front door and closes it. We watch her put the wooden plank in place to lock it. CUT TO :", "EXT. WALL OF VINES \u2013 AFTERNOON Ivy runs on the hidden dirt and gravel road. Her stick waves low and in front of her. THERE IS A SUDDEN THUD AS THE STICK HITS A PACK OF FOLIAGE. Ivy comes to a quick stop with her hands out. Both hands get swallowed into greenery. Ivy feels around with her hands. There is A WALL OF VINES AND WEEDS IN FRONT OF HER. Ivy moves to her side and finds the wall of foliage continues into the woods. Ivy stops and puts down her walking stick. She reaches up and searches for something to hold. She wedges her foot into a clump of knotted weeds and pulls herself up onto the wall of green. CUT TO :", "INT. WALKER CABIN \u2013 AFTERNOON Edward Walker turns the key of the BLACK BOX. He lifts the lid into its standing position. Tabitha stands at his side. Edward reaches into the darkness of the box. There is some folding clothing. His hands push aside the first layers and take hold of a heavy cloth. He pulls it out. We see its blue unfold as he raises it. Dusts dances off of it and swirls in the air. Tabitha takes a slow breath. Edward Walker stares at it with his sad childlike eyes.", "WE LEAVE EDWARD AND TABITHA WALKER IN THEIR CABIN STARING AT   THE PAIR OF FADED BLUE JEANS EDWARD HOLDS IN HIS HANDS. CUT TO :", "EXT. HIGHWAY \u2013 AFTERNOON WE ARE LOOKING THROUGH A TRUCK'S WINDSHIELD. WE SEE A DASHBOARD WITH A STYROFOAM CUP. WE SEE A HAND HOLDING A STEERING WHEEL. WE ARE MOVING ALONG A HIGHWAY lined on one side by forest. A ten-foot mesh fence covered over with vines and weeds borders the forest. In the distance there is a SPOT OF WHITE climbing down the weed-covered fence. WE ARE MOVING FAST. THE SPOT GETS LARGER. THE WHITE SPOT turns into a figure dressed in white, which lands in the weeds at the side of the highway. WE ARE MOVING ALONG SIDE IT. THE FIGURE IN WHITE IS A GIRL. SHE STEPS OUT IN FRONT OF THE TRUCK. THE DELIVERY TRUCK SWERVES TO AVOID HER ; IT SWERVES INTO THE ONCOMING LANE AND LOSES CONTROL. THE TRUCK ARCS IN THE ROAD ; THE SCREAM OF BRAKES SHATTERS THE AIR. The truck comes to a stop in the middle of the highway. We hear a SNAP as the truck door opens. THE TRUCK DRIVER gets out. He looks frustrated and walks to the girl who stands in the middle of the highway. TRUCK DRIVER I did n't see you -- The striking looking girl stands with her hands at her ears. TRUCK DRIVER Are you hurt? The girl slowly lowers her hands. She stares in his direction. GIRL What was that noise? TRUCK DRIVER What are you doing out here? Beat. GIRL Are you from the towns? The young truck driver looks at the white girl's old-fashioned clothing for the first time. TRUCK DRIVER Where did you come from? Beat. GIRL The woods. You ought not tell anyone. TRUCK DRIVER You need help or something? GIRL A doctor of medicine. I need to find these things. We must hurry. The girl holds out her hand. There is a dirty paper folded in it. The driver steps forward and takes the paper. He unfolds it. Beat. TRUCK DRIVER I have two or three syringes in my first aid kit. You can have them if you want. GIRL You have the things written on the paper? TRUCK DRIVER I think so. -LRB- beat -RRB- Is someone sick? The girl suddenly has tears in her eyes. Beat. She nods, `` yes.'' CUT TO :", "EXT. GAS STATION \u2013 LATE AFTERNOON The same large delivery truck sits at a small country gas station by the side of the highway. The truck driver finishes filling the tank and walks to the tiny wood shingled building that serves as the gas station. There is a bench outside the door to the shingled building. AN OLD WOMAN AND AN OLD MAN are seated there. They are weathered and fairly unpleasant to look at. They are wearing multiple coats each. Their bodies have kind of melted into the bench from years of sitting there. The truck driver steps up. OLD WOMAN Twenty-five dollars please. TRUCK DRIVER Twenty-five? OLD WOMAN Pennsylvania Gas Tax. TRUCK DRIVER Oh. He pulls the cash out of his wallet and hands it over. TRUCK DRIVER Pardon me, but what is that over there? The truck driver points across the highway to the ten-foot fence covered in ivy and weeds that lines the road. OLD WOMAN Private property. TRUCK DRIVER Who lives there? OLD WOMAN No one. It's for animals. Seventy- two thousand acres of woods. No one's loud to step foot in there. They got it fixed so planes ai n't even allowed over it. TRUCK DRIVER But who lives there now? OLD WOMAN No one. Ai n't you listening? -LRB- beat -RRB- Walker family owns it. But they ai n't none of them left. The youngest son, a history professor disappeared some twenty-five years ago. They got some estate watching over it now. Beat. The young driver stands thinking. OLD MAN Why are you all curious? The three of them stare at each other. The truck driver look like he's going to say something. An eternal beat. TRUCK DRIVER Just curious. The young truck driver nods and heads back to his delivery truck. The old man turns to his wife. OLD MAN Pennsylvania Gas Tax? -\u2013 Good one Paula. The old woman laughs a phlegmy, hard laugh that shakes the bench. The truck driver gets into the cab of his truck. He sees through his window the old couple laughing in the bench. He shakes his head. TRUCK DRIVER Crazy-fucking-white people. HE TURNS THE IGNITION ON and pulls away form the country gas station. WE SEE his truck on the highway as it rides along the ten- foot fence that marks the preserve. The weed-covered wall goes on for as long as the eye can see. It stretches out till it disappears into the horizon, like some painting in a children's book. FADE TO BLACK : THE END"], "labels": [1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 1.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 1.0], "summary": "Residents of the small, isolated, 19th-century Pennsylvania village of Covington live in fear of nameless humanoid creatures in the surrounding woods. They have constructed a large barrier of oil lanterns and watch towers that are constantly staffed. After the funeral of a child, the village elders deny Lucius Hunt's request for permission to pass through the woods to get medical supplies from neighboring towns. Later, his mother Alice scolds him for wanting to visit the neighboring towns, which the villagers describe as wicked. The Elders also appear to have secrets, keeping physical mementos hidden in black boxes, supposedly reminders of the evil and tragedy in the towns they left behind. After Lucius makes an unsanctioned venture into the woods, the creatures leave warnings in the form of splashes of red paint on all the villagers' doors. Ivy Elizabeth Walker, the blind daughter of Chief Elder Edward Walker, informs Lucius that she has strong feelings for him and he returns her affections. They arrange to be married, but Noah Percy, a young man with an apparent developmental disability, stabs Lucius with a knife, because he is in love with Ivy himself. Noah is locked in a room while a decision awaits regarding his fate. Edward goes against the wishes of the other Elders, agreeing to let Ivy pass through the forest and seek medicine for Lucius. Before she leaves, Edward explains that the creatures inhabiting the woods are actually members of their own community wearing costumes and have continued the legend of monsters in an effort to frighten and deter others from attempting to leave. Ivy and two young men are sent into the forest, but they abandon Ivy almost immediately, fearful of the creatures, rationalizing they will spare Ivy out of pity. While traveling through the forest, one of the creatures suddenly attacks Ivy. She tricks it into falling into a deep hole to its death. The creature is actually Noah wearing one of the costumes, which he discovered under the floorboards of the room where he had been confined after stabbing Lucius. Ivy eventually finds her way to the far edge of the woods, where she encounters a high, ivy-covered wall. After she climbs over the wall, a young park ranger named Kevin spots Ivy and is shocked to hear that she has come out of the woods. The woods are actually the Walker Wildlife Preserve, named for Ivy's family, as it is the modern era instead of the 19th century as the villagers believe. Ivy gives Kevin a list of medicines that she must acquire, also giving him a golden pocket watch as payment. During this time, it is revealed that the village was founded in the late 1970s. Edward Walker, then a professor of American history at the University of Pennsylvania, approached other people he met at a grief counseling clinic, all suffering the crime-related death of loved ones. He asked them to join in creating a place where they would sustain themselves and be protected from any aspect of the outside world. They built Covington in the middle of a wildlife preserve purchased with Edward's family fortune. The head park ranger tells Kevin that the Walker Estate pays the government to keep the entire preserve a no-fly zone, while also funding the ranger corps who ensure no outside force disrupts the preserve. Kevin discreetly retrieves the requested medicine from his ranger station and Ivy returns to the village with the supplies, left unaware of the truth of the situation. During her absence, the Elders secretly open their black boxes, each containing mementos from their lives in the outside world, including items related to their past traumas. The Elders gather around Lucius's bed when they hear that Ivy has returned and that she killed one of the monsters. Edward points out to Noah's grieving mother that his death will allow them to continue deceiving the rest of the villagers that there are creatures in the woods, and all the Elders vote to continue living in the village. Ivy comes in and tells Lucius that she has returned.", "name": "The_Village_(2004_film)"}
{"scenes": ["A note on design : The majority of the film is to be made in the studio, on a set representing Anthony's flat. As the film goes on, the appearance of the flat will evolve. This development is indicated in the script by numbers 1 to 5, thus : 1. Anthony's flat. 2. Anne's flat. etc. In every case, the space is identical. The d\u00e9cor is the only indication that we might be in a different place. The intended aim is to create uncertainty and the impression of being simultaneously in the same location and somewhere different - ultimately, a hospital. Principal characters : ANTHONY is about 80. He lives on his own in London. He was an engineer and has two daughters, ANNE and LUCY. ANNE is ANTHONY's older daughter. She's a translator, working in London. In the absence of her sister, she looks after her father's daily needs ; she's extremely attached to him. PAUL is a banker who's worked in London for many years. He lives with ANNE. LAURA is a young carer of about 30. She glows with the freshness of youth. THE MAN is a stranger when he first appears. Eventually we learn his name is BILL and that he works in a care home. THE WOMAN is a stranger when she first appears. Eventually we learn her name is CATHERINE and that she works in a care home. EXT. STREET IN LONDON    DAY Music. ANNE emerges from the entrance to a tube station into a London street. She \u2019 s in a hurry, her expression serious. She arrives, across from a familiar block of flats. She crosses the street in such a rush, she \u2019 s almost hit by a taxi. She steps into the building.", "INT.    STAIRS AND LANDING   DAY ANNE climbs the stairs. She arrives on the second floor and rings a bell. Then, impatient, she fetches a bunch of keys out of her handbag and opens the door. ANNE Dad?", "INT.    ANTHONY\u2019S FLAT    DAY ANNE moves from one room to another, her anxiety mounting. ANNE Dad? It \u2019 s me... Are you there? Dad? No answer. Tension rises. She steps into -", "INT.    OFFICE    DAY - ANTHONY \u2019 s office and finds him. He \u2019 s sitting in his armchair, listening to music on his headphones. ANNE Ah, there you are. He \u2019 s surprised to see her. He takes off his headphones immediately. The music we \u2019 ve been hearing cuts out, as if it \u2019 s been coming through ANTHONY \u2019 s headphones. ANTHONY What are you doing here? ANNE What do you think? He seems irritated by his daughter \u2019 s unexpected arrival. She notices the curtains are closed and goes over to open them. She turns towards him. ANNE -LRB- CONT \u2019 D -RRB- So? What happened? He turns off the music. ANTHONY Nothing. ANNE Tell me. ANTHONY I just did. Nothing happened. ANNE Nothing happened? ANTHONY looks at her as if to say : \u201c Nothing at all. \u201d ANNE -LRB- CONT \u2019 D -RRB- I \u2019 ve just had her on the phone. ANTHONY So? What does that prove? ANNE You can \u2019 t go on behaving like this. ANTHONY It \u2019 s my flat, isn \u2019 t it? I mean, this is incredible. You burst in on me as if... I \u2019 ve no idea who she is, this woman. I never asked her for anything. ANNE She \u2019 s here to help you. ANTHONY To help me do what? I don \u2019 t need her. I don \u2019 t need anyone. Abruptly, he decides to leave the room.", "INT.    LIVING ROOM    DAY ANTHONY goes to the piano and starts playing a couple of notes. He turns his back on her as she appears in the doorway. ANNE She told me you \u2019 d called her a little bitch. And I don \u2019 t know what else. ANTHONY Me? He shrugs his shoulders. ANTHONY -LRB- CONT \u2019 D -RRB- Could be. I don \u2019 t remember. ANNE She was in tears. ANTHONY What, just because I called her a... ANNE No. She told me you threatened her. Physically. ANTHONY stops playing the piano and turns back to her. ANTHONY Physically? Me? Obviously she has no idea what she \u2019 s talking about. This woman is raving mad, Anne. Best if she does leave, believe me. ANNE sighs. She looks desperate. ANTHONY becomes aware of this. ANTHONY -LRB- CONT \u2019 D -RRB- Especially as... ANNE As what? ANTHONY Listen... I didn \u2019 t want to tell you... but if you must know, I suspect she was... He breaks off. ANNE looks at him as if to say : \u201c She was what? \u201d ANTHONY -LRB- CONT \u2019 D -RRB- She was stealing from me. ANNE Angela? Of course not. What are you talking about? ANTHONY I \u2019 m telling you. She stole my watch. ANNE Your watch? ANTHONY Yes. ANNE Isn \u2019 t it more likely you just lost it? ANTHONY No, no, no. I already had my suspicions. So I set a trap for her. I left my watch somewhere, out in the open, to see if she \u2019 d pinch it. He illustrates this with a vague hand gesture. ANNE Where? Where did you leave it? ANTHONY Mm? Somewhere. Can \u2019 t remember. All I know is it \u2019 s nowhere to be found. That girl stole it. I know she did. ANNE sits down. She looks winded. ANTHONY -LRB- CONT \u2019 D -RRB- What \u2019 s the matter? ANNE I don \u2019 t know what to do. ANTHONY looks at her as if to say : \u201c What about? \u201d ANNE -LRB- CONT \u2019 D -RRB- We have to talk, Dad. ANTHONY That \u2019 s what we \u2019 re doing, isn \u2019 t it? ANNE I mean, seriously. This is the third one you \u2019 ve... ANTHONY I said, I don \u2019 t need her! I don \u2019 t need her or anyone else! I can manage very well on my own! Obviously, ANNE isn \u2019 t listening ; she continues pursuing her thread, which annoys ANTHONY. ANNE She wasn \u2019 t easy to find, you know. It \u2019 s not that easy. I thought she was really good. A lot of good qualities. She... and now she doesn \u2019 t want to work here any more. ANTHONY You \u2019 re not listening to what I \u2019 m telling you. This girl stole my watch! I \u2019 m not going to live with a thief. ANNE Have you looked in your bathroom cupboard? ANTHONY What? ANNE In your bathroom cupboard. Behind the boiler. Where you hide your valuables. This remark seems to stagger ANTHONY. ANTHONY How do you know? ANNE I just know, that \u2019 s all. ANTHONY Have you been in my cupboard? Anne, tell me the truth. ANNE No! ANTHONY Then how do you know that... I mean... that I sometimes... with my valuables... ANNE I can \u2019 t remember. I must have opened it by accident. ANTHONY looks appalled. He hurries off towards his bathroom. ANNE -LRB- CONT \u2019 D -RRB- Where are you going? I didn \u2019 t touch anything, Dad. He leaves the room. ANNE sighs.", "INT.    ANTHONY\u2019S BATHROOM    DAY ANTHONY goes to his bathroom to look in his hiding-place. He closes the door to make sure no one is watching him. He reappears few seconds later, his watch on his wrist with obvious satisfaction. Then, he heads back towards the... office.", "INT.    LIVING ROOM    DAY ANNE is waiting for him in the living room. She sighs. She knows they can not go on like this... She hardly knows what to make of the situation. She sees the painting on the wall. This is her sister \u2019 s painting. Things would have been easier for her if LUCY were here... She sees ANTHONY step into the office. He turns on the T.V. Has he forgotten she \u2019 s there? Her father \u2019 s absurd behaviour almost makes her smile. She gets up to go and join him -", "INT.    OFFICE    DAY - in the office. He \u2019 s sitting in his armchair, flicking through the channels on his T.V., until he reaches a Fred Astaire movie. He watches Fred tap-dancing, entranced. ANNE appears in the doorway. She looks at him for a moment without saying anything. ANNE You found it. ANTHONY What? ANNE Your watch. ANTHONY Oh. Yes. ANNE You realise Angela had nothing to do with it. ANTHONY Only because I hid it. Luckily. Just in time! Otherwise, I \u2019 d be sitting here talking to you with no means of knowing what time it was. It \u2019 s five o \u2019 clock, if you \u2019 re interested. Myself, I am interested. Pardon me for breathing. ANNE Have you taken your pills? ANTHONY uses the remote to turn off the TV. ANTHONY Yes. But why are you...? You keep looking at me as if there was something wrong. Everything \u2019 s fine, Anne. The world is turning. You \u2019 ve always been that way. A worrier. Like your mother. Your mother was always scared. Always looking for reasons to be scared. Whereas your sister has always been much more... At least she does n't keep badgering me. Pause. ANTHONY -LRB- CONT \u2019 D -RRB- Where is she, by the way? Have you heard from her? No answer from ANNE. ANTHONY -LRB- CONT \u2019 D -RRB- I \u2019 m asking you a question... ANNE I \u2019 m going to have to move, Dad. ANTHONY looks at her, not understanding. ANNE -LRB- CONT \u2019 D -RRB- I \u2019 m going to have to leave London. ANTHONY Really? Why? ANNE We talked about this. Do you remember? Brief pause. ANTHONY doesn \u2019 t seem to know what she \u2019 s talking about. ANTHONY Is that why you \u2019 re so keen on this nurse living with me? Well, obviously it is. The rats are leaving the ship. ANNE I won \u2019 t be here, Dad. I won \u2019 t be able to come here everyday. You need to understand that. ANTHONY suddenly looks fragile. ANTHONY You \u2019 re leaving? When? I mean... why? ANNE I \u2019 ve met someone. ANTHONY You? ANNE Yes. ANTHONY You mean... a man? ANNE Yes. ANTHONY Really? ANNE You needn \u2019 t sound so surprised. ANTHONY No, it \u2019 s just that... since your... What was his name? ANNE James. ANTHONY That \u2019 s right. You have to admit, since James, there hasn \u2019 t been a lot of... What \u2019 s he do, anyway? ANNE He lives in Paris. I \u2019 m going to go and live there. ANTHONY What, you? In Paris? You \u2019 re not going to do that, are you, Anne? I mean, wake up... They don \u2019 t even speak English. Pause. ANTHONY -LRB- CONT \u2019 D -RRB- Do I know him? ANNE Yes. You \u2019 ve met him. Pause. He \u2019 s trying to remember. ANTHONY So, if I understand correctly, you \u2019 re leaving me. Is that it? You \u2019 re abandoning me... ANNE Dad... He suddenly looks really anxious. ANTHONY What \u2019 s going to become of me? She approaches him, her expression tender. ANNE You know, it \u2019 s important to me. Otherwise, I wouldn \u2019 t be going. I... I really love him. Pause. He says nothing. ANNE -LRB- CONT \u2019 D -RRB- I \u2019 ll come back and see you often. At weekends. But I can \u2019 t leave you here all on your own. It \u2019 s not possible. That \u2019 s why. If you refuse to have a carer, I \u2019 m going to have to... ANTHONY To what? Pause. She doesn \u2019 t answer. ANTHONY -LRB- CONT \u2019 D -RRB- To what? ANNE You have to understand, Dad. ANTHONY You \u2019 re going to have to what? She lowers her eyes. Pause. ANTHONY -LRB- CONT \u2019 D -RRB- Anne... you \u2019 re going to have to what?", "INT./EXT.    BEDROOM    DAY ANTHONY stands at his bedroom window. He \u2019 s watching his daughter cross the street and walk away from the block of flats. She doesn \u2019 t look back. He can \u2019 t get over the fact that his daughter - his own daughter - is capable of threatening him in this way. He turns away from the window. He sits on the bed. He thinks for a moment, his expression anxious.", "INT.    KITCHEN    DAY ANTHONY switches on the radio. It \u2019 s a Verdi aria. He hums along with it. He starts making tea. There are shopping bags on the table. ANTHONY seems surprised to see them. Who \u2019 s put them there? He inspects their contents and decides to put the shopping away in the cupboard. He seems to be on top of the situation. There \u2019 s a poster on a wall, some French landscape with a lake, perhaps. Suddenly, he hears a door closing, within the flat. He listens. He switches off the radio, listens again. Footsteps. There \u2019 s someone in the flat. He hesitates for a moment, not sure how to proceed. To reassure himself, he picks up a fork. He leaves the kitchen.", "INT.   ENTRANCE HALLWAY   DAY He approaches the sounds, moving cautiously. ANTHONY Anne? He hears another sound, this time from the living room. ANTHONY -LRB- CONT \u2019 D -RRB- Is there somebody there?", "INT.    LIVING ROOM    DAY He pushes open the door. In the middle of the room, reading his emails on his mobile, is a stranger, a tall, dark man of about 50. The MAN glances up at him, no particular reaction : then resumes reading his smartphone. MAN Everything all right? ANTHONY Who are you? MAN Sorry? ANTHONY What are you doing here? What are you doing in my flat? The MAN looks at him, astonished. MAN Anthony, it \u2019 s me... Paul. ANTHONY What? MAN Don \u2019 t you recognise me? It \u2019 s me, Paul. The MAN takes a step in ANTHONY \u2019 s direction, which causes him to back away. ANTHONY Who? What are you doing here? MAN I live here. ANTHONY You? MAN Yes. ANTHONY You live here? MAN Yes. ANTHONY You live in my flat? That \u2019 s the best yet. What is this nonsense? MAN I... I \u2019 m going to phone Anne. Seeing ANTHONY \u2019 s apparent confusion, the MAN clarifies : MAN -LRB- CONT \u2019 D -RRB- Your daughter. ANTHONY Thank you, yes, I do know who Anne is! Do you know her? You a friend of hers? No answer. The MAN is dialling a number. ANTHONY -LRB- CONT \u2019 D -RRB- I \u2019 m speaking to you. Do you know Anne? MAN I \u2019 m her husband. ANTHONY is caught off guard. ANTHONY Her husband? MAN Yes. ANTHONY But... since when? MAN Coming up for ten years. ANTHONY tries to conceal his dismay. ANTHONY Ah, yes. Of course. Yes, yes. Obviously. Ten years already? Time passes at such a lick... But I thought... Didn \u2019 t you, aren \u2019 t you separated? MAN Who? Anne and me? ANTHONY Yes. You aren \u2019 t? MAN No. ANTHONY Are you sure? I mean... I mean, are you sure? MAN Yes, Anthony. ANTHONY But this thing about France? Wasn \u2019 t she supposed to be going to Paris to... wasn \u2019 t she? The MAN is on the phone. MAN Hello, darling. Yes, it \u2019 s me.", "INT.    INDIAN SHOP    DAY ANNE is choosing a chicken from the cooler in a small supermarket run by Indians. She speaks into the phone. ANNE What \u2019 s the matter?... What?", "INT.    DINING ROOM    DAY The MAN moves into the dining room in order not to be overheard by ANTHONY. MAN No, it \u2019 s just your father isn \u2019 t feeling very well. I think he \u2019 d like to see you. ANTHONY doesn \u2019 t know what to make of the situation. He realises he still has a fork in his hand. He slips it discreetly into his pocket. MAN -LRB- CONT \u2019 D -RRB- Fine, but don \u2019 t be too long. He hangs up, turns to ANTHONY. MAN -LRB- CONT'D -RRB- She \u2019 s just doing some shopping. She \u2019 ll be up in a minute. ANTHONY She told me she was going to go and live in Paris. She told me the other day. MAN Paris? He moves into the Living Room, takes the newspaper. ANTHONY Yes. MAN What was she going to do in Paris? ANTHONY She \u2019 s met a Frenchman. The MAN frowns at him. He knows it isn \u2019 t true. MAN I don \u2019 t think so, Anthony. ANTHONY Yes, she has. She told me the other day. I \u2019 m not an idiot. She told me she was moving. To go and live with him. I even remember telling her it was a stupid idea because, you know, they don \u2019 t even speak English. You don \u2019 t know about this? MAN No. ANTHONY Oops. MAN What? ANTHONY Have I put my foot in it? Brief pause. The MAN is amused. ANTHONY -LRB- CONT \u2019 D -RRB- I \u2019 ve put my foot in it. MAN No, no, don \u2019 t worry. She hasn \u2019 t mentioned it to me, but I \u2019 m sure she was intending to... ANTHONY You didn \u2019 t know anything about the Frenchman? MAN No. ANTHONY Oops-a-daisy... Pause. ANTHONY puts a hand on his shoulder. ANTHONY -LRB- CONT \u2019 D -RRB- Never mind. Chin up. Anyway, they all end up leaving sooner or later. I speak from experience. Brief pause. The MAN heads towards the kitchen to get himself a glass of wine. MAN You want something to drink while we \u2019 re waiting? Glass of water? Fruit juice? ANTHONY No, but I mean... What was I going to say?", "INT.    KITCHEN    DAY The MAN is opening a bottle of wine. ANTHONY joins him. ANTHONY It \u2019 s because of that girl... That nurse... MAN Laura? ANTHONY I \u2019 ve forgotten her name. That girl your wife insists on handing me over to. A nurse. You know about this? As if I wasn \u2019 t able to manage on my own... The MAN heads back to the living room. ANTHONY follows him, continuing to talk to him in the entrance hallway.", "INT.    ENTRANCE HALLWAY    DAY ANTHONY She told me I needed the help of this... When I can manage perfectly well on my own. Even if she does have to go abroad.", "INT.    LIVING ROOM    DAY ANTHONY I don \u2019 t understand why she persists in... Look at me. Take a good look at me... He \u2019 s trying to remember the name of the MAN, who \u2019 s installed himself in the armchair, resolved to read the newspaper and to drink his glass of wine. MAN Paul. ANTHONY That \u2019 s right, Paul. Take a good look at me. I can still manage on my own. Don \u2019 t you think? I \u2019 m not completely... He hunches over like an old man. ANTHONY -LRB- CONT \u2019 D -RRB- You agree? Of course you agree. But her? I don \u2019 t know where this stupid obsession comes from. She \u2019 s always been that way. Ever since she was little. Thing is, she \u2019 s not very bright. Not very... you agree? Not very intelligent. She gets that from her mother. MAN I think she tries to do the best she can for you, Anthony. ANTHONY The best she can, the best she can... I never asked her for anything. I don \u2019 t know what she \u2019 s cooking up against me. But she \u2019 s cooking something up. She \u2019 s cooking something up, that I do know. I suspect she wants to put me in a home for... He pulls a face representing an old man. ANTHONY -LRB- CONT \u2019 D -RRB- Yes, I \u2019 ve seen the signs. But let me make something absolutely clear : I \u2019 m not leaving my flat! I \u2019 m not leaving it! To underline his last sentence, he makes a strong gesture - along the lines of a single firm hand to the table, as if to mark his territory. His force unintentionally sends the chess pieces falling to the ground. The MAN decides to put down his newspaper. MAN This isn \u2019 t your flat, Anthony. ANTHONY Sorry? The MAN gets up from his chair. MAN If you remember, you moved here, I mean you moved to our place while you were waiting for... ANTHONY What? MAN For a new carer. Because you quarrelled with the last one... With Angela. ANTHONY Did I? MAN Yes. Don \u2019 t you remember? That \u2019 s why you \u2019 re staying in our place. While you wait. Pause. ANTHONY looks slightly lost. He looks at the furniture around him. It \u2019 s definitely his flat. ANTHONY So, James... MAN Paul. ANTHONY Yes, Paul... So you \u2019 re telling me, I \u2019 m in your place. MAN Yes. ANTHONY laughs and rolls his eyes. ANTHONY Now I \u2019 ve heard everything. SOUND of the front door opening. ANNE -LRB- O.S. -RRB- It \u2019 s me. ANTHONY Ah, there she is...", "INT.    CORRIDOR    DAY ANTHONY steps into the corridor, anxious to find out what \u2019 s going on : but he \u2019 s confronted not by ANNE, but by a completely different WOMAN. WOMAN is taking off her coat. WOMAN What \u2019 s happening? The MAN has appeared in the corridor behind ANTHONY. MAN Nothing much. Your father seemed a bit... confused. WOMAN Something wrong? Are you all right, Dad? He obviously doesn \u2019 t recognise her. WOMAN -LRB- CONT \u2019 D -RRB- Dad? He recoils as she approaches. He can \u2019 t understand why she \u2019 s calling him \u201c dad \u201d. To him, she \u2019 s a complete stranger. ANTHONY I... What is this nonsense? WOMAN What are you talking about? ANTHONY Where \u2019 s Anne? The WOMAN looks at the MAN. Now it \u2019 s she who seems confused. WOMAN Sorry? ANTHONY Anne. Where is she? She realises he doesn \u2019 t recognise her. She glances anxiously at the MAN. WOMAN I \u2019 m here, Dad... I went downstairs to do some shopping. And now I \u2019 m back. ANTHONY tries to conceal his dismay. ANTHONY I... I see, but... What did you buy? WOMAN A chicken. Sound good? Are you hungry? ANTHONY Why not? He seems lost. And gloomy. MAN Here, let me have it. I \u2019 ll go and fix everything. WOMAN Thanks. He takes the bag and heads off towards the kitchen. They exchange a worried look. ANTHONY wanders back into the living room, baffled.", "INT.    LIVING ROOM    DAY ANTHONY decides to pick up the chess pieces. The WOMAN appears and approaches ANTHONY. She looks genuinely concerned. WOMAN Paul said you weren \u2019 t feeling very well. ANTHONY I feel fine. Thank you. But he looks gloomy. WOMAN You look worried. ANTHONY No, it \u2019 s just... WOMAN Just what? Tell me... ANTHONY I was in the kitchen... Making a cup of tea... I was alone in the flat... Suddenly, I heard a sound... So I came in here and there was your husband... The WOMAN interrupts him. WOMAN Who? ANTHONY Your husband. WOMAN What husband? ANTHONY Well, yours, my dear. Not mine. WOMAN James? ANTHONY Your husband. WOMAN Dad, I \u2019 m not married. ANTHONY Sorry? WOMAN I got divorced more than five years ago. Have you forgotten? ANTHONY What? Well, then, who \u2019 s he? WOMAN Who? ANTHONY Are you doing this on purpose? I \u2019 m talking about... him. Who just left with the chicken. WOMAN The chicken? What are you on about, Dad? ANTHONY Right here, just a minute ago. Did you not hand over a chicken to someone? Clearly, she doesn \u2019 t know what he \u2019 s talking about. ANTHONY -LRB- CONT \u2019 D -RRB- The chicken! A minute ago you were holding a chicken, were you not? A chicken. A CHICKEN! WOMAN What chicken? What are you talking about, Dad? Realising she doesn \u2019 t know what he \u2019 s talking about, he plunges off towards the kitchen in a panic.", "INT.    KITCHEN    DAY ANTHONY arrives in the kitchen. It \u2019 s empty. ANTHONY But he was here just now! He goes to look in the dining room.", "INT.    DINING ROOM    DAY Still nobody. The WOMAN appears on the threshold. WOMAN I think you \u2019 re mistaken, Dad. There \u2019 s no one here. ANTHONY He \u2019 s vanished. The WOMAN smiles. WOMAN Who? The man with the chicken? ANTHONY Your husband. The man with the chicken. Why are you smiling? WOMAN Nothing. Sorry. She reaches out, trying to pacify him. He avoids her and heads for his bedroom. ANTHONY All this nonsense is driving me crazy.", "INT./EXT.    BEDROOM 2    DAY He arrives in the bedroom. It occupies the same space as his first bedroom, but some elements of the d\u00e9cor and furniture have changed - as if he was indeed in a different flat. He \u2019 s aware of this difference. He frowns. He goes to the window. He draws the curtain. It \u2019 s the same view as before, easily recognisable as the London street we saw a little earlier. So as far as he \u2019 s concerned, he \u2019 s obviously still in his flat. The WOMAN appears. WOMAN What \u2019 s the matter, Dad? ANTHONY There \u2019 s something funny going on. Believe me, Anne, there \u2019 s something funny going on! WOMAN Come and sit down. Come on... He goes and sits on his bed. He \u2019 s upset. The WOMAN smiles at him and rests a hand on his. WOMAN -LRB- CONT \u2019 D -RRB- Now don \u2019 t worry. Everything \u2019 ll sort itself out. Mm? ANTHONY I don \u2019 t know. WOMAN Yes, it will. Don \u2019 t worry. Have you taken your medication? ANTHONY What \u2019 s that got to do with anything? WOMAN Let \u2019 s give you your medication. The evening dose. Then you \u2019 ll feel better. She shakes some pills out of a bottle by the bed. Anthony stares out into space. He speaks to her as if confiding a secret. ANTHONY It \u2019 s been going on for some time. Strange things going on around us. Haven \u2019 t you noticed? There was this man claiming this wasn \u2019 t my flat. A really unsympathetic-looking man. A bit like your husband. Only worse. In my flat, you understand what I \u2019 m saying? It \u2019 s the best yet. Don \u2019 t you think? In my flat. He told me... ANTHONY is suddenly seized by a doubt. ANTHONY -LRB- CONT \u2019 D -RRB- But... this is my flat, isn \u2019 t it? Mm? Anne... This is my flat? She smiles at him without answering. She prepares his medication. ANTHONY -LRB- CONT \u2019 D -RRB- Isn \u2019 t it? Brief pause. ANTHONY -LRB- CONT \u2019 D -RRB- Tell me, Anne, this really is my flat, isn \u2019 t it? She hands him his medication. In silence. He takes it. He looks like a lost child. She smiles at him.", "INT.    LIVING ROOM 2    DAY For a moment, like a punctuation, the CAMERA CONTEMPLATES the empty room. It \u2019 s the same space as before, but it \u2019 s taken on the characteristics of ANNE and PAUL \u2019 s flat, far more light and modern than ANTHONY \u2019 s place.", "INT.    HALLWAY AND KITCHEN 2    DAY ANNE comes back with the shopping. She \u2019 s on the phone, juggling with shopping bags. ANNE Yes, I know... I know... No. You can \u2019 t imagine how difficult it is sometimes... The other day, he didn \u2019 t even recognise me... I know... She puts the bags in the kitchen. They land in the exact position ANTHONY found them in Scene 9. Still on the phone, ANNE steps back into the hallway to hang up her coat, leaving the bags in the kitchen to be dealt with later.", "INT.    HALLWAY 2    DAY ANNE No, I \u2019 m expecting her any minute. Yes... She hangs up her coat. Then she picks up the letters and opens them as she goes into the office.", "INT.    OFFICE 2    DAY This really seems like her office. It \u2019 s not the same office as in Scene 5. It covers the same space, but the d\u00e9cor is different. It \u2019 s where ANNE, who \u2019 s a translator, works. ANNE Right, right. I \u2019 ll call you back. Lots of love. Thanks... She hangs up and sits at her desk.", "INT.    BEDROOM 2    DAY ANTHONY is stretched out on the bed, in his pyjamas. He \u2019 s holding a newspaper and a pencil and is concentrating on filling squares in the crossword. Suddenly, he stops. He stares into space. He looks anxious. He \u2019 s trying to understand what \u2019 s going on. He looks around. Why does he have the feeling he \u2019 s no longer in his own flat?", "INT.    OFFICE 2    DAY ANNE has opened her computer and begun working. The bell rings. She closes her computer at once and heads for the front door, somewhat apprehensive.", "INT.    HALLWAY 2    DAY She opens the door. It \u2019 s LAURA. ANNE Hello. LAURA Hello. Not too early, am I? ANNE No, no. Not at all. Come in. Come in. LAURA comes in. LAURA Thanks. ANNE Come in. Thanks for coming round. LAURA That \u2019 s OK.", "INT.    LIVING ROOM 2    DAY The d\u00e9cor in the living room is as we saw it in Scene 18 : in other words, not ANTHONY \u2019 s flat any more. ANNE My father \u2019 s in his room. Would you like something to drink? LAURA No, thanks. ANNE Make yourself comfortable. She sits down. ANNE -LRB- CONT \u2019 D -RRB- I... ANNE indicates her father \u2019 s room. She sets off in that direction, as if to fetch him. Then she moves back towards LAURA to explain the situation to her. ANNE -LRB- CONT \u2019 D -RRB- So, yes, as I was telling you, I... He \u2019 s a bit upset by the whole idea of... LAURA That \u2019 s OK. ANNE Yes. And that can cause him to... Anyway, I think he \u2019 s a bit annoyed with me. I \u2019 m telling you this just to warn you he \u2019 s capable of reacting... unexpectedly. LAURA Has he lived on his own up to now? ANNE Yes. In a flat, not too far from here. It worked. I was able to look in on him practically every day. But eventually, we \u2019 ve had to come to another arrangement. It wasn \u2019 t viable any more. LAURA I understand. ANNE He \u2019 s had several carers one after the other. But he \u2019 s had difficulty getting on with them. He has his ways... That \u2019 s why I moved him here, in with me. But I can \u2019 t manage him on my own. It \u2019 s too much for me. I have to work and... That \u2019 s why I... ANNE is trying to master her emotions. ANNE -LRB- CONT \u2019 D -RRB- Well, that \u2019 s why I need someone to help me. ANTHONY Did I hear the bell? ANTHONY appears. He \u2019 s in his pyjamas and a dressing gown. ANNE You did... Dad, I \u2019 d like you to meet Laura. LAURA How do you do, sir. ANNE I explained to you that Laura was going to come by today so you could meet. ANTHONY Hello. LAURA Hello. ANTHONY You \u2019 re... gorgeous. LAURA Thank you. ANTHONY But I... Don \u2019 t we know each other? LAURA No, I don \u2019 t think so. ANTHONY Are you sure? I \u2019 ve a definite impression I \u2019 ve seen you before... He moves closer to her, fascinated by her face. ANNE tries to bring him back to the subject at hand. ANNE Well. So, Laura \u2019 s come by to see us to get a bit of an idea of how you live and to see to what extent she might be able to help you. ANTHONY I know, dear, I know that. You \u2019 ve already told me a hundred times. He turns to LAURA. ANTHONY -LRB- CONT \u2019 D -RRB- My daughter has a tendency to repeat herself. You know what it \u2019 s like... it \u2019 s an age thing... LAURA smiles at what she takes to be a joke. ANTHONY -LRB- CONT \u2019 D -RRB- Would you like something to drink? LAURA You \u2019 re very kind, but no thanks. ANTHONY Sure? An aperitif? Must be about time for an aperitif, isn \u2019 t it? What time is it? It \u2019 s... He realises he doesn \u2019 t have his watch. ANTHONY -LRB- CONT \u2019 D -RRB- Hang on, I \u2019 ll be right back. He heads off in the direction of his bathroom. ANNE He \u2019 s gone to look for his watch. Pause. LAURA I must say, he \u2019 s charming. ANNE Yes. Not always.", "INT.    ANTHONY\u2019S BATHROOM 2    DAY ANTHONY finds his watch. He checks himself in the mirror to make sure his hair is all right : just a moment of vanity. He sets off back to the living room, satisfied.", "INT.    LIVING ROOM 2    DAY ANTHONY arrives with a big smile, resolved to make an effort to charm LAURA. ANTHONY Just as I thought, time for an aperitif. I have two watches. I \u2019 ve always had two. One on my wrist and the other in my head. It \u2019 s always been that way. Now, would you like something, young lady? ANNE Dad... ANNE \u2019 s interruption irritates ANTHONY. ANTHONY What? I \u2019 m allowed to offer our guest something, aren \u2019 t I? He turns to LAURA, his smile back in place. ANTHONY -LRB- CONT \u2019 D -RRB- What would you like? LAURA What are you going to have? ANTHONY A small whisky. LAURA Then I \u2019 ll have the same. ANTHONY Excellent. He speaks to ANNE as if she \u2019 s a waitress. ANTHONY -LRB- CONT \u2019 D -RRB- So, two whiskies. Two! ANNE goes to look for two glasses of whisky. ANTHONY -LRB- CONT \u2019 D -RRB- I \u2019 m not offering you one, Anne. He turns back to LAURA. ANTHONY -LRB- CONT \u2019 D -RRB- She never drinks alcohol. Never. ANNE It \u2019 s true. ANTHONY Never. Not a drop. That \u2019 s why she seems so... ANNE So what? ANTHONY Sober. Her mother was the same. Her mother was the... soberest woman I \u2019 ve ever met. Whereas her little sister... That was quite another story. LAURA You have two daughters? ANTHONY That \u2019 s right. Even though I hardly ever hear from the other one. Lucy. All the same, she was always my favorite. ANNE \u2019 s expression : she \u2019 s hurt. ANTHONY -LRB- CONT \u2019 D -RRB- Do you ever hear from her? I don \u2019 t understand why she never gets in touch. Never. Dazzling girl. A painter. Look. Beautiful, isn \u2019 t it? He indicates a painting on the wall. It \u2019 s rather a haunting image of a park, a big tree and a couple of small figures walking hand-in-hand in the shadow of the tree. CLOSE-UP of the painting. LAURA Yes, it is... ANTHONY Your whisky. LAURA Thank you. ANTHONY Cheers. They clink glasses and drink. ANTHONY -LRB- CONT \u2019 D -RRB- I \u2019 d give everything I own for a glass of whisky. Don \u2019 t you agree? LAURA Well, I don \u2019 t own all that much... ANTHONY Don \u2019 t you? What do you do for a living? LAURA glances uncertainly at ANNE, not sure how to respond. LAURA Well, I... I look after... other people. ANTHONY Other people? LAURA Yes. My job is to help people who need help. ANTHONY Sounds like one of those girls you \u2019 re always trying to dump off on me. He turns back to LAURA. ANTHONY -LRB- CONT \u2019 D -RRB- Must be a difficult job, isn \u2019 t it? Spending all day with some... He makes a face signifying an invalid. ANTHONY -LRB- CONT \u2019 D -RRB- Am I right? I couldn \u2019 t stand it. LAURA What about you, what did you do for a living? ANTHONY I was a dancer. LAURA Were you? ANTHONY Yes. ANNE Dad... ANTHONY What? ANNE You were an engineer. ANTHONY What do you know about it? He turns back to LAURA. ANTHONY -LRB- CONT \u2019 D -RRB- Tap dancing was my speciality. LAURA Really! ANTHONY You seem surprised. LAURA starts laughing. LAURA Yes, a little bit. ANTHONY Why? Can \u2019 t you imagine me as a tap dancer? LAURA Of course. It \u2019 s just... I \u2019 ve always loved tap dancing. ANNE is watching them. She looks happy to see they \u2019 re getting on so well. ANTHONY You as well? I \u2019 m still great at it. I \u2019 ll show you... He gets up, takes a few hopeless steps. LAURA is shaking with laughter. He stops. ANTHONY -LRB- CONT \u2019 D -RRB- Why are you laughing? LAURA can \u2019 t stop laughing. LAURA It \u2019 s nothing. Sorry. Sorry. It \u2019 s just... the whisky. ANTHONY That \u2019 s it, I know. I know who you remind me of. ANNE Who? ANTHONY Lucy. Lucy, when she was her age. LAURA Lucy? ANTHONY My other daughter. Don \u2019 t you agree? ANNE I don \u2019 t know. ANTHONY Yes. There \u2019 s a resemblance. ANNE Maybe. LAURA \u2019 s still laughing. He comes closer. ANTHONY Her unbearable habit of laughing inanely. Everyone stops laughing. Embarrassed pause. ANTHONY -LRB- CONT \u2019 D -RRB- I had you there, didn \u2019 t I? Ha ha. Brief pause. ANTHONY suddenly becomes serious and sombre, as if he \u2019 d been playing a part all along. ANTHONY -LRB- CONT \u2019 D -RRB- You see, the situation \u2019 s very simple. I \u2019 ve been living in this flat... oh, for a long time now. I \u2019 m extremely attached to it. I bought it more than thirty years ago. Can you imagine? You weren \u2019 t even born. It \u2019 s a big flat. And my daughter is very interested in it. ANNE What are you talking about? ANTHONY Let me explain. My daughter is of the opinion that I can \u2019 t manage on my own. So she \u2019 s moved in with me. Ostensibly to help me. With this man she met not long ago, just after her divorce, who has a very bad influence on her, I have to tell you. ANNE Look, what are you talking about, Dad? ANTHONY And now she \u2019 d like to convince me that I can \u2019 t manage on my own. The next stage will be to send me away I don \u2019 t know where... Obviously, it \u2019 ll be a much more efficient way of getting hold of my flat. ANNE Dad... ANTHONY But it \u2019 s not going to happen that way. I may as well tell you. I have no intention of leaving any time soon. No, you heard me. I intend to outlive you. Both of you. Yes. Well, I don \u2019 t know about you... But my daughter, yes. I shall make a point of it. I \u2019 m going to inherit from her. Not the other way round. The day of her funeral, I shall give a little speech to remind everyone how heartless and manipulative she was. ANNE I \u2019 m very sorry about this. ANTHONY Why? She understands completely. You \u2019 re the one who doesn \u2019 t understand. He turns to LAURA. ANTHONY -LRB- CONT \u2019 D -RRB- I \u2019 ve been trying to explain to her for months that I can manage very well on my own. But she refuses to listen. I don \u2019 t need any help from anyone and I will not leave my flat. All I want is for everyone to bugger off! He empties his glass, fetches a banknote out of his pocket and throws it down on the table, as if he \u2019 s paying the bill. ANTHONY -LRB- CONT \u2019 D -RRB- Having said that, it was a great pleasure, I \u2019 ll be leaving you. He leaves the room. He clearly has no idea, for the moment, that he \u2019 s living with his daughter. He may even think she \u2019 s moved in with him. LAURA When you said he had his ways, you weren \u2019 t kidding... ANNE I \u2019 m very sorry. She seems particularly upset. LAURA Don \u2019 t be. That sort of reaction is quite normal. ANNE No, I am very sorry. She has tears in her eyes, clearly affected by the obvious deterioration of her father and by how violently he \u2019 s expressed himself. LAURA tries to be reassuring. LAURA It \u2019 ll all turn out fine. ANNE You think so? LAURA drinks a mouthful of whisky, without answering the question.", "INT.    KITCHEN 2    NIGHT ANNE is alone in the kitchen. It \u2019 s late. She \u2019 s drinking herbal tea. She looks exhausted. When she \u2019 s completed her cup, she washes it in the sink. Then she starts drying it, but it slips out of her hands and shatters on the ground. She goes to pick up the pieces and, unexpectedly, something in her cracks and she starts crying. This only lasts for a minute. Very quickly, she pulls herself together. She puts the bits of porcelain in the dustbin and leaves the kitchen.", "INT.    CORRIDOR 2    NIGHT She moves down the corridor. As she passes, she switches off the lights in the dining room, as if she was going to bed. She steps into her father \u2019 s room. She wants to check he \u2019 s asleep, as one would with a child. The light is still on.", "INT.    BEDROOM 2    NIGHT Oddly, she sits on the edge of the bed. ANTHONY is peacefully asleep. She smiles, touched by him. She puts a hand on his cheek, as if to caress him. Her hand moves down to his throat. She seems very emotional. Suddenly, she starts squeezing her father \u2019 s throat. The CAMERA observes the scene in LONG SHOT. We watch her strangling her father. For some time.", "INT.    DINING ROOM 2    DAY PAUL -LRB- O.S. -RRB- Well? ANNE starts. She \u2019 s daydreaming on her feet. She comes back to reality. She \u2019 s in the dining room laying the table. She turns towards PAUL, who has his back to her and has just asked her a question. ANNE What? PAUL Did it go well? PAUL \u2019 s a man of about 50. Unlike the MAN, there seems nothing hostile about him. On the contrary, he seems sensitive and attentive. He \u2019 s obviously at home in the flat, which he shares with ANNE. ANNE Mm? Yes, yes... I think so. She said she \u2019 d start tomorrow. PAUL Here? ANNE Yes. PAUL Good. ANNE Yes. Then we \u2019 ll see how the first day goes. I was so afraid it wasn \u2019 t going to work. But in the end it was fine. He was charming. PAUL There you are, you see. ANNE has finished setting out the plates. ANNE He turned on the charm for her... You should have seen it... He told her he \u2019 d been a dancer. A tap dancer. PAUL smiles. PAUL No... ANNE Yes. She started to laugh. Not in a mean way, you understand. There was something kind about her. I was relieved. I don \u2019 t know how to describe it to you. As if she was going to be able to... Well, as if the two of them were going to get on really well... Brief pause. ANNE is trying to control her feelings. ANNE -LRB- CONT \u2019 D -RRB- He said she reminded him of Lucy. PAUL Oh, yes? How old is she? ANNE I don \u2019 t know. Thirty. Something like that. PAUL Is she pretty? ANNE Why? Are you interested? PAUL can \u2019 t understand why she \u2019 s reacted like that. ANNE steps into the kitchen to check the oven.", "INT.    KITCHEN 2    DAY ANNE opens the oven. The chicken is cooking. She burns herself. She looks jumpy. PAUL appears. PAUL What \u2019 s the matter with you? If it went well, that \u2019 s good news, isn \u2019 t it? ANNE Yes, yes. PAUL So? What \u2019 s the matter with you? Tell me. ANNE It \u2019 s just... PAUL What? ANNE Just now... When I came back with the dinner... He didn \u2019 t recognise me... I... I don \u2019 t know. It did something to me. PAUL I understand. ANNE I \u2019 m finding it so hard. PAUL Come. Let me give you a hug. ANNE I saw it in his eyes. He didn \u2019 t recognise me. Not at all. I was like a stranger to him. PAUL You have to get used to it. ANNE I can \u2019 t manage to. PAUL I think you can, I think you \u2019 re managing very well. Come here... He presses her against him. Suddenly, ANTHONY appears. ANNE draws back from PAUL. ANNE Ah, Dad! Dinner \u2019 ll be ready in five minutes. That suit you? ANTHONY Very good, dear. Suits me fine. Suits me... But... Hello. PAUL smiles at him, distractedly. And goes back to the living room, with the bottle of wine, leaving the two of them together. ANTHONY has no idea who PAUL is. As far as he knows, this is the first time they \u2019 ve met. ANNE You hungry, Dad? ANTHONY Yes, yes. But... we have guests this evening? ANNE No. Why? ANTHONY Nothing, nothing... ANTHONY doesn \u2019 t want ANNE to be aware of his confusion. He leaves the kitchen.", "INT.    LIVING ROOM 2   DAY ANTHONY approaches the living room. He \u2019 s watching PAUL from a distance. PAUL is sitting in his armchair reading the newspaper and drinking a glass of wine. ANTHONY is having some trouble understanding what \u2019 s happening. PAUL becomes aware that he \u2019 s watching. PAUL Everything all right? Had a good day? ANTHONY shrugs his shoulders. He doesn \u2019 t seem quite with it. ANNE appears. ANNE Very good. Laura came by. Didn \u2019 t she, Dad? Laura came to see us just now. ANTHONY Who? ANTHONY has noticed Paul \u2019 s watch. He seems fascinated. He \u2019 s wondering if it might be his. ANNE Laura. ANTHONY Mm? ANNE The young woman who came to see us just now. ANTHONY Oh, yes. ANNE And we went to see the doctor... PAUL And? What did he say? ANTHONY Has anybody seen my watch? Can \u2019 t seem to find it. ANNE Again? ANTHONY I \u2019 ve been looking for it for some time. ANNE You must have put it in your cupboard. Don \u2019 t you think? In your hiding-place... ANTHONY starts, afraid that PAUL has heard the word \u2018 cupboard \u2019 and will discover his hiding-place. ANTHONY What are you talking about, Anne? I really don \u2019 t know what you \u2019 re talking about. What cupboard? Mm? There \u2019 s no cupboard. No cupboard. He takes ANNE aside.", "INT.    DINING ROOM 2    DAY ANTHONY Couldn \u2019 t you be more discreet? ANNE speaks more quietly. ANNE Have you looked in your cupboard? ANTHONY I \u2019 ve just come from there. It \u2019 s not there. I must have lost it somewhere. Or else it \u2019 s been stolen. ANNE No, it hasn \u2019 t. ANTHONY is getting annoyed. ANTHONY What do you mean, \u201c No, it hasn \u2019 t \u201d? The watch must be somewhere! It can \u2019 t have flown away! ANNE You want me to go and look? ANTHONY Very much so. If it \u2019 s not a bother. Because it \u2019 s a worry. I \u2019 m worried. I am losing all my things, everyone \u2019 s just helping themselves. If this goes on much longer, I \u2019 ll be stark naked. And I won \u2019 t even know what time it is. ANNE smiles at him and makes her way to the bathroom. ANTHONY decides to head back to the living room.", "INT.    LIVING ROOM 2    DAY PAUL ignores him. He \u2019 s still reading his paper. ANTHONY wants to get his attention. ANTHONY Might you have the time? PAUL Yes. ANTHONY Ah, thanks. Brief pause. PAUL continues to read the paper. ANTHONY -LRB- CONT \u2019 D -RRB- So what time is it? Exactly. PAUL looks at his watch. PAUL Almost seven. ANTHONY That late? Shouldn \u2019 t we be sitting down to dinner? PAUL Yes. As soon as the chicken \u2019 s ready. In five minutes. ANTHONY We \u2019 re having chicken this evening? PAUL Yes. The one Anne just bought. ANTHONY flashes him a charming smile. He sits down right next to him. ANTHONY It \u2019 s pretty, your watch. It \u2019 s... It \u2019 s pretty. It \u2019 s... Is it yours? I mean, is it yours? ANTHONY ( CONT'D ) PAUL Mm? Yes. ANTHONY May I see it. PAUL looks up from his paper. PAUL So. Apparently it went very well. ANTHONY Yes, very well. What? PAUL Well, your meeting with... the carer. ANTHONY Oh? Yes. Very well. Very well. He returns his attention to the watch. ANTHONY -LRB- CONT \u2019 D -RRB- It \u2019 s very... PAUL Apparently she looks like Lucy. ANTHONY Is that right? PAUL I \u2019 ve no idea, I \u2019 ve never seen her. ANTHONY is still obsessed with the watch. ANTHONY No, it... It went well. Anne seemed pleased. You know, it \u2019 s mainly for her. I don \u2019 t really need... I mean, it \u2019 s mainly for Anne. Might I have a look at it? Your watch... PAUL You \u2019 re right, it \u2019 s important for her that this works out. She \u2019 s been worried about you, you know. It makes her very unhappy when you fall out with... What is it about my watch? ANTHONY Nothing. I was just looking... I want to check if... It \u2019 s pretty. Very pretty. Did you buy it? PAUL Sorry? ANTHONY No, I mean... Was it a present or did you buy it? PAUL I bought it. Why? ANTHONY I don \u2019 t suppose you kept the receipt... PAUL What are you talking about? ANTHONY For your watch. PAUL I was talking about Anne. ANTHONY Anne? PAUL Yes. Anne... PAUL looks at him. He looks confused. Has he really forgotten who ANNE is? A glint of malice in ANTHONY \u2019 s eyes. ANTHONY I know who Anne is.", "INT./EXT.     BATHROOM 2    DAY ANNE is rummaging in ANTHONY \u2019 s cupboard. She discovers a fork and wonders what it \u2019 s doing there. Then she sees the watch. ANNE Dad... I \u2019 ve found it...", "INT./EXT.     KITCHEN 2    DAY ANNE checks the progress of the chicken in the oven. Then, she moves over to the window and opens it. She lights a cigarette and looks out of the window for a moment. In an apartment opposite, there \u2019 s a COUPLE both roaring with laughter. ANNE sighs unhappily.", "INT.    LIVING ROOM 2    DAY ANTHONY has resumed his conversation with PAUL. ANTHONY I don \u2019 t know why, we never really got on. Whereas her little sister, that was quite another story... Do you know her? My other daughter? Now she, she \u2019 s marvellous. I haven \u2019 t seen her for months. I can \u2019 t blame her. She \u2019 s traveling round the world, I think. She \u2019 s a painter. He indicates her painting on the wall. PAUL seems impatient with this speech, which he knows by heart, slips away into the dining room to get another glass of wine. ANTHONY -LRB- CONT \u2019 D -RRB- But I \u2019 d be so happy if she came to see me one day. I \u2019 d take her in my arms and we \u2019 d be glued to one another for hours on end, like we used to be a long time ago, when she was little and she still used to call me \u201c little daddy \u201d, \u201c little daddy \u201d. That \u2019 s what she used to call me. Nice, isn \u2019 t it, \u201c little daddy \u201d? PAUL reappears. He swallows a mouthful, pressed back against the wall, his expression strange. PAUL Now, I \u2019 d like to ask you something. ANTHONY Yes? PAUL moves closer to him. There \u2019 s something threatening about his approach. PAUL But I want an honest answer. Nothing fancy... Can you do that for me? ANTHONY is caught off guard. ANTHONY Yes. PAUL Well, then... Brief pause. PAUL -LRB- CONT \u2019 D -RRB- How much longer do you intend to hang around getting on everybody \u2019 s tits?", "INT.    LIFT    DAY ANNE has a new hairdo. ANTHONY is looking at her, frowning. ANNE What is it? ANTHONY Have you done something to your hair? ANNE No. Why? ANTHONY Nothing. You \u2019 re looking good... She smiles. The lift door opens.", "INT.    STAIRS AND LANDING    DAY ANTHONY and ANNE step out of a lift. It looks like the landing outside ANTHONY \u2019 s flat ( seen in scene 2 ). ANTHONY ( and we ) assume that they \u2019 re outside his flat. But ANNE rings the bell. ANTHONY Have you lost your keys? ANNE doesn \u2019 t answer. He \u2019 s starting to search his pockets for his own keys, when the buzzer goes. ANNE pushes open the door and steps into the surgery.", "INT.    SURGERY    DAY The entrance hall to the surgery has the same dimensions as the entrance hall of the flat, although it \u2019 s furnished differently. ANNE heads for the RECEPTIONIST. ANTHONY looks around, not understanding where they are. He seems disorientated. There \u2019 s a row of seats in startling colours, as you sometimes see in hospitals. ANNE comes over to take ANTHONY \u2019 s arm. ANNE Come on, this way.", "INT.    DOCTOR\u2019S OFFICE    DAY The DOCTOR is scribbling a note ; he looks up at ANTHONY and ANNE. DOCTOR So... Anthony, is it? ANTHONY Yes. He looks quite unhappy. DOCTOR Date of birth? ANTHONY 31st December, 1937. Why? DOCTOR You \u2019 re living with your daughter at the moment, is that right? ANTHONY Yes. Until she goes to live in Paris. ANNE No, Dad, why do you keep going on about Paris? ANTHONY What? ANNE I \u2019 m staying in London. ANTHONY You keep changing your mind. How do you expect people to keep up? ANNE But there was never any question of going to Paris, Dad. ANTHONY Yes, there was. You told me. ANNE I didn \u2019 t... ANTHONY I \u2019 m sorry, Anne. You told me the other day. Have you forgotten? Pause. ANNE looks anxiously at the DOCTOR. ANTHONY, unaware of this, carries on blithely. ANTHONY -LRB- CONT \u2019 D -RRB- She \u2019 s forgotten. Listen, Anne, I think you \u2019 re starting to suffer from memory loss. I should have a word with the doctor, if I were you... ANNE In any event, I \u2019 m not going to Paris. ANTHONY Well, good. I mean, Paris, they don \u2019 t even speak English. The DOCTOR makes a note.", "INT.    WAITING ROOM    DAY ANTHONY is sitting on one of the violently-coloured chairs in the waiting room. He \u2019 s watching ANNE and the DOCTOR talking in the distance. He seems worried about what they might be saying. The DOCTOR gives ANNE his card, which she slips into her pocket. She catches ANTHONY \u2019 s eye and immediately smiles at him, as if she was trying to conceal something from him. He looks worried and suspicious.", "INT.    TAXI    DAY ANNE Dad? No response. She reaches for his hand, but he takes it away from her. Music. ANTHONY turns away from ANNE, staring out of the window of the moving taxi.", "INT. KITCHEN 2  DAY ANNE is ironing. Then, she goes to ANTHONY \u2019 s bedroom with the laundry basket.", "INT. ANTHONY'S BEDROOM 2    DAY She puts one of ANTHONY's shirt in his dressing room. She pauses for a moment in front of her father's dark suits. She touches them, as an attempt to penetrate his mystery. Then she catches sight of his well polished shoes. This suddenly reminds her of the man he used to be. ANNE sits on ANTHONY \u2019 s bed, next to her laundry basket. She looks unsettled. What is she going to do with her father? Her eyes meet a photo on ANTHONY's bedside table. It shows her father, younger, surrounded with his two daughters. DELETED DELETED", "EXT./INT. INDIAN SHOP    DAY She walks along the street and into the Indian shop. She is buying a chicken. Her phone rings. ANNE What \u2019 s the matter? What? All right... I \u2019 ll be up in a minute. DELETED", "INT.    HALLWAY 2    DAY ANNE comes into the flat, carrying bags. PAUL comes from the living room. ANNE What \u2019 s happening? PAUL Nothing much... Your father... I think he \u2019 d like to see you... ANNE Where is he? PAUL In his room... ANNE goes towards her father \u2019 s bedroom. DELETED DELETED", "INT.    CORRIDOR 2 / BEDROOM 2    DAY The bedroom door is open and ANNE sees him at the far end of the room, struggling with his sweater. He is trying to put it on. He can \u2019 t manage it, keeps putting the wrong arm in the wrong sleeve. Instead of going to help him, ANNE watches him for a minute from the corridor. He looks completely helpless. Then, flooded with compassion, she crosses over to help him. ANNE Let me... ANTHONY allows her to help him. He looks at her with great benevolence, as if he \u2019 s completely forgotten their recent contretemps. He notices she looks somewhat agitated. ANTHONY What \u2019 s the matter? ANNE Nothing. She makes a loving gesture. ANNE -LRB- CONT \u2019 D -RRB- Right. I \u2019 ll go and get the dinner ready... She \u2019 s almost out of the room, when ANTHONY calls out to her. ANTHONY Anne? She turns back. ANNE What? ANTHONY Thanks for everything. She smiles at him and leaves the room.", "INT.    KITCHEN 2    EVENING ANNE prepares the chicken for the dinner.", "INT.    BEDROOM 2    EVENING ANTHONY is reading a book. He checks his watch. It is time to have dinner. He closes the book and gets up.", "INT.    CORRIDOR 2    EVENING ANTHONY emerges from his bedroom and sets off down the corridor towards the dining-room. ANNE and PAUL are talking ; and ANTHONY slows down to listen, as the voices become intelligible. PAUL -LRB- O.S. -RRB- We have to find another arrangement. ANNE -LRB- O.S. -RRB- Such as? PAUL -LRB- O.S. -RRB- Putting him in an institution. ANNE -LRB- O.S. -RRB- A home? PAUL -LRB- O.S. -RRB- Yes, a nursing home. Pause. PAUL -LRB- O.S. -RRB- -LRB- CONT \u2019 D -RRB- It \u2019 d be better for him. ANNE -LRB- O.S. -RRB- Why are you saying this to me today? I mean, when tomorrow morning... there \u2019 s this girl starting and...", "INT.    DINING ROOM 2    EVENING ANTHONY appears in the doorway, unnoticed by ANNE and PAUL. PAUL Yes. You \u2019 re right. We \u2019 ll see. Maybe it \u2019 ll work very well with this girl. You seem to think she \u2019 s good. But, believe me, the doctor is right, the moment will come when... However good she is... He \u2019 s ill, Anne. He \u2019 s ill. ANNE and PAUL simultaneously realise that ANTHONY is in the room. They start. Feeling of awkwardness. ANNE Dad. What are you doing, standing there? Come and sit down. Come on. He doesn \u2019 t respond. Who are they talking about? Him? ANNE -LRB- CONT \u2019 D -RRB- Dad... Pause. ANNE -LRB- CONT \u2019 D -RRB- Come on, Dad. Pause. ANNE gets up and leads him to the table. ANNE -LRB- CONT \u2019 D -RRB- Come and sit down.", "INT.    DINING ROOM 2    EVENING LATER : ANTHONY is sitting down. The awkwardness is palpable. Nobody knows what to say. Did he hear them? PAUL attempts to restart the conversation. PAUL So, it went well? Forced cheerfulness from ANNE. ANNE Yes. It went very well. Don \u2019 t you agree, Dad? ANTHONY What? ANNE You made her laugh a lot. ANTHONY Did I? ANNE Yes. She told me she thought you were charming. That you had your ways, but that you were charming. She \u2019 s coming back tomorrow morning. To start working here. Brief pause. ANNE -LRB- CONT \u2019 D -RRB- Like a bit more? ANTHONY I would. It \u2019 s good, this chicken. Don \u2019 t you think? Where \u2019 d you buy it? ANNE Downstairs. Why? ANTHONY No reason. It \u2019 s good. ANNE Paul? PAUL No, thanks. He pours himself another glass of wine. PAUL -LRB- CONT \u2019 D -RRB- Is she doing full days? I mean... ANNE Yes. Till six. PAUL And then? ANNE What d \u2019 you mean? PAUL After six? ANNE I \u2019 ll be here. Pause. PAUL addresses ANTHONY : it \u2019 s like a criticism. PAUL Are you satisfied? ANTHONY What about? PAUL You have a daughter who looks after you properly. Don \u2019 t you? You \u2019 re lucky. ANNE -LRB- CONT'D -RRB- You \u2019 re lucky too. PAUL You think so? Irritated by Paul \u2019 s insinuations, ANNE gets up and takes the chicken back to the kitchen. ANTHONY What \u2019 s the matter with her? PAUL Anne? She \u2019 s tired. Needs a bit of sun. ANTHONY You need to look after her, old man. Why don \u2019 t you go away somewhere? PAUL Why? You want me to tell you why? Brief pause. PAUL -LRB- CONT \u2019 D -RRB- Sometimes I wonder if you \u2019 re doing it on purpose. ANTHONY Doing what? PAUL Nothing. He pours himself another glass. PAUL -LRB- CONT \u2019 D -RRB- We had planned to go to Italy ten days ago. ANTHONY Oh? PAUL Yes. But we had to cancel it at the last minute. You know why? ANTHONY No. PAUL Because of your row with Angela. ANTHONY doesn \u2019 t seem to know who he \u2019 s talking about. PAUL -LRB- CONT \u2019 D -RRB- The woman who was looking after you. Before Laura. Have you forgotten? Brief pause. PAUL -LRB- CONT \u2019 D -RRB- We weren \u2019 t able to go and leave you on your own. We had to cancel our holiday and bring you over here. And now it seems you \u2019 re going to stay here. For good. If I understand correctly... ANNE has returned ; he turns to her. PAUL -LRB- CONT \u2019 D -RRB- He \u2019 s forgotten... Amazing. ANNE Stop it. PAUL What? ANNE You \u2019 re being a bit... PAUL A bit what? ANNE Sarcastic. PAUL Not at all, Anne. I think I \u2019 m being very patient. Very patient. Believe me. ANNE What are you trying to say? PAUL Nothing. ANNE Yes, you are, tell me. Why are you telling me how patient you are? PAUL I think anyone but me... ANNE Yes? The tension between them is rising. PAUL Anyone else would have pressured you to... ANNE To what? PAUL To do what the situation calls for. ANNE And that is? PAUL You know very well! ANTHONY Where \u2019 s the chicken? Did you take the chicken away? ANNE Yes. Did you want some more? ANTHONY Yes. Is it in the kitchen? ANNE I \u2019 ll go and fetch it for you. ANTHONY No, it \u2019 s all right, I \u2019 ll go. He gets up with his plate and steps into -", "INT.    KITCHEN 2    EVENING - the kitchen. Once there, however, he can \u2019 t remember why he \u2019 s come. He stands there, frowning, puts his plate down so he can concentrate better.", "INT.    DINING ROOM 2    EVENING PAUL is pouring himself another glass of wine. ANNE Why do you say things like that in front of him? PAUL What did I say? Pause. PAUL -LRB- CONT \u2019 D -RRB- Anyway, he forgets everything. ANNE That \u2019 s no excuse. Pause. PAUL Listen... I totally understand your feelings. ANNE No, you don \u2019 t understand. PAUL I do... What I don \u2019 t understand is... I mean, you do so much for him. I respect you for that. You took the decision to bring him here. And why not? But... How can I put this? I honestly think you ought to come up with a different solution... He \u2019 s completely lost it, Anne. ANNE Don \u2019 t talk like that. PAUL How do you want me to talk? He gets up from the table, annoyed. PAUL -LRB- CONT \u2019 D -RRB- I \u2019 m telling the truth. We have to find another arrangement. ANNE Such as? PAUL Putting him in an institution. ANNE A home? PAUL Yes, a nursing home. Pause. PAUL -LRB- CONT \u2019 D -RRB- It \u2019 d be better for him. ANNE Why are you saying this to me today? I mean, when tomorrow morning... there \u2019 s this girl starting and... PAUL makes a gesture of appeasement to ANNE. PAUL Yes, you \u2019 re right. We \u2019 ll see. Maybe it \u2019 ll work very well with this girl. You seem to think she \u2019 s good. ANNE pushes him away. ANTHONY appears in the doorway with his chicken. He \u2019 s listening to the conversation. But neither of them has noticed him. PAUL -LRB- CONT \u2019 D -RRB- But, believe me, the doctor is right, the moment will come when... However good she is... He \u2019 s ill, Anne. He \u2019 s ill. ANNE and PAUL simultaneously realise that ANTHONY is in the room. They start. Feeling of awkwardness. A reprise. ANNE Dad. What are you doing, standing there? Come and sit down. Come on. He doesn \u2019 t respond. ANNE -LRB- CONT \u2019 D -RRB- Dad... Pause. ANNE -LRB- CONT \u2019 D -RRB- Come on, Dad. Pause. ANNE -LRB- CONT \u2019 D -RRB- Come and sit down. He looks lost and terrified by what he \u2019 s just heard. Who is ill? ANNE gets up, but this time, ANTHONY doesn \u2019 t allow himself to be led to the table. He leaves the room without saying anything and heads towards his bedroom. ANNE and PAUL look at one another, very embarrassed.", "INT.    BEDROOM 2    NIGHT ANNE sits on the edge of Anthony \u2019 s bed. He \u2019 s just gone to sleep. He looks peaceful. ANNE strokes his cheek tenderly. It \u2019 s like the strangling scene. But this time, she gets up and leaves the room, like a mother who \u2019 s just put her child to bed. DELETED", "INT.    OFFICE 2    DAY Anne is sitting at her desk, lost in thought. She holds the DOCTOR \u2019 s card in her hand and considers it carefully. A long hesitation. She sits, turning the card around, pensive. Finally, she decides to dial a number. On the other end of the line, we hear the muzak from the waiting room. She \u2019 s holding the receiver away from her ear. She stares into space. Then her attention is attracted to the light reflections on the wall. There \u2019 s a crystal pyramid placed on her desk, and the light going through it reflects on the opposite wall as a luminous constellation. She takes the pyramid in her hands and plays with the reflections, which now show on her thoughtful and worried face.", "INT.    FLAT 3    MORNING ESTABLISHING SHOT of the same space : but with less furniture. Dawn light. LUCY \u2019 s painting is no longer hanging on the wall. There are packing cases, which may explain why the flat is virtually empty. The muzak from the previous scene runs over these SHOTS. It stops abruptly as the DOCTOR \u2019 s VOICE comes over the line, saying : \u201c Doctor Odgers speaking... : Then, when there \u2019 s no answer, he goes on : \u201c Hello? Hello? \u201d", "INT.    BEDROOM 3    MORNING ANTHONY opens his bedroom curtains. It \u2019 s morning. He looks out at the street. What he sees is the same quiet London street as before. This seems to reassure him. Outside, a CHILD is playing with a plastic bag. He watches him attentively, as fascinated as if he were trying to uncover some mystery... He smiles at this vision. But then his smile brutally disappears.", "INT.    CORRIDOR 3    MORNING ANTHONY moves down the corridor in his pyjamas, heading for the kitchen. His attention is caught by the brightly-coloured chairs from the surgery, which are now in the hallway. ANTHONY Where are these from? ANNE \u2019 s VOICE is heard, calling him in the corridor. ANNE -LRB- V.O. -RRB- Dad? Are you up already? Did you sleep well? But he doesn \u2019 t answer. Something about the flat is different. Puzzled, he moves on to inspect -", "INT.   LIVING ROOM 3    MORNING (ANNE ONLY) - the living room. He sees the packing cases. Is ANNE finally moving to Paris? ANTHONY looks at the wall. LUCY \u2019 s painting is no longer here. Once again we hear ANNE \u2019 s VOICE as she busies herself in the kitchen, preparing breakfast prior to the meeting with LAURA. ANNE -LRB- V.O. -RRB- Shall I get you some coffee before she arrives? ANTHONY Where \u2019 s the painting? ANNE -LRB- V.O. -RRB- What painting? ANTHONY Lucy \u2019 s. ANNE -LRB- V.O. -RRB- You \u2019 re mixing this up with your flat. There \u2019 s never been a painting here. Come and have your breakfast. ANTHONY peers at the wall. There seems to be a slightly lighter rectangle and marks perhaps made by a picture-frame. ANTHONY See, look, Anne... there. He turns around, but she \u2019 s not here. ANTHONY -LRB- CONT \u2019 D -RRB- Anne? LAURA emerges from the kitchen. She \u2019 s carrying a cup of coffee. LAURA Here \u2019 s your coffee... ANTHONY is startled to see her. ANTHONY What? LAURA Don \u2019 t let it get cold... ANTHONY Where \u2019 s Anne? LAURA She went out. ANTHONY Really? Already? LAURA Yes. ANTHONY What time is it? LAURA She \u2019 ll be back soon. At the end of the day. I \u2019 m going to look for your medication. ANTHONY No. Wait. LAURA I \u2019 ll be back. I \u2019 m just going to look for your medication. She leaves. He seems troubled. He realises he doesn \u2019 t have his watch. ANTHONY Shit. Honestly. He suddenly becomes aware he \u2019 s in his pyjamas. He tries to arrange himself a bit before she gets back. He gets his armchair and moves it and sits in it, pretending to be comfortable with this uncomfortable situation. She comes in with a glass of water and his medication. ANTHONY -LRB- CONT \u2019 D -RRB- What time is it? LAURA Time for your medication. Here we are. Best to take them now. Then it \u2019 s done. Don \u2019 t you think? There are three today. This little blue one... It \u2019 s as if she \u2019 s speaking to a child, which irritates ANTHONY. LAURA -LRB- CONT \u2019 D -RRB- That \u2019 s the one you like. Your little blue pill. Look, it \u2019 s a pretty colour, isn \u2019 t it? ANTHONY Can I ask you a question? LAURA Yes. ANTHONY Are you a nun? LAURA No. ANTHONY Then why are you speaking to me as if I were retarded? LAURA Me? ANTHONY Yes. LAURA But I \u2019 m not... ANTHONY \u201c Your little blue pill. \u201d \u201c Your little blue pill. \u201d LAURA I \u2019 m sorry. I didn \u2019 t think you... ANTHONY It \u2019 s really unpleasant. You \u2019 ll see when you get to my age. Which \u2019 ll happen sooner than you think, by the way. LAURA I apologise. I... It won \u2019 t happen again. ANTHONY mimics her. ANTHONY \u201c Your little blue pill. \u201d She hands him the glass of water. ANTHONY -LRB- CONT \u2019 D -RRB- Have you noticed anything? LAURA What about? ANTHONY What do you think? About my flat! LAURA No. What about it? ANTHONY It \u2019 s changed. LAURA You think so? ANTHONY Yes. These chairs, for instance. There. Who put them there? He \u2019 s referring to the brightly-coloured chairs in the corridor. LAURA I don \u2019 t know. Your daughter, I imagine. ANTHONY Obviously. My daughter... Obviously... All the same, it \u2019 s extraordinary! Not even to ask my opinion. I... Do you know what \u2019 s being planned? For this flat? LAURA No. ANTHONY Well, I do. I keep my eyes open. I know everything. Pause. ANTHONY -LRB- CONT \u2019 D -RRB- By the way, I wanted to apologise if I was a little... Last time we met... LAURA No problem. Your daughter warned me. She told me you had your ways. She gives him a dazzling smile. He watches her, fascinated. ANTHONY It \u2019 s amazing how like Lucy you look. My other daughter. Not Anne, no. The other one. The one I love. LAURA Anne told me what happened to her. I \u2019 m sorry. I didn \u2019 t know. ANTHONY Didn \u2019 t know what? LAURA About her accident. ANTHONY What accident? LAURA What? ANTHONY What are you talking about? LAURA Nothing... Pause. LAURA realises ANTHONY \u2019 s forgotten his daughter is gone. She tries to change the subject. LAURA -LRB- CONT \u2019 D -RRB- Are you taking your medication? Then we \u2019 ll go and get dressed. ANTHONY You see? LAURA What? ANTHONY You \u2019 re speaking to me as if I were retarded. LAURA No, I \u2019 m not. ANTHONY You are! LAURA I \u2019 m not, I... ANTHONY \u201c And then we \u2019 ll go and get dressed... \u201d \u201c Your little blue pill. \u201d Pause. ANTHONY -LRB- CONT \u2019 D -RRB- Thing is, I \u2019 m very intelligent. You need to bear that in mind, d \u2019 you understand? LAURA Yes, I \u2019 ll... bear it in mind. ANTHONY Thank you. Pause. ANTHONY -LRB- CONT \u2019 D -RRB- It \u2019 s true. I \u2019 m very intelligent... Sometimes, I even surprise myself. Memory like an elephant. ANTHONY wants to make himself absolutely clear. ANTHONY -LRB- CONT \u2019 D -RRB- You know, the animal. LAURA Yes, yes. He drinks his glass of water without taking his medication. LAURA -LRB- CONT \u2019 D -RRB- You \u2019 ve forgotten your pills! He looks at them in the hollow of his hand. ANTHONY Oh, yes, so I did... What are they doing there? LAURA I \u2019 ll go and get you another glass of water. ANTHONY No, no. Don \u2019 t bother. I \u2019 ll swallow them with... You \u2019 ll see. With the coffee. LAURA Are you sure? ANTHONY Positive. Look. Here. He begins what seems to him the equivalent of a magic trick. ANTHONY -LRB- CONT \u2019 D -RRB- You \u2019 ll see. Are you watching? Watch carefully. I stick them in my gob. Watch, there they go, hey presto, they \u2019 re in my mouth. Did you see? Did you see? Did you see? LAURA Yes, yes. I... I \u2019 m watching. ANTHONY Good. And now, the coffee. Watch carefully... Hey presto. He swallows the pills. ANTHONY -LRB- CONT \u2019 D -RRB- The job is done. LAURA Bravo. ANTHONY I worked in the circus a bit when I was young. LAURA Did you? ANTHONY Yes. I was quite talented. Especially at conjuring tricks. Would you like me to show you a little magic? LAURA Let \u2019 s get dressed first. ANTHONY Now? LAURA Yes. ANTHONY Oh, no, not now... He \u2019 s spoken like a child. LAURA Yes. ANTHONY Oh, no. LAURA Yes. ANTHONY What \u2019 s the point? I \u2019 ll only have to put my pyjamas back on tonight, won \u2019 t I? Might as well save some time. LAURA I see what you mean. But if you stay in your pyjamas, we won \u2019 t be able to go out. ANTHONY Where d \u2019 you want to go? LAURA The park. It \u2019 s a nice day. Suddenly, the MAN walks in. He also has a cup of coffee in his hand. MAN Everything all right? The MAN \u2019 s sudden appearance has unnerved ANTHONY. LAURA Fine. We were going to get dressed. ANTHONY But... LAURA Are you coming with me? ANTHONY can \u2019 t understand what this MAN is doing in his flat. He thought ANNE was living with PAUL. The MAN has an air of menace. MAN Everything all right, Anthony? ANTHONY is rooted to the spot. He doesn \u2019 t answer. MAN -LRB- CONT \u2019 D -RRB- Something the matter? ANTHONY No, no... MAN I just wanted a word with you. In fact. ANTHONY With me? MAN Yes. LAURA In that case, I \u2019 ll... I \u2019 ll go and get your things ready. ANTHONY is alarmed. ANTHONY No, wait a minute... LAURA I \u2019 ll be back. ANTHONY Don \u2019 t leave me on my own. LAURA I \u2019 ll be in the next room. I \u2019 ll be right back. She leaves the room. We can see ANTHONY is intimidated, as if this stranger \u2019 s presence frightened him. MAN Can I ask you a question? ANTHONY Yes. The MAN moves closer to him. There \u2019 s something threatening about his approach. MAN But I want an honest answer. Nothing fancy... Can you do that for me? ANTHONY Yes. MAN Well, then... how much longer do you intend to hang around getting on everybody \u2019 s tits? ANTHONY Me? MAN Yes, you. I \u2019 d like to know your opinion. Brief pause. MAN -LRB- CONT \u2019 D -RRB- I mean, do you intend to go on ruining your daughter \u2019 s life? Or is it too much to hope that you \u2019 ll behave reasonably in the foreseeable future? ANTHONY But... What are you talking about? MAN About you, Anthony. About you. Your attitude. He gives him a little slap. ANTHONY What are you doing? I can \u2019 t allow this. MAN You can \u2019 t allow it? ANTHONY No. MAN Suppose I do it again, then what will you do? ANTHONY I \u2019 ll... MAN Yes? ANTHONY You \u2019 ll have to take me on. Physically. MAN Are you saying that to tempt me? See, me as well, there \u2019 s something I can \u2019 t allow. Getting on everybody \u2019 s tits. Past a certain age. The MAN smiles and gives him a second little slap. ANTHONY Stop it! Do you hear me? Stop this at once. The MAN still has a broad, menacing smile on his face. ANTHONY, in front of him, looks helpless. MAN Yes. I won \u2019 t put up with that. I find that totally inappropriate. He gives him a third little slap. ANTHONY Stop that! I told you to stop it! ANTHONY covers his face. For a moment, he \u2019 s in this humiliating defensive position. The MAN continues to smile.", "INT.    KITCHEN 3    EVENING ANNE is smoking her cigarette at the window ( as we saw her in scene 35 ). We seem to be in the follow-on to that scene. Suddenly, she hears her father \u2019 s VOICE. ANTHONY -LRB- O.S. -RRB- Anne! She hurries into the living room.", "INT.    LIVING ROOM 3    EVENING ANTHONY is in the same defensive position, hunched over. In front of him is PAUL, rather than the MAN, looking at him uncomprehendingly. ANNE Dad? Dad, what \u2019 s the matter? No answer. ANNE turns to PAUL. ANNE -LRB- CONT \u2019 D -RRB- What \u2019 s the matter with him? PAUL I don \u2019 t know. She approaches her father, who maintains the same position, as if afraid of being slapped. ANNE Is it because of your watch? Dad, is that the reason? I found it, look! Shush. Come on, don \u2019 t cry. As she speaks, she \u2019 s holding him in her arms and stroking his hair. She looks at PAUL with a concerned expression. ANNE -LRB- CONT \u2019 D -RRB- You \u2019 ll be all right now. Mm? Shush. You \u2019 ll be all right. You \u2019 ll be all right. Let \u2019 s eat our chicken. Shall we? You like chicken, don \u2019 t you? ANTHONY But what time is it? ANNE It \u2019 s seven o \u2019 clock. Time to eat. ANTHONY Seven o \u2019 clock in the evening? ANNE Yes, Dad. ANTHONY But I thought it was morning. I \u2019 ve only just got up. Look, I \u2019 m still in my pyjamas. ANNE No, it \u2019 s evening and I \u2019 ve cooked you a chicken. Come on, let \u2019 s eat. Come on. Little daddy. Little daddy. He seems very lost. She tries to console him. Then, she looks at PAUL.", "INT.    BATHROOM 3    EVENING ANNE is in the bathroom, while PAUL is waiting for her in the bedroom. She is brushing her teeth in front of the mirror. Suddenly she stops... She looks exhausted and unhappy. Then, she steps back into the bedroom.", "INT.    MAIN BEDROOM 3    EVENING PAUL is there, already in bed. ANNE goes to sit on the bed.", "INT.    BEDROOM 3    NIGHT ANTHONY is in bed. It \u2019 s the middle of the night. Suddenly, he hears VOICES. VOICE Dad? Dad, are you asleep? He sits up and turns on the light. There \u2019 s no one there. ANTHONY Anne? VOICE No, Dad, it \u2019 s me. ANTHONY Lucy? He gets up, puts on his dressing-gown and leaves the room.", "INT.    CORRIDOR 3    NIGHT The flat is in darkness. But he hears a SOUND, coming from a cupboard at the end of the corridor. He \u2019 s intrigued. He approaches and opens the cupboard : but the door leads him into another corridor, which ANTHONY seems to be seeing for the first time. It \u2019 s a hospital corridor.", "INT.    HOSPITAL CORRIDOR   NIGHT He looks up and down the corridor, bewildered. All the sounds and sights of a hospital at night make it undeniable that he \u2019 s in hospital. He looks to and fro, rooted to the spot. VOICE Dad? ANTHONY Lucy? Are you there? He moves slowly down the corridor. Then, through a half-open door, he sees a young woman stretched out on a bed. The young woman turns her head and looks at him. It \u2019 s LUCY. LUCY Dad... DELETED DELETED", "INT.    FLAT 4    MORNING Same stationary empty SHOT. This time, there \u2019 s hardly any furniture at all.", "INT.    BATHROOM 4    MORNING ANTHONY splashes water over his face and looks at himself in the mirror. He uses the water to tidy his hair. He remembers his dream and decides to investigate the cupboard.", "INT.    CORRIDOR 4    MORNING He approaches the cupboard he dreamed about. He \u2019 s reluctant to open it. Then he decides to do it. It \u2019 s a broom cupboard. ANNE -LRB- O.S. -RRB- Ah, you \u2019 re up...", "INT.    KITCHEN 4    MORNING ANNE is cooking breakfast. There \u2019 s coffee already by his place at the table. ANTHONY Morning, darling... ANNE Sit down. It \u2019 s all ready. Are you hungry? ANNE puts a plate of toast and eggs in front of him. ANNE -LRB- CONT \u2019 D -RRB- You have a visitor today. Remember? Anthony starts eating his breakfast. He looks baffled. ANNE -LRB- CONT \u2019 D -RRB- Dad, you do remember? ANTHONY How could I forget? You never stop talking about it. ANNE She shouldn \u2019 t be long. ANTHONY This early? ANNE Yes. ANTHONY I dreamt about her last night. ANNE Laura? ANTHONY Yes. Well, I think I did. I can see her face. ANNE smiles at him. ANTHONY -LRB- CONT \u2019 D -RRB- You know, she really reminded me of your sister... ANNE Laura? Yes. That \u2019 s what you said yesterday. She sits in front of him. ANNE -LRB- CONT \u2019 D -RRB- Anyway, if you like her, I \u2019 m happy. She seems really nice. I mean, sweet. And efficient. She \u2019 ll look after you well. ANTHONY Yes. I like her. ANNE Good. We \u2019 d better get you dressed before she arrives, don \u2019 t you think? ANTHONY Who? ANNE Laura. Your new carer. The one you like. ANTHONY Ah, yes, yes, yes... ANNE Better to have a jacket on when she arrives. ANTHONY And trousers. They laugh. ANNE She very much enjoyed meeting you yesterday, you know. I must say you did quite a little number on her. ANTHONY I did? ANNE Yes. You convinced her you knew how to dance. That you were good at tap dancing. ANTHONY Me? ANNE Yes. ANNE \u2019 s laughing again ; ANTHONY has a childlike smile. ANTHONY And what did she say? ANNE She said she hoped you \u2019 d give her a demonstration. One day. ANTHONY Funny. I didn \u2019 t even know I knew how to tap dance. Did you? ANNE No. ANTHONY Hidden talents. ANNE Apparently, yes. He laughs. The bell rings. She stands. ANNE -LRB- CONT \u2019 D -RRB- Ah. ANTHONY Is that her? ANNE I expect so. ANTHONY But... so soon? I \u2019 m not ready. I \u2019 m not dressed. ANNE Never mind. You can get dressed later. ANTHONY No. I... I have to put some trousers on, Anne. Anne, I \u2019 m not properly dressed. ANNE It doesn \u2019 t matter. She \u2019 s heading for the door. ANTHONY Yes, it does matter. ANNE She \u2019 s outside the door. ANTHONY Anne. ANNE What? ANTHONY Don \u2019 t leave me like this. What \u2019 s she going to think of me? I have to get dressed. Where are my clothes? ANNE Dad. Why do you always make everything so difficult? You can get dressed later. There \u2019 s nothing to worry about. ANTHONY I \u2019 ll be mortified... ANNE No, you won \u2019 t... ANTHONY I will. Look, I \u2019 m in my pyjamas. I have to put my trousers on. The doorbell rings again. ANNE goes to open the door.", "INT.    KITCHEN 4    DAY He arranges himself behind the breakfast table, as far as possible so as not to be seen in his pyjamas. We can hear the WOMEN speaking in the hallway. ANNE -LRB- O.S. -RRB- Hello. LAURA -LRB- O.S. -RRB- Hello. Not too late, am I? ANNE -LRB- O.S. -RRB- No, no. Not at all. Come in. Come in. LAURA -LRB- O.S. -RRB- Thank you. They step into the kitchen, but to ANTHONY \u2019 s amazement, it \u2019 s not LAURA, it \u2019 s the WOMAN. ANTHONY But... who \u2019 s this? ANNE Here we are. We \u2019 re just getting dressed... WOMAN Hello, Anthony. ANTHONY But, Anne... it \u2019 s not her. ANNE Dad. She turns to the WOMAN. ANNE -LRB- CONT \u2019 D -RRB- Would you like something to drink? Coffee? WOMAN No, thanks. ANNE Have you had breakfast? I... ANTHONY I don \u2019 t want her. Where \u2019 s the one I like? Where is she? ANNE But, Dad... what are you talking about? Say hello to Laura. ANTHONY There \u2019 s something that doesn \u2019 t make sense about this. It doesn \u2019 t make sense! He \u2019 s terrified by the illogicality of the situation. WOMAN Do you remember me? We met yesterday. Pause. WOMAN -LRB- CONT \u2019 D -RRB- We were starting to get to know one another... Pause. ANTHONY seems panicked. He takes a step backwards. WOMAN -LRB- CONT \u2019 D -RRB- And I told you I \u2019 d come back... Just to see the way you did things and whether I could help you. Pause. WOMAN -LRB- CONT \u2019 D -RRB- Do you remember? Pause. He obviously doesn \u2019 t understand what \u2019 s going on. Panicked, he leaves the room and plunges into his bedroom. ANNE looks sadly and apologetically at the WOMAN.", "INT.    BEDROOM 5    DAY Clearly a different bedroom. ANTHONY is sitting on the bed. He \u2019 s staring into space. He \u2019 s trying to understand what \u2019 s going on around him. Suddenly, there \u2019 s a knock at the door and ANNE appears. Oddly, she \u2019 s wearing a coat. ANNE Dad? Can I talk to you? She comes into the room. Behind her is the WOMAN, who also comes into ANTHONY \u2019 s room. ANNE sits down on the bed beside ANTHONY. ANNE -LRB- CONT \u2019 D -RRB- How shall I put this? ANTHONY has no idea who she \u2019 s talking about. ANNE -LRB- CONT \u2019 D -RRB- You remember at first, when you came to our place, it was... I mean, it was... a stop gap. Because you \u2019 d fallen out with Angela. But... I \u2019 m wondering if it wouldn \u2019 t be... better to... Emotion prevents her from finishing her sentence. She searches for some less direct way of approaching the subject. ANNE -LRB- CONT \u2019 D -RRB- What do you think of this room? It \u2019 s rather nice, isn \u2019 t it? She stands. WOMAN It looks on to the park. ANNE Does it? ANNE opens the curtains. You can see out on to a park. ANNE -LRB- CONT \u2019 D -RRB- It \u2019 s very nice. It \u2019 s like being in a hotel? Don \u2019 t you think? WOMAN That \u2019 s what all the residents say. ANNE turns to her father and takes her courage in both hands. ANNE I think you might be better off here. ANTHONY looks completely lost. ANTHONY Where? She sits next to him. ANNE Here. I was wondering if it wouldn \u2019 t be more reassuring... nicer for you if we came to a joint decision that you should move in here. Brief pause. ANNE -LRB- CONT \u2019 D -RRB- What do you think? ANTHONY What about you? What are you going to do? Where are you going to sleep? Which room? ANNE If you remember, I \u2019 m going to go and live in Paris. ANTHONY No, you \u2019 re not. ANNE I am. Remember? I told you about it... Remember? ANTHONY But you said... Are you sure? ANNE Yes. ANTHONY has tears in his eyes. ANTHONY You told me you were staying here... with me... ANNE No, I have to go. It \u2019 s important. I already explained it to you. But I \u2019 ll come and see you. Occasional weekends. ANTHONY What about me? ANNE You \u2019 ll stay here. In London. ANTHONY is like a lost child. ANTHONY All on my own? Pause. ANNE \u2019 s choked up, unable to speak. ANTHONY -LRB- CONT \u2019 D -RRB- What about your sister? Where \u2019 s she? ANNE Dad... He \u2019 s having difficulty holding back a sob. ANTHONY What? Pause. ANTHONY -LRB- CONT \u2019 D -RRB- If you knew how much I missed her... ANNE I do too, Dad, I miss her too. We all miss her. ANTHONY realises that ANNE is moved. Immediately, he rediscovers his role as a father : he strokes her cheek, as if he wanted to console her. ANNE smiles. She closes her eyes and presses her father \u2019 s hand against her cheek.", "INT.    HOSPITAL    DAY Same stationary empty SHOT. We are now clearly in a hospital.", "EXT.    HOSPITAL PARK    DAY ANNE comes out of the building. She walks away, leaving it behind.", "EXT.    STREET OUTSIDE HOSPITAL    DAY Leaving the gates, ANNE hails a taxi which stops in front of her. As she gets in, she takes a last look back at the hospital.", "INT.    TAXI    DAY The taxi leaves. ANNE settles into the taxi. She \u2019 s fighting back tears. DELETED", "INT.    HOSPITAL ROOM    DAY ANTHONY wakes peacefully from his siesta. It takes him some time to work out where he is. There are medications on the bedside table. His watch is not there. His hand goes to his wrist. He \u2019 s lost it again... He fumes. He gets up. ANTHONY Anne? He \u2019 s wanting to leave his bedroom to go to the kitchen.", "INT.    HOSPITAL CORRIDOR    DAY He pushes open the door and comes upon the hospital corridor he saw in his nightmare.", "INT./EXT.    HOSPITAL ROOM    DAY He goes back into his room. Behind him, the WOMAN comes in. She \u2019 s wearing a white coat. WOMAN Did you sleep well? ANTHONY What am I doing here? WOMAN It \u2019 s time. ANTHONY I didn \u2019 t ask about the time. I asked you what I was doing here. Where \u2019 s Anne? WOMAN Look, I \u2019 ve brought you your medication. ANTHONY Why don \u2019 t you just fuck off with your medication? What are you, a nurse? WOMAN Yes. ANTHONY looks at her and realizes she has all the indications of being a nurse. ANTHONY Oh, you are... Oh, so that \u2019 s it... Oh, I see. You are a nurse. WOMAN Yes. ANTHONY Oh, I see. That \u2019 s what I was thinking. You \u2019 re the type. Typical nurse. So what are you doing here? WOMAN Sorry? ANTHONY What are you doing here? WOMAN Looking after you. ANTHONY You don \u2019 t say! Looking after me? First I \u2019 ve heard of it. Since when? WOMAN For quite a few weeks now. ANTHONY For quite a few weeks? I \u2019 m happy to hear it. Amazing! Nobody tells me anything in this house. But I thought we were getting a new one. WOMAN A new what? ANTHONY Nurse. A new nurse. Pause. ANTHONY -LRB- CONT \u2019 D -RRB- The one who looks a bit like Lucy. My other daughter. Brief pause. ANTHONY -LRB- CONT \u2019 D -RRB- I met her the other day. She came here... didn \u2019 t she? WOMAN Will you take your medication? ANTHONY She was supposed to start this morning. Laura. Wasn \u2019 t she? WOMAN I think you \u2019 re getting mixed up, Anthony. ANTHONY The one who reminded me of Lucy... The WOMAN is getting impatient. WOMAN Right. ANTHONY Yes, all right, fine. Let \u2019 s take this medication. It \u2019 s not timed to the minute, is it? He takes a look at his wrist and realises he \u2019 s not wearing his watch. ANTHONY -LRB- CONT \u2019 D -RRB- Where is Anne? WOMAN Your daughter isn \u2019 t here, Anthony. ANTHONY Oh? Where is she? Has she gone out? WOMAN If you remember, she lives in Paris. ANTHONY What? No, no, she thought about going. But in the end, it didn \u2019 t happen. WOMAN She \u2019 s been living there for several months. ANTHONY My daughter? In Paris? No, listen, they don \u2019 t even speak English. The WOMAN shows him a postcard, which is on the bedside table. WOMAN Look, yesterday, this postcard she sent you. We read it together. Don \u2019 t you remember? ANTHONY What is this nonsense? WOMAN Look. He reads it. Then he turns it over and recognises the French poster we first saw in his kitchen. WOMAN -LRB- CONT \u2019 D -RRB- I tell you this every day. She lives in Paris because she met a man called Paul, who she now lives with. But she comes to see you sometimes. ANTHONY Anne? WOMAN Yes. Occasionally she comes for the weekend. She comes here. You go for a walk in the park. She tells you about her new life, what she \u2019 s up to. The other day, she brought you some tea. Because you like tea. ANTHONY Me? I detest tea. I only drink coffee. The MAN comes in. He \u2019 s also dressed in white. ANTHONY is frightened when he sees him. MAN Everything all right? WOMAN Fine. We were just going to get dressed. MAN Everything all right? ANTHONY doesn \u2019 t answer. The MAN hands a document to the WOMAN, which she signs and hands back to him. WOMAN There you are. MAN Thanks. Have a nice day. WOMAN See you later. He leaves. ANTHONY Him, that one... Who \u2019 s he? WOMAN Who? ANTHONY Him... Who just left. WOMAN That \u2019 s Bill. ANTHONY Bill? WOMAN Yes. ANTHONY Are you sure? WOMAN Yes. Why? ANTHONY No reason. But... how shall I put this? What \u2019 s he doing here? I mean... in my flat. Do I know him? WOMAN Yes. He \u2019 s Bill. You see him every day. ANTHONY Do I? And you... WOMAN What? ANTHONY Sorry to ask this, but... I mean, you... you... Who are you, exactly? WOMAN I \u2019 m Catherine. ANTHONY Catherine. That \u2019 s right. Yes, yes, yes. Catherine. And he \u2019 s Bill. WOMAN Yes. ANTHONY Right. Right. And... What about me? She looks at him, not sure she \u2019 s understood. ANTHONY -LRB- CONT \u2019 D -RRB- Me... Who exactly am I? She smiles tenderly at him. WOMAN You? You \u2019 re Anthony. ANTHONY Anthony? WOMAN Yes. ANTHONY Are you sure? WOMAN Yes. ANTHONY Anthony? Nice name, Anthony... Don \u2019 t you think? WOMAN It \u2019 s a very nice name. ANTHONY My mother gave it to me. I imagine. Did you know her? WOMAN Who? ANTHONY My mother. WOMAN No. ANTHONY She was so... She had very big eyes. It was... I can see her face now. I hope she \u2019 ll come and see me sometimes. Mummy. Do you think? You were saying she might come occasionally for the weekend... WOMAN Your daughter? He \u2019 s crushed by sudden grief. ANTHONY No, Mummy. I... I want my mummy. I want my mummy. I want... I want to get out of here. Have someone come and fetch me. WOMAN Now. Shush... ANTHONY I want my mummy. I want her to come and fetch me. I want to go back home. ANTHONY starts sobbing. The WOMAN is surprised : she hadn \u2019 t in any way anticipated this grief. WOMAN What \u2019 s the matter with you? Anthony... Come here. Come to me. Tell me what the matter is... ANTHONY I... WOMAN Yes? ANTHONY I feel as if... I feel as if I \u2019 m losing all my leaves, one after another. WOMAN Your leaves? What are you talking about? ANTHONY The branches! And the wind... I don \u2019 t understand what \u2019 s happening any more. Do you understand what \u2019 s happening? All this business about the flat? You don \u2019 t know where you can put your head down. I know where my watch is. On my wrist. That I do know. For the journey. If not, I wouldn \u2019 t know when I might have to... WOMAN First we \u2019 ll get dressed, shall we? ANTHONY Yes. WOMAN We \u2019 ll get dressed and then we \u2019 ll go for a walk in the park, shall we? ANTHONY Yes. WOMAN Good. All the trees. And the leaves. And then we \u2019 ll come back here and have something to eat. Then you \u2019 ll have a siesta. All right? And if you \u2019 re on form, we \u2019 ll take another little walk. In the park. Just the two of us. Because it \u2019 s a nice day. Isn \u2019 t it? ANTHONY Yes. WOMAN The sun \u2019 s out. We have to make the most of it. It doesn \u2019 t happen every day. It never lasts very long when the weather \u2019 s as good as this, does it? So let \u2019 s get dressed, is that all right? He clings to her. ANTHONY No. WOMAN Now. Don \u2019 t be a baby. Come on. Come with me. All right? Come on. Easy. Easy. Shush. Shush. You \u2019 ll be all right in a minute. You \u2019 ll be all right. Shush... He calms down, buried in her arms. She rocks him gently. He looks like a child in its mother \u2019 s arms. The CAMERA PANS ROUND to the window.", "EXT. HOSPITAL PARK    DAY The park. The wind blows through the trees, rustling the leaves. The image HOLDS for some time."], "labels": [1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0], "summary": "Anne visits her father Anthony in his flat after he has driven away the latest of several caregivers. He has dementia and constantly forgets important life events and where things are around his flat, including his watch. He tells Anne he believes his caregiver stole his watch and that he will never move out of his flat. She tells Anthony she is moving to Paris to be with a man, which confuses Anthony since he does not recall any men in her life since the end of her marriage to James. Anne says that if he keeps refusing to have a caregiver, she will have to move him into a nursing home. The next day, Anthony encounters an unknown man, Paul, in his flat. Paul says he is Anne's husband and that Anthony is living in their flat. Anne returns but appears to Anthony as a different woman. When a new caregiver, Laura, arrives for an interview, Anthony tells Laura he was a professional dancer and insists he does not need any assistance. Anthony later says Laura reminds him of his other daughter Lucy, whom he has not seen for a long time. Anthony is taken to a doctor and rejects the idea that he has memory problems. Later, he tells Laura how proud he is of Lucy, a painter. She tells him she is sorry about Lucy's accident, but Anthony is confused as he has no recollection of that. Over the course of the film, it becomes clear that Anthony has really been living with Anne for years, but believes he still lives in his own flat. After Anne comes home, she and her husband \u2013 who is sometimes called Paul and sometimes James, and appears as two different men \u2013 have an argument over a holiday that had to be cancelled because of Anthony's needs, and about Anne's sacrifices for her father. Paul asks Anthony how long he plans to stay in their flat and annoy everyone; this sequence of events is repeated later, and on the second occasion Paul slaps him. Anthony wakes up and walks out of the flat, finding himself in a hospital hallway. He remembers Lucy lying in a hospital bed with blood on her face. He then wakes up in a completely different bedroom, which is in a nursing home. His nurse arrives, who earlier appeared as both Anne and Laura, but identifies herself as Catherine. She informs him that Anne lives in Paris and visits on occasional weekends. Another nurse named Bill also visits, identical to one of the men who earlier appeared to be Anne's husband. Anthony breaks down in tears over his inability to understand what is happening to him, as well as Anne's disappearance. He says he wants his mother and that he is \"losing his leaves, the branches, the wind and the rain\". Catherine comforts him and tells him she will take him out to the park later.", "name": "The_Father"}
{"scenes": ["UP A 1930's NEWSREEL. NEWSREEL ANNOUNCER -LRB- V.O. -RRB- `` Movietown News'' presents. Spotlight on Adventure! The mysterious SOUTH AMERICAN JUNGLE. A massive waterfall cascades down a gigantic, flat - topped mountain. NEWSREEL ANNOUNCER -LRB- V.O. -RRB- What you are now witnessing is footage never before seen by civilized humanity : a lost world in South America! Lurking in the shadow of majestic Paradise Falls, it sports plants and animals undiscovered by science. Who would dare set foot on this inhospitable summit? A painted portrait of a dashing young adventurer. NEWSREEL ANNOUNCER -LRB- V.O. -RRB- Why, our subject today : Charles Muntz! A massive DIRIGIBLE descends on an airfield. NEWSREEL ANNOUNCER -LRB- V.O. -RRB- The beloved explorer lands his dirigible, the `` Spirit of Adventure,'' in New Hampshire this week, completing a year long expedition to the lost world!", "INT. MOVIE THEATRE - CONTINUOUS Of everyone watching in the modest, small town theater, no one is more enthralled than 8 year old CARL FREDRICKSEN. NEWSREEL ANNOUNCER -LRB- O.S. -RRB- This lighter - than - air craft was designed by Muntz himself, and is longer than 22 Prohibition paddy - wagons placed end to end. Young Carl stares, mouth agape, wearing leather flight helmet and goggles - just like his idol on the silver screen. NEWSREEL ANNOUNCER -LRB- V.O. -RRB- And here comes the adventurer now! NEWSREEL FOOTAGE : the dashing Muntz descends down the gangplank to the delight of the crowd. His dogs trail him. NEWSREEL ANNOUNCER -LRB- V.O. -RRB- Never apart from his faithful dogs, Muntz conceived the craft for canine comfort! It's a veritable floating palace in the sky. An opulent dining room. NEWSREEL ANNOUNCER -LRB- V.O. -RRB- complete with doggie bath and mechanical canine walker. One dog runs suffers through mechanized bath time, while a second wears an electrode helmet and runs on a treadmill. NEWSREEL ANNOUNCER -LRB- V.O. -RRB- And Jiminy Cricket, do the locals consider Muntz the bee's knees! And how! Cameras flash as Muntz stands heroic, striking his signature `` thumbs up'' stance. MUNTZ `` Adventure is out there!'' In the theater, Young Carl returns the thumbs up. NEWSREEL ANNOUNCER -LRB- V.O. -RRB- But what has Muntz brought back this time? Muntz speaks to a crowded auditorium, on stage beside a curtained object. MUNTZ Gentlemen, I give you : the Monster of Paradise Falls! He pulls away the drape to reveal a GIANT BIRD SKELETON. CROWD Ooh! Young Carl leans forward, eyes bulging. NEWSREEL ANNOUNCER -LRB- V.O. -RRB- And golly, what a swell monster this is. But what's this? Skeptical scientists analyze the bones. NEWSREEL ANNOUNCER -LRB- V.O. -RRB- Scientists cry foul! The National Explorers Society accuses Muntz of fabricating the skeleton! YOUNG CARL No! Muntz's portrait is removed from a wall of paintings of other famous explorers. NEWSREEL ANNOUNCER -LRB- V.O. -RRB- The organization strips Muntz of his membership. Muntz's `` Explorer's Society'' badge is ceremoniously RIPPED from his jacket. Carl GASPS. Muntz stands next to his dirigible at an airfield. He grimly addresses the crowd. NEWSREEL ANNOUNCER -LRB- V.O. -RRB- Humiliated, Muntz vows a return to Paradise Falls and promises to capture the beast. alive! MUNTZ I promise to capture the beast. alive! In the theater, young Carl smiles. MUNTZ And I will not come back until I do! The crowd CHEERS. Muntz gives his thumbs up from the cockpit as the dirigible lifts off. NEWSREEL ANNOUNCER -LRB- V.O. -RRB- And so the explorer is off to clear his name. Bon voyage Charles Muntz, and good luck capturing the Monster of Paradise Falls! Carl looks like he just witnessed a miracle.", "EXT. SMALL TOWN NEIGHBORHOOD, 1930'S - DAY - CONTINUOUS Young Carl `` flies'' his blue balloon -LRB- `` The Spirit of Adventure'' hand - written on it -RRB- as he runs along the sidewalk. He still wears helmet and goggles. TITLE CARD : WALT DISNEY PICTURES PRESENTS NEWSREEL ANNOUNCER -LRB- V.O. -RRB- Here's Charles Muntz piloting his famous dirigible! TITLE CARD : A PIXAR ANIMATION STUDIOS FILM NEWSREEL ANNOUNCER -LRB- V.O. -RRB- He hurdles Pike's Peak! Carl jumps over a small rock. NEWSREEL ANNOUNCER -LRB- V.O. -RRB- He hurdles the Grand Canyon! Carl jumps over a crack in the sidewalk. NEWSREEL ANNOUNCER -LRB- V.O. -RRB- He hurdles Mount Everest! Carl jumps over a tree stump. and smacks into it instead. NEWSREEL ANNOUNCER -LRB- V.O. -RRB- He. goes around Mount Everest! Is there nothing he can not do? TITLE CARD : UP NEWSREEL ANNOUNCER -LRB- V.O. -RRB- Yes, as Muntz himself says : `` Adventure is -'' GIRL'S VOICE -LRB- O.S. -RRB- `` Adventure is out there!'' Carl stops. Who said that? The voice comes from a dilapidated HOUSE, windows boarded up and lawn overgrown with weeds. The weather vane atop the house turns, pulled by ropes. GIRL'S VOICE -LRB- O.S. -RRB- Look out! Mount Rushmore! Hard to starboard. Must get the Spirit of Adventure over Mount Rushmore. Carl walks toward the voice. GIRL'S VOICE -LRB- O.S. -RRB- Hold together old girl. How're my dogs doing? Ruff ruff!", "INT. DILAPIDATED HOUSE, HALLWAY - CONTINUOUS Carl squeezes through the broken door into the foyer. He follows the voice toward the living room. GIRL'S VOICE -LRB- O.S. -RRB- All engines ahead full! Let's take her up to 26,000 feet! Rudders eighteen degrees towards the south.", "INT. DILAPIDATED HOUSE, LIVING ROOM - CONTINUOUS Carl rounds the corner to see. ELLIE, an eight year old girl, her mussy red hair barely visible beneath her flight helmet and goggles. Bare footed, her overalls are patched and dirty. The old house has been transformed into a make - believe dirigible cockpit. Ellie steers, the wheel made from a rusty old bicycle. YOUNG ELLIE It's a beautiful day, winds out of the east at ten knots. Visibility. unlimited. -LRB- yells a command. -RRB- Enter the weather in the logbook! The navigator -LRB- her hamster -RRB- skitters in its cage. Ellie uses two tied - together Coke bottles as binoculars. YOUNG ELLIE Oh! There's something down there! I will bring it back for science. Awwww, it's a puppy! Carl is distracted by the Muntz newspaper clippings taped to the wall. YOUNG ELLIE -LRB- O.S. -RRB- No time! A storm! Lightning! Hail! Ellie pops up in front of Carl. YOUNG ELLIE What are you doing!?! Carl screams. He lets go of his balloon. It floats through a broken part of the ceiling and disappears. Ellie circles Carl accusingly. YOUNG ELLIE Do n't you know this is an exclusive club? Only explorers get in here. Not just any kid off the street with a helmet and a pair of goggles. Do you think you got what it takes? Well, do you?!? Carl FUMPHERS. YOUNG ELLIE Alright, you're in. Welcome aboard. She offers her hand. Carl looks down, embarrassed. YOUNG ELLIE What's wrong? Ca n't you talk? Carl is frozen. Ellie softens. YOUNG ELLIE Hey, I do n't bite. She takes off her helmet. Her hair frizzes out in all directions. She removes a homemade GRAPE SODA CAP pin from her shirt and pins it on Carl. YOUNG ELLIE You and me, we're in a club now. Carl smiles. YOUNG ELLIE I saw where your balloon went. Come on, let's go get it! Carl watches her stride out of the room. She pops back in. YOUNG ELLIE My name's Ellie. She grabs his hand. Carl blushes as she pulls him out of the room.", "INT. DILAPIDATED HOUSE, UPSTAIRS YOUNG ELLIE There it is. Carl and Ellie look across the attic at the balloon. Between them the floor has collapsed, save one rickety beam. Carl GULPS. YOUNG ELLIE Well, go ahead. She pushes him out onto the beam. YOUNG ELLIE Go on. Carl steels his courage. He puts on his goggles, starts forward. and FALLS through the floor.", "EXT. SMALL TOWN NEIGHBORHOOD STREET - DAY Ambulance. SIREN blaring.", "EXT. CARL'S HOUSE - NIGHT One lone light on upstairs.", "INT. CARL'S ROOM Carl in bed, reading a book by flashlight, his arm in a CAST. Into the room floats Carl's lost BLUE BALLOON. Carl jumps and CALLS OUT in fright. YOUNG CARL -LRB- re : arm. -RRB- Ow! A head pops up from outside the open window. YOUNG ELLIE Hey kid! Carl SCREAMS, hitting himself in the face with the cast. YOUNG CARL Ow! Ellie climbs in the window. YOUNG ELLIE Thought you might need a little cheerin' up. I got somethin' to show ya!", "INT. CARL'S ROOM - MOMENTS LATER The two hunker under a blanket tent with a flashlight. Ellie whispers, as if to protect a National Secret. YOUNG ELLIE I am about to let you see something I have never shown to another human being. Ever. In my life. Carl's eyes widen in alarm. YOUNG ELLIE You'll have to swear you will not tell anyone. Carl nods. YOUNG ELLIE Cross your heart. Do it! Carl crosses. Ellie unveils. YOUNG ELLIE My Adventure Book! It's a reused photo album with the words `` My Adventure Book'' written across it. She opens it to a photo of Charles Muntz. YOUNG ELLIE You know him. Carl smiles excitedly. YOUNG ELLIE Charles Muntz, explorer. When I get big, I'm going where he's going : South America. She turns the page to a map. YOUNG ELLIE It's like America. but south. Wan na know where I'm gon na live? She turns to an engraving of a large waterfall. A small hand - drawn picture of Ellie's clubhouse is glued to the top. YOUNG ELLIE -LRB- reading caption. -RRB- `` Paradise Falls, a land lost in time.'' I ripped this right out of a library book. Carl GASPS in horror. YOUNG ELLIE I'm gon na move my clubhouse there, and park it right next to the falls. Who knows what lives up there? And once I get there. She flips through her book, revealing a page marked, `` STUFF I'M GOING TO DO.'' Past that, the pages are blank. YOUNG ELLIE Well, I'm saving these pages for all the adventures I'm gon na have. Only. I just do n't know how I'm gon na get to Paradise Falls. Ellie closes the book, disappointed. Carl has a thought. He looks at his toy dirigible. YOUNG ELLIE That's it! You can take us there in a blimp! Swear you'll take us. Cross your heart! Cross it! Cross your heart. Carl does. YOUNG ELLIE Good. You promised. No backing out. Carl shakes his head `` no.'' YOUNG ELLIE Well, see you tomorrow kid! Bye. Ellie hops up and jumps out the window. YOUNG ELLIE `` Adventure is out there!'' She pops back in. YOUNG ELLIE You know, you do n't talk very much. I like you. Carl looks out the window after her in amazement. He rests his head on his balloon. YOUNG CARL Wow. The balloon pops.", "INT. CHURCH - DAY FLASH! A photo is taken of the wedding couple : Carl and Ellie, now 19. She jumps at him and gives him a big kiss. Ellie's side of the church erupts like wild frontiersmen. A gun shot is fired in the air. Carl's side, rigid puritans in black, clap politely.", "EXT. DILAPIDATED HOUSE - DAY Carl carries her past a `` SOLD'' sign. It's the same house where they met as kids.", "EXT. CARL AND ELLIE'S HOUSE - DAY Still in their wedding clothes : She saws as he hammers.", "INT. CARL AND ELLIE'S HOUSE, LIVING ROOM - DAY They push two chairs into place side by side in the living room.", "EXT. CARL AND ELLIE'S HOUSE - DAY Ellie finishes painting `` Carl & Ellie'' on their MAILBOX. Carl leans in to admire her work but leaves a messy paint handprint on the mailbox! Oh well ; Ellie adds her handprint as well. They smile.", "EXT. CARL AND ELLIE'S HOUSE - DAY Their house now matches Ellie's colorful CLUB HOUSE DRAWING from her childhood Adventure Book.", "EXT. RURAL HILLSIDE - DAY They run up a hillside together. They lie side by side on a picnic blanket. She describes the clouds. He watches as a cloud transforms into a turtle. Carl closes his eyes and smiles. He's lucky to be with her.", "EXT. ZOO - DAY Ellie emerges from the South America House, dressed in her Zookeeper's uniform. Carl shows off his new BALLOON CART and uniform. Behind him the balloons lift his cart off the ground. Carl jumps to catch it. She giggles.", "INT. CARL AND ELLIE'S HOUSE, LIVING ROOM - DAY Carl and Ellie sit side by side in their chairs, reading. Without looking up from their books, they hold hands.", "EXT. RURAL HILLSIDE - DAY Again at their picnic spot, they watch clouds. Ellie sees an elephant with wings. Carl gives it a try and points out a BABY. Ellie lights up, excited. She sees ALL the clouds as babies! Carl is stunned. but smiles.", "INT. CARL AND ELLIE'S HOUSE, BABY ROOM - DAY Ellie finishes painting a wall mural of a stork carrying a bundle in its beak. Carl hangs a mobile above the crib.", "INT. DOCTOR'S OFFICE - AFTERNOON Carl touches Ellie's shoulder as the doctor explains. Ellie drops her head in her hands.", "EXT. CARL AND ELLIE'S HOUSE, LIVING ROOM - AFTERNOON Carl looks out the window. Ellie sits alone under a tree, the wind in her hair.", "EXT. CARL AND ELLIE'S HOUSE, YARD - AFTERNOON Carl joins Ellie. He hands her the Adventure Book. She smiles.", "INT. CARL AND ELLIE'S HOUSE, LIVING ROOM - AFTERNOON Ellie paints a MURAL of their house atop Paradise Falls over the mantle. Carl organizes a compass, map, binoculars, and native bird figurine beneath the painting. It's their shrine to Adventure.", "INT. CARL AND ELLIE'S HOUSE, LIVING ROOM - AFTERNOON Carl sets A JAR on a table, `` PARADISE FALLS'' written on it. Ellie drops in a few coins. She looks at Carl and crosses her heart. Carl crosses his. A SERIES OF SHOTS The jar slowly fills as Carl and Ellie toss in spare change. Their car blows a tire. The two stand by the jar, reluctant. Carl BREAKS the jar. New tire. Carl in the hospital with a broken leg. Breaking jar. A storm rages. A tree falls, crushing the roof. Breaking jar.", "INT. CARL AND ELLIE'S HOUSE, FRONT HALL - MORNING Carl struggles to tie his tie. Ellie helps. They walk out the front door arm in arm.", "INT. CARL AND ELLIE'S HOUSE, FRONT HALL - 3 YEARS LATER Ellie struggles to tie Carl's tie as they rush out the door. A SERIES OF SHOTS as Ellie straightens Carl's ties. Stylish 1950's ties. Wide 60's ties. Paisley 70's ties.", "INT. CARL AND ELLIE'S HOUSE, FRONT HALL - 30 YEARS LATER Older Carl and Ellie smile at themselves in the hall mirror.", "EXT. ZOO - DAY Carl in his 60's. They still work happily side by side at the zoo. Carl's cart lifts off the ground. He casually leans an elbow on it.", "INT. CARL AND ELLIE'S HOUSE, LIVING ROOM - NIGHT Carl and Ellie dance in the evening candlelight. The PARADISE FALLS JAR sits off to the side, now dusty and forgotten.", "INT. CARL AND ELLIE'S HOUSE, LIVING ROOM WINDOW - AFTERNOON Carl cleans the inside of the window. Ellie cleans the outside.", "INT. CARL'S HOUSE, LIVING ROOM - AFTERNOON Carl vacuums the Adventure Shrine on the mantle. Carl smiles at a photo of Ellie as a child, wearing her flight helmet and goggles. He looks up at the mural of their house at Paradise Falls. His smile fades. Behind him, Ellie sweeps the floor. Their dream has gone unfulfilled. Carl has an idea.", "EXT. TRAVEL AGENCY - DAY Carl buys two tickets to South America.", "EXT. RURAL HILLSIDE - AFTERNOON Carl hurries excitedly up picnic hill. He hides the airline tickets in his basket. Behind him, Ellie falters and falls. She tries to get up but falls again. Something is wrong. He runs to her.", "INT. HOSPITAL ROOM - DAY Ellie lies in a hospital bed. She looks through her ADVENTURE BOOK. A BLUE BALLOON floats in to the room. Carl stands at the door. He smiles and walks to her bedside. Ellie pushes her Adventure Book toward him. She weakly pats his cheek and adjusts his tie. He kisses her on the forehead.", "INT. CHURCH - AFTERNOON Carl sits alone, next to a huge bouquet of balloons.", "EXT. CARL AND ELLIE'S HOUSE - DUSK Carl walks into the house, holding a single blue balloon. FADE TO BLACK.", "INT. CARL'S BEDROOM - MORNING - SEVERAL YEARS LATER An ALARM CLOCK BUZZES. An aged hand shuts it off and picks up the nearby glasses. CARL sits alone in his double bed. He rubs his face. GRUNTS. He gets out of bed, STRETCHING, GRUNTING and CRACKING BONES. He grabs his cane, with four tennis balls stuck to the bottom spokes.", "INT. CARL'S STAIRCASE - LATER Now dressed, Carl rides his ELDERLY ASSISTANCE CHAIR down the staircase. This takes a LONG, LONG time. Three quarters of the way down, the chair stops. He bangs the armrest and the chair restarts.", "INT. CARL'S KITCHEN - LATER Carl eats breakfast by himself.", "INT. CARL'S LIVING ROOM WINDOW - LATER Carl cleans the window with a cloth. His lonely reflection stares back at him.", "INT. CARL'S LIVING ROOM - LATER Carl dusts the mantle and Shrine to Adventure.", "INT. CARL'S HOUSE, FRONT HALL - LATER Carl looks in the hall mirror. He puts on his hat and considers his reflection. He straightens his GRAPE SODA PIN.", "EXT. CARL'S HOUSE, PORCH - CONTINUOUS Many LOCKS are heard unlocking from inside. The door opens, but bangs against the safety chain. Carl GRUMBLES in frustration. Carl opens the door, walks out onto his porch, pulls the door shut, and looks as if he's about to go somewhere. He sits in his porch chair.", "EXT. CARL'S NEIGHBORHOOD - CONTINUOUS Carl's house is the lone surviving square on the block not under construction. Machinery and workers circle busily. High rise buildings are being erected all around.", "EXT. CARL'S HOUSE, PORCH - MORNING Carl looks at the activity around him. CARL Quite a sight, huh Ellie? -LRB- noticing mailbox. -RRB- Uhp, mail's here. Carl walks to the mailbox. He touches Ellie's faded HANDPRINT and smiles. He looks through the mail. He sees a SHADY OAKS RETIREMENT VILLAGE pamphlet full of images of happy old people. Carl scoffs. CARL Shady Oaks Retirement. Oh brother. Carl notices DUST on his mailbox. CARL Hm. He pulls up a LEAF BLOWER. He revs it and blasts off the dust. TOM, the CONSTRUCTION FOREMAN, notices. CONSTRUCTION FOREMAN TOM Hey! ` Morning, Mr. Fredricksen! Need any help there? CARL No. Yes. Tell your boss over there that you boys are ruining our house. He points across the lot to a business man in a suit talking on a cell phone - the REAL ESTATE DEVELOPER. CONSTRUCTION FOREMAN TOM Well just to let you know, my boss would be happy to take this old place off your hands, and for double his last offer. Whaddya say to that? The leaf blower blasts off his hat. CONSTRUCTION FOREMAN TOM Uh, I take that as a no, then. CARL I believe I made my position to your boss quite clear. CONSTRUCTION FOREMAN TOM You poured prune juice in his gas tank. CARL Oh yeah, that was good. Here, let me talk to him. Tom hands Carl his MEGAPHONE. CARL -LRB- in megaphone. -RRB- You in the suit. Yes, you. Take a bath, hippy! Tom grabs the megaphone. CONSTRUCTION FOREMAN TOM -LRB- to Boss, re Carl. -RRB- I am not with him! -LRB- to Carl. -RRB- This is serious. He's out to get your house! Carl walks to his front door. CARL Tell your boss he can have our house. CONSTRUCTION FOREMAN TOM Really? CARL When I'm dead! Carl SLAMS the door. CONSTRUCTION FOREMAN TOM I'll take that as a maybe!", "INT. CARL'S LIVING ROOM - DAY - LATER Carl sits in his chair watching TV. A KNOCK at the door.", "EXT. CARL'S HOUSE, PORCH - DAY The door opens. A Wilderness Explorer stands, reading from a Wilderness Explorer Manual. He is in uniform, complete with sash, neckerchief, hat, and an enormous backpack stuffed with every piece of equipment there is. This is RUSSELL, age 8. Russell, nose buried in his MANUAL, reads to Carl. RUSSELL `` Good afternoon. My name is Russell. And I am a Wilderness Explorer in Tribe 54, Sweatlodge 12. Are you in need of any assistance today, sir?'' As he finishes the script, Russell smiles up at Carl. CARL No. RUSSELL I could help you cross the street. CARL No. RUSSELL I could help you cross your yard. CARL No. RUSSELL I could help you cross your. porch? CARL No. RUSSELL Well, I got ta help you cross something. CARL Uh, no. I'm doing fine. Carl closes the door in Russell's face.", "INT. CARL'S HOUSE, FRONT HALL - CONTINUOUS Carl listens through the door. Is the kid gone? He opens it. RUSSELL `` Good afternoon. My name is Russell.'' CARL Uh. kid. RUSSELL `` And I am a Wilderness Explorer in Tribe 54, Sweatlodge 12.'' CARL Kid. KID! Russell stops. but goes back to reading. RUSSELL `` Are you in need of any assistance today Sir?'' CARL Thank you, but I do n't need any help! Carl swings the door shut, but a small camping boot stops it. RUSSELL Ow. Carl opens the door. Russell stands at attention. CARL -LRB- RESIGNED. -RRB- Proceed. RUSSELL `` Good afternoon. My -'' CARL But skip to the end! Russell points to his SASH. It is covered with badges except for one glaringly empty space. RUSSELL See these? These are my Wilderness Explorer badges. You may notice one is missing. It's my Assisting the Elderly badge. If I get it I will become a Senior Wilderness Explorer! Russell makes the Explorer Sign : his thumbs form a `` W'', his fingers the `` wings'' of a bird, then the `` claws'' of a bear. RUSSELL `` The wilderness must be explored! CAW - CAW! RAAAR!'' This sets Carl's hearing aid off. Carl GRUMBLES in pain. RUSSELL It's gon na be great! There's a big ceremony, and all the dads come, and they pin on our badges. CARL So you want to assist an old person? RUSSELL Yep! Then I will be a Senior Wilderness Explorer! Carl leans in close to Russell. CARL -LRB- CONSPIRATORIALLY. -RRB- You ever heard of a snipe? RUSSELL Snipe? CARL Bird. Beady eyes. Every night it sneaks in my yard and gobbles my poor azaleas. I'm elderly and infirm. I ca n't catch it. If only someone could help me. RUSSELL Me! Me! I'll do it! CARL Oh, I do n't know, it's awfully crafty. You'd have to clap your hands three times to lure it in. RUSSELL I'll find it, Mr. Fredricksen! CARL I think its burrow is two blocks down. If you go past - RUSSELL Two blocks down! Got it! Russell runs down the block clapping and calling. RUSSELL Sniiiipe! Here Snipey Snipey. CARL -LRB- calls after Russell. -RRB- Bring it back here when you find it! Carl rolls his eyes and begins to close his door. He stops short. A large truck is backing up, getting dangerously close to ELLIE'S MAILBOX. CONSTRUCTION WORKER STEVE Okay, keep her coming. And. stop. Stop! STOP! The truck hits Ellie's mailbox, crushing the front. Carl is shocked. He runs to the box. CARL What? Hey! Hey you! What do you think you're doing? CONSTRUCTION WORKER STEVE I am so sorry, sir. The worker bangs on the mailbox, trying to fix it. CARL Do n't touch that! CONSTRUCTION WORKER STEVE No no, let me take care of that for you. Carl grabs the mailbox, trying to wrestle it from the worker. CARL -LRB- STRUGGLING. -RRB- Get away from our mailbox! CONSTRUCTION WORKER STEVE Hey sir, I. CARL I do n't want you to touch it! Carl HITS the worker with his cane. He falls to the sidewalk. The worker rubs his head. Blood. Carl backs up toward his door, cradling his mailbox. What has he done? Passerbys stare. Workers gather, as does the REAL ESTATE DEVELOPER. Carl backs into his house.", "INT. CARL'S LIVING ROOM Carl shuts his door. He closes the curtains. He peeks out the window. The injured worker is helped to his feet. A police car pulls up. The Real Estate Developer looks toward Carl's house. His hand rests on Carl's fence.", "INT. COURTHOUSE HALLWAY - DAY Carl sits alone on a bench holding a Court Summons.", "INT. COURTROOM - DAY A GUARD opens the door. Carl enters. The REAL ESTATE DEVELOPER watches him enter.", "EXT. CARL'S HOUSE - LATE EVENING A Police Officer drops Carl at his front gate. OFFICER EDITH Sorry Mr. Fredricksen. You do n't seem like a public menace to me. Take this. She hands him a pamphlet for SHADY OAKS RETIREMENT VILLAGE. OFFICER EDITH The guys from Shady Oaks will be by to pick you up in the morning, okay? The officer drives off, leaving Carl alone. Carl faces the house. He touches Ellie's dented mailbox. CARL What do I do now, Ellie?", "INT. CARL'S HOUSE, HALLWAY - NIGHT All is quiet but the slow ticking of the clock. The empty hall. The front hall mirror. The kitchen.", "INT. CARL'S HOUSE, CLOSET Carl pulls out a suitcase. A book tips over. Ellie's Adventure Book.", "INT. CARL'S HOUSE, LIVING ROOM Carl sits in his chair slowly paging through the book. He turns to the page marked `` STUFF I'M GOING TO DO.'' He closes the book and sighs. Carl looks at the Adventure Shrine, and the PAINTING of their house by Paradise Falls. He holds the Shady Oaks pamphlet. Carl's brows furrow. He looks up at the shrine, and crosses his heart.", "EXT. CARL'S HOUSE - NIGHT Lights are on inside the house. MATCH DISSOLVE", "EXT. CARL'S HOUSE - MORNING A SHADY OAKS RETIREMENT VILLAGE van pulls up. Nurses GEORGE and A.J. walk to Carl's door and KNOCK. Carl answers, holding a suitcase. CARL Morning gentlemen. NURSE GEORGE Good morning, Mr. Fredricksen. You ready to go? CARL Ready as I'll ever be. Would you do me a favor and take this? Carl hands over his suitcase. CARL I'll meet you at the van in just a minute. I. want to say one last goodbye to the old place. NURSE GEORGE Sure. Take all the time you need, sir. Carl closes the door. Rather sharply. The nurses head back to the van. NURSE A.J. Typical. He's probably going to the bathroom for the eightieth time. Empty helium tanks are strewn on the front lawn. NURSE GEORGE You'd think he'd take better care of his house. A SHADOW falls over the nurses. They turn to look. A giant tarp rises behind Carl's house. It unfolds to reveal THOUSANDS OF BALLOONS. The balloons rise up like some massive multi - colored cumulus cloud forming a thunderhead above the house. Strings tug at the chimney. The house strains. Pipes bend, then break. Electrical wires spark and snap. The house rips away from its foundation. The nurses duck and YELL as the house soars over them. Carl looks out the window and LAUGHS. CARL So long boys! I'll send you a postcard from Paradise Falls!", "INT. APARTMENT - CONTINUOUS Balloons spill colored light into a little girl's room as the house floats past.", "EXT. TOWN The shadow of the house drifts through an intersection.", "EXT. SHOP WINDOW A family watches the house float down the street.", "EXT. ABOVE THE TOWN Carl waves at a high - rise window washer, who tentatively waves back. The house crests the top of a building, drifting over and away from the city. Carl looks out his window. Good riddance.", "INT. CARL'S HOUSE, LIVING ROOM Carl sets a compass next to the map of South America.", "EXT. CARL'S HOUSE, BEDROOM WINDOW Sails made from stitched - together curtains emerge from the windows and billow in the wind. Carl steers using ropes attached to the weather vane.", "INT. CARL'S HOUSE, LIVING ROOM The compass needle rotates to point SOUTH.", "EXT. CARL'S HOUSE The house turns. Carl looks out the window, satisfied. He checks the balloons.", "INT. CARL'S HOUSE, LIVING ROOM Carl kisses a photo of Ellie. CARL We're on our way, Ellie. Carl kneels at the fireplace and plunks the balloon strings tied to the grate. He CHUCKLES and settles into his chair. He closes his eyes and smiles. SHADOWS move gently across the fireplace mantle.", "EXT. CARL'S HOUSE, FLOATING The house drifts through the clouds.", "INT. CARL'S HOUSE, LIVING ROOM Carl relaxes in his chair. KNOCK KNOCK KNOCK. CARL Huh? He stares at the front door. Nothing. CARL Hm. KNOCK KNOCK KNOCK. He bolts up and approaches the door. He looks out the peep hole. Nothing but the porch and clouds. He throws it open.", "EXT. CARL'S HOUSE, PORCH - DAY - CONTINUOUS Nothing. He looks left. Nothing. He looks right. Russell. He looks. Russell?! RUSSELL Hi, Mr. Fredricksen. It's me, Russell. CARL What are you doing out here, kid? Russell is plastered up against the wall, terrified and holding on for dear life. RUSSELL I found the snipe and I followed it under your porch, but this snipe had a long tail and looked more like a large mouse. The flag on Russell's backpack blows off and falls through the clouds. RUSSELL Please let me in? CARL No. Carl slams the door, leaving Russell alone. Beat. The door opens again. CARL Oh, alright, you can come. Russell runs into the house past Carl. CARL in.", "INT. CARL'S HOUSE, HALLWAY - CONTINUOUS Russell PANTS, panicked. He looks into living room. RUSSELL Huh. I've never been in a floating house before. Carl follows Russell into the living room. Russell chuckles and points at the photo of young Ellie. RUSSELL Goggles. Look at this stuff! Russell finds Ellie's house drawing sitting on the pages of the open atlas. RUSSELL Wow, you going on a trip? -LRB- reads from the engraving. -RRB- `` Paradise Falls : A Land Lost in Time.'' You going to South America, Mr. Fredricksen? Carl takes the page and puts it in his pocket. CARL Do n't touch that. You'll soil it. RUSSELL You know, most people take a plane, but you're smart because you'll have all your TV and clocks and stuff. Russell runs over to the steering rig. RUSSELL Whoah. Is this how you steer your house? Does it really work? CARL Kid, would you stop with the - Russell steers and the house tilts, knocking Carl back and forth. RUSSELL Oh, this makes it go right, and that way's left. CARL Let go of the - knock it off! Russell looks out the window in front of him. RUSSELL Hey look, buildings!", "EXT. CARL'S HOUSE, WINDOW - CONTINUOUS Russell and Carl arrive at the window. RUSSELL That building's so close I could almost touch it. That gives Carl an idea. Carl lowers Russell on a rope below the floating house. RUSSELL Wow! This is great! You should try this, Mr. Fredricksen! Look, there's a bus that could take me home two blocks away! -LRB- looking up. -RRB- Hey, I can see your house from here! CARL -LRB- struggling to hold on. -RRB- Do n't jerk around so much, kid! The rope slips through Carl's hands. Russell FALLS. Carl stands beside Russell at the window. Russell's fall had been a daydream. CARL Well, that's not gon na work. Carl leaves Russell at the window. RUSSELL I know that cloud, it's a Cumulo Nimbus. Did you know that the Cumulo Nimbus.", "INT. CARL'S HOUSE, LIVING ROOM - DAY - CONTINUOUS GRUMBLING, Carl kneels at the fireplace to cut a few balloon strings with his housekeys. CARL Stayed up all night blowing up balloons, for what? RUSSELL warm air goes by cool air, and the airs go by each other and that's how we get lightning. CARL That's nice, kid. Carl turns off his hearing aid. Silence. He smiles. Russell tries to get Carl's attention. A storm is brewing in the distance. RUSSELL -LRB- nearly silent. -RRB- Mr. Fredricksen, there's a big storm coming. It's starting to get scary. We're gon na get blown to bits! We're in big trouble, Mr. Fredricksen! A huge lightning bolt flash lights up the room. Carl turns on his hearing aid. CARL What are you doing over there? RUSSELL Look!", "EXT. CARL'S HOUSE, WINDOW - CONTINUOUS Carl joins Russell at the window. RUSSELL See? Cumulo Nimbus.", "INT. CARL'S HOUSE, LIVING ROOM - CONTINUOUS The tiny house is heading for a MASSIVE STORM. Carl STRUGGLES to steer the house away but is blown into the storm. The steering mechanism recoils and sends Carl flying. Plates fall from the walls and furniture slides as the house is rocked in the storm. Russell's backpack slides toward the front door. RUSSELL My pack! Russell HOPS on top of the backpack. RUSSELL Got ya! The pack slides toward the OPEN FRONT DOOR. Russell screams. He's about to slide out when the house tilts and the door swings shut. The Paradise Falls jar rolls past Carl. He chases after it. Ellie's chair slides across the room. Carl gasps and runs to protect it. The photo of Ellie rocks and slides off the wall. Carl lunges to catch it.", "EXT. CARL'S HOUSE, FLOATING The storm rages. The house is tossed into the storm clouds. All goes black.", "INT. CARL'S HOUSE, LIVING ROOM - MORNING Carl is asleep. A finger pokes Carl's face. Nothing. The finger pokes Carl's face again. Carl WAKES UP. RUSSELL Whew! I thought you were dead. CARL Wha. what happened? Carl STRUGGLES to rise from the pile of Ellie's things he'd been protecting. RUSSELL I steered us. I did! I steered the house! CARL Steered us? RUSSELL After you tied your stuff down you took a nap, so I went ahead and steered us down here.", "EXT. CARL'S HOUSE, WINDOW Carl opens the window and looks out. CARL Huh?", "EXT. CARL'S HOUSE, FLOATING The house floats motionless above an ocean of clouds.", "EXT. CARL'S HOUSE, WINDOW CARL Ca n't tell where we are.", "INT. CARL'S HOUSE, LIVING ROOM RUSSELL Oh we're in South America all right. It was a cinch, with my Wilderness Explorer GPS. Russell holds up his WILDERNESS EXPLORER GPS UNIT. CARL GP - what? RUSSELL My dad gave it to me. It shows exactly where we are on the planet. With this baby, we'll never be lost! Russell gestures, tossing the unit out the window.", "EXT. CARL'S HOUSE, FLOATING Carl and Russell watch the tiny GPS unit descend into the clouds. RUSSELL Oops.", "INT. CARL'S HOUSE, LIVING ROOM Carl kneels by the fireplace and cuts at the balloon strings. CARL We'll get you down, find a bus stop. You just tell the man you want to go back to your mother. RUSSELL Sure, but I do n't think they have busses in Paradise Falls.", "EXT. CARL'S HOUSE, FLOATING A small cluster of balloons fly up and away from the house.", "INT. CARL'S HOUSE, LIVING ROOM CARL There. That ought to do it. Here, I'll give you some change for bus fare. Russell follows Carl toward the front door. RUSSELL Nah, I'll just use my city bus pass.", "EXT. CARL'S HOUSE, FLOATING The house lowers into the fog. RUSSELL -LRB- O.S. -RRB- Whoah, that's gon na be like a billion transfers to get back to my house.", "EXT. CARL'S HOUSE, PORCH Carl and Russell stand on the porch as the house moves down into and through the thick, dark clouds. RUSSELL Mr. Fredricksen, how much longer? CARL Well, we're up pretty high. Could take hours to get down. Something flashes by them in the fog. Carl leans forward. CARL -LRB- MUMBLING. -RRB-. that thing was. building or something. Another dark object whooshes past them. Carl ducks. RUSSELL What was that, Mr. Fredricksen? CARL We ca n't be close to the ground yet. A brief view of rocks directly below them. Carl GASPS.", "EXT. MOUNTAIN, ROCKY LANDSCAPE BAM! The house CRASHES into the ground. Russell and Carl fly off the porch and onto the ground. They land hard. Carl's house is floating away! Carl runs after the GARDEN HOSE dragging across the ground. CARL Wait, wait! No do n't, do n't, do n't! Carl grabs the hose and is PULLED UP in the air. CARL Whoah! Hey, hey! Russell JUMPS onto Carl's leg and the extra weight pulls them to the ground. CARL Russell, hang on! Carl and Russell slide toward the edge of a CLIFF EDGE. RUSSELL Whoah! They slide toward the edge. and stop. The drop is thousands of feet. Carl is TERRIFIED. CARL Walk back! Walk back! RUSSELL Okay! Russell PULLS Carl by the leg away from the cliff edge. Carl, still hanging from the hose, looks around. Fog blankets the mysterious landscape, revealing only scattered rocks. CARL -LRB- out of breath. -RRB- Where. where are we? RUSSELL This does n't look like the city or the jungle, Mr. Fredricksen. The wind picks up and they STRUGGLE against it. CARL -LRB- to house. -RRB- Do n't worry, Ellie. I got it. The wind clears the fog, slowly revealing a crescent shaped, flat - topped mountain on which they stand. Across it, some ten miles away, is PARADISE FALLS. Carl stares. He ca n't believe it. CARL There it is. Ellie, it's so beautiful. The landscape is stunning. Carl shows Russell the engraving with the Ellie drawing of the house atop the falls. CARL We made it. We made it! Russell, we could float right over there. Climb up. Climb up! RUSSELL You mean assist you? CARL Yeah, yeah. Whatever. RUSSELL Okay, I'll climb up! Russell CLIMBS Carl, stepping on his leg, arms, and face. CARL Watch it. RUSSELL Sorry. The hose jiggles as Russell CLIMBS out of frame. CARL Now, when you get up there, go ahead and hoist me up! Got it?! Russell continues to grunt and strain off screen. CARL You on the porch yet?! Russell is just inches above Carl, still STRUGGLING to climb. He slides down onto Carl's head, exhausted. CARL What? That's it?! I came all this way just to get stuck at the wrong end of this rock pile? Aw, great! Carl paces. RUSSELL Hey, if I could assist you over there, would you sign off on my badge? CARL What are you talking about? RUSSELL We could walk your house to the falls! CARL Walk it? RUSSELL Yeah, after all, we weigh it down. We could walk it right over there. Like a parade balloon. Carl considers this.", "EXT. MOUNTAIN, ROCKY LANDSCAPE, DAY - LATER The house floats against the sky. The hose descends from the house and `` Y `` s to tie to both Carl and Russell. They wear the hose like a harness, pulling the house as they walk. CARL Now, we're gon na walk to the falls quickly and quietly, with no rap music or flash - dancing. Russell inspects his surroundings. RUSSELL -LRB- DISTRACTED. -RRB- Uh - huh. CARL We have three days, at best, before the helium leaks out of those balloons. And if we're not at the falls when that happens. RUSSELL Sand! CARL we're not getting to the falls! RUSSELL I found sand! Carl ROLLS HIS EYES. He looks up at the house. CARL Do n't you worry, Ellie. We'll get our house over there. Russell looks up at the house. Who's Carl talking to? RUSSELL Huh. -LRB- shrugs it off. -RRB- This is fun already, is n't it? By the time we get there, you're gon na feel so assisted. Oh, Mr. Fredricksen, if we happen to get separated, use the Wilderness Explorer call. Caw caw, raaar! The WILDERNESS EXPLORER CALL sets off Carl's hearing aid. RUSSELL Wait. Why are we going to Paradise Falls again? CARL Hey, let's play a game. It's called : `` See who can be quiet the longest.'' RUSSELL Cool! My mom loves that game! They head toward Paradise Falls, some 10 miles away.", "EXT. MOUNTAIN, JUNGLE CLEARING - DAY Mist hangs ominously over a rocky landscape. Something tall blasts through a maze of rocks. Two dark shapes are chasing the prey. Each has a light. Hunters.", "EXT. MOUNTAIN, GROVE OF TREES - CONTINUOUS The prey dodges various TRAPS, one after another. A metal cage slams shut, a hidden net, darts on a trip wire. The prey runs into a clearing surrounded by rocks : a dead end.", "EXT. MOUNTAIN, CLEARING - CONTINUOUS The hunters surround the prey, stepping out into the light : a sinister Doberman Pinscher, a Rottweiler, and a bulldog, each wearing large, HIGH - TECH COLLARS. They surround the prey. Escape looks impossible. WOOSH! The bird moves impossibly fast, jumping over the three dogs and escaping in a flash. The dogs head off in pursuit. A HIGH PITCHED SQUEAL stops the dogs short, their ears wincing in pain. They whimper and run off.", "EXT. MOUNTAIN, THICK JUNGLE - DAY - CONTINUOUS Carl steps out from behind a shrub. The SQUEALING is in fact his HEARING AID. CARL Darn thing. -LRB- calling back. -RRB- C'mon, Russell, would you hurry it up? Russell plods forward, dragging his feet. RUSSELL I'm tiiiired. And my knee hurts. CARL Which knee? RUSSELL My elbow hurts and I have to go to the bathroom. CARL I asked you about that five minutes ago! RUSSELL Well, I did n't have to go then! Russell goes limp and lies face down in the dirt. RUSSELL I do n't want to walk anymore. Can we stop? CARL Russell! If you do n't hurry up, the tigers will eat you. RUSSELL There's no tigers in South America. Russell rolls over to show Carl a badge. RUSSELL Zoology. CARL Oh, for the love of Pete. Go on into the bushes and do your business. RUSSELL Okay! Here, hold my stuff. Somehow energized, Russell jams his pack into Carl's hands, secures his rope to a tree and tromps off into the shrubs. He goes into the woods carrying a small shovel in one hand and a pile of leaves in another. RUSSELL I've always wanted to try this! Carl waits, standing by the tree his house is tied to. RUSSELL -LRB- O.S. -RRB- Mr. Fredricksen? Am I supposed to dig the hole before or after? CARL Eugh! None of my concern! Beat. RUSSELL -LRB- O.S. -RRB- Oh. It's before! Carl covers his ears.", "EXT. MOUNTAIN, THICK JUNGLE - CONTINUOUS Russell pats down a mound and SIGHS in satisfaction. He is about to return to Carl when he spots some TRACKS. RUSSELL Huh? Tracks?! -LRB- REALIZING. -RRB- Snipe! Russell follows the tracks into the dark jungle, clapping. RUSSELL Here, snipe. Come on out, snipe. Snipe! The footprints continue for a time, then stop. RUSSELL Huh. Russell munches on a chocolate bar. Something RUSTLES in the bushes behind him. He turns to look. Behind him, A BEAK takes a nibble of the chocolate and zips out. Russell turns. Nothing there. Another nibble! Zip! RUSSELL Ha! Gotcha! Russell peers into the shrub. RUSSELL Do n't be afraid, little snipe. I am a Wilderness Explorer so I am a friend to all of nature. Want some more? Russell holds out the chocolate. The beak pokes out and nibbles. RUSSELL Hi boy. Do n't eat it all. Come on out. The beak zips back into the bushes. RUSSELL Come on. Do n't be afraid little snipe. Nice snipe. Good little snipe. Nice. A massive shadowy creature rises up over Russell. RUSSELL giant snipe!", "EXT. MOUNTAIN, THICK JUNGLE CLEARING Carl checks the knot on his hose harness. Russell and the massive creature step up behind him. RUSSELL I found the snipe! CARL -LRB- humoring him. -RRB- Oh, did you? RUSSELL Are they tall? CARL Oh yes, they're very tall. RUSSELL Do they have a lot of colors? CARL They do indeed. RUSSELL Do they like chocolate? CARL Oh ye - Chocolate? Carl turns to look. Next to Russell stands a 13 foot tall, multicolored BIRD. Carl SCREAMS. CARL What is that thing?! RUSSELL It's a snipe! CARL There's no such thing as a snipe! RUSSELL But you said snipes eat - Carl grabs Russell, pulling him away from the bird. The bird HISSES at Carl and grabs Russell back. It cradles Russell like a baby. RUSSELL Whoah! Russell GIGGLES. Carl pokes at the bird with his cane, trying to scare it off. CARL Go on, get out of here. Go on! Shoo! The bird HISSES. It takes Russell up into a tree, swinging him around playfully. It looks scary and fun. RUSSELL -LRB- LAUGHING. -RRB- Whoah! Whoah! CARL Careful, Russell! RUSSELL -LRB- LAUGHING. -RRB- Hey, look Mr. Fredricksen, it likes me! CARL Russell! The bird grooms Russell. RUSSELL -LRB- LAUGHING. -RRB- No stop, that tickles! Carl pokes the bird with his cane. CARL Get out of here. Go on, git! The bird sets Russell down. It stalks Carl, HISSING and ruffling its feathers. CARL Aaaah! RUSSELL Uh - oh! No no no no no Kevin, it's okay. Mr. Fredricksen is nice! Russell pats Carl on the head. CARL `` Kevin''? RUSSELL Yeah, that's his name I just gave him. The bird pats Carl on the head with its beak. CARL Hey. Beat it! Vamoose! Scram! Carl waves his cane. The bird eats it. CARL Hey! That's mine! The bird chokes and the cane comes back up. CARL Aaah! Shoo, shoo! Get out of here. Carl shoos the bird away. The bird mimics him. CARL Go on, beat it. GRUMBLING, Carl gives up and throws his hands in the air. The bird mimics this as well. RUSSELL Can we keep him? Please? I'll get the food for him, I'll walk him, I'll change his newspapers. CARL No. RUSSELL -LRB- RECITING. -RRB- `` An Explorer is a friend to all, be it plants or fish or tiny mole.'' CARL That does n't even rhyme. RUSSELL Yeah it does. Russell points up to the roof of Carl's house. RUSSELL Hey, look! Kevin! CARL What? Get down! You're not allowed up there! The bird is on Carl's roof. It swallows a balloon. It POPS. The bird coughs up the deflated balloon. Russell GIGGLES. CARL You come down here right now! The bird jumps down and hides behind Russell. CARL Sheesh! Can you believe this, Ellie? RUSSELL Ellie? -LRB- gets idea. -RRB- Uh, hey Ellie, could I keep the bird? Uh - huh. Uh - huh. -LRB- to Carl. -RRB- She said for you to let me. CARL -LRB- to Ellie. -RRB- But I told him no -. -LRB- catches himself. -RRB- I told you no! N - O. The bird HISSES at Carl.", "EXT. MOUNTAIN, ROCKY LANDSCAPE - DAY Carl and Russell pull the house through the mist. Russell discreetly drops chocolate pieces along their trail. The bird follows, eating. CARL I see you back there! It `` hides'' behind a rock, still totally visible. CARL Go on, get out of here. Shoo! Go annoy someone else for a while. VOICE -LRB- O.S. -RRB- Hey, are you okay over there? The bird dashes away. CARL Uh, hello? Carl and Russell look around. In the midst, some 100 feet away, they see the FIGURE OF A MAN. CARL Oh! Hello sir! Thank goodness. Carl walks toward the man. CARL It's nice to know someone else is up here! VOICE I can smell you. Carl stops. CARL What? You can smell us? VOICE I can smell you. As they get closer, they realize the man is in fact a ROCK. CARL Hey. Russell GIGGLES. RUSSELL You were talking to a rock. Russell points to another rock shape. RUSSELL Hey, that one looks like a turtle! Sure enough. RUSSELL Look at that one! That one looks like a dog! The `` rock'' walks forward. RUSSELL It is a dog! CARL What? RUSSELL Uh, we're not allowed to have dogs in my apartment. The dog nuzzles Russell, who nervously pets it. RUSSELL Hey, I like dogs! CARL -LRB- calls out. -RRB- We have your dog! -LRB- to self. -RRB- Wonder who he belongs to? RUSSELL Sit boy. The dog sits. RUSSELL Hey look, he's trained! Shake! The dog raises his paw and Russell shakes it. RUSSELL Uh - huh. Speak. DUG Hi there. Carl and Russell freeze. CARL Did that dog just say `` Hi there?'' DUG Oh yes. Carl JUMPS back. DUG My name is Dug. I have just met you and I love you. Dug jumps up on to Carl. CARL Uh. wha? Dug wears a high - tech collar. The dog's thoughts come out of it as words through a speaker. It can talk. Unfortunately, it talks non - stop. DUG My master made me this collar. He is a good and smart master and he made me this collar so that I may talk - SQUIRREL! Dug stares transfixed at a tree. False alarm. DUG My master is good and smart. CARL It's not possible. DUG Oh it is, because my master is smart. RUSSELL Cool! What do these do, boy? He inspects the collar and twists a dial. DUG Hey would you -. -LRB- CLICK. -RRB- - cuerdo con tigo -. -LRB- CLICK. -RRB- I use that collar -. -LRB- CLICK. -RRB- - watashi wa hanashi ma -. -LRB- CLICK. -RRB- - to talk with, I would be happy if you stopped. CARL Russell, do n't touch that. It could be radioactive or something. Dug sniffs the ground around Carl and Russell. DUG I am a great tracker. My pack sent me on a special mission all by myself. Have you seen a bird? I want to find one and I have been on the scent. I am a great tracker, did I mention that? BAM! The bird tackles Dug and HISSES. DUG Hey, that is the bird! I have never seen one up close but this is the bird. -LRB- to Carl. -RRB- May I take your bird back to camp as my prisoner? CARL Yes! Take it! And on the way, learn how to bark like a real dog! DUG Oh I can bark! Dug BARKS. DUG And here's howling! Dug HOWLS. The bird HISSES at Dug. RUSSELL Can we keep him? Please please please? CARL No. Russell falls to his knees, pleading. RUSSELL But it's a talking dog! CARL It's just a weird trick or something. Let's get to the falls. Carl grabs Russell. The bird follows, as does Dug. DUG Please be my prisoner. Oh please oh please be my prisoner.", "EXT. MOUNTAIN, THICK JUNGLE CLEARING - DAY Footprints. A dog's nose follows the tracks. This is GAMMA, a bulldog. GAMMA Oh, here it is. I picked up the bird's scent! A second dog : BETA, a Rottweiler. BETA Wait a minute, wait a minute! What is this? Chocolate. I smell chocolate. GAMMA I'm getting prunes and denture cream! Who are they? BETA Ah man, Master will not be pleased. We'd better tell him someone took the bird, right Alpha? ALPHA, a Doberman pinscher, sits with his back to them. ALPHA -LRB- high - pitched voice. -RRB- No. Soon enough the bird will be ours yet again. Alpha's voice is high and squeaky, as if he's breathed in helium. ALPHA -LRB- CONT'D. -RRB- Find the scent, my compadres and you two shall have much rewardings from Master for the toil factor you wage. Beta and Gamma look at each other. BETA Hey Alpha, I think there's something wrong with your collar. You must have bumped it. GAMMA Yeah, your voice sounds funny! Beta and Gamma LAUGH. Alpha turns. They stop laughing. ALPHA Beta. Gamma. Mayhaps you desire to - SQUIRREL! All three dogs look for the squirrel. False alarm. ALPHA -LRB- CONT'D. -RRB- Mayhaps you desire to challenge the ranking that I have been assigned by my strength and cunning? BETA No no. But maybe Dug would. You might want to ask him. Beta and Gamma SNICKER derisively. GAMMA Yeah, I wonder if he's found the bird on his very special mission. ALPHA Do not mention Dug to me at this time. His fool's errand will keep him most occupied, most occupied indeed. Ha ha ha. Do you not agree with that which I am saying to you now? BETA Sure, but the second Master finds out you sent Dug out by himself, none of us will get a treat. ALPHA You are wise, my trusted Lieutenant. Alpha powers up a video screen on Beta's collar. ALPHA -LRB- CONT'D. -RRB- This is Alpha calling Dug. Come in, Dug. The screen shows ground moving past : the view from Dug's collar. DUG Hi Alpha. Hey, your voice sounds funny. ALPHA I know, I know! Have you seen the bird? DUG Why yes, the bird is my prisoner now. GAMMA Yeah, right. The screen view adjusts to see the bird. It hisses. ALPHA Impossible! Where are you?! DUG I am here with the bird and I will bring it back and then you will like me. Oh, got ta go. On the collar screen, the dogs get a fleeting glimpse of a boy's face. It's Russell. RUSSELL -LRB- on video screen. -RRB- Hey Dug! Who you talking to? The video screen goes blank. The dogs BARK excitedly. BETA What's Dug doing? GAMMA Why's he with that small mailman? BETA Where are they? Alpha pushes a button on Beta's collar. A TRACKING DEVICE locates Dug. ALPHA There he is. Come on! The dogs sprint off into the jungle.", "EXT. MOUNTAIN, JUNGLE - DAY The bird drags Dug, still clamped onto it's leg. DUG Oh please oh please oh PLEASE be my prisoner! RUSSELL Dug, stop bothering Kevin! DUG That man there says I can take the bird and I love that man there like he is my master. The bird HISSES. CARL I am not your master! The bird tries to shake Dug off its leg. Dug jumps up on it. DUG I am warning you, once again, bird! RUSSELL Hey! Quit it! DUG I am jumping on you now, bird. Russell tries to separate them, which pulls on Carl's tether. CARL Russell! At this rate we'll never get to the falls! Carl pulls on the tether, knocking Russell over. Carl falls, pulling the house into a tall rock. SMASH! Carl GASPS. He turns his anger to the group. CARL I am nobody's master, got it? -LRB- points to bird. -RRB- I do n't want you here. -LRB- points to Dug. -RRB-. and I do n't want you here. -LRB- points to Russell. -RRB- I'm stuck with you. And if you two do n't clear out of here by the time I count to three - Dug sees the tennis balls on Carl's cane. DUG A ball! Oh boy oh boy! A ball! CARL Ball? Carl pops off one of the tennis balls. CARL You want it boy? Huh? Huh? Yeah? DUG Oh oh oh! Yes, I do. I do ever so want the ball! CARL Go get it! Carl throws the ball far away. Dug chases after it. DUG Oh boy, oh boy! I will get it and then bring it back! CARL -LRB- WHISPERS. -RRB- Quick Russell, give me some chocolate. RUSSELL Why? CARL Just give it to me! Carl grabs some chocolate and waves it at the bird. CARL Bird. Bird! Carl THROWS the chocolate. The bird runs after it. Carl grabs Russell and runs. CARL C'mon Russell! RUSSELL Wait. Wait, Mr. Fredricksen.", "EXT. MOUNTAIN HILLSIDE Carl pulls them down a slope. He slips.", "EXT. MOUNTAIN TREETOPS Above the tree line, the house SMASHES into a tree. CARL Daah!", "EXT. MOUNTAIN STREAM Carl and Russell crossing the river balance on rocks. Carl slips and his foot goes into the water. CARL Aaahh.", "EXT. MOUNTAIN JUNGLE RUSSELL What are we doing? Carl pushes through thick jungle leaves. BUGS buzz around him.", "EXT. MOUNTAIN STEEP HILLSIDE Carl climbs up the hill. He FALLS over a dead branch. RUSSELL Hey, uh, we're pretty far now. Kevin's gon na miss me.", "EXT. MOUNTAIN, JUNGLE CLEARING - CONTINUOUS They climb over a ridge. Dug and the bird are nowhere in sight. Carl sits down on a rock, BREATHING HARD. CARL I think that did the trick. He turns. Dug. With the ball in his mouth. DUG Hi, Master. CARL Afternoon. Carl turns the other way. The bird. It HONKS at him. Dug drops the slobbery ball on Carl's lap.", "EXT. MOUNTAIN, FLAT ROCKY AREA - NIGHT A clap of thunder. Lightning flashes reveal rain pouring down on the house. Beneath it, Carl and Russell are kept dry, sitting around a pathetic flickering campfire. Carl looks at Dug, asleep, wrapped around the bird's leg. He rolls his eyes and looks up at the house. CARL Well, thanks for keeping us dry anyway, Ellie. RUSSELL -LRB- O.S. -RRB- Which one's the front? Russell struggles to set up the tent. He reads his manual. RUSSELL Is this step three, or step five? Carl ROLLS HIS EYES at Russell's ineptness. RUSSELL There! Russell struggles with a tent pole, trying to winch it into place. Carl ca n't watch. An off screen SMACK! Russell walks to Carl. Miraculously, he looks unscathed. RUSSELL All done. Russell turns, revealing a large RED WELT on his face. RUSSELL -LRB- pointing to tent. -RRB- That's for you! The tent pole springs loose, catapulting the tent over the cliff. RUSSELL Awh. Tents are hard. CARL Wait, are n't you `` Super Wilderness Guy?'' With the GPM's and the badges? RUSSELL Yeah, but. can I tell you a secret? CARL No. RUSSELL Alright, here goes. I never actually built a tent before. There. I said it. CARL You've been camping before, have n't you? RUSSELL Well, never outside. CARL Well, why did n't you ask your Dad how to build a tent? RUSSELL I do n't think he wants to talk about this stuff. CARL Why do n't you try him sometime? Maybe he'll surprise you. RUSSELL Well, he's away a lot. I do n't see him much. CARL He's got to be home sometime. RUSSELL Well, I called, but Phyllis told me I bug him too much. CARL Phyllis? You call your own mother by her first name? RUSSELL Phyllis is n't my mom. Carl realizes he put his foot in it. CARL Oh. The two sit silently together, watching the fire. RUSSELL But he promised he'd come to my Explorer ceremony to pin on my Assisting the Elderly badge, so he can show me about tents then, right? Carl studies Russell's sad optimism. He looks at the missing badge on Russell's sash. CARL Hey, uh, why do n't you get some sleep. Do n't want to wake up the traveling flea circus. Dug nuzzles around the sleeping bird's leg. RUSSELL Mr. Fredricksen, Dug says he wants to take Kevin prisoner. We have to protect him! Russell YAWNS and lies down on the rock next to Carl. RUSSELL Can Kevin go with us? CARL Alright. He can come. RUSSELL Promise you wo n't leave him? CARL Yeah. RUSSELL Cross your heart? Carl looks down at Russell. CARL Cross my heart. Carl sits at the campfire, the others asleep. He shakes his head and looks up at the house. CARL What have I got myself into, Ellie?", "EXT. MOUNTAIN, FLAT ROCKY AREA - MORNING A frog sits next to Carl's glasses. It CROAKS. Carl's hand smacks it like an alarm clock. The frog hops away. Carl rises, looking up at the house. CARL Morning Sweetheart. The balloons on the house are wilting. CARL We better get moving. He scans the camp. The bird is gone. CARL Huh. Bird's gone. Maybe Russell wo n't notice. -LRB- calls out. -RRB- Alright, everybody up! Russell sits up with a SNORT. RUSSELL Where's Kevin? He's wandered off! Kevin! Dug, find Kevin! Dug crazily searches and sniffs, looking for the bird. DUG Find the bird. Find the bird. POINT! Dug goes rigid like a pointer dog and `` points'' to the left. RUSSELL Oh, look! There he is. Russell points to the right. The bird is on top of Carl's house. Dug turns around. DUG POINT! The bird has gathered a pile of food on Carl's roof. CARL Hey, that's my food! Get off my roof! DUG Yeah, get off of his < >! In the distance, BABY BIRDS call out. The bird CALLS back. CARL What is it doing? DUG The bird is calling to her babies. RUSSELL Her babies! Kevin's a girl? The bird gobbles the food and jumps off the roof. DUG Her house is over there in those twisty rocks. Miles off is a huge grouping of rocks ; the LABYRINTH. The baby birds call from somewhere inside. DUG She has been gathering food for her babies and must get back to them. The bird `` hugs'' Russell goodbye and pats Carl on the head with her beak. She HISSES at Dug. RUSSELL Wait, Kevin's just leaving? But you promised to protect her! RUSSELL Her babies need her, we got ta make sure they're together. The bird hurries off toward the labyrinth. Carl gathers up the hose tether. CARL Sorry Russell. We've lost enough time already. RUSSELL Yeah.", "EXT. MOUNTAIN, EDGE OF JUNGLE - MOMENTS LATER The bird rounds a corner and hears rustling in the bushes ahead. She scampers back toward the house.", "EXT. MOUNTAIN, FLAT ROCKY AREA Russell chews on some chocolate. RUSSELL This was her favorite chocolate. Because you sent her away, there's more for you. Carl rolls his eyes and SIGHS. They hear rustling from the bushes behind them. CARL Huh? RUSSELL Kevin? Beta and Gamma, run toward Carl and Russell, viciously barking and growling. Carl protects Russell with his cane. Dug is conflicted. Alpha walks forward and stares menacingly at Carl. He turns toward Dug. ALPHA -LRB- high - pitched voice. -RRB- Where's the bird? You said you had the bird. DUG Oh, yes. Oh, yes. Since I have said that, I can see how you would think that. ALPHA Where is it? DUG Uh, tomorrow. Come back tomorrow and then I will again have the bird. Yes. Alpha BARKS angrily. ALPHA You lost it. Why do I not have a surprised feeling? Well, at least you now have lead us to the small mailman and The One Who Smells of Prunes. Carl and Russell look at Dug. He turned on them! Dug shamefully lowers his head. ALPHA Master will be most pleased we have found them, and will ask of them many questions. -LRB- commanding, to Carl. -RRB- Come! CARL Wait, we're not going with you. We're going to the falls! Gamma and Beta BARK fiercely at Carl. CARL Get away from me! Get down! The dogs lead Carl and Russell like prisoners. Dug follows. The house is pulled after them, and on the roof : THE BIRD.", "EXT. MOUNTAIN, DESOLATE ROCKY AREA - DAY Alpha leads Carl and Russell through a canyon. Dogs patrol the tops of the canyon walls. Four more large dogs join the group. Carl and Russell watch warily and continue their march. They round a bend. Before them is a MASSIVE CAVE OPENING.", "EXT. MOUNTAIN, CAVE ENTRANCE The house and balloon canopy are dwarfed as the group approaches the huge cave opening. DOZENS OF DOGS step out of the cave. Carl and Russell stop. More dogs approach from the side. Every way Carl turns there are more dogs! Growling and snarling, the dogs surround Carl and Russell. Closer. closer. From the darkness a voice : VOICE -LRB- O.S. -RRB- Stay! The dogs stop. A figure peers out from the darkness. It examines Carl, Russell, and the floating house. VOICE You came here in that? CARL Uh. yeah. VOICE In a house? A floating house? The man laughs. Carl and Russell laugh along nervously. VOICE That is the darndest thing I've ever seen! You're not after my bird, are you? But if you need to borrow a cup of sugar, I'd be happy to oblige! The dogs LAUGH uproariously at the man's joke. VOICE Well, this is all a misunderstanding. My dogs made a mistake. The figure walks out toward Carl into the light. Carl recognizes him! CARL Wait, are you Charles Muntz?! MUNTZ Well. Yes. CARL The Charles Muntz? Muntz gives him the `` thumbs up.'' MUNTZ `` Adventure is out there!'' Carl GIGGLES with glee. CARL It's really him! -LRB- to Russell. -RRB- That's Charles Muntz! RUSSELL -LRB- EXCITED. -RRB- It is?!? -LRB- CONSIDERS. -RRB- Who's Charles Muntz? CARL Him! DOG WALLA Yes! It is him! He is! CARL I'm Carl Fredricksen. My wife and I, we were your biggest fans! Carl rushes to shake Muntz's hand. Muntz is charmed. MUNTZ Well, you're a man of good taste! Muntz LAUGHS at his joke. Carl joins in. MUNTZ You must be tired. Hungry? RUSSELL Uh - huh. MUNTZ -LRB- to dogs. -RRB- Attention everyone! These people are no longer intruders. They are our guests. The dogs CHEER. DOG WALLA Follow me! I like you temporarily. You do smell like prunes. I will not bite you. Muntz walks into the cave. Carl and Russell excitedly follow.", "INT. CAVE - CONTINUOUS CARL Wow. Carl's eyes adjust to the dark. Muntz's dirigible the `` Spirit of Adventure'' is tethered in the cave. MUNTZ -LRB- O.S. -RRB- I'm sorry about the dogs - hope they were n't too rough on you. GAMMA -LRB- O.S. -RRB- We were n't! MUNTZ Go ahead and moor your airship right next to mine. Muntz gestures to a pylon, where Carl ties off the house. Muntz and the dogs walk up the gangplank of the dirigible. CARL We're not actually going inside the `` Spirit of Adventure'' itself?! MUNTZ Oh. Would you like to? CARL Would I?!?! Carl GIGGLES like a little boy. CARL Wait up, Mr. Muntz! Carl and Russell follow up the ramp. CARL Jiminy Cricket. Dug follows, but is blocked by Alpha and Beta. BETA Not you. GAMMA What do we do with Dug? ALPHA He has lost the bird. Put him in the Cone of Shame. Dug WHIMPERS.", "EXT. DIRIGIBLE GANGPLANK - MOMENTS LATER Alpha, Gamma and Beta walk into the dirigible. Dug sits forlornly with a PLASTIC CONE around his neck. DUG I do not like the Cone of Shame.", "INT. DIRIGIBLE - TROPHY ROOM Carl and Russell are speechless as they walk into the room. It's a treasure trove of giant skeletons, stuffed creatures, and rare cultural artifacts. Various servant dogs dust and polish as Muntz leads Carl and Russell through the room. MUNTZ Most of the collection is housed in the world's top museums : New York, Munich, London. ` Course I kept the best for myself. CARL Did you ever! Will you look at that? MUNTZ Oh yes, the Arsinoitherium. Beast charged while I was brushing my teeth. Used my shaving kit to bring him down. A dog approaches carrying a menu. Muntz waves it off. MUNTZ Oh, surprise me. -LRB- to Carl. -RRB- Only way to get it out of Ethiopia at the time was to have it declared as `` dental equipment!'' Muntz LAUGHS. Behind him, a dog ca n't resist gnawing at one of the bones. CARL Oh my gosh, the Giant Somalian Leopard Tortoise! MUNTZ Oh, you recognize it? I'm impressed! That's an interesting story there. A dog approaches with a bottle of champagne in his mouth. Muntz glances at the bottle. MUNTZ Hm, excellent choice. -LRB- to Carl. -RRB- I found it on safari with Roosevelt. Two dogs work together to remove the cork from the bottle. POP! They sloppily pour two glasses. MUNTZ He and I fell into a habit of playing gin rummy in the evenings. And did he cheat? Oh, he was horrible! Muntz and Carl LAUGH. Alpha interrupts. ALPHA -LRB- high - pitched voice. -RRB- Master, dinner is ready. MUNTZ Oh dear, broken translator. It's that loose wire again. -LRB- leans down, fixes it. -RRB- There you go big fella. ALPHA -LRB- deep scary voice. -RRB- Thank you Master. Russell reacts. RUSSELL I liked his other voice. Muntz LAUGHS. MUNTZ Well, dinner is served! Right this way.", "INT. DIRIGIBLE, DINING ROOM Muntz leads Carl and Russell into the dining room and up to a large table. MUNTZ So how are things stateside? Almost tempted to go back a few times, but I have unfinished work here. Please. Dogs pull back chairs for them. They sit. Dog waiters place napkins on their laps. MUNTZ I hope you're hungry because Epsilon is the finest chef I've ever had. Dogs bring out covered plates, look at each other, and remove the silver plate covers at the same time. The meals look delicious. MUNTZ Oh, Epsilon, you've done it again! RUSSELL Yes! Russell is served a hot dog. His waiter ca n't resist and eats a bite. RUSSELL Hey! Another dog pours some juice then takes a big slurp from his glass. RUSSELL Hey! Carl looks around, still enthralled. CARL Oh my Ellie would have loved all this. You know, it's because of you she had this dream to come down here and live by Paradise Falls. He gestures toward HIS HOUSE, tethered outside the porthole window. MUNTZ I'm honored. And now you've made it! CARL You're sure we're not a bother? I'd hate to impose. MUNTZ No no! It's a pleasure to have guests - a real treat. The dogs erupt into excited barking. DOG WALLA Treat?! Treat! I want a treat! MUNTZ No no, quiet! Calm down. Calm down. In the excitement a dog swipes the rest of Russell's hot dog. RUSSELL Hey! MUNTZ -LRB- CONT'D. -RRB- Should n't've used that word. Having guests is a delight. More often I get thieves, come to steal what's rightfully mine. CARL No! Muntz picks up a lantern and walks to the back of the room. MUNTZ They called me a fraud, those. dah! But once I bring back this creature, my name will be cleared. The lantern illuminates photographs, drawings, samples, feathers. Hundreds of them. all of THE BIRD. Kevin. This is Muntz's obsession. He looks over to a full size skeleton. MUNTZ Beautiful, is n't it? I've spent a lifetime tracking it. Sometimes years go by between sightings. I've tried to smoke it out of that deathly labyrinth where it lives. Ca n't go in after it. Once in, there's no way out. Lost so many dogs. Muntz is lost in reverie. MUNTZ And here they come, these bandits, and think the bird is theirs to take! But they soon find that this mountain is a very dangerous place. Distracted Russell finally notices the skeleton. RUSSELL Hey, that looks like Kevin! MUNTZ `` Kevin?'' RUSSELL Yeah! That's my new giant bird pet. I trained it to follow us. Muntz and Alpha exchange glances. MUNTZ Follow you? Impossible. How? RUSSELL She likes chocolate. Russell holds up a chocolate bar to show Muntz. MUNTZ Chocolate? RUSSELL Yeah, I gave her some of my chocolate. She goes ga - ga for it. Carl swipes the chocolate from Russell and pockets it. CARL But it ran off! It's gone now. Muntz stares. He walks to a table full of flight helmets. MUNTZ You know, Carl. These people who pass through here, they all tell pretty good stories. A `` Surveyor'' making a map. Using his cane, Muntz topples a helmet from the table. It rolls across the floor. MUNTZ A `` Botanist'' cataloguing plants. Muntz topples another helmet. He lifts a third to show Carl. MUNTZ An old man taking his house to Paradise Falls. He drops the helmet. It rolls to Carl's feet. MUNTZ That's the best one yet. I ca n't wait to hear how it ends. Carl glances around nervously. Out the window, sitting on the roof of his house, sits THE BIRD! CARL Well! It's been a wonderful evening, but we'd better be going. Carl gets up and pulls Russell from the table. MUNTZ Oh, you're not leaving? CARL We do n't want to take advantage of your hospitality. Come on Russell. Carl leads Russell toward the door. RUSSELL But we have n't even had dessert yet. Muntz follows behind them slowly, menacingly. MUNTZ No, the boy's right. You have n't had dessert. Epsilon here makes a delicious Cherries Jubilee. Carl pulls Russell along, Muntz following behind like something out of a bad dream. MUNTZ Oh, you really must stay. I insist! We have so much more to talk about! A distant HAUNTED WAIL. Everyone stops. RUSSELL Kevin? Muntz walks to the window and looks out. Atop the roof he sees THE BIRD. MUNTZ It's here. He turns back to Carl. but they're gone. MUNTZ -LRB- to dogs. -RRB- Get them!", "INT. CAVE Carl and Russell untie Carl's house from the pylon. CARL Hurry! RUSSELL I am hurrying! Dogs descend down the ramp behind them. RUSSELL They're coming! Carl and Russell run toward the cave opening. Dogs block the cave opening. Carl stops short. DUG -LRB- O.S. -RRB- Master, over here! Dug points to a tunnel opening deeper inside the cave. Carl and Russell run toward him. The cave leads to a steep incline. The dogs are getting closer. There's no choice but to JUMP. The lift from the overhead balloons allows Carl and Russell to leap down the incline, like astronauts. DUG Go toward the light, master! Dogs climb down the rocks, closing in on Carl and Russell. The bird sees the dogs. She jumps off the house and lifts Carl and Russell on her back. She runs through the cave, towing the house behind her. Russell and Carl HANG ON for dear life. BANG BANG BANG! Balloons pop as they scrape across the ceiling. The house lowers. Ahead, a giant rock sits in their path. Carl tugs at the house but it CRASHES against the rock, pulling Russell onto the ground. CARL Russell! Dragging on the ground, Russell gets BUMPED around badly.", "EXT. MOUNTAIN, CANYON - CONTINUOUS The dogs close in on Russell. Alpha bites at his heels. Carl fends off Alpha with his cane. CARL Get back! Alpha is about to bite when an avalanche of boulders rains down! The dogs stop short. Carl looks back as the bird keeps running. Dug is up on the canyon wall. He caused the avalanche! DUG Go on Master! I will stop the dogs! Dug jumps down to block the path of the approaching dogs. DUG Stop you dogs! The dogs run around Dug. Alpha bites Dug by the neck and throws him out of the path. The bird carries Carl, Russell dragging along behind. She rounds a corner. Russell SWINGS OUT over the abyss. The bird jumps from rock spire to spire. Russell swings back and forth wildly in the air. RUSSELL Help! Help! Russell does the WILDERNESS EXPLORER CALL. CARL Gim me your hand! Carl holds out his cane so that Russell can GRAB it and Carl PULLS him back onto the bird. Meanwhile Dug manages to rejoin his friends, but just in time to reach the end of the line - A CLIFF EDGE. A river winds 100 feet below. Carl looks above to see the house's momentum pulling forward. RUSSELL Hang on to Kevin! Carl grabs onto Kevin and picks Dug up by the collar. Just as the dogs reach our gang, the house's momentum carries them across the chasm. Alpha bites the bird on the leg but is kicked loose and falls into the river below. Carl LANDS HARD but safely across the river chasm. The dogs are stuck on the other side. Carl painfully gets up. He looks up at his house. It's still intact. He breathes a SIGH OF RELIEF. RUSSELL -LRB- O.S. -RRB- Kevin! The bird tries to stand but SQUAWKS pitifully and falls back to the ground. Russell rushes to her side. The bird's leg has been injured badly by the dog bite. She ca n't stand. Russell applies a bandage. From the distant labyrinth of rocks, the BIRD BABIES call. Kevin CALLS back to them. She tries to stand, but ca n't. Russell runs to her side. RUSSELL No no no! Kevin! Stay down. -LRB- to Carl. -RRB- She's hurt real bad. Ca n't we help her get home? Carl looks at the bird's wounds. He looks to the rock maze, then to his house. He knows the right thing to do. And he hates himself for it. CARL Alright. But we've got to hurry.", "INT. DIRIGIBLE, COCKPIT Dripping wet dogs cower in front of a menacing Muntz. MUNTZ You lost them? BETA Uh, it was Dug. GAMMA Yeah, he's with them. He helped them escape! Muntz snarls in anger. MUNTZ Wait. Wait a minute. Dug. He leans over a RADAR TRACKING DEVICE.", "EXT. MOUNTAIN - NIGHT - CONTINUOUS DUG'S COLLAR SCREEN powers on, and a signal zeroes in on Dug's location. Dug, oblivious, looks out over the landscape, sniffing. Carl and Russell peek out from behind a tree. CARL See anything? DUG No, my pack is not following us! Boy they are dumb. Dug scampers back to Carl and Russell, who pull the house from behind a tree canopy. CARL This is crazy. I finally meet my childhood hero and he's trying to kill us! What a joke. DUG Hey, I know a joke. A squirrel walks up to a tree and says I forgot to store acorns for winter and now I am dead. Ha! It is funny because the squirrel gets dead. They pull the house, keeping it hidden behind the trees. CARL Careful Russell. The house bumps into a tree, jostling the injured BIRD on the porch. RUSSELL You okay, Kevin? Kevin goes back to sleep. Russell looks at her BANDAGED LEG. RUSSELL You know what, Mr. Fredricksen? The wilderness is n't quite what I expected. CARL Yeah? How so? RUSSELL It's kinda. wild. I mean, it's not how they made it sound in my book. CARL Hmm, get used to that, kid. RUSSELL My dad made it sound so easy. He's really good at camping, and how to make fire from rocks and stuff. He used to come to all my Sweatlodge meetings. Russell smiles at the thought. RUSSELL And afterwards we'd go get ice cream at Fentons. I always get chocolate and he gets butter - brickle. Then we'd sit on this one curb, right outside, and I'll count all the blue cars and he counts all the red ones, and whoever gets the most, wins. I like that curb. He looks up at Carl. RUSSELL That might sound boring, but I think the boring stuff is the stuff I remember the most. They walk in silence. Carl understands. The bird babies CALL OUT in the distance. Kevin CALLS BACK. RUSSELL Look, there it is! Russell spots the labyrinth, now close by. He tries to run but is pulled back by his tether. LAUGHING, Carl unclips Russell's tether. CARL Hold on Russell, stand still! Carl ties the hose harnesses to a tree, securing the house. Russell helps Kevin off the porch and the group run toward the labyrinth entrance. Kevin is reenergized by the sound of her babies. She runs off ahead. Carl and Russell LAUGH. CARL Look at that bird go! CARL Wait up, you overgrown chicken! RUSSELL That's it, go Kevin! Go find your babies! Just as they approach the entrance to the labyrinth, a fierce spotlight hits them. MUNTZ'S DIRIGIBLE lowers overhead. RUSSELL Run Kevin! Run! A net shoots out and binds her. She falls and CALLS OUT. RUSSELL Oh no! The net catches on a rock. Carl and Russell run to her aid. CARL Russell, give me your knife! Carl saws frantically at the net. MUNTZ -LRB- O.S. -RRB- Get away from my bird! Muntz and his dogs descend from the dirigible. Beside them, a group of dogs drag forward CARL'S HOUSE. Muntz hurls a lit lantern. Flames burst up beneath the house. Heat waves ripple up. Balloons POP. Carl's house LOWERS into the fire.", "INT. CARL'S HOUSE, LIVING ROOM - CONTINUOUS Inside the living room, Ellie's photo crashes to the floor.", "EXT. MOUNTAIN, LABYRINTH GATE - CONTINUOUS CARL No! Carl panics. He rushes toward the house, dropping the knife. Muntz motions to the dogs. They swarm past Russell, knocking him down and grabbing the bird in the net. RUSSELL No! Carl pulls his house away from the flames. The bird CALLS OUT plaintively as the dogs drag her into the dirigible. Muntz follows the bird up the ramp of the dirigible. MUNTZ Careful. We want her in good shape for my return. RUSSELL Let her go! Stop! Russell runs after the dogs, but the gangplank closes. The dirigible flies off. RUSSELL Kevin! Carl beats out the flames with his jacket. He extinguishes the flames. Carl collapses on the side of his house. RUSSELL You gave away Kevin. You just gave her away. CARL This is none of my concern. I did n't ask for any of this! DUG Master. It's alright. CARL I am not your master! And if you had n't a shown up, none of this would have happened! Bad dog! Bad dog! Dug slinks off, tail between his legs. Carl angrily puts on the harness. CARL Now, whether you assist me or not, I am going to Paradise Falls if it kills me. He walks off. Russell falls in behind. An angry dawn breaks.", "EXT. MOUNTAIN, ROCKY TERRAIN - DAY Now barely aloft, Carl pulls the house across the rocky landscape. Russell's harness drags along side, empty. Russell walks behind.", "EXT. MOUNTAIN HILLSIDE - MORNING With the last of his energy, Carl drags the house into place. The house groans as it comes to rest. Carl drops the hose harness and walks to the edge of a cliff.", "EXT. PARADISE FALLS - MORNING He looks over. He's finally made it : Paradise Falls. Torrents of water careen over the massive cliff edge. Carl takes out Ellie's childhood drawing. Next to him stands the real house, just like Ellie wanted. RUSSELL -LRB- O.S. -RRB- Here. Behind him, Russell throws his sash on the ground. RUSSELL I do n't want this anymore. Russell walks away. He sits on a rock, alone. Carl picks up the sash. He walks up the steps of his house.", "INT. CARL'S HOUSE, HALLWAY - CONTINUOUS The door opens. Carl steps in. He's back in his house for the first time in days.", "INT. CARL'S HOUSE, LIVING ROOM - CONTINUOUS Carl and Ellie's things are strewn across the floor, a mess from the rough journey. Carl rights Ellie's chair, sets the lamp upright, slides the table into position. He pushes their two chairs back into their place. Carl closes his eyes, takes a deep breath, and sits. Quiet. Nothing, save the distant sound of the falls outside. Carl surveys the room. The ADVENTURE BOOK rests on a table near him. He opens it and puts Ellie's drawing back. He looks through the pages, remembering the newspaper clippings and old photographs, the dreams of young Ellie. He turns to the page marked : STUFF I'M GOING TO DO. Carl sighs. He managed to bring the house to the falls, but Ellie never made it. He closes the book. But as he does, Carl sees something he had n't before. The blank pages at the end are no longer blank. A WEDDING PHOTO of the two of them. On a picnic. Celebrating birthdays. Another and another. photos of their ordinary life together, the ups and downs. Carl's face warms. Ellie lived the life she wanted : she saw adventure in everyday life. A photo of the two of them sitting side by side, together, in their chairs. Beneath it, Ellie has written : `` THANKS FOR THE ADVENTURE - NOW GO HAVE A NEW ONE! LOVE, ELLIE.'' Carl smiles. He looks over to Ellie's empty chair. On the arm is Russell's sash. Carl picks it up. He looks to Ellie's chair. He crosses his heart.", "EXT. CARL'S HOUSE - MOMENTS LATER Carl walks from the house and calls from the porch. CARL Russell? But Russell is nowhere to be seen. A shadow crosses Carl. He looks up to see Russell floating off, hanging from a BUNCH OF BALLOONS. CARL Russell! RUSSELL I'm gon na help Kevin even if you wo n't! Russell fires up a LEAF BLOWER and steers himself off into the sky. CARL No, Russell! No! Carl runs back to his house and tries in desperation to lift it. He struggles, but the house does n't budge. The balloons have lost too much helium. Furious, he THROWS a chair off his porch. It lands atop the mountain rocks with a thud. This gives him an idea. The GRAMOPHONE smashes onto the rocky ground. Chairs, dressers, tables ; Carl throws them all out of the house. Slowly, one corner of the house lifts. Then another. Carl struggles to push a refrigerator from the porch. It teeters. and falls. The house lifts off! CARL Wahhoo! The house floats off into the sky, leaving a huge pile of things. Beside it sits Carl and Ellie's chairs, side by side atop Paradise Falls.", "EXT. CARL'S HOUSE, FLOATING The house soars into the air, sails billowing.", "INT. CARL'S HOUSE, LIVING ROOM Inside the house, Carl adjusts his steering, scans the skies. KNOCK KNOCK KNOCK. Carl's eyes go wide. CARL Russell?", "INT. CARL'S HOUSE, PORCH - CONTINUOUS The door swings open. CARL Dug! DUG I was hiding under your porch because I love you. Can I stay? CARL Can you stay? Well, you're my dog are n't you? And I'm your master! DUG You are my master?! Dug lunges forward and overwhelms Carl with dog kisses. DUG Oh boy. Oh boy!", "EXT. CARL'S HOUSE, FLOATING - CONTINUOUS The house flies off into the sky. CARL -LRB- O.S. -RRB- Good boy, Dug. You're a good boy!", "EXT. OPEN SKY - DAY Russell steers through the clouds toward the DIRIGIBLE.", "INT. DIRIGIBLE - CONTINUOUS Dogs play poker. Behind them, Russell flies past with the leaf blower. They turn to look.", "EXT. DIRIGIBLE Russell steers wobbly toward an open dirigible window. He smashes into the wall. RUSSELL Ooph! He tries again and TUMBLES through the window.", "INT. DIRIGIBLE - CONTINUOUS Russell releases the balloons and picks up the leaf blower, ready for action. RUSSELL Yes! Do n't worry Kevin! I'll save - Growling dogs move toward him. Russell blows the leaf blower at the dogs.", "INT. DIRIGIBLE, CAGE ROOM Muntz stares into the bird's cage, mesmerized. She's miserable and scared. MUNTZ And they would n't believe me. Just wait till they get a look at you. Alpha enters. ALPHA Master! The small mailman has returned. MUNTZ What?", "INT. DIRIGIBLE Dogs tie Russell to a chair. RUSSELL Let me go! Muntz enters. MUNTZ Where's your elderly friend? Russell blows the leaf blower in Muntz's face. RUSSELL He's not my friend anymore. Muntz grabs the leaf blower and drags Russell out. MUNTZ Well, if you're here, Fredricksen ca n't be far behind.", "INT. DIRIGIBLE, TROPHY ROOM Muntz drags Russell through the trophy room. RUSSELL Where are you keeping Kevin!?", "INT. DIRIGIBLE, RAMP ROOM - CONTINUOUS Muntz sets Russell down and walks to a control panel. RUSSELL Let me go! BETA Scream all you want, small mailman. GAMMA None of your mailman friends can hear you. RUSSELL I'll unleash all my Wilderness Explorer training! Muntz is about to throw a switch when he looks out the porthole. Flying toward him is CARL'S HOUSE! MUNTZ Alpha! Fredricksen's coming back. Guard that bird. If you see the old man, you know what to do. Muntz pulls the switch and walks out of the room. RUSSELL Hey, where are you going? I'm not finished with you! MUNTZ Nice talking with you. Muntz slams the door. Light emerges from the floor. Russell is on the ramp, which is opening. Russell REACTS.", "INT. DIRIGIBLE, COCKPIT Muntz enters the cockpit and takes the wheel. MUNTZ Where are you, Fredricksen?", "EXT. DIRIGIBLE The dirigible turns, revealing Carl's house sneaking up behind.", "INT. CARL'S HOUSE, LIVING ROOM Carl steers toward the cockpit. He dons Russell's sash, then hooks his cane onto his back. He's fighting for a cause. He hears SCREAMING. It's Russell! Tied to his chair, he slides down the ramp as it lowers, closer and closer to the edge. CARL Russell! Carl steers his house to the dirigible.", "EXT. DIRIGIBLE, RAMP - CONTINUOUS Carl flings the hose, HOOKING it to the ramp railing. Using his cane as a zip line, Carl slides to Russell, catching him just as Russell slides off the ramp edge. They land safely together. RUSSELL Mr. Fredricksen! CARL Dug! Bring ` er over! Dug winches in the hose caddy, pulling the house closer to the dirigible ramp. Carl carries Russell into the house.", "INT. CARL'S HOUSE - CONTINUOUS Carl sets Russell, still bound, down in the front hall. RUSSELL You came back for Kevin! Let's go get her. CARL I'm getting Kevin. You stay here! RUSSELL But I want to help! CARL I do n't want your help. I want you safe! Carl leaps back into the dirigible. Dug follows. Russell STRUGGLES against his bonds.", "INT. DIRIGIBLE, HALLWAY Carl and Dug sneak down a hall. They see dogs ahead and hide. CARL How do we get past these dogs? DUG Uh. POINT! Dug points to a grate in the wall.", "INT. DIRIGIBLE, GAS CELL AREA Dug leads Carl `` backstage'' through a vent shaft into the dirigible. They sneak past two biplanes.", "INT. DIRIGIBLE, CAGE ROOM They emerge through a grate near the ceiling. They look down into the room where the bird is kept in a cage. CARL Kevin! The bird recognizes Carl and CRIES OUT. CARL Do n't worry Kevin, we're on our way! Alpha enters, leading a group of dogs. Carl and Dug duck into the shadows and watch unnoticed from above. ALPHA Allow no one to be entering through these doors. Guard well that bird, my minions. CARL -LRB- WHISPERS. -RRB- What do we do now, Dug? Dug is lost in ecstacy, chomping on a tennis ball on the end of Carl's cane.", "INT. DIRIGIBLE, CAGE ROOM - MOMENTS LATER Carl drops down from the ceiling and stands on the cage. He bangs his cane. All the dogs turn. He grabs a ball from his cane and waves it in the air. CARL Who wants the ball? DOGS Me! I do! I want the ball! CARL Then go get it! Carl throws the ball. The dogs scramble after it.", "INT. DIRIGIBLE, HALLWAY OUTSIDE OF CAGE ROOM - CONTINUOUS The dogs pile into the hallway in pursuit. DOGS I'm gon na get there first! Oh gon na get the ball! I'm gon na get it! Gamma catches it. GAMMA I got it! Behind them Carl shuts the door. The dogs realize their mistake. GAMMA Uh - oh.", "INT. DIRIGIBLE, CAGE ROOM Carl opens the cage door. CARL I'm sorry Kevin. Let's get you out of here.", "INT. DIRIGIBLE, COCKPIT Muntz scans the horizon. Suddenly the in - ship communicator comes to life. DOG WALLA -LRB- on radio. -RRB- Master! He's gone! The old man! He's here! He's got the bird! The bird's gone! MUNTZ What? Calm down! One at a time!", "EXT. CARL'S HOUSE, FRONT PORCH Russell STRUGGLES to break free of the chair. RUSSELL I want to help! He manages to get his arms free. RUSSELL Ha ha! Except that all his struggling causes the chair to hop out on the porch and fall off. Russell SCREAMS as he falls. The hose unspools. Russell reaches the end of the hose. Russell grabs onto it and the chair jostles free, falling thousands of feet down. The house drifts away from the dirigible.", "INT. DIRIGIBLE, COCKPIT The melee of conflicting reports from the dogs continues. DOG WALLA He's in Hall D! He's in Hall B! It's the old man! MUNTZ Does anyone know where they are?!?! On cue, Russell SPLATS into the dashboard window of the control room and SQUEEGEES across, dangling from the hose. Muntz stares, slack - jawed. RUSSELL Whoooaaah! The house floats off. MUNTZ -LRB- into radio. -RRB- Grey leader! Take down the house!", "EXT. CARL'S HOUSE Russell clings to the end of the hose, swaying in the wind. What's that noise? From beneath the dirigible emerges.", "EXT. OPEN SKY - CONTINUOUS From beneath the dirigible, three spitfire airplanes emerge. As they get closer, it is clear they are being flown by DOGS. BETA -LRB- into radio. -RRB- Grey leader, checking in. GAMMA Grey 2, checking in. OMEGA Grey 3, checking in. The planes fall into formation and fly toward the house. BETA Target sighted. The Dog Squadron Leader bites down on a squeaky bone chew toy that fires poison darts. The biplanes fire and strafe Carl's house with darts. Russell SCREAMS, swaying beneath it on the hose.", "INT. DIRIGIBLE, TROPHY ROOM Carl, Dug and the bird escape through the trophy room. CARL Come on, Kevin. Behind the door, Muntz is waiting for them. He grabs a sword from the wall display and attacks. Dug hears and BITES Muntz on the leg. Muntz kicks Dug loose and out the door. He slams it shut.", "INT. DIRIGIBLE, OUTSIDE OF TROPHY ROOM - CONTINUOUS Locked out, Dug jumps on the door and barks. He hears growling and turns around. There stands Alpha and the other dogs. DUG Hi.", "INT. DIRIGIBLE, HALLWAY Dug runs. The dogs give chase.", "INT. DIRIGIBLE, TROPHY ROOM Muntz swings his sword at Carl but misses. Carl uses his cane to defend himself. OLD MAN SWORD FIGHT! Muntz smashes his trophy collection as he swings for Carl. His sword gets stuck in a mounted skeleton. Carl swings his cane and hits Muntz on the head. The tennis balls bounce the cane off Muntz and smack Carl in the face. Muntz pulls the sword free. He raises the sword over his head to strike and his back CRACKS loudly. He's stuck! Carl raises his cane over his head and his back CRACKS too. Carl and Muntz STRUGGLE to move. Muntz CRACKS his back free and kicks Carl in the chest, knocking him against a trophy. He has the upper hand now. He throttles him with his arm and lifts his sword. MUNTZ Any last words, Fredricksen? Come on, spit it out! Carl spits his FALSE TEETH at Muntz. He falls backwards. Carl collects his teeth and motions for Kevin. CARL Come on! Muntz advances on Carl, who struggles to protect the bird. Muntz is a wild man now, smashing and destroying anything that gets in his way. MUNTZ Enough! I'm taking that bird back with me alive or dead! Carl trips and falls to the floor. Muntz is about to deal the final blow.", "INT. DIRIGIBLE, COCKPIT Meanwhile Alpha backs Dug into the control panel. He bumps a a LEVER.", "EXT. DIRIGIBLE - CONTINUOUS The entire dirigible rocks wildly to the side.", "INT. DIRIGIBLE, TROPHY ROOM Muntz is knocked off balance. He slides to one side. Trophy cases slide after him. The dirigible tilts to the other side. The broken trophy cases barrel straight toward Carl! Carl is thrown into a window which bursts open. Carl falls through but manages to grab the frame with his cane. He dangles out over open air. He sees the biplanes circling the house, Russell hanging beneath it. The ship corrects again. Carl climbs back inside. Muntz comes at Carl. CARL Come on, Kevin!", "EXT. SIDE OF DIRIGIBLE - CONTINUOUS Carl climbs the work ladder up the side of the dirigible. He pushes the bird along as he goes. Muntz follows up.", "INT. DIRIGIBLE, COCKPIT Alpha throws Dug viciously across the room. Alpha throws him again and Dug crashes into the steering wheel, knocking a radar shade off the control panel. Alpha moves in. Dug hides behind the steering wheel. ALPHA I will have many enjoyments for what I am about to do, Dug. Alpha lunges at Dug through the steering wheel. Dug cowers, but then notices the RADAR SHADE. As Alpha lunges again, Dug jams the shade over Alpha's head. Alpha's head is stuck, trapped by the cone. The dogs all GASP. MISC DOG He wears the Cone of Shame! ALPHA -LRB- high - pitched voice. -RRB- What? Do not just continue sitting! Attack! The bump caused his collar to go funny again. The dogs all howl with laughter. ALPHA -LRB- high pitched voice. -RRB- No! No! Stop your laughing! Get this off of me! DUG Listen you dog! Sit! Surprised at Dug's moxy, Alpha sits. All other dogs sit too. DOG WALLA Yes, Alpha. DUG Alpha? I am not Alpha, he is -. -LRB- REALIZING. -RRB- Oohhhh!", "EXT. CARL'S HOUSE Russell TRIES TO CLIMB the hose. His hands are about to give out. The biplanes head straight at Russell. RUSSELL -LRB- out of breath. -RRB- I ca n't do it! Behind him, Carl is climbing the side of the dirigible for dear life, Muntz closing in. CARL -LRB- far in the distance. -RRB- Russell! RUSSELL Huh? Carl calls for help : the WILDERNESS EXPLORER CALL. RUSSELL You leave Mr. Fredricksen alone! Russell CLIMBS! He's more machine than boy now. Biplanes shooting the whole way, he climbs up onto the porch. The biplanes close in. Russell yells to them. RUSSELL Hey! -LRB- pointing down. -RRB- Squirrel! All the dog pilots snap to attention. GAMMA Squirrel? OMEGA Where's the squirrel?! The planes dive, crash into each other. The dog pilots parachute out. GAMMA I hate squirrels.", "EXT. SIDE OF DIRIGIBLE Carl climbs. Muntz grabs Carl's foot. Carl defends himself with his cane, knocking Muntz off the ladder. Muntz catches on to a rung of the ladder. He watches Carl and the bird climb. Muntz descends the ladder.", "EXT. DIRIGIBLE, TOP - DAY Carl and the bird make it to the top of the dirigible. Suddenly, a trap door opens. Carl GASPS. but it's Dug! CARL Dug! Dug jumps up on Carl, licking his face. DUG Master! The house bears down on them. They run to meet it. CARL Russell! Over here! Let's go! Russell steers the house toward Carl. RUSSELL Mr. Fredricksen! The house slows and lowers atop the airship. Carl HOISTS the bird up onto the porch. CARL Come on, Kevin! Carl helps Dug onto the porch. He climbs up himself. BLAM! Muntz appears on top of the dirigible with a rifle! A bullet blasts through Carl's balloon strings. A third of them break or shoot skyward. The house plummets, crashing onto the dirigible. Carl is THROWN from the house onto the airship. The house slides toward the edge, Russell, Dug and Kevin still inside. CARL No! Carl SCRAMBLES to grab the hose trailing from the sliding house. The house slides on to the dirigible's tail fin. Holding the hose, Carl digs in his heels and is just able to stop it. The house teeters on the very edge of the tail fin. CARL Russell! Get out of there! Russell, Dug and Kevin run toward the front porch. BLAM! A bullet smashes the door jam next to them. Muntz storms toward the house. Carl holds desperately to the hose. CARL No! Leave them alone! Russell and others duck inside and slam the door. The house tilts, threatening to tip off at any second. Carl holds on for his life. Muntz POUNDS on the door with the butt of the rifle.", "INT. CARL'S HOUSE, HALLWAY Russell, Dug and Kevin back away from the door.", "EXT. DIRIGIBLE, TOP The house slides farther over the edge. Carl struggles to hold on. The hose caddy is ripping free from the house! The bolts pop from the wooden siding. it's about to go!", "INT. CARL'S HOUSE Russell, Dug and Kevin run into the living room.", "EXT. DIRIGIBLE, TOP Muntz KICKS the door. Suddenly, Carl has an idea. CARL Russell! Hang on to Kevin! Do n't let go of her!", "INT. CARL'S HOUSE, LIVING ROOM Confused, Russell follows Carl's directions. He Dug and the bird huddle together. Muntz breaks through the door. He lifts his rifle and sights the bird. Through the window, Carl yells out.", "EXT. DIRIGIBLE, TOP CARL Kevin! Chocolate! Carl holds aloft a bar of chocolate.", "INT. CARL'S HOUSE, LIVING ROOM Kevin lunges, pushing past Muntz and knocking the rifle from his hands. Muntz lunges after them.", "EXT. CARL'S HOUSE - CONTINUOUS The hose caddy breaks free. Kevin leaps through the window, Russell and Dug hanging from her side. Muntz leaps after them. But balloon strings tangle around his leg and pull him back. Muntz hangs for a moment. It's thousands of feet from the ground. He falls.", "EXT. DIRIGIBLE, TOP PANTING, Carl is left holding the hose. He PULLS himself toward the edge. The hose curves beneath the tail fin. Finally it swings out. RUSSELL That was cool! Russell and Dug dangle from it, sitting on Kevin. The bird holds on to the hose with her beak. Carl LAUGHS, relieved. CARL Do n't jerk around so much, kid! Russell climbs up, followed by the bird and Dug. DUG Oh I am ready to not be up high. Carl LAUGHS heartily as Dug jumps on him and licks his face. Carl looks into the distance. His house, now empty, floats softly down into the clouds, and disappears. RUSSELL Sorry about your house, Mr. Fredricksen. Carl smiles. He puts his arm around Russell. CARL You know, it's just a house. Carl, Russell, Dug and Kevin stand on the tail of the airship floating off over the clouds.", "EXT. MOUNTAIN, LABYRINTH GATE - AFTERNOON Carl and Russell hold and cuddle the baby birds. The babies peck at Carl's head. Carl and Russell LAUGH. CARL Ow! Ow! Ow! RUSSELL Look at you. You're so soft. Kevin CALLS OUT, waiting for the babies at the gate to the LABYRINTH. Time to go. CARL/RUSSELL -LRB- DISAPPOINTED. -RRB- Awwww! RUSSELL I wish I could keep one. The babies run to the bird. One stops to HISS at Dug. Carl has misplaced something. CARL Huh, where's my cane? I just had it here. Kevin starts HACKING. She COUGHS up the cane. Babies start HACKING too. They COUGH up tennis balls. CARL You know what? Keep ` em. A little gift from me to you. The bird family enters the labyrinth. Carl and Russell wave. RUSSELL Bye Kevin! The bird looks back toward Carl and Russell and CALLS OUT one last time before disappearing into the mist.", "INT. DIRIGIBLE, COCKPIT - LATER Carl and Russell both wear matching leather flight helmets and goggles. RUSSELL Ready? Carl gives a thumbs up. CARL Ready!", "EXT. DIRIGIBLE Muntz's dirigible ascends into the sky. Dug and all of MUNTZ'S DOGS stick their heads out the dirigible windows, barking as they fly into the sunset.", "INT. AUDITORIUM CAMP MASTER STRAUCH and by receiving their badges, the following Explorers will graduate to Senior Explorers. Each Junior Wilderness Explorer stands next to his father. As the Camp Master announces the achievement he hands the father a badge, who pins it to his son's sash. CAMP MASTER STRAUCH For Extreme Mountaineering Lore. Congratulations, Jimmy. -LRB- hands badge to dad. -RRB- For Wild Animal Defensive Arts. Congratulations, Brandon. -LRB- hands badge. -RRB- For Assisting the Elderly. Russell is tanned and dirty. And alone. CAMP MASTER STRAUCH Uh, Russell? Is there. someone that. uh. The Camp Master CLEARS HIS THROAT uncomfortably. Russell looks for his dad in the audience. CARL -LRB- O.S. -RRB- Excuse me. Pardon me. Old man coming through. Carl takes his place next to Russell. CARL -LRB- to Camp Master. -RRB- I'm here for him. CAMP MASTER STRAUCH Congratulations, Russell. Sir. The Camp Master hands Carl the badge and continues down the line. CARL Russell, for assisting the elderly, and for performing above and beyond the call of duty, I would like to award you the highest honor I can bestow : The Ellie Badge. Carl pins the badge onto the missing spot on Russell's sash. It's Ellie's GRAPE SODA PIN. RUSSELL Wow. Carl smiles. They salute each other. Russell gives Carl a hug. Carl returns it. Russell's mom sits in the audience with Dug. Russell proudly shows her the badge. CAMP MASTER STRAUCH Alright, I think that covers everybody. So let's give a big Explorer Call to our brand new Senior Wilderness Explorers! Ready everybody? The Camp Master leads the audience in the WILDERNESS EXPLORER CALL. Muntz's dogs sit in the back, BARKING in approval.", "EXT. CURB OUTSIDE FENTONS ICE CREAM PARLOR - DAY Carl and Russell sit on a curb licking ice cream cones. Russell has chocolate and Carl has butter - brickle. Cars pass by. RUSSELL Blue one. CARL Red one. DUG Grey one. CARL Red one. Russell GIGGLES. RUSSELL That's a bike! CARL It's red, is n't it? RUSSELL Mr. Fredricksen, you're cheating. CARL No, I'm not. Red one. RUSSELL That's a fire hydrant. They LAUGH. CARL Maybe I need new glasses. Overhead, MUNTZ'S DIRIGIBLE is parked, its ladder in the handicapped parking spot.", "EXT. PARADISE FALLS - AFTERNOON On top of Paradise Falls sits Carl's house, just as Ellie imagined it. 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After he is accused of presenting a fake giant bird skeleton from Paradise Falls in South America (Paradise Falls was based on Angel Falls, a freefall waterfall in Venezuela), Muntz returns to the area intent on clearing his name by capturing a living specimen. Carl meets fellow Muntz fan Ellie, who confides her desire to move her \"clubhouse\"\u2014an abandoned house in the neighborhood\u2014to a cliff overlooking Paradise Falls. The two later marry and live in the rebuilt house, with Carl working as a balloon salesman and Ellie a tour guide at the zoo. After Ellie suffers a miscarriage,[1] the couple decide to refocus and begin saving for a trip to Paradise Falls, but are constantly forced to spend their savings on more urgent needs. Years pass and Carl decides to arrange the trip as a surprise for Ellie. On the day that Carl plans to tell Ellie, she falls ill and is hospitalized, dying soon after. Some time later, a now-retired Carl stubbornly holds out in the house while the neighborhood around him is replaced by skyscrapers. After Carl accidentally strikes a construction worker during a mishap with his mailbox, the court deems him a public menace, requiring his relocation to an assisted living facility. However, Carl resolves to keep Ellie's promise, turning his house into a makeshift airship using countless helium balloons and flying away. Russell, an eight-year-old \"Wilderness Explorer\" who visits Carl in an effort to earn his final merit badge for assisting the elderly, becomes an accidental stowaway. Before Carl can land and send Russell home, they encounter a storm that propels the house to South America. The house lands on a mesa opposite Paradise Falls. Carl and Russell harness themselves to the still-buoyant house and begin to walk it across the mesa, hoping to reach the falls before the balloons deflate. Russell encounters a giant, colorful flightless bird, whom he names Kevin. They then meet Dug, a Golden Retriever who wears a special collar with a device that translates his thoughts into English; he joins them on their trek. A pack of fierce dogs led by the Doberman Pinscher Alpha take Carl, Russell, Dug, and Kevin to their master, who turns out to be an elderly Charles Muntz. He invites them aboard his dirigible and talks about his search for the bird, revealing the skeleton he was accused of fabricating to be a fossil of Kevin's species. Carl realizes Muntz\u2019s obsession with finding the bird has driven him mad, to the point of killing innocent travelers whom he suspected of seeking the bird for themselves. When Russell notes the skeleton's resemblance to Kevin, Muntz sees them as thieves and becomes hostile. The dogs pursue Carl, Russell, and Dug until Kevin saves them. Russell urges Carl to help Kevin get home and reunite with her chicks, but then Muntz captures her. He starts a fire beneath Carl's house, forcing him to choose whether to rescue it or Kevin; Carl chooses his home. At the falls, Carl looks through Ellie's childhood scrapbook and discovers that she filled in the blank pages with photos of their marriage, accompanying a note written from her hospital bed, thanking him for the \"adventure\" and encouraging him to have a new one. Reinvigorated, he goes outside, only to see Russell set out after Kevin using a leaf blower and some balloons to fly. Carl lightens his house by throwing out furniture and keepsakes. Muntz captures Russell, but Carl and Dug board the dirigible and free both Russell and Kevin. When Muntz pursues them to the tethered house, Carl lures Kevin back to the airship using a piece of chocolate. Muntz leaps after them, but his leg catches on balloon strings, and he falls to his death. The house descends out of sight, at which point Carl decides to let it go and live on the Spirit of Adventure with Russell and the pack of dogs. Carl and Russell reunite Kevin with her chicks before returning home in Muntz's airship. Russell finally receives his \"Assisting the Elderly\" badge, and Carl presents Russell with a grape soda bottle cap that Ellie gave to Carl when they first met, which he now dubs \"The Ellie Badge\". Meanwhile, unbeknownst to Carl, the house lands on the cliff beside Paradise Falls, fulfilling his promise to Ellie.", "name": "Up_(2009_film)"}
{"scenes": ["NINJA ASSASSIN CLOSE ON a Horimono Tattoo as it is being drawn into flesh. The ink is needled into the surface of the skin, raw and bloody, the needled brush tapped with the precision of ritual. The tattoo is in the style of a Kuniyoshi print : Miyamoto Musashi thrusting his spear into the writhing dragon. The image has beauty but retains the violence required to saturate flesh with art. The skin canvas shifts uncomfortably with the needle - work. HOLLYWOOD Fuck! Fucking - shit - fuck - fucking - fuck! PULL BACK to reveal that we're in.", "INT. TATTOO PARLOR - NIGHT A place of designer furniture, beautiful girls carrying towels, tea and cigarettes. Dozens of Yakuza look on as the process continues, sleeves rolled up or shirts off to expose the lavish tattoos that cover their torsos. HOLLYWOOD, the young Yakuza member, is getting his first tattoo, a relatively small one on his back. He grabs a bottle of sake and suckles it like a baby. HOLLYWOOD Watch it, old man! The old tattoo artist continues tapping his brush. Maybe a little harder. HOLLYWOOD -LRB- CONT'D. -RRB- What the fuck? You're doing it wrong. TATTOO ARTIST The needle is doing what the needle does. HOLLYWOOD What's that supposed to mean? TATTOO MASTER The irezumi does not hide the skin, the tattoo reveals the nature of the man and illuminates the four noble professions in the Book of Five Rings : the Warrior, the Artist, the Merchant, and the farmer. If there is a conflict between the needle and the skin, between the mark and the man, then perhaps the path you have chosen is not the path for which you are suited. HOLLYWOOD What did you just say, old man? Hollywood whips his gun out and jams it under the old man's jaw. HOLLYWOOD -LRB- CONT'D. -RRB- I know you did n't just disrespect me, did you? You that fucking stupid? You disrespect me, and I'll tattoo this ceiling with your fucking brains! The old man speaks with a kind of deference honed through years of service to men like Hollywood. TATTOO MASTER No disrespect. Hollywood smiles. HOLLYWOOD You're lucky. I ca n't kill you'til you finish this thing. Gim me that mirror! How's it looking? Goons and girls all cluck their tongues in chorus. Hollywood peers at the new tat through the mirror. He whistles approval as Yakuza One enters carrying an origami envelope. HOLLYWOOD -LRB- CONT'D. -RRB- Not bad. Not bad. For an old fuck. YAKUZA ONE Hey, boss. This just came for you. HOLLYWOOD What is it? YAKUZA ONE A letter. HOLLYWOOD So open it, dumb ass. He opens the origami envelope, then hesitates at what he sees. HOLLYWOOD -LRB- CONT'D. -RRB- What? What is it? He pours the contents out into his hand. YAKUZA ONE Looks like sand. He tastes it. YAKUZA ONE -LRB- CONT'D. -RRB- Yup. Sand. Black Sand. The tattoo master drops his brush. It clatters to the floor. TATTOO MASTER No. HOLLYWOOD You know what this is? The artist barely nods. HOLLYWOOD -LRB- CONT'D. -RRB- Wan na let us in on the joke? TATTOO MASTER Years ago, I watched a man open an envelope like that one. His eyes pool with fury at the memory. TATTOO MASTER -LRB- CONT'D. -RRB- There were many with him and they laughed like you laugh now. Then it came from the shadows and their laughter was drowned in blood. You can not bargain with what is coming. You can not reason with it. Because it is not a human being. It is a demon sent straight from hell that will never stop until you are dead. HOLLYWOOD What came out of the shadows? TATTOO MASTER I can not say the word. HOLLYWOOD What word? He pulls open his robe, revealing a hauntingly beautiful tattoo of a Shinobi demon thrusting its blade into a lump of scar tissue at the center of his heart. TATTOO ARTIST That night, one of their blades struck here. I should have died, but for an accident of birth. My heart is here, on the other side. Hollywood peers closer at the dark figure of the demon. HOLLYWOOD What the fuck is that? YAKUZA ONE Looks like a Ninja, boss. HOLLYWOOD A ninja? Are you kidding me? That's the word you're afraid to say? Ninja? As he starts to laugh. HOLLYWOOD -LRB- CONT'D. -RRB- Ninja - Ninja - Ninja! His laughter is infectious. HOLLYWOOD -LRB- CONT'D. -RRB- You old fuck! You had me going! Ninja. That's some good shit. His Lieutenant laughs hard with him until the top of his head disappears, sliced off from his jaw up, leaving his tongue wagging in space. Lights shatter around the room. Chaos ensues. The panicked screams of the fleeing entourage co - mingle in chorus with gruesome death rattles of Hollywood's foot soldiers as one by one, they are eviscerated. There's a RUSH of movement, more felt than seen. The whistle of swords through the air. Cries and screams. Guns that fire suddenly and are just as suddenly stilled. STAY on the face of the Tattoo Master, barely visible in the thin trace of moonlight from a nearby window. Frozen. Immobile. As the killing continues around him. Then : silence, broken by the sound of heavy, desperate BREATHING, and a MATCH being struck by Hollywood who looks up - - and sees a dark figures standing before him. Everyone else is dead. Only he and the Tattoo Master remain. The figure regards him with still silence. For perhaps the first time in his life, Hollywood is terrified. HOLLYWOOD -LRB- CONT'D. -RRB- Listen. you do n't have to do this! Whatever you're getting paid, I'll triple it! You hear me! I'll pay you whatever you want! Just name your price! Their answer is silence. Hollywood sees his guns nearby. With a desperate scream, he THROWS the match in the air as he DIVES for his guns, grabbing one in each hand. There is a whistle of metal and suddenly his severed hands are tumbling gracefully through the air. The blade swings again, slicing through his body as if it were barely there, coming out the other side as - - Hollywood's body erupts as it falls in two pieces, splattering the artist with blood. The match touches the floor and goes out. The Tattoo Master does not move, has not moved. Frozen. TATTOO ARTIST But you are real, are n't you? After a moment, the ninja emerges into the moonlight, the way a shadow coalesces into a panther gliding from the dark to inspect its kill. The artist does n't move, but his eyes widen, his heart pounding in his ears. TATTOO ARTIST -LRB- CONT'D. -RRB- For fifty - seven - years, I've told your story. No one ever believed me. The ninja walks towards him, his steps soundless. He crouches down, his eyes taking in the old man's tattoo. TATTOO ARTIST -LRB- CONT'D. -RRB- But you are real, are n't you? There's the shing of a sword being unsheathed. The artist closes his eyes, anticipating death. Silence. He waits for the death blow. It does not come. He finally forces himself to open his eyes. The ninja is gone, having departed as silently as he came, leaving death and blood in his wake.", "INT. ISTANBUL SUPERMARKET AISLE - DAY A roll of toilet paper drops into a cart. PULL BACK to REVEAL RAIZO, 20s, slim and sinewy, his expression distant, almost haunted. He considers the toothpaste options for a moment, then drops in one of those too. Moves on to food. Turkish Muzak plays in the background, a Beatles song, `` Helter Skelter'' by way of Turkish musicians. Other SHOPPERS cruise past in their own private quests. Raizo gets quick, easy bachelor food : six eggs, a single stick of butter, several handfuls of noodle packages.", "INT. ISTANBUL SUPERMARKET - CHECK-OUT - MOMENTS LATER Raizo waits while the CHECKER - a pretty young woman - tallies up his groceries. CHECKER That's a lot of noodles. -LRB- beat. -RRB- Are you a student? Tourist? Here on business? Raizo shakes his head to all three. CHECKER -LRB- CONT'D. -RRB- When was the last time someone cooked you a real meal? -LRB- beat. -RRB- I get off at seven. You could come by, let me make you a proper dinner! She winks at him. Very cute. RAIZO I do n't think so. Sorry. No smile. No emotion in Raizo's face. He pays in cash. He picks up the bag and starts away when - CHECKER So if you're not a student, and you're not a tourist, and you're not here to work. what are you doing? RAIZO Waiting. CHECKER For what? RAIZO For the wheel to turn. And he exits.", "EXT. ISTANBUL, STREET - DAY Ancient gateway between Asia and Europe. Minarets thrust up from the tangled streets into the bright Aegean sky. The street is crowded with bicycles, cars and motorcycles as Raizo makes his way down a narrow sidewalk. OZUNU -LRB- V.O. -RRB- Wherever you are, wherever you may go. FLASHBACK - INT. ORPHANAGE OZUNU HOUSE - NIGHT We're in a heavily shadowed room, lit with flickering candles as an older man, OZUNU - hard - edged and unforgiving - talks to his clan. OZUNU you must never, ever forget who you are, how you came to be. You are Ozunu. You are a part of me as I am a part of you. Beside him is a ten - year - old boy. His expression has the weight of stone. OZUNU -LRB- CONT'D. -RRB- This is the truth of your lives and it will remain true after death. He pushes the boy forward. OZUNU -LRB- CONT'D. -RRB- This is my new son. I have given him the name Raizo. Welcome him as your brother. The clan mummers `` welcome Raizo'', bowing their heads. One head remains upright, looking him in the eye. A girl roughly his own age. Her name is Kiriko.", "INT. EUROPOL OFFICE - DAY MIKA CORETTI, 30's, high - energy, a force of nature in human form. She enters EUROPOL AGENT RYAN MASLOW's office carrying an armful of reports. MASLOW What's all this for the Delgata case? MIKA No. This is Delgata - Sets her pile down and she hands him one folder from the ton. MASLOW And the rest? MIKA evidence. MASLOW For? Her eyes tell him. MASLOW -LRB- CONT'D. -RRB- Oh no. Not again. MIKA You said you'd take it serious when I had serious evidence. MASLOW Does that evidence include photos of the Loch Ness monster as well? He chuckles. She's not laughing. MIKA You've trusted my research before, what's the problem now Ryan? MASLOW What's the problem? Come on Mika, it's like one of those questions on an IQ test, which of these does n't belong ; laptops, space shuttles, nanotechnology, ninjas. MIKA All I'm asking for is an hour. That's all. Give me an hour and if you still think I'm chasing UFO's, I'll walk out and you'll never hear another thing about them. He eyes her. MASLOW Why do I think I'm going to regret this?", "INT. ISTANBUL APARTMENT BUILDING - HALL ON A DOOR LOCK as he inserts his key and HEARS : LANDLADY -LRB- O.S. -RRB- Oh, Mr. Nan, good, you're back. Raizo turns to his LANDLADY, an older woman who looks up at him from the top of the stairwell. LANDLADY -LRB- CONT'D. -RRB- We had a heating problem, and I had to go into your apartment. Raizo nods, his expression not betraying the sudden tightness in his chest at this information. RAIZO Is everything all right? LANDLADY Yes, fine, it's all fixed. You keep it very dark and spare in there. RAIZO Ms. Ali, my privacy is very important to me. If you enter my apartment again without my permission, I will leave your building. LANDLADY I just - RAIZO Good day. He closes the door behind him.", "INT. ISTANBUL RAIZO'S APARTMENT - CONTINUOUS He stands on the other side of the door, surveying the room for a moment with severe, unforgiving eyes. The place is monastic, nothing decorative, or comfortable. Then, in a quick series of cuts, he checks all of the secret places he hides things. A drawer is flipped over and a hidden bottom opens revealing weapons. A panel in the oven reveals his chain and blade. A hidden compartment in his suitcase exposes inky folds of fabric. He sifts through them as we hear - OZUNU -LRB- V.O. -RRB- You should have died. FLASHBACK - INT. ORPHANAGE DOJO - DAY Raizo, breathing hard, stands over another young boy that he has just defeated in a fight. Both are sweaty, dirty, scarred. The other children are lined up in perfect rows, watching silently. Most are boys, but a few are girls. One of them is KIRIKO, lithe and supple, a child's eyes haunted by an adult's sorrows and knowledge. Ozunu circles Raizo as he regards his fallen opponent. OZUNU On the street. Abandoned by your parents. Without a home. Without people to care for you. You should have done as most children do, and gone quietly from this world, to the next. -LRB- beat. -RRB- But, instead you fought. As you did here today. You fought. And you won. As we TRACK with Ozunu, we see that Raizo's body is covered in scars. OZUNU -LRB- CONT'D. -RRB- Scars are the calligraphy of violence, Raizo. They inscribe the story of one's life. You survived because you are different. You are special. That is why you are here. That is why the Great Current, which flows beneath all life, carried you to me.", "EXT. BERLIN - DAY Mid - day traffic, tourists strolling down wide avenues past war monuments and street art.", "EXT. EUROPOL - DAY Just long enough to ESTABLISH UNDER : MIKA -LRB- V.O. -RRB- It's a pattern, like the currents of the ocean.", "INT. EUROPOL OFFICE - HALLWAY - DAY Close on a mound of bank records ; rivers of numbers cascading neatly down perforated spread sheets. MIKA Some people see money as the root of all evil, but to me it looks like a fingerprint. Whether we're talking about 19th century Korea, or 21st century Iraq, the game is the same. If you want to understand why certain things are happening, you have to understand the flow of money. MASLOW You're excited, Mika. You know I get nervous when you're excited. He would never admit it, but he enjoys watching her work, almost as much as he likes poking her about it. MIKA You remember the Eulmi incident? MASLOW Korean queen, late eighteen - hundred's. According to you, she was off'd by one of these ninja clans. MIKA Ozunu. I think. I've been going through some of the original transcripts of the trial of Kunitomo Shigeaki. The prosecutor questioned him about a payment of 100 pounds of gold. Shigeaki answered that he did n't know what the prosecutor was talking about. The question was never brought up again. But what pinged for me was the amount - the exact same amount rumored to be paid to the Hattori Clan for the assassination of Lord Sanda. MASLOW So you start to wonder, in this ever changing world, if the cost of a man's life has remained constant. MIKA Exactly. I figure these clans are like a thousand years old. They probably do n't change a lot. She begins flipping through huge reams of bank records. MIKA -LRB- CONT'D. -RRB- I started looking at international wire transfers, targeting banks in the regions of several high - profile assassinations and bingo - The proverbial needle in a haystack ; a single wire transfer circled in red. MIKA -LRB- CONT'D. -RRB- Minister Zhang. The day before the assassination $ 1,555,999.90 was transferred from the bank of Shanghai. The exact market value of one hundred pounds of gold. MASLOW Highly circumstantial. MIKA I thought you might say that so I checked how often this particular bank transferred that market equivalent to a hundred pounds of gold in the last three years. MASLOW Let me guess. MIKA Not once. He sifts through the report. MASLOW Okay you got me. This is interesting. MIKA The clans are real, Ryan. They steal children and turn them into assassins. They've been doing it for years and nobody's doing a damn thing to stop them. MASLOW Look, no one's denying the historical record, Mika. But the whole idea just does n't fit in with a modern world. It's like one of those questions on an IQ test : which of these does n't belong in this sentence : laptops, space shuttles, nanotechnology, ninjas. MIKA They're real Ryan. You can call them spooks, or assassins, or whatever you want if it makes you feel better, but they're out there. They're killing people and nobody is doing a damn thing to stop them.", "INT. ISTANBUL LAUNDROMAT - NIGHT Close on tokens being rammed down the mechanical throat of a washing machine. Overhead, the fluorescent lights STROBE unevenly, the fixtures old and in need of new bulbs. Raizo steps back as the washer begins to cycle loudly, a wheezbox instrument that rattles, gurgles and groans. As he looks at the machine we hear : OZUNU Our enemies are everywhere. FLASHBACK - INT. ORPHANAGE - DAY Ozunu strides among his children who are bathing, scrubbing themselves with evergreens. OZUNU You must move without trace or footprint. Young Raizo pours water through evergreens onto clothes he is scrubbing. OZUNU -LRB- CONT'D. -RRB- You must become shadow ; Your scent nothing but wind through trees.", "INT. ISTANBUL LAUNDROMAT - NIGHT A pretty young Japanese woman, the only other customer, calls to Raizo as she stands beside one of the dryers. PRETTY WOMAN Hi. excuse me? -LRB- catches his eye. -RRB- Would you mind? RAIZO sorry? She hands him one end of a freshly dried sheet. PRETTY WOMAN If it's not too much trouble, could you help me with this? He smiles and nods. They begin to fold, corner to corner, end to end. Silently. The fluorescent strobing above them. We sense a strange tension between them as we realize they are alone in the midnight cleaners. He looks at her. She smiles. The uneven strobing on either side of the Laundromat casts uneven shadows on her face. almost as though she had two faces. One light, one shadow. We EXTEND the silence for a long BEAT until he looks down at the sheet and says : RAIZO What clan are you from? She glances up sharply. PRETTY WOMAN I. do n't understand. RAIZO You came alone. The Ozunu clan would never make such a mistake. Her eyes REACT as suddenly a blade flashes from beneath the sheet, reaching for Raizo's throat. He catches the blade in the sheet, twisting it in her grip. She fights for control. A fury of slashes and the sheet is shredded.", "INT. ISTANBUL LAUNDROMAT OFFICE - NIGHT. The night manager is half - asleep, watching a Korean soap on Empress Min. When he hears a series of crashes, he gets up.", "INT. ISTANBUL LAUNDROMAT - NIGHT He throws open the office door, wielding a fire iron. MANAGER What is going on - The space is empty, glowing with fluorescent glare. One machine is thumping loudly. He crosses to it. As he nears it, bloody water begins bubbling up, flowing over the top.", "EXT. CURRY-WURST STAND BERLIN - DAY Ketchup splatters the chopped meat. MASLOW And two cokes, please. MIKA How long have you been here? And you ca n't say `` zwei cola bitte''? MASLOW Course I can, but you tend to hear more interesting things if people do n't know you can understand what they're saying. MIKA Do you ever stop being a cop? MASLOW Not the way I was raised. My dad always said, being a cop has nothing to do with a clock. It's a consequence of consciousness often interpreted as desire. MIKA Desire? MASLOW For justice. And doughnuts. He smiles as they move to one of the circular tables. MASLOW -LRB- CONT'D. -RRB- So you got something else? MIKA I think so. Same template as before. The transfer was made the day before a multiple homicide in Osaka. The police and newspapers are calling it a gangland slaying. MASLOW How do you know what the police report says? You're not still requisitioning evidence with my clearance codes, are you? She shakes her head. Lying. Quickly sipping her coke. MASLOW -LRB- CONT'D. -RRB- Good. MIKA What about the bank audit? MASLOW Denied. It was a long shot at best. MIKA But you said you found something. MASLOW A report. A friend of mine in Moscow, tipped me to it. He slips an envelope from his briefcase and gives it to her. MASLOW -LRB- CONT'D. -RRB- It was written during the height of the Cold War by a high ranking KGB agent named Aleksei Sabatin. In it, he raises the possibility that several political assassinations were conducted by an ancient but very sophisticated network he calls the Nine Clans. Mind you, he does n't call them ninjas. MIKA What happened to him? MASLOW Same thing that's going to happen to me, if I keep hanging around with you - booted out of the service for mental instability. MIKA Is he still alive? We need to find him. MASLOW Working on it. MIKA You believe it now, do n't you? He scoffs. MASLOW Ninjas? Are you kidding? MIKA Then why are you doing this? MASLOW No idea - He finishes his soda and takes his garbage to the can. MASLOW -LRB- CONT'D. -RRB- But I can guarantee you that it has nothing to do with the fact that you're the most attractive researcher that I've ever worked with. He smiles and turns before she flushes a bright shade of red.", "INT. ISTANBUL RAIZO'S APARTMENT - DAY A teapot begins to sing. Raizo pours the boiling water into a plastic bowl of noodles. He covers the bowl and waits a moment for the soup to cook. As he stares, we hear. OZUNU -LRB- V.O. -RRB- The body must obey the will. FLASHBACK - INT. ORPHANAGE KITCHEN/DINING ROOM - DAY Several of the younger members of the clan are sitting at the table, about to eat. Ozunu stands before them. He removes a small blade from inside his robe. Places the blade against his palm. OZUNU Hunger and thirst, your bowels and breath, even the blood in your veins, are the body's weaknesses. The knife slices down along his palm, opening a split ; the flesh parts, yet no blood flows. OZUNU -LRB- CONT'D. -RRB- Master them, and you master the self. He closes his fist. OZUNU -LRB- CONT'D. -RRB- This is the power of the Ozunu clan. He concentrates, squeezing his hand tightly until he opens it revealing that the wound has closed. OZUNU -LRB- CONT'D. -RRB- This is the way of the ninja. The children look at each other, except for Raizo who stares at Ozunu. OZUNU -LRB- CONT'D. -RRB- Eat tonight and you work twice as hard tomorrow. Ozunu leaves. The children look at the soup, their mouths watering. All around, the older Ozunu clan members eat noisily. One of the children ca n't resist any longer and begins scooping up the noodles. In short order, others do the same. All except for Raizo, who sets down his chopsticks. Willing himself not to be hungry. BACK TO SCENE The grown Raizo looks at his soup. We can not tell if he is going to eat or not. OZUNU The world feeds on the weak. FLASHBACK - INT. ORPHANAGE OZUNU HOUSE - NIGHTINGALE FLOOR - NIGHT Young Raizo stands in the central chamber of the compound. The floor beneath his bare feet is made of thousands of carefully mitred pieces of gleaming wood laid down in an intricate pattern. They are not, however, glued down to the floor. The slightest wrong move will make them shift noisily. This is our first look at the Nightingale Floor. OZUNU Suffering exists only because weakness exists. Ozunu watches from the far side of the room as Raizo takes his first step. Carefully. Graceful as any dancer. He makes no sound. OZUNU -LRB- CONT'D. -RRB- You must hate all weakness. Hate it in others, but most of hate it in yourself. He takes another step, and another. Each soft as a falling feather. He is a third of the way across the floor - his body gleaming with sweat - when he steps wrong and the floor sings beneath him. Raizo stops, a flash of panic in his eyes. Then he subdues the emotion and obediently lifts the offending foot, holds it out as Ozunu rises and approaches. Ozunu lays open Raizo's foot with a bamboo rod. Slashing blows that leave deep cuts. Raizo's expression hardly changes. Ozunu returns to his place, and Raizo starts walking again, making no noise, and leaving no trace of his passage. except for a trail of small, bloody footprints. FLASHBACK - INT. ORPHANAGE DORMITORY - NIGHT The same evening. Most of the children in this place sleep on mats in the same room. They are exhausted, silent, motionless. We FIND Raizo and though he makes no sound, his eyes show silent tears of pain, his feet still bleeding and bruised. Kiriko looks on from her mat for a long, silent BEAT, knowing the agony he is in. Then, as if coming to an inner decision, she reaches under her mat for a leaf into which a thick salve has been folded. She crosses the few feet to Raizo's mat and, as he watches in silent agony, she puts her finger to her lips, then kneels down - - and begins applying the salve to his feet. Within moments, we can see the pain leaving his eyes. Finishing quickly, she folds the remaining salve back into the leaf, exchanges a quick, furtive glance with Raizo, then heads back for her mat. He lays there for a BEAT, confused as to whether his diminishing pain is a good thing. Then he turns to look at Kiriko, but she lays with her back to him, apparently asleep. He regards her silently for a moment, then rolls over himself to sleep as we come around to - - the other side of Kiriko, and see that she is very much awake, almost smiling. She closes her eyes.", "INT. MIKA'S APARTMENT - NIGHT The apartment is dark as Mika ENTERS and turns on the lights. She looks the place over, then goes room to room, turning on every light in the place. The practiced way she does it makes it clear she does this every night. Satisfied she's alone, she goes into the bedroom to change.", "INT. MIKA'S APARTMENT - BEDROOM - MOMENTS LATER Mika is curled up in a chair and with KGB report. She turns a page and sees a photocopied drawing of a very intricate floor that we now recognize as the Nightingale Floor. She reads the caption beneath it. SABATIN -LRB- V.O. -RRB- -LRB- Russian accent. -RRB- Historical evidence suggests that Ibn - Battuta's journey through the far east brought him into contact with what might be one of the oldest of the Nine Clans. He travels with a group of orphans that are being taken from a city devastated by war to the Shido of the Ozunu clan. The people of the surrounding province refer to the Shido as `` The Orphanage.'' FLASHBACK - INT. ORPHANAGE DOJO We see Battuta, the 14th century Muslim explorer sitting among the original leaders of the Ozunu clan, watching two children fight. SABATIN -LRB- V.O. -RRB- Battuta describes a ceremonial dinner followed by a display of martial skill. The combatants were children neither beyond the age of ten. Battuta masks his revulsion as the battle continues until one child beats the other to death. Small fists gleam with blood as one boy pummels the other. SABATIN -LRB- CONT'D. -RRB- His host explains that a man's life must be made meaningless compared to the life of the Clan. Own the meaning of a man's life and you own his heart. BACK TO SCENE Slowly the light in the bedroom hallway goes OUT. She freezes, and the world seems to freeze with her. She does n't move, does n't breathe. She forces herself to sit slowly up, reaching under her bed for a cricket bat. A car drives by outside. Could be nothing. Could be everything. Despite her fear, she edges toward the door. Slowly peers around it. The darkened hall is empty. There is a ticking sound, like someone tapping at a window. Could be a tree in the wind. Could be something else. She moves slowly through her apartment. Every shadow could conceal unseen eyes. She comes to the end of the hall, where the overhead light is out. She flicks the switch on and off. Nothing. She reaches carefully toward the light bulb. Taps it. The bulb rattles, it's just burned out. She breathes a sigh of relief. Then she notices - - that the living room window is open, the blinds gently swaying from the wind, tapping against the sash. She closes it and locks it. Looks to her desk, concerned. Did she leave the window open? Or is something going on. She goes to her desk, anxious, to check on something. She opens a drawer, revealing a box of tampax. Pulls out the tampax to reveal a key. a place no guy would think to check. She unlocks a drawer and takes out an unmarked DVD in a slim plastic case. Relieved, she starts to put it away. then stops. Is it the same DVD? She moves OS. MOMENTS LATER. the TV is switched on, and an image begins to play, revealing a time coded security camera, recording an urban street corner in Japan. The tape is riddled with digital noise and artifacting. Then, slowly, the digital noise seems to coalesce, to grow shapes. The shadows come to life. Then with incredible speed two dark figures start battling it out, their blades striking sparks that are still descending after they've slipped back into the shadows. They emerge over and over, brief flashes of clarity like the perfect arc of a calligrapher's brush describing the wing of a bird. Fight. Retreat. Silence. Shadows. Sparks. Mika hits the pause button and moves closer to the screen, examining the figures. One of the figures is wearing a mask, but the face of the other combatant is revealed, albeit somewhat obscured by the dim light and digital noise. As we PUSH IN, we see that it's Raizo. But she does n't know that name yet. MIKA who are you? She stares at the fierce beauty of his face and touches the screen gently.", "INT. ISTANBUL RAIZO'S APARTMENT - DAY CLOSE on a bed of nails ; sixteen penny nails arranged in perfect rows pointing up, the sharp tips catching the light. As we REVEAL Raizo his breathing is rhythmic and deep, but this is really the first time we have heard him sound like he is straining. As we continue to WIDEN, we discover the reason for this : he is doing handstand push - ups. On the nails. Over and over, with little apparent effort. The hard edges and lines of his body catch the light, like the tips of the nails, as we HEAR : OZUNU -LRB- V.O. -RRB- Strength is the only virtue that nature respects. FLASHBACK - INT. ORPHANAGE - DAY Children are sharpening their weapons. Ozunu walks above them. OZUNU Hone your body. Sharpen your mind. Become the weapon you will need to survive. Young Raizo looks up and sees young Kiriko looking at him. She smiles. He looks back to his weapon.", "EXT. ISTANBUL - STREET - DAY Raizo walks down a street where repair work is being done. To keep cars from falling into the hole, they've covered the street with big steel plates. As the cars and trucks pass over the plates, they make a bump - thump sound. Bump - thump, bump - thump, bump - thump. We PUSH IN on Raizo under that sound. FLASHBACK - EXT.. ORPHANAGE BONSAI GARDEN - DAY Kiriko is working in the bonsai garden. Raizo watches her silently for a moment noticing that she is secretly loosening the wires, letting the branches ease back into their natural shape. He whispers. RAIZO You should n't do that. It's against the rules. If they catch you - KIRIKO Then they catch me. RAIZO They'll put you in the box. KIRIKO Yes, they will. She finishes releasing the branch. KIRIKO -LRB- CONT'D. -RRB- I believe the heart of the tree knows which way it needs to grow. RAIZO Trees do n't have hearts. KIRIKO Everything has a heart. RAIZO I do n't. There's sadness and bitterness in his eyes. He's closing off to the world, becoming what they want. She wo n't let that happen. KIRIKO Really? Let me see. He hesitates, then approaches. Kneels down beside her. She reaches toward him. He flinches. a sword he can handle, but kindness has become something foreign. then allows her to undo the top button of his shirt. She presses her ear to his chest. Listens. Then she gently whispers to it. KIRIKO -LRB- CONT'D. -RRB- Hello. hello, you in there. She listens again. KIRIKO -LRB- CONT'D. -RRB- It's saying hello back. And that it's happy to meet me. but it misses you. Raizo smiles despite himself. RAIZO Liar. KIRIKO Listen to mine, I'm not lying. I'll prove it. Again, he hesitates. Then he leans in, and listens to her heart. Bump - thump. Bump - thump. She smiles. KIRIKO -LRB- CONT'D. -RRB- Hello. He looks up at her, his ear still to her chest. And for the first time, his face softens. Bump - thump. Bump - thump. Bump - thump. BACK TO SCENE In the present as the traffic bounces past Raizo. Bump - thump. Bump - thump. Bump - thump. His eyes saddening with memory, he continues on his way.", "INT. MIKA'S OFFICE - NIGHT Mika is at her computer doing what she does best : intuitively sifting through interconnected threads of information. Searching through what is known about Ibu - Battuta, she discovers information concerning the lost chapters of the `` Rihla,'' supposedly destroyed sometime in the 15th century. She remains immersed until a sound grows louder and louder. A vacuum cleaner. She checks the time. Very late. She looks up and finds two eyes watching her through the crack in her open door. Startled she gets up while the eyes quickly disappear. In the hallway, an older Asian man is pushing the vacuum cleaner. MIKA Excuse me? Excuse me? He shuts it off, turns to her. MIKA -LRB- CONT'D. -RRB- Where's Jona? He seems not to understand her. MIKA -LRB- CONT'D. -RRB- Jona. The usual cleaner. Jona. ASIAN MAN Ahh, Jona. Jona sick. MIKA Oh. Well, tell him I hope he feels better ASIAN MAN Take care. You should take care. MIKA What? ASIAN MAN Work so late. Not good for you. She smiles sheepishly. MIKA True. Thanks.", "EXT. BERLIN STREET - NIGHT. Mika walks down the empty street, the sound of her heels slap against the stone buildings. The shadows seem to stalk her. She hears a faint sound like metal claws against glass. She stops and listens trying to see into the dark. MIKA is someone there?", "INT. ISTANBUL RAIZO'S APARTMENT - DAY Raizo is practicing his chain form. We begin to hear the sounds of another fight. FLASHBACK - INT. ORPHANAGE DOJO - NIGHT Raizo, is fighting with TAKESHI, a few years older, in a room lit by hundreds of hanging torches. Armed with katanas, the boys duck, dodge and weave around the burning obstacles as they fight. They are both extremely agile, their bodies moving with the impossible flexibility of youth. Kiriko watches along with the other members of the clan. If she feels anything as she watches the fight, we can not tell. They perform a vicious series of combinations, then Takeshi's sword cracks against Raizo's head, opening a huge gash. Raizo hits the ground hard, blood speckling the mats. Takeshi backs away as Ozunu steps in. As blood flows down the side of his face, Raizo looks like the young boy that he is. Pain throbs from the wound, and he begins to cry. OZUNU Did Takeshi's blow hurt you? You think this is pain? You are mistaken. He gouges three fingers into the boy's stomach and twists something inside of him. Raizo screams. His screams smear into uncontrollable sobbing. OZUNU -LRB- CONT'D. -RRB- That is true pain. You must learn to live with it. He steps back, leaving Raizo writhing in agony. OZUNU -LRB- CONT'D. -RRB- This is your first test. Survive the night. He signals to the rest of the clan and they all begin to leave. Kiriko is the last to turn away. Later. Night. Raizo is still where we left him, a twisted knot of pain, his face stained with tears and crusted with snot. He is trying to control his breath, at first without success. Then slowly, finally, it begins to ease. His hand, twisted into a kind of rigor mortis, slowly begins to relax, opening like a lotus flower. Dawn breaks over the wall, as Ozunu returns to the dojo to find Raizo is sitting in a full lotus, completely calm, the wound already beginning to heal. Ozunu shows a hint of a smile. OZUNU -LRB- CONT'D. -RRB- Very good, Raizo. Very good. OMITTED", "EXT. RIVERSIDE PARK - DAY They are walking. Maslow is nervous. MASLOW Last night I'm working late and I get a visit. Guy named Zabranski. Works upstairs for Internal Affairs. Just drops by. In the neighborhood - cup a sugar - how ya doin - kinda thing. Asks what I'm working on. Oh, this and that, usual blibbity blab, I tell him. Then he smiles and says - FLASHBACK - INT. MASLOW'S OFFICE - NIGHT Zabranski is leaning against the door jam. ZABRANSKI Very Good. His faint smile reminds us of Ozunu.", "EXT. RIVERSIDE PARK - DAY MASLOW I do n't understand what is really going on, but I'm smart enough to recognize a warning when I see one. MIKA But why? MASLOW Why? It's obvious. If your little fantasy has even slightest chance of being real, then these Nine Clans would have some pretty major juice protecting them. MIKA What are you going to do? MASLOW We are going to tip - toe, very carefully from here on out. You understand? You do n't do anything else without checking with me. Got it? She nods. MIKA Did you find Sabatin yet? Maslow is n't sure he wants to answer her. MIKA -LRB- CONT'D. -RRB- You did. MASLOW Yeah. he's dead. MIKA How? MASLOW Heart attack. MIKA They killed him. MASLOW People die of heart attacks, Mika. MIKA Was he married? Did he have a family? MASLOW God, you are relentless, are n't you. MIKA I know you Ryan, you would have checked. MASLOW A wife. MIKA Still in Russia? MASLOW Relocated. MIKA Where? He pulls a folded piece of paper from his jacket. MASLOW Explain something to me first. Where is this obsession coming from? What started this whole thing? She thinks. FLASH CUT. We see Mika reaching out to touch Raizo's face. CUT BACK. She shrugs. MIKA Like your father said. It's a consequence of consciousness often interpreted as desire. MASLOW Desire for what? MIKA For the truth. He shakes his head, handing her the paper. MIKA -LRB- CONT'D. -RRB- Potsdam. She's in Berlin. Mika shoots off as Maslow calls - MASLOW Mika! Tip - toe! She takes several exaggerated tip - toe steps.", "INT. ISTANBUL RAIZO'S APARTMENT - NIGHT A shuriken blade grinds against a whetstone as Raizo sharpens the weapon with practiced grace. despite being blindfolded. Sunlight is held back by vertical blinds. When he finishes, he stands, a Rodin sculpted out of midnight. We realize there are wooden blocks placed around the room. In his palm, a single shuriken abruptly fans into many like a deck of cards. Suddenly his arm whips around as the shurikens crack and split the thick wooden targets. He stands alone, still blindfolded. OZUNU -LRB- V.O. -RRB- These next five years will be the most important of your training. FLASHBACK - INT/EXT. ORPHANAGE DOJO/VERANDA - NIGHT One of the OLDER NINJAS is wrapping Raizo's eyes with a sticky gauze, like the tape used to wrap horse's legs. MR. OZUNU For an entire year, you shall live without one of your senses, beginning with the sense you rely on the most : your sight. FLASHBACK - INT. ORPHANAGE DOJO - NIGHT Takeshi's sword slides from one position to another as Ozunu looks on. Raizo, blindfolded, reacts to the sound, matching his posture a fraction of a second later. OZUNU A true Shinobi lives in darkness. The night is his weapon. Takeshi attacks again. While Raizo eludes or blocks several blows, for every two he manages to block, another connects. OZUNU -LRB- CONT'D. -RRB- You must see with more than your eyes. Raizo gets up, slowly releasing the tension in his jaw. He takes his position again, and this time the stance is easy, his expression softer. This time, as Takeshi comes at him, everything becomes clear. The whistle of the blade. The zip of the leg sweep against the tatami mat. The sound of his robe. Combined with Takeshi's unmistakable body odor Raizo has everything he needs to dodge, slip and counter. His chain strikes, wrapping an ankle, throwing a stunned Takeshi to the wall. Kiriko tries to hide her smile. Ozunu nods in appreciation. Raizo nods back, as if he can see without eyes. FLASHBACK - INT. ORPHANAGE DORMITORY - NIGHT Young Raizo, still blindfolded is in bed. Trying to sleep, but it's impossible. Takeshi's snoring does n't help. He turns slightly towards Kiriko, as her chest rises and falls, her breath as rhythmic as and gentle as the lap of sea - water in a tidal pool. He begins to breathe in sync with her, perhaps in hopes it will relax him. Slowly, all the other sounds in the room go away, until only her breathing, and his, remains. There is the slight murmur of their hearts. Then she opens her eyes. and smiles at him because he can not see her. But he hears her heart begin to beat faster and that brings a faint smile to his lips. They listen to each other's breathing growing heavier, the sound of their hearts beating faster and faster. Her lips part as she makes the tiniest movement. tilting her pelvis up, rubbing her hips ever so slightly against the blanket - It's like tectonic plates shifting for Raizo. Bump - thump, bump - thump, bump - thump their hearts growing louder and louder as they become -", "EXT. POTSDAM - SABATIN HOME - DAY Mika knocks. The cold war widow opens the door. MIKA Mrs. Sabatin? MRS. SABATIN Ja. MIKA I'm with Europol. We spoke on the phone. She nods. MRS. SABATIN -LRB- stepping aside. -RRB- Ah, sehr gut. Bitte. please. MIKA Shoen. Mika enters.", "INT. SABATIN HOME - DAY Sabatin and Mika sit across from each other. The house has the chill of loneliness. Tea has been set out between them. MRS. SABATIN You said you read my husband's report, yes? What did you think? MIKA I found it. illuminating. Especially the references to the Rihla. Your husband quotes passages not found in Battuta's present manuscript. MRS. SABATIN My husband journeyed all over the world researching that report, but when he was home, he never spoke about it. He said it was safer that way. MIKA I understand the report caused some problems for him inside the KGB. MRS. SABATIN The report caused `` problems'' for Alexei's career the way Moses caused problems for the Pharaoh, you see? Very unpleasant. Terrible people saying terrible things. She pours tea, the harsh memories still fresh. MRS. SABATIN -LRB- CONT'D. -RRB- After he retired. was asked to retire. we moved, first to Byelorussia and then here to Berlin when the wall came down. He said this will be a good place to grow old together. And it was, for a time. MIKA What happened? She looks off, shakes her head. MRS. SABATIN About two years ago. two? Yes, after the assassination of Zhukov, the report drew attention. After that, everything was different. FLASHBACK - EXT.. SABATIN HOME - DAY As Alexei supervises, workmen install locks, put in fencing material, hang lights and video cameras on the outside of the house. MRS. SABATIN -LRB- V.O. -RRB- Alexei hired men to change all the locks, and put in more of them. Locks on the windows, locks on the doors, locks on the locks. He put in cameras and motion sensors and lights. everywhere, lights. The lights SNAP on, illuminating the back of the house with brilliant klieg lights. MRS. SABATIN -LRB- V.O. ; CONT'D. -RRB- `` There can be no shadows,'' he said. `` No shadows.'' BACK TO SCENE CLOSER on Mrs. Sabatin as she looks down at her tea. MRS. SABATIN I will tell you a true thing, and a hard thing. My husband was a soldier. A member of Russian intelligence. He had seen many terrible things. -LRB- beat. -RRB- He was not a man to frighten easily. But from that day on, when the sun went down behind the hills. in his eyes, I saw the fear a child has of the dark. -LRB- beat. -RRB- Then, one day, a man came to the door. FLASHBACK - INT/EXT. SABATIN HOUSE - DAY We are over the shoulder of someone who could be Raizo or Takeshi as the door opens revealing Alexei. After a moment Alexi invites the man in. A security camera watches them enter the house. MRS. SABATIN -LRB- V.O. -RRB- They talked in Alexei's study for sometime. Then the young man left. Mrs. Sabatin watches the young man leave then hurries toward the study door. MRS. SABATIN -LRB- CONT'D. -RRB- It was unlike Alexei not to see him out. I remember being very scared. But when I opened the door, he was just sitting there. For a moment, he did n't even notice me. Then he stood up and kissed me and told me that he loved me very much. He said I should always remember that. We see Alexei looking shell - shocked, eyes hollowed, as he stands and kisses his wife. His eyes begin to shimmer with tears but before he cries, he leaves. BACK TO SCENE MIKA Do you know what they talked about? MRS. SABATIN No. Alexei never spoke about it. But two months later, he was dead. MIKA Can I ask how he died? FLASHBACK - EXT.. SABATIN HOUSE - NIGHT The lights have come on outside his house. Alexei comes out, a gun in hand, shielding his eyes. Searching for whatever set off the automatic lights. Then, suddenly : darkness. And sudden MOVEMENT in the shadows that LUNGES toward Alexei. As Mrs. Sabatin shakes her head, looks away. Shrugs. MRS. SABATIN The lights went out. She looks to Mika. That says it all. She rises. MRS. SABATIN -LRB- CONT'D. -RRB- You are the first person who has taken my husband's work seriously. It would be good to know that he did not die without cause. Come with me. Mika follows her into - - an adjoining room, where Mrs. Sabatin pulls the bottom drawer of a bureau out and sets it on the floor. From the darkness she removes a metal box. MRS. SABATIN -LRB- CONT'D. -RRB- He would want you to have this.", "INT. ISTANBUL RAIZO'S APARTMENT - DAY Raizo sits alone. Crossed - legged on the floor. Utterly still. There's an ocean of sound swirling around him. The cacophony of Instanbul evening rush hour. Raizo starts to build a dam ; auricular sandbags laid one by one, walling off the outside world. The traffic outside - horns, engines, squealing tires, rattling trucks chassis - all fade away. People shouting, singing. A couple next door making love. A baby wailing. Jackhammers pounding. Slowly, the world fades away, until there is only one sound. Faint, familiar, but almost too quiet to hear. Raizo's heartbeat. He listens to it. Meditates on its simple rhythm. Until a sound explodes in the room, it is a sound we have n't heard in his apartment - A phone. He rises slowly as the phone continues to ring. He answers it silently waiting for something - The line clicks and goes dead.", "EXT. ISTANBUL STREET SOUK - DAY Raizo walks through the crowded market. Shoppers, salesmen and tourists fill the narrow aisles between the stalls. FIVE CHILDREN - who we see only from the back - run past. Shouting laughing. The last one jostles against Raizo as he goes by. Raizo keeps walking, but he is holding an envelope in his hand. He slips it into his pocket.", "EXT. ISTANBUL STREET - DAY Raizo opens the envelope as he crosses the street. There's a square of paper inside, and a photograph. On the paper is a street address in Berlin. The photograph is a close - up of a woman's face. Mika.", "INT. MIKA'S APARTMENT - LIVING ROOM - DAY Close on the box. It sits on her desk, calling as another box once called to Pandora. She opens it. Inside are a series of cataloged photographs taken in the style of 1970's archeologists -LRB- like those of the dead sea scrolls -RRB- of the lost chapter of Ibn - Battuta. The scrolls contain his 14th century Islamic writing and several sketches. There is also a very rough map that suggests the location of The Orphanage. Images of the orphanage, of the children training and their ordeals, bloody combat, ritual bindings, beatings on the Nightingale floor. There is a scroll that she unrolls revealing the lineage tree of the Nine Clans. Also in the box is a single VHS tape. She pushes the tape into the player. It's a recording of a surveillance camera staring at the front of the Sabatin house. A man walks up to the house and rings's the bell. We can not see his face. Sabatin opens the door. They exchange words. Sabatin seems wary but invites the man in. Mika does n't understand why this is significant. She hits fast forward until she sees a flash as the man exits. She stops, rewinds and plays it again. As he steps out of the shadow of the house, she sees his face - It is Raizo. She is startled when someone pounds on the door. It seems like it might rattle off its hinges as she hurries to open it revealing - Maslow and he's not happy. MASLOW -LRB- O.S. -RRB- You lied to me. He pushes into the room and slams the door behind him. MIKA What're you - MASLOW I told you to stop using my confirmation code. MIKA I did - MASLOW Dammit, Mika - MIKA I'm sorry, it was the only way I could get the evidence. MASLOW Shit. MIKA What happened? MASLOW What happened? Everything's fucking happened. He tries to dial it down, succeeds, but only a little. MASLOW -LRB- CONT'D. -RRB- When you were slapping my code all over town like some phone number in a bathroom, did you happen to notice the classification code on the cases you were digging through? She knows. MASLOW -LRB- CONT'D. -RRB- What did it say? MIKA -LRB- quietly. -RRB- DNP. MASLOW That's right. DNP. DO NOT FUCKING PURSUE! MIKA -LRB- quietly. -RRB- Actually that would be DNFP - FLASH - IMAGE - INT. MASLOW'S OFFICE - AFTERNOON We SEE men and women in dark suits, their expressions deadly serious, tossing through everything he has in the place. BACK TO SCENE MASLOW Right now there are people from internal affairs, CIA, Homeland Security and for all I know the Martian Fucking Military in my office tearing the place apart. I do n't know what they're looking for but I think you do. She shifts nervously, no poker face. She turns and leads him into her home office. With the key from the tampax box she opens the drawer. Maslow watches as she pulls out the contents of Sabatin's box as well as the illegally requisitioned evidence. MIKA Most of this is from Sabatin. Copies of what I think are the lost chapters of the Rihle. I think it describes the original location of the Ozunu Clan but my 14th century Arabic is a little rusty. MASLOW And this? Meaning the DVD. MIKA That's how it started. I made a mistake, mixed up the case code and they sent me that. A moment later the DVD is playing, Raizo and the other ninja dancing through the shadows. MASLOW Christ. MIKA Yeah. I know. I do n't understand why they're fighting though. It could be a clan war. Maslow starts to put it together. MASLOW So you requisitioned this by accident. You used my code which is why you did n't want to show me this. Which is also why they're tearing apart my office right now. MIKA I'm sorry Ryan. You have to know I did n't mean for you to get in trouble. I just thought if this was real, if these clans were killing people, you know, it was our job to try to stop them. He eyes her. MIKA -LRB- CONT'D. -RRB- Is n't that what your dad would do? MASLOW Okay, that's low. MIKA Look, I know I broke the rules. I'll explain what I did and accept the consequences. MASLOW Very noble of you but I've got the feeling this is n't a slap - on - the wrist kinda consequence. Let me take this and try to make some sense of this shitstorm you started. In the meantime, you will not say anything to anybody. Capiche? She nods.", "INT. PASSPORT CONTROL AIRPORT - DAY Close on Raizo's fake passport. PASSPORT OFFICIAL Are you coming to Berlin for business or pleasure Mr. Han Raizo smiles RAIZO Pleasure.", "INT. MIKA'S OFFICE - DAY She's at her computer, studying a topographical map of Japan, trying to relate the Ibu - Battuta's drawing to it. Suddenly she realizes she is not alone ; Zabranski is leaning against the door jam. He smiles. ZABRANSKI Boy you're like a dog with a bone on that computer are n't you? MIKA Excuse me? Who are you? He reaches across her desk. ZABRANSKI Agent Zabranski. Internal affairs. Need to ask you a couple of questions. You are Mika Coretti, yeah? She nods, her gut clenching. He pulls out a small notebook. ZABRANSKI -LRB- CONT'D. -RRB- Forensic researcher. You work a lot with an Agent. Maslow. That right? MIKA A few cases. ZABRANSKI You have something of a social relationship. MIKA What? ZABRANSKI You had lunch with him on the 13th and again on the 18th. MIKA How do you know that? ZABRANSKI Is it not true? MIKA I. I'm not sure. We do have lunch together sometimes, usually when we're working - ZABRANSKI Are you working on something with him right now? A beat. MIKA No. not right now. ZABRANSKI Has Agent Maslow seemed different lately, in any way? Has he done or said anything that struck you as unusual? MIKA No why. Has Agent Maslow done something? He smiles in the way a piranha might smile if it could. ZABRANSKI Just routine. The agency cares about its field operatives. We monitor for signs of stress, fatigue, mental exhaustion. Agent Maslow has a serious case load. That much work can wear on a man. He leaves. She gets up and closes her door. She grabs her phone and calls Maslow. MASLOW -LRB- V.O. -RRB- This is Ryan Maslow. Leave a number - She disconnects then texts. TEXT : 911. CALL ME. M", "INT. PARKING GARAGE - NIGHT It is later. The garage is a gyre of shadows. Mika walks towards her car. The fluorescent light flickers and goes out. She stands in the dark. MIKA Come on. you're kidding me. It flickers back on. She continues to her car.", "INT. PARKING GARAGE CAR - NIGHT She gets in as a shadow leaps to life behind her. She starts to scream when she realizes it's - Maslow. MASLOW Ssssshhhhhh. Sorry, Mika. MIKA Fucking Christ, Ryan - MASLOW I could n't talk earlier. They're watching me. MIKA Zabranski came to my office. Asking about you. He nods. MASLOW I know how Sabatin must have felt. MIKA What happened? MASLOW I showed Jamison the materials. MIKA What did he say?", "INT. JAMISON'S OFFICE - DAY A typical autocrat. JAMISON This agency is subject to the International laws and agreements that govern the jurisdiction of our authority. If a case is marked DNP we must respect the jurisprudence of the regional government and act accordingly. MASLOW I understand that sir but - JAMISON Let me be clear, Agent Maslow. In the eyes of the law these materials do not exist. If so, than there is no case and if there is no case there is no reason for this conversation to continue.", "INT. PARKING GARAGE CAR - NIGHT MIKA He took the materials? MASLOW Come on Mika, how could he take something that did n't exist? He could n't. Which means that I could n't copy it either, and if I could n't copy it than I ca n't be violating international laws and agreements by still having it. She likes this guy. MIKA What are we going to do? MASLOW Your going to go home. Pack your bags and go on holiday. MIKA No way - MASLOW Do n't fucking argue with me, Mika. I trusted you. Now you've got to trust me. MIKA Ryan, I ca n't let you lose your job because of me - MASLOW I'm not talking about my job, Mika. He hands her a Glock and two spare clips. MASLOW -LRB- CONT'D. -RRB- Take this. It's clean, no serial number. Untraceable. MIKA I've never even fired one of these. MASLOW -LRB- pointing. -RRB- This is the bad end. This is the end you hold. Point, shoot, run like hell. He also gives her a phone. MASLOW -LRB- CONT'D. -RRB- I'm going to try to find some help. Until then, I need you gone. Do n't tell anyone where you're going, just go. Use this phone to text me when you get there, or if you have any problems. MIKA Ryan. MASLOW I know. It's unbelievable. I've investigated, world bank officials, drug cartels, arms dealers, and I've never faced this kind of heat. For ninjas. Fucking unbelievable! He shakes his head and slips out the door.", "EXT. MIKA'S APARTMENT BUILDING - NIGHT Mika parks her car around the corner from the apartment building, gets out and starts down the street when she sees - - the apartment building and the one next door are dark. Candles and flashlights are visible in some of the apartment windows, a scattering of neighbors congregating outside. Mika approaches a NEIGHBOR. MIKA Hey. NEIGHBOR Hi. MIKA What happened? NEIGHBOR Power's out. Us, the building behind us, that one across the street. Seems like every few months, boom, the lights out. I call, I complain, they listen. nothing gets done. So I sit out here, at least it's cool. Mika looks up at the building, scared but not ready to believe that ninjas are responsible for everything. She pulls a tiny LED flashlight out of her bag and starts into the building. NEIGHBOR -LRB- CONT'D. -RRB- Watch your step. MIKA You're not the first person to give me that advice today. And she continues into -", "INT. MIKA'S APARTMENT BUILDING STAIRWELL - NIGHT - where she climbs the steps, each creak adding to the possibility of attracting trouble. On the passing floors, we hear doors being opened and shut, footsteps, the distant murmur of voices. Could be nothing. Could be everything. She presses on.", "INT. MIKA'S APARTMENT - MOMENTS LATER She opens the door to her apartment, shining the tiny light ahead of her. Shadows chase each other across the room as she swings the light one way, then another. There seems to be no one else in the place. But as she hurries into her home office, we see - A shadow move behind her. As she packs she begins to hear something, a tapping. The same sound she heard before. She pulls the gun from her purse. With the flashlight spearing the darkness, she goes to her office. Again the window is open, the blinds gently blowing against the sash. She is certain the window had been locked. Now every shadow is alive. She rushes back to her bedroom aiming in every direction. Her flashlight finds her suitcase. On the top of her clothes she sees it : An envelope. Perfectly centered. Setting the gun down, she picks up the oragami - folded envelope. Opens it with a shaking finger. Black sand spills out. Terror steals her breath. Behind her, a shadow tilts and reveals the eyes of a ninja. Before she can even move, a blade flashes from the darkness, heading for her neck - Another shadow blocks the blade, knocking Mika over the bed. The sounds of a fight erupt all around her but the combatants are almost invisible in the surrounding darkness. Her flashlight catches glimpses. Impossibly fast, lethal predators trying to kill each other. She crawls towards the spilled contents of her suitcase, towards the gun. Another blow arcs for her and is again blocked. Her hand finds the handle of the gun. She points into the dark, fires. The gun flash strobes the room, freezing the two ninjas in the blink of a flashbulb. They move towards her until a kick sends her gun flying. She can feel them fighting very close to her and when she finds them with her flashlight, a blade is struck deep - Blood erupts. One shadow falls to the ground. The other turns towards her. Her flashlight shakes as the ninja reaches up and removes his mask. It is Raizo. He sees in her eyes that she knows him. RAIZO You know me? She nods. RAIZO -LRB- CONT'D. -RRB- How? MIKA security camera in New York. Recorded you fighting. one of them. She glances at the dead ninja. RAIZO You know about them? MIKA A little. He waits. MIKA -LRB- CONT'D. -RRB- Uhh - Well, there are these clans. we're not sure how many. RAIZO Nine. MIKA Okay. Nine. Nine clans. And they apparently have been supplying assassins to governments or anyone who happens to have one hundred pounds of gold lying around for the last thousand years. Give or take. He nods faintly. Then turns to his dead `` Brother''. RAIZO His name was Jin. MIKA You knew him? RAIZO He was not born an `` Assassin''. She looks at the dead body. MIKA you're from his clan? His nod is almost imperceptible. MIKA -LRB- CONT'D. -RRB- Then. why did you stop him? RAIZO The clans have three kinds of people! People with power. People with money. Or people hunting them. He hears something she ca n't. She starts to speak, and he stops her with a gesture. RAIZO -LRB- CONT'D. -RRB- They're coming. MIKA Who? RAIZO The Hanta - Kirra. MIKA Does that mean what I think it means? RAIZO They wo n't stop until you are dead. MIKA Oh god. She looks for her gun. RAIZO The gun wo n't help you. MIKA I do n't have a lot of options okay. I once took a Tae Bo class, but that's the extent of my Kung Fu abilities. RAIZO I can help but you must tell me something first. MIKA What? RAIZO You saw Ms. Sabatin. MIKA How did you know that? RAIZO I've been watching you, waiting for them. She tries to compute the idea that he's been following her. RAIZO -LRB- CONT'D. -RRB- Did she give you something? She nods, Raizo's eyes lite up. RAIZO -LRB- CONT'D. -RRB- You have them? Shakes her head `` no.'' MIKA But I can get them. He hears something else. RAIZO We need something black. Hurry! She runs with the flashlight to a bureau. Inside is a black tablecloth. He pulls her shoes off. RAIZO -LRB- CONT'D. -RRB- Follow me. Step where I step.", "INT. MIKA'S APARTMENT BUILDING STAIRWELL - NIGHT He leads her down through the stairwell of the large walk up. She follows him step by step. Suddenly he pulls her into the corner of a doorway. Wrapping the tablecloth around them, they melt into darkness. Beneath the wrap, he puts his hand over her mouth and nose stopping her breath. Outside after a long beat a ninja's foot silently glides past, climbing the stairs. Inside he releases her nose. Before she can finish taking a breath he yanks her up and they quickly descend the remaining stairs.", "INT. MIKA'S APARTMENT - NIGHT The dead ninja lies in a pool of blood. The shadows come alive and four dark figures emerge, born from the black - The Hanta Kirra. Their leader drifts forward surveying the apartment, his dark eyes flashing that we recognize. Like snap - focus flashes taking in the myriad signs of the fight : the bullets in the wall, footprints, and shattered lights. One of the killers uses his sword to trace the line of a slashing cut in wall. Braille from the blow that Raizo used to cut the ninja. He removes his mask and we see it's Takeshi. TAKESHI Raizo. Another Ninja leans forward and tastes the air with his nose. Eyes closed. Like a dog getting the scent, his inhalation a long, low whisper in the silent room. DOG NINJA He's taken the girl. Takeshi nods turning to the windows. He smiles ; A hunter who knows the hunt is almost over. OZUNU -LRB- V.O. -RRB- Weakness compels strength.", "EXT. WOODS - NIGHT A figure is running wildly through the thrashing branches.", "INT. ORPHANAGE OZUNU HOUSE ASSEMBLY ROOM - NIGHT Ozunu addresses the clan, his eyes like those of an executioner. OZUNU Betrayal begets blood.", "EXT. WOODS - NIGHT We are gaining on the figure who continues to bolt like a panicked horse.", "INT. ORPHANAGE OZUNU HOUSE ASSEMBLY - NIGHT OZUNU This is the law of the Nine Clans. This is the way of the ninja.", "EXT. WOODS - NIGHT We rush up behind the figure who glances back. It is Kiriko and she screams as we attack - The sound of the assault becomes -", "EXT. STREET - NIGHT Mika's car rushing past us.", "INT. CAR - NIGHT Raizo is silent. Mika is driving. MIKA I'm going to have to make a phone call in order to get the manuscript. RAIZO Not now. Just drive. MIKA Where? RAIZO Does not matter. Just get as far away from here as fast as you can without drawing attention. MIKA You think they're following us? RAIZO I know they're following us. She watches in the mirror for a moment. MIKA I do n't see anything back there. RAIZO They have our scent. MIKA Following our scent? Like dogs? RAIZO No. Like Wolves. She swallows. MIKA How do you know so much about them? RAIZO I was one of them. MIKA You flunked out of ninja school or something? RAIZO something. FLASHBACK - INT. LIMOUSINE - NIGHT Raizo is dressed in normal clothes his hair starting to grow back from the close shave he had in the Orphanage. He wears a silk blindfold. Ozunu sits in the leather gloom of the stuffed upholstery. OZUNU You may remove the blindfold. Raizo does so. Looking around at the lights of Osaka, a city he has never seen before. OZUNU -LRB- CONT'D. -RRB- Your entire life has brought you to this moment. Do not fail yourself. Do not fail your family. Raizo nods faintly. MR. OZUNU He is wearing a black and gold watch. Bring it to me. Raizo nods again, then opens the door and steps out.", "INT. FIVE STAR HOTEL LOBBY - NIGHT CLOSE ON the fat wrist of a large man as he strides across the lobby. He turns to his entourage which includes several bodyguards and a few arm pieces. KINGPIN Wait here. Got ta piss. BODYGUARD Want me to come with you, boss? KINGPIN Why? So you can shake it for me? You some kind of secret faggot? He laughs and the arm pieces cluck on cue. He heads into the bathroom.", "INT. FIVE STAR HOTEL BATHROOM - NIGHT Kingpin enters there is only one person in the bathroom - Raizo washing his hands. His eyes flash in the mirror, watching the Kingpin only after he has turned away. The enormous man steps into a stall. After a moment he begins to piss, moaning slightly as he does. Raizo hits the air dryer button. The sound fills the room. A thin razor sharp blade flashes from his sleeve. The Kingpin continues to enjoy his piss but as we look at him we see the door behind him silently swing open, revealing Raizo. Raizo stares at the back of the man's head. He can almost see his jugular beating beneath the thick folds of his neck - But something prevents him from striking. The dryer stops, the sound of the piss dribbling when the Kingpin suddenly looks back over his shoulder - KINGPIN The fuck -? Raizo strikes but the kingpin is able to deflect the blow which sinks into his enormous body. He laughs. KINGPIN -LRB- CONT'D. -RRB- That kinda tickled. He smashes a fist into Raizo that slams him backwards. KINGPIN -LRB- CONT'D. -RRB- Gon na take more than a knitting needle to fuck me up, boy. Raizo attacks and it is immediately apparent that this is not going to be easy. Several ferocious blows that would have broken the neck of a smaller man, only seem to make the Kingpin madder. Soon both are covered in blood, and gore. But it is not until Raizo slams the man's head against the lip of the urinal - The first time a font blood splashing up - The second time the porcelain shatters as the Kingpin's head opens, spilling black blood across the floor.", "EXT. ROOF - NIGHT It is raining. Raizo, still wearing his bloody clothes, climbs up onto the roof, his clothes spattered with gore. He waits as the shadows around him come to life : Ozunu, Takeshi, and several other clan members surround him. All but Ozunu wear their masks. Raizo extends his hand, revealing the black and gold watch, smeared with fresh blood. He offers it to Mr. Ozunu. OZUNU Keep it. It will remind you that every minute of your life is a gift that I have given you. Ozunu smiles. OZUNU -LRB- CONT'D. -RRB- You have made me proud tonight, Raizo. There are some who believed you would fail, but I knew you would not. His eyes narrow. OZUNU -LRB- CONT'D. -RRB- You have a strength inside you Raizo. You must use that strength, now to show me that you are truly Ozunu. Several of the other ninjas step back. Revealing Takeshi. He pushes a small hooded figure forward. OZUNU -LRB- CONT'D. -RRB- Weakness compels strength. Betrayal begets blood. Takeshi yanks the hood off revealing a young girl. She is bloody, bound and gagged and for a flash - Raizo sees her as Kiriko. OZUNU -LRB- CONT'D. -RRB- A daughter that turned her back on her family. She tried to run. Takeshi hunted her down. He unsheathes his blade, offering the hilt to Raizo. OZUNU -LRB- CONT'D. -RRB- It is the law of the Nine Clans. Raizo looks at the girl, her tears lost in the rain. We can not tell if Raizo is crying as he takes the blade - He CRIES OUT, the light of madness in his eyes. He STRIKES, lashing out with the fury of a wild animal, at Ozunu - - who bends back with impossible grace. But not far enough. The point of Raizo's sword slashes across his face, opening an ugly wound that spills blood over his eye and mouth. He has n't tasted his own blood in years, and the anger boils up in his eyes. OZUNU -LRB- CONT'D. -RRB- Kill him! Raizo meets their attack. Throwing himself into the fray as only a man who is no longer interested in living can. But the ninjas are everywhere. They hurl shuriken at him by the handful, a storm of jagged steel racing for Raizo's flesh. Raizo blocks some of the shuriken, misses many more. The shuriken strike muscles, tendons, flesh. He SWINGS around, still trying to attack, there are too many of them. He stumbles back towards the edge of the roof as Takeshi SWINGS what he believes will be the death blow as - - Raizo half - falls, half - leaps backward, falling from the rooftop, tumbling through space, until he - - Splashes into the canal below - Bubbles dancing between the ribbons of blood.", "INT. CAR - NIGHT Mika speeds along the autobahn. MIKA Okay, if you're not going to say anything, do you mind if I talk? When I get nervous, it helps if I talk. He says nothing. MIKA -LRB- CONT'D. -RRB- My name is Mika by the way. RAIZO I know. MIKA Yeah, well usually if someone introduces themselves it is a convention that the other person does likewise. He considers her. RAIZO Raizo. is the name I was given. MIKA So, you were an orphan? His head nods slightly. MIKA -LRB- CONT'D. -RRB- Interesting nature verses nurture case study I imagine. He cocks an eyebrow. MIKA -LRB- CONT'D. -RRB- If it's okay with you, I'll try to fill in some of the blanks. You must have been taken by the Ozunu clan, trained to be an assassin, but something happened and you decided to opt out of the program. I do n't imagine this went over so well and since they're after me for just peeking through the keyhole, they must be after you in a major way. But you are also after them or you would n't have bothered going to Sabatin. Which I figure means you're searching for the location of The Orphanage because that's obviously the only information Battatu's book would have that you would n't already know. He looks at her impressed. MIKA -LRB- CONT'D. -RRB- Yeah, I got some moves too. I'm pretty lethal with the research thing. He almost smiles. MIKA -LRB- CONT'D. -RRB- But here's a question I ca n't answer : since you did n't know I went to Sabatin's, why did you save me? RAIZO Ninja only kill two kinds of people. The first kind has power and money. The other kind is trying to stop them. He nods, noticing shops out beyond the exit. RAIZO -LRB- CONT'D. -RRB- Exit here.", "EXT. SHOPPING MALL - NIGHT The shops are all closed, Mika's car crawls to a stop in the empty parking lot.", "INT. CAR - NIGHT Raizo looks her over. MIKA I understand retail therapy as well as any girl but I think it's a little late. RAIZO You are a size 36? MIKA What? No! Size 34. ` cept certain times of the month. He starts to leave then stops - RAIZO If you leave while I am gone they will catch you and kill you. He looks her in the eye. RAIZO -LRB- CONT'D. -RRB- Do you understand that? She nods. He opens his door and slips out. She watches as he heads for the doors. He passes into the shadow of the building and disappears. She digs into her bag for the phone Maslow gave her. She TEXTS : 911. But situ stable. Guardian angel all in black. Need Battuta book soon. Will call. M She hits send. Looks out to the darkness surrounding her. After a moment one of the shadows comes to life. The door opens and Raizo gets in, his arm full of clothes. RAIZO -LRB- CONT'D. -RRB- We need a hotel.", "EXT. HIGHWAY MOTEL - NIGHT The car is parked around several others.", "INT. HIGHWAY MOTEL ROOM/BATHROOM - NIGHT Raizo goes into the bathroom, and turns on the shower. RAIZO Get undressed. Shower. Do not use the hotel soap. Or any towel. Do you smoke? MIKA No. He nods. RAIZO Put your clothes in here. He pulls the garbage bag from the wastepaper basket. Then leaves as she begins getting undressed.", "EXT. HIGHWAY MOTEL - NIGHT Outside the hotel, Raizo finds a pine tree. He cuts several branches from it.", "INT. HIGHWAY MOTEL ROOM/BATHROOM - NIGHT Back in the room, he enters the bathroom. She is still in the shower. MIKA Hey - RAIZO What? MIKA Do n't you know how to knock? RAIZO I'm trying to save your life. MIKA okay right. He hands her the tree branch. RAIZO Dry yourself with this. He starts taking off his clothes. He does it quickly without any sense of awkwardness ; the world where he came from makes little distinction between male and female. She's not from the same world, keeping herself as covered as possible with a tree branch. He jumps in the shower while she tries to dry herself off. MIKA I'm just a researcher. I'm really not equipped to deal with this. He steps out and quickly wipes the dripping water off his body with the branch. RAIZO Get dressed. In the bedroom, Raizo is dressed in new clothes. He lights a cigarette as Mika come out struggling with the tightness of her new jeans. MIKA These are a little tight. RAIZO You said 34. MIKA European sizes. run a little small I guess. Raizo takes the cigarette and begins waving it all around her. MIKA -LRB- CONT'D. -RRB- This is for my `` scent''? He nods. RAIZO Let's go.", "EXT. HIGHWAY MOTEL PARKING LOT - NIGHT CLOSE as he picks the lock of a different car trunk. MIKA Wow. They teach you that at ninja school? RAIZO Most locks are not worth the metal they're made of. The trunk pops open. Raizo tosses their bag of clothes under the lid of the tire compartment. Then closes the door. He leads her down the parking lot sizing up the cars, until he finds one he likes. MIKA You're going to steal a car? RAIZO Just borrow it. The door opens. RAIZO -LRB- CONT'D. -RRB- Get in. She sighs. MIKA In for a penny, in for a pounding.", "INT. CAR - NIGHT Raizo takes out a small electrical device. He aims it at the dash and hits a button. The device finds the right frequency to start the car. She is impressed. RAIZO At ninja school I minored in electrical engineering. His smile makes her smile.", "EXT. AUTOBAHN - NIGHT A moment later the car flies back towards Berlin. RAIZO Now we have some time. MIKA How much time? RAIZO A day. Maybe less. MIKA Jesus. RAIZO Make your call. She nods, digs through her purse for the phone.", "INT. MASLOW'S OFFICE - NIGHT MIKA Ryan, it's me. MASLOW Mika! For Christ sake I've been calling for hours! MIKA I know. I'm in a bit of trouble - MASLOW Trouble? You miss jury duty you're in trouble. You're in some kind of bottomless pit of deep shit. MIKA Yeah. Least I'm not down here by myself. She looks at Raizo. MASLOW Your guardian angel? Is it him? The one from the tape? MIKA He's on our side, Ryan. I trust him. MASLOW Careful, Mika. MIKA I promised him the Battuta pages. Do you still have them? MASLOW yeah, I got them. MIKA Can you meet us? In three hours? MASLOW Where? MIKA How bout the usual?", "EXT. BERLIN WALL - NIGHT Maslow waits, the red - tip of his cigarette glowing in the middle of his silhouette. Mika is leading. MIKA There he is. Raizo hesitates ; an animal sensing danger. MIKA -LRB- CONT'D. -RRB- He's a good man. It's all right. They approach Maslow. MASLOW Mika! He embraces her. MASLOW -LRB- CONT'D. -RRB- You're all right? MIKA Thanks to him. RAIZO Why have you done this? MIKA Done what? MASLOW Step back Mika. MIKA What? RAIZO People will die. Maslow takes hold of Mika as he shouts - MASLOW NOW! An explosion of light ; A firing line of kliegs all aimed at Raizo, each as bright as a slice of the sun. MIKA No! Twenty heavily armed men emerge from the wall of light. MILITARY MAN Hands on your head! On your knees! Do it now! MIKA Raizo! No! This is wrong! RAIZO The clans have people everywhere. Raizo raises his hands slowly, a glance thrown like a shuriken at Maslow. MIKA What are you doing? MASLOW Following orders. The men swarm over him, binding him with brutal efficiency, hauling him away. FLASHBACK - INT. ORPHANAGE DOJO - DAY Ozunu watches. A faint look of disgust dangling from his lips. OZUNU Cut him. Kiriko is panting, covered in sweat and blood, standing over a bloody, beaten Takeshi. OZUNU -LRB- CONT'D. -RRB- All failure must be sown into the flesh. Kiriko is handed a razor sharp blade. OZUNU -LRB- CONT'D. -RRB- Cut him! Takeshi prepares for the blow, but - Kiriko drops the blade. OZUNU -LRB- CONT'D. -RRB- What? He marches up to her. OZUNU -LRB- CONT'D. -RRB- You know the law! Her silence remains defiant, while he boils with suppressed rage, picking up the blade. OZUNU -LRB- CONT'D. -RRB- You will wear this disgrace for the rest of your life! He slashes her, slicing across her face. FLASHBACK - INT. ORPHANAGE DORMITORY - NIGHT Raizo wakes up. There's a commotion on the other side of the shoji screens that comprise the inner wall of the dorm. Silhouettes limned against the paper. Raizo moves to the screens. Pulls them a half inch aside as the other children watch. Through the tiny gap, he sees ninjas dragging Kiriko down the hall. Gagged, arms twisted with shiburi, blood streaking her pale and terrified face.", "INT. SAFE-HOUSE - VAULT - NIGHT Raizo is chained to the walls of a vault. Spread - eagled, double - locked, and lit from all sides so there are no shadows anywhere in the room. Raizo's head sags. Eyes closed. Cameras stare at him.", "INT. SAFE-HOUSE GROUND FLOOR - NIGHT Classic Berlin aesthetic. A modern office shoe - horned into an abandoned building : cubicles, computers and Aeron chairs amidst crumbling walls. Maslow's team are hanging out there, thirty agents, a fairly competent and well - armed bunch. Maslow is inside the control room which is like a small construction trailer. Several different monitors have images of Raizo. SECURITY GOON Prisoner is secure sir. For a moment it appears that Raizo looks up as Maslow looks at him, as if somehow Raizo could see through the lens watching him. Then his head drops again. MASLOW Right. He scans the different monitors. MASLOW -LRB- CONT'D. -RRB- Something's wrong with the infrared cam. SECURITY GOON No sir, we checked it. MASLOW Then why is n't he showing up? SECURITY GOON We think he's able to lower the temperature of his body to remain neutral. MASLOW Or maybe he's just cold - blooded. SECURITY GOON #2 Sir! The goon struggles to stop Mika as she storms inside. MIKA Ryan, you know this is wrong! It ca n't be legal! What is this place? Your own private Guantanamo? MASLOW It's an old GDR safehouse. Jamison wants this off the grid. MIKA Ryan you're making a huge mistake! MASLOW I do n't think so. We got reports from Washington, London, Osaka all tagging your boy. Only problem we have is where to extradite him first. MIKA So two weeks ago, there's no such thing as a ninja and now every city in the world has a warrant for one? MASLOW We must respect the jurisprudence of the regional government and corresponding law enforcement agencies. MIKA He's not the enemy. MASLOW No? You ever heard of Stockholm Syndrome I'm getting the feeling I'm looking at a pretty serious case of it. MIKA I'm not crazy. This is! MASLOW He's a killer, Mika. Were n't you the one telling me it was our job to stop him. MIKA You're not listening to me! MASLOW You're not saying anything worth hearing. Look, if want to do the insubordination tango, let's go, but not in front of the kids okay? Boys, give us a minute. The security goons clear out, closing the door behind them.", "INT. SAFE-HOUSE OFFICE - NIGHT - CONTINUOUS She wheels on him to let him have it. MIKA Damn it, Ryan, I - - but he holds a finger to his lips, indicating be quiet. MASLOW Listen to me, we do n't have much time. Look, I do n't know what you've stumbled into, but somebody is pulling some major strings inside. MIKA They want him dead. He's been fighting them for years. MASLOW I believe you. -LRB- softer. -RRB- I believe you. I've been in this business too long not to smell a set - up. But we have to be careful how we handle this. And I ca n't risk you going AWOL on me again, because -. -LRB- beat. -RRB- - because I do n't want anything to happen to you. He glances up at her, and it's clear : he has affection for her. He presses a tracking device into her hands. MASLOW -LRB- CONT'D. -RRB- If trouble comes, turn this on, no matter where, and I'll find you.", "INT. SAFE HOUSE VAULT - NIGHT Raizo remains motionless, his eyes open when he hears someone coming. RAIZO -LRB- V.O. -RRB- You should n't do that they'll catch you. KIRIKO -LRB- V.O. -RRB- Then they'll catch me. RAIZO -LRB- V.O. -RRB- They'll put you in the box. KIRIKO -LRB- V.O. -RRB- Yes. They will. FLASHBACK - INT. ORPHANAGE DORMITORY - NIGHT It is the middle of the night. Raizo lies on a floor mat, unable to sleep. He looks over at Kiriko's empty mat. Quietly he gets up and makes his way outside. FLASHBACK - EXT.. ORPHANAGE MEDITATION BOX - NIGHT He moves to an upright bamboo box about the size of a coffin. Looking at - - Kiriko, in the box. Dehydration has left Kiriko with barely the strength to breathe. Her lips are swollen and cracked, she sags against the tight walls of the box. He pulls a bamboo straw from his dark robe, then fills his mouth with water from a flask. Sticking the straw through the bamboo poles near her lips, he feeds her drop by drop, and in this way, separated by a cage they share a kind of kiss. Her eyes part, ever so slightly, and she manages a smile. RAIZO I told you. I tried to warn you. KIRIKO yes, you did. RAIZO But you did it anyway. Why? KIRIKO Why am I in here for watering my tree. or why are you out there. watering me? She meets his eyes.", "INT. SAFE-HOUSE - VAULT - NIGHT Mika is standing behind the bars which slide open. She has a bottle of water, she looks at the two armed guards following her. MIKA Could you give us a moment? GUARD Negative. Not safe ma'am. MIKA If he wanted to hurt me he could have done that a while ago. GUARD Sorry ma'am. Maslow okayed the water. That's it. They stand near the door as Mika crosses to Raizo. MIKA Hi. you looked thirsty. She holds the water bottle to his lips, whispering. MIKA -LRB- CONT'D. -RRB- I'm sorry. I did n't know about this. RAIZO I know. MIKA You do? He nod's, swallowing another sip. RAIZO The only time you lied to me was when you told me your size. MIKA How did you know that? RAIZO Your heart. It is special. MIKA You know about my heart? RAIZO Hearts speak truer than tongues. He is unlike anyone she has ever met. MIKA Listen, Maslow is on our side. He's going to try to help you. RAIZO It's too late. All that matters is the Rihla. Get the manuscript before they get here. MIKA The Hanta Kirra? RAIZO Hurry.", "INT. SAFE-HOUSE GROUND FLOOR - NIGHT Mika rushes up to Maslow who is talking to the group of Europols. MIKA Ryan, can I talk to you? MASLOW We have to do this again, Coretti? MIKA No sir. I just. I have reason to believe that a group of ninja may be on their way here. The men chuckle. MASLOW I think these gentlemen can handle a few whack - jobs wearing pajamas. Am I right? They ad - lib responses : Fucking' A sir. Locked, cocked and ready to rock. MASLOW -LRB- CONT'D. -RRB- See? MIKA But the situation we discussed - MASLOW I'm working on that. You have to give me a little time. MIKA We do n't have time. MASLOW They're not here now. MIKA They'll be here soon. MASLOW How soon -", "INT. SAFE-HOUSE - VAULT - NIGHT Raizo looks up. His eyes narrow : they're here.", "INT. SAFE-HOUSE GROUND FLOOR - NIGHT The lights go out. Mika's eyes dart into the pitch, red emergency lights suddenly glowing ominously. MIKA Raizo - Maslow spins as she sprints for the stairs. MASLOW Mika! Maslow draws his firearm and hisses at one of the Special Ops. MASLOW -LRB- CONT'D. -RRB- Go with her! Secure the prisoner! Instantly, tiny LED flashlights and laser targeting systems light up on automatic weapons. Night vision goggles go up. Rather than panicking, the police are instantly in stealth - mode, communicating with quick, urgent hand gestures. A handful of men splinter off for the vault while the rest separate into teams with practiced precision, moving through the safe - house, ready for whatever comes.", "INT. SAFE-HOUSE - VAULT - NIGHT Mika charges into the holding area, the detail of men right at her heels. EUROPOL WATER GUARD Hold your fire - Raizo's guards release their aim. EUROPOL GUARD Christ - EUROPOL WATER GUARD Good way to get yourself killed, Agent Coretti. EUROPOL #2 What the fuck's with the lights? EUROPOL GUARD We got some guys in pajamas comin' to play spin the bottle. One of them lifts a shotgun. EUROPOL #2 Huh huh. I got something they can wrap their lips around. MIKA I do n't have time for this shit. We have to move the prisoner. In the back of his cell, Raizo's head lifts at the sound of Mika's voice. RAIZO Mika! EUROPOL WATER GUARD No ma'am. Those are n't our orders. Raizo calls from behind the reinforced door. RAIZO You've got to get out of here! She calls to his cell. MIKA Not without you. Raizo's voice hangs in the gloom. RAIZO Then we all die together.", "INT. SAFE-HOUSE - GROUND FLOOR - NIGHT One of the teams edges through the decay of the dilapidated industrial cavern. Straining through the eyepiece of his goggles one of them mutters. EUROPOL AGENT 2 Do n't see shit - Ahead the point man motions and the men take up defensive positions. The point man creeps forward, a flicker of heat fluttering in his IR - Optic. POINT MAN Is that? Through the darkness we see that his infrared is actually picking up the slow exhale of a ninja poised like a cobra inches away just above him. His blades flash - And the detail of men recoil as their infrared sensors light up, the point man cleft open in hot volcanic gore. A cloud of shuriken spit out of the darkness and punch into necks, faces, eyes. Ten of them fall like wheat before a scythe. The rest fire hitting nothing.", "INT. SAFE-HOUSE - VAULT - NIGHT The screams of dying men and gunfire shudder down the gullet of the old concrete building. MIKA Fuck me. She watches as the men position themselves, pressing into the black of the corridor. Thumbs flick safeties to hot. A shriek pierces the silence, one of the agents suddenly jerked from his feet like a puppet on a string. They watch in IR as the agent falls to the ground in several pieces. EUROPOL #2 What the fu - # 2's exclamation gets caught in the oozing slit that opens in his throat. The man guarding Raizo's cell door screams. EUROPOL GUARD They're not showing up on IR! He clicks his flashlight the beam glinting against a hail of shuriken that pound into him, wounds flowering in ribbons of red. Mika watches as he lands wetly at her feet. More screams and gunfire shake the shock from her. She dives for the guard, frantic fingers clawing at the key - chain clipped to his belt. The remaining Europol Agents cluster together, flashlights strobing spastically, while Mika slams through Raizo's cell door. She instantly goes to work on his leg irons. MIKA Come on - come on - Raizo's eyes narrow, the last of the Europol Agents butchered by shadows. RAIZO Mika? MIKA Shh! RAIZO I do n't want to sound critical - He can feel the rush of darkness. MIKA Got it! The leg irons click open and Raizo springs forward the chain of his handcuffs catching a falling blade. He twists and the ring of metal on metal is followed by the dry snap of bone as Raizo breaks the ninja's neck. She releases his handcuffs and they move quickly through the glistening remains of the bodies, Raizo shielding her from the darkness.", "INT. SAFE-HOUSE - SUBLEVEL - NIGHT The two sprint from a stairwell into a concourse, Raizo stopping suddenly, sensing the presence of the Hanta - Kirra. He pushes her toward another set of stairs. RAIZO Go. Find Maslow. He turns to facing the dark. RAIZO -LRB- CONT'D. -RRB- Go quick. She lurches up the stairs as the Hanta - Kirra descend on him like a murder of crows.", "INT. SAFE-HOUSE - STAIRWELL - NIGHT Mika flies up the stairs taking the steps two at a time rounding the next flight - A beam of light flashing weapons rattling suddenly trained on her. MASLOW Mika! Her stomach finds its way into her throat. MIKA Jesus Ryan - Maslow rushes down to her, another agent scanning the stairs above them. MASLOW I thought you were - Mika's eyes widen as the agent on the flight above them is ripped into the air replaced by a squall of red. Maslow whirls as a blade suddenly pierces his side - But before it can continue its deadly cut, Maslow catches it in a bloody fist and fires into the shadows. One of the Hanta - Kirra falls tumbling past them down the stairs. Maslow grunts as he rips the chain blade from his side. MIKA Are you ok? He nods, a bit woozy. MASLOW I hope that was n't my liver. Gon na need that soon. MIKA Come on.", "INT. SAFE-HOUSE - GROUND FLOOR Sparks dance along the singing ringing blades, the melee escalating in the darkness. Raizo meets the Hanta - Kirra in the air. Vaults from one wall and door to another, spinning in and out of view as he moves through the shadows. The ninjas move with him, matching his speed and ferocity and ability to disappear within the darkness. Swords clash against chains and sword and walls. Sparks fly and blood falls. This is the first time we've seen Raizo turned loose. But it's three on one. and Takeshi is n't a pushover. Mika and Maslow slam through the exit into -", "INT. GARAGE - NIGHT The building carpark. Mika suddenly stops. MIKA Fuck! MASLOW What? MIKA The manuscript - MASLOW No Mika - He is about to argue but wilts at her resolve. MASLOW -LRB- CONT'D. -RRB- Right. He stuffs his car keys in her hand, trying not to let his voice crack. MASLOW -LRB- CONT'D. -RRB- Two minutes. Keep it in gear. MIKA Maslow - He turns. MIKA -LRB- CONT'D. -RRB- Tip - toe. He opens the door retracing their steps into the dark. Mika suddenly very alone manages a slow nervous pirouette in the crypt - like garage, before skittering for Maslow's sedan. She slides in pulling the door shut behind her as quietly as she can - And waits.", "INT. SAFE-HOUSE - GROUND FLOOR - NIGHT Maslow moves cautiously through the folds of midnight. He hears the fighting before he can see it. Raizo blocks a sword - thrust from Takeshi. Dodges around a hail of shuriken. Uses his chain to drive another Ninja back. Takeshi rips free his left arm. Draws a short, angled blade and brings it slashing down at Raizo's neck. Raizo blocks the knife with his elbow, twists, throws Takeshi twenty feet through the air. He recovers mid - flight like a cat and regains his balance. From the darkness a ninja fires a dozen shuriken at him, and at least three of the spinning blades find their mark. Raizo grunts at the impact, but vaults up and over a counter and LEAPS through a window, crashing out to -", "INT. GARAGE - NIGHT The surrounding shadows seem to press in on the car. MIKA Come on, Ryan. A figure darts in her periphery and her head whips around craning all directions. MIKA -LRB- CONT'D. -RRB- Hurry the fuck up! Ka - chunk - she punches the lock. Click - the headlights flash on - Ka - chick - she chambers the Glock. MIKA -LRB- CONT'D. -RRB- Motherfuckfuckfuck - She twists the ignition and as the motor turns over - The car's headlights explode, shattered by projectiles that seem to materialize from the void. Mika screams throwing the car into gear - Peeling out toward the down ramp. The car fishtails down level after level through the oscillating light/dark of the dimly lit exit ramp. Her eyes twitch from mirror to mirror when she sees up ahead - A shadow hanging in the corner of the tunnel like a spider. She ducks just as the front of the sedan is shredded by a squall of stars. The sedan rebounds into the light. Its hood and windscreen looking as though it was gnawed on by a Great White. Mika cranks the wheel tearing around a dark bend as - Toom! Something lands on the roof of the car. Above her she sees the distinct tips of the tiger claws that have punctured the metal exterior of the car just as - She passes under a light - Revealing a crouching ninja staring right at her, through the sun roof. His blade whips from its sheath but before he can strike - She jams the barrel of the Glock between the two tips of one set of claws, right where his foot should be - And fires. A scream is followed by a gout of blood that washes over the sunroof - The ninja's body tumbling off the back of the car. Maslow's gnarled sedan bottoms out in a starburst of sparks as it corners into traffic. Mika breathing heavy digs into her bag for her cell phone.", "INT. SAFE HOUSE - NIGHT The lights are still dead. Maslow is with a team of Europols moving through the stairwell. He talks quietly. MIKA Ryan - I had to leave! MASLOW Good, stay clear. MIKA Do you have the map? MASLOW Not yet. We're heading upstairs now. MIKA Where's Raizo MASLOW He took off. We think they went after him. He looks into the surrounding shadows unsure.", "EXT. ROOFTOPS - NIGHT Raizo parkours across the roofs, the Hanta Kirra close behind. Shuriken sizzle past ; some missing, some lashing open whip cuts across his flesh.", "EXT. WINGED VICTORY ROUNDABOUT - NIGHT Raizo pulls free the shuriken in his side. Drops them to the ground where they clatter back and forth like so much tossed change. He looks up at winged victory silhouetted against the moonlight. And suddenly the ninja are on him. Raizo blocks and parries. Counterattacks with a reverse cut - and throws himself sideways as a truck comes roaring down at him. The truck fills the screen with lights and horns and three tons of death. Raizo cartwheels over the hood, forcing the Scarred Ninja to leap the other way, and as he turns - - Raizo comes down on him, slashing his shoulder.", "EXT. WINGED VICTORY ROUNDABOUT - NIGHT - CONTINUOUS The fight is now two one against one, and one of them is Takeshi. Their swords crash back and forth, sending sparks flying. Raizo is tired, already wounded by the shuriken. With a cry, he hurls a second Ninja back and spins to face Takeshi. Too late. Takeshi's blade gets under his guard. Opens up Raizo's side. His sword is ripped free from his hand, rebounds off a speeding sedan and clatters to the ground thirty feet away. Raizo stumbles backward. Life's blood dripping down and splattering on the concrete. Takeshi raises his sword high. Smiles. TAKESHI This is the end for you, brother. Mika's car slashes across the width of the street screeching to a stop next to Raizo. The door snaps open. MIKA Raizo! Raizo gets into the car. Collapses into the seat, arms wrapped tight around the ugly wound in his side. She peels away before the others can stop her. Mika carves a path through the traffic, driving as fast as she can. Eager to get more miles between them and the ninjas. Raizo lets out a gasp as the car goes over a bump. His shirt is drenched with his own blood. MIKA -LRB- CONT'D. -RRB- What were you doing in the street?! RAIZO waiting for you. MIKA You have to go to a hospital. RAIZO No. Not a hospital. Another place. The car speeds into the night.", "EXT. HERBALIST - NIGHT The sort of store where the owner lives above the shop. Mika pounds on the door as a LIGHT comes on in the floor above. A moment later, the door opens. HERBALIST What is it? What - He steps out of the way as Mika helps Raizo in, bloody and half - dead.", "INT. HERBALIST - NIGHT - CONTINUOUS Herbalist places herbs into a hand - grinder as Raizo staggers through the rows of bowls, grabbing what he needs and handing it to her. RAIZO dong - xia leaves. three of the lo - chan. dragon root. HERBALIST You should not mix these. Very dangerous. Raizo ignores him. Gives her some more dried bits and pieces. The herbalist shakes his head. HERBALIST -LRB- CONT'D. -RRB- If you are in pain. if you wish to die. there are other ways, this will be agony - RAIZO No. it will save me. HERBALIST It will? You're sure? -LRB- beat. -RRB- Let me write this down. He goes to find a pen and paper as Mika grinds away. RAIZO Hot water. She goes to a tea kettle, pours water into the bowl. He reaches for it, and nearly collapses. She helps him raise the cup to his lips. Tilts it and watches him drink. Takes the empty cup away from him. Raizo shudders as the drugs course through him. RAIZO -LRB- CONT'D. -RRB- I have to sleep now. a day at least. His eyelids flutter. She's holding him up now - muscles already loosening. MIKA A day?!? What should I do? RAIZO keep moving. He slumps over the counter like a child dropping into deepest sleep as - - the herbalist comes back, pen and paper in hand. He pauses as he sees Mika standing over Raizo. She looks from him to Raizo and back again, then : MIKA I'll have him to go. -LRB- beat. -RRB- Can you. help me to the car?", "EXT. AUTOBAHN - NIGHT Mika is the proverbial bat outta hell. Her phone is at her ear.", "INT. SAFE-HOUSE - NIGHT The lights are back on but the place is trashed. MASLOW Mika, where are you? MIKA Moving. He told me to keep moving. MASLOW He's still alive? She glances at his slumped body. MIKA After a fashion. MASLOW Let us bring you in. MIKA Not this time. MASLOW Mika, the situation's a little different. Jurisprudence goes out the fucking window when my men get attacked. MIKA Do you have the manuscript? He takes a breath. MASLOW negative. They got to my office. Everything's gone. The news crushes her. MASLOW -LRB- CONT'D. -RRB- Mika, it's gon na be all right. We'll find them. MIKA but I promised. MASLOW We'll keep your promise. They're too many people involved now. It's just a matter of time. MIKA I do n't think we have much time. MASLOW Just tell me where you are. She hangs up. MASLOW -LRB- CONT'D. -RRB- Mika? Mika? Dammit.", "EXT. HIGHWAY MOTEL PARKING LOT - NIGHT The car is parked outside the same hotel that he took her too.", "INT. HIGHWAY MOTEL ROOM/BATHROOM - NIGHT She steps out of the shower and dries herself with an evergreen branch.", "INT. HIGHWAY MOTEL ROOM - NIGHT In the bedroom, Raizo is sprawled out on the bed. She is wearing new clothes. She takes a drag on a cigarette then passes the smoke over her body. MIKA I know you ca n't hear me, so I'm sure this does n't matter, but I'm going to say it anyway. She looks at him. MIKA -LRB- CONT'D. -RRB- I'm a forensic researcher, okay? That's like a fancy way of saying I'm a librarian. By myself I ca n't do anything to help you. She opens her fist ; inside is the tracking device Maslow gave her. MIKA -LRB- CONT'D. -RRB- I wanted to think you for saving my life. Bending over him, she kisses him gently. MIKA -LRB- CONT'D. -RRB- And I hope you can forgive me for this.", "INT. MASLOW'S OFFICE - NIGHT There's a crowd of other OFFICIALS there, having turned the place into a makeshift command and control center. An AIDE rushes in from an adjoining room, goes to Maslow. AIDE Agent Maslow, the tracking device - MASLOW You've got a lock? AIDE Triangulating her position now.", "EXT. HIGHWAY MOTEL ACROSS PARKING LOT - NIGHT Mika watches from the trees as a shadow comes to life on the balcony outside their room. It pauses as if sensing something.", "INT. HIGHWAY MOTEL ROOM - NIGHT Raizo lies alone. The heavy shadows begin to undulate as the Hanta - Kirra emerge. Takeshi's eyes gleam the way a blade gleams.", "EXT. HIGHWAY MOTEL PARKING LOT - DAWN Police and Europol cars scream up to the hotel.", "EXT/INT. HIGHWAY MOTEL ROOM - DAWN A moment later the door bursts open ; Maslow and his men pour into the bedroom. The bed is empty. Raizo is gone. Mika is sitting in the chair. MIKA They took him. Ten minutes ago. He's gone. Maslow embraces her. FLASHBACK - INT ORPHANAGE DORMITORY - NIGHT There is a furious storm raging outside the thin screened walls. Raizo is watching Kiriko who seems to be sleeping. In a flash of lightning, her eyes open and she stares at him and he feels in hi heart what she is saying goodbye. The flashing ends and as the thunder booms, she is gone, melting quietly into the shadows. RAIZO no!", "EXT. ORPHANAGE COURTYARD/WALL - NIGHT Two shadows race through sheets of rain, visible in flashes of lightning. He catches her near the base of the wall. RAIZO Kiriko! You ca n't leave! KIRIKO I have to. RAIZO Why? KIRIKO Because my heart is telling me too. RAIZO The Hanta Kirra will come for you. KIRIKO Then they will come. RAIZO You know the law. He will cut your heart from your chest. She smiles. KIRIKO No. He can never touch my heart. She puts his hand on her chest, then leans in and kisses him. KIRIKO -LRB- CONT'D. -RRB- Come with me. RAIZO Where? What is out there? KIRIKO Life. He can not imagine what that life might be. RAIZO My life is here. She bows her head and turns. RAIZO -LRB- CONT'D. -RRB- Why are you doing this? KIRIKO Because I ca n't watch you become something you are not. She races for the wall. He watches her climb. And disappear.", "INT. METAL BOX - NIGHT Raizo drifts on the edge of consciousness. He can sense some light filtering through the edges and air holes. The air begins to smell familiar. OZUNU -LRB- V.O. -RRB- We have been betrayed. FLASHBACK - EXT.. ORPHANAGE COURTYARD - DAY The clan is gathered outside, the sun beats down on the Spartan courtyard. Kiriko's body is twisted, bound to a pole like one of the Bonsai trees. Ozunu delivers his eulogy. OZUNU A child of mine, my daughter, betrayed us. She refused these gifts. Rejected our clan. Raizo stands among the clan ; his face a mask. OZUNU -LRB- CONT'D. -RRB- Hers is a shame that can only be purged with blood. He unsheathes the ancient Wakizashi, then offers the hilt to Takeshi. OZUNU -LRB- CONT'D. -RRB- You who returned her shall have this honor. Takeshi hides a smile as he takes the blade. Kiriko looks out into the clan and finds Raizo. He can hear her heart pounding. Takeshi knows where she is looking as he prepares to strike. Blood pounds in Raizo's ears. The sword plunges into her heart. Raizo hears it die - And feels his own heart stop.", "INT. ORPHANAGE COURTYARD - NIGHT A bucket of water slaps Raizo awake. He's bound to a pole in the middle of the courtyard by thick rope that bites into his flesh. Ozunu stands before him, as well as the rest of the clan, down to the youngest of them. Watching silently. He looks the same as he has in the flashbacks - except that now an ugly scar runs diagonally across the length of his face. Trace of Raizo's blade from atop the building in Dubai. When he speaks, Ozunu is speaking for the benefit of the rest of the clan as to Raizo. OZUNU You are Ozunu. Your life is meaningless compared to the survival of the Clan. This is our deepest truth. Because of it, we have endured for hundreds of years, and will endure for hundreds more. He looks to the rest, pounding the message home. The message that says hope and escape are futile. OZUNU -LRB- CONT'D. -RRB- Weakness compels strength. Betrayal begets blood. This is the way of the Nine Clans. -LRB- beat. -RRB- This is the way of the Ninja. He looks back at Raizo, approaching slowly. Taking his time. OZUNU -LRB- CONT'D. -RRB- I have waited many years for this moment. I have dreamed it, many times. He hits Raizo. Hard. OZUNU -LRB- CONT'D. -RRB- You will suffer for seven days, one day for each year you defied me. He takes a knife, and very carefully cuts out a very small piece of Raizo's flesh, from the upper arm. Raizo does n't cry out. OZUNU -LRB- CONT'D. -RRB- For seven days, we will. take. from you, as I have just done. Everyone here will take from you. Piece by piece. You will live through it all, you will feel through it all. You will watch as the birds fight over the pieces. He STRIKES Raizo as he did long ago, his hand jutting deep inside gut, flicking switches of nerves that cause instant agony. This time Raizo does cry out. OZUNU -LRB- CONT'D. -RRB- You will know pain like no other human being has ever known. He twists something in Raizo's belly and violent spasms wrack the young man's body. Blood burbles up through his mouth and flows down his chin. OZUNU -LRB- CONT'D. -RRB- Your death will be remembered for a thousand years as a testament to the will and strength of the Ozunu Clan. One last gouge in Raizo's stomach sends a heaving shudder through him. Confident, victorious, Ozunu turns and walks a few steps away as - - Raizo coughs up a bloody wad onto the clean floor. Takeshi smiles at this, then looks more closely, seeing something amidst the bile. TAKESHI Father. Ozunu looks down and sees a tiny steel cylinder. A single LED light blinking through the gore. He nudges it with his foot. and TIME SLOWS DOWN as he realizes what he's looking at. He slowly raises his eyes - - and meets Raizo's gaze as suddenly - - EXPLOSIONS rock the orphanage's centuries - old gate. A reinforced military Humvee crashes through the cloud of splintering timber with a roar and an explosion of blinding lights. The Ozunu Clan scatters as the massive vehicle heaves into the courtyard, revealing behind it still more vehicles, all equipped with brilliant lights. The ninjas take to the shadows, trying to melt away, but the shadows are gone. There's no place for the ninjas to hide anymore. We FIND Mika and Maslow in one of the lead vehicles as - - Takeshi draws his blade in a smooth arc, raising it over Raizo's helpless form. Maslow takes aim with his submachine gun and squeezes off a long burst. Takeshi blocks some of the slugs with his sword and dodges the others. He slides into one of the few remaining shadows. One of the soldiers sees him making a break for it and fires an incendiary grenade. The explosion sends incandescent white phosphorous splashing through the courtyard, but Takeshi is gone. They prepare to fire another one when Maslow comes on the run. MASLOW No more grenades, not until we get the children out! But some parts of the orphanage are already on fire, the flames spreading through the ancient timbers. The carnage continues. Maslow fires at the fleeing ninjas as Mika rushes for Raizo, pistol in hand. One of the MP's screams as a shuriken rips open his face as other Mps FIRE back at the ninja, tearing him apart with gunfire. Mika makes it to Raizo's side. He smiles at her as she saws through the rope with her knife. RAIZO What took you? MIKA You knew I'd come? RAIZO Just because I was asleep does n't mean I could n't hear you. Mika finishes with the rope. Raizo pulls free and reaches for a fallen ninja's sword and chain. RAIZO -LRB- CONT'D. -RRB- And I forgive you. Mika looks back at the sound of GUNFIRE tearing apart another ninja. When she looks back - - Raizo is gone.", "INT. ORPHANAGE KITCHEN/DINING/DORMITORY/DOJO - NIGHT The fires are ripping through the interior, leaping from bamboo furniture to paper shoji screens to polished wooden floors as - - Raizo kicks down the burning wall of the empty dorm, the futons smoldering. Raizo continues into the next hall to find - - Takeshi waiting for him. An apparition in the wavering blaze of heat, silhouetted against a wall of fire. TAKESHI Come, little brother, let us play like old times They spring at other. Meeting in the middle of the hallway as the flames dance around them. recalling the lanterns they used to fight through, in the days of their training. Their weapons ring out a frenzied drum roll of steel on steel. Neither giving an inch. Evenly matched in skill and ferocity. Locking together for a moment Takeshi smiles. TAKESHI -LRB- CONT'D. -RRB- No death tasted as sweet as hers. Raizo's back glistens orange in the firelight, sweat pouring as he strains, attacks, defends and attacks again. Takeshi jumps over them, twists mid - air and ducks low beneath Raizo's swinging chain as - - Raizo stumbles back on the polished floor, blocking Takeshi's attack, but - - Takeshi catches his wrist in an iron grip. As he brings his sword around, Raizo gets a loop of chain around the blade and locks it tight. Both men spin in their sudden embrace. Faces inches from each other. TAKESHI -LRB- CONT'D. -RRB- I watched you die when I pierced her heart. You have always been too weak to be Ozunu. Takeshi's finger trips a hidden button on the sword. The blade retracts back through the handle and a yard of steel jolts out from the hilt of Takeshi's sword. He moves to slam it into Raizo's side. but Raizo FLIPS over him, holding onto the hilt and as he lands he - - DRIVES the steel into Takeshi's heart. He still stands for a BEAT, more by inertia than will, then slumps, dead, to the floor. Raizo stalks down the hall. One last task ahead of him.", "INT. ORPHANAGE OZUNU HOUSE NIGHTINGALE FLOOR/MASTERS ROOM/ASSEMBLY ROOM - NIGHT Raizo walks across the Nightingale floor, his bloody footprints moving soundlessly. From the shadows he hears Ozunu's voice OZUNU You have not forgotten your training. You will always be mine, child. Raizo stops, considers this, then continues ; his footsteps now bringing every sound possible. Ozunu steps out of the darkness, as though shrugging off a cloak of midnight. OZUNU -LRB- CONT'D. -RRB- Perhaps this is the best way for you to die. His blade rises as like a Cobra's hood, while the chain blade begins to spin. RAIZO The breath I take after you are dead, will be the first of my life. Raizo unleashes all his fury : The chain cutting with the power of an enormous buzz saw - Hacking timbers in half - Carving scars in the floors and walls - Braziers are thrown, fumes begin to spread but - Ozunu blocks or evades, absorbing the assault patiently Waiting for Raizo to tire, waiting for an opening.", "EXT. ORPHANAGE - COURTYARD - NIGHT A portion of the Orphanage's wall burns through. Mika spots Raizo through the flames. She runs for him.", "INT. ORPHANAGE OZUNU HOUSE ASSEMBLY ROOM - NIGHT Raizo begins to weaken. An attack misses wrapping a beam and Ozunu has his opening - His assault is ferocious. Wounds begin opening like windows shears of blood billowing out. Raizo retreats, his chain just blocking, catching, or deflecting the whirlwind attack until - One sound cuts through the furious fight. Snap - zoom to Ozunu's ear as - The hammer is cocked, a cylinder spinning into place. MIKA Die you fuck! She fires and Ozunu twists enough so that the bullet grazes him. OZUNU Bitch! A scatter shot of shurikens send her diving to the floor. But the distraction gives Raizo his chance. The blade whistles, the chain snaps and blood arcs out of Ozunu. Rage thunders the hall. Mika gets back up and aims but - Ozunu seems to pull the shadows and smoke around him as he disappears. MIKA Raizo She can not see him. Ozunu's attack hits Raizo with the force of a bomb burst, his blade shatters through Raizo's chain - Hurling him back, petals of blood fluttering from his chest. Raizo tries to recover, his chain now in two pieces. RAIZO Mika! Run! MIKA Where is he? I ca n't see him! RAIZO Get away! Ozunu emerges from the smoke behind her, a wraith. His eyes are as black as the sockets of a skull. She spins around but is too late. The ancient blade runs straight through her chest just as - Raizo finds them. He sees Kiriko, the same blade taking her life and howls - His pain a force of nature unleashed. The chain blades crackle in the air - Dual cyclones that batter Ozunu's parrying blade which - Finally shatters against Raizo's fury. And with a final scream, Raizo lunges at his master, the whistling blades lazering through his body until he separates, pieces hanging in mid - air, like an unstitched rag doll. Raizo throws down the blood slick blades and - - hurries to Mika's side. He picks Mika up and walks through the falling timbers and blazing shards to the door.", "EXT. ORPHANAGE COURTYARD - NIGHT The fighting is over now. All the combatant ninjas dead or long gone. Maslow sees Raizo emerge from the smoke and flames, carrying Mika in his arms. MASLOW Mika! He runs to her side as Raizo lays her gently on the ground. MASLOW -LRB- CONT'D. -RRB- What happened? RAIZO She saved my life. Raizo puts his hand on her chest. Closes his eyes. We can FEEL her heart - beat. Bump - thump. Bump - thump. Raizo opens his eyes. RAIZO -LRB- CONT'D. -RRB- She will be all right. MASLOW How can you be sure? Raizo touches her face as she takes in a sudden breath. He smiles distantly. RAIZO Her heart is special. MIKA Medic! Over here now! Several medics rush to them, Raizo gently laying her on the stretcher. As they immediately begin working on her, Raizo fades back. Maslow remains at her side. Her eyes flutter open. MASLOW Is she going to be okay? MEDIC I do n't know. she's got a hole right through the middle of her heart. but shes not really bleeding, that badly. MIKA My heart. She points to the right side of her chest. MIKA -LRB- CONT'D. -RRB- is over here. MASLOW you got ta be fucking kidding me. MIKA Raizo? MASLOW He said you saved his life. She smiles. MASLOW -LRB- CONT'D. -RRB- So you kept your promise. Can we go home now?", "EXT. ORPHANAGE BONSAI GARDEN - DAY Raizo stands among the bound trees. RAIZO -LRB- V.O. -RRB- You should n't do that. FLASHBACK - EXT ORPHANAGE BONSAI GARDEN - DAY Kiriko releases one of the trees. KIRIKO I believe the heart of a tree knows which way it needs to grow. Raizo releases a tree. KIRIKO -LRB- V.O. -RRB- Trees do n't have hearts. KIRIKO -LRB- V.O. -RRB- Everything has a heart. RAIZO I do n't. FLASHBACK - EXT : ORPHANAGE BONSAI GARDEN - DAY She listens to his heart. KIRIKO Hello. hello in there. It said it was happy to meet me and that it missed you.", "EXT. ORPHANAGE COURTYARD/WALL - DAY He stands and looks at the wall. FLASHBACK - EXT ORPHANAGE COURTYARD/WALL - NIGHT The storm lashes against them. KIRIKO Come with me!", "EXT. ORPHANAGE COURTYARD/WALL - DAY He begins to climb. FLASHBACK - EXT.. ORPHANAGE WALL - NIGHT She kisses him.", "EXT. ORPHANAGE WALL - DAY We hear his heartbeat. Bump - thump Bump - thump. As he stands on the edge of the wall. In the next moment he is gone - And finally, free. FADE OUT."], "labels": [0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 1.0], "summary": "The Ozunu Clan, led by the ruthless Lord Ozunu, trains orphans from around the world to become the ultimate ninja assassins. Raizo is one of the orphans. The Ozunu Clan's training is extremely brutal, especially for Raizo since he is to be the next successor of the clan. The only kindness he ever feels is from a young kunoichi named Kiriko, with whom he eventually develops a romantic bond. As time goes by, Kiriko becomes disenchanted with the Ozunu's routine and decides to abandon it. One rainy night, Kiriko climbs a wall to escape and encourages Raizo to join her, but he chooses to stay. Branded as a traitor, Kiriko is captured and later executed in front of Raizo by their elder ninja brother Takeshi, who impales her through the heart. Years later, an adult Raizo is instructed by Lord Ozunu to complete his first assassination. After the mission, Raizo meets the rest of his clan atop a city skyscraper in Berlin. There, Lord Ozunu orders him to execute a kunoichi traitor. Remembering Kiriko's death, Raizo slashes Lord Ozunu's face with his kyoketsu-shoge and fights against his fellow ninjas. Barely surviving, he falls off the rooftop and into a river. After years, Raizo recovers and trains on his own to intervene in, and foil, all of Ozunu's assassination attempts. Meanwhile, Europol agent Mika Coretti has been investigating money-linked political murders and finds out that they are possibly connected to the Ozunu. She defies her superior, Ryan Maslow, and retrieves secret agency files to find out more about the investigation. Mika meets Raizo and convinces him to see Maslow for protection, as well as to provide evidence against the Ozunu. However, Raizo is arrested by Maslow and abducted by Europol agents for interrogation. Although feeling betrayed, Mika is assured by Maslow that he is still on her side and gives her a tracking device for emergencies. The Ozunu ninjas infiltrate the Europol safe house, where Raizo is being held, in an attempt to kill him and everybody inside. Mika frees Raizo and they both manage to escape, but Raizo suffers near-fatal wounds. Mika then takes him to a motel to hide. Resting in the motel, Mika implants the tracking device into Raizo, as the ninjas remain in pursuit. Unable to fend off the Ozunu, she hides outside the motel until Special Forces arrive to help her. By the time they arrive, the ninjas have already kidnapped Raizo, bringing him before Lord Ozunu for execution. During the transport back to the Ozunu, Raizo uses his ninja techniques to heal his own wounds. Europol Special Forces and tactical teams led by Maslow storm the secluded Ozunu retreat (nestled in the mountains) using the tracking device on Raizo. Turning the night into day by saturating the sky above with powerful flares, the military forces are able to fight the ninjas on their own terms. In the confusion, Mika frees Raizo from his bindings. He proceeds to kill Takeshi and confront Lord Ozunu in a sword duel. Mika interferes to help but gets stabbed by Lord Ozunu. Enraged, Raizo uses a \"shadow blending\" technique for the first time to distract and kill Lord Ozunu. Mika, seemingly fatally wounded, is in fact saved by a quirk of birth: her heart is actually on the right side of her chest. With the Ozunu defeated, Europol leaves. Raizo stays behind in the ruins of the Ozunu retreat. Climbing the same wall Kiriko did in the past, he looks out at the surrounding countryside with a smile, feeling his freedom for the first time.", "name": "Ninja_Assassin"}
{"scenes": ["INT. BEDROOM. APARTMENT. DAWN. BRANDON SULLIVAN -LSB- early 30's -RSB- lies staring up caught in a disarray of sheets until - The PEEP PEEP PEEP of an alarm clock, from deep within a distant apartment. The MUFFLED PAD of FOOTSTEPS crossing overhead - BRANDON listens then gets up, pulls blinds and heads out towards the bathroom - The SOUND of his feet disappearing down a distant corridor. The MURMUR of an answer phone as we hear BRANDON peeing, in a far off bathroom.", "INT. PLATFORM. SUBWAY. DAWN. BRANDON stands, looking down, watching until - A SUDDEN breeze, the subway train oncoming - BRANDON boards. The doors GLIDE SHUT - BRANDON just visible through the window of the train, walking towards a distant seat.", "INT. TRAIN. SUBWAY. MORNING. BRANDON sits, eyes casually tracing over the faces in the crowded train. A HOMELESS MAN sits, further along the car, haggard and grey, and sleeping, the seat empty, either side of him. He looks more like a pile of clothes. BRANDON turns back. The reflection of an PRETTY SUBWAY GIRL caught in the glass opposite.", "INT. CORRIDOR. APARTMENT. DAWN. BRANDON padding naked along a corridor. He flicks on an answer machine in passing - FEMALE CALLER ON ANSWER MACHINE Hey. It's me? Pick Up. Pick Up. He enters the bathroom.", "INT. CORRIDOR. APARTMENT. DAWN. We hear BRANDON peeing in the bathroom.", "INT. CORRIDOR. APARTMENT. DAWN. The answer machine message drowned by the flushing of the toilet, the shutting of the door and the shower being switched on.", "INT. SUBWAY. MORNING. A HOMELESS MAN head lolling, sat alone at the end of a busy car. BRANDON considers, catching the eye of - A PRETTY SUBWAY GIRL seated opposite, the whisper of a smile, grazing her lips. BRANDON's eyes teasing over - The fall of the PRETTY SUBWAY GIRL's hair - The dip in her collarbone - Her nail polish with French manicure - BRANDON looks at her. She looks away. BRANDON resumes staring. She looks back through the bodies of commuters. We see their eyes looking at each other. Their seduction continues through the collage of colors and bodies.", "INT. OFFICE - BOARDROOM. DAY. BRANDON, sits in a packed meeting room, a pitch just audible, DAVID FISHER, -LSB- early / late 40's -RSB- BRANDON's boss, a kind of white noise, and yet - DAVID -LRB- O.S. -RRB- I find you disgusting. I find you inconsolable. I find you invasive. The IT TECHNICIAN just visible wheeling a cart away, with BRANDON's computer. DAVID -LRB- CONT'D. -RRB- That is what the cynics used to say. Companies would refuse to look to the future. They'd say ` Can we stop this virus''? The scratch of a pencil against paper - BRANDON sits distracted, facing COLLEAGUE # 1. MARIANNE -LSB- mid/late 20's -RSB- seated further along the table, steals a look at BRANDON. A glass door opens - The PRETTY ASSISTANT brings in coffee, sliding down a cup in front of BRANDON. DAVID -LRB- O.S. ; CONT'D. -RRB- As if it was a negative progression, a descent into hell, moving with stealth amongst those you need to affect, growing more and more with a momentum that is unstoppable. BRANDON looks across the hall, distracted by the IT TECHNICIAN who is replacing the computer in his office. DAVID -LRB- CONT'D. -RRB- Now, some inane kid snorting the entire load of his mother's spice cupboard and posts that on You Tube. They would watch as it would become the buzzword amongst high school kids everywhere. Eventually. their cynicism would turn to awe.", "INT. FRONT DOOR. APARTMENT. NIGHT. BRANDON to the front door and opens it to reveal an ATTRACTIVE WOMAN -LRB- ALEXA -RRB- BRANDON Hi. ALEXA Hi. BRANDON Come in. BRANDON steps aside to let the ATTRACTIVE WOMAN in. She walks into the apartment as he closes the door. BRANDON -LRB- CONT'D. -RRB- Drink? ALEXA No thank you. BRANDON picks up money from the table and give it to ALEXA. She counts it and nods to BRANDON. ALEXA -LRB- CONT'D. -RRB- Perfect. ALEXA puts the money in her bag. BRANDON This Way. BRANDON gestures to his room. ALEXA turns and walks away. BRANDON follows.", "INT. BEDROOM. APARTMENT. NIGHT. A tidy bedroom - BRANDON lies on the bed watching, waiting. ALEXA starts to take her top off. BRANDON Slowly. ALEXA continues slowly, tosses it aside, and continues taking off her bra and panties. Finally putting her earrings on the bedside table. BRANDON reaches up to pull her onto the bed.", "INT. APARTMENT. MORNING. The SOUND of BRANDON getting up - The SOUND of blinds being raised - CLOSE UP of a discarded earring on the carpet. BRANDON padding naked along a corridor. The SHARP TONE of the answer machine flicked on in passing - Audible from the corridor - FEMALE CALLER ON ANSWER MACHINE Hey, it's me. We hear BRANDON turn on the shower. FEMALE CALLER ON ANSWER MACHINE -LRB- CONT'D. -RRB- Pick Up. Pick Up. BRANDON walks towards the kitchen and we hear him pour a glass of water. FEMALE CALLER ON ANSWER MACHINE -LRB- CONT'D. -RRB- Brandon? BRANDON crosses the hall and enters the toilet. FEMALE CALLER ON ANSWER MACHINE -LRB- CONT'D. -RRB- Brandon? BRANDON turns on the light, puts down his glass and urinates. FEMALE CALLER ON ANSWER MACHINE -LRB- CONT'D. -RRB- -LRB- whispers. -RRB- Brandon Where are you? - Brandon? Brandon? -LRB- louder. -RRB- Brandon. Urghhh! BRANDON finishes, flushes toilet, steps off screen FEMALE CALLER ON ANSWER MACHINE -LRB- CONT'D. -RRB- This is me Calling you. -LRB- SIGHS. -RRB- Fuck! DEAD TONE The CALLER hangs up BRANDON re - appears and closes the bathroom door", "INT. BATHROOM. APARTMENT. DAWN. BRANDON in the shower, a sense of movement, his hand, barely visible, moving back and forth. The fall of the shower - BRANDON stands, letting the water wash over him.", "INT. SUBWAY. DAWN. BRANDON sits, looking over at the PRETTY SUBWAY GIRL sitting opposite - The train moves on, after a while stopping at another platform. PEOPLE get on, PEOPLE get off. BRANDON's eyes travel down over the PRETTY SUBWAY GIRL's legs and up - She opens them a little, the dip of her skirt, sinking deep between her thighs - She looks up, senses BRANDON watching. She lets her fingers fall in her lap. BRANDON shifts a little in his seat to get a better look through the crowd. Suddenly she stands and makes her way to the train door. Hand reaching out and clenching a metal pole for stability, revealing a wedding ring. BRANDON's hand reaches for the pole too, touching her as he stands behind her. There is a gentle unison contact. BRANDON's breath, heavy on her neck. Both are frozen to the spot, caught in a mutual moment.", "INT. SUBWAY. MORNING. The train door bolts open and the PRETTY SUBWAY GIRL disembarks. BRANDON is blocked by a MALE PASSENGER as he gets out in quick pursuit of the PRETTY SUBWAY GIRL. BRANDON is several paces behind now, pursues. She turns left into a stairwell. It's almost like fighting a downward river. People are walking into his path as he struggles to keep pace with the PRETTY SUBWAY GIRL. The tail of her coat vanishes at the top of the stairs. A moment later, BRANDON reaches the summit, to be greeted by a wrought - iron gate. He looks left at one staircase. People ascend. He looks right at another staircase. Other passengers ascend. People come in and out of the turnstiles on the right - hand side. He has lost her. A sudden moment of disappointment crosses his face. He descends the staircase, dejected.", "INT. OFFICE. DAY. BRANDON walks into his office and to his desk, stops in his tracks, heart thumping - A bare space where BRANDON's computer once was and next to it a replacement computer. A pink fluffy gonk or the like stuck to the screen.", "INT. CUBICLE. MEN'S TOILETS. OFFICE. DAY. BRANDON walks into a toilet cubicle, shuts and locks the door. He cleans the seat with toilet paper, flushes, stands, and starts to masturbate.", "INT. OFFICE - DAVID'S OFFICE. DAY. A TAP on the door - BRANDON enters DAVID's office, DAVID is lost in paperwork, looking up from his desk. BRANDON Do you know what's going on with my computer? DAVID They took it. BRANDON Yeah, I know. Someone could have told me. DAVID Some kind of Virus. BRANDON Cool. BRANDON -LRB- CONT'D. -RRB- I walk in and it's not there? And I get some kind of replacement? DAVID Some kind of virus. They're stripping it all out. BRANDON nods, swigs a Red Bull in his hands - BRANDON Cool. BRANDON exits.", "EXT. STREET. BRANDON'S APARTMENT BUILDING. BRANDON is walking with shopping bags. He slows by the revolving doors, spots a mother with buggy about to come out of the other door and hurries over to open the door for her. WOMAN comes out nodding her thanks.", "INT. APARTMENT. NIGHT. BRANDON looks through his vast record collection and carefully puts a disk on the record player.", "INT. KITCHEN. APARTMENT. NIGHT. The chink of beer bottles, banging up against one another as BRANDON opens the fridge door - BRANDON peers in, considering the left over take out resting on the shelf. He takes it out, flipping open a bottle of beer in a familiar move and banging the door shut with his back. A flyer for an fancy take out flaps under a magnet on the fridge door.", "INT. LIVING ROOM. APARTMENT. NIGHT. A comfortable apartment - BRANDON spoons Chinese take out into his mouth, sliding down in front a laptop resting on his desk. Music continues to surround the apartment. The bright serenade of his laptop opening, BRANDON resumes, fingers absently tapping the keyboard - A distant whir of a car alarm, far off.", "INT. LIVING ROOM. APARTMENT. NIGHT. BRANDON, in the dark, watching pornography on his laptop - BRANDON's cell phone rings. He ignores it. And then steady monotonous ring of a telephone close by, BRANDON barely wavers as it clicks onto answer machine - The HEAVY DEAD TONE of the answer machine as the caller's message kicks in - FEMALE CALLER ON ANSWER MACHINE OK. Me. again. I'm dying. I have cancer. I have one week to live. BRANDON smiles - FEMALE CALLER ON ANSWER MACHINE -LRB- CONT'D. -RRB- It's the very worse kind of cancer. Of the vulva - BRANDON switches off the answer machine. Sighs, and returns to his laptop. BRANDON -LRB- sniggers. -RRB- WOMAN -LRB- O.S. -RRB- -LRB- thru computer. -RRB- -LRB- Moans. -RRB-", "EXT. STREET. OUTSIDE APARTMENT. DAY. A beautiful day - BRANDON's face now fresh, passing - A CUTE NEIGHBOR heading into the building, lost in conversation on her cellphone - CUTE NEIGHBOR -LRB- in greeting. -RRB- Hey. BRANDON -LRB- nods. -RRB- Hey. BRANDON juggling cellphone, keys and satchel, heading off to work, watching the sway of her ass.", "INT. OFFICE - BRANDON'S OFFICE. DAY. MARIANNE is on the phone in a busy office", "INT. HOTEL ROOM. BRANDON'S FANTASY. Profile of MARIANNE's bare back.", "INT. OFFICE - BRANDON'S OFFICE. DAY. BRANDON, seemingly in a trance, looking out across the office, eyes fixed on MARIANNE in her glass cubicle, unaware of BRANDON staring. STEVEN's reflection in the window, we see him screw up a piece of paper and throw it at BRANDON. BRANDON shakes his head. BRANDON You're such a dick STEVEN -LRB- O.S. -RRB- What are you doing, man? BRANDON once again looks up toward MARIANNE.", "INT. OFFICE. DAY. MARIANNE on the phone. DAVID now appears in front of BRANDON. From afar, nods to him, and greets a group of CLIENTS. DAVID -LRB- WHISTLES. -RRB- Alright, gentlemen, If you'll just please make yourselves at home. CLIENT Thank you.", "INT. OFFICE - CONFERENCE ROOM. DAY. Just visible, in the conference room - BRANDON inside with the CLIENTS and DAVID. A sense of camaraderie. The meeting at an end. DAVID, slapping BRANDON on the back, the sense of celebration. DAVID -LRB- O.S. -RRB- It falls upon me, as your beloved boss, to propose a toast. To Success.", "INT. AFTER WORK BAR. NIGHT. The thump of music - BRANDON, DAVID and OTHERS wedged in a leather booth, several shots and beer down, the table littered with beers. Cheers. Male camaraderie. DAVID I hope my wife appreciates it. ALL chink glasses DAVID -LRB- CONT'D. -RRB- Get a new tie, please. COLLEAGUES -LRB- snigger. -RRB- DAVID Oh my goodness. -LRB- SNIFFS. -RRB- I love women in suits. I love women in suits. ALL Look off - screen at the women. DAVID -LRB- CONT'D. -RRB- We could talk business, I would rearrange my life. Wow, she's beautiful. BRANDON Grey suit? DAVID I'm gon na go talk to her. BRANDON You should go talk to her. DAVID OK. OK. Count me down. BRANDON Yeah you should BRANDON fist bumps with DAVID BRANDON -LRB- CONT'D. -RRB- 5,4,3,2,1. DAVID Boom. STEVEN Have fun. BRANDON Twenty bucks says he fucks it up. BRANDON starts to stand.", "INT. AFTER WORK BAR. NIGHT. ELIZABETH Ash is amazing LOREN How's it humping an old man? ELIZABETH Well, usually I do him on scotch. DAVID walks up to the bar behind the women. RACHEL Incoming DAVID Hi, excuse me. -LRB- TO ELIZABETH. -RRB- Listen, I do n't want to beat around the bush. I think you're absolutely gorgeous. ELIZABETH -LRB- OVER. -RRB- Hi. DAVID My name's David. ELIZABETH Hi David. DAVID shakes hands with ELIZABETH ELIZABETH -LRB- CONT'D. -RRB- Elizabeth DAVID Elizabeth ELIZABETH -LRB- OVER. -RRB- Nice to meet you DAVID It's a beautiful name. -LRB- TO LOREN. -RRB- Hi, I'm David. I do n't mean to be rude. DAVID shakes hands with LOREN and RACHEL LOREN Loren. DAVID Hi, how are you? -LRB- TO RACHEL. -RRB- David. RACHEL Rachel. DAVID Nice to meet you, nice to meet you. -LRB- TO ELIZABETH. -RRB- Listen, can I buy you a drink? -LRB- TO ALL. -RRB- Can I buy you all drinks? ELIZABETH Sure, why not. DAVID I would love that. That would be my pleasure. What are you guys drinking? What do you want? ELIZABETH Well, we were thinking shots. DAVID You were thinking shots? ELIZABETH Sure. DAVID We just did shots of tequila. Would you guys like a shot of tequila? ELIZABETH Bring it on. DAVID Love it. Love it. DAVID -LRB- TO BAR TENDER ; CONT'D. -RRB- Excuse me, hey, bartender. Bartender? Can we get four shots of your finest tequila? Thank you very much. ELIZABETH Hmm. ELIZABETH sips her drink. DAVID I can see you're very successful. Yeah, I think part of the secret to my success is, is attention to detail and. LOREN Oh. ELIZABETH Detail? DAVID Yeah. LOREN Play the game. ELIZABETH closes her eyes DAVID What game? ELIZABETH turns to DAVID ELIZABETH Ok, er. Blue or green? The SUITED WOMAN closes her eyes, the flutter of her lashes oddly fragile, in waiting until - DAVID I like games, I like this game. Blue. -LRB- sudden change of tac. -RRB- Green. Green, it's green. They spring open to reveal brown eyes - DAVID hesitates, throws his arms up, resigned. DAVID -LRB- CONT'D. -RRB- That's Brown. That's. I do n't know how you change the colour of your eyes like that. How do you do that so quickly? ELIZABETH -LRB- OVER. -RRB- Wow. Wow. DAVID That's amazing. That's a real talent. ELIZABETH Yeah, detail man. Detail man. BRANDON slides down next to DAVID, back from the washroom. DAVID Hey buddy, hey buddy. Hey. DAVID puts an arm around BRANDON. DAVID -LRB- CONT'D. -RRB- This guy, right here, fucking nailed it today. -LRB- TO BRANDON. -RRB- I want you to know, you fucking nailed it. You're the man. Your pitch? -LRB- TO ELIZABETH. -RRB- Amazing. Amazing. -LRB- TO BRANDON. -RRB- Listen, we're playing a game here. -LRB- TO ELIZABETH. -RRB- Close your eyes again. ELIZABETH OK ELIZABETH closes her eyes. DAVID Blue or green? BRANDON Brown. The SUITED WOMAN flicks open her eyes, smiles. DAVID Fuck Off. -LRB- TO LOREN. -RRB- Alright you. Hey, Loren. Loren. Close your eyes. DAVID turns to BRANDON BRANDON Blue. LOREN Blue. DAVID That's. you're just making that up. ELIZABETH -LRB- OVER. -RRB- See. He's good. DAVID He's just. He's just picking colors randomly. ELIZABETH You can have his shot. ELIZABETH passes BRANDON a shot. DAVID You know what? Excuse me. We need another shot, please. LOREN -LRB- LAUGHS. -RRB- DAVID -LRB- LAUGHS. -RRB- ELIZABETH -LRB- TO BAR TENDER. -RRB- You can put these on me. DAVID No, no, no. I told you that. I had it. ELIZABETH -LRB- OVER ; TO BAR TENDER. -RRB- Thank you. ELIZABETH -LRB- TO DAVID ; CONT'D. -RRB- No, I have it. DAVID Ill get the next round. ELIZABETH Sure. DAVID You're a strong, independent woman. I like that, I like that. ELIZABETH -LRB- OVER. -RRB- Thank you. Cheers ELIZABETH raises her glass. DAVID Listen, cheers. The others all raise their glasses ALL Cheers ELIZABETH To nailing it, and - DAVID -LRB- OVER. -RRB- To nailing it. BRANDON -LRB- UNDER. -RRB- To nailing it. ELIZABETH Success. Yes. Cheers. ALL down their shots DAVID -LRB- reacts to the strong drink. -RRB- Oh, Fuck. BRANDON -LRB- Chuckles. -RRB- ELIZABETH -LRB- reacts to the strong drink. -RRB- Whoah. BRANDON So what do you girls do for fun? ELIZABETH Fun? Er, karate. DAVID mimics karate moves DAVID -LRB- Mimics ninja sounds. -RRB- DAVID -LRB- CONT'D. -RRB- You hear this song. I love this song, I wrote this song. DAVID holds out his hand to ELIZABETH DAVID -LRB- CONT'D. -RRB- And I would love it if you would dance with me to this son that I wrote for you. ELIZABETH Erm. DAVID takes ELIZABETH's hand. DAVID Come on. DAVID tugs her arm playfully DAVID -LRB- CONT'D. -RRB- Come on, come on, come on. Let's go on the dance floor. One song. ELIZABETH Oh. DAVID Yeah. Come on. You're a fun girl. It'll be fun. Come on. DAVID pulls ELIZABETH onto the dance floor. DAVID -LRB- O.S. ; CONT'D. -RRB- I'll bring her back. Swear to God. ELIZABETH -LRB- UNDER. -RRB- Fine. BRANDON turns to watch them on the dance floor. DAVID -LRB- O.S. -RRB- Come one, come on, it's fun. It's fun.", "INT. AFTER WORK BAR - DANCEFLOOR. NIGHT. The pulsing thump of music, the latest cutting edge sounds - DAVID pulls ELIZABETH into dancing, at first playful and funny. DAVID is insistent, pulling her closer, drawing her into a frenzied awkward dance. BRANDON looking on, the SUITED WOMAN's eyes grazing his, lingering on BRANDON as DAVID stumbles. DAVID There you go. Mwah! You're beautiful. Alright, alright, spinning, spinning, spinning. Wooh! BRANDON watches the duo dancing LOREN I'm grabbing her purse ` cos she's gon na get robbed and roofied. BRANDON -LRB- Laughs. -RRB- RACHEL and LOREN walk off to the dance floor LOREN Dance? BRANDON No. LOREN Are you sure? BRANDON I'm sure. LOREN -LRB- O.S. -RRB- OK. ELIZABETH and DAVID are amongst the dancers on the floor. DAVID is performing enthusiastically. ELIZABETH, slow, glances at BRANDON. We see BRANDON through the dancers, watching.", "EXT. AFTER WORK BAR. NIGHT. DAVID struggling to push his arm through the twisted sleeve of his jacket, pursuing ELIZABETH and her friends up the street. DAVID Ok, ok, ok, ok, ok, ok. Hold on, hold on. No, listen. I just got to talk to you one more time, one more time. Listen. BRANDON comes out of the club, doing up his coat. Looks away at DAVID haranguing the trio. DAVID -LRB- CONT'D. -RRB- Your eyes, they're beautiful. You know why I did n't get it right the first time? Because it's, it's like a collage. Let me see your hand, let me see your hand. DAVID smiles, gently coaxing her in the opposite direction - BRANDON hails a cab. DAVID continues haranguing ELIZABETH DAVID -LRB- CONT'D. -RRB- Look at those eyes, look at those eyes. I know the color of your eyes. BRANDON -LRB- OVER. -RRB- David, come on. DAVID Come on, we can play that game. That's so much fun when you play that game. LOREN Bye. A cab pulls up. DAVID It's okay. ` cos I'm going this way. BRANDON opens the cab door and waits with the taxi. DAVID walks towards BRANDON. BRANDON Hey man, he's going uptown. DAVID concedes throwing his arms up, jacket half on. DAVID paws BRANDON affectionately, straightens BRANDON's jacket, gives him a kiss and stumbles into the cab. DAVID -LRB- Laughs. -RRB- Ok. BRANDON I'll see you tomorrow The cab pulls away.", "EXT. STREET. NEAR AFTER WORK BAR. NIGHT. A car glides close to the kerb - BRANDON head down walking - ELIZABETH Hey. Wan na ride? BRANDON smiles - BRANDON Sure. BRANDON gets into the car.", "EXT. FREEWAY. BRIDGE. NIGHT. The incessant drone of cars, steady overhead - Vast concrete supports edging the highway - BRANDON presses ELIZABETH flat again the grit of the wall Caught in the scissored half light, they move, with glorious abandon - The slice of passing headlights casting fractured light across their writhing state until - ELIZABETH gasps, her body shuddering, leaning into his as they climax together, sweat beading skin.", "INT. BRANDON'S BUILDING CORRIDOR. OUTSIDE APARTMENT. NIGHT. BRANDON walking along the corridor - He reaches for his keys, suddenly hesitating on - The thump of music coming from his apartment - BRANDON tentatively turns his key and pushes the door open -", "INT. LIVING ROOM. APARTMENT. NIGHT. BRANDON enters. He looks around, nothing - The turn of vinyl on the record player - I Feel Love by Donna Summer steadily rotating - BRANDON makes his way back to the corridor and notices a light on in the bathroom from the slit under the door. He opens up an adjacent cupboard and fishes out a baseball bat, and heads toward the bathroom.", "INT. CORRIDOR. APARTMENT. NIGHT. BRANDON steadily approaches the bathroom door, considers - He shoves it open, hard, baseball bat at the ready -", "INT. BATHROOM. APARTMENT. NIGHT. BRANDON running, shrieking like a banshee, blinding waving the baseball bat, slicing air - BRANDON -LRB- roaring. -RRB- I'll fucking kill you! - SISSY SULLIVAN -LSB- mid/late 20's -RSB- leaps out of the bath, naked, screaming and dripping wet - SISSY -LRB- screams. -RRB- BRANDON What the. What the fuck? SISSY holds her hurt elbow SISSY Fuck! Fuck! Ow! Fuck! - BRANDON -LRB- OVER. -RRB- Jesus Christ Sissy. BRANDON stands, shaking staring at his naked startled sister - SISSY Brandon. Do n't you fucking knock? BRANDON What the fuck. Why would I knock? I live here. SISSY Oh fuck. BRANDON How'd you get in? SISSY -LRB- OVER. -RRB- Ow! You gave me fucking keys. BRANDON Fuck. BRANDON goes for a towel, shoving it towards her, embarrassed. SISSY dries her face. SISSY -LRB- GROANS. -RRB- You fucking scared me BRANDON Do n't I always say call me first if you're coming into town? SISSY -LRB- OVER. -RRB- Oh my god, I called you SO many times. SISSY sighs. SISSY -LRB- CONT'D. -RRB- You have a fucking baseball bat? SISSY laughs. BRANDON relaxes. She tousles her hair. SISSY -LRB- CONT'D. -RRB- -LRB- LAUGHS. -RRB- -LRB- SIGHS. -RRB- Mmmm. What is this shit you put on your hair? Honestly, it's awful. BRANDON shakes his head, at a loss. BRANDON Shampoo SISSY -LRB- OVER. -RRB- Is it for grooming dogs? SISSY throws the towel and BRANDON SISSY -LRB- CONT'D. -RRB- Good to see you. BRANDON throws the towel back at her. BRANDON Lock the door next time. SISSY Yeah. BRANDON turns to leave the room BRANDON Do n't use all the towels SISSY I wo n't. BRANDON closes the door to the bathroom.", "INT. LIVING ROOM. APARTMENT. NIGHT. We follow BRANDON as he walks through to the living room to the record player I Feel Love stuck in eternal groove. He gently lifts the needle off the record. He uses the baseball bat to pick up SISSY's scarf. He sniffs it. Silence - BRANDON stands considers -", "INT. BEDROOM. APARTMENT. NIGHT. Later - BRANDON is watching pornography on his laptop, hears SISSY on the telephone. He listens. SISSY I want you. I do n't want anyone else. There is no one else. I love you. I'll do anything. Pause SISSY -LRB- CONT'D. -RRB- I'll do anything. Please do n't say that. Please do n't say that. Pause SISSY -LRB- CONT'D. -RRB- I love you. I love you. I'll do anything. I'll do anything. BRANDON moves the laptop and starts to get up.", "INT. LIVING ROOM. APARTMENT. NIGHT. SISSY I do n't have to go out. I do n't have to go out. I do n't even fucking want to go out. I can stay with you. I do n't care. I do n't care. I do n't need anybody else. I love you. I love you. I love you so much. -LRB- CRIES. -RRB- I love you, please. I love you. I love you.", "INT. BEDROOM. APARTMENT. NIGHT. BRANDON is listening at the door. SISSY Please. -LRB- CRIES. -RRB- I feel sick. I feel really sick - BRANDON closes his eyes, resigned.", "INT. KITCHEN. APARTMENT. MORNING. BRANDON sliding whisked eggs into a pan of sizzling butter - SISSY enters and sits on the kitchen counter, wearing a long - sleeved white t - shirt and holding the earring left by the Pretty Woman -LSB- prostitute -RSB-. Dangling it in front of BRANDON - SISSY Morning. Nice earring. Hot date? Hiding his surprise, BRANDON gets some juice out of the fridge, passes it to SISSY. BRANDON Juice? BRANDON gives SISSY a carton of juice. Still sitting on the counter, SISSY grabs it with both hands, almost like a child's bottle and starts drinking. SISSY Mmm. BRANDON, irritated, says abruptly - BRANDON Will you use a glass? BRANDON steps away, takes a glass from a cupboard and shoves it towards her. SISSY -LRB- MUMBLES. -RRB- Sorry. SISSY pours the juice into the glass and drinks. BRANDON steps back to the cooker, preparing food. SISSY -LRB- CONT'D. -RRB- -LRB- SIGHS. -RRB- You're going grey. Do you think I look fat? BRANDON does n't react. SISSY -LRB- CONT'D. -RRB- Do you think I look fat? BRANDON nods in the direction of the table. BRANDON Sit down. She leaps off the counter and makes her way to the table. She slaps BRANDON's behind. BRANDON's face is one of despair and irritation. SISSY -LRB- GASPS. -RRB- Fuck you! SISSY slams her glass on an O/S table and throws the earring away. SISSY -LRB- CONT'D. -RRB- I'm doing a couple of gigs. BRANDON walks towards her with a pan of food. BRANDON Yeah, sure. BRANDON serves the food. SISSY -LRB- sudden/cutting in. -RRB- Can I stay? BRANDON hesitates - BRANDON You want toast? SISSY Just for a few days. BRANDON ignores her question and walks away to the kitchen. SISSY -LRB- CONT'D. -RRB- I'd stay with Mark but he's being a fucking asshole. SISSY Stands and walks away, following BRANDON. BRANDON Mark? SISSY wraps her arms around BRANDON from behind. BRANDON -LRB- CONT'D. -RRB- -LRB- EXHALES. -RRB- Jesus, Sissy. BRANDON pushes her arms off, turns and walks to the fridge with the juice. BRANDON -LRB- CONT'D. -RRB- What do you expect? SISSY Pretty please? BRANDON Look, you get the sofa and you get your ass off it - SISSY leaps on his back smothering him with flat lipped kisses all over his head until - BRANDON -LRB- CONT'D. -RRB- Before I leave every morning. SISSY -LRB- OVER. -RRB- -LRB- GASPS. -RRB- I will. I promise. I will. -LRB- KISS. -RRB- Mwah! BRANDON OK.OK.OK.OK. BRANDON pushes her down as she gives him a big kiss. SISSY -LRB- OVER. -RRB- -LRB- KISS. -RRB- Mwah! SISSY, happy, walks back to sit down at the table. SISSY -LRB- CONT'D. -RRB- -LRB- SIGHS. -RRB- BRANDON We leave in fifteen. SISSY OK! SISSY sprinkles salt on her breakfast. She smile, playful, resumes eating - SISSY -LRB- CONT'D. -RRB- -LRB- Reacting to food. -RRB- Mmm. Mmmm! -LRB- SHOUTS. -RRB- So good! The door slams. SISSY sighs and stares towards the front door, a sadness hanging -", "INT. PLATFORM. SUBWAY. MORNING. SISSY stands, toes edging over the platform. BRANDON pulls her back. BRANDON Stop fucking around. SISSY stares at BRANDON. Instinctively, BRANDON feels her gaze. He turns and looks. They hold each other's eyes for more than a beat. BRANDON turns away. SISSY begins picking pieces of fluff off BRANDON's shoulder. BRANDON, visually irritated. SISSY goes again. BRANDON -LRB- CONT'D. -RRB- Leave it. SISSY You have fluff. BRANDON I like it there. A quick moment passes. BRANDON picks the fluff off his shoulder and puts it on SISSY's shoulder - to her amusement. SISSY -LRB- LAUGHS. -RRB- BRANDON How are you for money? SISSY I'm good. BRANDON Cause if you need some money. SISSY Honestly, I even make money now and everything. BRANDON Yeah, sure. SISSY Huge amounts. BRANDON nods at SISSY's hat. BRANDON Are you collecting mad hats? Sissy smiles - SISSY -LRB- LAUGHS. -RRB- You should come and hear me. BRANDON Yeah. I will. SISSY ` Yeah I will', like, ` yeah I will' like last time? Please come. BRANDON takes off her hat. BRANDON Where'd you get this, anyway. SISSY It's vintage. BRANDON Yeah, I can see that. SISSY -LRB- LAUGHS. -RRB- SISSY takes the hat and puts it on BRANDON. SISSY -LRB- CONT'D. -RRB- Wow. BRANDON -LRB- WHISPERS. -RRB- Do you like? BRANDON adjusts the hat. SISSY Yeah. SISSY gently bumps his shoulder with hers. SISSY -LRB- CONT'D. -RRB- Please come. BRANDON Ok. I will. SISSY stamps her feet excitedly. SISSY Yaay! SISSY leans her head on BRANDON's shoulder and he puts his arm around her.", "INT. OFFICE. DAY. BRANDON hurries into the office area, unbuckling his coat as he does so. DAVID, phone pressed to his ear, mid way through a conference call clocks him, throws some lewd gesture. BRANDON smiles, throws up his hands, he's late. What can you do. BRANDON Sorry. Sorry. BRANDON continues into his office. BRANDON -LRB- CONT'D. -RRB- Fuck, my computer. BRANDON puts down his coffee, and takes off his scarf. STEVEN Well, well, well. BRANDON Morning, asshole. STEVEN Look who's decided to grace us with his presence. BRANDON puts his scarf in the closet and takes off his coat. BRANDON Yeah. STEVEN Do n't tell me. No cabs. BRANDON No, your wife would n't let me leave this morning. BRANDON hangs up his coat. STEVEN Ah! Hey, that's not cool. BRANDON -LRB- CHUCKLES. -RRB- BRANDON laughs as he sits down at his desk. STEVEN You should be so lucky. BRANDON Any calls? STEVEN Yes. Like, fifty. BRANDON sips his coffee.", "INT. OFFICE - COFFEE AREA. DAY. BRANDON stands, in the coffee area making himself a generic filter coffee. MARIANNE is seated in her glass office in the background at her desk. DAVID approaches, slapping BRANDON on the ass. DAVID Hey! Heads up, buddy -? BRANDON -LRB- OVER. -RRB- woah! DAVID So, how'd it go last night? BRANDON pours coffee, glancing at DAVID behind him. BRANDON Yeah. Got home. Went to bed. Good night. DAVID looks at him, shakes his head in a knowing fashion. DAVID A - ha. Right, right. Let's do it again tonight. Some place classier though. BRANDON Well. My sister's playing downtown somewhere. DAVID She's playing? BRANDON She's a musician. Well, she's a singer. DAVID Okay. Yeah, yeah. You know what, that sounds er. A lot of fun. -LRB- taps coffee mug/walking away. -RRB- And that'll ruin your enamel. BRANDON watches DAVID walk into his office, shutting his door behind him.", "INT. OFFICE - CORRIDOR OUTSIDE BATHROOM. DAY. He turns right abruptly, pass the coffee area, and then right again. A COLLEAGUE is coming out of a door. He holds it open for BRANDON as he walks in. The door slowly closes, exposing the MEN'S sign for the bathroom.", "INT. BOOM BOOM ROOM - COATCHECK. NIGHT. BRANDON and DAVID, not knowing what is to await them, walk towards the doors of the beautiful setting of THE BOOM BOOM ROOM. DAVID That elevator music's like a bad acid trip. HOSTESS -LRB- O.S. -RRB- Good evening. BRANDON Evening. Er. Reservation. Sullivan? HOSTESS Great. I have you on the list. I'll have you follow me. BRANDON and DAVID take off their scarves and coats. BRANDON Thank you. BRANDON and DAVID give their coats to FEMALE STAFF MEMBER. DAVID -LRB- TO COAT CHECK GIRL. -RRB- There you are. HOSTESS Right this way, please. DAVID Oh, wow, look at that ass. I could follow that forever. DAVID glances back at BRANDON DAVID -LRB- CONT'D. -RRB- Nice pick. -LRB- SNIGGERS. -RRB- -LRB- WHISTLES. -RRB- DAVID and BRANDON walk on towards the bar.", "INT. BOOM BOOM ROOM. NIGHT. BRANDON and DAVID enter a beautiful bar. A spectacular 180 degree view of Manhattan. The room has the most elegant decor. It is to die for : Metropolis meets Blade Runner, a glittering New York skyline to the North of the room, the grey endless black of the Hudson River to the South. It surpasses DAVID's idea of classy. The murmur of conversation - The shake of cocktails mixed - DAVID Oh. Oh, I forgot how beautiful this city is. BRANDON and DAVID follow the HOSTESS to take a seat at a far table. DAVID -LRB- CONT'D. -RRB- Oh, thank you, thank you. A stunning leggy COCKTAIL WAITRESS walks up to the table, dressed in silky 1930's cigarette girl costume. COCKTAIL WAITRESS Hi guys. How are you both doing tonight? What can I get you? DAVID -LRB- OVER. -RRB- Hi. Your. Your accent. Are you? Are you from erm? COCKTAIL WAITRESS Brazil. DAVID -LRB- looking around. -RRB- Rio. Hmmm? COCKTAIL WAITRESS Sao Paulo. BRANDON looks down and chuckles to himself. DAVID Oh! Oh, that is a beautiful city. That's. COCKTAIL WAITRESS -LRB- LAUGHS. -RRB- You've been there? DAVID Once or twice. BRANDON Can we get two dry martinis with olives. COCKTAIL WAITRESS Hm - hm. DAVID And a little bit later, why do n't you come by for a drink with us? Hmm? COCKTAIL WAITRESS I'll make sure I get those drinks. DAVID Thank you. BRANDON Thanks. The COCKTAIL WAITRESS smiles, moving on, she's heard it all before. DAVID smiles, clocks BRANDON's look. DAVID She would be offended if I did n't try. BRANDON shakes his head and looks down. BRANDON Unbelievable. DAVID -LRB- OVER. -RRB- Ah. -LRB- LAUGHS. -RRB- DAVID and BRANDON look around the room DAVID and BRANDON are fortunate to be here. The clink of glasses, the noise of laughter waft through the room. Across the room, a familiar face. Her wavering a little at first on seeing BRANDON across the room. Their eyes lock. She smiles, with quiet surprise - BRANDON looks away, ignoring SISSY's gaze, not wanting to look at her. SISSY plays on, inwardly crestfallen, her fingers working across the piano keys. DAVID leans back, eyes grazing over SISSY, a kind of white noise to SISSY's beautiful music - The seeping first bars of ` New York New York' filtering through - SISSY -LRB- singing. -RRB- Start spreading the news. I'm leaving today. I want to be a part of it. New York. New York. It's a familiar song but in SISSY's hands, every word punctures like an emotional fireburst - SISSY's voice is oddly haunting underscoring the bubble of conversation, SISSY -LRB- CONT'D. -RRB- -LRB- singing. -RRB- I want to wake up in a city that does n't sleep. And find I'm king of the hill, top of the heap. SISSY's eyes dart back to BRANDON, seemingly lost in his conversation, but competing now with SISSY and her song - SISSY -LRB- CONT'D. -RRB- -LRB- singing. -RRB- My little town blues - Suddenly SISSY's fingers drop from the piano, her whole body curving into the microphone offering a blues vocal acoustic, slowly but quietly captivating - SISSY -LRB- CONT'D. -RRB- They're melting away. I gon na make a brand new start of it. Even DAVID's listening now - SISSY -LRB- CONT'D. -RRB- -LRB- singing. -RRB- In old New York. SISSY's up moving now, she is completely lost in the song and the room is coming with her - BRANDON concedes, looking back at SISSY, now holding the room. SISSY -LRB- CONT'D. -RRB- -LRB- singing. -RRB- If I can make it there - A kind of hushed still has descended - SISSY -LRB- CONT'D. -RRB- -LRB- singing. -RRB- I'll make it anywhere. It's up to you. New york, New york. New York, New York - SISSY comes closer, walking between the tables, flirting and laughing and drawing the audience in until they are in the palm of her hand. SISSY -LRB- CONT'D. -RRB- -LRB- singing. -RRB- I want to wake up in a city, that never sleeps. And find I'm a number one - SISSY grazes past BRANDON's table, eyes catching on BRANDON, singing for him now - SISSY -LRB- CONT'D. -RRB- -LRB- singing. -RRB- Top of the list, king of the hill - BRANDON drinks, not looking at SISSY. She closes her eyes, tears stinging, reeling back into herself - SISSY -LRB- CONT'D. -RRB- -LRB- singing. -RRB- A number one. SISSY draws out the note, bringing the song momentarily to a silence - SISSY's misty eyes open as BRANDON at last looks at her, the moment oddly fragile between them, brutal and yet tender. Even DAVID sensing something until - SISSY -LRB- CONT'D. -RRB- -LRB- singing. -RRB- These little town blues - SISSY turns, makes her way back to the piano, enjoying it now - SISSY -LRB- CONT'D. -RRB- -LRB- singing. -RRB- Are melting away. Fingers touching the keys once more, masterfully picking up and improvising with the last few bars - SISSY -LRB- CONT'D. -RRB- -LRB- singing. -RRB- I'm gon na make a brand new start of it - in old New York. SISSY leans back. She is on fire now, singing with every fibre of her heart and soul, like no other rendition heard. SISSY -LRB- CONT'D. -RRB- -LRB- singing. -RRB- And if I can make it there, I'm gon na make it anywhere It's up to you - SISSY holds BRANDON with a voice, a sudden flickering emotion threatening to topple her, somehow in SISSY's hands this song is heartbreaking. SISSY -LRB- CONT'D. -RRB- -LRB- singing. -RRB- New york New york. -LRB- quieter now. -RRB- New York. New York. -LRB- even quieter. -RRB- New york New york. -LRB- almost to a whisper. -RRB- New york New york. SISSY strikes one last note, lost deep within herself - HUSHED SILENCE - DAVID Wow. Wow! Bravo! Sudden APPLAUSE, CHEERS, OVERWHELMING - DAVID turns to BRANDON DAVID -LRB- CONT'D. -RRB- -LRB- LAUGHS. -RRB- She's good! She's good! BRANDON looks away, eyes filling with tears. BRANDON puts down his drink, blotting his coaster with the imprint of the deep red rim of his glass - He's the only one not applauding.", "INT. BOOM BOOM ROOM. NIGHT. SISSY is being congratulated by a HIP MEDIA TYPE and his WIFE. The scene is one of congratulations, SISSY is admired. SISSY confident approaches DAVID and BRANDON. She is bold and self - aware. DAVID Hi. SISSY Hi. DAVID I'm David. SISSY Sissy. DAVI It's a pleasure to meet you. SISSY Nice to meet you. DAVID -LRB- OVER. -RRB- I think you were fantastic and you look great in the dress, too. Please sit down. SISSY Thank you. -LRB- TO BRANDON. -RRB- What did you think? BRANDON Yeah, it was. interesting. SISSY -LRB- LAUGHS. -RRB- What do you mean? BRANDON Er. No, it was, er. It was good. It was good. DAVID finishes his martini. SISSY It was good? DAVID He was crying. He was crying. THere were tears coming down his face. I saw it. You made a grown - man cry. SISSY Really? DAVID Hm - hmm. BRANDON I'm gon na get some more drinks. DAVID That's a great idea. Why do n't you get a round for the table, buddy? SISSY -LRB- OVER. -RRB- Yeah. Brandon exits. DAVID OK, I'm really sorry about that, I. He's had a rough day at work. I think he's a bit emotional right now. SISSY Yeah. DAVID Yeah. -LRB- beat. -RRB- So you guys grew up in Jersey, right? SISSY Yeah. DAVID Hmm. You still live there? SISSY GOD, no. DAVID That's good. That's good. Where do you live now? SISSY Kind of all over the place. DAVID Yeah? What's the last city you've been to? SISSY LA.. DAVID Los Angeles? SISSY Mm - Hmm. DAVID Oh boy. You like it there? SISSY I mean, I'm going back. DAVID That must mean you love it then, huh? SISSY No! I ca n't even fucking drive. It's a nightmare. BRANDON reappears. DAVID -LRB- OVER. -RRB- -LRB- LAUGHS. -RRB- Whoa, wait a minute, wait a minute. You ca n't drive? SISSY No. DAVID Why not? SISSY I tried when I was a kid, and I was horrible. DAVID Wait, how old were you when you quit driving. SISSY Sixteen. DAVID You were 16 years old? SISSY Mmhmm. DAVID So wait, wait, wait a minute. How do you get along in Los Angeles? BRANDON sits behind them. SISSY I take the bus. DAVID No, no, no, no, no no. Look, look. DAVID takes SISSY's hand. BRANDON notices, looking uncomfortable. DAVID -LRB- CONT'D. -RRB- A girl like you can not be taking the bus. One of Sissy's sleeves rolls down to her elbow, as she casually puts her hand under her chin, charmingly tilting her head - revealing a cross stitch of scars, the trail of self harm laced up her arm. DAVID noticies. DAVID -LRB- CONT'D. -RRB- What. Waht happened to your arm here? SISSY Oh, just. When I was a kid I was bored. SISSY takes her hand back. DAVID Well, you must have been really bored. SISSY I was. DAVID Alright, we've got a problem. your sister can not be taking the bus anywhere. OK. I know a guy who owns a car rental company. We're gon na get you a car, we're going to drive around in circles in a parking lot and you are going to learn how to drive. DAVID -LRB- CONT'D. -RRB- Not a stick, automatic. It's a little easier. SISSY I would love that. DAVID You'd love that. That's good. You know what? Better yet. DAVID -LRB- CONT'D. -RRB- We're going to get you a golf cart. We're gon na get you a gold cart and you will drive the golf cart around. SISSY -LRB- OVER. -RRB- Wow, now we're talking. I would. yeah. DAVID -LRB- OVER. -RRB- Yeah, yeah, yeah. SISSY Everybody should drive golf carts. DAVID -LRB- OVER. -RRB- A golf cart right up Fifth Avenue, huh? -LRB- LAUGHS. -RRB- SISSY sips her drink. SISSY -LRB- LAUGHS. -RRB- Mmm. DAVID You know, they should They should. It would be a lot cleaner and greener. It would be great for the city. Brandon, what do you think? BRANDON Sounds great. DAVID Yeah? DAVID looks at BRANDON. BRANDON looks like he would rather be anywhere than where he is now. DAVID -LRB- CONT'D. -RRB- -LRB- laughs. -RRB- I love your, brother. What an amazing man. How long are you here for? SISSY I do n't know. DAVID You do n't know? Can I see you again? Please? Sissy laughs. DAVID -LRB- CONT'D. -RRB- Is that too forward? I just. I find you fascinating, I really do. I think you're a fascinating creature, I'd love to see you again. -LRB- beat. -RRB- Listen, why do n't we. this is a celebration, let's have champagne. SISSY Yes! DAVID Champagne for everybody. For the whole table. Come on! SISSY -LRB- OVER. -RRB- Champagne! BRANDON looks unenthusiastic BRANDON Champagne.", "INT. CAB (CROWN VIC STYLE). NIGHT. BRANDON wedged in the back of the cab, with DAVID and SISSY as they are lost eating one another's faces. Looking uncomfortable, BRANDON frequently takes glimpses in the rear view mirror. DAVID and SISSY continue making out. It's almost animal.", "EXT. STREET. OUTSIDE APARTMENT. NIGHT. A dimly lit street - A cab is pulling up. DAVID opens the door. DAVID I've got it, I've got it. Get out, get out, get out, get out. DAVID is wearing SISSY's hat. DAVID -LRB- CONT'D. -RRB- Come here, come here, come here, come here. Finally SISSY steps out of the cab, DAVID lifts her over his shoulder. SISSY -LRB- YELPS. -RRB- Oh, God! No! -LRB- LAUGHS. -RRB- DAVID -LRB- STRAINS. -RRB- Come on, come on with me, come on. SISSY Get off. Get off. Get off. DAVID -LRB- OVER. -RRB- You wanted me to do that. How did that work? SISSY Get off me. SISSY starts to enter thru the revolving door. DAVID follows DAVID Ah come on, come on, come on, come on, come on. BRANDON is left alone to pay the driver.", "INT. BRANDON'S APARTMENT - CORRIDOR. NIGHT. BRANDON waits in the lobby, pressing the button for the elevator. An elevator arrives. He ignores it and sits down.", "INT. CORRIDOR/KITCHEN. APARTMENT. NIGHT. Darkness - BRANDON enter his apartment door. He hears giggling from his bedroom. SISSY -LRB- O.S. -RRB- -LRB- LAUGHS. -RRB- Well, I am hot, I am hot. DAVID -LRB- O.S. -RRB- You are hot. SISSY/DAVID -LRB- O.S. -RRB- -LRB- LAUGHTER and chatter. -RRB- BRANDON walks to his kitchen. HE hits the kitchen cabinet in frustration. He walks into the living area and paces. BRANDON considers, looking out through the window, he sits on the ledge, wringing his hands. SISSY -LRB- O.S. -RRB- No! DAVID -LRB- O.S. -RRB- -LRB- LAUGHS. -RRB- SISSY -LRB- O.S. -RRB- You're cursing me. I need to take this off. I'm hot. I need to take it off. I'm hot. DAVID -LRB- O.S. -RRB- Nice sheets SISSY -LRB- O.S. -RRB- Are n't they nice sheet? Bed, bath and beyond. Stop. MORE GIGGLING, hushed now, more breathless - DAVID -LRB- O.S. -RRB- What if I kiss you right here? About here. BRANDON takes off his shoes and starts to undress. We hear SISSY and DAVID making love. SISSY -LRB- O.S. -RRB- -LRB- MOANS. -RRB- DAVID -LRB- O.S. -RRB- Yeah? BRANDON does n't want to hear. BRANDON stands back against a wall, as if transfixed, as if he can not take any more. His breathing is irregular. Something of the past has come to the present. All of his distractions have now stopped, and he is at once confronted with himself. His face bears the pain of something long passed, but visually present. This wound has not healed. Jolting himself out of his trance, BRANDON hurriedly heads out into the corridor -", "INT. CORRIDOR. APARTMENT. NIGHT. BRANDON pulls running gear from the hallway closet an exits, leaving the RISING BREATH of DAVID and SISSY LOST IN FURTIVE SEXUAL INTERCOURSE DRIFTING ALONG THE CORRIDOR, JUST AUDIBLE, QUIETLY PROVOKING AS IT UNDERSCORES.", "EXT. STREET. OUTSIDE APARTMENT. NIGHT. A dimly lit street - BRANDON just visible in his apartment block steady on the approach. He is dressed in running gear. Pushing the glass doors open, BRANDON hesitates and presses a button on the iPod Nano on his arm. He stretches, zips his top, pulling his hood up. BRANDON slips his earphones on, moving off.", "EXT. STREET. OUTSIDE APARTMENT. NIGHT. BRANDON running past illuminated windows and neon lights. The city is alive. BRANDON stays focused, running, music pumping in his head.", "INT. CORRIDOR. APARTMENT. NIGHT. Later BRANDON enters his apartment checking for noises. The sound of movement in the bathroom. He pushes open his bedroom door. It's like a murder scene. Pale blue sheets in disarray, the mattress nearly coming off the bed, sheets soaked with sweat and the smell of sex. A lone condom disregarded on the floor. We see his bedside drawer ajar. He walks into his bedroom and pushes the drawer shut.", "INT. BEDROOM. APARTMENT. NIGHT. Later - BRANDON lies on his bed, with clean white sheets, sidelight on. SISSY enters. BRANDON opens his eyes, inwardly flinches. SISSY gets into the bed, covering herself with the white sheet. Snuggles up to BRANDON BRANDON I have to be up and out by seven. SISSY inhales through her teeth. SISSY -LRB- to herself. -RRB- It's cold. Uncomfortable SILENCE - BRANDON Sissy, get out of my room? SISSY does n't move. BRANDON -LRB- CONT'D. -RRB- Sissy, get out of my room. All this time, BRANDON has not looked at SISSY, staring up to the blank ceiling. He SCREAMS at the top of his lungs - BRANDON -LRB- CONT'D. -RRB- GET THE FUCK OUT! GET OUT! SISSY gets up, deliberate, as if rising from the dead, and slowly walks around the bed. SISSY SLAMS the bedroom door on her exit.", "INT. OFFICE. DAY. Midday - The office is in full flow - BRANDON crosses it, clearly worse for wear. A TECHNICIAN wheels a computer out of BRANDON's office. STEVEN -LRB- in passing. -RRB- Hey slacker, your computer's back. BRANDON heads towards his desk, stopping on seeing - STEVEN -LRB- CONT'D. -RRB- Dave's looking for you. STEVEN exits again. BRANDON observes, his computer is back at his desk.", "INT. OFFICE - DAVID'S OFFICE. DAY. BRANDON puts his head around the - DAVID -LRB- O.S. -RRB- -LRB- INTO PHONE. -RRB- Yeah, yeah. It was really great last night. SKYPE SON -LRB- OVER. -RRB- -LRB- THRU COMPUTER. -RRB- Daddy, daddy. DAVID -LRB- O.S. -RRB- -LRB- INTO PHONE. -RRB- Ah, listen, I got ta go. OK, thanks for calling. DAVID -LRB- O.S. ; CONT'D. -RRB- -LRB- INTO COMPUTER. -RRB- Hey, buddy. DAVID -LRB- CONT'D. -RRB- Er, listen, we said an hour French and then Isobel's gon na pick you up because Mommy's picking up Nathan. Alright? You can go after. SKYPE SON Yeah, I know. But Mommy says I ca n't DAVID -LRB- OVER. -RRB- OK, well. Let's go talk to Mommy hmm? SKYPE SON Aw. She's all the way downstairs. DAVID -LRB- OVER. -RRB- Well, go downstairs and tell her that Daddy said it's okay for you to go to Jason's SKYPE SON Ohhh. DAVID Hah? Come on. How about that? Do it. YOu can do it. Get up. SKYPE SON OK. DAVID Yeah. SKYPE SON Mommy? Mommy? DAVID's SON exits the computer screen. David looks up at BRANDON. DAVID -LRB- LAUGHS. -RRB- What's up, man? BRANDON Well, Steven said you wanted to see me? DAVID Yeah. Er, Dude. Nine o'clock this morning, where were you? BRANDON Dentist. Root canal. DAVID Oh, shit. Now, what did I tell you about that? Who d'you see? BRANDON Gary Sher. King's practice, West 57th street. DAVID Good. Good. You're stinging that company health care plan, I hope, right? BRANDON Sure. DAVID That's what it's there for, man. Alright brother. BRANDON turns to leave. DAVID -LRB- CONT'D. -RRB- Listen, one more thing. BRANDON turns back. DAVID -LRB- CONT'D. -RRB- Your hard drive is filthy, all right. We got your computer back. I mean, it is, it is, dirty. I'm talking like hoes, sluts, anal, double anal, penetration, inter racial facial, man. Cream pie. I do n't even know what that is. DAVID -LRB- CONT'D. -RRB- Do you think it was your intern? DAVID finally looks up, holds BRANDON's gaze, with discreet challenge until - BRANDON -LRB- beat. -RRB- On my hard drive? DAVID nods, resumes working - DAVID Yeah, someone's fucking with your account, man.And we're blowing our wad in cash, you know? It takes a really really sick fuck to spend all day on that shit. BRANDON nods, makes to go. From beyond - SKYPE SON Daddy. Daddy. BRANDON exits. DAVID Yeah. Hey buddy, Er, what she say? SKYPE SON She said I can go to Jason's for half an hour but I have to be home by five for dinner. DAVID OK. That's great. See? Best of both worlds. You got everything you want. BRANDON takes this opportunity to leave. SKYPE SON Yep. DAVID You happy? SKYPE SON Yeah. DAVID Yeah. You better be. Get out of here. SKYPE SON OK. Alright. See you DAVID OK. DAVID looks up, watches BRANDON heading back to his desk, quietly considering. A child's painting stuck to the wall behind DAVID.", "INT. COFFEE AREA - OFFICE. DAY. BRANDON, lost in familiar routine, pours sugar into his coffee - MARIANNE Hey - BRANDON looks up, MARIANNE loiters - BRANDON Hey. MARIANNE You like your sugar. BRANDON -LRB- nods / smiles. -RRB- I do. MARIANNE is still standing, waiting. They look at each other. Eventually she turns and walks out.", "EXT. PIER. HUDSON RIVER. NIGHT. BRANDON stands at the end of a long pier, looking out toward the Hudson River, the LAP of murky water, audible. He hovers for a moment, and considers, then slowly makes his way back to the main road. The glittering lights of Jersey stretching wide beyond.", "EXT. NEAR STANDARD HOTEL. NIGHT. Above, the tall, endless glass of The Standard Hotel, scored with a honeycomb of windows, randomly illuminated like tiny still lives. BRANDON comes to a corner, lights a cigarette and leans. Above him, engraved in stone is `` 1949.'' He looks up toward the tall building, which appears like a Stasi East Berlin building. Stark and authoritative. A KID slaps his palms against the glass of a fourth floor window, a FILIPINO NANNY ushers him away. A WOMAN, early 30s, phone to her ear, dressed in black jeans and t - shirt, paces along the window. Catching sight of BRANDON, she PULLS the curtain along the length of the glass. A MAN stares blankly out, clearly fresh in on a flight and jet lagged, enjoying the view two floors up. A FEMALE CLEANER just visible lost in the monotony of cleaning, makes large brush strokes with a large pink fluffy duster. And then BRANDON sees her - A MIDDLE AGED WOMAN stands, naked her body pressed against the floor to ceiling glass, high up, overlooking the Hudson River. The steady back and forth of the MIDDLE AGED MAN behind her gradually reveals both are lost in a stand up fuck. BRANDON hesitates, quiet fascination flickering across his face as for a brief flickering moment BRANDON's eyes lock with the MIDDLE AGED WOMAN's dead gaze, standing high above - A CAR HORN LOUD UNREMITTING - BRANDON turns, his hypnotism broken. It's as if he comes back to himself.", "EXT. STREET. NEAR RESTAURANT. NIGHT. A distant restaurant illuminating a dimly lit street - MARIANNE waiting inside the bar, seated, with a drink, clearly there for some time. Her eyes checking the room, with quiet concern. BRANDON stands watching from a distance - BRANDON makes to cross, hovering on the edge of the gutter until -", "INT. RESTAURANT. NIGHT. BRANDON enters the restaurant. BRANDON Hi. MARIANNE Hello - BRANDON Hello. -LRB- LAUGHS. -RRB- BRANDON -LRB- CONT'D. -RRB- Did you find it okay? MARIANNE Yes, I'm glad you made it. BRANDON Oh, yeah. I'm late. Sorry. BRANDON sits down at the table where MARIANNE is already seated. MARIANNE You look handsome. BRANDON You look amazing. A WAITER enters. WAITER Hi. WAITER places the wine list in front of BRANDON and hands out menus. MARIANNE -LRB- UNDER. -RRB- Thank you. WAITER OK. BRANDON Thanks. WAITER I have few specials on the menu, if you'd like to hear them? MARIANNE smiles, eyes darting to BRANDON, playful. The WAITER oblivious, clearly on a roll. BRANDON Sure. WAITER -LRB- O.S. -RRB- Erm. The soup of the day is tomato with basil oil and Parmesan crostini. The special is marinated swordfish, tabbouleh and Moroccan Chermoula. It's really good. Er, we're also serving a DeBragga and Spitler New York Strip with a side order of fries and the salad is snow pea and radish with a cider vinaigrette. Can I start you off with a sparkling water? BRANDON nods, -LRB- CLEARS THROAT -RRB- - BRANDON Tap water's fine. WAITER OK and the wine menu's right next to you. Yep. There you go - BRANDON pulls out a wine menu hidden under his bread plate. BRANDON You want some wine? MARIANNE Sure. BRANDON White? Red? MARIANNE Red maybe. The WAITER hovers, points to a red on the menu - WAITER The Pinot Noir is er. light. Erm.If you like it like. Light. The GLIDE of a napkin across BRANDON's lap, the WAITER a constant presence, on the edge of irritating. BRANDON Great. WAITER OK. I'll be back. The WAITER smiles, at last moves off - They sit looking at their menus. BRANDON steals a moment, eyes tracing over - MARIANNE's fingers playing with the edge of her menu - The flutter of her lashes - Nipples ghosting her dress. An ring indent around her wedding finger, the shrink of skin. BRANDON So. -LRB- CLEARS THROAT. -RRB- Where do you live? -LRB- LAUGHS. -RRB- MARIANNE -LRB- LAUGHS. -RRB- Brooklyn. BRANDON Nice. MARIANNE Born and raised. Where you from? MARIANNE -LRB- CONT'D. -RRB- Where you from? BRANDON I was born in Ireland. We moved here when I was a teen. The WAITER enters again, with water. MARIANNE Do you get back much? -LRB- TO WAITER. -RRB- Thank you. WAITER pours water for MARIANNE BRANDON A couple of times. MARIANNE A big family? You miss them? BRANDON Er. I have a sister. MARIANNE I have two. BRANDON Oh, yeah? MARIANNE Yeah. BRANDON Older, younger? MARIANNE Older and younger. I'm in the middle. BRANDON stares at MARIANNE MARIANNE -LRB- CONT'D. -RRB- What? BRANDON Just wondering. MARIANNE -LRB- LAUGHS. -RRB- are you nervous? BRANDON Why would I be nervous? MARIANNE smiles, holds his look. MARIANNE You look a little nervous. BRANDON Do I? No. MARIANNE Well, what's a date? BRANDON shrugs - BRANDON It's no big deal. MARIANNE It took me an hour to figure out what to wear. BRANDON You chose wisely. MARIANNE shrugs, smiles - BRANDON laughs - The WAITER returns - WAITER I forgot to say the crab comes in the shell. BRANDON Great. The WAITER pauses, expectantly. BRANDON -LRB- CONT'D. -RRB- Oh. Yeah. I have n't even looked at this. MARIANNE Erm, I'll have the lamb. The WAITER scrawls it down on a pad, barely looking up. WAITER The Lamb. BRANDON I'll have the Lamb too. That sounds great. MARIANNE -LRB- LAUGHS. -RRB- WAITER Erm, No appetizer? BRANDON -LRB- looking to MARIANNE. -RRB- You want -? MARIANNE shrugs, closes her menu. MARIANNE I'm fine. BRANDON No. WAITER OK, and how would you like the lamb? BRANDON Medium. WAITER We recommend it pretty pink. The WAITER waits - BRANDON looks at MARIANNE, they giggle. BRANDON OK. MARIANNE Hm - hm. WAITER Pink it is. The WAITER takes the menus. MARIANNE stares at BRANDON. WAITER -LRB- CONT'D. -RRB- Thank you. Excuse me. The WAITER exits. BRANDON So, you seeing anyone at the moment? BRANDON -LRB- CONT'D. -RRB- No. MARIANNE No. Really? Why? Why is that? BRANDON I do n't know. Just er, it's just the way it is. MARIANNE It's just the way it is. Yeah, I erm. actually, I'm separated. BRANDON Right. The dip of skin, soft under her chin, a finger grazing over it, nervously. MARIANNE Yeah. Kind of a recent thing. BRANDON OK. You were married for long? MARIANNE No. The WAITER returns. WAITER Did we decide on the wine? BRANDON hesitates, on the edge but - BRANDON Erm, well, yeah erm. The Pinot. Was it the Pinot Noir, you said? BRANDON scours the wine menu at a loss - BRANDON looks to MARIANNE, she shrugs - WAITER Yeah, great. Great choice. OK. The WAITER nods, at last moves off - MARIANNE I was n't married long. Gave it a shot. It did n't really work out. BRANDON No. MARIANNE Wow. BRANDON What? MARIANNE Well, you just seem, like. -LRB- LAUGHS. -RRB- BRANDON What? MARIANNE averse to the whole idea. BRANDON Well, yeah. I mean, I just do n't understand why people would want to get married. Especially nowadays, I mean, it's. You know. I do n't see the point. MARIANNE In relationships? BRANDON It does n't seem realistic. MARIANNE considers, lips grazing the rim of the glass. MARIANNE Are you serious? I mean. BRANDON Yeah, I am, really. MARIANNE -LRB- LAUGHS. -RRB- Well, then, you know, why are we here, if we do n't matter to one another? BRANDON Well. MARIANNE Why are you here? BRANDON The food's supposed to be really great here. -LRB- LAUGHS. -RRB- MARIANNE nods, does n't look amused - BRANDON -LRB- CONT'D. -RRB- No, no, no, no. I'm not. I'm not saying it like that. I mean, I just mean, you know. One person for the rest of your life? I mean, it's. I mean, you know, you come to restaurants, you see couples sitting together and they do n't even speak to one another. They do n't have anything to say, they do n't have anything. MARIANNE They probably do n't have to speak because they're connected. BRANDON Or they're just bored with one another. MARIANNE Every. The WAITER approaches, a bottle of wine in hand. WAITER -LRB- OVER. -RRB- Here we go. The WAITER uncorks the wine. MARIANNE What's your longest relationship? BRANDON Erm. He pours a little into BRANDON's glass. MARIANNE Exactly. BRANDON gestures for the WAITER to pour. BRANDON Oh, that's. you can pour. WAITER Sure. WAITER fills BRANDON's glass. BRANDON Four months. WAITER finishes pouring BRANDON's wine and starts filling MARIANNE's. MARIANNE You have to commit. You have to actually give it a shot. BRANDON I did. -LRB- LAUGHS. -RRB-. For four months. WAITER -LRB- UNDER. -RRB- I'll leave the bottle. The WAITER slides the bottle down, moving off - MARIANNE For four months.", "EXT. STREET. OUTSIDE RESTAURANT. NIGHT. A dirty grey street, brightened by the glow of BRANDON and MARIANNE seated inside the restaurant.", "EXT. STREET. NEAR RESTAURANT. NIGHT. LATER - BRANDON and MARIANNE stand heady from the wine and a little awkward in the freezing cold - They walk - BRANDON sneaks a side glance, MARIANNE smiles. It's freezing. They're breath and bodies steaming as they walk. MARIANNE Thank you. BRANDON Look, touch that. BRANDON bows, pointing to the back of his head. MARIANNE Your head? MARIANNE turns to touch BRANDON's head. As she does so, he GROWLS at her, like a little dog. BRANDON GRRRRRR. MARIANNE shrieks. They BOTH laugh. BRANDON -LRB- CONT'D. -RRB- -LRB- LAUGHS. -RRB- Oh, no, no, no. MARIANNE -LRB- LAUGHS. -RRB- You're such a. Weirdo. She pushes him playfully. BRANDON No, seriously, seriously. Touch it. MARIANNE OK. There's a massive knot on the back of his head. MARIANNE -LRB- CONT'D. -RRB- Oh, my God. BRANDON Do you feel that? MARIANNE Yeah, what is it? BRANDON It's a remnant. MARIANNE A remnant? BRANDON Yeah, from the Neanderthals. There's only a few of us left since the homo sapiens took over. MARIANNE -LRB- OVER. -RRB- OK. Hmm. That would explain the forehead. BRANDON What's that supposed to mean? MARIANNE ` What's that supposed to mean?' BRANDON What do you mean? MARIANNE -LRB- CHUCKLES. -RRB- No, seriously, how did you get it? BRANDON -LRB- COUGHS. -RRB- I used to play this game with my cousin. MARIANNE Hm - hmm. BRANDON Where I would sit on his feet and he'd fly me through the air. I hit my head on the ceiling and I blacked out. They both laugh. Marianne laughs hysterically. BRANDON laughs along. BRANDON -LRB- CONT'D. -RRB- I was knocked out for 5 - 10 minutes. I peed my pants. MARIANNE -LRB- Reacts Sympathetically. -RRB- Oh. BRANDON If you had a choice to live in the past or future and you could be anything you wanted, what would you be? MARIANNE What would you be? BRANDON I always wanted to be a musician in the sixties. MARIANNE That's cool A musician? BRANDON Yeah. MARIANNE Sixties is tough though. I saw GIM ME SHELTER recently, you know the Rolling Stones documentary? BRANDON Yeah. MARIANNE It kind of seemed like hell. BRANDON What? MARIANNE -LRB- LAUGHS. -RRB- Yeah, the sixties would be the last place I'd want to be. BRANDON No way! MARIANNE Yes. Eugh, chaos! BRANDON So where would you wan na, and what would you wan na be? MARIANNE Erm. You know. Here, now. BRANDON That's boring MARIANNE Fuck you. -LRB- LAUGHS. -RRB- Still walking along, BRANDON thinks for a moment. BRANDON turns and stares at MARIANNE, holding his gaze. MARIANNE blushes. There's a silence as they walk on. They get to a subway entrance. MARIANNE -LRB- CONT'D. -RRB- OK. Well, this is me. BRANDON nods, hovers by the subway, awkward and yet - BRANDON This is you. They stand heady from the wine and a little awkward. MARIANNE Thank you very much Brandon. BRANDON Thank you very much MARIANNE. We should do this again. SILENCE They loiter on the edge of something more. MARIANNE Right. SILENCE BRANDON hovers, momentarily fragile, the sting of uncertainty. MARIANNE descends into the depths of the subway, with a half wave. BRANDON So, is that a yes? MARIANNE -LRB- O.S. -RRB- Maybe, yeah.", "INT. CORRIDOR. APARTMENT. NIGHT. The CLICK of the door - BRANDON enters. The sound of the record player, which had finished hours ago, rotates empty on the turntable. Pulling off his jacket - BRANDON Hello? Sissy? SILENCE - BRANDON puts the needle back in it's dock. HE hangs up his jacket, takes his bag, heads towards the living room. He spies all SISSY's crap spilling out across the floor - He sighs. Heads to the kitchen and gets a can out of the fridge.", "INT. CORRIDOR. APARTMENT. NIGHT. The lock of the front door rotates. Someone is entering the apartment. Darkness - SISSY bursts through the door, in a hurry. After a moment the bathroom door opens, cutting a slit of light into the darkness. From the blackness we see BRANDON framed, masturbating in front of the bathroom sink. SISSY, shocked, stands with her hand still on the door handle, transfixed by a naked BRANDON. As BRANDON instinctively turns, SISSY runs from view. SISSY slams the door shut. BRANDON -LRB- O.S. -RRB- Oh! Fuck! SISSY -LRB- SNIGGERS. -RRB- Fuck! BRANDON looks at himself in the mirror, full of shame and bewilderment and deep embarrassment. Slowly but surely these expressions turn into rage. He hits the wall in frustration. SISSY -LRB- CONT'D. -RRB- Fuck!", "INT. LIVING ROOM CORRIDOR. APARTMENT. NIGHT. BRANDON opens the bathroom door, with towel tied around his waist, looking for SISSY. BRANDON What? Are you fucking spying on me? SISSY -LRB- LAUGHS. -RRB- Lock the fucking door, Brandon. BRANDON -LRB- OVER. -RRB- Are you fucking spying? SISSY -LRB- Mimicking him. -RRB- Uhh. Are you fucking spying? BRANDON leans over SISSY, pushes her down onto the sofa. SISSY -LRB- CONT'D. -RRB- Fuck! -LRB- LAUGHS. -RRB- Brandon. BRANDON -LRB- OVER. -RRB- What do you want? What do you want? BRANDON climbs onto SISSY, straddling her. SISSY Oh, you wan na fight? You wan na fight? You wan na fight? You wan na fight? BRANDON -LRB- OVER. -RRB- Yeah? You want some of this? You want some of this? BRANDON's towel falls down as he forcefully pins her down. SISSY -LRB- UNDER. -RRB- You wan na fight? You wan na fight? You wan na. BRANDON -LRB- OVER. -RRB- What do you want from me? What do you want from me? SISSY Brandon! BRANDON shakes SISSY by the shoulders. She reacts, upset now. BRANDON -LRB- SHOUTS. -RRB- What do you want? SISSY -LRB- OVER. -RRB- -LRB- SHOUTS. -RRB- Get off me! BRANDON -LRB- SHOUTS. -RRB- Why did you come here? Why? SISSY -LRB- OVER. -RRB- Get off me! Get off me! BRANDON Why? SISSY -LRB- OVER. -RRB- Get of me! BRANDON Why?! SISSY Ow! You're fucking hurting me. BRANDON -LRB- OVER. -RRB- Talk to me! You fucking bitch! SISSY -LRB- OVER. -RRB- Fucking get the fuck off, you fucking weirdo. BRANDON stands and exits. SISSY shouting after him. BRANDON -LRB- O.S. -RRB- Fucking slut!", "INT. BATHROOM. APARTMENT. NIGHT. BRANDON locks the bathroom door. He exhales, letting the moment slowly pass until - SISSY -LRB- O.C. -RRB- Brandon - BRANDON lowers himself onto the floow, desperately struggling with his emotions - He closes his eyes, eyelashes fragile and flickering until - BRANDON opens them, reaches a hand out, almost mechanically, turns up the shower, the room now swirling in steam, trying to drown SISSY's voice out. SISSY -LRB- O.S. ; CONT'D. -RRB- Brandon, I'm sorry. BRANDON closes his eyes, tears pricking -", "INT. LIVING ROOM. APARTMENT. NIGHT. SISSY walking back from kitchen, resigned - BRANDON's laptop on and open on his desk. SISSY approaches it, sinking down in front of the illuminated laptop. She absently taps the mouse, dragging open a series of held windows, the shifting lights of the screen cast across her face, revealing - Slowly SISSY's face changes, a blurred smorgasbord of porn sites, graphic and obscene, their colors reflecting across her face and body. An escalating collage of graphic images, obscene sexual messages and a provocative sexual conversation hanging mid sentence addressed to a live sex chatroom. The images haunting, brutal, from the weird to the sadomasochistic. The open windows, an endless stacking of obscene chatroom conversation, emails posted with graphic sexual photos and live webcam images of every combination of fucking disappearing into the screen in infinite form. SISSY is taken aback and strangely intrigued - Suddenly a voice from the screen, images briefly glimpsed, a woman legs splayed - FROM SCREEN Hey, where's Brandon? Are you Brandon's girlfriend? Do you want to play? SISSY looks closer, mildly appalled. FROM SCREEN -LRB- CONT'D. -RRB- Do you wan na play with my tits? I know Brandon would really like it. And I know exactly what Brandon likes. BRANDON picks up the laptop and heads towards his bedroom. SISSY takes her coat and leaves the apartment.", "INT. BEDROOM. APARTMENT. NIGHT. LATER - The thump of music - BRANDON sitting on the edge of his bed, the pumping music from a stereo in the apartment seemingly getting louder, hands grasping his hair. Then suddenly he enters the whole contents of his bedside drawer into a black garbage bag. Then, BRANDON moving like a dervish through the apartment, a black garbage bag in his hand, dumping pieces of paper, post it notes and business cards with hastily written cellphone numbers on the back. BRANDON moves on, picking up anything he can find. An old jacket, elbows worn. A handful of old t - shirts. He moves off down the corridor with growing frenzy, grabbing more crap along the way, one of SISSY's dirty thongs on the floor. He picks it up, moving on.", "INT. KITCHEN. APARTMENT. NIGHT. An open fridge - BRANDON tipping bowls of old food and long past it sell by date mush into the bag. Cans of Red Bull, crappy cereals, jam with mould on top, an old joint, magazines all get dumped on route. BRANDON heads out, picking up more detritus along the way, old pens, an old cellphone, a pair of defunked headphones - A pile of porn mags, in a cupboard, pulled out as he heads down along the corridor.", "INT. LIVING ROOM. APARTMENT. NIGHT. BRANDON strips the room, pulling out an old pair of sneakers smelling and cracked from under a chair. He peers up, looks around the room almost bare - His laptop resting on his desk. BRANDON stops, considers, initially resistant and then something finally compels him to do it - He picks up the laptop, yanking the plug hard from the wall. Dumping it inside the garbage bag, he moves on picking up an ipod, a gameboy, ipod nano, wires and cables and stuff. Slapping a tangle of wires into the garbage, he drags the heaving bag of crap out into the corridor. The SLAM of the front door -", "EXT. STREET. OUTSIDE APARTMENT. NIGHT. BRANDON heading down the steps of his apartment, heaving the swelled and dripping bag into a heaving garbage can parked on the sidewalk. A pile of black garbage bags already piled up along the street in waiting for collection. Further down the street a YOUNG COUPLE holds hands, walks by the arrangement of trash bags littering the sidewalk. A SIREN goes past - The DISTANT banter of a GANG OF KIDS. BRANDON heads back up to his apartment, shutting the door firmly.", "INT. BRANDON'S OFFICE. DAY. BRANDON, now the voyeur, looks across the room, into MARIANNE's office. He studies her, almost like prey. The moment seems to last a lifetime. There is much want in BRANDON's face, but from this distance seems unobtainable. Suddenly, and without any warning, BRANDON walks into his dream, entering MARIANNE's office, and pulls her behind a partition, kissing her unapologetically and passionately. She responds, startled, but happy to be taken. She surrenders. They pull away, looking at one another. She smiles, laughing, his spirit infectious, drawing her on. BRANDON Come on. BRANDON leads MARIANNE away.", "EXT. STANDARD HOTEL. DAY. BRANDON and MARIANNE stepping out of a cab, BRANDON leading MARIANNE, both giggling and tripping. MARIANNE Where are you taking me? -LRB- LAUGHS. -RRB- BRANDON Come on. You'll see MARIANNE stops. She smiles, quizzically, allowing herself to be guided and yet - MARIANNE No, where are we going? -LRB- LAUGHS. -RRB- BRANDON Come on.", "INT. BATHROOM. STANDARD HOTEL. DAY. BRANDON snorts two lines of coke in quick succession on top of the white water tank in the toilet. Exiting, we see MARIANNE looking out onto the Hudson from the large hotel window.", "INT. BEDROOM. STANDARD HOTEL. DAY. BRANDON enters the bedroom, stopping to prepare a drink. Watching MARIANNE at the window. BRANDON You wan na drink? He pours a drink from the mini bar. BRANDON -LRB- CONT'D. -RRB- What are you looking at? MARIANNE The view is amazing. BRANDON approaches nervously, standing next to her. BRANDON Hey. MARIANNE leans up and kisses BRANDON. MARIANNE -LRB- LAUGHS. -RRB- MARIANNE takes BRANDON's hand and leads him to the bed. We see both of them slowly discovering each other through tender touches. MARIANNE caresses BRANDON's face and kisses both his eyes. BRANDON attempts to do the same to MARIANNE, slowly but surely. This ritual becomes more aroused, clothes start to fall away, revealing for the first time both each other's flesh. BRANDON rolls up her skirt, laughs at her panites. MARIANNE giggles. BRANDON -LRB- LAUGHS. -RRB- Are they vintage? MARIANNE A little bit. -LRB- LAUGHS. -RRB- The ritual begins to get more passionate, as they feel for each other's breasts and thighs. At the height of this passionate encounter, BRANDON's attention strangely, slowly starts to fade. It's as if the intimacy that he has discovered starts to frighten him. He recoils, unable to continue. Both lie on their backs silently, in frustration, breathing heavily. MARIANNE's face is one of puzzlement and hurt. She looks at BRANDON for some kind of answer. He gets up. MARIANNE, unsure what to do, sits up and pulls down her skirt, adjusts her hair.", "INT. BEDROOM. STANDARD HOTEL. DAY. Late afternoon sunlight seeping across the room - BRANDON sits at the edge of the bath looking out onto the view. MARIANNE Brandon? Erm. MARIANNE looks at him, the moment fragile. She does up her bra. MARIANNE -LRB- CONT'D. -RRB- You know, it's cool. It's OK. MARIANNE -LRB- CONT'D. -RRB- Should I go? BRANDON Sure. Hurt, MARIANNE put on her top, picks up her bag and makes to leave BRANDON -LRB- CONT'D. -RRB- I can walk you down. MARIANNE -LRB- O.S. -RRB- That's OK. SILENCE - BRANDON looks back out over the grey of the Hudson River. BRANDON's face is one of embarrassment and failure. The CLICK of the door, MARIANNE gone. The HUM of the traffic, audible through an ajar window. BRANDON reaches his hand out, catching the breeze, peering down, a man on the edge.", "INT. BEDROOM. STANDARD HOTEL. DAY. BRANDON banging the life out of HOTEL LOVER, doggy style, tits pressed up against the glass of the window - The DISTANT SCREECH of horns.", "EXT. STREET. BELOW STANDARD HOTEL. DAY. The trawl of cars - The grey of the Hudson River - BRANDON and the HOTEL LOVER just visible high above, caught full frontal in the window -", "INT. BEDROOM. STANDARD HOTEL. DAY. BRANDON close to climax - A cold sweat beading BRANDON's forehead as he comes, face twisted before the slow seep of release. BRANDON withdraws, laughs. The HOTEL LOVER laughs as well. BRANDON turns, for a moment she is almost beautiful. HOTEL LOVER smiles, already pulling on her underwear. BRANDON watches her, pulling on a tiny thong. She looks up, stares at him. BRANDON looks away, fighting back the cold flutter of shame. BRANDON Can I get you a drink? HOTEL LOVER hesitates, smile, shakes her head. HOTEL LOVER No. BRANDON nods. HOTEL LOVER fingers fastening a cheap nylon bra. HOTEL LOVER -LRB- CONT'D. -RRB- Fuck. BRANDON Need a hand? HOTEL LOVER The hooks odd - HOTEL LOVER -LRB- CONT'D. -RRB- -LRB- SIGHS. -RRB- There you go.", "INT. BEDROOM. STANDARD HOTEL. DAY. BRANDON sits on the bed, now alone, caught in the half light of dusk - The rise and fall of a distant lift.", "INT. LIVING ROOM. APARTMENT. NIGHT. BRANDON is sitting on the couch, watching a cartoon. SISSY enters the apartment, on her cell phone. BRANDON ignores her SISSY -LRB- O.S. -RRB- -LRB- into phone. -RRB- David? Pick up. I take it you're at your pottery class. SISSY hangs up. SISSY -LRB- O.S. ; CONT'D. -RRB- Have you eaten? BRANDON No. SISSY -LRB- O.S. -RRB- Are you hungry? BRANDON No. SISSY Sits down next to BRANDON on the couch. SISSY Can you just give me a hug? BRANDON puts him arm around her. She snuggles up to him. BRANDON He's not gon na screw you again. SISSY -LRB- SIGHS. -RRB-. BRANDON You left a message did n't you? You ca n't help yourself. It's disgusting. SISSY Why are you so fucking angry? BRANDON Why am I so fucking angry? That's my boss! You sleep with him after twenty minutes and now you're calling him up? What's the matter with you? You know he's got a family, right? You know he's got a family? SISSY No. BRANDON You did n't see the wedding ring on his finger? SISSY No. BRANDON You're a liar. SISSY I'm sorry BRANDON You're always sorry. SISSY At least - BRANDON -LRB- OVER. -RRB- That's all you ever fucking say! SISSY -LRB- OVER. -RRB- Well, least I say I'm sorry. BRANDON Try doing something, actions count! Not words. SISSY I'm sorry. I'm sorry. I fucked up. I'm not perfect. But I'm. trying. BRANDON Some people fuck up all the time. Pause. BRANDON removes his arm from around SISSY. BRANDON -LRB- CONT'D. -RRB- Look, just forget it. This is n't working out. Obviously. You need to find somewhere else to live. SISSY I do n't have anywhere else to go. -LRB- beat. -RRB- This is n't about him. I make you angry all the time and I do n't know why. BRANDON No. You trap me. You force me into a corner and you trap me. `` I've got nowhere else to go.'' I mean, what sort of fucking shit is that? SISSY You're my brother. BRANDON So what, I'm responsible for you? SISSY Yes! BRANDON No I'm not! SISSY Yes you fucking are! BRANDON -LRB- OVER. -RRB- I did n't give birth to you! I did n't bring you into this world. SISSY You're my brother, I'm your sisterm. We're family. We're meant to look after each other. BRANDON You're not looking after me. SISSY I'm - BRANDON -LRB- OVER. -RRB- I'm looking after myself. SISSY -LRB- OVER. -RRB- I'm trying to help you! BRANDON How are you helping me? Huh? How are you helping me? BRANDON grips SISSY's face in his hand. BRANDON -LRB- CONT'D. -RRB- How are you helping me? Huh? Look at me. How are you helping me? You come in here, and you're a weight on me. Do you understand me? You're a burden. You're just fucking dragging me down. You ca n't even clean up after yourself. Stop playing the victim. SISSY I'm not playing the fucking victim. If I left now, I'd never hear from you again. SISSY pulls BRANDON's hand away. SISSY -LRB- CONT'D. -RRB- Do n't you think that's sad? Do n't you think that's sad? You're my brother. BRANDON Why is it always so dramatic with you? Everything is always the end of the world. SISSY It's not fucking dramatic. I'm trying to talk to you! BRANDON I do n't want to talk. Try not talking. Try just listening or thinking for a change. SISSY Yeah, ` cos that's working great for you. You're completely fine. BRANDON Well, I've got my own fucking apartment. SISSY Oh, whopee - fucking - shit. You have your own apartment, that's amazing. Your job and an apartment, I should be in awe of you. BRANDON Well, at least I'm responsible for it. At least I do n't depend on people all the time. You know, you're a dependency, you're a parasite. SISSY You do n't have anybody. You do n't have anybody. You have me and your fucking pervert boss. BRANDON You slept with that fucking pervert boss. So what does that make you? SISSY DO n't talk to me about sex - life Brandon. Not from you. BRANDON Whatever. BRANDON makes his way to the closet, taking his coat. BRANDON -LRB- CONT'D. -RRB- I'm going out. SISSY Great. And then you'll just come back and we'll just have this same fucking conversation again. BRANDON No, you'll move out. SISSY And then I'll never hear from you again? BRANDON exits the apartment.", "INT.SUBWAY TRAIN. NIGHT BRANDON's reflection in the window as the train travels. We see that BRANDON has a nasty cut on his cheek.", "INT. BAR. NIGHT. Earlier that night - BRANDON sits, drinks alone at the bar - An OLDER GUY paws a GAUNT YOUNG WOMAN plying her with drinks, knocking them back much to his delight. BRANDON watches, catching the eye of a girl -LRB- CARLY -RRB- walking towards the bar, her friends playing pool - CARLY Hey - BRANDON Hey. CARLY smiles, as she leans against the bar, her breasts spilling out of her T - shirt. BRANDON -LRB- CONT'D. -RRB- -LRB- close to. -RRB- You want to get out of here? CARLY giggles - BRANDON -LRB- CONT'D. -RRB- I could take you somewhere. CARLY looks over at her MUSCULAR BOYFRIEND just visible across the bar talking to a couple of GUYS. BRANDON -LRB- CONT'D. -RRB- What? Are you with someone? Does he go down on you? I do. That's what I like to do. CARLY looks at him, sobering and yet - BRANDON's hand discreetly reaches down, up and under the girl's skirt, shocking her a little and yet - BRANDON -LRB- CONT'D. -RRB- I like the way it feels. I like the way it's just me and it. I wan na taste you. I like to slip my tongue inside you - CARLY leans in closer, her lips blotting the edge of a glass overfilled with beer. BRANDON -LRB- CONT'D. -RRB- just as you come. CARLY hesitates, the moment hangs dangerous between them. BRANDON sucks his fingers. BRANDON -LRB- CONT'D. -RRB- Want me to make you come? BRANDON -LRB- CONT'D. -RRB- I can do that. Want me to do that? BRANDON strokes her chin - MUSCULAR BOYFRIEND Hey -? From behind, CARLY's MUSCULAR BOYFRIEND approaches, quizzical - MUSCULAR BOYFRIEND -LRB- CONT'D. -RRB- What's up babe? CARLY nods, deflects - CARLY I was just getting some drinks. MUSCULAR BOYFRIEND Yeah, huh? BRANDON I was just telling your pretty girlfriend here, that I'd like to fuck her in that tight pussy of hers. MUSCULAR BOYFRIEND -LRB- CHUCKLES. -RRB- BRANDON I mean bone her real hard til she's clawing up my back. CARLY He's kidding. CARLY gently bars her MUSCULAR BOYFRIEND, trying to diffuse lead him away. BRANDON After I fuck her hard up the ass, I put my balls in her mouth while I come on her face. MUSCULAR BOYFRIEND -LRB- To CARLY. -RRB- You wo n't let me fuck you in the ass. CARLY Christ. MUSCULAR BOYFRIEND You get to fuck her in the ass? BRANDON You know. MUSCULAR BOYFRIEND Tell me more man, because you. I'm fucking loving this. BRANDON turns, smiles provocatively, knows what's coming next. BRANDON Smell it. The MUSCULAR BOYFRIEND reacts as BRANDON shoves his fingers under his nose. MUSCULAR BOYFRIEND -LRB- SNIFFS. -RRB- Yo! The MUSCULAR BOYFRIEND shoves BRANDON. CARLY Jesus, come on. MUSCULAR BOYFRIEND You mother fucker. BRANDON laughs, sips his drink -", "EXT. STREET. OUTSIDE BAR. NIGHT. BRANDON is rounding a corner, doing up his jacket. The MUSCULAR BOYFRIEND runs out after him. MUSCULAR BOYFRIEND Hey, Romeo. He spins BRANDON around and punches him. The slip and slide of BRANDON's shoes, his face smashed against the sidewalk. The MUSCULAR BOYFRIEND comes in hard again, kicking him, sharp in the ribs. BRANDON recoils yet almost seems to want more as he struggles to stand. He spits on BRANDON.", "EXT. STREET. NEAR BAR. NIGHT. BRANDON walking, aimless and bleeding - The DRONE of taxi's streaking past - TWO WOMEN seated outside a bar, drinking and smoking, lost in their laughing conversation oblivious - BRANDON walks on - A YOUNG MAN with a satchel roughly brushes past him - The YOUNG MAN wavers on seeing BRANDON is crying, moving on - BRANDON's face head down wanting to get away. A rush of TEENAGERS and MIDDLE AGED COUPLES spilling out of a cinema - BRANDON walking, disorientated, jaywalking through the traffic. The SCREECH of horns - BRANDON ignores them, he crosses streets, traffic, darting off the sidewalk into the road, when human, dog or stroller gets in his way until -", "EXT. STREET. NIGHT. BRANDON walking past a blur of yellow Neon and glow of shop signs - Across the street, a snaking queue of MEN wait in line outside a club. He keeps walking, eyes scouring - TEENAGERS loiter, in oversized clothes, sunk under caps and hoods.", "EXT. STREET NEAR CLUB. NIGHT. A lively bar ; a couple of HOT GIRLS entering - BRANDON considers, goes to enter, barred by BOUNCERS, who point him back along the cue - He stands in line - Across the street, a THICK SET GUY eyes him. He stands smoking outside a heaving bar. BRANDON looks away - A GANG OF GIRLS pass, The BOUNCERS let them in with ease. BRANDON reaches for his iPhone, tries to cover his face with his phone to get into the club - BOUNCER Woah! Not tonight, buddy. BRANDON ties to get in again. The BOUNCER stops him a second time. BOUNCER -LRB- CONT'D. -RRB- I said not tonight. The THICK SET GUY over the street, flicks out his cigarette, eyes grazing over BRANDON as he re - enters the heaving bar opposite. BRANDON considers, hands sunk deep in his pockets. Through the glass a heaving bar. BRANDON considers, on the edge until - He suddenly crosses the street, narrowly avoiding a taxi streaking past.", "INT. CLUB. NIGHT. Fluorescent light skimming the thick black darkness like a beam on a lighthouse - A heaving dance floor of BUTCH BEARS, SKINNY BOYS, and TWIGS, arms raised, dancing to the pulse of music. The THICK SET GUY, walks away, waiting for BRANDON to follow. BRANDON follows.", "INT. CLUB. LABYRINTH. NIGHT. Passing through a low hung door, BRANDON moves along a dark labyrinth of corridors, eyes grazing over - Dimly lit crevices, MEN caught briefly in light, lost in fellatio and stand up fucking - BRANDON keeps walking, drawn towards a dark doorway -", "INT. BACKROOM. CLUB. NIGHT. An endless darkness, punctured with groans from dark cubicles - BRANDON hesitates, foot slipping on the moist floor. Suddenly a hand reaches out, drawing him into the dark cubicle - The THICK SET GUY presses BRANDON up against the wall, kissing him, tongue searching his mouth, rubbing along its roof, hungry and urgent. BRANDON pulls away, hands gently yet forcefully pushing the THICK SET GUY down on his knees. BRANDON looks beyond - A THIN BOY down on his knees sucking a cock through a hole between walls. BRANDON stands, legs splayed letting the THICK SET GUY take him in his mouth. He is beautiful. The palm of BRANDON's hand pressed against the side of the cubicle. He stands, fucking the THICK SET GUY in the mouth - The PULSE of music heaving, the club rocking, punctured by groans and grunts of rough sex from deep within. BRANDON throws his head back, gripping the cubicle wall.", "EXT. STREET OUTSIDE CLUB. NIGHT. The early hours - BRANDON, heading away. He clocks his phone, several messages from SISSY logged. BRANDON listens to his voicemail - SISSY ON ANSWER MACHINE -LRB- from SISSY. -RRB- Brandon, it's Sissy. I really need to talk to you. Please. BRANDON pockets his phone.", "EXT. AN APARTMENT. NIGHT. SISSY ON ANSWER MACHINE Please will you pick up the fucking phone? BRANDON stops and knocks on an apartment door. A woman opens and BRANDON steps in.", "INT. BEDROOM. LATER. A threesome. BRANDON has sex with a BLONDE and BRUNETTE. Throughout the images of the threesome, we hear more of SISSY's Voicemail. SISSY ON ANSWER MACHING We're not bad people. We just come from a bad place. Thanks for letting me stay. BRANDON, at climax, his animalistic grimace turns to pain and anguish.", "INT. SUBWAY. DAWN. The grey snake of a subway coming up from under ground - BRANDON stands on a platform. It's not the rush hour yet. The RATTLE of the subway pulling in - BRANDON boards the train.", "INT. TRAIN. SUBWAY. DAWN. A virtually empty car - BRANDON sits - A COLUMBIAN WOMAN across the car, head lent against the window, half asleep, clearly at the end of a long shift. Above a poster of a sunny shiny family advertising LIFE INSURANCE - BRANDON's eyes graze over the poster - He stands his reflection mirrored back at him, preparing for his stop - The train SCREECHES to a sudden halt - Wheels SCREECHING along the track - The COLUMBIAN WOMAN wakes - A YOUNG STUDENT plugged headphone on, looks up from reading her book. BRANDON inwardly curses. The train sits in the station. Doors not opening. The silence at last punctured by the SHRILL hum of the intercom - INTERCOM Ladies and Gentlemen, at this time, due to a police investigation, we have to discharge this train. Please follow the conductor to the rear of the train. The long low PING of the intercom fading out - They wait. And wait in silence. BRANDON leans his head against the glass, closes his eyes, a hangover kicking in. The other few commuters in the carriage sit awkwardly, wondering why the doors are n't opening in the station. Details of the carriage appear. Half - drunken cup of coffee. An old New York POST. Graffiti on all the car windows. They wait. Suddenly passengers from other carriages are making their way through the carriage that BRANDON's in, with the CONDUCTOR ushering the passengers to make their way down to the end. CONDUCTOR -LRB- O.S. -RRB- Watch your step between cars. Passengers asking, `` What's going on?'' BRANDON finally makes his way down with the other passengers to the last carriage. As he steps out, he looks down to his far left and sees a POLICE CAUTION LINE being unraveled, and ENGINEERS and FIREMEN making their way to the far front of the train.", "INT. SUBWAY. DAWN. A LARGE BLACK WOMAN, face bowed, sits talking to a POLICE OFFICER giving a statement - CONDUCTOR Watch your step. Several ENGINEERS stand further down the platform surrounding a TRAUMATISED DRIVER - CONDUCTOR Follow, me please. Follow me. Two PLATFORM ATTENDANTS talk to POLICE OFFICERS. CONDUCTOR -LRB- CONT'D. -RRB- Watch your step. This way. This way. Quickly FEMALE CONDUCTOR This way. Nothing to see. Move on. CONDUCTOR -LRB- O.S. ; OVER. -RRB- Right this way, please. FEMALE CONDUCTOR Move on. This way. BRANDON makes his way past the wrought - iron gate with other passengers, going up the stairwell.", "EXT. STREET. OUTSIDE SUBWAY. DAWN. BRANDON climbs the stairs, filing out of the subway, eyes catching on - A WOMAN's shoes, like Sissy's earlier at the Boom Boom Room, discarded. BRANDON picks up his pace. The intermittent WHIR of sirens - BRANDON emerging from the subway, already reaching for his cellphone - Beyond the glow of an ambulance - BRANDON keeps walking, heading off up the road quietly distracted. He taps the keys pressing the cellphone to his ear. The PULSE of a distant phone ringing - The answer machine kicks in - ANSWER MACHINE This is Sissy. leave a message. Do n't if you're an asshole. BRANDON flicks it off, slips it back in his pocket. BRANDON picks up his pace. He flicks out his phone again. Tries again - ANSWER MACHINE -LRB- CONT'D. -RRB- This is Sissy. leave a me - BRANDON is running now, heart beating fast now, breath quickening, a seeping panic threatening to unleash - BRANDON Shit! SUDDENLY he makes a dash for it, weaving through the sidewalk at pace.", "INT. BRANDON'S BUILDING - LOBBY. DAWN. His finger repeatedly presses the elevator button as if by doing so will make it arrive quicker.", "INT. BRANDON'S BUILDING - ELEVATOR. DAWN. BRANDON enters into the elevator. The door shuts immediately behind him.", "INT. BRANDON'S BUILDING - CORRIDOR. OUTSIDE APARTMENT. DAWN. Exiting, BRANDON heads along the faceless corridor, reaching his front door. He is already pulling out his keys and pushing them into the door with growing dread -", "INT. CORRIDOR. APARTMENT. DAWN. The sound of running water from the bathroom. BRANDON stops with relief, leaning his forehead against the bathroom door, letting himself exhale - BRANDON Sissy - SILENCE - BRANDON hesitates, a seeping concern pricking his skin -", "INT. BATHROOM. APARTMENT. DAWN. BRANDON walks into the bathroom, freezing on seeing - SISSY sunk on the floor wedged between the bathroom and the toilet - The pump of blood seeping from her wrists, already pooled across the floor - BRANDON reaches for SISSY gripping her wrists, deep slashes scissoring the veins, the flap of skin, flaying - BRANDON pushes the fat of his thumb on each slash, blood seeping between his fingers - BRANDON looks at her wrist, every time he moves his fingers, he releases the pressure the blood flows. BRANDON grips them tighter, a quiet determination to stop the bleeding - The skid of blood underfoot, BRANDON cradles her in his arms, grappling with his phone, desperately calling 911. BRANDON desperately holds her, cradled between his legs, his fingers pressing her wrists, temporarily stemming the flow of blood, the phone wedged between shoulder and chin. The slip of SISSY's wrist through BRANDON's fingers. He slams down the phone, struggling to hold her in his grasp. She slips again.", "INT. HOSPITAL. DAY. BRANDON head bowed. Sitting by Sissy's bedside - SISSY lies, sleeping, skin white, strapped to a drip. The gentle rise and fall of her breath. BRANDON's gaze falling on SISSY lying in the hospital bed, her wrists bandaged. BRANDON, eyes falling on the scars covering her arms. He reaches out a hand, on the edge of touching them, letting his fingers hover over them until finally - A FINGER lightly outlines a snaking scar seeping up her arm. She stirs a little but - SISSY's eyes just opening, focusing on him until - SISSY -LRB- murmuring. -RRB- Shithead. Relief overwhelming BRANDON, he laughs, exhales on the edge. BRANDON turns to stroke SISSY's hair, rests his head next to hers. She sleeps again.", "EXT. WATERFRONT. HUDSON RIVER. DUSK. BRANDON now walking along the side of the river, railings seemingly speeding up his journey. Beyond, the shadowy black figures of a broken jetty stretch out toward the open river.", "EXT. DOCK. HUDSON RIVER. DUSK. The endless grey of the Hudson River, close now - BRANDON walking along a concrete jetty - A rusting building, oxidized and stained salt green, edging along the jetty until - BRANDON reaches the edge of the jetty, looking out - The LAP of grey water beneath. BRANDON stands, a hangover kicking in - And at once BRANDON is crying, the tears flowing slow at first until they rush, like floodgates opening. He reaches for breath, trying to stifle the howls emanating from his body, inconsolable now, flooded with emotion - BRANDON sinks squat to the ground, buckled in two, body shuddering. The LAP of the water steady now - BRANDON sobs and sobs and sobs, a mess of snot and tears as he looks out over the wide sweep of the Hudson River. Far off the drone of the freeway, the early evening trawl of traffic kicking in - The froth of the tide back and forth, rising and breaking, back and forth.", "INT. PLATFORM. SUBWAY. MORNING. BRANDON stands in his familiar spot on the platform, waiting for the train that will take him to work. Wearing a vacant face, the train pulls into the station. BRANDON boards. He takes a seat automatically, as if pre - programmed. The train leaves the platform.", "INT. TRAIN. SUBWAY. MORNING. Looking into no man's land, BRANDON feels the heat of someone's gaze. As he instinctively looks up to respond, a mixture of surprise, fear, excitement and doubt across his face. The PRETTY SUBWAY GIRL who we met at the beginning of our story is staring down at BRANDON, this time in a more engaging fashion. She looks because she wants to be looked at. Again, a dance begins. This time, she leads. Engaged, active, decisive. BRANDON's face is fractured into many conflicting emotions. It's as if a magnet is drawing him in, but at the same time he's trying to resist. At this moment, the PRETTY SUBWAY GIRL stands up, eyeing BRANDON as she makes her way to the door, blocking BRANDON as the train pulls in to her stop.", "INT. PLATFORM. SUBWAY. MORNING. The train pulls away from the station and disappears into the tunnel. We do not know if BRANDON is still aboard or has succumbed to his urges. THE END"], "labels": [1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0, 0.0, 1.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 1.0, 0.0, 1.0], "summary": "Brandon Sullivan is a New York City executive and long-term bachelor. He is a sex addict who frequently has sex with prostitutes and masturbates several times daily, sometimes viewing pornography on his work computers. One day Brandon makes eye contact with a woman wearing an engagement ring on the subway during his morning commute. She initially reciprocates, but becomes uncomfortable. When they exit, she disappears into the crowd. He masturbates in the bathroom afterwards at work. Brandon and his married boss, David, hit on women at a club; later, Brandon has sex on a quiet street with Elizabeth, the woman David was pursuing. Brandon has been ignoring calls from his sister, Sissy, a lounge singer. He arrives at his apartment startled to find her in his shower with disco music playing, thinking it may have been a burglar. Sissy has a few gigs in the city and asks to stay; he later hears her pleading with her lover on the telephone not to reject her. After Brandon's company computer system is infected with a computer virus, they find his hard drive was full of pornography. David assumes Brandon's intern is responsible. Brandon rebukes Sissy for balancing precariously on the subway platform edge. Later, he and David watch her perform \"New York, New York\" in a bar, which makes Brandon emotional. David flirts with her and notices the scars of self-inflicted wounds on her arms. Sissy has sex with David in her brother's bedroom while Brandon, disgusted, goes running. Later that night, Sissy attempts to get in bed with Brandon; he orders her out of the room. Brandon goes on a date with co-worker Marianne, who is recently separated and has a positive attitude toward commitment, while Brandon dislikes the idea of marriage and admits that his relationships have never lasted longer than four months. After dinner they talk about who they would be in a past life. When they reach the subway station, they go home separately. That night, Sissy discovers Brandon masturbating in his bathroom. He attacks her and accuses her of spying on him. She finds his laptop open on a pornographic webcam site. Brandon slams the laptop shut and a disturbed Sissy leaves. Brandon disposes of his pornography, sex toys, and laptop. In the office, he kisses Marianne and the two get a hotel room, but Brandon is unable to get  an erection. Marianne leaves the hotel. Brandon has  aggressive sex with a prostitute  in the same hotel room. Brandon tells Sissy that David has a family, and insists that she leave. She says that, as family, they are supposed to help each other, but Brandon accuses her of being irresponsible and a burden. Brandon goes to a bar and comes on to a woman, describing in explicit sexual detail what he would do to her. She is close to succumbing when her boyfriend intercedes. Brandon laughs in his face and tells him what he was saying. After he leaves the club unsatisfied, the boyfriend follows him out and brutally beats Brandon. When he is physically barred from entering another club, he goes to a gay bar across the street and is fellated by a man. After leaving, he listens to a voicemail message from Sissy crying as she tells him they aren't bad people, but come from a bad place.  Brandon has a threesome with two prostitutes. While Brandon is riding the subway home, the passengers are asked to leave the train due to a police emergency, which is implied to be a suicide under the train. He frantically calls Sissy, but she does not answer. He runs home to find Sissy sitting on the bathroom floor covered in blood, having slashed both wrists. He attempts to stop the bleeding while calling on his cellphone for help. She survives and he comforts her in the hospital. After leaving, he walks until he collapses, sobbing in the rain. Brandon is riding the subway. While looking around, he notices the same woman from the beginning of the film, still wearing the engagement ring. This time, the woman initiates flirting, but Brandon is hesitant. She stands, ready to exit the train at an approaching station. As the train slows, Brandon does not take his eyes off the woman, and the film cuts to black.", "name": "Shame_(2011_film)"}
{"scenes": ["`` The whole conviction of my life now rests upon the belief that loneliness, far from being a rare and curious phenomenon, is the central and inevitable fact of human existence.'' -- Thomas Wolfe, `` God's Lonely Man'' CREDITS CREDITS appear over scenes from MANHATTAN NIGHTLIFE. The snow has melted, it is spring. A rainy, slick, wet miserable night in Manhattan's theatre district. Cabs and umbrellas are congested everywhere ; well-dressed pedestrians are pushing, running, waving down taxis. The high-class theatre patrons crowding out of the midtown shows are shocked to find that the same rain that falls on the poor and common is also falling on them. The unremitting SOUNDS of HONKING and SHOUTING play against the dull pitter-patter of rain. The glare of yellow, red and green lights reflects off the pavements and autos. `` When it rains, the boss of the city is the taxi driver'' - so goes the cabbie's maxim, proven true by this particular night's activity. Only the taxis seem to rise above the situation : They glide effortlessly through the rain and traffic, picking up whom they choose, going where they please. Further uptown, the crowds are neither so frantic nor so glittering. The rain also falls on the street bums and aged poor. Junkies still stand around on rainy street corners, hookers still prowl rainy sidewalks. And the taxis service them too. All through the CREDITS the exterior sounds are muted, as if coming from a distant room or storefront around the corner. The listener is at a safe but privileged distance. After examining various strata of Manhattan nightlife, CAMERA begins to CLOSE IN on one particular taxi, and it is assumed that this taxi is being driven by TRAVIS BICKLE. END CREDITS TRAVIS BICKLE, age 26, lean, hard, the consummate loner. On the surface he appears good-looking, even handsome ; he has a quiet steady look and a disarming smile which flashes from nowhere, lighting up his whole face. But behind that smile, around his dark eyes, in his gaunt cheeks, one can see the ominous stains caused by a life of private fear, emptiness and loneliness. He seems to have wandered in from a land where it is always cold, a country where the inhabitants seldom speak. The head moves, the expression changes, but the eyes remain ever-fixed, unblinking, piercing empty space. Travis is now drifting in and out of the New York City night life, a dark shadow among darker shadows. Not noticed, no reason to be noticed, Travis is one with his surroundings. He wears rider jeans, cowboy boots, a plaid western shirt and a worn beige Army jacket with a patch reading, `` King Kong Company 1968-70''. He has the smell of sex about him : Sick sex, repressed sex, lonely sex, but sex nonetheless. He is a raw male force, driving forward ; toward what, one can not tell. Then one looks closer and sees the evitable. The clock sprig can not be wound continually tighter. As the earth moves toward the sun, Travis Bickle moves toward violence. FILM OPENS on EXT. OF MANHATTAN CAB GARAGE.  WEATHER-BEATEN sign above driveway reads, `` Taxi Enter Here''. Yellow cabs scuttle in and out. It is WINTER, snow is piled on the curbs, the wind is howling. INSIDE GARAGE are parked row upon row of multi-colored taxis. Echoing SOUNDS of cabs idling, cabbies talking. Steamy breath and exhaust fill the air.", "INT. CORRIDOR OF CAB COMPANY OFFICES. Lettering on ajar door reads : PERSONAL OFFICE Marvis Cab Company Blue and White Cab Co. Acme Taxi Dependable Taxi Services JRB Cab Company Speedo Taxi Service SOUND of office busywork : shuffling, typing, arguing. PERSONAL OFFICE is a cluttered disarray. Sheets with heading `` Marvis, B & W, Acme'' and so forth are tacked to crumbling plaster wall : It is March. Desk is cluttered with forms, reports and an old upright Royal typewriter. Dishelved middle-aged New Yorker looks up from the desk. We CUT IN to ongoing conversation between the middle-aged PERSONNEL OFFICER and a YOUNG MAN standing in front on his desk. The young man is TRAVIS BICKLE. He wears his jeans, boots and Army jacket. He takes a drag off his unfiltered cigarette. The PERSONNEL OFFICER is beat and exhausted : he arrives at work exhausted. TRAVIS is something else again. His intense steely gaze is enough to jar even the PERSONNEL OFFICER out of his workaday boredom. PERSONNEL OFFICER -LRB- O.S. -RRB- No trouble with the Hack Bureau? TRAVIS -LRB- O.S. -RRB- No Sir. PERSONNEL OFFICER -LRB- O.S. -RRB- Got your license? TRAVIS -LRB- O.S. -RRB- Yes. PERSONNEL OFFICER So why do you want to be a taxi driver? TRAVIS I ca n't sleep nights. PERSONNEL OFFICER There's porno theatres for that. TRAVIS I know. I tried that. The PERSONNEL OFFICER, though officious, is mildly probing and curious. TRAVIS is a cipher, cold and distant. He speaks as if his mind does n't know what his mouth is saying. PERSONNEL OFFICER So whatja do now? TRAVIS I ride around nights mostly. Subways, buses. See things. Figur'd I might as well get paid for it. PERSONNEL OFFICER We do n't need any misfits around here, son. A thin smile cracks almost indiscernibly across TRAVIS' lips. TRAVIS You kiddin? Who else would hack through South Bronx or Harlem at night? PERSONNEL OFFICER You want to work uptown nights? TRAVIS I'll work anywhere, anytime. I know I ca n't be choosy. PERSONNEL OFFICER -LRB- thinks a moment -RRB- How's your driving record? TRAVIS Clean. Real clean. -LRB- pause, thin smile -RRB- As clean as my conscience. PERSONNEL OFFICER Listen, son, you gon na get smart, you can leave right now. TRAVIS -LRB- apologetic -RRB- Sorry, sir. I did n't mean that. PERSONNEL OFFICER Physical? Criminal? TRAVIS Also clean. PERSONNEL OFFICER Age? PERSONNEL OFFICER Twenty-six. PERSONNEL OFFICER Education? TRAVIS Some. Here and there. PERSONNEL OFFICER Military record? TRAVIS Honorable discharge. May 197 3. PERSONNEL OFFICER You moonlightin? TRAVIS No, I want long shifts. PERSONNEL OFFICER -LRB- casually, almost to himself -RRB- We hire a lot of moonlighters here. TRAVIS So I hear. PERSONNEL OFFICER -LRB- looks up at Travis -RRB- Hell, we ai n't that much fussy anyway. There's always opening on one fleet or another. -LRB- rummages through his -LRB- drawer, collecting -RRB- -LRB- various pink, yellow -RRB- and white forms -RRB- Fill out these forms and give them to the girl at the desk, and leave your phone number. You got ta phone? TRAVIS No. PERSONNEL OFFICER Well then check back tomorrow. TRAVIS Yes, Sir. CUT TO :", "INT. TRAVIS' APARTMENT. CAMERA PANS SILENTLY across INT. room, indicating this is not a new scene. TRAVIS is sitting at plain table writing. He wears shirt, jeans, boots. An unfiltered cigarette rests in a bent coffee can ash tray. CLOSE UP of notebook. It is a plain lined dimestore notebook and the words TRAVIS is writing with a stubby pencil are those he is saying. The columns are straight, disciplined. Some of the writing is in pencil, some in ink. The handwriting is jagged. CAMERA continues to PAN, examining TRAVIS' apartment. It is unusual, to say the least : A ratty old mattress is thrown against one wall. The floor is littered with old newspapers, worn and unfolded streets maps and pornography. The pornography is of the sort that looks cheap but costs $ 10 a threw - black and white photos of naked women tied and gagged with black leather straps and clothesline. There is no furniture other than the rickety chair and table. A beat-up portable TV rests on an upright melon crate. The red silk mass in another corner looks like a Vietnamese flag. Indecipherable words, figures, numbers are scribbled on the plain plaster walls. Ragged black wires dangle from the wall where the telephone once hung. He is reading from a haphazard personal diary. TRAVIS -LRB- V.O. -RRB- -LRB- monotone -RRB- May 10, 1972. Thank God for the rain which has helped wash the garbage and trash off the sidewalks. TRAVIS -LRB- V.O. -RRB- I'm working a single now, which means stretch-shifts, six to six, sometimes six to eight in the a.m., six days a week. TRAVIS -LRB- V.O. -RRB- It's a hustle, but it keeps me busy. I can take in three to three-fifty a week, more with skims. CUT TO :", "EXT. MANHATTAN STREET Travis's yellow taxi pulls in foreground. On left rear door are lettered the words `` Dependable Taxi Service''. We are somewhere on the upper fifties on Fifth Ave. The rain has not let up. An ELDERLY WOMAN climbs in the right rear door, crushing her umbrella. Travis waits a moment, then pulls away from the curb with a start. Later, we see Travis' taxi speeding down the rain-slicked avenue. The action is periodically accompanied by Travis' narration. TRAVIS -LRB- V.O. -RRB- They're all animals anyway. All the animals come out at night : Whores, skunk pussies, buggers, queens, fairies, dopers, junkies, sick, venal. -LRB- a beat -RRB- Someday a real rain will come and wash all this scum off the streets. It's EARLY MORNING : 6 a.m. The air is clean and fresh and the streets nearly deserted. TRAVIS' POV of sleazy midtown side street : Bums, hookers, junkies. A MAN IN BUSINESS SUIT hails Travis to the curb. MAN IN BUSINESS SUIT, now seated in back seat, speaks up : MAN IN BUSINESS SUIT -LRB- urgent -RRB- Is Kennedy operating, cabbie? Is it grounded? On seat next to TRAVIS is half-eaten cheeseburger and order of french fries. He puts his cigarette down and gulps as he answers : TRAVIS Why should it be grounded? MAN IN BUSINESS SUIT Listen - I mean I just saw the needle of the Empire State Building. You ca n't see it for the fog! TRAVIS Then it's a good guess it's grounded. MAN IN BUSINESS SUIT The Empire State in fog means something, do n't it? Do you know, or do n't you? What is your number, cabbie? TRAVIS Have you tried the telephone? MAN IN BUSINESS SUIT -LRB- hostile, impatient -RRB- There is n't time for that. In other words, you do n't know. TRAVIS No. MAN IN BUSINESS SUIT Well, you should know, damn it, or who else would know? Pull over right here. -LRB- points out window -RRB- Why do n't you stick your goddamn head out of the goddamn window once in a while and find out about the goddamn fog! TRAVIS pulls to the curb. The BUSINESS MAN stuffs a dollar bill into the pay drawer and jumps out of the cab. He turns to hail another taxi. MAN IN BUSINESS SUIT Taxi! Taxi! Travis writes up his trip card and drives away. It is LATER THAT NIGHT. The rain has turned to drizzle. Travis drives trough another section of Manhattan. TRAVIS -LRB- V.O. -RRB- I work the whole city, up, down, do n't make no difference to me - does to some. STREETSIDE : TRAVIS' P.O.V. Black PROSTITUTE wearing white vinyl boots, leopard-skin mini-skirt and blond wig hails taxi. On her arm hangs half-drunk seedy EXECUTIVE TYPE. TRAVIS pulls over. PROSTITUTE and JOHN climb into back seat. TRAVIS checks out the action in rear view mirror. TRAVIS -LRB- V.O. -RRB- -LRB- CONTD -RRB- Some wo n't take spooks - Hell, do n't make no difference tom me. TRAVIS' taxi drives through Central Park. GRUNTS, GROANS coming from back seat. HOOKER and JOHN going at it in back seat. He's having a hard time and she's probably trying to get him to come off manually. JOHN -LRB- O.S. -RRB- Oh baby, baby. PROSTITUTE -LRB- O.S. -RRB- -LRB- forceful -RRB- Come on. TRAVIS stares blankly ahead. CUT TO :", "EXT. OF TAXI GARAGE.  TRAVIS' TAXI PULLS INTO THE DRIVEWAY. TRAVIS -LRB- V.O. -RRB- -LRB- CONTD -RRB- Each night when I return the cab to the garage I have to clean the come off the back seat. Some nights I clean off the blood.", "INT. OF TAXI GARAGE.  TRAVIS PULLS HIS TAXI INTO GARAGE stall. TRAVIS reaches across the cab and extracts a small vial of bennies from the glove compartment. TRAVIS stands next to the cab, straightens his back, and tucks the bottle of pills into his jacket pocket. He lowers his head, looks into back seat, opens rear door and bends inside. He shakes a cigarette out of his pack of camels and lights it. SLIGHT TIMECUT : TRAVIS books it at garage office. Old, rotting slabs of wood are screwed to a grey crumbling concrete wall. Each available space is covered with hand- lettered signs, time schedules, check-out sheets, memos. The signs read : BE ALERT!! THE SAFE DRIVER IS ALWAYS READY FOR THE UNEXPECTED SLOW DOWN AND GAUGE SPEED TO ROAD CONDITIONS YOU CA N'T STOP ON A DIME! ALL NIGHT DRIVERS HAVING PERSONAL INJURY ACCIDENTS MUST PHONE IN AT ONCE TO JUDSON 2-3410 AND MUST FILE A REPORT Promptly AT 9 AM THE FOLLOWING MORNING AT 43 W. 61st. A half dozen haggard cabbies hang around the office. Their shirts are wrinkle, their heads dropping, the mouths incessantly chattering. We pick up snatches of cabbie small talk : 1ST CABBIE... hadda piss like a bull steer, so I pull over on 10th Ave, yank up the hood and do the engine job. -LRB- gestures as if -LRB- taking a piss into -RRB- the hood -RRB- There I am with my dong in my hand when a guy come up and asks if I need any help. Just checking the battery, I says, and, meanwhile... -LRB- MORE -RRB- 1ST CABBIE -LRB- CONT'D -RRB- -LRB- takes imaginary piss -RRB- 2ND CABBIE If he thinks I'm going up into The Jungle this time of night, he can shove it. 3RD CABBIE -LRB- talking into pay phone -RRB- Fuck that Violets First. Fucking saddle horse. No, no, the OTB. Fuck them. No, it was TKR. TCR and I'da made seven fucking grand. Fuck them too. Alright, what about the second race? 4TH CABBIE Over at Love, this hooker took on the whole garage. Blew the whole fucking joint and they would n't even let her use the drinking fountain. Travis hands his trip sheet to a CAB OFFICIAL, nods slightly, turns and walks toward the door. OUTSIDE, TRAVIS walks pleasantly down Broadway, his hands in his jacket pockets. The sidewalks are deserted, except for diligent fruit and vegetable VENDORS setting up their stalls. He takes a deep breath of fresh air, pulls a white pill from his pocket, pops it into his mouth. Travis turns a corner, keeps walking. Ahead of him is a 24- hour PORNO THEATRE. The theatre, a blaze of cheap day-glow reds and yellows, is an offense to the clear, crisp morning air. The permanent lettering reads, `` Adam Theatre, 16mm Sound Features''. Underneath, today's feature are hand- lettered : `` Six-Day Cruise'' and `` Beaver Dam''. Travis stops at the box office, purchases a ticket, and walks in.", "INT. PORNO THEATRE Travis stands in the aisle for a moment. He turns around, walking back toward the concession stand. CONCESSION STAND A plain dumpy-looking GIRL sits listlessly on a stool behind the shabby concession stand. A plaster-of-Paris Venus de Milo sits atop a piece of purple velvet cloth on the counter. The SOUND of the feature drones in the background. CONCESSION GIRL Kin I help ya? Travis rests his elbow on the counter, looking at the Girl. He is obviously trying to be friendly - no easy task for him. God knows he needs a friend. TRAVIS What is your name? My name is Travis. CONCESSION GIRL Awh, come off it, Pal. TRAVIS No, I'm serious, really... CONCESSION GIRL Ya want me to call da boss? Huh? That what you want? CONCESSION GIRL No, no, it's alright. I'll have a big Coca-Cola - without ice - and a large buttered popcorn, and... -LRB- pointing -RRB-... some of them chocolate covered malted milk balls... and ju-jukes, a box. They last. CONCESSION GIRL We do n't have ju-jukes. We do n't have Coca-Cola. We only got Royal Crown Cola. TRAVIS That's fine. CONCESSION GIRL That's a dollar forty-seven. Travis lays two dollar bills on the counter.", "INT. THEATRE AUDITORIUM Slight TIMECUT to Travis sitting in theatre, drinking his Royal Crown Cola, eating his popcorn and milk balls. His eyes are fixed on the screen. A MALE VOICE emanates from the screen : MALE MOVIE VOICE -LRB- O.S. -RRB- Come here, bitch. I'm gon na split you in half. Male Voice yields to Travis' monotone narration. TRAVIS -LRB- V.O. -RRB- Twelve hours of work and I still can not sleep. The days dwindle on forever and do not end. FADE TO :", "EXT. CHARLES PALANTINE CAMPAIGN HEADQUARTERS The Headquarters of the `` New Yorkers for Charles Palantine for President Committee'', located at the corner of 50th Street and Broadway, are festooned in traditional red, white and blue banners, ribbons and signs. One large sign proclaims `` Palantine''. Another sign reads `` Register for New York Primary, July 20. ``. The smiling middle-aged face of Charles Palantine keeps watch over the bustling pedestrians. It is LATE AFTERNOON. INSIDE HEADQUARTERS A variety of YOUNG WORKERS joke and chatter as they labor through stacks of papers. The room is pierced with the sound of ringing phones. Seen from a distance - the only way Travis can see them - those are America's chosen youth : Healthy, energetic, well- groomed, attractive, all recruited from the bucolic fields of Massachusetts and Connecticut. CAMERA FAVORS BETSY, about 25, an extremely attractive woman sitting at the reception desk between two phones and several stacks of papers. Her attractions, however, are more than skin deep. Beneath that Cover Girl facial there is a keen, though highly specialized sensibility : Her eyes scan every man who passes her desk as her mind computes his desirability : Political, intellectual, sexual, emotional, material. Simple pose and status do not impress her ; she seeks out the extraordinary qualities in men. She is, in other words, star-fucker of the highest order. Betsy, putting down the phone, calls TOM, a lanky, amiable and modishly long-haired campaign workder over to her desk : BETSY Tom. Tom is pleasant and good-looking, but lacks those special qualities which interest Betsy. He gets nowhere with Betsy - yet he keeps trying. Just another of those routine office flirtations which pass the hours and free the fantasies. BETSY Tom, come here a moment. -LRB- he walks over -RRB- I think this canvas report is about ready to go out. Check it out with Andy, and if he okays if, have a copy made for the campaign headquarters in every county. -LRB- a beat -RRB- And do n't forget to add the new photo releases. TOM The senator's white paper is almost ready, Bets. Should we wait for that? BETSY Andy usually just sends those to the national media. The local press does n't know what to do with a position paper until UPI and AP tell them anyway. TOM I think we should try to get maximum coverage for this new mandatory welfare program. Push the issues. BETSY -LRB- as if instructing a child -RRB- First push the man, then the issue. Senator Palantine is first of all a dynamic man, an intelligent, interesting, fascinating man. TOM You forgot `` sexy''. BETSY No, I did n't forget `` sexy''. TOM Just did n't get around to it, huh? BETSY Oh, Tom, please. TOM Well, for Christsakes, you sound like you're selling... I do n't know what... cars... not issues. BETSY Have you ever wondered why CBS News has the highest ratings? TOM More people watch it. BETSY Alright, forget it if you're not going to be serious, TOM No, c'mon, I'm listening. I was just... BETSY Just what? TOM Kidding around... you know, fun. Betsy looks toward the street, then back at Tom. BETSY Maybe if you'd try thinking once in a while, you'd get somewhere. TOM With who? BETSY Alright, now. You want to know why CBS has the highest ratings? You their news is any different from NBC, ABC? It's all the same news. Same stories. Same order usually. What, you thought they had good news for people, right? You thought that's why people watched CBS? I'll tell you why people watch CBS. Cronkite. The man. You got it? Not the news, not the issues, the man. If Walter Cronkite told people to eat soap, they'd do it. We are selling cars, goddamn it. Betsy's attention is being distracted by something she sees across the street. She puts on her glasses and looks out across the street again. TOM Well, if Cronkite's so great, why do n't we run him instead? BETSY That's the last. The finish. Period. Some pople can learn. Some people ca n't. And you wonder why we never get serious -- -- TOM Sure we could run him. You realize he's already of his block association. BETSY -LRB- looks across street again -RRB- Have you been noticing anything strange? TOM No, why? BETSY Why's that taxi driver across the street been staring at us? TOM What taxi driver? BETSY That taxi driver. The one that's been sitting here. TOM How long has he been there? BETSY I do n't know - but it feels like a long time. Travis' cold piercingly eyes Stare out from his cab parked across the street from Palantine Headquarters. He is like a lone wolf watching the warm campfires of civilization from a distance. A thin red dot glows from his cigarette. Tom exchanges Travis' gaze. TOM -LRB- determined -RRB- Well, I'll go out and ask him. As Tom walks toward front door Betsy's eyes alternate between him and the position where Travis sits.", "EXT. PALANTINE HEADQUARTERS Tom strides out the front door and walks briskly across the street toward Travis' taxi. Travis spots Tom walking toward him and quickly stares up his cab, then squeals off in a burst of billowing exhaust. Tom watches the speeding taxi quizzically. Travis' taxi continues down Broadway. CUT TO :", "INT. TRAVIS' APARTMENT He lies on his mattress at the ceiling. He is fully clothed and appears deep in thought. Near his mattress rest several medications : A large bottle of vitamin pills, two smaller bottles of pills, a bottle of peach-flavored brandy. TRAVIS -LRB- V.O. -RRB- All my life needed was a sense of direction, a sense of someplace to go. I do not believe one should devote his life to morbid self- attention, but should become a person like other people.", "EXT. ANOTHER DAY - LATE AFTERNOON Travis' taxi is driving down Broadway with the `` Off Duty'' sign on. POV TRACKING SHOT down Broadway. CAMERA stops at Palantine Campaign Headquarters. A few WORKERS remain in the office. Betsy's desk is vacant.", "EXT. FIFTH AVENUE - THE SAME AFTERNOON CAMERA TRACKS with crowded mass of MANHATTANITES as they ooze through the sidewalks toward their various destination. Individuals are indiscernible : It is simply a congested mass. TRAVIS -LRB- V.O. -RRB- I first saw her at Palantine Campaign Headquarters at 58th and Broadway. She was wearing a yellow dress, answering the phone at her desk. Suddenly : Cut of the congested human mass, IN SLOWING MOTION, appears the slender figure of BETSY in a stylish yellow dress. The crowd parts like the Red Sea, and there she is : Walking all alone, untouched by the crowd, suspended in space and time. TRAVIS -LRB- V.O. -RRB- -LRB- CONTD -RRB- She appeared like an angel out of this open sewer. Out of this filthy mass. She is alone : They can not touch her.", "INT. TRAVIS' APARTMENT He is at the table, writing in his diary. CLOSEUP - His stubby pencil rests on the word `` her''. CUT TO : It is 3:30 IN THE MORNING in a bacon-shaped all night WEST SIDE REATAURANT. The thick smell hangs in the air - fried grease, smoke, sweat, regurgitated wine. Whatever does n't flush away in New York at night turns up in places like this. A burly grease-stained COOK stands over the grill. A JUNKIE shuffles from one side of the door to another. Slouched over the small four-person formica tables are several WELL-DRESSED BLACKS ( too well-dressed for this time and place ), a cluster of STREET PEOPLE and a lost OLD COOT who hangs onto his cup of coffee as if it were his last possession. The restaurant, brightly lit, perfectly conveys the image urban plasticity - without the slightest hint of an accompanying cleanliness. Toward the rear of the restaurant sit three cabbies : WIZARD, a worn man about fifty, DOUGH-BOY, younger family man, CHARLIE T., fourtyish Black. Wizard is telling Dough-Boy a story. Charlie T., his elbows popped against table top, is not listening. He stares silently down at a plate of cold scrambled eggs and a Racing Forum. His eyes may not be open. WIZARD First she did her make-up. You know, I hate it when they do that. I mean she does the whole works, the mascara, the eye-shadow, the lipstick, the rouge... DOUGH-BOY Not rouge. Blush-On, they call it. WIZARD The kind with a brush. Travis appears at the door. He has to push aside the JUNKIES to enter without making physical contact - something Travis would not relish. He may be repulsed with these people and this place, but he is too much a part of this to let his feelings rise to the surface. Wizard gives Travis a perfunctory wave. WIZARD Travis. TRAVIS Hey Wizard. Travis straddles a seat at the table. Dough-Boy gives Travis something between a wink and an eye-twitch saying : DOUGH-BOY Yeah, that's Blush-On. My wife uses it, WIZARD -LRB- ironic -RRB- Ask Travis. He's the ladies man. Travis shrugs and motions for a cup of coffee. WIZARD -LRB- continuing -RRB- Well, whatever the fuck it is, she used it. And then the spray perfume. You know, the real sweat kind - and, on top of that, get this, right when we're crossing the Tri- boro bridge - she changes her pantyhose! DOUGH-BOY No. Travis turns his head. He appears not to be interested, but is. WIZARD Yeah. DOUGH-BOY Could you see anything? WIZARD Well, she was trying to keep her skirt down, sort of, you know. But it was pretty obvious what she was doing. I mean, Christ, it was rush hour and the traffic's practically standing still. DOUGH-BOY What did you do? WIZARD Threw on the emergency, jumped the seat and fucked her brains out - What do you think! -LRB- they laugh -RRB- What do I have to do? Draw you a picture? DOUGH-BOY Yeah. WIZARD What was I supposed to do? I was watching in the rear view. You know, just checkin' traffic. -LRB- to Travis -RRB- So howsit? TRAVIS -LRB- w/o inflection -RRB- Some fleet driver for Bell just cut up. Just heard it on the radio. DOUGH-BOY Stick up? A WAITRESS brings Travis' coffee and a glass of water. He asks for a cheeseburger. WIZARD Sure. What do you think? She wanted to get out of the cab. I said `` Look, you're in the middle of the fucking bridge...'' DOUGH-BOY You said that? WIZARD Well, I said, `` Lady, please, we're on a bridge...'' DOUGH-BOY And what happened? Travis awaits Wizard's answer. WIZARD She stayed in the cab, what's she gon na do? but she stiffed me. A real skunk. DOUGH-BOY A real skunk. Wizard realizes Travis and Dough-Boy may not have met. WIZARD -LRB- paternal -RRB- Travis, you know Dough-Boy, Charlie T.? Charlie T. nods sleepily. Travis indicates he knows Dough-Boy. DOUGH-BOY Yeah. We went to Harvard together. -LRB- laughs -RRB- WIZARD We call him Dough-Boy cause he likes the dollars. He'll chase a buck straight into Jersey. DOUGH-BOY Look who's talking? -LRB- gestures around table -RRB- Who else would stay up all night to catch the morning rush hour? Travis sips his coffee. Charlie T.'s eyelids slip shut. WIZARD -LRB- to Travis -RRB- So howsit? TRAVIS -LRB- w/o inflection -RRB- Some fleet driver for Bell just got cut up. Just heard it on the radio. DOUGH-BOY Stick up? TRAVIS No, just some crazy fucker. Cut have his ear off. DOUGH-BOY Where. TRAVIS In the jungle. 122nd. Travis' eyes turn toward the restaurant's other patrons. POV : THREE STREET PEOPLE sitting at a table. One GUY, stoned, stares straight ahead. A raggedly attractive GIRL rest her head on the shoulder of the other, a heavily bearded YOUNG MAN with a headband. They kiss and tease each other, momentarily lost in their separate world. Travis watches the hippie couple closely, his feeling sharply divided between cultural contempt and morose jealousy. Why should these people enjoy the love and intimacy that has always eluded him? He must enjoy these schizoid emotions, because his eyes dwell on the couple. DOUGH-BOY -LRB- changing the subject -RRB- You run all over town, do n't you, Travis? WIZARD -LRB- referring to 122nd St. -RRB- Fuckin' Mau Mau land, that's what it is. Travis turns back to his companions. TRAVIS Huh? DOUGH-BOY I mean, you handle some pretty rough traffic, huh? TRAVIS -LRB- catching on -RRB- I have. DOUGH-BOY You carry a piece? You need one? TRAVIS Nah. -LRB- a beat -RRB- I suppose not. Waitress slaps down smudge-marked glass of water, and a cheeseburger plate that looks more like a shrunken head on a serving platter. DOUGH-BOY Well, you ever need one, I know a feller that kin getcha a real nice deal. Lotsa shit around. WIZARD The cops and company raise hell they find out. Travis drops two Alka-Seltzer into his glass of water. DOUGH-BOY Truck drivers bring up Harlem Specials that blow up in your hand. But this guy do n't deal no shit. Just quality. If you ever need anything, I can put you in touch. WIZARD For a fee. DOUGH-BOY For a fee. WIZARD I never use mine. But it's a good thing to have. Just as a threat. DOUGH-BOY -LRB- getting up -RRB- well, if there's this many hackies inside, there must be lots of hares outside. And I'm gon na hustle'em. WIZARD What ya gon na do with all that money, Dough-Boy? DOUGH-BOY Support my kids. Can you dig it? -LRB- pause -RRB- nice to meet ya, Travis. So long, Wizard. Say hello to Malcolm X for me. -LRB- nods to Charlie T. -RRB- Charlie T. remains unmoved : He is sleeping. Dough-Boy exits. Travis smiles perfunctorily, then looks back at Wizard. They really do n't have much to talk about, and the Wizard does n't care to manufacture any more conversations. Travis scans the greasy spoon : The scene is unchanged. CUT TO :", "EXT. PALANTINE HEADQUARTERS - ANOTHER DAY Traffic passes.", "INT. PALANTINE HEADQUARTERS Tom and Betsy are talking. She takes out a cigarette. He takes out matches to light it. BETSY Try holding the match like this. TOM This is got ta be a game, right? BETSY -LRB- putting on glasses -RRB- This I got ta see. TOM -LRB- burning fingers -RRB- Ouch! BETSY -LRB- giggling -RRB- Oh, are you all right? TOM I'm great. Always set my fingers on fire. If you want to see another trick. I do this thing with my nose. BETSY No. I just wanted to see if you could light it that way. The guy at the newsstand can. TOM Ah, yes, the guy at the newsstand, Mr. Asbestos... BETSY He happens to be missing fingers. I first noticed when - TOM Is he Italian? BETSY No, why? TOM You sure he's not Italian? BETSY He's Black, OK? TOM Well, If he had been Italian, they could have been shot off. Sometimes the mob does that to teach guys a lesson, If they blow a job or something. BETSY As I said, he is n't Italian. Besides, I thought they just killed them. TOM Do n't be naive. They ca n't kill everybody. They have different punishments for different things. Like, if they kill a stool pidgeon, they leave a canary on the body. It's symbolic. BETSY Why do n't they leave a pidgeon instead of a canary? TOM I do n't know. Maybe they do n't leave a canary. Do n't be technical. What I'm saying is if this newsstand guy's Italian and his fingers are gone, maybe he's a thief. BETSY First, he's not Italian. Second he's not a thief. I noticed the fingers when he was getting my change - the right change. Two of his fingers are missing. Just stubs. Like they were blown away. I was putting my change in my purse when I saw him get out a cigarette. I could n't help watching. I was dying to see how he'd light it. TOM With the other hand, right? BETSY No, stupid. With the stubs. That's the whole point. TOM I know that guy. His hand looks like a paw. An old Black guy, the newsstand at - BETSY No, this is young - well, I'm never sure how old Black people are - but, anyway, he is n't old. That's for sure. TOM Show me how he did that again.", "EXT. ACROSS THE STREET FROM HEADQUARTERS Travis is striding briskly across Broadway toward the Palantine Headquarters. He s dressed the best we have seen him ; his pants ( not jeans ) are pressed, his boots shined, his hair combed. Under his Army jacket he wears a freshly laundered shirt and ivy league tie. He drops his cigarette, steps on it and walks in. Watching Travis enter Palantine's Headquarters, we are surprised to realize that Travis is really quite attractive. His deformities are psychological, not physical. He believes he is cursed, and therefore he is. Travis walks briskly into the office, and heads toward Betsy's desk. Tom walks over to greet him, but Travis ignores him. TRAVIS -LRB- at Betsy's desk -RRB- I want to volunteer. As the CAMERA examines Travis' face more closely, one can see the hollowness wrought by lack of sleep and sufficient diet. TOM -LRB- at Betsy's desk -RRB- If you'll come this way. Travis elbows Tom off. TRAVIS -LRB- to Betsy -RRB- No. I want to volunteer to you. TOM -LRB- under his voice -RRB- Bets. BETSY waves TOM off with a short gesture, indicating everything is OK. He walks away. BETSY -LRB- curious -RRB- And why is that? TRAVIS is on his best behavior. He smiles slightly : TRAVIS Because you are the most beautiful woman I have ever seen. BETSY is momentarily taken back, but pleased. TRAVIS' presence has a definite sexual charge. He has those star qualities BETSY looks for : She senses there is something special about the young man who stands before her. And then, too, there is that disarming smile. He is, as Betsy would say, `` fascinating''. BETSY -LRB- smiling -RRB- Is that so? -LRB- pause -RRB- But what do you think of Charles Palantine? TRAVIS -LRB- his mind elsewhere -RRB- Who mam? BETSY Charles Palantine. The man you want to volunteer to help elect president. TRAVIS Oh, I think he's a wonderful man. Make a great, great President. BETSY You want to canvass? TRAVIS Yes, mam. Betsy is interviewing Travis, but she is also teasing him a little, leading him on in a gentle feminine way : BETSY How do you feel about Senator Palantine's stand on welfare? This takes TRAVIS back a bit. He obviously does n't have the slightest idea what Palantine's stand on welfare is, in fact, he does n't have any idea about politics whatsoever. TRAVIS thinks a moment, then improvises an answer : TRAVIS Welfare, mam? I think the Senator's right. People should work for a living. I do. I like to work. Every day. Get those old coots off welfare and make'em work for a change. Betsy does a subtle double-take : This is n't exactly Palantine's position on welfare. She remain intrigued by Travis. BETSY Well, that's not exactly what the Senator has proposed. You might not want to canvass, but there is plenty more other work we need done : Office work, filing, poster hanging. TRAVIS I'm a good worker, Betsy mam, a real good worker. BETSY -LRB- gesturing -RRB- if you talk to Tom, he'll assign you to something. TRAVIS If you do n't mind, mam, I'd rather work for you. BETSY Well, we're all working tonight. TRAVIS Well, Betsy mam, I drive a taxi at night. BETSY Well, then, what is it you exactly want to do? TRAVIS -LRB- bolstering courage -RRB- If you do n't mind, mam, I'd be mighty pleased if you'd go out and have some coffee and pie with me. Betsy does n't quite know what to make of Travis. She is curious, intrigued, tantalized. Like a moth, she draws closer to the flame. BETSY Why? TRAVIS Well, Betsy mam, I drive by this place here in my taxi many times a day. And I watch you sitting here at this big long desk with these telephones, and I say to myself, that's a lonely girl. She needs a friend. And I'm gon na be her friend. -LRB- smiles -RRB- Travis rarely smiles, but when he does his whole face glows. It is as if he is able to tap an inner reserve of charm unknown even to himself. Betsy is completely disarmed. BETSY I do n't know... TRAVIS It's just to the corner, mam. In broad daytime. Nothing can happen. I'll be there to protect you. BETSY -LRB- smiles -RRB- All right. -LRB- relents -RRB- All right. I'm taking a break at four o'clock. If you're here then we'll go to the corner and have some coffee and pie. TRAVIS Oh, I appreciate that, Betsy mam. I'll be here at four o'clock exactly. -LRB- pause -RRB- And... ah... Betsy... BETSY Yes? TRAVIS My name is Travis. BETSY Thank you, Travis. Travis nods, turns and exits. Tom, who has been watching this interchange with a pseudo- standoffish ( actually jealous ) air, steps over to Betsy. His manner demands some sort of explanation of what Betsy was doing. Betsy simply shrugs ( it's really none of his business ) and says : BETSY I'm just going to find out what the cabbies are thinking. CUT TO : Travis is pacing back and forth on Broadway just beyond the Palantine Headquarters. He checks his watch. TRAVIS -LRB- V.O. -RRB- April 26, 1972. Four o'clock p.m. I took Betsy to the Mayfair Coffee Shop on Broadway...", "INT. COFFEE SHOP Travis and Betsy are sitting in a booth of a small New York Coffee Shop. They both have been served coffee ; Travis is nervously turning his cup around in his hands. As Travis speaks V.O., WAITRESS brings their orders : Apple pie for TRAVIS, fruit compote for BETSY. TRAVIS -LRB- V.O. -RRB- I had black coffee and apple pie with a slice of melted yellow cheese. I think that was a good selection. Betsy had coffee and a fruit salad dish. She could have had anything she wanted. Betsy's conversation interrupts Travis' V.O. : BETSY We've signed up 15.000 Palantine volunteers in New York so far. The organizational problems are becoming just staggering. TRAVIS I know what you mean. I've got the same problems. I just ca n't get things organized. Little things, I mean. Like my room, my possessions. I should get one of those signs that says, `` One of these days I'm Gon na Organezizied''. Travis contorts his mouth to match his mispronunciation, than breaks into a big, friendly, infectious grin. The very sight of it makes one's heart proud. Betsy can not help but be caught up in Travis' gin. Travis' contagious, quicksilver moods cause : BETSY -LRB- laughing -RRB- Travis, I never ever met anybody like you before. TRAVIS I can believe that. BETSY Where do you live? TRAVIS -LRB- evasive -RRB- Oh, uptown. You know. Some joint. It ai n't much. BETSY So why did you decide to drive a taxi at night? TRAVIS I had a regular job for a while, days. You know, doin' this, doin' that. But I did n't have anything to do at night. I got kinda lonely, you know, just wandering around. So I decided to works nights. It ai n't good to be alone, you know. BETSY After this job, I'm looking forward to being alone for a while. TRAVIS Yeah, well... -LRB- a beat -RRB- In a cab you get to meet people. You meet lotsa people. It's good for you. BETSY What kind of people? TRAVIS Just people people, you know. Just people. -LRB- a beat -RRB- Had a dead man once. BETSY Really? TRAVIS He'd been shot. I did n't know that. He just crawled into the back seat, said `` West 45th Street'' and conked out. BETSY What did you do? TRAVIS I shot the meter off, for one thing. I knew I was n't goimg to get paid. Then I dropped him off at the cop shop. They took him. BETSY That's really something. TRAVIS Oh, you see lots of freaky stuff in a cab. Especially when the moon's out. BETSY The moon? TRAVIS The full moon. One night I had three or four weirdoes in a row and I looked up and, sure enough, there it was - the full moon. Betsy laughs. Travis continues : TRAVIS Oh, yeah. People will do anything in front of a taxi driver. I mean anything. People too cheap to rent a hotel room, people scoring dope, people shooting up, people who want to embarrass you. -LRB- a bitterness emerges -RRB- It's like you're not even there, not even a person. Nobody knows you. Betsy cuts Travis' bitterness short : BETSY Com'on, Travis. It's not that bad. I take lots of taxis. TRAVIS I know. I could have picked you up. BETSY Huh? TRAVIS Late one night. About three. At the plaza. BETSY Three in the morning? I do n't think so. I have to go to bed early. I work days. It must have been somebody else. TRAVIS No. It was you. You had some manila folders and a pink bag from Saks. Betsy, realizing Travis remembers her precisely, scrambles for a polite rationale for her behavior : BETSY You're right! Now I remember! It was after the Western regional planners were in town and the meeting went late. The next day I was completely bushed. It was unbelievable. TRAVIS If it was n't for a drunk I would have picked you up. He wanted to go to the DMZ. BETSY The DMZ? TRAVIS South Bronx. The worst. I tried to ditch him, but he was already in the cab, so I had to take him. That's the law. Otherwise I would have picked you up. BETSY That would have been quite a coincidence. TRAVIS You'd be surprised how often you see the same people, get the same fare. People have patterns. They do more or less the same things every day. I can tell. BETSY Well, I do n't go to the Plaza every night. TRAVIS I did n't mean you. But just ordinary people. A guy I know - Dough-Boy - met his wife that way. They got to talking. She said she usually caught the bus so he started picking her up at the bus stop, taking her home with the flag up. BETSY That's very romantic. Some of your fares must be interesting. See any stars, politicians, deliver any babies yet? TRAVIS Well, no... not really... had some famous people in the cab. -LRB- remembering -RRB- I got this guy who makes lasers. Not regular lasers, not the big kind. Little lasers, pocket sized, small enough to clip your belt like a transistor radio, like a gun, you know. Like a ray gun. Zap. BETSY -LRB- laughs -RRB- What hours do you work? TRAVIS I work a single, which means there's no replacement - no second man on the cab. Six to six, sometimes eight. Seventy-two hours a week. BETSY -LRB- amazed -RRB- You mean you work seventy-two hours a week. TRAVIS Sometimes 76 or 80. Sometimes I squeeze a few more hours in the morning. Eighty miles a day, a hundred miles a night. BETSY You must be rich. TRAVIS -LRB- big affectionate smile -RRB- it keeps ya busy. BETSY You know what you remind me of? TRAVIS What? BETSY That song by Kris Kristofferson, where it's said `` Like a pusher, party truth, partly ficition, a walking contradiction''. -LRB- smiles -RRB- TRAVIS I'm no pusher, Betsy. Honest. I never have pushed. TRAVIS I did n't mean that, Travis. Just the part about the contradiction. TRAVIS -LRB- more at ease -RRB- Oh. Who was that again? BETSY The singer? TRAVIS Yeah. Yes. I do n't follow music too much. BETSY -LRB- slowly -RRB- Kris Kristofferson. Travis looks at Betsy intently and they exchange smiles. CUT TO : Travis is walking confusedly around SAM GOODY'S at MIDDAY, obviously unable to locate what he desires. Travis is lost among the hip, young intellectual type that populate the store. He watches the stylish, attractive female help, unable to come right out and requests what he desires. A young SALESGIRL sees his plight, walks over and asks if he needs any help. Travis INAUDIBLY says a name to her, although the name is obviously Kris Kristofferson. The Salesgirl digs out Kristofferson's `` Silver-Tongued Devil'' album for him. Travis says something additional to the Salesgirl and she goes off to gift-wrap the album. Travis emerges from the RECORD STORE, the brightly gift- wrapped album proudly tucked under his arm. CUT TO : A lengthy POV SHOT from Travis' vantage point behind the wheel. We see the city as Travis sees it. The front windshield is a little dirty, the lighted meter just up at the low right screen. The intercom crackles with STATIC and MESSAGES. The light turns green ; we take off with a start. A short first gear - quick shift - a long second gear. The cab eases to the right of the street, checking out prospective fares. Our eyes scan the long lines of PEDESTRIANS. The regular - bums, junkies, tourists, hookers, homosexuals, hippies - they mean nothing now. They only blend into the sidewalks and lighted storefronts. Our eyes now concentrate on those that step away from the curb - is that man hailing a cab or scratching his head? In the next block there are perhaps three, four fares - quick gas-up through this yellow light - brake sharply - check the action. The first : Tourist, nickel tipper - let the next guy pick them up. Let the second go also, the third - there's a live fare. Middle-aged LOCAL WOMAN : Short fare to the East Side, good tip. We pull to the curb, waiting for her to get in. It is a long wait - a Black STREET WALKER crosses in front of the cab. We focus on ( as Travis would ) a YOUNG COUPLE embracing in the distance. As we travel, we hear Travis' random thoughts about selecting fares and tips : TRAVIS -LRB- V.O. -RRB- You work at night, you get an instinct. You can smell them. The big tippers, the stiffs, the trouble makers. Quarter is good tip for Manhattan. Queens is better, Brooklyn is best. go for the guys with suitcases. The rich are the worst tippers, hooks are lousy. Spooks are okay, but they do n't live at Park Ave after all. The meter is activated : $.60 registers. Tick, tick, tick. A quick glance shows the woman is now seated. She says softly, `` 192 East 89''. We take off with another jolt. Cross back up 9th Ave, then cut through the park. We're zooming up 9th Ave - how many green lights can we string together? Somebody steps out to hail the cab, but quickly steps back again. The meter is up $.90. It'll be a $ 1.40 fare. Now through the park and we're almost there. Check the numbers - 134 - 140. End of the block. Fare= $ 1.40. Check back mirror - she's getting out two bills. Two quarters and a dime change. Tip'll be either.25 or.35. The tip comes back : 35 cents - good tip. Good lady. We take off again with a jolt. This is Travis' world : Dark side streets, garish glaring main streets, quick glances, quicker evaluations - a dozen instantaneous decisions a minute. Are these people, are these objects?", "EXT. TRAVIS' TAXI SPEED DOWN DARKENED STREET. Travis lets off a fare and pulls into line at the Plaza. TRAVIS -LRB- V.O. -RRB- I called Betsy again at her office, and she said maybe we could go to a movie together after she gets off work tomorrow. That's my day off. At first she hesitated, but I called her again and she agreed. -LRB- pause -RRB- Betsy. Betsy what? I forgot to ask her last name again. Damn. I've got to remember stuff like that. Travis' thoughts are with Betsy, as THREE MEN enter Travis' cab. He activates the meter and pulls off. MAN'S VOICE St. Regis Hotel. Travis checks the mirror. Scanning across the back seat, he recognizes the middle passenger. It is CHARLES PALANTINE, candidate for President. He must have left the Hotel shortly after BETSY. Tom, seated on the jump seat, checks his watch and speaks deferentially to Palantine : TOM It's 12:30 now. You'll have fifteen minutes before the actual luncheon begins. Palantine nods as his assistant picks up the thread of an earlier conversation. ASSISTANT I do n't think we have to worry about anybody here committing themselves until things start coming in from California. Travis recognizes his passenger. He puts out his cigarette. TRAVIS -LRB- interrupting -RRB- Say, are n't you Charles Palantine, the candidate? PALANTINE -LRB- only mildly irritated -RRB- Yes I am. TRAVIS Well, I'm one of your biggest supporters. I tell everybody that comes in this cab that they should vote for you. PALANTINE -LRB- pleased ; glances to check Travis' license ) Why, thank you Travis. TRAVIS I'm sure you'll win, sir. Everybody I know is going to vote for you. -LRB- a beat -RRB- I was going to put one of your stickers on my taxi but the company said it was against their policy. PALANTINE -LRB- pleasant -RRB- I'll tell you, Travis, I've learned more about this country sitting in taxi cabs than in the board room of General Motors. TOM -LRB- joking -RRB- And in some other places too... Palantine, his Assistant and Tom all laugh. Palantine, quickly reassuming candiorial mien, speaks to Travis : PALANTINE Travis, what single thing would you want the next President of this country to do most? TRAVIS I do n't know, sir. I do n't follow political issues much. PALANTINE There must be something... TRAVIS -LRB- thinks -RRB- Well, he should clean up this city here. It's full of filth and scum. Scum and filth. It's like an open sewer. I can hardly take it. -LRB- MORE -RRB- TRAVIS -LRB- CONT'D -RRB- Some days I go out and smell it then I get headaches that just stay and never go away. We need a President that would clean up this whole mess. Flush it out. Palantine is not a Hubert Humphrey-type professional bullshitter, and Travis' intense reply stops him dead in his tracks. He is forced to fall back on a stock answer but tries to give it some meaning. PALANTINE -LRB- after a pause -RRB- I know what you mean, Travis, and it's not going to be easy. We're going to have to make some radical changes. TRAVIS -LRB- turning the wheel -RRB- Damn straight.", "EXT. BARCLAY HOTEL TRAVIS' taxi pulls up in front of the Barclay Hotel. PALANTINE and AIDE get out of the cab. SECOND AIDE stays in back seat a moment to pay TRAVIS. PALANTINE looks in front window of cab momentarily and nods goodbye to TRAVIS. PALANTINE Nice talking to you, Travis. TRAVIS -LRB- calling back -RRB- Thank you, sir. You're a good man, sir. Travis' taxi departs. PALANTINE and AIDES walk up carpet to the St. Regis. CAMERA CLOSES IN on PALANTINE as he stops, turns back and watches Travis' departing taxi. PALANTINE turns back and ascends the hotel steps with his AIDES.", "EXT. MANHATTAN STREET - EARLY MORNING TRAVIS, dressed to the teeth, walks brightly down the sidewalk. His face is frehsly shaved, his hair combed, his tie straightened. He pauses in a store window to check his appearance. Under his arm he carries the gift-wrapped Kristofferson record album. OUTSIDE PALANTINE HEADQUARTERS BETSY, smartly dressed, waves goodbye to another CAMPAIGN WORKER and walks out the door to greet him. A SHORT WHILE LATER, TRAVIS and BETSY are walking down Broadway toward Times Square. BETSY does not let their bodies touch as they walk although TRAVIS contemplates edging closer to her. Betsy has opened the package and is admiring the record - or, rather, Travis' sentiment behind giving it. Travis looks around himself with pride : This is a moment in his life - one of the few. BETSY You did n't have to spend your money -? TRAVIS -LRB- interrupting -RRB- He'll, what else can I do with it all? Betsy notices that the seal on the record has not been broken. BETSY Travis, you have n't even played the record? TRAVIS -LRB- evasive -RRB- Yeah, well my stereo player is broke. But I'm sure the record is OK. BETSY Your stereo broke? God, I could hardly stand that. I live on music. TRAVIS I do n't follow music much. I'd like to though. -LRB- second thought -RRB- Honest. BETSY -LRB- pointing to album -RRB- So you have n't heard this record yet? TRAVIS No. -LRB- sly smile -RRB- I thought maybe you could play it for me on your player. Betsy's face backtracks a bit. Maybe she was wrong to go out with this fellow she does n't know. She makes a polite laugh. LATER. Travis and Betsy are in TIMES SQUARE, turning the corner from Broadway to 42nd Street. Travis carries the album under his arm. They approach the garish marquee of a large midtown porno theatre advertising `` The Swedish Marriage Manual''. The box office is flanked on both sides by glass cages filled with explicit publicity stills. Offending portions have been blocked out with black tape. Travis steps over to the window and buys two $ 5 tickets. Betsy, befuddled, watches him. She does n't know what to say. Travis returns with the tickets. Betsy still has not fully comprehended what is happening : BETSY What are you doing? TRAVIS -LRB- innocent -RRB- I bought a couple of tickets. BETSY But this is a porno movie. TRAVIS No, these are the kind that couples go to. They're not like the other movies. All kinds of couples go. Honest. I've seen them. Travis seems confused. He is so much part of his own world, he fails to comprehend another's world. Compared to the movies he sees, this is respectable. But then there's also something that Travis could not even acknowledge, much less admit : That he really wants to get this pure white girl into that dark porno theatre. Travis makes an awkward gesture to escort Betsy into the theatre. Betsy looks at the tickets, at the theatre, at Travis. She mentally shakes her head and walks toward the turnstile. She thinks to herself : `` What the Hell. What can happen?'' She's always been curious about these pictures anyway, and - like all women, no matter how intelligent - she's been raised not to offend her date. A perverse logic which applies even more in offsetting circumstances like these. INSIDE THE THEATER Travis escorts Betsy to an empty center row. Travis was right. Couples do go to films like this. There are at least six or seven other MEN with their bewigged `` DATES''. Travis settles into his familiar porno theatre slouch. Betsy looks curiously from side to side. ON SCREEN, a conservatively-dressed middle-aged woman is speaking in Swedish about importance of healthy sex life in a happy marriage. Subtitles translate her words. Then, without warning, there is a direct CUT to a couple copulating on a sterile table-like bed. Travis watches intently. The color, however, is slowly draining from Betsy's cheeks. One thought fills her mind : `` What am I doing here?'' TRAVIS -LRB- to himself -RRB- Damn. BETSY What's wrong? TRAVIS I forgot to get the Coca-Cola. That does it. Betsy just looks at him for a moment, then gets up and starts to leave. Travis, confused, hustles after her. He follows her out of the theatre. ON THE SIDEWALK Travis catches up with her. TRAVIS Where are you going? BETSY I'm leaving. TRAVIS What do you mean? Betsy looks at Travis, trying to understand him : BETSY These are not the kind of movies I go to. TRAVIS Well, I do n't follow movies too much... BETSY You mean these are the only kind of movies you go to? The TICKET GIRL watches expressionlessly from the booth. TRAVIS This is sort of high class... BETSY I mean porno movies. TRAVIS -LRB- hesitant -RRB- Well... mostly... BETSY My God! TRAVIS We can go to another movie if you like, I do n't care. I got money. There's plenty... Travis gestures toward the long row of 42nd Street marquees, but is interrupted by Betsy : BETSY If you just wanted to fuck, why did n't you just come right out and say it? Travis is flabbergasted by Betsy's blunt language. His arm still gestures toward the marquees, his lips continue to move, but words do not come out. Unable to respond to Betsy's question, Travis picks up where he left off : TRAVIS... there's plenty of movies around here. I have n't seen any of them, but I'm sure they're good. BETSY No, Travis. You're a sweet guy and all that, but I think this is it. I'm going home. TRAVIS -LRB- interrupting -RRB- You mean you do n't want to go to a movie? -LRB- a beat -RRB- There's plenty of movies around here. BETSY No, I do n't feel so good. We're just two very different kinds of people, that's all. TRAVIS -LRB- puzzled -RRB- Huh? BETSY It's very simple. You go your way, I'll go mine. Thanks anyway, Travis. TRAVIS But... Betsy... BETSY I'm getting a taxi. She walks to the curb. TRAVIS -LRB- following her -RRB- What about the record? BETSY Keep it. TRAVIS Can I call you? Betsy looks for a cab. TRAVIS -LRB- tender -RRB- Please, Betsy, I bought it for you. Betsy looks at his sad, sweet face and relents a bit. BETSY All right, I'll accept the record. Betsy accepts the record, but quickly turns and hails a taxi. BETSY Taxi! A taxi quickly pulls up. Travis feebly protests to no one in particular : TRAVIS But I got a taxi. Betsy gives instructions to CAB DRIVER, looks briefly back at Travis, then straight ahead. Taxi speeds off. Travis looks around helplessly : A cluster of PEDESTRIANS on the crowded street has stopped to watch the argument. Travis looks back at the woman in the porno theatre box office who has also been following the argument. CUT TO :", "INT. INSIDE TRAVIS' APARTMENT Travis is sitting at the table. There are some new items on the table : His giant econo-sized bottle of vitamins, a giant econo-sized bottle of aspirins, a pint of apricot brandy, a partial loaf of cheap white bread. On the wall behind the table hang two more items : A gag sign reading `` One of These Days I'm Gon na Get Organezizied'' and an orange-and-black bumper sticker for Charles Palantine. TRAVIS -LRB- V.O. -RRB- May 8, 1972. My life has taken another turn again. The days move along with regularity... C.U. of notebook : Travis is no longer sitting at the desk. The pencil rests on the open notebook. LATER THAT DAY : TRAVIS has pulled his straight-backed chair around and is watching his small portable TV, which rests on the upright melon crate. A cereal bowl partially filled with milk rests in his lap. Travis pours a couple shots of the apricot brandy into the bowl, dips folded chunks of white bread into the mixture, and eats them. Travis is watching early evening NEWS PROGRAM. TV background SOUND. Charles Palantine is being interviewed somewhere on the campaign trail. TRAVIS -LRB- V.O. -RRB- -LRB- CONTD -RRB-... one day indistinguishable from the next, a long continuous chain, then suddenly - there is a change. Betsy is walking down a midtown street when Travis suddenly appears before her. He has been waiting. Travis tries to make conversation but she does n't listen. She motions for him to go away and keeps on walking. Travis, protesting, follows. CUT TO :", "INT. BUILDING - DAY Travis speaks intensely into a wall pay phone. TRAVIS -LRB- V.O. -RRB- I tried to call her several times. We hear Travis' Voice on the phone. TRAVIS -LRB- smoking a cigarette -RRB- you feeling better? You said you did n't feel so good... TRAVIS -LRB- V.O. -RRB- But after the first call, she would no longer come to the phone. Travis holds the receiver in his hand. The other party has hung up. TRACKING SHOT across interior lower wall of TRAVIS' APARTMENT. Against the stark wall there is a row of wilted and dying floral arrangements. Each one of the four or five bouquets is progressively more wilted than the one closer to the door. They have been returned. TRAVIS -LRB- V.O. -RRB- I also sent flowers with no luck. I should not dwell on such things, but set them behind me. The smell of the flowers only made me sicker. The headaches got worse I think I've got stomach cancer. I should not complain so. `` You're only as healthy as you feel.'' A drama is acted out at PALANTINE HEADQUARTERS : Travis, groggy and red-eyed from lack of sleep, walks into the campaign headquarters about NOONTIME. Betsy is standing near the rear of the office ; she ducks from sight when she sees Travis enter. Travis' path is cut short by Tom's large-framed body. There is no live sound. TRAVIS -LRB- V.O. -RRB- I realize now how much she is like the others, so cold and distant. Many people are like that. They're like a union. Travis tries to push his way past Tom but Tom grabs him. Travis says something sharply to Tom and the two scuffle. Tom, by far the taller and stronger, quickly overcomes Travis, wrenching his arm behind his back. Travis kicks and protests as Tom leads him to the front door. ON THE SIDEWALK Travis' efforts quickly subside when Tom motions to a nearby POLICEMAN. Travis quiets down and walks off. CUT TO :", "EXT. Travis is again making his way through the garish urban night. He stops for a PASSENGER on PARK AVE. A middle-aging professorial executive. C.U. TRAVIS : His face is expressionless. The MAN makes himself comfortable in the back seat. PROFESSIONAL PASSENGER Jackson Heights. Travis has no intention of driving out to Jackson Heights and coming back with a fare. TRAVIS I'm off duty. PROFESSIONAL PASSENGER You mean you do n't want to go out to Jackson Heights? TRAVIS No, I'm off duty. PROFESSIONAL PASSENGER Then how come your `` Off Duty'' light was n't on. TRAVIS switches on the `` Off Duty'' light. TRAVIS It was on. -LRB- gesturing toward top of taxi -RRB- it just takes a while to warm up. Like a TV. TRAVIS does n't budge. PROFESSIONAL PASSENGER curses to himself and exits cab. Travis takes off. POV as Travis' eyes dwell on the young HIP COUPLES coming out of a East Side movie house. LATER THAT NIGHT, TRAVIS pulls over for a young ( mid- twenties ) MAN wearing a leather sports jacket. TRAVIS eyes his passenger in rear-view mirror. YOUNG PASSENGER 471 Central Park West.", "EXT. TRAVIS' taxi speeds off. LATER, TRAVIS' taxi slows down as it approaches 400 block of Central Park West. Travis checks apartment numbers. YOUNG PASSENGER Just pull over to the curb a moment. TRAVIS turns the wheel. YOUNG PASSENGER Yeah, that's fine. Just sit here. TRAVIS waits impassively. The motor ticks away. After a long pause, the PASSENGER speaks : YOUNG PASSENGER Cabbie, ya see that light up there on the seventh floor, three windows from this side of the building? CAMERA CLOSES IN on 417 Central Park West : TRACKING UP to the seventh floor, it moves three windows to the right. TRAVIS -LRB- V.O. -RRB- Yeah. A young WOMAN wearing a slip crosses in front of the light. YOUNG PASSENGER -LRB- O.S. -RRB- Ya see that woman there? TRAVIS -LRB- O.S. -RRB- Yeah. YOUNG PASSENGER -LRB- O.S. -RRB- That's my wife. -LRB- a beat -RRB- But it ai n't my apartment. -LRB- a beat -RRB- A nigger lives there. -LRB- a beat -RRB- She left me two weeks ago. It took me this long to find out where she went. -LRB- a beat -RRB- I'm gon na kill her. C.U. TRAVIS' face : it is devoid of expression. YOUNG PASSENGER What do you think of that, cabbie? C.U. YOUNG PASSENGER's face : it is gaunt, drained of blood, full of fear and anger. Travis does not respond. YOUNG PASSENGER Huh? -LRB- a beat -RRB- What do you think of that, huh? Travis shrugs, gesturing toward meter. YOUNG PASSENGER I'm gon na kill her with a.44 Magnum pistol. CAMERA returns to SEVENTH FLOOR WINDOW. Woman is standing in the light. YOUNG PASSENGER -LRB- O.S. -RRB- Did you ever see what a.44 can do to a woman's face, cabbie? -LRB- pause -RRB- Did you ever see what it can do to a woman's pussy, cabbie? Travis says nothing. YOUNG PASSENGER -LRB- O.S. -RRB- I'm going to put it right up to her, cabbie. Right in her, cabbie. You must think I'm real sick, huh? A real pervert. Sitting here and talking about a woman's pussy and a 44, huh? CAMERA CLOSES IN on Travis' face : He is watching the woman in the seventh floor window with complete and total absorption. It's the same glazed-over stare we saw in his eyes as he watched the porno movie. FADE TO : BROOKLYN STREET CORNER - DAY Travis stands near the corner wearing his boots, jeans, western shirt and army jacket. He pulls his aspiring bottle out of his pocket, shakes three or four into his palm, pops them into his mouth and chews. An `` Off Duty'' taxi pulls up to the curb. Travis gets in.", "INT. INSIDE TAXI Dough-Boy leans back from the wheel and greets Travis as he enters. DOUGH-BOY Hey Travis. This here's Easy Andy. He's a travelling salesman. In the back seat, beside Travis, sits ANDY, an attractive young man about 29. He wears a pin-striped suit, white shirt and floral tie. His hair is modishly long. ANDY Hello Travis. Travis nods as the taxi speeds off. Dough-Boy slows down near an economy hotel. Not a flop house, but not do fancy they care what the guests do in the privacy of their rooms. ANDY This is fine, Dough-Boy -LRB- to Travis -RRB- Pay Dough-Boy here. Travis pulls a twenty out of his pocket and gives it to Dough-Boy. TRAVIS 20 bucks? DOUGH-BOY -LRB- takes bill -RRB- Yeah. Hey thanks. That's real nice, Travis. Travis and Andy get out of the cab and walk toward the hotel. Dough-Boy pulls away. As they enter the hotel, they pass a JUNKIE, stoned out and spread-eagled across the hood of a derelict old blue dodge.", "INT. HOTEL Travis follows Andy up the worn carpeted stairs and down the hallway. Andy unlocks the door to one of the rooms. The HOTEL ROOM is barren and clean ; there's no sign anyone is staying in it. The fire escape is appropriately near. Andy locks the door behind them, steps over to the closet, unlocks it and pulls out two grey Samsonite suitcases - the kind you can drive a truck over. ANDY Dough-Boy probably told you I do n't carry any Saturday Night Specials or crap like that. It's all out of State, clean, brand new, top-of- the-line stuff. Andy places the suitcases on the white bedspread. The suitcases are equipped with special locks, which he quickly opens. Andy opens the suitcases : Stacked in grey packing foam are rows and rows of brand new hand guns. TRAVIS You got a.44 Magnum? ANDY That's an expensive gun. TRAVIS I got money. Andy unzips a cowhide leather pouch to reveal a.44 Magnum pistol. He holds it gingerly, as if it were a precious treasure. Andy opens the chambers and cradles the long eight-inch barrel in his palm. The.44 is a huge, oversize inhuman gun. ANDY -LRB- admiringly -RRB- It's a monster. Can stop a car -- put a bullet right into the block. A premium high resale gun. $ 350 -- that's only a hundred over list. Easy Andy is a later version of the fast-talking, good- looking kid in college who was always making money on one scheme or another. In high school he sold lottery tickets, in college he scored dope, and now he's hustling hand guns. Andy holds the Magnum out for Travis' inspection. There's a worshipful CLOSEUP of the.44 Magnum. It is a monster. Travis hefts the huge gun. It seems out of place in his hand. It is built on Michelangelo's scale. The Magnum belongs in the hand of a marble god, not a slight taxi driver. Travis hands the gun back to Andy. ANDY I could sell this gun in Harlem for $ 500 today - but I just deal high quality goods to high quality people. -LRB- pause -RRB- Now this may be a little big for practical use, in which case I'd recommend the.38 Smith and Wesson Special. Fine solid gun - nickel plated. Snub-nosed, otherwise the same as the service revolver. Now that'll stop anything that moves and it's handy, flexible. -LRB- MORE -RRB- ANDY -LRB- CONT'D -RRB- The Magnum, you know, that's only if you want to splatter it against the wall. The movies have driven up Everybody wants them now. But the Wesson.38 - only $ 250 - and worth every dime of it. -LRB- he hefts the.38 -RRB- Throw in a holster for $ 10. the price of the Magnum anyway. Travis hefts the nickel-plated.38, points it out the window. ANDY -LRB- CONT'D -RRB- Some of these guns are like toys, but a Smith and Wesson, man, you can hit somebody over the head with it and it will still come back dead on. Nothing beats quality. -LRB- pause -RRB- You interested in an automatic? TRAVIS I want a.32. Revolver. And a palm gun. That.22 there. ANDY That's the Colt.25 - a fine little gun. Do n't do a lot of damage, but it's as fast as the Devil. Handy little gun, you can carry it almost anywhere. I'll throw it in for another $ 125. Travis holds the.32 Revolver, hefts it, slips it under his belt and pulls his shirt over it. He turns from side to side, to see how it rides in his waist. TRAVIS How much for everything. ANDY The.32's $ 150 - and you're really getting a good deal now - and all together it comes to, ah, seven eighty-five for four pieces and a holster. He'll, I'll give you the holster, we'll make it seventy-five and you've got a deal - a good one. TRAVIS How much to get a permit to carry? ANDY Well, you're talking big money now. I'd say at least five grand, maybe more, and it would take a while to check it out. The way things are going now $ 5.000 is probably low. You see, I try not to fool with the small-time crap. Too risky, too little bread. Say 6 G's, but if I get the permit it'll be as solid as the Empire State Building. TRAVIS Nah, this'll be fine. ANDY You ca n't carry in a cab even with a permit - so why bother? TRAVIS Is there a firing range around? ANDY Sure, here, take this card, go to this place and give'em the card. They'll charge you, but there wo n't be any hassle. Travis pulls out a roll of crisp one hundred dollar bills and counts off eight. ANDY You in Nam? Ca n't help but notice your jacket? TRAVIS -LRB- looking up -RRB- Huh? ANDY Vietnam? I saw it on your jacket. Where were you? Bet you got to handle a lot of weapons out there. Travis hands Andy the bills. Andy counts them and gives Travis a twenty and five. TRAVIS Yeah. I was all around. One hospital, then the next. ANDY -LRB- through counting -RRB- It's he'll out there all right. A real shit-eatin' war. I'll say this, though : It's bringing a lot of fantastic guns. The market's flooded. Colt automatics are all over. -LRB- pockets the money -RRB- TRAVIS -LRB- intensely -RRB- They'd never get me to go back. They'd have to shoot me first. -LRB- pause -RRB- You got anything to carry these in? -LRB- gestures to pistols -RRB- Travis is like a light switch : For long periods he goes along dark and silent, saying nothing ; then suddenly, the current is turned on and the air is filled with the electricity of his personality. Travis' inner intensity sets Andy back a bit, but he quickly recovers. ANDY Sure. Andy pulls a gym bag from under his bed. He wraps the gun in the sheet in the bag and zips it up. An identical gym bag can be partially seen under the bed. He hands Travis the bag. ANDY You like ball games? TRAVIS Huh? ANDY I can get you front and center. What do you like? I can get you Mets, Knicks, Rangers? Hell, I can get you the Mayor's box. TRAVIS Nah. I ai n't interested. Andy closes and locks the suitcases. ANDY Okay, okay. Travis turns to leave. ANDY Wait a second, Travis. I'll walk you out. CUT TO :", "INT. APARTMENT SEVERAL WEEKS LATER. The face of TRAVIS' apartment has changed. The long, blank wall behind the table is now covered with tacked-up charts, pictures, newspaper-clippings, maps. CAMERA does not come close enough to discern the exact contents of these clippings. Travis is in C.U. in the middle of the floor doing push-ups. He is bareback, wearing only his jeans. There is a long scar across his left side. TRAVIS -LRB- V.O. -RRB- May 29, 1972. I must get in shape. Too much sitting has ruined my body. Twenty-five push-ups each morning, one hundred sit-ups, one hundred knee-bends. I have quit smoking. Travis, still bareback, passes his stiff arm through the flame of a gas burner without flinching a muscle. TRAVIS -LRB- V.O. -RRB- Total organization is necessary. Every muscle must be tight.", "INT. FIRING RANGE The CRACKING SOUND of rapid-fire pistol shots fills the musty air of the firing range. The walls are heavily soundproofed, and sawdust is spread over the floor. Travis stands rock solid, firing the.44 Magnum at an arm's length. With each blasting discharge from the Magnum, Travis' body shudders and shakes, his arm as if each recoil from the giant gun was a direct attack on his masculinity. Travis fires the Magnum as quickly as he can re-set, re-aim and re-fire. The Magnum is empty, he sets it down, picks up the.38 Special and begins firing as soon as he can aim. After the.38, comes the.25 : It is as if he were in a contest to see how quickly he can fire the pistols. After all the guns are discharged, he begins reloading them without a moment's hesitation. Downrange, the red and white targets have the black outline of a human figure drawn over them. The contour-man convulses under the steady barrage of Travis' rapid-fire shots.", "INT. APARTMENT TRAVIS, now wearing an unfastened green plaid western shirt, sits at the table writing in his diary. The vial of bennies is on the table. TRAVIS -LRB- V.O. -RRB- My body fights me always. It wo n't work, it wo n't sleep, it wo n't shit, it wo n't eat. LATER. TRAVIS, his shirt still revealing his bare chest, sits on his straight-backed chair watching the TV. The.44 Magnum rests on his lap. The TV is Broadcasting ROCK TIME, a late afternoon local teenage dance and rock show. On screen YOUNG TEENYBOPPERS are dancing, and the TV CAMERAMAN, as any devotee of the genre knows, is relentlessly ZOOMING-IN on their firm young breasts, fannies and crotches -- a sensibility which reflects TRAVIS' own. These supper-hour rock dance shows are the most unabashedly voyeuristic form of broadcasting the medium has yet developed. The HARD ROCK NUMBER ends, and the TV CAMERA CUTS TO the local DISC JOCKEY, a hirsute plastic-looking man about 35. FIVE scrumptious TEENYBOPPERS are literally hanging on his shoulders and arms, their faces turned up to him in droolish awe. Out of his mouth comes an incessant stream of disc jockey blather. He is the complete asshole ; I do n't know who is currently performing this function in New York, but in Los Angeles his name is Real Don Steele. TV DISC JOCKEY Freshingly, fantastic, freaked-out dance time. Can you dig it? Dig on it. You got it, flaunt it. TRAVIS watches the show, his face hard and unmoving. He is, as the Scriptures would say, pondering all these things in his heart. Why is it the assholes get all the beautiful young chicks? He takes a swig of peach brandy. CUT TO : EARLY EVENING, about 6:30 p.m. TRAVIS' taxi, with'Off Duty' light on, sits near the curb somewhere in midtown Manhattan. TRAVIS runs his hand down the left side of his jacket, attempting to smooth out the bulge underneath. TRAVIS opens his jacket partially, checking underneath. There rests the nickel-plated.38 Special in its holster. P.O.V. down the street where TRAVIS' taxi is parked : Several blocks ahead the red, white and blue campaign headquarters of CHARLES PALANTINE are visible. TRAVIS' eyes resume their watch. TRAVIS starts the car and drives toward the PALANTINE HEADQUARTERS. TRACKING P.O.V. shot of row of storefronts leading up to Palantine Headquarters. P.O.V. passes headquarters : it is half-empty. A few stalwart SUPPORTERS continue to work toward the rear of the office. BETSY'S desk -- -- Sign in window reads : `` Only 4 More Days Until Arrival of CHARLES PALANTINE.'' TRAVIS' `` Off Duty'' light goes off as he speeds up and heads toward a prospective fare. LATER THAT NIGHT, about 9:30. UPTOWN -- 128th and Amsterdam. The Jungle. TRAVIS' taxi pulls up to an address, lets off YOUNG BLACK MAN. TRAVIS receives fare and tip, takes off. P.O.V. as TRAVIS works his way through Harlem back down Seventh Ave. Cluster of YOUNG BLACK STREET PUNKS pretend to hail cab -- we ignore them. One throws wine bottle which crashes in our path -- taxi swerves to avoid it. CAMERA TRACKS through sidewalk CROWDS with the roving, suspicious, antagonistic eye of a taxi-driver. LATER THAT NIGHT, about 12:30. TRAVIS is on the LOWER EAST SIDE, somewhere on B Street, east of Tompkins Square. The sidewalks are populated with the remains of what once was the hippie movement : TEENAGE STREET-WALKERS, JUNKIES, THUGS, emaciated LONERS on the prowl. TRAVIS' taxi pulls over, letting out a fare. TRAVIS pockets his fare, but the rear right door does n't slam -- instead there is the SOUND of another person jumping into the cab. TRAVIS checks the back seat in the rear-view mirror : there sits a pale HIPPIE PROSTITUTE. The GIRL is, at best, 14 or 15, although she has been made up to look older. She wears floppy, Janis Joplin clothes. Her face is pallid. She wears large blue-tinted sunglasses and multi-colored leg stockings. Her name, as we shall learn later, is IRIS. TRAVIS hesitates, looking at her in the mirror. IRIS Come on, mister, let's get outta here -- quick. TRAVIS moves to activate the meter, when the rear door opens. IRIS is helped out of the cab by a MAN TRAVIS can not see. SPORT -LRB- to IRIS -RRB- Come on, baby, let's go. This is all a real drag. IRIS lets herself be taken out of the cab. The rear door closes. Sport leans partially in the front window, throwing something on the front seat. TRAVIS looks : it is a crumpled $ 20 bill. SPORT Just forget all about this, cabbie. It's nothing. TRAVIS can not see the Sport's face lime green completely, but notices he is wearing a jacket. The voice is that of a man in his early twenties. TRAVIS turns to catch a glimpse of Sport as he walks off with Iris. TRAVIS shrugs and turns around. TRAVIS' taxi pulls away. CUT TO : EARLY MORNING, 6:00 a.m. Quitting time -- TRAVIS pulls into TAXI GARAGE.", "INT. GARAGE TRAVIS pulls into his stall. TRAVIS sits in driver's seat, thinking a moment. He looks to his right : the crumpled $ 20 bill still lies there, untouched since it was thrown there six hours previously. TRAVIS reluctantly picks up the $ 20 bill and stuffs it into his jacket pocket as he gets out of the cab. He gathers up his time report and heads toward book-in table. A SHORT WHILE LATER, TRAVIS is walking down the sidewalk near the taxi garage. His hands are in his jacket pockets, obscuring the slight bulge on his left side. TRAVIS turns into the box offfice of PORNO THEATER. He reaches into jacket pocket for money to purchase ticket and pulls out crumpled $ 20 bill. Seeing the $ 20 bill, he decides not to use it, and pays for ticket out of his wallet instead. TRAVIS walks past concession stand en route to the darkened theater auditorium. A YOUNG MAN is now sitting listlessly behind the concessions counter.", "INT. PORNO THEATER AUDITORIUM TRAVIS slouches down into his seat, his face glowing in the reflected light from the screen. FEMALE MOVIE VOICE -LRB- O.S. -RRB- Oh, come on, now, down, lick it, come on... -LRB- a beat -RRB- Mmm, that's good. Ahh, ahh, more... TRAVIS averts his eyes as the action on screen becomes too graphic. Placing his stiffened right hand beside his eyes, TRAVIS can, by turning it inward, shut off or open up his field of vision by small degrees. MOVIE VOICE DIMINISHES, replaced by SOUND of TRAVIS' voice over. TRAVIS -LRB- V.O. -RRB- The idea had been growing in my brain... CUT TO : TRACKING SHOT to wall of TRAVIS' APARTMENT. CAMERA MOVES slowly across wall covered with clippings, notes, maps, pictures. We now see their contents clearly : The wall is covered with CHARLES PALANTINE political paraphernalia ; there are pictures of him, newspaper articles, leaflets, bumper stickers. As the CAMERA MOVES along it discovers a sketch of Plaza Hotel, Kennedy Airport and cut- up sections of city maps with notations written in. There is lengthy N.Y. Times clipping detailing the increased Secret Security Protection during the primaries. A section pertaining to PALANTINE is underlined. Further along there is a sheet reading `` traveling schedule'' and a calendar for June with finely written notations written over the dates. TRAVIS -LRB- V.O. -RRB- -LRB- CONTD -RRB-... for some time. True Force. All the king's men can not put it back together again. As the CAMERA reaches the end of its track, it finds TRAVIS, standing, his shirt open, but the mattress. He is wearing the empty holster, and the.44 is in his hand. In the SHOTS that follow TRAVIS gives the audience a lesson in gunmanship : TRAVIS practices fast-drawing the.38 Special from his holster and firing it. He hooks the.44 into his pants behind his back and practices withdrawing it. He holds the.44 firmly at an arm's length, tightening his forearm muscles. He has worked out a system of metal gliders taped to his inner forearm, whereby the Colt.25 can rest hidden behind the upper forearm until a spring near the elbow is activated, sending the.25 flying down the gliders into his palm. He has cut open his shirt to accomodate the gun mechanism and now checks in the mirror to see how well the gun is hidden. He straps an Army combat knife to his calf and cuts a slit in his jeans where the knife can be pulled out quickly. He now tries on various combinations of shirts, sweater and jacket in front of the mirror to see how well he can hide all the handguns he wishes to carry. Finally, wearing two western shirts, a sweater and jacket, he manages to obscure the location of all three guns, although he resembles a hunter bundled up against the Arctic winter. He sits at the table dum-dumming the.44 bullets -- cutting `` x's'' across the bullet heads. P.O.V. : he scans the objects of his room through the scope of the.38. TRAVIS stands in the middle of his apartment, staring at his PALANTINE wall. His eyes are glazed with introspection ; he sees nothing but himself. TRAVIS -LRB- V.O. -RRB- -LRB- CONTD -RRB- Listen you screwheads : Here is a man... TRAVIS lies on his mattress, all bundled up in his shirts, sweater, jacket and guns. His face is turned toward the ceiling, but his eyes are closed. Although the room is flooded with light, he is finally catching some sleep. The big furry animal drifts into his own world. TRAVIS -LRB- V.O. -RRB- -LRB- CONTD -RRB-... who would n't take it any more, a man who stood up against the scum, the cunts, the dogs, the filth. Here is... -LRB- voice trails off -RRB- C.U. of diary : entry ends with words `` Here is'' followed by erratic series of dots. CUT TO : NIGHT : the taxis are roaming the slick streets. Sometimes after 2:00 a.m., TRAVIS pulls his cab to the curb near an all-night delicatessen in Spanish Harlem. The streets are relatively deserted. TRAVIS waves to STOREKEEPER as he walks past counter : TRAVIS Hey'Melio. Spanish rhythm and blues blares from a cheap radio. TRAVIS walks over to dairy counter in rear of store, picks out a pint of chocolate milk, goes over to the open cooler and picks through various chilled prepackaged sandwiches. He overhears a VOICE as he looks at the sandwiches. When TRAVIS returns to the counter with the chocolate milk and a sandwich in one hand, he sees a YOUNG BLACK MAN holding a gun on'Melio. The STICK-UP MAN is nervous, hopped-up, or both ; he bounces on the balls of his cheap worn black tennis shoes -- a strung-out junkie on a desperation ride. The STICK-UP MAN, a thorough unprofessional, does n't notice TRAVIS. 'MELIO watches the STICK-UP MAN closely, deciding what to do himself. STICK-UP MAN -LRB- shaking gun -RRB- Come on, man. Quick, quick, quick. Hand over that bread. It does n't take TRAVIS long to decide what to do : without hesitation he pulls his.32 from his jacket pocket. TRAVIS Hey dude! The STICK-UP MAN, surprised, turns toward TRAVIS, finding only an exploding.32. The MAN's lower jaw bursts open with blood as he reels and crashes to the floor. There is no emotion on TRAVIS' face. As the STICK-UP MAN falls,'MELIO leans over the counter, wielding his battered.38. He is about to fire when he realizes the MAN is already dead. 'MELIO, charged up, turns his gun toward TRAVIS, then, realizing the danger is over, lowers it again. 'MELIO Thanks, man. Figured I'd get him on the way out. TRAVIS sets his.32 on the counter. TRAVIS You're gon na have to cover me on this one,'Melio. I ca n't stay for the cop show. 'MELIO You ca n't do that, Travis. You're my witness. TRAVIS The hell I ca n't. It's no sweat for you. What is this for you, number five? 'MELIO smiles and holds up four fingers : 'MELIO No, only four. -LRB- shrug -RRB- Alright, Travis, I'll do what I can. TRAVIS Thanks a lot. TRAVIS exits. 'MELIO picks up the phone and starts dialing. The bloody BODY lies on the floor unmoving. TRAVIS, still carrying his pint of chocolate milk and sandwich, walks down the empty sidewalk and enters his cab. The street is deserted. CUT TO : DIRECT CUT TO PORNOGRAPHIC MOVIE : this is the first time we have actually seen the porno movie itself. SEVERAL ACTORS and ACTRESSES are dallying on screen in whatever manner the ratings board deems permissible. Whatever the action, the movie's decor is strictly Zody's -- ersatz landscape paintings, tufted bedspreads. As in most porno films, the ACTORS look up occasionally toward the CAMERA to receive instructions. Studio grunts, groans and moans of pleasure have been dubbed in. Action on screen begins to go into SLOW MOTION, the ACTORS and ACTRESSES gradually transforming obscenity into poetry. CUT TO : TRAVIS, sitting in his chair in his APARTMENT, watching afternoon soap opera. He is cleaning his.38 and eating from a jar of applesauce. Soap opera audio continues. He watches the soap opera without expression. SOUND TRACK of film also SLOWS DOWN, gradually mixing with and then becoming the sound track of a midafternoon TV soap opera. A YOUNG GIRL and BOY are talking in those familiar soap opera voices and a third party, the GIRL's mother, who had tried to terminate their `` relationship.'' CUT TO : TELEVISION : The BOY is visiting the GIRL in her hospital room. Both look as if they've stepped out of the Blue Chip stamp catalogue. SOAP OPERA BOY Is it that she just does n't -- like me? SOAP OPERA GIRL -LRB- hesitantly -RRB- Well, Jim, it's just that -- I do n't know how to say this -- it's that she thinks your parents are n't... good enough, I guess. TRAVIS, through cleaning his gun, begins to play a game with the television set. He places the heel of his boot at the top of the melon crate which supports the TV. Then, slowly rocking his heel back and forth, he sees how far he can tip the melon crate without knocking it over. The TV, still broadcasting the hospital room melodrama, rocks back and forth. TRAVIS pushes the TV farther and farther until finally the inevitable happens -- the crate tips backward, sending the portable TV crashing to the floor. There is a short flash and the TV screen turns white. TRAVIS, realizing what he has done, bends over, turns the TV upright on the floor, fiddles with the knobs, slaps it, and tries to reactivate the vanished image. TRAVIS' efforts are futile ; a tube has broken, and the TV will not come back to life. TRAVIS -LRB- to himself -RRB- Damn, damn. TRAVIS bends over in the chair and places his head in his hands, despairing of himself. FADE TO : About 1 a.m. TRAVIS pulls his cab behind a line of empty taxis parked outside the Bellmore Cafeteria, a cabbie hangout on Park Avenue South. He locks his cab and walks past the line of taxis. He sidesteps TWO DRUNKEN FIGHTING BUMS and enters the Bellmore. A LOUD BUZZER RINGS as TRAVIS steps INTO THE BELLMORE. He pulls a ticket from the dispenser ( silencing the buzzer ) and walks toward the wall-length counter. An assortment of CABBIES are seated around a formica-topped table near the rear of the cafeteria. Some are barely awake, some are eating, the rest are swapping stories and smalltalk. Wizard, Dough-Boy, Charlie T and a FOURTH CABBIE are seated at a long table. WIZARD You know Eddie, he's the new hippie kid in our group, long hair... Wizard demonstrates length of hair and others nod. WIZARD... he called up the Dispatcher last night. Charlie McCall, our dispatcher... DOUGH-BOY One-Ball McCall? WIZARD That's the guy. Eddie calls him up and says, `` Hey, what do you want me to do. I'm over here at Poly Prep. I got a girl in the back and she does n't have the fare. She wants me to come in back and collect. What should I do? The cabbies laugh. Across the cafeteria Travis selects a cup of coffee and some pastries. CHARLIE T This is on the two-way with about a hundred and fifty cars listenin in. WIZARD McCall says. `` How much on the meter?'' Eddie comes back and says `` Two-fifty.'' McCall says, `` Is she worth it''. More laughter. DOUGH-BOY Fuckin One-Ball. WIZARD And the kid says, `` Yeah. She's about 19, good-lookin.'' McCall says, `` What can I tell you?'' FOURTH CABBIE She should have told him to get an OK from the front office. -LRB- laughter -RRB- WIZARD McCall says, `` Well, if you want some help I'll see if I can send some units out.'' CHARLIE T Yeah. About a hundred and fifty. DOUGH-BOY I hope he had a checker. WIZARD She was just a kid. Stoned, you know. Travis, carrying his coffee and pastries, walks over to their table. Charlie T spots him. CHARLIE T Hiya Killer. Charlie forms his hand into a pistol, cocks and fires, making the SOUND, `` Pgghew.'' TRAVIS nods. WIZARD You're getting a rep, Travis. TRAVIS sits down and the other CABBIES resume their conversation. CHARLIE T Got the five you owe me, Killer? TRAVIS reaches into his pocket and pulls out a roll of small denomination bills. The crumpled $ 20 bill falls onto the table. TRAVIS stares at it a moment. He unfolds a five, gives it to CHARLIE T, then picks up the crumpled $ 20 and puts it back into his jacket pocket. WIZARD -LRB- O.S. -RRB- -LRB- to Travis -RRB- What's the action around? TRAVIS Slow. CHARLIE T Shit yes. Night woulda been dead if I had n't grabbed an outatowner at Kennedy. Took him roun the horn and got a five dollar tip to boot. WIZARD -LRB- joking -RRB- One of these days we're gon na turn you in, Charlie T. Fleecin the hicks like that. DOUGH-BOY Remember the time this cat picks up four dudes from the other side, Pakastanis I think they were, holds up their passports, to the toll booth collector on the bridge and charges em ten bucks each for'crossing the border? They all laugh. CHARLIE T Hell, I know'd you to do worse. DOUGH-BOY Least I'm no airport rat. I work the whole town. CHARLIE T -LRB- chuckling -RRB- It's a living. WIZARD gets up to leave. WIZARD Well, I'm shovin' on. WIZARD gets up, nods and walks toward the CASHIER. After a second's thought, TRAVIS calls to him : TRAVIS Hey Wiz, just a second. I wan na talk to you. WIZARD waits for TRAVIS as he takes a final gulp of coffee and catches up with him. CHARLIE T calls to TRAVIS as they go : CHARLIE T See ya, Killer. Do n't forget your pea shooter. CHARLIE T cocks his imaginary gun again, fires and chuckles. WIZARD and TRAVIS nod goodbye, pay the CASHIER and exit.", "EXT. TRAVIS follows WIZARD out onto the sidewalk. TRAVIS follows WIZARD as he walks toward his cab. He has something on his mind, something he wants to talk to WIZARD about. TRAVIS -LRB- walking -RRB- Hey Wiz. WIZARD leans back against the cab. TRAVIS is about to speak when he spots a GROUP of BLACK and PUERTO RICAN STREET PUNKS, ages 12-15, jiving down the sidewalk toward him. ONE tosses a spray paint can around his back, basketball style. ANOTHER mocks as if he's going to scratch a key along one of the cabs. WIZARD has no visible reaction. A flash of controlled anger crosses TRAVIS' face. He stares at the BOY with the poised key. It is the same look that crossed his face in the Harlem Deli. We are reminded with a jolt that the killer lies just beneath TRAVIS' surface. The BLACK PUNK must instinctively realize this too, because he makes a cocky show of putting the key back into his pocket and be-bopping around TRAVIS and WIZARD. The YOUNG MEAN-STREETERS continue down the street and TRAVIS turns back to WIZARD. Across the street, in the background, a JUNKIE nestles in a doorway. TRAVIS -LRB- hesitant -RRB- Wiz? WIZARD Yeah? TRAVIS Look, ah, we never talked much, you and me... WIZARD Yeah? TRAVIS I wanted to ask you something, on account you've been around so long. WIZARD Shoot. They do n't call me the Wizard for nothing. TRAVIS Well, I just, you know... WIZARD Things got ya down? TRAVIS Real down. WIZARD It happens. TRAVIS Sometimes it gets so I just do n't know what I'm gon na do. I get some real crazy ideas, you know? Just go out and do somethin. WIZARD The taxi life, you mean. TRAVIS Yeah. WIZARD -LRB- nods -RRB- I know. TRAVIS Like do anything, you know. WIZARD Travis, look, I dig it. Let me explain. You choose a certain way of life. You live it. It becomes what you are. I've been a hack 17 years, the last ten at night. Still do n't own my own cab. I guess that's the way I want it. You see, that must be what I am. A police car stops across the street. TWO PATROLMEN get out and roust the JUNKIE from his doorway. WIZARD -LRB- continuing -RRB- Look, a person does a certain thing and that's all there is to it. It becomes what he is. Why fight it? What do you know? How long you been a hack, a couple months? You're like a peg and you get dropped into a slot and you got to squirm and wiggle around a while until you fit in. TRAVIS -LRB- pause -RRB- That's just about the dumbest thing I ever heard, Wizard. WIZARD What do you expect, Bertrand Russell? I've been a cabbie all my life, what do I know? -LRB- a beat -RRB- I do n't even know what you're talking about. TRAVIS Neither do I, I guess. WIZARD You fit in. It's lonely, it's rough at first. But you fit in. You got no choice. WIZARD Yeah. Sorry, Wizard. WIZARD Do n't worry, Killer. You'll be all right. -LRB- a beat -RRB- I seen enough to know. TRAVIS Thanks. WIZARD gives TRAVIS a short wave implying, `` Chin up, old boy,'' and walks around to the driver's side of his cab. WIZARD drives off, leaving the street to its natural inhabitants. CUT TO : FADE IN :", "EXT. CHARLES PALANTINE RALLY - DAY A rally platform in a supermarket parking lot somewhere in QUEENS is draped in red, white and blue bunting. A CROWD of about 500 persons mills about, waiting for the rally to begin. Piped pop-country MUSIC plays over the loudspeaker system. The CADRE OF SECRET SERVICE MEN, with their distinctive metallic grey suits, sun glasses and football physiques, stands out in the CROWD. On the PLATFORM are seated an assortment of LOCAL POLITICOS as well as some PALANTINE WORKERS and ADVISERS. TOM is silently reading something on the podium, and BETSY stands on the platform steps talking with ANOTHER WORKER. TOM looks up and to his left for a moment, then returns to what he was reading. Then he returns his gaze to the upper left, watching something very closely. After a moment he walks over to the steps where BETSY is standing. TOM Betsy, come over here a moment. BETSY What is it? I'm busy. TOM -LRB- insistent -RRB- Just follow me. BETSY excuses herself and walks across the platform with TOM. As they stand to the rear of the platform, TOM secretively makes a gesture with his eyes and says out of the side of his mouth : TOM Look there. -LRB- her eyes follow his -RRB- No, over further - get your glasses - yes, over there. Is n't that little guy the same guy that was bugging you around the office about a month ago? BETSY, putting on her glasses, looks closely. She tries not to make her stare too obvious. BETSY No, I do n't think so. -LRB- a beat -RRB- That's someone else. TOM Now look more closely. Look around the eyes and chin. See? See there? CAMERA CLOSES IN on TRAVIS BICKLE standing in the CROWD : he has shaved his head to a short stubble. There he is : brush- cut, wearing a giant grin, and a large `` Palantine'72'' button. Although it is a pleasant sunny day, TRAVIS wears a bulky bulged-out Army jacket. TRAVIS looks warily from side to side and vanishes in the CROWD. A SHORT WHILE LATER, TRAVIS walks up to a SECRET SERVICE MAN standing near the fringes of the CROWD. The SECRET SERVICE MAN -- in sun glasses, grey suit, ever-roving eyes -- is immediately identifiable. Whenever TRAVIS confronts a symbol of authority, he becomes like a young boy. This time is no exception, although one suspects there is a plan hatching beneath that boyish exterior. The SECRET SERVICE MAN, for his part, is about as talkative as the Sphinx. TRAVIS Are you a Secret Service Man? SECRET SERVICE MAN -LRB- indifferently -RRB- Why do you ask? TRAVIS I've seen a lot of suspicious- looking people around here today. SECRET SERVICE MAN glances at TRAVIS momentarily. SECRET SERVICE MAN Who? TRAVIS Oh, lots. I do n't know where they all are now. There used to be one standing over there. -LRB- points -RRB- SECRET SERVICE MAN's gaze follows TRAVIS' finger for a second, then return to TRAVIS. TRAVIS -LRB- CONTD -RRB- Is it hard to get to be a Secret Service Man? SECRET SERVICE MAN Why? TRAVIS I kinda thought I might make a good one. I'm very observant. SECRET SERVICE MAN Oh? TRAVIS I was in the Army too. -LRB- beat -RRB- And I'm good with crowds. The SECRET SERVICE MAN is starting to get interested in TRAVIS : he definitely ranks as a suspicious character. SECRET SERVICE MAN Is that so? TRAVIS What kind of guns do you guys use? 38's? The SECRET SERVICE MAN decides it's time to get some more information on TRAVIS : SECRET SERVICE MAN Look, um, if you give me your name and address, we'll send you the information on how to apply. TRAVIS You would, huh? SECRET SERVICE MAN -LRB- taking out notepad -RRB- Sure. TRAVIS My name is Henry Krinkle -- that's with a `` K.'' K-R-I-N-K-L-E. I live at 13 1/2 Hopper Avenue, Fair Lawn, New Jersey. Zip code 07410. -LRB- a beat -RRB- Got that? SECRET SERVICE MAN Sure, Henry. I got it all. We'll send you all the stuff all right. TRAVIS Great, hey. Thanks a lot. The SECRET SERVICE MAN motions to a SECRET SERVICE PHOTOGRAPHER to catch a picture of TRAVIS. TRAVIS notices this, and quickly slips away into the CROWD. CUT TO : TRAVIS sits at his desk in his APARTMENT, writing. He wears jeans, western shirt and empty holster. TRAVIS -LRB- V.O. -RRB- June 11. Eight rallies in six more days. The time is coming. CUT TO : NIGHT. TRAVIS' taxi picks up a FARE in the midtown area and heads downtown. LOWER EAST SIDE. TRAVIS lets off FARE on B Street and cuts across toward Tompkins Square. TRAVIS turns the corner when SKREETCH! he suddenly hits the brakes, causing the cab to rock back and forth. He has almost hit a YOUNG GIRL recklessly crossing the street. She thumps her hand on the taxi hood to regain her balance and stares in shock through the front window. C.U. GIRL's face. TRAVIS recognizes her face : it's IRIS, the GIRL in his taxi a week or so before. IRIS looks at TRAVIS sharply then turns and continues walking. TRAVIS' eyes follow her and she rejoins a GIRLFRIEND. They are both dressed as hippie hookers : sloppy clothes, boots, jeans, floppy hats. And the old come-hither walk is unmistakable. TRAVIS follows IRIS and her GIRLFRIEND slowly as they walk down the sidewalk. TRAVIS' P.O.V. He examines them from bottom to top -- boots, legs, thighs, breasts, faces, hats. As TRAVIS rolls astride the GIRLS, he notices the familiar FRINGE OF A SUEDE JACKET standing in the shadows. The GIRLS look toward the SHADOWED FIGURE, smile, acknowledge some unheard comment, and continue on. IRIS looks back uneasily at TRAVIS' taxi and continues on. On the corner stand TWO well-to-do COLLEGE STUDENTS, somewhat out of place in this environment, but making every attempt to groove on it. They are high on something or another. The GIRLS spot the COLLEGE STUDENTS and walk over to them. They exchange some small talk and walk off together. There is little subtlety involved : it is obviously a pick-up. TRAVIS must negotiate a turn around the corner if he is to continue following the GIRLS and their COLLEGIATE JOHNS. This is not so easy, since the traffic is heavy. As TRAVIS slows down to make the turn, he notices ANOTHER HIPPIE HOOKER who had been watching him watching IRIS and her GIRLFRIEND. She walks over to the taxi, loans in the open left front window and gives TRAVIS the come-on disguised as an innocent question : C.U. HIPPIE HOOKER. HIPPIE HOOKER Hey cabbie! You comin' or goin'? TRAVIS quickly turns his face away from her in a combination of shock, embarrassment and revulsion. He is the child caught with his hand in the cookie jar. The very presence of this crassly, openly sexual human being frightens and sickens him. TRAVIS takes off with a skreetch. His taxi shoots down the block. CUT TO : A HOT JUNE DAY. TRAVIS' taxi, the `` Off Duty'' sign on, is parked against the curb somewhere in HARLEM. WHITE COPS, SECRET SERVICE MEN and REPORTERS, punctuate the otherwise BLACK CROWDS which walk to and fro in the b.g. CHARLES PALANTINE's voice can be heard coming from a distant loudspeaker system. It is a political rally. TRAVIS sits behind the wheel, coldly staring at something in the distance. His hair, of course, is still clipped short and he wears mirror-reflecting sunglasses. Even though a drop of sweat is working its way down his cheek, TRAVIS wears his Army jacket with the bulge on the left side -- the", "38 SMITH AND WESSON BULGE. A BLOCK AWAY, PALANTINE stands on a platform outside his uptown campaign headquarters. On the platform sit an array of BLACK DIGNITARIES. Nearby we recognize the SECRET SERVICE MAN TRAVIS spoke to at the earlier rally : he scans the CROWD anxiously. PALANTINE is speaking animatedly. He is an excellent speaker and captures our attention. He drives hard toward his arguments, crashes down on his points. His strained voice rings with sincerity and anger. C.U. of PALANTINE as he speaks. He is dressed in rolled-up shirtsleeves and sweat pours down his face. PALANTINE The time has come to put an end to the things that divide us : racism, poverty, way -- and to those persons who seek to divide us. Never have I seen such a group of high officials from the President to Senate leaders to Cabinet members... CUT TO TRAVIS : no expression. PALANTINE's words are barely distinguishable from a block away : PALANTINE -LRB- in distance -RRB-... pit black against white, young against old, sow anger, disunity and suspicion -- and all in the name of the `` good of the country.'' Well, their game is over. -LRB- applause -RRB- All their games are over. Now is the time to stand up against such foolishness, propaganda and demagoguery. Now is the time for one man to stand up and accept his neighbor, for one man to give in order that all might receive. Is unity and love of common good such a lost thing? ALL LIVE SOUND CEASES as TRAVIS' narration begins. He is reading from a letter or card he has just written. As he speaks we see SHOTS of PALANTINE speaking, a seated row of YOUNG BLACK PALANTINE red, white and blue bedecked CHEERLEADERS, SECRET SERVICE AGENTS examining the CROWD and so forth. These SHOTS have no direct relationship to the narration. TRAVIS -LRB- V.O. -RRB- -LRB- reading -RRB- Dear Father and Mother, June is the month, I remember, which brings not only your wedding anniversary, but also Father's Day and Mother's birthday. I'm sorry I ca n't remember the exact dates, but I hope this card will take care of all of them. I'm sorry I again can not send you my address like I promised to last year, but the sensitive nature of my work for the Army demands utmost secrecy. I know you will understand. I am healthy and well and making lots of money. I have been going with a girl for several months and I know you would be proud if you could see her. -LRB- MORE -RRB- TRAVIS -LRB- V.O. ; CONT'D -RRB- Her name is Betsy, but I can tell you no more than that. -LRB- interrupted -RRB- As TRAVIS reads third paragraph, a POLICEMAN is seen walking from behind TRAVIS' taxi to his window. The POLICEMAN's voice come during a pause in the narration. LIVE SOUND RESUMES. POLICEMAN -LRB- standing near window -RRB- Hey, cabbie, you ca n't park here. TRAVIS -LRB- penitent -RRB- Sorry, officer. POLICEMAN You waiting for a fare? POLICEMAN leans his head in window, inspecting the cab. As he does, TRAVIS slides his right hand into the left side of his jacket, ready to draw his revolver. TRAVIS No, officer. POLICEMAN All right, move it. TRAVIS starts up his taxi and drives off. LIVE SOUND again CEASES as TRAVIS resumes reading letter as taxi drives away. As TRAVIS reads final paragraph, scene CUTS TO INT. APARTMENT where TRAVIS sits at his table. TRAVIS -LRB- V.O. -RRB- -LRB- resuming reading -RRB- I hope this card finds you all well, as it does me. I hope no one has died. Do n't worry about me. One day there will be a knock on the door and it will be me. Love, Travis. TRAVIS, at his desk, examines the card upon which he has just written this letter. C.U. cover of card. It is a 25 th Wedding Anniversary card with a four-color embossed cover. The design could only be described as ur-kitsch. A cartoon Mr. and Mrs. All-America stand before an outdoor barbecuing grill, clicking salt and pepper shakers in a toast. Sentiment reads : HAPPY ANNIVERSARY To a Couple Who Have Found the Perfect Combination For Marriage... The card opens to read : LOVE! Underneath the word `` Love!'' begins TRAVIS' short message to his parents, a message which extends to the back cover of the card. CUT TO : NIGHT on the LOWER EAST SIDE. TRAVIS sits parked in the dark shadows of a side street. The lone wolf waits. TRAVIS watches the SLUM GODDESSES as they work the section of the street reserved for hippie hookers. TRAVIS' P.O.V. : some of the YOUNG STREET GIRLS are arrogant, almost aggressive, others are more insecure and inexperienced. A BLACK MAN charges down the sidewalk across the street from TRAVIS. He walks at a fast, maniacal clip, looking only at the sidewalk in front of him. Out of his mouth comes a continuous stream of invective : `` That-cock-sucking-crazy-no- good-asshole-bitch-when-I-get-my-fucking-fingers-on-her- nigger-tits-I'm- gon na -ring-em-and-shit-up-her-ass...'' and so on. He is Out of Control. Nobody seems to notice or care. TRAVIS takes a swig of peach brandy and continues his stake- out. Finally, TRAVIS spies the object of his search : IRIS walks down the sidewalk with her GIRLFRIEND. Iris wears her large blue sunglasses. TRAVIS checks to see if his.38 is in place ( it is ), opens the door and exits from the cab. Flipping up the collar of his Army jacket, TRAVIS slouches over and walks toward IRIS. He sort of sidles up next to her and walks beside her : TRAVIS always looks most suspicious when he's trying to appear innocent. TRAVIS -LRB- shy -RRB- Hello. IRIS You looking for some action? TRAVIS Well... I guess so. IRIS -LRB- eyeing him -RRB- All right. -LRB- a beat -RRB- You see that guy over there? -LRB- nods -RRB- His name is Sport. Go talk to him. I'll wait here. Travis' eyes follow Iris' nod until they reach Sport, standing in a doorway in his lime green jacket. Travis walks toward him. Sport, a thirtiesh white greaser, has the affections of a black pimp. His hips are jiving, his fingers softly snapping. He sings to him self, `` Going to the chapel, gon na get married...'' His complexion is sallow ; his eyes cold and venal. He could only seem romantic to a confused underaged runaway. TRAVIS You name Sport? Sport immediately takes Travis for an undercover cop. He extends his crosses wrists as if to be handcuffed. SPORT Here, officer, take me in. I'm clean. I did n't do it. Got a ticket once in Jersey. That's all. Honest, officer. TRAVIS Your name Sport? SPORT Anything you say, officer. TRAVIS I'm no cop. -LRB- looks back at Iris -RRB- I want some action. SPORT I saw. $ 20 fifteen minutes. $ 30 half hour. TRAVIS Shit. SPORT Take it or leave it. TRAVIS digs in his pocket for money. SPORT No, not me. There'll be an elderly gent to take the bread. TRAVIS turns to walk away. SPORT Catch you later, Copper. TRAVIS freezes, not saying anything. He turns back toward SPORT. TRAVIS I'm no cop. SPORT Well, if you are, it's entrapment already. TRAVIS I'm hip. SPORT Funny, you do n't look hip. -LRB- laughs -RRB- TRAVIS walks back to IRIS. IRIS motions for TRAVIS to follow her and he does. IRIS and TRAVIS turn the corner and walk about a block, saying nothing. IRIS turns into a darkened doorway and TRAVIS follows her. At the top of the dark stairs IRIS and TRAVIS enter a dimly lit hallway. On either side are doors with apartment numbers. IRIS turns toward the first door, No. 2. IRIS This is my room. At the far end of the darkened corridor sits a huge OLD MAN. His face is obscured by shadow. TRAVIS is about to enter the room when the OLD MAN speaks up : OLD MAN Hey cowboy! TRAVIS turns his head toward the OLD MAN who has stood up and is advancing toward him. OLD MAN -LRB- motioning to TRAVIS' jacket -RRB- The rod. -LRB- a beat -RRB- Gim me the rod, cowboy. TRAVIS hesitates a moment, uncertain what to do. The OLD MAN reaches in TRAVIS' jacket and pulls out the.38 Special. OLD MAN This ai n't Dodge City, cowboy. You do n't need no piece. -LRB- glances at watch -RRB- I'm keepin' time. TRAVIS enters No. 2 with IRIS. TRAVIS looks around IRIS' room : although dimly lit, the room is brightly decorated. There is an orange shag carpet, deep brown walls and an old red velvet sofa. On the walls are posters of Mick Jagger, Bob Dylan and Peter Fonda. A Neil Young album is playing on a small phonograph. This is where IRIS lives : it bears the individual touch of a young girl. IRIS lights a cigarette, takes a single puff and places it in an ashtray on the bedstand. TRAVIS Why you hang around with them greasers? IRIS A girl needs protection. TRAVIS Yeah. From the likes of them. IRIS -LRB- shrugs -RRB- It's your time mister. Fifteen minutes ai n't long. -LRB- gestures to cigarette -RRB- That cigarette burns out, your time is up. IRIS sits on the edge of the bed and removes her hat and coat. She takes off her blue-tinted sunglasses -- her last defense. Without the paraphernalia of adulthood, Iris looks like a little girl she is. About 14, 15. TRAVIS What's your name? IRIS Easy. TRAVIS That ai n't much of a name. IRIS It's easy to remember. Easy Lay. TRAVIS What's your real name? IRIS I do n't like my real name. TRAVIS -LRB- insistent -RRB- What's your real name? IRIS Iris. TRAVIS That's a nice name. IRIS That's what you think. IRIS unbuttons her shirt, revealing her small pathetic breasts -- two young doves hiding from a winter wind. TRAVIS is unnerved by her partial nudity. TRAVIS Do n't you remember me? Button your shirt. IRIS buttons only the bottom button of her shirt. IRIS -LRB- examining him -RRB- Why? Who are you? TRAVIS I drive a taxi. You tried to get away one night. Remember? IRIS No. TRAVIS You tried to run away in my taxi but your friend -- Sport -- would n't let you. IRIS I do n't remember. TRAVIS It do n't matter. I'm gon na get you outta here. -LRB- looks toward door -RRB- IRIS We better make it, or Sport'll get mad. How do you want to make it? TRAVIS -LRB- pressured -RRB- I do n't want to make it. I came here to get you out. IRIS You want to make it like this? -LRB- goes for his fly -RRB- TRAVIS pushes her hand away. He sits beside her on the edge of the bed. TRAVIS -LRB- taking her by the shoulders -RRB- Ca n't you listen to me? Do n't you want to get out of here? IRIS Why should I want to get out of here? This is where I live. TRAVIS -LRB- exasperated -RRB- But you're the one that wanted to get away. You're the one that came into my cab. IRIS I musta been stoned. TRAVIS Do they drug you? IRIS -LRB- reproving -RRB- Oh, come off it, man. IRIS tries to unzip TRAVIS' fly. This only unnerves TRAVIS more : sexual contact is something he's never really confronted. TRAVIS Listen... IRIS Do n't you want to make it? -LRB- a beat -RRB- Ca n't you make it? IRIS works on TRAVIS' crotch OFF CAMERA. He bats her hand away. TRAVIS -LRB- distraught -RRB- I want to help you. TRAVIS is getting increasingly panicked, but IRIS only thinks this is part of his particular thing and tries to overcome it. IRIS -LRB- catching on -RRB- You ca n't make it, can you? -LRB- a beat -RRB- I can help you. IRIS lowers her head to go down on TRAVIS. TRAVIS, seeing this, jumps up in panic. TRAVIS stands several feet from IRIS. His fly is still open, and the white of his underwear shows through his jeans. He is starting to come apart. TRAVIS Fuck it! Fuck it! Fuck it! Fuck it! Fuck it! Fuck it! Fuck it! IRIS -LRB- confused -RRB- You can do it in my mouth. TRAVIS Do n't you understand anything? IRIS says nothing. After a moment, TRAVIS again sits on the bed beside IRIS. She no longer tries to make him. There is a moment of silence. IRIS puts her arm around his shoulder. IRIS You do n't have to make it, mister. TRAVIS rests a moment, collecting himself. Finally, he says : TRAVIS -LRB- slowly -RRB- Do you understand why I came here? IRIS I think so. I tried to get into your cab one night, and now you want to come and take me away. TRAVIS Do n't you want to go? IRIS I can leave anytime I want. TRAVIS But that one night? IRIS I was stoned. That's why they stopped me. When I'm not stoned, I got no place else to go. They just protect me from myself. There is a pause. TRAVIS smiles and shrugs apologetically. TRAVIS looks at Iris' cigarette. It's burning down to the butt. TRAVIS Well, I tried. IRIS -LRB- compassionate -RRB- I understand, mister. It means something, really. TRAVIS -LRB- getting up -RRB- Can I see you again? IRIS That's not hard to do. TRAVIS No, I mean really. This is nothing for a person to do. IRIS Sure. All right. We'll have breakfast. I get up about one o'clock. Tomorrow. TRAVIS -LRB- thinking -RRB- Well tomorrow noon there's a... I got a... IRIS is interfering with TRAVIS' assassination schedule. IRIS Well, you want to or not? TRAVIS -LRB- deciding -RRB- O.K. It's a date. I'll see you here, then. TRAVIS turns ; IRIS smiles. TOM Oh, Iris? IRIS Yes? TOM My name's Travis. IRIS Thank you, Travis. TRAVIS So long, Iris. -LRB- a beat -RRB- Sweet Iris. -LRB- smiles -RRB- TRAVIS exits. TRAVIS closes the door to No. 2 and stands in the corridor for a moment. The OLD MAN slowly walks from the dark end of the hallway with TRAVIS'.38 in his hand. OLD MAN stands near TRAVIS, and checks his watch. OLD MAN -LRB- holding gun -RRB- I think this is yours, cowboy. TRAVIS reaches in his jacket pocket and pulls out the familiar crumpled $ 20 bill. He makes a big show of stuffing the wrinkled bill into the OLD MAN's hand. The OLD MAN does n't understand the significance of it. TRAVIS -LRB- restrained anger -RRB- Here's the twenty bucks, old man. You better damn well spend it right. TRAVIS turns and walks away. OLD MAN says as TRAVIS walks down stairs : OLD MAN Come back anytime you want, cowboy. But without the rod -- please. TRAVIS does not respond. CUT TO :", "INT. ST. REGIS SUITE NOON Palantine, Tom and Palantine's Assistant are seated in garishly decorated suite. ASSISTANT Well, at least it was n't chicken. PALANTINE It was n't? I thought it was. It tasted like chicken. TOM C'mon, Senator. That was a class dinner. The St. Regis is a class joint. That was veal. PALANTINE Was it? It sure tasted like chicken to me. -LRB- a beat -RRB- Lately, everything tastes like chicken to me. ASSISTANT Everything? Got to watch your gut. PALANTINE What about it? I took 20 off before we started this thing. ASSISTANT And you've put ten of it back on. PALANTINE Ten? I do n't think so. You really think so? Ten? TOM Those TV cameras do. I caught the rally on CBS. You looked a little paunchy. PALANTINE I do n't think I gained ten pounds. Palantine gets up and walks over to the window. Its bars form a cross-sight on his head. He thinks to himself : PALANTINE -LRB- weary -RRB- Jesus Christ. He looks at the crowded traffic on Fifth Avenue eighteen floors below. It is a mass of yellow. CUT TO :", "EXT. FIFTH AVE NOON Travis' cab pulls away from the yellow mass and heads downtown. CUT TO :", "EXT. DOWNTONE COFFEE SHOP NOON Travis' cab is parked near a neighborhood Bickford's. CUT TO : TRAVIS and IRIS are having late breakfast at a middle-class EAST SIDE COFFEE SHOP. It is about 1:30 P.M. IRIS is dressed more sensibly, wearing jeans and a maroon sweater. Her face is freshly washed and her hair combed out. Seen this way, IRIS looks no different than any young girl in the big city. OTHER PATRONS of the coffee shop most likely assume she is having lunch with her big brother. They are both having an All-American breakfast : ham and eggs, large glasses of orange juice, coffee. Outside here environment, Iris seems the more pathetic. She seems unsure, schizy, unable to hold a subject for more than thirty seconds. Her gestures are too broad, her voice too mannered. We sympathize with Travis' paternal respect. This girl is in trouble. IRIS... and after that Sport and I just started hanging out... TRAVIS Where is home? Iris removes her large blue-tinted sunglasses and fishes through her bag for another pair. IRIS I got so many sunglasses. I could n't live without my shades, man. I must have twelve pair of shades. She finds a pink-tinted pair and puts them on. TRAVIS Where? IRIS Pittsburgh. TRAVIS I ai n't ever been there, but it do n't seem like such a bad place. IRIS -LRB- voice rising -RRB- Why do you want me to go back to my parents? They hate me. Why do you think I split? There ai n't nothin there. TRAVIS But you ca n't live like this. It's hell. Girls should live at home. IRIS -LRB- playfully -RRB- Did n't you ever hear of women's lib? There is a short, quick silence ; TRAVIS' eyes retract. He goes on : TRAVIS -LRB- ignoring her question -RRB- Young girls are supposed to dress up, go to school, play with boys, you know, that kinda stuff. Iris places a large gob of jam on her unbuttered toast and folds the bread over like a hotdog. IRIS God, you are square. TRAVIS -LRB- releasing pent-up tension -RRB- At least I do n't walk the streets like a skunk pussy. I do n't screw and fuck with killers and junkies. IRIS motions him to lower his voice. IRIS Who's a killer? TRAVIS That fella `` Sport'' looks like a killer to me. IRIS He never killed nobody. He's a Libra. TRAVIS Huh? IRIS I'm a Libra too. That's why we get along so well. TRAVIS He looks like a killer. IRIS I think Cancer's make the best lovers. My whole family are air signs. TRAVIS He shoots dope too. IRIS What makes you so high and mighty? Did you ever look at your own eyeballs in a mirror. You do n't get eyes like that from... TRAVIS He's worse than an animal. Jail's too good for scum like that. There is a brief silence. Iris mind continued to whirl at 78 rpms. She seems to have three subjects on her mind at a time. She welcomes this opportunity to unburden herself. IRIS Rock music died in 1970, that's what I think. Before that it was fantastic. I can tell you that. Everybody was crashing, hanging out at the Fillmore. Me and my girlfriend Ann used to go up the fire escape, you know? It was unbelievable. Rock Stars everywhere. That Airplane -- that's my group, man. All Libras. But now everybody's split or got sick or busted. I think I'll move to one of those communes in Vermont, you know? That's where all the smart ones went. I stayed here. TRAVIS I never been to a commune. I do n't know. I saw pictures in a magazine, and it did n't look very clean to me. IRIS Why do n't you come to a commune with me? TRAVIS Me? I could never go to a place like that. IRIS Why not? TRAVIS -LRB- hesitant -RRB- I... I do n't get along with people like that. IRIS You a scorpion? That's it. You're a scorpion. I can tell. TRAVIS Besides, I've got to stay here. IRIS Why? TRAVIS I've got something important to do. I ca n't leave. IRIS What's so important? TRAVIS I ca n't say -- it's top secret. I'm doing something for the Army. The cab thing is just part time. IRIS You a narc? TRAVIS Do I look like a narc? IRIS Yeah. TRAVIS breaks out in his big infectious grin, and IRIS joins his laughter. IRIS God, I do n't know who's weirder, you or me. TRAVIS -LRB- pause -RRB- What are you going to do about Sport and that old bastard? IRIS Just leave'em. There's plenty of other girls. TRAVIS You just gon na leave'em? IRIS -LRB- astonished -RRB- What should I do? Call the cops? TRAVIS Cops do n't do nothin. IRIS Sport never treated me bad, honest. Never beat me up once. TRAVIS You ca n't leave'em to do the same to other girls. You should get rid of them. IRIS How? TRAVIS -LRB- shrugs -RRB- I do n't know. Just should, though. -LRB- a beat -RRB- Somebody should kill'em. Nobody'd miss'em. IRIS -LRB- taken back -RRB- God. I know where they should have a commune for you. They should have a commune for you at Bellevue. TRAVIS -LRB- apologetic/sheepish -RRB- I'm sorry, Iris. I did n't mean that. IRIS You're not much with girls, are you? TRAVIS -LRB- thinks -RRB- Well, Iris, I look at it this way. A lot of girls come into my cab, some of them very beautiful. And I figure all day long men have been after them : trying to touch them, talk to them, ask them out. And they hate it. So I figure the best I can do for them is not bother them at all. So I do n't say a thing. I pretend I'm not even there. I figure they'll understand that and appreciate me for it. It takes IRIS a moment to digest this pure example of negative thinking : I am loved to the extent I do not exist. IRIS Do you really think I should go to the commune? TRAVIS I think you should go home, but otherwise I think you should go. It would be great for you. You have to get away from here. The city's a sewer, you got ta get out of it. Mumbling something about her `` shades'' again, Iris fishes through her bag until she comes up with another 99 pair of sunglasses and puts them on. She likes these better, she decides. IRIS Sure you do n't want to come with me? TRAVIS I ca n't. Otherwise, I would. IRIS I sure hate to go alone... TRAVIS I'll give you the money to go. I do n't want you to take any from those guys. IRIS You do n't have to. TRAVIS I want to -- what else can I do with my money? -LRB- thinks -RRB- You may not see me again -- for a while. IRIS What do you mean? CLOSE on C.U. of TRAVIS : TRAVIS My work may take me out of New York. CUT TO : IRIS' ROOM - DAY Sport stands beside the bed. SPORT What's the matter, baby, do n't you feel right? Iris is wearing her blue-tinted shades. IRIS It's my stomach. I got the flu. Sport puts his hand on her hips. He is slowly, carefully, smoothly manipulating her. It's the stone black hustle. SPORT Oh, baby, there ai n't no flu. You know that, baby. IRIS Honest, Sport. Sport puts some slow soul music on the stereo. SPORT You're just tired, baby. You just need your man. I am your man, you know. You are my woman. I would n't be nothing without you. Sport slowly grinds his hips to hers. Iris starts to move with him. This is what she really wanted. Her man's attention. SPORT I know this may not mean anything to you, baby, but sometimes I get so emotional, sometimes I think, I wish every man could have what I have now, that every woman could be loved the way I love you. I go home and I think what it would be without you, and then I thank God for you. I think to myself, man, you are so lucky. You got a woman who loves you, who needs you, a woman who keeps you strong. It's just you and me. I'm nothing without you. I can go like this for ever and ever. We can do it, baby. You and me. Just you and me. Sport slowly rubs his crotch into her. Iris smiles. She is happy. The music rises. CUT TO : FIRING RANGE - DAY TRAVIS stands at the firing range blasting the.44 Magnum with a rapid-fire vengeance. He sets down one gun, picks up the next, then the next. Quickly reloading, he fires again. The targets spin and dance under his barrage. The piercing sound of GUNSHOTS ring through the air. CUT TO :", "INT. APARTMENT TRAVIS is again writing at the table. His western shirt is open, exposing his bare chest. A note of despair and doom has entered into TRAVIS' normally monotone narration voice : this will be the last entry in his diary. TRAVIS -LRB- V.O. -RRB- My whole life has pointed in one direction. I see that now. There never has been any choice for me. CUT TO : LENGTHY P.O.V. SHOT from TRAVIS' taxi : we see New York's nightlife as TRAVIS sees it. CAMERA TRACKS down midtown sidewalks in SLIGHTLY SLOW MOTION. There we see : COUPLES, walking in SLOWING MOTION, young couples, middle- aged couples, old couples, hookers and johns, girlfriends, boyfriends, business friends -- the whole world matched up in pairs, and TRAVIS left wandering alone in the night. Others would notice the breasts, the asses, the faces, but not TRAVIS : he notices the girl's hand that rubs the hair on her boyfriend's neck, the hand that hangs lightly on his shoulder, the nuzzling kiss in the ear. TRAVIS -LRB- V.O. -RRB- -LRB- CONTD -RRB- Loneliness has followed me all my life. The life of loneliness pursues me wherever I go : in bars, cars, coffee shops, theaters, stores, sidewalks. There is no escape. I am God's lonely man. MATCHCUT TO P.O.V. : another neighborhood, LATER IN THE NIGHT. Still in SLIGHTLY SLOW MOTION. The CROWDS are more sparse here, the streets darker. A JUNKIE shudders in a doorway, a WINO pukes into a trash can, a STREET-WALKER meets a prospective CLIENT. TRAVIS -LRB- V.O. -RRB- -LRB- CONTINUED -RRB- I am not a fool. I will no longer fool myself. I will no longer let myself fall apart, become a joke and object of ridicule. I know there is no longer any hope. I can not continue this hollow, empty fight. I must sleep. What hope is there for me? CUT TO :", "INT. APARTMENT TRAVIS, his shirt fastened, stands beside table. C.U. : He lays a brief hand-written letter on the table. We read it. Dear Iris, This money should be enough for your trip. By the time you read this I will be dead. Travis TRAVIS stacks five crisp hundred dollar bills beside the letter, folds them up with the letter, and puts them into an envelope. TIMECUT : A SHORT WHILE LATER. TRAVIS has cleaned up his apartment. Everything is neat and orderly. CAMERA PANS across room. The mattress is bare and flattened out, the floor is spotless, the cans and bottles of food and pills put out of sight. The wall is still covered with Palantine political paraphernalia, but when we reach the desk we see only four items there : an open diary and three loaded revolvers :.44,.38,.25. TRAVIS, freshly shaved and neatly dressed, stands in the middle of his clean room. The empty holster hangs on his shoulder. Metal.25 gliders can be seen under the slit in his right sleeve. He turns toward table. CUT TO : TRAVIS, envelope in hand, closes the door behind him and walks down the corridor. He passes a ajar door and we are suprised to see the room is empty -- and trashed. Travis lives in a decaying, if not condemned building.", "EXT. TRAVIS places the envelope to IRIS in his mail box. BACK IN APARTMENT. CAMERA CLOSE ON revolvers lying on the table in neat array. CUT TO : FADE IN : SOUND of a political rally : cheering, laughing, a band playing, talking. AFTERNOON. A CROWD of about 500 PERSONS is assembled before a platform outside a Brooklyn union hall. A DIXIELAND BAND is playing on the platform. C.U. CHARLES PALANTINE's feet climb out of a limousine. There is a ROAR from the nearby CROWD. PALANTINE, a bulky SECRET SERVICE MAN to the right and left of him, pushes his way through the CROWD toward the platform. Still cameras click, and TV cameras purr. SLIGHT TIMECUT : PALANTINE is speaking on the platform. CUT TO : TRAVIS' empty taxi sits parked a few blocks away from rally. At this distance, the rally sounds are almost indistinguishable. C.U. of TRAVIS' boots walking. They make their way past one person, then two, then a cluster of three or four. SOUNDS of rally increase. We see a FULL FIGURE SHOT of TRAVIS : he is standing alone in an opening near the fringes of the CROWD. TRAVIS looks like the most suspicious human being alive. His hair is cropped short, he wears mirror-reflecting glasses. His face is pallid and drained of color, his lips are pursed and drawn tight. He looks from side to side. One can now see the full effect of TRAVIS' lack of sleep and sufficient diet -- he looks sick and frail. Even though it is a warm June day, TRAVIS is bundled up in a shirt, sweater and Army jacket buttoned from top to bottom. Under his jacket are several large lumps, causing his upper torso to look larger than it should. He is slightly hunched over and his hands shoved into his pockets. Anyone scanning the crowd would immediately light upon TRAVIS and think, `` There is an assassin.'' TRAVIS pulls the vial of red pills from his pocket and swallows a couple. CUT TO : SECRET SERVICE MAN standing beside the platform, scanning the CROWD. It is the same SECRET SERVICE MAN TRAVIS spoke to at the first rally. TOM, dressed in a conservative suit, stands beside him. PALANTINE is wrapping up his short speech : PALANTINE... and with your help we will go on to victry at the polls Tuesday. -LRB- applause -RRB- TRAVIS begins moving up into the crowd. PALANTINE -LRB- CONTD -RRB- On to victory in Miami Beach next month -LRB- building applause -RRB- and on to victory next November! PALANTINE steps back, smiling and receiving the applause. Then, nodding, at the SECRET SERVICE MAN he descends the stairs and prepares to work his way through the CROWD. TRAVIS unbuttons the middle two buttons of his jacket, opening access to his holster. With the other hand he checks the.44 hooked behind his back. PALANTINE smiles and shakes a few of the many hands outstretched toward him. The SECRET SERVICE MAN, scanning the CROWD, spots something that interests him. He looks closely. SECRET SERVICE MAN'S P.O.V. : TRAVIS, his face intense, pushes his way through the CROWD. PALANTINE works his way through crowds and cameras. SECRET SERVICE MAN motions to SECOND SECRET SERVICE MAN and points in TRAVIS' direction. TRAVIS slips his hand into his jacket. The SECOND SECRET SERVICE MAN converges on TRAVIS from the side. TRAVIS and PALANTINE draw closer to each other. SECRET SERVICE MAN, walking just behind PALANTINE, grabs the candidate's hand and pulls him backward. PALANTINE looks sharply back at SECRET SERVICE MAN who motions for him to take a slightly altered route. TRAVIS sees this : his eyes meet the SECRET SERVICE MAN's. He recognizes the situation. To his right he spots the SECOND SECRET SERVICE MAN. TRAVIS' eyes meet PALANTINE's : candidate and would-be assassin exchange quick glances. TRAVIS hastily works his way back through the CROWD. He hears the SECRET SERVICE MAN's voice call out : SECRET SERVICE MAN Detain that man! OVERHEAD SHOT reveals TRAVIS has the jump on his pursuers. He is breaking free of the CROWD while they are still mired in it. TRAVIS, free of his pursuers, quickly makes his way down the sidewalks. The SECRET SERVICE MEN look futilely about. TRAVIS jumps in his cab. Sweat covers his face. CUT TO : The film is moving fast now ; it pushes hard and straight toward its conclusion. We're moving toward the kill. LATE AFTERNOON. TRAVIS' taxi skids around a corner and speeds into Manhattan. TRAVIS checks his mail slot : the letter to IRIS has already been picked up by the MAILMAN. TRAVIS, stripped to the waist, walks back and forth across his INT. APARTMENT, wiping his torso with a bath towel. TRAVIS begins dressing : -- He straps the Army combat knife to his calf. -- He reflexes the metal gliders and the Colt.25 on his right forearm. INTERCUT : SPORT stands in his doorway on the LOWER EAST SIDE shot with LONG DISTANCE LENS. It is EARLY EVENING. INTERCUT : A pudgy middle-aged white PRIVATE COP walks up to SPORT. The two men laugh, slap each other on the back and exchange a soul shake. They discuss a little private business and the PRIVATE COP walks off in the direction of IRIS' apartment. -- TRAVIS straps on holster and fits the.38 Special into it. INTERCUT : PRIVATE COP walks down block. -- TRAVIS hooks the huge Magnum into the back of his belt. He puts on his Army jacket and walks out the door. INTERCUT : PRIVATE COP turns up darkened stairway to IRIS' apartment. NIGHT has fallen : TRAVIS' taxi careens down 10th Ave. He speeds, honks, accelerates quickly. The glare of speeding yellow and red lights flash through the night. TRAVIS' P.O.V. : PEDESTRIAN attempts to flag down TRAVIS' taxi, but quickly steps back up on the curb when he sees TRAVIS has no intention of stopping for anything. INTERCUT : SPORT maintains his post in the dark doorway. He waves to a GIRL who passes, and she waves back. TRAVIS' taxi screeches to a stop and parks obliquely against the curb. CUT TO : TRAVIS walks down the block to the doorway where SPORT stands. CAMERA TRACKS with TRAVIS. Without slowing, TRAVIS walks up to SPORT and puts his arm on his shoulder in a gesture of friendliness. TRAVIS Hey, Sport. How are things? SPORT -LRB- shrugs -RRB- O.K., cowboy. TRAVIS -LRB- needling him -RRB- How are things in the pimp business, hey Sport? SPORT What's going on? TRAVIS I'm here to see Iris. SPORT Iris? TRAVIS pushes SPORT back into the dark recesses of the corridor. SPORT Wha --? TRAVIS Yeah, Iris. You know anybody by that name? SPORT No. -LRB- beat -RRB- Hillbilly, you'd better get your wise ass outa here and quick, or you're gon na be in trouble. TRAVIS is being propelled by an inner force, a force which takes him past the boundaries of reason and self-control. TRAVIS -LRB- restrained anger -RRB- You carry a gun? SPORT looks into TRAVIS' eyes, saying nothing : he realizes the seriousness of the situation. TRAVIS pulls his.38 Special and holds it on SPORT, pushing him even further back against the wall. TRAVIS Get it. SPORT -LRB- submissive -RRB- Hey, mister, I do n't know what's going on here. This do n't make any sense. TRAVIS -LRB- demanding -RRB- Show it to me. SPORT reluctantly pulls a.32 caliber pistol ( a `` purse gun'' ) from his pocket and holds it limply. TRAVIS sticks his.38 into SPORT's gut and discharges it. There is a muffled blast, followed by a muted scream of pain. TRAVIS Now suck on that. Agony and shock cross SPORT'S face as he slumps to the floor. TRAVIS turns and walks away before SPORT even hits. As TRAVIS walks away, SPORT can be seen struggling in the b.g. TRAVIS, he gun slipped into his jacket, walks quickly up the sidewalk. AROUND THE CORNER, TRAVIS walks into the darkened stairway leading to IRIS' apartment. As he walks up the stairs, TRAVIS pulls the.44 Magnum from behind his back and transfers the.38 Special to his left hand. He walks up the steps, a pistol dangling from each hand. AT THE TOP OF THE STAIRS, TRAVIS spots THE OLD MAN sitting at the far end of the dark corridor. THE OLD MAN starts to get up when TRAVIS discharges the mighty.44 at him. BLAAM! The hallway reverberates with shock waves and gun powder. THE OLD MAN staggers at the end of the corridor : his right hand has been blown off at the forearm. There is the sharp SOUND of a GUNSHOT behind TRAVIS : his face grimaces in pain. A bullet has ripped through the left side of his neck. Blood flows over his left shoulder. TRAVIS'.44 flies into the air. TRAVIS looks down the stairway : there SPORT lies choking in a puddle of his own blood. He has struggled long enough to fire one shot. Falling, TRAVIS drills another.38 slug into SPORT's back but SPORT is already dead. TRAVIS slumps to his knees. Down the corridor THE OLD MAN with a bloody stump is struggling toward him. TRAVIS turns his.38 toward THE OLD MAN. The door to No. 2 opens : IRIS' scream is heard in the b.g. The bulky frame of the PRIVATE COP fills the doorway. His blue shirt is open, in his hand hangs a.38 service revolver. The PRIVATE COP raises his gun and shoots TRAVIS. TRAVIS, blood gushing from his right shoulder, sinks to the floor. His.38 clangs down the stairs. THE OLD MAN grows closer. TRAVIS smashes his right arm against the wall, miraculously, the small Colt.25 glides down his forearm into his palm. TRAVIS fills the PRIVATE COP's face full of bullet holes. The PRIVATE COP, SCREAMING, crashes back into the room. THE OLD MAN crashes atop TRAVIS. The.25 falls from TRAVIS' hand. Both men are bleeding profusely as they thrash into IRIS' room. IRIS hides behind the old red velvet sofa, her face frozen in fright. TRAVIS, trapped under the heavy OLD MAN, reaches down with his right hand and pulls the combat knife from his right calf. Just as TRAVIS draws back the knife, THE OLD MAN brings his huge left palm crashing down on TRAVIS : THE OLD MAN's palm is impaled on the knife. OLD MAN SCREAMS in pain. Police SIRENS are heard in b.g. With great effort, TRAVIS turns over, pinning THE OLD MAN to the floor. The bloody knife blade sticks through his upturned hand. TRAVIS reaches over with his right hand and picks up the revolver of the new dead PRIVATE COP. TRAVIS hoists himself up and sticks the revolver into the OLD MAN's mouth. THE OLD MAN's voice is full of pain and ghastly fright : OLD MAN Do n't kill me! Do n't kill me! IRIS screams in b.g. TRAVIS looks up : IRIS Do n't kill him, Travis! Do n't kill him! TRAVIS fires the revolver, blowing the back of THE OLD MAN's head off the silencing his protests. The police SIRENS screech to a halt. SOUND of police officers running up the stairs. TRAVIS struggles up and collapses on the red velvet sofa, his blood-soaked body blending with the velvet. IRIS retreats in fright against the far wall. First uniformed POLICE OFFICER rushes in room, drawn gun in hand. Other POLICEMEN can be heard running up the stairs. TRAVIS looks helplessly up at the OFFICER. He forms his bloody hand into a pistol, raises it to his forehead and, his voice croaking in pain, makes the sound of a pistol discharging. TRAVIS Pgghew! Pgghew! Out of breath fellow OFFICERS join the first POLICEMAN. They survey the room. TRAVIS' head slumps against the sofa. IRIS is huddled in the corner, shaking. LIVE SOUND CEASES. OVERHEAD SLOW MOTION TRACKING SHOT surveys the damage : -- from IRIS shaking against the blood-spattered wall -- to TRAVIS blood-soaked body lying on the sofa -- to THE OLD MAN with half a head, a bloody stump for one hand and a knife sticking out the other -- to POLICE OFFICERS staring in amazement -- to the PRIVATE COP's bullet-ridden face trapped near the doorway -- to puddles of blood and a lonely.44 Magnum lying on the hallway carpet. -- down the blood-specked stairs on which lies a nickle- plated.38 Smith and Wesson Special -- to the foot of the stairs where SPORT's body is hunched over a pool of blood and a small.32 lies near his hand -- to CROWDS huddled around the doorway, held back by POLICE OFFICERS -- past red flashing lights, running POLICEMEN and parked police cars -- to the ongoing nightlife of the Lower East Side, curious but basically unconcerned, looking then heading its own way. FADE TO : FADE IN :", "EXT. TRAVIS' APARTMENT - DAY It is EARLY FALL. The trees are losing their leaves. CUT TO : SLOW TRACKING SHOT across INT. APARTMENT. Room appears pretty much the same, although there is a new portable TV and an inexpensive easy chair. VISUAL : TRACK begins at table and works across the room to the mattress. We see these items : -- On the table rests the diary, closed. A desk calendar stands on the table : it is October. -- Across the wall where the Palantine clippings once hung there are now a series of new newspaper clippings. Right to left, they read : 1. The first is a full back page from the N.Y. Daily News. Headline reads : `` CABBIE BATTLES GANGSTERS.'' There are large photos of police standing in IRIS' room after the slaughter, and a picture of TRAVIS' cabbie mug shot. 2. Underneath there is a more discreet clipping without photo from the N.Y. Times. Two-column headline reads : `` Cabbie Shootout, Three Dead.'' 3. A follow-up story from the News. Two-column photo shows plain middle-aged couple sitting in middle-class living room. Two-column headline reads : `` Parents Express Shock, Gratitude.'' 4. A two-column Daily News story without photo. Headline reads : `` Taxi-Driver Hero to Recover.'' 5. A one-column two-paragraph News story stuck on an obscure page. Headline reads : `` Cabbie Returns to Job.'' -- At the end of the clippings, a letter is tacked to the wall. It is a simple letter hand-written on plain white paper. The handwriting makes a conscious effort to appear neat and orderly. We recognize that it is the same letter that is being read in voice over. -- When we finally arrive at the mattress, we find it is barren. A pillow and blanket ( new purchases ) are folded at the head of the mattress. AUDIO : THROUGHOUT THE TRACK, we hear the voice of a middle- aged uneducated man reading in voice over. It is the voice of IRIS' FATHER and he is reading a letter he sent to TRAVIS, and which TRAVIS has tacked to his wall. IRIS' FATHER -LRB- V.O. -RRB- Dear Mr. Bickle, I ca n't say how happy Mrs. Steensma and I were to hear that you are well and recuperating. We tried to visit you at the hospital when we were in New York to pick up Iris, but you were still in a coma. There is no way we can repay you for returning our Iris to us. We thought we had lost her, but now our lives are full again. Needless to say, you are something of a hero around this household. I'm sure you want to know about Iris. She is back in school and working hard. The transition has been very hard for her, as you can well imagine, but we have taken steps to see she never has cause to run away again. In conclusion, Mrs. Steensma and I would like to again thank you from the bottom of our hearts. Unfortunately, we can not afford to come to New York again to thank you in person, or we surely would. But if you should ever come to Pittsburgh, you would find yourself a most welcome guest in our home. Our deepest thanks, Burt and Ivy Steensma CUT TO :", "EXT. PLAZA HOTEL - NIGHT Four cabs stand in the waiting line in front of the hotel. Near the entrance, TRAVIS and WIZARD stand in the light talking. TRAVIS' hair is almost fully grown back to its normal length. TRAVIS wears the same clothes -- cowboy boots, jeans, western shirt, Army jacket -- but he is n't wearing a gun. There is a thick scar on the left side of his neck. Wizard is speaking. WIZARD A private-owner wanted to swap wheels. Now my tires were brand new. `` Give me a couple days,'' I says. CHARLIE T. parks his cab in line and walks toward TRAVIS and WIZARD. CHARLIE T Howdy Wizard, Killer. CHARLIE T. points his pistol/finger at TRAVIS, fires, says `` Pow'' and laughs. CHARLIE T -LRB- CONTD -RRB- -LRB- casual joking -RRB- Do n't mess with the Killer. TRAVIS -LRB- smiles -RRB- Hey Charlie T. WIZARD Howsit, Charlie? -LRB- pause -RRB- Hey Travis, I think you gota fare. They all turn. P.O.V. of DOORMAN closing rear door of TRAVIS' taxi. TRAVIS Shit. -LRB- runs off -RRB- CHARLIE T Take it slow, Killer. TRAVIS waves back to CHARLIE T. and WIZARD as he runs around cab and jumps in the driver's seat. TRAVIS' taxi pulls away. C.U. TRAVIS at the wheel. A FEMALE VOICE says : FEMALE VOICE 34 East 56th Street. TRAVIS recognizes the voice. He looks in the rear-view mirror : It is BETSY. TRAVIS says nothing : he heads toward 56th Street. After a silence, BETSY speaks : BETSY Hello, Travis. TRAVIS Hello, Betsy. There is an uneasy pause. TRAVIS I see where Palantine got the nomination. BETSY Yes. It wo n't be long now. Seventeen days. TRAVIS Well, I hope he wins. There is another pause. BETSY -LRB- concerned -RRB- How are you, Travis? I read about you in the papers. TRAVIS Oh, I got over that. It was nothing, really. The papers always blow these things up. -LRB- a beat -RRB- A little stiffness. That'll go away. I just sleep more, that's all.", "EXT. TRAVIS' taxi pulls up to 34 East 56th Street. TRAVIS Here we are. BETSY digs in her purse. TRAVIS -LRB- protesting -RRB- No, no, please. This fare's on me. Please. BETSY Thank you, Travis. BETSY gets out of the cab and stands by the right front window, which is open. TRAVIS prepares to drive away. BETSY Travis? TRAVIS Yeah. BETSY Maybe I'll see you again sometime, huh? TRAVIS -LRB- thin smile -RRB- Sure. BETSY steps away from the curb and TRAVIS drives off. She watches his taxi. CAMERA FOLLOWS TRAVIS' taxi as it slowly disappears down 56th Street. SUPERIMPOSE TITLES : THE END"], "labels": [1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 1.0, 1.0, 1.0, 0.0, 1.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0], "summary": "Travis Bickle is a 26-year-old honorably discharged U.S. Marine and Vietnam War veteran suffering from post-traumatic stress disorder and living alone in New York City. Travis takes a job as a night shift taxi driver to cope with his chronic insomnia and loneliness. He frequents the porn theaters on 42nd Street and keeps a diary in which he consciously attempts to include aphorisms, such as \"you're only as healthy as you feel.\" He is disgusted with the crime and urban decay he witnesses, and dreams about ridding \"the scum off the streets\". Travis becomes infatuated with Betsy, a campaign volunteer for senator and presidential candidate Charles Palantine. Travis enters the campaign office where she works, and asks her out for coffee, to which she agrees. Betsy confesses that she feels a special connection to Travis, and agrees to go on another date with him. During their date Travis takes Betsy to a porn theater, which repulses her and causes her to leave. He attempts to reconcile with her, to no avail. Enraged, he storms into the campaign office where she works, and berates her before he is ordered to leave. Experiencing an existential crisis and seeing various counts of prostitution throughout the city, Travis confides in fellow taxi driver nicknamed Wizard about his violent thoughts. However, Wizard dismisses them and assures him that he will be fine. In an attempt to find an outlet for his rage, Travis begins a program of intense physical training. A fellow taxi driver refers him to a black market gun dealer, \"Easy\" Andy, from whom Travis buys four handguns. At home, Travis practices drawing his weapons, and modifies one to allow him to hide and quickly deploy it from his sleeve. He also begins attending Palantine's rallies to scope out their security. One night, Travis shoots and kills a man attempting to rob a convenience store. On his trips around the city, Travis regularly encounters Iris, a child prostitute whom he fantasizes about saving. Travis solicits her and tries to persuade her to stop prostituting herself. Soon after, Travis cuts his hair into a mohawk and attends a public rally where he plans to assassinate Palantine. However, he is chased away by Secret Service agents who see him drawing his gun. That evening, Travis drives to the brothel where Iris works, and shoots her pimp, Sport. He enters the building and engages in a shootout with Sport and one of Iris's clients, a mafioso. Travis is shot several times but manages to kill the two men. He then brawls with the bouncer, whom he manages to stab through the hand with his knife located in his shoe and finish him off with a gunshot to the head. Bloody and injured, Travis slumps on a couch next to a sobbing Iris. He attempts to commit suicide but is out of bullets. As police respond to the scene, a delirious Travis imitates shooting himself in the head using his finger. Travis goes into a coma due to his injuries. He is heralded by the press as a heroic vigilante and is not prosecuted for the murders, also receiving a letter from Iris's father, thanking him. After recovering, Travis returns to work, where he encounters Betsy as a fare; they interact cordially, with Betsy saying she followed his story in the newspapers. Travis drops her at home, and declines to take her money, driving off with a smile. However, Travis becomes suddenly agitated after looking in his rear-view mirror, seeing himself and realizing the anger and hatred he has felt are still inside him.", "name": "Taxi_Driver"}
{"scenes": ["I N. - GAME SHOW SET. - DAY BLACK AND WHITE FOOTAGE FROM 1978 MUSIC UP : A simple GAME SHOW SET -- one long desk-that houses four `` CELEBRITY PANELISTS,'' a small pulpit with attached microphone for the host, BUD COLLYER, who walks through the curtain to the delight of the audience. Bud bows and waves to the celebrities -- ORSON BEAN, KITTY CARLISLE, TOM POSTON, and PEGGY CASS. BUD COLLYER Hello, panel, and welcome everyone to another exciting day on `` To Tell The Truth.'' Let's get the show started. THE CURTAIN STARTS TO RISE BRIGHT LIGHTS SHINE on the faces of THREE MEN who walk toward center stage. All thre n wear identical AIRLINE PILOT UNIFORMS, each with m ; c ng blue blazers and caps. ( cont' d ) Gentleman, please state your names. PILOT #1 My name is Frank Abagnale Jr. THE PILOT IN THE MIDDLE steps forward. PILOT #2 My name is Frank Abagnale Jr. THE THIRD PILOT does the same. PILOT #3 My name is Frank Abagnale Jr. Bud smiles, grabs a piece of paper. BUD COLLYER Panel, listen to this one. -LRB- he starts to read -RRB- My name is Frank Abagnale Jr, and some people consider me the worlds greatest imposter. -LRB- CONTINUED -RRB- As Bud reads, the CAMERA SLOWLY PANS the faces of the three PILOTS BUD COLLYER ( cont'd )  -LRB- READING -RRB- From 1964 to 1966 I successfully impersonated an airline pilot for Pan Am Airlines, and flew over two million miles for free. During that time I was also the Chief Resident Pediatrician at a Georgia hospital, the Assistant Attorney General for the state of Louisiana, and a Professor of American History at a prestigious University in France. By the time I was caught and sentenced to prison, I had cashed over six million dollars in fraudulent checks in 26 foreign countries and all fifty states, and I did it all before my 18th birthday. To this day, I am the only teenager ever to have been placed on the FBI' s most wanted list. My name is a Abagna l e Jr. Warm applause as the THREE MEN walk behind a desk that faces the pa They all sit down at exactly the same time. BUD COLLY ER -LRB- CONT'D -RRB- Okay, panel, you have ork cut out for you. Kitty Carl, you have the first question. KITTY CARLISLE Imposter number one, how many years were you in prison? PILOT #1 I served two years in France, and five years in Atlanta, Georgia. KITTY CARLISLE Imposter number two, I find all this very fascinating. Who was it that finally caught you? SLOWLY PUSH IN ON THE PILOT IN THE MIDDLE -- A thin smile across his lips as he faces the panel -- his manicured hands out in front of him on the desk -- his back ( CONTINUED ) straight in his chair -- his cap pulled slightly forward on his head -- the way pilots like to wear them. EXT. - PAPIGONE MAXIMUM SECURITY PRISON. - MARSEILLE - NIGHT SUPER : MARSEILLE, FRANCE DECEMBER 25, 1967 A heavy rain falls on CARL HANRATTY, 40's, who wears a black hat and holds a black umbrella as he bangs on the window of a small GUARDHOUSE in front of a LARGE GATED PRISON. Carl is sneezing as he holds up an IDENTIFICATION CARD TO THE GUARD. CARL HANRATTY CARL HANRATTY, FBI.", "INT. - PAPIGONE PRISON WARDEN'S OFFICE. - DAY 3 Carl is walking down a long corridor inside the prison, struggling to close his umbrella as he faces WARDEN GARREN and TWO GUARDS. CARL HANRATTY I have orders see a prisoner named Abagnale, t ake his statement and solicit a c n ^ n so I can prepare for tomorrow' tladition. Carl takes a roll of CASH out of h is p ocket, casually slips the money to the Warden. CARL HANRATTY If I give you another twenty, will you turn up the heat in here?", "INT. - PAPIGONE PRISON - FRANK'S CELL/CORRIDOR. - DAY Warden Garren is leading Carl down a small, isolated corridor just off the main floor. They pass CEMENT DOORS with metal SLIDE HOLES and numbers taped to the front. There are no bars or windows in this area, and complete silence. Garren stops at the last cell and opens the SLIDE HOLE. WARDEN GARREN Do n't pass him anything through the HOLE- Garren walks off, and Carl immediately starts to smile, looking around for a long BEAT as he stares at the cell door. ( CONTINUED ) CARL HANRATTY Yoohoo. Hello? Is the lady of the house at home? Carl tries to control his excitement as he kneels down and looks through the metal slide hole. THROUGH THE HOLE", "INT. - PAPIGONE PRISON - FRANK'S CELL. - NIGHT 5 WE SEE FRANK ABAGNALE JR., his face partially hidden in the dim cell, which gets its only light from a hanging bulb. Frank is lying on the cement floor, his back up against the far wall. He wears only a pair of underwear and clutches a torn blanket. CARL HANRATTY Jesus, Frank, you look terrible. I heard about French prisons, but this is positively barbaric. WE HEAR a sound come fr om the cell, and then heavy coughing. CARL HANRATT Y -LRB- CONT'D -RRB- That does n't look g ood. I have a little cold my self. FRANK Help me. CARL HANRATTY Help you? Yes, I'll help you, Frank. CARL HA N RATTY Why do you think I've been fighting to have you extradited. Why do you think I came to take you home? Do you know that 21 other countries want'you in their prisons? I saw the list -- Egypt was on there. Who the hell goes to Egypt to write bad checks? FRANK I'm sick... please... CARL HANRATTY Do n't worry, Frank, you just have to make it through one more night. And then tomorrow I'll help you onto a plane, clean you up, and put you in a cell for the next twenty-five years. -LRB- CONTINUED -RRB- INSIDE THE CELL CLOSE ON FRANK ABAGNALE JR. His face covered by a beard and matted black hair. Frank closes his eyes and starts to cough. FRANK Help me, please. I ca n't breathe... OUTSIDE THE CELL Carl listens to Frank, who is coughing so hard he starts to choke. FRANK -LRB- CONT'D -RRB- Ca n't... breathe... CARL HANRATTY Do n't start this shit, Frank. FRANK Ca n't... Ca n't Carl looks through the s lide hole door, but can only see faint images of Frank rol the floor holding his THROAT- CARL HANRATTY -LRB- CONT'D -RRB- Frank, what's happening? Damn it, just calm down! Somebody help me!! SMASH CUT", "INT. - PAPIGONE PRISON - FRANK'S CELL/CORRIDOR. 6 THE CELL DOOR IS THROWN OPEN Frank is being dragged across the floor by Warden Garren and a second GUARD, each holding an arm as they drag Frank's emaciated six-foot frame through the halls. CARL HANRATTY jogs behind the guards. CARL HANRATTY He's not breathing. I think he stopped breathing!", "INT. - PAPIGONE PRISON INFIRMARY. - DAY 7 A small, empty room with four empty hospital beds. Frank is lifted onto one of the beds, his legs and arms flailing out to the sides, kicking a thin curtain out from the wall. CARL HANRATTY What's happening to him? Garren and the Guard quickly move toward a sink, where they start to wash their hands. CARL HANRATTY -LRB- CONT'D -RRB- What are you doing? ASSISTANT WARDEN GARREN Washing off the lice. CARL HANRATTY He ca n't breath. You have to call a doctor. STANT WARDEN GARREN The doctor comes in the morning. You ca n't just le t him die. I have orders from the Embassy! This man is going t tradited to the United State am holding you responsible if a' nt happens! Suddenly Garren looks past Shaye -- eyeing the curtain that partially encloses Frank's bed. Garren slowly moves toward the curtain, pushes it open. FRANK IS GONE CLOSE ON GARREN drawing his gun and sprinting out the open door of the infirmary, yelling in French for the Guard to follow. Carl Shaye stands motionless, staring down in horror at the empty bed. CARL HANRATTY -LRB- CONT'D -RRB- Oh, shit...Frank!", "INT. - PRISON. - CONTINUOUS The prison ALARM has sent every prisoner to the front of their cells, where they see Frank stumbling through the prison -- ( CONTINUED ) a thin smile on his lips as he tries to move his starved legs toward the main door. As Frank makes his way past a row of cheering prisoners, he trips and falls, his body too weak to run as he starts to crawl across the prison floor. Carl and Garren easily catch up to him, Garren quickly kneeling down and holding his gun against Frank's head -- cocking the weapon. Frank stops crawling, rolls over on his back and smiles up at CARL HANRATTY. FRANK Okay, Carl... let's go home.", "INT. - NEW ROCHELLE ROTARY CLUB. - BANQUET ROOM. - NIGHT SUPER : NEW ROCHELLE. NEW JERSEY 1964 A smoke filled oak dining room packed with CLUB MEMBERS -- HUNDREDS OF MIDDLE AGED WHITE MEN wearing black suits and holding long cigars as they drink from brandy glasses. FRANK ABAGNALE, 15, a BUCKLEY PRIVATE SCHOOL BLUE BLAZER AND WHITE PANT with his mother, PAULA, 33, at a center table near themes Paula is a stunning blonde dressed in diamonds and and since she's the only woman in the room -- she's getti t of attention. CLUB PRESIDENT JACK WRIGHT takes rophone at the front of the stage. JACK WRIGHT The New Rochelle Rotary Club has a history that goes back to 1 919. In all those years, we have only inducted a handful of deserving men as lifetime members, an honor that has seen 57 names enshrined on the wall of honor. Tonight, we make it 58. So please stand, as I present my good friend, Frank William Abagnale. Applause all around as FRANK ABAGNALE SR. steps up to the MICROPHONE. He is handsome and impeccable groomed -- wearing a black suit and holding onto his plaque with two hands. FRANK SR. I stand here today humbled by the presence of Mayor Allen, and our club President, Jack Wright. But most of all, I am honored to see my loving wife, Paula, and my son, Frank Jr., sitting in the front-row. I'm just a business man, a working stiff -- but tonight you have made me royalty. And for this, I am eternally grateful. Laughter from the men in the room as Frank continues. FRANK SR. -LRB- CONT'D -RRB- Two little mice fell in a bucket of cream. The first mouse quickly gave up and drowned, but the second mouse would n't quit. He struggled so hard, -LRB- MORE -RRB- -LRB- CONTINUED -RRB- FRANK SR. -LRB- CONT'D -RRB- that he eventually churned that cream into butter -- and crawled out. Gentleman, as of this moment, I am that second mouse. The men applaud as Frank Sr. smiles down at his wife and son, giving them a wink as he raises the plaque in the air.", "EXT. - FRANK'S HOUSE. -/W ROCHELLE. - DAY A tree lined, picture ce of suburbia, with large homes splashed with snow, Ca n the driveways and kids sledding in the street.", "EXT. - FRANK'S HOUSE CHRISTMA4ER2MF, - DAY DEAN MARTIN is singing EVERYBOD SOMEBODY on the radio, as Frank Sr. hammers his PLAQUE i the wall. in the middle of the DEN, Frank is dancing with his mother, who is holding a glass of wine as she dances. PAULA You're a better dancer than your father, Frankie. The girls do n't know what they're in for. FRANK SR. Paula, show him the dance you were doing when we met. PAULA Who can remember? FRANK SR. The people in that little French Village were so happy to see Americans, that they decided to put on a show for us. -LRB- CONTINUED -RRB- FRANK I know the story, Dad. FRANK SR. So they cram two hundred soldiers into this tiny social hall, and the first person to walk on stage is your mother. And she starts to dance... Paula steps away from Frank, and she starts to dance a ballet, smiling as she tries to remember the steps. FRANK SR. -LRB- CONT'D -RRB- It had been months since we had even seen a woman, and here's this blonde angel on stage -- and the men are literally holding their breath. And I turned to my buddies, and I said.. FRANK -LRB- imitating his father -RRB- I will not lea France without her. Paula spins around, accide ntally, SP ILLS HER GLASS OF WINE -- PAULA Oh, shit, the rug! I b relieve I did that. Frankie, run /get a towel... As Frank runs off, Paula drops to her knees and scrubs the stain with the hem of her dress. PAULA -LRB- CONT'D -RRB- This will never come out. She looks up at her husband. PAULA -LRB- CONT'D -RRB- Whenever I dance for you, I get in trouble.", "INT. - FRANK'S HOUSE. - MORNING Frank is asleep in his bedroom. His father walks in carrying a plate of scrambled eggs. ( CONTINUED ) FRANK SR. Wake up, Frank... it's eight-thirty. Frank opens his eyes, stares at his father. FRANK I overslept. Mom's gon na kill me. FRANK SR. It's okay. You do n't have to go to school today. FRANK Is it snowing? FRANK SR. Do you own a black suit? FRANK A black suit? Why? FRANK SR. We have a ver y i mportant meeting in the city.", "EXT. - MEN'S SHOP. THE WHITE CADILLAC is park ont of A MEN'S CLOTHING STORE -- Frank Sr. banging on the g lass door, trying to get someone's attention. FRANK SR. Ma'am, open the door. Just open up, please, it's important. THE DOOR OPENS A CRACK AND DARCY, 40's, low cut blouse, a bagel in her hand, stares at Frank Sr. DARCY we do n't open for half an hour. FRANK SR. What's your name, ma'am? DARCY Darcy. FRANK SR. Darcy, that's a pretty name. I'm in a bit of fix -- I need a suit for my kid. This is my son, Frank, he needs -LRB- MORE -RRB- -LRB- CONTINUED -RRB- FRANK SR. -LRB- CONT'D -RRB- a black suit. There was a death in the family, my father, eighty-five years old, a war hero, there's a funeral this afternoon -- a military funeral -- planes flying overhead, twenty-one gun salute. Frank needs to borrow a suit for a couple of hours. DARCY I'm sorry. We do n't loan suits, and we're not open. As she closes the door, Frank Sr. takes a small GOLD NECKLACE OUT OF HIS POCKET, holds it up to the glass. FRANK SR. Is this yours, Darcy? I just found it in the parking lot? Darcy stares at the necklace through the door.", "EXT. - NEW YORK CITY. - DA Y The Cadillac is parked somewh Frank, now wearing a BLACK SUIT a his father gets out of the car and climbs into the back seat FRANK SR. Slide over. You're gon na take me to Chase Manhattan Bank. Just head up to seventy-second and Madison, pull up to the front and park next to the fire hydrant. Frank looks back at his father. FRANK Dad... I do n't know how to drive.", "EXT. / INT. - CADILLAC. - DAY Frank is driving through Manhattan, his father in the back seat screaming directions as he teaches him to drive. They are both laughing as Frank speeds through the city. ( CONTINUED ) FRANK SR. A little more gas -- now slip it into second. That's good, more clutch, now pull into this lane here -- slowly! THE CADILLAC SWERVES HARD, ALMOST HITTING A CAB -- CARS HONKING AND SLAMMING ON THEIR BRAKES AS FRANK SR. STICKS HIS HEAD OUT THE WINDOW. FRANK SR. -LRB- CONT'D -RRB- -LRB- yelling out the window -RRB- Do n't honk at us you son of a bitch -- I'm teaching my kid to drive! You're doing fine, Frank, just pick a lane and slip it into third -- about one- o'clock -- push it hard. Frank slips it into third. FRANK SR. -LRB- CONT'D -RRB- Perfect! Now you got it! Look at you, Frank, t his is your town -- you're goin g s tr aight up Broadway!", "INT. - CHASE MANHATTAN. EMPLOYEES ARE HELPING CUST RS the hushed silence of the MASSIVE BANK. Suddenly all ey es to the street, where A CHAUFFEUR IN A BLACK SUIT AND OPENING THE BACK DOOR OF A WHITE CADILLAC THAT IS P ARKED NEXT T TO A FIRE HYDRANT.", "EXT. - CHASE MANHATTAN BANK. - DAY Frank Sr. steps out of the Cadillac, gives his son a wink. FRANK SR. Okay. Stop grinning. When I get inside you go back to the front seat and wait. Even if a cop comes and writes you a ticket, you do n't move the car, understood? FRANK Dad... is this really gon na help? FRANK SR. You know why the Yankees always win, Frank? FRANK They have Mickey Mantle? -LRB- CONTINUED -RRB- FRANK SR. No. It's because the other teams ca n't stop staring at those damn pinstripes. Frank Sr. steps out from the Cadillac, grabs his briefcase. FRANK SR. -LRB- CONT'D -RRB- Watch this, Frank. The manager of Chase Manhattan bank is about to open the door for your father. As Frank Sr. casually walks toward the doors of Chase Manhattan, the MANAGER rushes through the bank to open the doors for him.", "INT. - LOAN DEPARTMENT. - CHASE MANHATTAN BANK. - DAY Frank Sr. is sitting across from a LOAN OFFICER, who is looking over his file. LOAN OFFICER You've owned stationery store for how man yea rs? FRANK SR. Nineteen. I bought it right after the war. LOAN OFFICER Mr. Abagnale, we don't usuall y loan money to people who hav resolved business with the I.R.S.. FRANK SR. That's just a misunderstanding. I hired the wrong guy to do my books, a mistake anyone could make. I would n't even consider that if I were you. LOAN OFFICER You want me to ignore the fact that the government is demanding two years back taxes? FRANK SR. My store is a landmark in New Rochelle. I have customers all over New Jersey. LOAN OFFICER Sir, you're not a customer of Chase Manhattan. We do n't know you. I'm sure you're bank in New Rochelle... FRANK SR. My bank went out of business. Banks like this put them out of business. Frank Sr. leans in, lowers his voice. FRANK SR. -LRB- CONT'D -RRB- Now I know I made a mistake, I admit that. But these people want blood -- they want my store -- they've threatened to put me in jail. This is America, right, I'm not a criminal. I'm a medal of honor winner, a lifetime member of the New Rochelle Rotary Club. All I'm asking you to do is help me beat these guys. L OAN OFFICER This is not a qu estion of winning and losing. It, question of risk. I'm very sor ry. FRAN K SR. You're the largest bank in the world. Where's the fucking risk?", "EXT. - USED CAR LOT. - DAY A SALESMAN is handing Frank Sr. A CHECK and a set of KEYS. SALESMAN The Impala is parked right over there. Frank and his father glance toward an OLD, DENTED CHEVY IMPALA at the back of the lot. SALESMAN -LRB- CONT'D -RRB- it was great doing business with you. THE SALESMAN gets in the CADILLAC and drives it toward the front of the car lot. Frank Sr. looks down at the CHECK in his hand. FRANK SR. Come on, Frank. Let's go return the suit.", "EXT. - FRANK'S HOUSE. - DAY A MOVING TRUCK IS DRIVING AWAY FROM THE HOUSE. The Chevy Impala is packed with boxes as it slowly pulls out of the driveway, passing the SOLD SIGN on the front lawn as it follows the moving truck through the neighborhood.", "EXT. - EASTCHESTER TRAIN STATION. - DUSK A CARGO TRAIN shoots through the rain as it pulls into a run down station that is flanked by the dilapidated APARTMENT BUILDINGS AND TENEMENT HOUSES that make up the town of EASTCHESTER, NEW JERSEY.", "INT. - EASTCHESTER APARTMENT - NIGHT A TWO BEDROOM APARTMENT with cracks in the ceiling that seem to grow with each passing train. There are MOVING BOXES STACKED AGAINST THE WALLS, and a dining room table that seems to take up half the apartment. Frank is in the kitchen making dinner as his father walks in from work -- his suit w rin kled, his briefcase in hand. FRANK SR. Where's your mother? FRANK She said she was going to look for a job. Frank Sr. and after a BEAT Frank laughs with him. FRANK -LRB- CONT'D -RRB- I'm making pancakes. FRANK SR. We're not gon na eat pancakes for dinner on my son's sixteenth birthday. Frank turns to his father. FRANK SR. -LRB- CONT'D -RRB- Why are you looking at me like that? You thought I forgot? -LRB- CONTINUED -RRB- Frank opens his BRIEFCASE, takes out a CHECKBOOK FROM CHASE MANHATTAN BANK. He walks over and hands it to Frank. FRANK SR. -LRB- CONT'D -RRB- I opened a checking account in your name. I put twenty-five dollars in the account so you can buy whatever you want. Do n't tell you mother. Frank slowly opens the CHECKBOOK, sees his name at the top of the first check. FRANK But they turned down your loan? FRANK SR. Yeah. They all turned me down. FRANK So why open a bank account with them? FRANK SR. Because one day you'll want something from these people -- a house, a car -- they have all the money. There's a hundred check h ere, Frank, which means from this day on -- you're in thier little club.", "EXT. - MONROE HIGH SCHOO MORNING THE IMPALA pulls up to the f the local public High School. Frank wears his BLUE WHITE PANTS as he gets out of the car and smiles at his mother. Paula wears an OLD FUR COAT over her pajamas. PAULA See that, it's just a school. No different than Buckley. Frank reaches through the window of the car, takes the CIGARETTE out of his mother's mouth. FRANK You promised you were going to quit. PAULA Frankie, you do n't have to wear the uniform here. Why do n't you take the jacket off? FRANK I'm used to it.", "INT. - MONROE HIGH SCHOOL. - DAY Frank walks through the crowded halls looking lost as he holds a CLASS SCHEDULE. He gets odd looks and stares from the kids around him.", "INT. - CLASSROOM. - DAY Frank walks into a packed classroom, the STUDENTS turning to stare as he checks his schedule. FRANK Is this Ms. Glasser's sixth period French? Some of the students laugh, most just turn back to their friends as Frank nervously adjusts his tie. A GIRL in the front row stares at Frank. STUDENT Are you the sub? Frank looks around for the teacher, then slowly starts to nod. Frank walks toward the blac kboard writes his name on the board -- MR. ABAGNALE. HE S LAMS THE B ACK OF AN ERASER against the board to get the students a ttention. FRANK -LRB- CONT'D -RRB- Listen up, class. My name is Mr. Abagnale and I'll be your substitute today. Would somebody please tell me where you left off in your text book? GIRL Chapter seven. FRANK Open your books to chapter eight, read quietly to yourselves. The classroom door swings open, and a frail, confused TEACHER walks in and motions to Frank. TEACHER Are you subbing for Roberta? FRANK Yes. TEACHER They sent for me -- they said they needed a sub. I rushed over here from Dixon. FRANK I always sub for Roberta. TEACHER I'll never come to Monroe again. You tell them not to call me! The WOMAN storms out, and Frank turns back to the students. FRANK I suggest you start reading people.", "INT. - PRINCIPAL'S OFFICE. - MONROE HIGH SCHOOL - DAY PRINCIPAL EVANS AND VIARINCIPAL BROWN are standing in front of Frank Sr. an Pau la, who sit in two small chairs facing the Principal' s desk. PAULA I'm not sure I understand. Has Frank been coming to school or not? VICE-PRIN CIPAL B ROWN Mr. and Mrs. Abagnale, this is not a question of your son's attendance. PRINCIPAL EVANS For the past week Frank has been teaching Ms. Glasser's French class. PAULA He what? PRINCIPAL EVANS Your son has been pretending to be a substitute teacher, lecturing the students, giving out homework. VICE-PRINCIPAL BROWN Ms. Glasser has been ill, and there was some confusion with the real sub -- we're still not sure what happened. PRINCIPAL EVANS Your son held a teacher-parent conference yesterday. He was planning a class field trip to a French bread factory in Trenton. Do you see the problem we have? Frank Sr. and Paula seem a bit confused. PAULA This is our fault, Principal Evans. Frank had been at Buckley since he was a little boy. We had to take him out for personal reasons, away from his friends -- you know how kids are. He's all alone here. FRANK SR. He's not alone. He has us.", "EXT. - PRINCIPAL'S OFFICE. - SAME TIME Frank is sitting outsid e t he Principal's office wearing his coat and tie, waiting f o r his parents to come out. He watches as a FOOTBALL PLAYER hands- SCHOOL ADMINISTRATOR a note. FOOTBALL PLAYER I have a note fr om my m om. I need to miss sixth period she's taking me to the doctor. SCHOOL ADMINISTRATOR Thank you, Roger. As the Football player walks off, Frank leans over to look at the note. The Administrator catches him looking. FRANK It's a fake. SCHOOL ADMINISTRATOR Excuse me? FRANK There's no crease in the paper. SCHOOL ADMINISTRATOR I do n't understand. FRANK When your mom hands you a note to miss school, you put it in your pocket. And if it was in his pocket, where's the crease?", "INT. - PRINCIPAL'S OFFICE. - DAY Frank Sr. lights a cigarette as he stands up to leave. FRANK SR. Excuse me. I have to go to work. PRINCIPAL EVANS Sir, we have no choice but to suspend Frank for one week, and transfer him out of French and into German. FRANK SR. You're not suspending anyone. if you go after my son I'll go before the school board and ask them who's minding the st or e at Monroe High. I'll ask my good friend Tom Walsh how it's po ssible f or a little kid to teach a Fr ench class for an entire week without t he P incipal of the school knowing a bout it. I might even mention the f ac t my son does n't speak Frenc h.", "INT. - MONROE HIGH SCHOOL. -DAY Frank closes his locker, sees FOUR CHEERLEADERS standing in front of him. The leader of the group, JOANNA, steps forward. JOANNA Are you that transfer from Buckley? Frank looks a bit confused as he stares at the girls. FRANK Yes. JOANNA My name is Joanna Carlson, and I was wondering if you were going to the Junior Prom? FRANK No. I do n't have a date yet. My name is Frank Abagnale. JOANNA Frank, do you think you could buy my' friends and I some beer before the dance? All the other guys are afraid to try. FRANK I'm only sixteen. How could I buy you beer? JOANNA If you're old enough to teach French, you're old enough to buy beer.", "INT. - FRANK'S APARTMENT. - DAY Frank walks in from school, throws his books on a chair and opens the refrigerator. The radio is on and there's a bottle of wine on the counter. FRANK Mom, I'm home. Nobody answers, and F rank slowly walks toward the back bedroom door, which is closed. FRANK -LRB- CONT'D -RRB- I met a girl today. Mom? Frank's about to knock when th e b edroom door suddenly opens, and Paula walks out with JACK W RIGHT - the Rotary Club President -- who wears a tailored bla ck suit. Paula wears a dress and holds a tray of food. PAULA That's all there is, two bedrooms, but we're getting used to it. Frankie, you remember Dad's friend Jack Wright from the club, he came by looking for your father -- I was giving him a tour of the apartment. JACK WRIGHT Very spacious, Paula. FRANK Dad's at work. Frank stares at Jack, who walks over and picks up his HAT off the chair. JACK WRIGHT You look more like your old man every day. Thanks for the sandwich, Paula. I'll see ya later. FRANK Wait. Frank walks to the couch, picks up a small ROTARY PIN that is lying on the cushions. He holds it up to Jack. JACK WRIGHT Thank you, Frank. That's the President's pin. I'd be in big trouble if I lost that. Jack clips the pin to his jacket, turns and walks out the door. PAULA Are you hungry, Frankie? I'll make you a sandwich. Paula walks into the kitch en, opens the refrigerator and starts making a sandw ich. PAULA -LRB- CONT'D -RRB- Jack wanted to t alk busi ness with your father. He sa id that we should sue the government, that it's not legal what they're do ing to us. Why are n't you saying anyth ing. Frank stares at his mother, who continues to make his sandwich. PAULA -LRB- CONT'D -RRB- You're not going to tell him, are you? Paula walks over to her son, her hands shaking as she hands him a sandwich. FRANK No. PAULA That's right. There's nothing to tell. I'm going outfor a few hours, visit some old friends from the tennis club. And when I get home we'll all -LRB- CONTINUED -RRB- PAULA -LRB- CONT'D -RRB- have dinner together, right? But your wo n't say anything, because it's just stupid, is n't it? Paula lights a cigarette, walks toward the door. PAULA -LRB- CONT'D -RRB- Do you need some money, Frankie, a few dollars to buy some record albums? Here, take five dollars. Paula holds out five dollars, and Frank walks toward her, reaches up and takes the cigarette out of her mouth. FRANK You promised you were going to quit.", "EXT. - ABAGNALE STATIONERS. - NEW ROCHELLE. - DAY A large stationery store sits right in the middle of the upscale neighborhood of New Rochelle.", "INT. - STATIONERY STO A DAY Frank is working behind the cou nter of his father's store, gently placing a SILVER PEN a cross a velvet display pad. A WOMAN stares down at the p en. FRANK This is a. 925 sterl ing silve r Waldmann ballpoint pen with a two- color twist action top. Just turn it like this -- the ink changes from black to blue. Nine dollars. WOMAN They have them in the city for six. As the woman walks out of the store, Frank Sr. comes running out of his office, which doubles as the stockroom. He holds a letter in his hand. FRANK SR. It's over. I did it, Frank. The sons of bitches have called off the dogs -- read it and weep. I beat the United States government. Take a look at that. -LRB- CONTINUED -RRB- Frank Sr. hands Frank a letter. FRANK SR. -LRB- CONT'D -RRB- See what it says -- the I.R.S is backing off. They're gon na take their money and run -- no charges filed, no further investigations into this matter. They thought they could get me, and I sent Uncle Sam running for the hills. FRANK Does this mean we can move home? FRANK SR. We're gon na move back here, Frank, get a new house, a new car -- FRANK A red Cadillac with white interior. FRANK SR. It's gon na take a little time, but we're gon na get it all back -- every fur coat, eve goddamn piece of silver! Com e o n help me lock up. We're going celeb ra t e!", "INT. - VILLAGE INN BAR. ='REASTCHESTER. - DAY Frank follows his father int V ILLAGE INN BAR, a neighborhood dive that is ful'lway workers coming off the night shift. Frank and his are greeted with cold stares from a handful of REGULARS are drinking and watching a mounted black and white TV. NEWSCASTER -LRB- V.0. ON TV -RRB- The Warren Commission has concluded their investigation into the assassination of President Kennedy, and has found that Lee Harvey Oswald acted alone, with no evidence of conspiracy, domestic or foreign. FRANK SR. -LRB- to the bartender -RRB- Bring us a couple of beers and two shots of Canadian. BARTENDER I need to see the kid's I.D.. FRANK SR. This kid is the head salesman in my company. He's twenty-two and he's making five bills a week, so just bring the drinks and mind your business. Frank and his father sit at a small table in the middle of the bar. Frank looks uncomfortable as his father lights a cigar. FRANK Maybe I should wait in the car. FRANK SR. Are you afraid of these men? Look at the way, they sit, the way they dress, the way they drink. What are they, railway men? Cargo loaders? Those men have n't earned the right to judge us. I beat Uncle Sam, what have they ever done? The WAITRESS brings o ver the drinks, and Frank Sr. quickly downs both shots. He tkaes DIME out of his pocket and sets it on the table. FRAN K SR. -LRB- CONT' D -RRB- Frank, I want you to take that dime and go put it in th e jukebox. Pick something loud. We're celebr ating. Frank glances to the bar, where the MEN are quietly watching the-TV. The JUKEBOX is directly under the television. FRANK SR. -LRB- CONT'D -RRB- You know who I like? Lesley Gore. FRANK Dad... they're watching TV. FRANK SR. Yes. But in a moment they'll be listening to Lesley Gore. We're gon na teach the drunks to mind their manners. FRANK I think they know I'm not eighteen. FRANK SR. People only know what you tell them. Frank Sr. picks up the dime and holds it up to. his son. FRANK SR. -LRB- CONT'D -RRB- Take the dime, son. Just take the dime and walk over there like you just closed a big deal. Walk over there like you got a roll of twenties right next to your pecker. Frank gets out of his chair and nervously faces his Father. FRANK SR. -LRB- CONT'D -RRB- And do n't forget to smile while you're shoving it down their throats. Frank holds his father's dime as he slowly walks toward the JUKEBOX. THE MEN AT THE BAR see him coming, slowly turn on their stools. MAN #1 Do n't play that thing, kid. BARTENDER We're watching the news. Frank nervously stands al t he j ukebox. Some of the men have gotten off their stools drinks in hand. MAN #2 We asked you not to do that, kid. The President is abou t ma ke a speech. Frank looks toward his father, who sits back in his chair, smoking and smiling. Frank's hand shakes as he reaches out, drops the dime into the jukebox. MAN #1 We're not gon na tell you again. Step away from the jukebox. FRANK SR. Why you bothering the kid? You got a problem, come bother me. Frank watches as TWO DRUNKS walk toward his father. They both hold PITCHERS OF BEER in their hands. FRANK SR. -LRB- CONT'D -RRB- Hit the button, Frank. You hit that goddamn button! As Frank reaches out and hits the button, the men start to pour their beers over his father's head. Fran k S r. does nothing to stop them, the smile never leaving his face as he screams at his son. FRANK SR. -LRB- CONT'D -RRB- That's right, Frank! Who are they! Who are they! THE JUKEBOX springs to life, and WE HEAR LESLEY GORE singing `` IT'S MY PARTY.'' The men continue to pour their beers over Frank Sr.'s head, the entire bar screaming with laughter. FRANK SR. -LRB- CONT'D -RRB- Bus drivers! Security guards! Fry cooks! Now they understand! They ca n't win, Frank, they ca n't beat me!", "INT. - EASTCHESTER COURTHOUSE. - DAY A LARGE COURTROOM -- ONLY FIVE PEOPLE INSIDE. On one side of the room WE SEE FRANK S wearing a white suit that does n't quite fit -- a notice stain on the shirt. His weathered black briefcase is on t he desk in front of him. Paula is on the other si de of the courtroom, wearing a blue church dress and holding a n unlit cigarette in her hand. Paula and Frank Sr. sit with lawyers facing JUDGE LARKIN, who is examining the CASE FIL E for the first time. JUDGE LARKI N Would the boy step forward and state his name for the record. Frank is seated in the middle of the courtroom -- a backpack on the floor at his feet. Frank slowly walks toward the bench. FRANK Frank William Abagnale Jr. JUDGE LARKIN Frank, the court apologizes for pulling you out of school this morning. Are you aware of the fact that your parents have filed for divorce? -LRB- CONTINUED -RRB- Frank glances at his mother, then slowly shakes his head `` no.'' JUDGE LARKIN -LRB- CONT'D -RRB- Again, I apologize. This is a custody hearing to determine who you are going to live with after the divorce. Your mother and father are leaving this decision up to you. For the record, I would like to praise both parents for showing such confidence in their son, who they believe will make the best decision for himself and his family. Frank stares straight ahead, his breathing forced as he stares at Judge Larkin. JUDGE LARKIN -LRB- CONT'D -RRB- Okay, Frank, I'm going to ask you a difficult question. Who's it going to be, your mother or your father? Frank looks to his father, then turns and stares at his mother for a long BEAT. FRANK Can I have a minute to think about it?", "EXT. - EASTCHESTER. - DAY Frank is running through town, a look of sheer desperation on hi s f ace as he runs past dil apidated shops and abandoned buildings -- racing a train that is s lowing pulling into the Eastchester station.", "INT. - EASTCHESTER TRAIN STATION. - DAY Frank runs up to the ticket window at the TRAIN STATION. FRANK One ticket to Grand Central, please. TICKET CLERK Three dollars and fifty cents. FRANK Can I write you a check?", "INT. - PAPIGONE PRISON. - MARSEILLE. - NIGHT 37 THE CELL DOOR IS PULLED OPEN, and Frank slowly walks out and faces CARL HANRATTY, who is holding a pair of HANDCUFFS and standing with FBI AGENTS EARL AMDURSKY and TOM FOX- All three AGENTS get a glimpse inside the cell -- and they all quickly turn away. CARL HANRATTY Frank, this is Agent Amdursky and Agent Fox. They'll be helping with the extradition. Carl puts the handcuffs on Frank, who can barely stay on his feet as he slowly turns to Warden Garren. FRANK Your wife is sleeping with one of the guards. Just thought you should know.", "INT. - HOTEL ROOM. - FRANCE. - NIGHT 38 CARL HANRATTY, Amdursky and Fox are all watching Frank as he sits naked in a bathtub, his handcuffs still on as he tries to shave his beard.", "INT. - HOTEL ROOM. - FF5?% - NIGHT 39 Frank has one HANDCUFFED to a chair, and both legs SHACKLED to the corner of the b ed. He's eating a sandwich and drinking a glass of milk a s CARL HANRATTY sits across from him. CARL HANRATTY Just sit back and get table. We leave for the airpor nine hours. FRANK I want to call my father. CARL HANRATTY You can call him when we get to New York? I apologize for the room -- it's the only place the agency could afford. FRANK Do n't worry, Carl. I've stayed in worse.", "EXT. - TIMES SQUARE HOTEL. - NIGHT 40 Frank wears blue pajamas as he's THROWN OUT OF A DILAPIDATED TIMES SQUARE HOTEL ROOM BY THE NIGHT MANAGER, who is dragging him toward the door. SUPER : OCTOBER. 1964 MANAGER I do n't want to hear your story. That's two checks that bounced, do you know how much trouble I'm in? FRANK The bank made a mistake, Andy, I'll write you a check right now! Please, it's midnight, I have no place to go. The Manager pushes Frank into the cage elevator. MANAGER You're a goddamn kid. You should be in school.", "INT. - NEW YORK HOTEL ROOM. - NIGHT 41 A decrepit Times Square hotel room. Frank sits up in bed staring down at his NEW RSEY DRIVER'S LICENSE -- which is a simple I.D. CARD wi th no picture. Frank uses a pen to change the date of birth from 1948 to 1938.", "INT. - NEW YORK SAVINGS BTKF - DAY Frank holds a BLACK BRIEFCAS as he s tands in front of a FEMALE BANK TELLER holding a CHASE MAN HATTAN CHECK. FRANK My boss sent me to Brooklyn, then Queens, now he wants me in Long Island and I'm short train fare. It's my first week -- I do n't think I'm cut out to be a salesman. ASHLEY I'm sorry, but we're not allowed to cash checks from other banks. How would we know if they were any good? FRANK What's your name? ASHLEY Ashley. FRANK You do me this favor, Ashley, and I'll give you this sterling silver Waldmann pen. It's German. What do you say? Frank takes the PEN out of his pocket. ASHLEY I feel so bad. I'm really not supposed to take the check. How about if I just loan you a few dollars myself? Ashley takes some money out of her own pocket. FRANK That's okay, Ashley. I'll find my way to Chase Manhattan.", "EXT. - BANK. - DAY As Frank walks out of the bank, he watches A PILOT AND TWO FLIGHT ATTENDANTS step of a cab right in front of him. They are all laughing as t hey head for the revolving doors of the MAYFAIR HOTEL. Frank watches as the PIL OT SL IPS THE DOORMAN A FIVE DOLLAR BILL.", "INT. - MAYFAIR HOTEL. - MORNING Frank follows the Pilot into the Mayf air, sees the hotel MANAGER rushing over to greet him. The entire lobby seems to be focussed on the Pilot, with BELLMEN running over to carry his bags -- the FLIGHT ATTENDANTS following his every move. Frank turns to an aging BELLMAN. FRANK Excuse me, do you know that pilot? BELLMAN He's just one of those airline jerks. Just because you fly at thirty thousand feet, does n't make you God. Frank watches as the Pilot walks into the elevator, the Flight Attendants by his side. FRANK -LRB- V.0. -RRB- Dear Dad... I've decided to become an airline pilot. I've applied at all -LRB- CONTINUED -RRB- FRANK -LRB- V.O. -RRB- -LRB- CONT'D -RRB- the big airlines, and have several promising interviews lined up.", "EXT. - PAY PHONE. - NEW YORK. - DAY A packed street corner in the center of New York. Frank is eating a hot dog as he talks on a PAY PHONE. PAN AM OPERATOR -LRB- V.O. -RRB- Pan Am, how may I help you? FRANK I'd like to speak to someone about a uniform. PAN AM OPERATOR Hold for purchasing. Frank turns and looks directly behind him, where WE SEE the FIFTY STORIES OF THE PAN AN BUILDING standing tall in the middle of the city. PURC HASING SUPERVISOR -LRB- V.O. -RRB- Purchasing. F RANK Yes. My name is Frank W illiams, and I'm a co-ilot basp of San Francisco. I flew a into New York last night, and ving for Paris in three hours. PURCHASING SUPERVISOR -LRB- V.O. -RRB- How can we help you? FRANK I sent my uniform out to be cleaned through the hotel... PURCHASING SUPERVISOR -LRB- V.O. -RRB- Let me guess. They lost the uniform. Happens all the time.", "EXT. - NEW YORK STREET. - DA Y As the telephone conversation continues, WE SEE Frank running down a busy street, a big smile on his face as he cuts in and out of an endless stream of people. PURCHASING SUPERVISOR -LRB- V.0. -RRB- Go down to the Well-Built Uniform Company at Ninth and Broadway -- they're our uniform supplier. I'll tell Mister Ross you're coming. Frank sprints through the doors of the WELL-BUILT UNIFORM COMPANY.", "INT. - WELL-BUILT UNIFORM COMPANY. - DAY Frank poses in front of a full length mirror wearing a brand new PAN AM UNIFORM. MISTER ROSS kneels in front of him, cuffing his pants. In the background, WE SEE rows and rows of uniforms waiting to be shipped. ROSS What's your rank? FRANK I'm a co-pilot. ROSS Right seat. I figured as much. You look too younng to be a pilot. FRANK I just turned twenty-seven. Ross places a single GOLD BAR on the lapel of Frank's jacket. ROSS How does that feel? FRANK It feels great. ROSS It's gon na be $ 164 dollars. FRANK No problem. I'll write you a check.", "EXT. - NEW YORK. - DAY 48 Frank walks down Broadway in his new uniform, enjoying the obvious glances he is getting from men and women who pass by. He sees a little boy pointing at him, and he gives the boy a playful salute. Frank ca n't help but smile as he drops his briefcase in the nearest trash can, then turns and walks into a bank.", "INT. - BANK OF NEW YORK. - DAY 49 A FEMALE BANK TELLER is sneaking glances at Frank as she counts out his money on the counter. BANK TELLER That's eighty, ninety, one hundred dollars. You have yourself a great time in Paris.", "INT. - MAYFAIR HOTEL LOBBY. - NEW YORK CITY. - DAY 50 A busy, upscale business hotel in the heart of the city. Frank stands in uniform at the front desk. FRANK I'm flying out to Paris in the morning. Okay if I write you a check for the room? FRONT DESK CLERK No problem, Sir. FRANK I was also Sao if you could cash a person al check for me. I've got a date wit h a c ute little hostess this evening. FRONT D ESK CLERK For airline personnel we cash checks up to three hundred dollars. FRANK I wo n't need that much. Let's make it two-fifty.", "INT. - MAYFAIR HOTEL ROOM. - NEW YORK. - NIGHT 51 An episode of THE RIFLEMAN is on the black and white TV in the hotel room. A ROOM SERVICE CART sits next to the bed, piled high with half-eaten plates of french fries, hamburgers, and slices of apple pie. As Frank sleeps on the king sized bed, the PILOT'S UNIFORM lies next to him on top of the sheets.", "EXT. - ABAGNALE STATIONERS. - NEW ROCHELLE. - DAY Frank Sr. gets off the bus in front of his store. He is wearing his black suit and holding a briefcase as he starts to unlock the front door to the store. TWO POLICE DETECTIVES walk up behind him. DETECTIVE #1 Frank Abagnale? Frank turns around, stares at the TWO COPS as they show him their BADGES. FRANK What is this? The IRS said no charges would filed. DETECTIVE #2 Sir, we'd like to talk to you about a checking account at Chase Manhattan bank. The account is four thousand dollars overdrawn, and checks are bouncing every day. DETECTIVE #1 The account is in your son's name, and he was re por ted as a runaway in March. FRANK SR. What are you saying? You think Frank is writing those checks? DETECTI VE #1 Do you know where you r son is, Mr. Abagnale? FRANK SR. You guys are looking for the wrong person. DETECTIVE #2 And how do you know that? Has Frank been in contact with you? FRANK SR. if I tell you where he is, will you promise not to tell his mother? The two Detectives nod. FRANK SR. -LRB- CONT'D -RRB- -LRB- lowering his voice -RRB- Frank made up a fake I.D and enlisted in the Marine Corps -- he's over in -LRB- CONTINUED -RRB- FRANK SR. -LRB- CONT'D -RRB- Vietnam right now. Somebody must have stolen his bank book, because he's half way around the world crawling through the jungle and fighting the fucking communists. So do n't come to my place of business and call my boy a criminal, because that kid has more guts than either of you will ever know. DETECTIVE #1 I'm sorry, Sir. We did n't know. FRANK SR. It's okay. Nobody knows.", "INT. - PLAZA HOTEL. - NEW YORK. - DAY Frank walks up to the front desk of the PLAZA HOTEL. FRANK Do you rent t ypewriters? F RONT DESK  CLERK Of course, M r. Williams. Would you like electric or m an ual? FRANK I've never used electric before. FRONT DESK CLERK You should try it. I'll send our typist up to give you a lesson.", "INT. - PLAZA HOTEL SUITE. - NIGHT CLOSE ON A BLANK COUNTER CHECK The ELECTRIC STRIKING BALL of the typewriter is going over the same words again and again, making them appear PRINTED. The top of the phony check reads : PAN AMERICAN WORLD AIRWAYS EMPLOYEE NUMBER 15415 PAY TO THE ORDER OF FRANK WILLIAMS $ 513.12", "INT. - PLAZA HOTEL BATHROOM. - DAY 55 Frank kneels over the bathtub, looking down at a PLASTIC 707 MODEL AIRPLANE. The small plane is soaking in the tub, floating up-side-down in a pool of bubbles. CLOSE ON THE WING OF THE MODEL PLANE. The PAN AM LOGO is on the wing. WE WATCH as a TWEEZER lifts the corner of the logo right off the plastic, carefully slipping it off the wing so that the words PAN AMERICAN WORLD AIRWAYS hang in mid-air. ON FRANK meticulously placing the LOGO on top of the check he has just made. The words stick to the paper, and he quickly takes the check and places it in the middle of a hotel BIBLE. He sticks the bible under his bed, the way a kid breaks in a new baseball glove.", "INT. - CHASE MA.NHATTAW/BANK _ - DAY 56 Frank is still in uniform as he walks past two MALE TELLERS and deliberately approac hes a YOUNG FEMALE TELLER. FRANK I was wondering if you could cash this payroll check f or me. Frank takes the check out of a phony PAN AM ENVELOPE and hands it to the TELLER. The PAN AM LOGO on the check is crooked and off center, the type blurred and almost illegible. FRANK -LRB- CONT'D -RRB- You have beautiful eyes. The TELLER smiles at Frank, barely glances at the check as she opens her CASH DRAWER. TELLER How would you like it?", "INT. - NEW YORK HOBBY SHOP. - DAY 57 A small HOBBY SHOP in Times Square. Frank sets FIFTEEN BOXES of PAN AM MODEL AIRPLANES on the counter. HOBBY SHOP OWNER That's a lot of planes. FRANK I give them away at Christmas to needy children.", "INT. - PLAZA HOTEL SUITE. - NIGHT CLOSE ON A HOTEL BATHTUB FILLED WITH MODEL AIRPLANES THAT ARE SOAKING IN WARM WATER. Frank sits at a desk, pulls a CHECK from the carriage of an electric typewriter. The check is perfectly centered, the Pan Am logo straight, the lines and words looking thick and heavy -- as if they were printed. Frank takes the check and sets it on the hotel bed, where FIVE HUNDRED FRESHLY MADE CHECKS are sitting in neatly stacked piles.", "INT. -PLAZA HOTEL. - MORNING Frank walks downstairs his uniform, CHECK IN HAND. The HOTEL MANAGER rushes over to greet him. MANAGER What can I do for y ou, Mr. Williams. FRANK I'm headed out to S pain this morning and I need a little s pending money. MANAGER I'm sorry, Sir, we wo n't have any cash until the banks open in a hour. But I'm sure they can cash your check at the airport. FRANK The airport? They cash checks at the airport?", "INT. - LA GUARDIA AIRPORT. - MORNING. 60 Frank wears his pilot's uniform as he walks through the crowded airport holding a thick wad of cash. As he stuffs the money into his pockets, he walks toward a sign that reads : AIRLINE PERSONNEL ONLY.", "INT. - PERSONNEL AREA. - LA GUARDIA. - DAY A giant warehouse filled with PILOTS, CO-PILOTS, FLIGHT ATTENDANTS, and BAGGAGE HANDLERS. There is a CAFETERIA, NEWSSTAND, AIRLINE SHOP, and SHOE SHINE BOOTH. Frank sits down in one of the SHOE SHINE CHAIRS, two TWA PILOTS next to him. He stares at their I.D. BADGES, which are laminated pictures clipped to the front of their jackets. FRANK Morning. The TWO PILOTS turn and look at Frank. TWA PILOT Morning. You mind if I ask you a question? FRANK Sure. PILOT I see you h ere all the time, and I was wonderi n g what Pan Am is doing out here at L a Guard ia? Pan Am does n't fly into La Guardia. Frank stares at the Pilot, h as no idea what to say. TWA PILOT You working charters? FRANK Yeah. Charters. I'm headed out to Kennedy in a few minutes. TWA PILOT I figured as much. What kind of equipment you on? Frank thinks for a long BEAT, has no idea what to say. FRANK General Electric. TWA PILOT #2 General Electric? What the hell do you fly, washing machines?", "EXT. - LA GUARDIA. - DAY 62 Frank is running out of the airport. FRANK -LRB- V.O. -RRB- Dear Dad. I have been accepted to Pan Am's flight school, and will be starting my training immediately. I am sending you a picture of me in my uniform, so that you can show it to mom, and let her know that I am a pilot for the greatest airline in the world.", "EXT. - PAN AM BUILDING. - DAY Frank enters building.", "INT. - PAN AM BUILDING - RECEPTION AREA - DAY The massive CORPORATE OFFICES of PAN AM, which look out over the Manhattan. Frank, dressed like a student and wearing a backpack, gets out of televator and walks up to a RECEPTIONIST. FRANK I'm Frank Black from Monroe High School. I have a appoint ment with Mister Mulligan. RECEPTION IST Go on in, Frank. He' s w aiting for you. Frank hesitates as he walks toward a door marked, PAUL MULLIGAN, DIRECTOR OF AIRLINE SECURITY.", "INT. - MULLIGAN'S OFFICE. - DAY PAUL MULLIGAN, 70's, a small, rock of a man, stands behind a WALL OF PICTURES, MILITARY MEDALS, PAN AM ACHIEVEMENT AWARDS, and EMPLOYEE OF THE YEAR CERTIFICATES that are neatly displayed on the wall behind him. MULLIGAN Frank, I'm Paul Mulligan, head of security for Pan American World Airways. I understand you're writing a report about Pan Am, and you'd like to speak to a real live pilot. FRANK Yes, Sir. MULLIGAN Well you're in luck, son. Because I was one of the best.", "INT. - PAN AM BUILDING. - DAY Frank is following Paul Mulligan through a large GALLERY which shows the history of PAN AM in black and white pictures and detailed PLASTIC MODELS. FRANK What does it mean when one pilot says to another pilot, `` what kind of equipment are you on?'' MUL L IG AN He's asking what kind of plane they're flying. DC-10, 707, 727. FRANK What about the I. D. badges I've seen pilots wea r? M ULLIGAN A pilot is requi red to carry two things with him at all times. His airline personnel b adg e similar to this Pan A m badge I'm wearing, and his FAA li cence Mulligan pulls an old FAA LICENSE out of his wallet. FRANK Do you think I could make a copy of this license to put in my report? MULLIGAN You can have it, Frank. It expired five years ago. FRANK What about your I.D. badge? Do you have an extra one I could borrow? MULLIGAN I'm afraid I ca n't help you there. These badges are special ordered from Polaroid. The only way to get -LRB- CONTINUED -RRB- MULLIGAN -LRB- CONT'D -RRB- one is to become a real live pilot for Pan Am.", "INT. - POLAROID CORPORATE OFFICES. - NEW YORK. - DAY 67 A LARGE OFFICE IN NEW YORK CITY. A POLAROID SALESMAN has opened a SAMPLE BOOK and is showing off page after page of LAMINATED I.D. BADGES. FRANK wears a suit and tie as he sits across from the salesman examining the book. FRANK Caribbean Air will be expanding our routes next year to include most of the East coast. I'm thinking we'll need several thousand badges. POLAROID SALESMAN As you can see, we make the I.D. badges for almost every major airline. Frank points to one of the badges. FRANK I like that one. Which airline is that? POLAROI D SALESMAN That's Pan Am. Would you like the brochure on that one? FRANK My boss wanted me to bring back an actual I.D. badge, not a brochure. POLAROID SALESMAN That's no problem, Mister Anderson. We make all the badges right here with this equipment. The Salesman motions to a large CAMERA AND LAMINATOR. POLAROID SALESMAN -LRB- CONT'D -RRB- I can make you one in a few seconds. FRANK I have an idea. Why do n't you use me as the subject.", "INT.- KENNEDY AIRPORT. - DAY Frank is walking through KENNEDY AIRPORT, his authentic PAN AM I.D. BADGE secured to the front of his uniform. He walks up to an EASTERN AIRLINES ticket counter and smiles at the TICKET AGENT. FRANK Hello. I'm a Pan Am co-pilot and I'd like to fly on your two-thirty to Miami. EASTERN TICKET AGENT You want to dead-head to Miami? FRANK Yes. Dead-head. Frank hands the AGENT his I.D. BADGE and Mulligan's FAA license, which has been cropped at the top where Mulligan's name used to be. She barely glances at either. E ASTERN TICKET AGENT You're in l uck, Sir. The jump seat is open. FRANK What ; s the jump seat? The Ticket Agent starts to la ugh, and Frank laughs with her.", "INT. - EASTERN 707. - DAY MARCI, a cute 27-year-old EASTERN STEWARDESS with short blonde hair and glasses, stands at the front of the plane smiling at Frank -- who holds out his pink boarding slip. MARCI Are you my dead-head?", "INT. - COCKPIT. - 707. - DAY Frank is led into the cockpit by Marci, trying not to react to the intensity of the tiny space. He immediately looks around for the jump-seat -- or any seat -- but sees nothing. MARCI Frank, this is Captain Oliver. That's John Paxton, the Co-Pilot, this is Ron Vega, flight engineer. FRANK Frank Williams, Pan Am. Thanks for giving me a lift. CAPTAIN OLIVER Go ahead and take a seat, Frank, we're about to push. Frank continues to search for the JUMP SEAT, the panic starting to show on his face as Marci reaches her hand around to the back of the cockpit door and pulls down the small METAL SEAT. MARCI There you go. Would you like a drink after take-off? Frank quickly sits in the jump-seat, his hands shaking as he tries to strap himself in. FRANK A glass of milk, please.", "EXT. - KENNEDY AIRPORT'RMWAY. - DAY. THE EASTERN JET Sshooting down the runway at Kennedy airport.", "INT. - EASTERN COCKPIT. CLOSE ON FRANK -- inside the -- his hands gripping the sides of the JUMP-SEAT, his nd face clenched into a silent scream as the plane lift f, banking left as it shoots out over Manhattan. Frank is staring out the cockpit window in disbelief, the way all kids do the first time they ride in a plane.", "INT. - EASTERN 707. - LATER IN FLIGHT Frank walks through the COCKPIT DOOR, sees Marci preparing drinks at the beverage station. MARCI Hello, dead-head. Enjoying your free ride? FRANK Marci, did you drop this? Frank takes a SMALL GOLD NECKLACE out of his jacket pocket. FRANK -LRB- CONT'D -RRB- Must have slipped right off your neck.", "INT. - FRANK'S HOTEL ROOM. - MIAMI. - NIGHT Frank is lying on top of Marci -- losing his virginity -- not moving -- just staring down at her with a bizarre look on his face. The lights are low, the radio is on. FRANK Are all hostesses as nice as you? MARCI Stewardess. You know we like to be called stewardess now. Why are you stopping? FRANK I want to tell you something, Marci. This is by far the best date I've ever been on.", "INT. - AIRPORT. - DAY Frank walks toward a TWA TICKET COUNTER with a big smile on his face. FRANK Is the jump-seat open on your four o'clock to Dallas?", "INT. - DALLAS BANK. - DAY Frank is wearing his pilot's uniform as he walks up to LUCY, the pretty ASSISTANT MANAGER of a small Dallas bank. LUCY Welcome to Dallas National Bank, how may I help you? FRANK What's your name, Ma'am? LUCY Lucy Rogers. I'm the Assistant Manager. FRANK Lucy, y name is Frank Williams, and I'm a co-pilot for Pan Am. I'd like -LRB- CONTINUED -RRB- FRANK -LRB- CONT'D -RRB- to cash this check and then take you to dinner.", "INT. - DALLAS HOTEL ROOM. - NIGHT 77 Frank is dancing with LUCY, who is laughing uncontrollably as he twirls her around the room. LUCY Okay, enough! I'm gon na be sick. I have to get home and get some sleep. FRANK It's only midnight. LUCY One of my tellers got married last night, and I'm gon na be short handed all week. FRANK What if I ca m e a nd helped you out down at the bank? L UCY Now why would Pan Am Pilot want to work in my stupi d bank Frank twirls Lucy, dipping h er in the middle of the room. FRANK To be close to you.", "INT. - DALLAS NATIONAL BANK. - DA Y Frank is standing with Lucy behind the counter of the bank, watching as she feeds a stack of CHECKS into a MICKER ENCODING MACHINE. LUCY We feed the checks through the micker machine, and the magic eye reads the micker ink and then sorts the checks by numbers. FRANK What numbers? LUCY See the numbers on the bottom of the checks. Those are called routing numbers. FRANK Where do the checks get routed to? LUCY Well, I'm not exactly sure. Nobody ever asked before.", "INT. - NEW YORK PUBLIC LIBRARY. - DAY 79 Frank wears his pilots uniform as he sits across from a group of HIGH SCHOOL STUDENTS who are writing term papers. As the students talk and laugh at their desks, Frank leans over to them. FRANK would you keep it down, please? The students immediatel uiet down as Frank turns a page in his book -- THE HISTO BANKING IN AMERICA. He is reading a chapter called - - T H E 12 BA NKS OF THE U.S. FEDERAL RESERVE", "INT. - NEW JERSEY AUCTIO N HOUSE A SIGN READS : FORECLOSURE AU CTION - NEW JERSEY NATIONAl BANK WE SEE rows of desks, chairs, cou and cash drawers -- everything you could possibly find at a bank. The AUCTIONEER stands in front of a room filled with BANKERS and BUSINESSMEN in dark suits. AUCTIONEER Our next item up for bid is also from the Jersey National foreclosure. This is a micker encoder, a machine usedtoencode bank checks. Do I have an opening bid? In the audience, Frank, dressed in a suit, smiles as he raises his paddle. FRANK Five dollars.", "EXT. - VILLAGE INN BAR. - EASTCHESTER, NEW JERSEY. - DAY 81 The parking lot is packed with cars. A light snow is falling as FRANK SR. walks out of the bar and buttons his jacket. FRANK Happy birthday, Dad. Frank Sr. turns to face his son, who is standing in front of a RED CADILLAC that still has the sticker in the window. The two men stare at each other for a long BEAT, and then embrace in the middle of the lot. FRANK SR. Jesus, look at you? My son the birdman. That is some uniform, Frank. FRANK I bought you a Cadillac. Frank motions to the car, holds up the keys. FRANK -LRB- CONT'D -RRB- Automatic transim ission. She goes over a hundred miles an hour. It says it right on the speedometer. Frank Sr. Stares at his son, then glances at the car. FRANK SR. She's beautiful. Only I'm go nna get myself another white on e. I already ordered it. You keep that one, Frank, maybe one day we'll race to Atlantic City. FRANK I went by the store today. Since when do you close on a Friday? FRANK SR. I had to close the store for awhile. It's all about timing, Frank, the goddamn government knows that. They hit you when you're down, and I was n't gon na let them take it from me. So I just shut the doors myself, called their bluff. FRANK I can get you money, whatever you need. We can buy ten stores. FRANK SR. No. It's better this way. I'm laying' low for awhile, letting them have their fun. It's just a stationery store -- sooner or later they'll forget about me. FRANK Have you talked to Mom? FRANK SR. She's so stubborn, your mother. But I wo n't let her go without a fight. I've been fighting for her since the day we met. FRANK Out of all those soldiers, you were the one that took her home. FRANK SR. That's right. Two hundred men were sitting in th' little social hall watching he d ce. What was the name of tha t dam vil lage? FRANK Montpelier. FRANK S R. I did n't speak a word six weeks later she was my wife. A WOMAN PULLS UP IN AN OLD FORD AND HONKS FOR FRANK SR.. She smiles and waves at him through the window, and he waves back. FRANK SR. -LRB- CONT'D -RRB- Shit. I have to go, Frank. FRANK I was hoping I could buy you a steak. FRANK SR. Jesus, tonight is no good. That's my friend, Darlene. She's cooking me dinner for my birthday. She used to be the pastry chef at Elaines. Why do n't you come home with us? FRANK No, I should probably get out to the airport. I'm flying the red eye tonight. FRANK SR. Where are you going? FRANK Dad, I'm serious about what I said. I can get you money -- whatever you need. FRANK SR. Just tell me where you're going. I bet it's someplace warm. FRANK Yeah. Hawaii. FRANK SR. Hawaii. My son is going to Hawaii tonight. The res t of us really are suckers. Frank Sr. Gives his son a hug then turns and starts waking towards the Woman in the Ford.", "INT. - FBI OFFICES. - WASHIN, DAY SUPER : FBI BUILDING, WASHINGTON CLOSE ON A SLIDE PROJECTOR -- the circular tray turning clockwise as an AGENT CARL HANRATTY stands at the front of the room addressing FIVE FBI AGENTS. CARL HANRATTY John Doe 2172 is a paperhanger who started on the East Coast. During the last few weeks 2172 has developed a new form of check fraud, which I'm calling `` the float''. Next slide. The slide does n't change. CARL HANRATTY -LRB- CONT'D -RRB- Next slide, please. FBI AGENT The remote thing is broken. You'll have to do it by hand. Carl reaches in and turns the slide. CARL HANRATTY -LRB- CONT'D -RRB- What he's doing is opening checking accounts all over the country, then changing the micker ink routing numbers on the bottom of those checks. CLOSE ON THE FACES OF THE FIVE FBI AGENTS, looking bored as they all listen to Carl, having no idea what he's talking about. Some of the agents are yawning, while other are doodling at their desks. CARL HANRATTY -LRB- CONT'D -RRB- This is a map of the 12 branches of the U.S. Federal Reserve. The optical scanners at the bank read the numbers on the bottom of a check -- then ship the ch eck to the corresponding branch. SPECIAL AGENT WILKES Carl, for those of us not familiar with bank fraud, would you mind telling us what the h ell you're talking about? CARL HANRATTY The East Coast branches are numbered seven through twelve, the midwest four, five, and six... SPECIAL AGENT WILKES You mean to say that those numbers on the bottom of a check actually mean something? CARL HANRATTY Yes. And if you change a number one to a number nine -- a check cashed in New York wo n't be sent to the East Coast Reserve -- but will be re- routed all the way to California. The bank wo n't know the check has bounced for two weeks, which means -LRB- CONTINUED -RRB- CARL HANRATTY -LRB- CONT'D -RRB- this guy can stay in one place -- rob the same banks over and over. The AGENTS literally scratch their heads, trying to follow. SPECIAL AGENT WILKES And this is why you called for an emergency briefing? Because of a couple of bounced checks? Laughter from the other Agents as Carl tries to smile. CARL HANRATTY Sean, I was hoping to get-some back- up on this. SPECIAL AGENT WILKES You want my wife to help you? She's the one who balances the checkbook at home?", "INT. - RENTAL CAR. - LO S AN GELES. - DAY SUPER : HOLLYWOOD, CAL IFORNIA - JULY, 1964 FBI AGENTS AMDURSKY AND FOX are driving with Carl through Hollywood. Fox sits in the back holding a street map. AMDUR SKY I'm wearing a red dress an d high heels, running through this park and chasing these two Puerto Rican's with a suitcase filled with marijuana and I reach for my radio to call for back-up, but the radio is stuck in my bra... Carl turns up the volume on the radio, keeps his eyes on the road as he drives. AMDURSKY -LRB- CONT'D -RRB- That's a funny story. People always laugh at that story. CARL HANRATTY Let me ask you something, Amdursky. if you had so much fun working undercover, why did you transfer into bank fraud? AGENT AMDURSKY I did n't transfer. I was demoted. -LRB- off Carl's look -RRB- Demoted is the wrong word. It was more like-punished. I screwed up in the field. CARL HANRATTY What about you, Mr. Fox? Did you fuck up in the field and get punished? FOX No. I've never worked in the field before. I was in the L.A. public relations office, but we were shut down after the riots. CARL HANRATTY That's just great. I ask for backup, they drag the bottom of the Pacific. AMDURSKY Can I ask you mething, Carl? How come you're s o s erious all the time? CARL HANRATTY Does it bother you? AGENT AMDURSKY Yes. It bothers me. CARL HANRATTY Does it bother you, Mr. Fox? FOX A little, I guess. CARL HANRATTY Would you guys like to hear me tell a joke? AGENT AMDURSKY Yeah. We'd love to hear a joke from you. CARL HANRATTY Knock Knock. AGENT AMDURSKY Who's there? CARL HANRATTY Go fuck yourselves.", "INT. - TROPICANA MOTEL. - HOLLYWOOD. - DAY The unmarked FBI SEDAN pulls up to TWO STORY MOTEL on the SUNSET STRIP. Carl, Amdursky and Fox walk into the motel office, all in black suits and sunglasses.", "INT. - TROPICANA MOTEL.- LOS ANGELES. - DAY Carl approaches the front desk of the motel, where the OWNER stands in front of a fan. MOTEL OWNER He's been here two weeks, written lots of checks. The one that bounced was for twenty dollars, and he took care of it right away. CARL HANRATTY Nobody is goin to blame you. The bank called u s. He's probably not the man we' re lo oking for. MOTEL OWNER I do n't want m y custom ers harassed. He took care of it. CARL HANRATTY Do you have any of th e checks he's written you? MOTEL OWNER He gave me one yesterday. The owner takes a check out of the register, hands it to Carl. Carl stares at the check for a BEAT, slowly starts to smile. CARL HANRATTY I do n't believe it. You guys stay here, watch the front. AMDURSKY Stay here? This guy's a check forger, a goddamn paperhanger. He does n't even carry a gun. FOX Why ca n't we go with you, Carl? CARL HANRATTY Just be quiet and watch the front. And if you're good, I'll take you both for ice cream when we're finished.", "EXT. - TROPICANA MOTEL. - LOS ANGELES. - DAY 86 CARL HANRATTY walks through the busy pool area of the motel, passing a few FLIGHT ATTENDANTS who are sitting by the tiny pool. Carl makes his way up the main stairwell.", "INT. TROPICANA MOTEL - HALLWAY. - DAY 87 Carl walks through a fire door with his gun leading the way. CLOSE ON ROOM 212 at the end of the second floor hallway, the DO NOT DISTURB SIGN hanging off the door. Carl slowly makes his way down the hall, passing a MAID wh o i s about to scream -- until he shows her his badge and vio lently motions for her to hide inside a room. Carl creeps along the w all, hi s gun straight out, his face covered in sweat. He free zes when he hears a door creak, his breathing labored as the front of ROOM 212 slowly swings open and Frank walks into the hallwa y, He wears a dark brown suit and holds a black suitcase CARL HANRATTY Freeze! FBI! Do n't you move! Put your hands on your head or I'll shoot you! Frank slowly turns to face Carl. The two men stare at each other for a BEAT. FRANK Relax, buddy, you're late. My name is Barry Allen, Secret Service. Our boy just tried to climb out the window -- my partner has him cuffed in the alley downstairs. CARL HANRATTY Secret Service? What are you talking about? Keep your hands in the air. FRANK You think the FBI are the only ones tracking this guy. We've been following a paper trail for months, almost had him in New York. Would you mind taking that gun out of my face, it makes me nervous. CARL HANRATTY Let me see some identification. FRANK Here. Take my whole wallet. Frank throws his wallet to Carl, who catches it with his free hand, but does n't open it. FRANK -LRB- CONT'D -RRB- You want my gun, too? Come over here and take my gun! Frank opens his jacket, but not wide enough for Carl to see that he's not armed. F RANK -LRB- CONT'D -RRB- Are you gon na lower that weapon? We're supposed to be on the same team. Carl hesitates, then slowly l owers his gun and holsters it. CARL HANRATTY I'm sorry. I got a little carried away. I did n't expect Secret Service on this. FRANK Counterfeiting is our thing. CARL HANRATTY I know. I know. I just was n't expecting... FRANK Do n't worry about it. -LRB- showing him the briefcase -RRB- This is his typewriter. I'm gon na go lock it in my trunk. Do me a favor and guard his room for a minute. Frank starts moving toward the back stairwell. FRANK -LRB- CONT'D -RRB- And yell down to my partner in the alley -- tell him I'm on my way. Frank starts to walk down back stairwell. He looks back at Carl, who stands at the front of room 212. FRANK -LRB- CONT'D -RRB- What's your name, anyway? CARL HANRATTY CARL HANRATTY. FRANK Tough luck, Carl. Five minutes earlier and you would have landed yourself a pretty good collar. Frank starts walking down the stairs. CARL HANRATTY Wait. Frank stops, slowly turns back to Carl CARL HANRATTY -LRB- CONT'D -RRB- Your wallet. FRANK Hang onto it for a minute, I trust you.", "EXT. - TROPICANA MOTEL. - LOS ANGELES. - DAY Frank walks downstairs, opens the EMERGENCY EXIT that leads to a back alley. He looks both ways, then starts to run toward HOLLYWOOD BOULEVARD.", "EXT. - ROOM 212. - MINUTES LATER. CARL HANRATTY is guarding the entrance of room 212. He's standing tall, almost at attention. After a BEAT he looks down at the wallet in his hand, his mind starting to consider a single horrible thought.", "INT. - FBI OFFICES. - WASHINGTON. - DAY CARL HANRATTY is sitting in the office of Special Agent Wilkes, the office window facing out on the Washington Monument. SPECIAL AGENT WILKES I've cleared Amdursky and Fox in this John Doe thing. CARL HANRATTY Thanks, Sean. It was my call all the way. SPECIAL AGENT WILKES Sometimes we all get a little lost out there. No shame in being rusty. You want to talk about it? CARL HANRATTY Not really. I made a mistake. SPECIAL AGENT WILKES Forget about it. There are hundreds of John Doe's out there. CARL HANRATTY Yeah, but I'm gon na get this one. The worst thi ng a paperhanger can do is show his face. I saw him, I heard his voice -- there's nothing for him to hide behind. SPECIAL AGENT WILKES Just be careful, Carl. You've got 12- years in, nobody bothers you down on the first floor. You practically wrote the book on bank Fraud, and that's good enough to make you F-4 some day. There's no reason to put yourself in this type of position. CARL HANRATTY what position is that? SPECIAL AGENT WILKES The position of being humiliated. Carl stares at Wilkes, slowly stands and heads for the door. He's about to leave when he turns and looks back at Wilkes. CARL HANRATTY Hey, Sean, you want to hear a joke? SPECIAL AGENT WILKES Sure. CARL HANRATTY Knock knock.", "INT. - WALDORF ASTORIA HOTEL. - NEW YORK. - NIGHT A ROOM SERVICE WAITER opens a metal lid on a serving tray, revealing a huge steak and french fries. FRANK Do you have any ketchup, Richard? WAITER It's in the little bowl, Mr. Williams. FRANK Thanks. Here ya go. Keep the change. Frank takes a crumpled fifty dollar bill out of his pocket, hands it to the waiter. WAITER Thank you very much, Mr. Williams. FRANK Richard, this is a huge seak. Do you want some? WAIT ER I would, but my sh ift is over. I'm going home to my ki ds. But thank you for asking, Mr. Williams. And merry Christmas. FRANK Merry Christmas.", "INT. - FBI FINGERPRINT LAB. - WASHINGTON D.C. - NIGHT CLOSE ON A FINGERPRINT UNDER A MICROSCOPE -- WE SEE ONE PRINT AFTER ANOTHER. CARL HANRATTY is looking through a giant PRINT BOOK -- tediously searching for a match. Carl is alone in the fingerprint lab, where a pathetic looking Christmas tree sits in the corner of the room. The phone rings, and Carl quickly answers. CARL HANRATTY -LRB- ON PHONE -RRB- This is Hanratty. Merry Christmas. INTERCUT WITH SC FRANK Hello, Carl. CARL HANRATTY Who is this? FRANK Barry Allen, Secret Service. Carl sits up at his desk, grabs a pencil and paper. CARL HANRATTY John Doe 2172? FRANK I've been trying to track you down for a couple of hours. Did you know that most people in the FBI have no idea who you are or what you do? CARL HANRATTY What do you want? FRANK I wanted to apologize for what happened out in Los Angeles. CARL HANRATTY Fuck you. Do n't y u apolog ize to me. I'm the one that's gon na pu t you in jail. FRANK Carl, do you always work on Christmas Eve? Carl looks around the room before he answers. CARL HANRATTY I volunteered, so that men with families could go home early. FRANK You were wearing a wedding ring in L.A.. I thought maybe you had a family? CARL HANRATTY No. I've never been married. FRANK How come? CARL HANRATTY You want to talk to me, let's talk face to face. FRANK Okay. I'm at the Waldorf Astoria in Manhattan. Suite 3113. Carl starts to write this down, then suddenly stops himself. CARL HANRATTY You think you're gon na get me again, do n't you? You'd love for me to send twenty agents out on Christmas Eve to barge into that hotel, break down doors so you can make a fool out of me again? FRANK Carl, I'm sorry if I made a fool out of you. CARL HANRATTY Goddamn it, d o n' t you feel sorry for me. The tru th is, I knew it was you. Maybe I didn't pull the trigger, but I knew. FRANK People only know wh at you tell them. CARL HANRATTY Then tell me something. How did you know I would n't look in the wallet? FRANK The same reason the Yankees always win. Nobody can keep their eyes off the pinstripes. CARL HANRATTY The Yankees win because they have Mickey Mantle. FRANK I have to go. I'm catching a flight in two hours. Merry Christmas, Carl. CARL HANRATTY You did n't call to apologize, did you Barry Allen? FRANK What do you mean? CARL HANRATTY You've got no one else to call. Carl hangs up the phone. He cups his hands to his face, then stares at a picture of his WIFE AND DAUGHTER -- which sits on the desk in front of him.", "INT. - WALDORF ASTORIA HOTEL. - ROOM 93 Frank slowly hangs up the phone. He walks over to the chair in the room, picks up his Pilot's Cap and puts it on.", "INT. - LAS VEGAS SAVINGS AND LOAN. - DAY 94 Frank stands across from a NEW ACCOUNTS MANAGER at a LAS VEGAS BANK. NEW ACCOUNTS MANAGER You account balance will be three hundred dolls Mr. Williams. And these are y ou r t emporary checks. FRANK What if I want to make a deposit? NEW ACCOUNTS MANAGER Just take a deposit slip off the counter, then fill in your name and the amount you wish to Desposit. FRANK I do n't need to fill in my account number? NEW ACCOUNTS MANAGER At Nevada Savings and Loan, we treat our customers by name instead of by number. Frank walks over and stares at the deposit slips. He grabs A THICK STACK and shoves them into his coat.", "INT. - CAESAR'S PALACE HOTEL. - NIGHT 95 CLOSE ON A DEPOSIT SLIP AS IT'S FED INTO THE MICKER MACHINE. When the deposit slips comes through the other side, WE SEE a NINE DIGIT ACCOUNT NUMBER printed on the bottom. Frank sits on the edge of his Las Vegas hotel room -- HUNDREDS OF DEPOSIT SLIPS COVERING THE BED.", "INT. - NEVADA SAVINGS AND LOAN. - DAY Frank walks into the bank, casually switches his stack of deposit slips with the ones on display.", "INT. - FBI OFFICES. - WASHINGTON D.C. - DAY CARL HANRATTY uses a slide projector as he files a report in front of TEN AGENTS. CARL HANRATTY I'm calling it `` The Switch.'' Next slide. The slide does n't change. CARL HANRATTY -LRB- CONT'D -RRB- Next slide! FBI AGENT You have to hit the thing on the side a few times. Joe hits the slide projector, and the slide changes. CARL HANRATT Y Barry Allen 2172 took two red and fifty deposit slips from Nevada Savings and encoded his account number on the bottom of each one. SPECIAL AGENT WILKES Wait a second, Carl. Those slips do n't even have his name on them. CARL HANRATTY The bank scanners read the micker ink before they read pen ink. So even though those deposit slips are filled out correctly, each person who made a deposit that day was actually putting money into his account. SPECIAL AGENT WILKES How much did he get? CARL HANRATTY Forty-six thousand, four hundred and' twelve dollars. It was the second largest bank robbery in the history of Las Vegas.", "INT. - PAN AM BUILDING COMMISSARY. - DAY 98 Paul Mulligan sits across from Frank eating lunch. Frank is dressed in school clothes and holding a notebook. FRANK What's the fuel consumption of a 707 in flight? MULLIGAN Kid, I'm really not in the mood for this today. That damn Skywayman is driving me crazy. There was another article. FRANK Who's The Sk ywaym an? Mulligan hands Frank a copy o f the NEW YORK TIMES. MULLIGAN Some nut flying around the country posing as a Pan Am pilot. The Times has has devoted a weekly coloumn to him. Frank stares down at the TIMES, h is e yes wide as he stares at the headline : SKYWAYMAN VISITS WASHINGTON : ELUSIVE PHONY STILL FLYING THE FRIENDLY SKIES. FRANK The Skywayman... MULLIGAN I keep telling them it's not my problem. He does n't fly on Pan Am planes -- he flies on everybody else. The damn paper is in love with this clown -- they call him the James Bond of the sky. FRANK Did you say James Bond?", "INT. - MOVIE THEATER. - NIGHT Frank is sitting in a movie theater watching GOLDFINGER, his eyes glued to the screen. He's eating a box of popcorn, a big smile on his face as he stares up at SEAN CONNERY.", "INT. - CLOTHING STORE. - DAY Frank is wearing a three button black suit with a sweater vest and narrow black tie. He's looking at himself in a full length mirror, with a SALESMAN standing behind him. FRANK And you're sure this is the suit? SALESMAN Positive. That'.s the same.one he wore in the movie. FRANK Okay. I'll take three. SALESMAN Now all you need is one of those little Fore ign sports cars he drives.", "INT.  - FINGERPRINT LAB. - DAY The lab is packed with AGENT who a re searching for a fingerprint match. CARL HANRATTY lift s his head from a microscope, rubs his eyes. FOX Carl, I got something! Carl rushes over to Agent F o x, who is holding up TWO SETS OF FINGERPRINTS. FOX -LRB- CONT'D -RRB- I was looking through the wanted criminal file, and there it was! Look at that! Carl takes the file from Fox and opens it. CARL HANRATTY The Skywayman. Holy shit, a perfect match. AMDURSKY They describe The Skywayman as a thirty-year-old -- dark hair -- six- feet -- same fucking guy! CARL HANRATTY It does n't make any sense. A thirty- year-old has to register for the draft, which means his prints have to be here. FOX Maybe there's a reason he did n't register. He could have a wooden leg for all we know. Maybe he was born in Peru and he's not an American CITIZEN- CARL HANRATTY Maybe he's not thirty. Somebody call New York, get a list of juvenile runaways from the NYPD. AMDURSKY Why New York? CARL HANRATTY He said something about the Yankees.", "EXT. - PAULA ABAGNALE'S HOME. LONG ISLAND. - MORNING TEN FBI AGENTS have surrounded a TWO STORY HOME IN LONG ISLAND. CARL HANRATTY, wearing a black hat and black overcoat, is knocking on the door with Amdursky and Fox. Paula answers with a cigarette in her hand. CARL HANRATTY Good morning, ma'am, we're the FBI Agents who called. PAULA Yes. I've been waiting. I hope you're all hungry. I made biscuits.", "INT. - PAULA'S HOME. - LONG ISLAND. - MORNING Paula sits on the living room couch pouring three cups of coffee. There is a tray of BISCUITS on the table in front of her. PAULA My husband is a lawyer. Paula motions to a FRAMED PICTURE of Jack Wright. PAULA -LRB- CONT' D -RRB- He advised me not to speak to you. So I'd appreciate it if you did n't mention this to him. CARL HANRATTY Of course, Ma'am. Do you have a current address for your ex-husband, Frank Abagnale? PAULA No. He moves around a lot these days. How are those biscuits? AMDURSKY Very good. CARL HANRATTY Ma'am, you filed a police report last year for a juvenile runaway named Frank Abagnale, Jr. Carl hands her a copy of the police report. PAULA Is Frankie okay? CARL HANRATTY Your son is forging checks. PAULA He's forging checks? That's why you're here? -LRB- LAUGHING -RRB- Half the kids his age are on dope, throwing rocks at police, and you're scaring me to death because my son is forging checks? CARL HANRATTY What he's doing is a federal offense. PAULA -LRB- CONT'D -RRB- A young boy has to eat, has to have a place to sleep. What do you want him to do? His father ca n't help him. -LRB- CONTINUED -RRB- Paula gets off the couch and grabs her purse. PAULA -LRB- CONT'D -RRB- I'm working part-time now at the Church. Just tell me how much he owes and I'll pay you back. Paula takes out her CHECKBOOK. CARL HANRATTY So far it's about two million dollars.", "INT. - DALLAS BANK - DALLAS. - DAY 104 LUCY, one of the BANK TELLERS we met earlier, sits in her office. CARL HANRATTY and the other agents open up the BUCKLEY SCHOOL HIGH SCHOOL YEARBOOK. On a page marked, SOPHOMORES, Carl points to tiny black and white picture of Frank wearing a coat and tie. LUCY Yes, Sir, that's him. But I did n't know he was sixteen! I swear to God I did n't know! Carl gets out of the c ar, cl oses the door on Lucy and smiles at Amdursky and Fox. CARL HANRATTY We got him.", "EXT. - JFK AIRPORT. - DAY Frank is wearing his James Bond s uit she pulls up to the airport in a German sports car. He parks the car and jumps out of the convertible, leaving the keys in the ignition.", "INT. - JFK AIRPORT. - DAY Frank is walking through the airport, eyeing several UNIFORMED COPS who are scattered throughout the terminal, all holding the yearbook picture of FRANK. Frank sees FOUR UNDERCOVER COPS walking toward him, then sees TWO DETECTIVES checking the identification of a PAN AM PILOT. Frank nervously steps into the NEWSSTAND, hides behind a magazine rack as he slowly reaches up and takes off his Pilot's cap and sunglasses. FRANK -LRB- V.O. -RRB- Dear Dad. I'm no longer an airline pilot for Pan Am. I'm now an FBI Agent working undercover for the -LRB- CONTINUED -RRB- FRANK -LRB- V.O. -RRB- -LRB- CONT'D -RRB- United States government. How are you? Please get in touch with Joanna Carlson at Monroe High School, and tell her that I wo n't be able to go to the Junior Prom with her. Frank is staring at the cover of PLAYBOY MAGAZINE. He smiles as he reads the headline : RIVER BEND -- THE BEST SINGLES COMPLEX IN AMERICA", "EXT. - RIVER BEND APARTMENT COMPLEX. - ATLANTA. - DA Y SUPER : ATLANTA, GEORGIA AUGUST 1964 A sprawling APARTMENT COMPLEX that lines a picturesque golf course. There are two swimming pools, tennis courts, but most of all -- WOMEN. Everywhere you look, there are women walking the grounds, swimming, playing tennis. Frank is carrying the MICKER BANK MACHINE into his apartment, passing TWO WOMEN in bikinis. FRANK Hello, ladies. I see the tomatoes are ripe this afternoon. WOMAN BY THE POOL What is tht thing, Frank? FRANK This is a micker encodi ng m achine. It's what banks use to print numbers on checks. I collect them. WOMAN #2 Very cool. Where's the party tonight? FRANK I'm doing fondue at my place.", "INT. - FRANK'S APARTMENT. - NIGHT CLOSE ON A bubbling FONDUE POT with skewers lining the rim. The apartment is packed with men and women who are drinking, smoking pot, and eating fondue. R.B.WOMAN #1 Frank, this is great fondue. FRANK Thanks. Did you see my new phonograph system? It's reel-to-reel, the best sound system you can buy. Frank motions to the phonograph system in the living room, with giant speakers against the walls. R.B. WOMAN #2 I still want to see that bedroom of yours. I hear you have thirty suits. FRANK Thirty-one. Come on, everyone, I'll show you my closet!", "INT. - FRANK'S BEDROOM. - NIGHT 109 Frank is standing in front of the master walk-in closet. His bed is round, -and there are mirrors on the ceiling. FRANK Okay, you guy s r eady? Frank throws open his'' c doors, revealing FOUR ROWS of SUITS, all different st all arranged by color. R. B. WOMAN #1 Whoa, look all tho se suits! FRANK Some of those Manhattan Eag le suits were three hundred dollars. And those shoes are Stacy-Adams slip-ons. R.B. MAN #2 I did n't know the FBI.paid so well. A drunk WOMEN comes running into the bedroom. R.B. WOMAN #3 Come quick. Lance just fell into the conversation pit.", "INT. - MARIETTA GENERAL HOSPITAL. - ATLANTA. - NIGHT Frank walks through the hospital, looking into rooms, smiling at patients. He walks toward a RECEPTION DESK, sees a YOUNG DOCTOR yelling at BRENDA STRONG, 17, a thin, awkward looking candy striper with her hair in a bun and braces on her bottom teeth. YOUNG DOCTOR These bottles need to be labeled when you pick them up. Do you realize what would happen if they got mixed up -- do you understand how dangerous this is? Do n't stand there crying, just nod your head and tell me you wo n't do it again! Brenda nods her head, quickly walks away from the Doctor and sits behind the RECEPTION DESK. She buries her head and starts to write a letter, her body still sobbing as Frank walks up to her. FRANK Are you okay? Brenda looks up at Frank, her eyes and nose puffy from crying. She covers her mouth when she talks. BRENDA He told me to ck up the blood, so I did. He nev er told me to label it. FRANK It's okay. What's your name? BRENDA Brenda. FRANK Brenda, I would n't worr y about it. These Doctors do n't know everything. BRENDA It's my first week. I think they're going to fire me. FRANK No. Nobody will fire you. I'll bet you're good at your job. BRENDA No, I'm not. FRANK I'll bet if I asked you to check the status of my friend, Lance Applebaum, you could do that in a second. He hurt his foot tonight. Brenda grabs a chart, starts to read it out loud. BRENDA Mr. Applebaum fractured his ankle. Doctor Ashland is treating him in exam seven. FRANK See that. No problem. Brenda smiles, covering her mouth. BRENDA This is the emergency chart. See the blue star, that means the patient has been diagnosed. After he's treated, we put a red circle here. FRANK How do you like those braces? Brenda looks embarrassed as she stares at Frank. BRENDA I guess they' re okay. FRANK I got mine off last year. Frank smiles wide, showing Brenda his teeth. FRANK Mine were bottoms. I h ated t hem. I still have my mouth guard. BRENDA You have really nice teeth. FRANK And you have a pretty smile. Brenda tries not to smile, shaking her head and covering her face. FRANK -LRB- CONT'D -RRB- I'm serious. I think those braces look really good on you. Brenda starts to blush as she continues to write her letter. FRANK -LRB- CONT'D -RRB- What are you writing? BRENDA A letter to Ringo. FRANK What does it say? BRENDA I ca n't tell you. I'm embarrassed. FRANK Come on. What does it say? BRENDA It says I love him. Pretty stupid, right. Ringo Starr is never going to read my letter. Frank stares at Brenda, starts to smile as she puts her letter in a drawer. FRANK Brenda, do you know if they're hiring at the hospital? BRENDA I'm not sure. What do you want to do? FRANK I'm a doctor.", "INT. - JOHN GRANGER'S OFFICE. - TAL. - DAY Frank is sitting across from JOHN GRANGER, 60's, the HOSPITAL ADMINISTRATOR, who is reading over a RESUME. GRANGER Harvard Medical School, top of your class, Children's Hospital of Los Angeles, Peace Corps volunteer in North Africa. A pretty impressive resume, Doctor Connors? Why do you want to work here? FRANK I came to Atlanta to relax, to get away from my practice for a year. But to be honest, I'm a little bored out at River Bend. GRANGER Unfortunately, the only thing I need is an emergency room supervisor for my midnight to eight shift, someone to baby-sit six interns and thirty nurses. But I doubt you'd be interested in that. FRANK Would I get to pick my own nurses?", "INT. - FRANK'S APARTMENT. - RIVER BEND. - NIGHT Twenty people are partying in the living room.", "INT. - FRANK'S BEDROOM. 113 Frank is lying on his bed making a phony MEDICAL SCHOOL DIPLOMA. He's using a HARVARD BROCHURE to guide him as he carefully places the STICK-ON letters on the aged paper. A WOMAN walks into the bedroom. TRACY Are you coming out or not? FRANK Tracy, do you know any latin?", "INT. - CONFERENCE ROOM. - D AY Frank is sitting in front of DO CTER G RANGER and FIVE DOCTORS, all of whom are looking over FRA NK' S FILE, which consists of the fake HARVARD MEDICAL SCHOOL DIPLOMA -- fake letters of recommendation from CHILDREN'S HOSPITAL OF LOS ANGELES, and a fake CALIFORNIA MEDICAL LICENSE. DOCTOR GRANGER Doctor Connors, here is your temporary license, which allows you to practice medicine in the state of Georgia for up to one year. And now let me be the first to say, welcome to Marietta General.", "EXT. - HOSPITAL. - NIGHT Frank is standing in front of the thirty CANDY STRIPERS, NURSES and INTERNS who will be working under him during the night shift. He wears Doctor's whites, holds a clipboard as he takes roll. FRANK Brenda Strong? He smiles at Brenda, who covers her mouth as she smiles back. BRENDA Here. FRANK Doctor Paul Ashland. DOCTOR ASHLAND Sir... will you be taking role every night? FRANK Yes. And if you're going to be late, I suggest you bring a note.", "INT. - HOSPITAL CORRIDOR. - NIGHT Frank walks down along hospital corridor holding his clipboard, passing sever al NURSES in the hall. NURSE -LRB- FLIRTING -RRB- Good evening, Doctor Connors. FRANK Button your shirt, Burse Frances. I can see you bra strap. This is a hospital, not a sororit y.", "INT. - FRANK'S APARTMENT. - NIGHT. ON A BLACK AND WHITE TV, DR. KILDARE approaches a hospital bed. DR. KILDARE -LRB- ON TV -RRB- Any change in the patient, Doctor Marks? DOCTOR MARKS -LRB- ON TV -RRB- Doctor Kildare, I think we should try the shock therapy before it's too late. Frank sits alone in his apartment eating popcorn and watching DR. KILDARE on TV. DOCTOR KILDARE -LRB- ON TV -RRB- Doctor White, do you concur? DOCTOR WHITE -LRB- ON TV -RRB- Yes. I concur.", "EXT. - FRANK'S OFFICE. - HOSPITAL. - NIGHT. The name on the office door reads FRANK CONNORS, M.D.. Frank sits at his desk in front of a brand new IBM ELECTRIC TYPEWRITER. He is making COUNTERFEIT CHECKS for himself as Brenda walks in holding a clipboard. BRENDA Doctor Connors, you need to sign these. Brenda walks in and hands him the clipboard. Frank starts to scribble on the charts, the way Doctor's scribble out prescriptions. BRENDA -LRB- CONT'D -RRB- Do you notice anything different about me, Doctor Connors? Brenda smiles, but does n't cover her mouth. FRANK You got your brace o ff! Let me see. Frank moves toward her, st ares at her bottom teeth. BRENDA I kept trying to show you al l night. FRANK Did it hurt when they took them off? Mine felt so weird after. BRENDA I keep rubbing my tongue over them. I ca n't stop. It's so slippery. FRANK It feels good, does n't it? BRENDA Yes_ It feels incredible. Frank leans toward Brenda, gently starts to kiss her. As the passion increases WE HEAR the HOSPITAL P.A. SYSTEM. P.A. OPERATOR Doctor Connors, please come to Emergency. Doctor Connors to Emergency. Frank continues to kiss Brenda. BRENDA Should n't you go? FRANK There's a staff Doctor in the emergency ward. BRENDA What if he's in surgery? FRANK Do you really think I have to go?", "INT. - HOSPITAL ELEVATOR. - DAY 119 Frank nervously paces in the elevator, taking deep breaths as he tries to calm d own.", "INT. EMERGENCY ROOM. - NIGHT The elevator doors open, a nd Frank slowly walks into the EMERGENCY WARD, where Nurses are rushing toward a closed curtain. EMERGENCY N URSE In here, Doctor Connors. Frank walks toward a closed curtain, stands in front of a bed and forces himself to look-'He sees a blood splattered sheet and three young INTERNS standing over the leg of an ELEVEN-YEAR-OLD BOY. FRANK Well, what do we have here? DOCTOR ASHLAND Bicycle accident. A fracture of the tibia, about five inches below the patella. Frank stares at the boy's face, trying not to look at the open wound. FRANK Doctor Hollis, do you concur? DOCTOR HOLLIS Concur with what, Sir? FRANK What Doctor Ashland just said. DOCTOR HOLLIS -LRB- CONFUSED -RRB- Well, it was a bicycle accident. The boy told us. FRANK So you concur? DOCTOR HOLLIS Well, I'm not sure we can... DOCTOR ASHLAND I think we should take an x-ray, then stitch him up and put him in a walking cast. FRAN K Very good, Doctor Ashland. You do n't seem to have much need for me. Carry on. Frank walks out, and Doctor Hollis shaes his head, clearly upset. DOCTOR HO LLIS I blew it, did n't I? Wh y did n't I concur? I panicked!", "INT. - HOSPITAL MEN'S ROOM. - NIGHT. Frank walks into the MEN'S ROOM, steps into an empty stall and immediately starts to throw up.", "INT. - FRANK'S APARTMENT. - RIVER BEND. - NIGHT 122 Frank is writing a letter at his electric typewriter. He pulls it out and reads it over, then takes out a pen and signs the name RINGO STARR.", "INT. - HOSPITAL. - NIGHT 123 Brenda is running through the halls holding the letter. BRENDA He wrote me back. Ringo wrote me back! Doctor Connors, come quick! I got a letter from Ringo Starr, he signed his name and said I was his biggest fan!", "INT. - HOSPITAL CAFETERIA. - NIGHT 124 Frank is sitting across from Brenda in the cafeteria. BRENDA I bought you a present. Brenda hands him wrapped present. BRENDA -LRB- CONT'D -RRB- Open it. Frank quickly opens the box, takes out a TINY GOLD DOCTOR'S CADECUS. BRENDA -LRB- CONT'D -RRB- I see all the other doctors doctors wearing them. I figure you left yours back in San Diego. It's gold plated. Frank slowly takes the Cadecus. BRENDA Now when you're walki ng around the hospital, you'll feel l ike the real thing. She pins the Cadecus on his lapel, and Frank ca n't help but smile. FRANK Brenda, I want to go away with you. I'll take you anywhere you want to go. BRENDA I have n't really been anywhere. FRANK Just name the place, and we can go. Africa, Egypt, it does n't matter. BRENDA Can we go to Liverpool. FRANK Where's Liverpool? BRENDA It's where the Beatles are from in Europe. FRANK Okay. We'll go to Liverpool. BRENDA You're joking, right. We're not really going to Liverpool, are we? FRANK Brenda, how would you like to be head nurse at the hospital? is BRENDA But I'm not a nurse. I'm a candy striper. FRANK We'll get y ou nurses uniform. Nobody will know the difference. I'll make the announcement tomorrow. BRE NDA They'll laugh at m e Frank, please do n't make me the he ad nurse. Promise me you wo n't do that, I ca n't even give a shot. FRANK Just think about it, Brenda. You and I could run this hospital one day.", "EXT. - FRANK SR.'S EASTCHESTER APARTMENT. - DAY 125 CARL HANRATTY is eating a slice of pizza as he talks with the LANDLORD of the apartment building. CARL HANRATTY I just need to go inside and take a quick look around? LANDLORD He's at work, so search all you want. But if you find any money in there, it belongs to me.", "INT. - FRANK SR'S EASTCHESTER APARTMENT. - DAY 126 CARL HANRATTY is walking through the two bedroom apartment. There's a bed pushed against the wall, stacks of drafting paper, envelopes, and other STATIONERY SUPPLIES lying around the room. WE SEE a black and white picture of Paula and Frank Sr. sitting on the front of a U.S. ARMY TANK. Carl takes Frank Sr.'s black briefcase off the shelf and flips it open. He reaches inside and pulls out a stack of POSTCARDS -- all sent by Frank to his father. Carl smiles as he flips over the postcard, stares down at a picture of CLARK GABLE and VIVIAN LEIGH.", "EXT.NT. - EASTCHESTER PHONE BOOTH. - DAY 127 Carl is inside a phone booth, dropping dimes into the slot and holding the POSTCARD. CARL HANRATTY He's in Atlan Sean! No, I'm not coming back t o W ashington. I'm going straight to Georgia and I'll meet the team there. Oh, shit, I'm out of dimes. Sean, wait, I'm out of dimes!", "INT. - FRANK'S APARTMENT. - RC JEND. - NIGHT. Frank and Brenda are lying in bed together, staring at each other in the ceiling mirrors. FRANK It's okay. You do n't have to cry. BRENDA I'm sorry, I just ca n't do this. FRANK Brenda, it's okay. I do n't care about you being a virgin. I can wait. BRENDA I want to sleep with you. I really do. Brenda sits up, starts getting dressed. BRENDA -LRB- CONT'D -RRB- I have n't told you the truth. I'm not a virgin. I had an abortion two years ago. My parents found out and kicked me out of the house. Brenda covers her face with a pillow, starts to cry. BRENDA -LRB- CONT'D -RRB- I had an abortion, and they said I was n't their daughter anymore. FRANK It's okay. BRENDA Then a few months ago they apologized and said I was their daughter, but I could n't come home for awhile. I'm so sorry, Frank, please do n't be mad. FRANK Do you want me to talk to your parents? Maybe I could straighten things out. BREN DA I ask them all the time but they wo n't let me come h ome yet. My Dad' s a lawyer, and he and I have this contract. He calls it a verbal agreement. FRANK What if you were engaged to a doctor, would that change anything? Brenda removes the pillow from her face, stares at Frank. BRENDA What? FRANK What if I went to your parents, spoke to your father and asked his permission to marry you? BRENDA Do n't tease me, Frank. FRANK I'm not teasing. BRENDA You would go home with me to New Orleans? FRANK We can leave right now, never come back.", "INT. - RIVER BEND APARTMENT COMPLEX. - ATLANTA. - NIGHT 129 TEN FBI AGENTS burst through the doors of Frank's apartment. CARL HANRATTY is out front, leading the men inside with his guns drawn. FBI AGENT We're clear. It's empty. There's a fondue pot in the kitchen, bean bag chairs in the living room. Carl walks over to the wall -- stares at the framed HARVARD MEDICAL OkHOOL DIPLOMA.", "EXT. - MARIETTA HOSPITAL. - NIGHT TEN POLICE CARS, sirens wailing, pull up to the front of the hospital. CARL HANRATTY and hi s men jump out of sedan, sprint into the hospital.", "INT. - HOSPITAL. - NIGHT CARL HANRATTY is leading an army of cops down a hallway, holding ; I the Harvard Diploma in his hand. They make their way to the front of a door marked : FRANK CONNORS, M.D.. CARL HANRATTY Okay. Kick it in. The Agents kick down the door, and CARL HANRATTY walks into the office, stares at an electric typewriter that is humming on the desk.", "EXT. - BRENDA'S PARENTS' HOUSE. - NEW ORLEANS. - NIGHT 132 A WHITE CADILLAC is parked in the driveway of a large, two story house.", "INT. - BRENDA'S PARENTS' HOUSE. - NIGHT 133 Frank, dressed in a plain white suit, sits at the dinner table with Brenda and her parents, ROBERT and CAROL STRONG. The house is old and warm, the table jammed with food. ROBERT Doctor Connors, are you a Lutheran? FRANK Yes, Sir. I'm a Lutheran. CAROL Have you been to New Orleans before, Doctor? FRANK No, Ma'am. This is my first time. And please, call me Frank. ROBERT Frank, would you like to say grace? Frank stares at Brend and her parents, who bow their heads. He hesitates for a B EA T, WE SEE that he has no idea how to say grace. RO BERT -LRB- CONT'D -RRB- Unless you're not comforta ble. Brenda peeks at Frank, who close his eyes and bows his head. FRANK Two little mice fell in a bucket of cream. The first mouse gave up and drowned, but the second mouse struggled so hard that he churned that cream into butter -- and he walked out. Amen. They all lift their heads, clearly impressed. Robert turns to Frank and smiles. CAROL Amen. That was beautiful. Frank turns to Brenda, gives her a wink.", "INT. - BRENDA'S PARENTS' HOUSE. - LIBRARY. - NIGHT 134 Frank stands next to Robert in the library, the two men sipping brandy as they stare at some paintings on the walls. FRANK Who is this? ROBERT President Johnson. FRANK Right. That's very good, Sir. ROBERT It's just a hobby. Every Sunday night I go into the garage, pretend I'm an artist. Sometimes I stay in there for hours, hiding from the world, making a fool out of myself. FRANK No, Sir. You are an artist. ROBERT What about you, Frank? Where do you go when you need to hide? FRANK I just find brenda. And then I do n't need to hide. Robert smiles, hand Franks a cigar. ROBERT Have you decided whic h hospital you want to work at here in New Orleans. FRANK To be honest, I've been thinking about getting back into law. ROBERT What do you mean? Are you a lawyer or a doctor? FRANK Before I went to medical school I passed the bar in California. I practiced law for a year, then decided to try my hand at pediatrics. ROBERT A doctor and a lawyer. I'd say Brenda hit the jackpot. Where did you go to law school? FRANK Berkeley. ROBERT Berkeley. Well, now she's hit the Irish Sweepstakes. Would you be interested in coming to work for an old man who barely made his way through Stanford. My office is desperate for Assistant Prosecutors. FRANK You would give me a job? ROBERT If you're going to marry Brenda, it's the least I can do. FRANK What would I have to do to take the bar here in New Orleans?", "INT. - STATE BAR EXAMINE OFFICE. - NEW ORLEANS. - DAY CLOSE ON BERKELEY TRANSCRIPTS, co mplete with Berkeley Logo and stationery. Frank hands the documents to a WOMAN sitting behind a desk, who hands him LO UISIANA BAR EXAM. BAR EXAMI NER Good luck, Mister Conno rs", "INT. - AIR FRANCE PLANE. - DAY SUPER : DECEMBER 26. 1967. AIR FRANCE FLIGHT 676. CARL HANRATTY is sitting next to a handcuffed Frank at the back of the plane. Amdursky and Fox are sitting across from them. CARL HANRATTY Look at that. They show movies on planes now. What's next? Frank and Carl stare at a small MOVIE SCREEN thirty rows in front of them. FRANK Are you gon na eat that eclair? CARL HANRATTY Yeah. I'm gon na eat it later. FRANK Do you want to split it? CARL HANRATTY No. Carl moves his eclair away from Frank. CARL HANRATTY -LRB- CONT'D -RRB- You know what I could never figure out, Frank? How you cheated on the bar exam in Louisiana. FRANK What's the difference? CARL HANRATTY Did you have somebody else take the test for you? FRANK I'm going to prison for a long time, Carl? What's the difference? CARL HANRATTY You're right. It's a simple question. I'll figure it out eventually. FRANK You'll never figure it out.", "INT. - LOUISIANA DISTRICT ATTORNE Y'S OFFICE - DAY Frank wears a new TAN SUIT and holds a TAN BRIEFCASE as he walks through the busy law office with Brenda's father. ROBERT You'll be working under Phillip Rigby in corporate law, handling small claims made against the state, trespass-to-try-title suits, most of it wo n't get past a pre-trial motion. Frank looks down at his desk, picks up the nameplate which reads : FRANK CONNORS, ASSISTANT PROSECUTOR. ROBERT -LRB- CONT'D -RRB- Why do n't you settle in, organize your desk. We're having lunch with the District Attorney and Governor Davey at twelve-thirty.", "INT. - BRENDA'S PARENTS' HOUSE. - NIGHT 138 Frank, Brenda, Robert and Carol are eating popcorn and watching an episode of PERRY MASON on a black and white TV. RAYMOND BURR -LRB- ON TV -RRB- But if you were at your office on the day of the murder, Mr. Darius, then how could you know your wife had left the gate open? Your honor, ladies and gentleman of the jury, this is irrefutable evidence that the defendant is lying!", "INT. - NEW ORLEANS COURTROOM. - DAY Frank stands in a small, empty courtroom, presenting a case before a JUDGE AT A PRE-TRIAL HEARING. FRANK I have four letters in my hand that were sent to the defendant's apartment, ea ch one warning him that his building to be sprayed with insecticide, and th at he should cover his belonging s. Your honor, ladies and gentleman of the jury, this is irrefutable evid enc e t h at the defendant is lying! JUDGE Mister Connors, this is p reliminary hearing. There's no defendant, no jury, it's just me. What the hell is wrong with you?", "INT. - NEW ORLEANS COURTROOM CORRIDOR. - DAY Frank walks out of the courtroom, where Robert is waiting for him. ROBERT Well? Frank starts to smile. FRANK Case dismissed! Frank shakes Robert's hand, and Robert pulls him close and gives him a hug.", "EXT. - NEW ORLEANS GARDEN DISTRICT. - DAY Frank is covering Brenda's eyes with his hands as he slowly walks her toward the front door of a LARGE HOUSE. FRANK Okay. Reach your hand out and feel that. What do you think it is? Brenda reaches out and touches a DOORKNOB. BRENDA What is it, Frank? FRANK It's our front door. I made an offer today. Frank removes his hands, and Brenda looks up at the giant, six bedroom house that sits on a cul-de-sac. FRANK -LRB- CONT'D -RRB- What do you t hin k? BRENDA Oh, God. Oh, my God. Brenda screams as she throws herself at Frank. BRENDA It's so big. Are you sure we can afford it? FRANK We're gon na have it all, Brenda. BRENDA But where will we get the money for a house like this? FRANK The same place everyone gets it. The bank.", "EXT. - FRANK'S CADILLAC. -- NIGHT. Frank is parked in front of the airport. He turns to Brenda and gives her a kiss. BRENDA Why do you have to go? FRANK I agreed to speak at this medical conference six months ago. Your father understands. Frank grabs his briefcase and gets out of the car. BRENDA Why ca n't I go with you? FRANK Next time. I promise.", "INT. - AIRPORT. - NIGHT Frank walks into the airport, immediately goes to the MEN'S ROOM.", "INT. - AIRPORT MEN'S ROOM. - NIGHT Frank opens his briefcase, pulls out his PILOT'S UNIFORM.", "INT. - PRINTING SUPPLY SHO P. - NEW JERSEY. - DAY Frank wears a black s uit with a PAN AM pin on the lapel. He stands with the OWNER o f the P RINT SHOP. FRAN K As I stated on the Pan Am has been unhappy for so me t ime about the quality of their expe nse c he ks. we're looking for a new fir m to handle the printing. PRINT SHOP OWNER How large would the order be? FRANK About twenty thousand checks a year. PRINT SHOP OWNER Oh, God, I want that account. What do I have to do to get it? FRANK For starters, why do n't you show me how you make your checks.", "INT. - NEW YORK OFFICE BUILDING. - DAY TWO DELIVERY MEN are carrying an I-TEK camera into a small office, where Frank is setting up a large PASTE-UP BOARD. FRANK Just put it anywhere. They set the camera down, AND WE SLOWLY PULL BACK, see that Frank has turned this office into his own print shop- DELIVERY MAN This stuff is heavy. What kind of business you in? FRANK I make checks for Pan Am. Frank motions out the window, where WE SEE THE PAN AM BUILDING directly across the street.", "INT. - FRANK'S NEW YORK OFFICE. - LATE Frank is working at the paste-up board, making a 16-by-24 inch copy of a PAN AM EXPENSE CHECK. WE WATCH AS he takes the check and places it directly under the lens of the I-TEK C AME RA. The PLATE ENGRAVING i fib around the drum of the small PRINTING PRESS- CLOSE ON A PAPER CUTER SLICING the edg es off a newly printed PAN AM EXPENSE CHECK.", "INT. - FBI BUILDING. - WASHINGTON D.C. SUPER : NOVEMBER, 1965 A large, smoked filled conference room, the drapes closed to block the afternoon sun. CARL HANRATTY holds one of Frank's new checks as he stands before FBI DIRECTOR MARSH, who sits at the head of a long table. Deputy Director Deevers handles the introductions. SPECIAL AGENT WILKES Sir, I've called this briefing to update you on the Frank Abagnale situation. DIRECTOR MARSH Who? SPECIAL AGENT WILKES The Skywayman. Agent Shaye from bank fraud has been the point man on this case, and I'll let him fill you in. Carl walks to the front of the room, stands in front of a SLIDE PROJECTOR. CARL HANRATTY Director Marsh, Frank Abagnale is no longer forging checks. He's moved on to counterfeiting, making his own Pan Am expense checks from scratch. Next slide. The slide changes. CARL HANRATTY -LRB- CONT'D -RRB- The amounts have increased to almost one thousand dollars per check, and the quality, as you can see, is virtually flawless. DIRE CTOR MARSH How much ha s he sto len so far? CARL HANRATTY Our latest estim ates is about three and a half million dollar s. He's now the most successful robber in the history of the Un ited St ates. DIRECTOR MARSH is holding one of Frank's checks, running his hands along the printed blue and white surface. DIRECTOR MARSH And how close are you to getting him? CARL HANRATTY Sir, with your help I feel an arrest could come at any time. We believe he could be in New Orleans. DIRECTOR MARSH I'll give you thirty more agents and I'll bump him up to the ten most wanted list. SPECIAL AGENT WILKES Sir, he's only seventeen-years-old. We've never put a child on the ten most wanted list before. What are we gon na tell the President? DIRECTOR MARSH The President keeps his money in a bank. We'll tell him he's fair game like the rest of us.", "INT. - VILLAGE INN BAR. - AFTERNOON Frank walks into the bar wearing a black suit. He sees his father sitting in the corner wearing a POSTAL UNIFORM and drinking a beer. The place is filled with the afternoon regulars, all watching TV. Frank walks up to his Dad and sets a DIME in front of him. FRANK How about a little music, Dad? Frank Sr. Reaches out, takes the dime. FRANK SR. Sit down, Frank. I'm so glad to see you. FRANK SR. I took a job. A government job. You see what I'm doing? Do you have a good lawyer? FRANK Dad, I am a lawyer. FRANK SR. Look at this letter. -LRB- handing Frank a letter -RRB- They kicked me out. They took away my membership at the Rotary Club. They accused me of terrible things, made up a list of lies just to keep me out. I'm gon na sue them, a lifetime membership is what I have. I have the plaque, the letters of congratulations. FRANK Has Mom seen you dressed like that? FRANK SR. Your mother does n't know what she wants. FRANK We'll go out together and get you a suit. A new black suit. One of those Manhattan Eagle three button black pearls. FRANK SR. Those are nice. We'll have a drink first. FRANK Dad, I'm getting married in two weeks- I'm buying a sixty thousand dollar house, a new Cadillac. I'm getting it all back, everything they took from us. I wa nt you and Mom to come to the wedd ing t ogether. FRANK SR. Your mother wo n't come. FRANK You have to ask her. You ha ve to fight for her. Promis e me you wo n't let her see you dressed like this. FRANK SR. She wo n't come, because she just had a baby. Frank stares at his father for a long BEAT. FRANK SR. -LRB- CONT'D -RRB- A little girl. She had a little girl.", "INT. - MIDWAY AIRLINES COCKPIT. - NIGHT 150 Frank is clearly upset as he sits in the jump-seat, lost in thought. The PILOT gets out of his seat, turns back to Frank. PILOT Were leveled off. You mind taking her for a minute, I need to use the bathroom. Frank stares at the empty seat as the Pilot moves past him. FRANK Wait. What are you doing? PILOT I need five minutes. I'd do it for you. The Pilot walks out of the cockpit, and Frank turns to the CO-PILOT. FRANK He left. CO-PILOT He's got an ulcer. Frank gets out of the JUMP-SEAT, walks over and sits in the PILOT'S SEAT. He looks at the instruments, the WHEEL moving on it's own in front of him. FRANK Auto-pilot, right? CO-PILOT I cna shut it off if you want to take her for a spin. Frank stares out the front window of t he cockpit -- the blackness in front of him - - hi s hands starting to shake as he slowly reaches up and puts his han ds on the wheel -- FRANK Okay. Shut it off. The Auto-Pilot flips the switch, and Frank holds on for dear life as he flies the plane into the darkness.", "INT. - CARL HANRATTY'S OFFICE. - NIGHT Carl is sleeping in the chair in his office. The phone rings, and he quickly answers. CARL HANRATTY -LRB- ON PHONE -RRB- This is Hanratty. INTERCUT WITH", "I NT. AIRPORT. - NIGHT FRANK Hello, Carl. Merry Christmas. Carl grabs a pad and pencil. CARL HANRATTY I thought you might call. Where are you? FRANK I do n't know, exactly. An airport somewhere. CARL HANRATTY What do you want, Doctor Connors? FRANK Carl, I have n't been Doctor Connors for months now. CARL HANRATTY Fuck you. I' s itting here in my office on C hirstmas Eve, so just tell me what you want. FRAN K It's over. I want it to be o ver now. I'm getting married. I'm settling down. CARL HANRATTY You've stolen four million dollars. t You think we're just gon na call it a wedding present? This is n't something you get to walk away from, Frank. FRANK I want to call a truce CARL HANRATTY There is no truce. You will be caught, and you will go to prison. Where did you think this was going? FRANK Please, leave me alone, Carl. I do n't want to do it anymore. Do n't make me do it anymore- CARL HANRATTY I'm close are n't I? You're scared because I'm getting close. How close am I? FRANK Will you stop chasing me? CARL HANRATTY I ca n't stop. This is my job. FRANK It's okay, Carl. I just thought I'd ask.", "INT. - NEW ORLEANS BALLROOM. - FRENCH QUARTER. - NIGHT MARDI GRAS is in full swing. A crush of people walking down BOURBON STREET. CARL HANRATTY is pushing through the crowd of people, Amdursky and Fox next to him as he makes his way into the crowd. Carl motions behind hi m where TWENTY AGENTS quickly split up and start walking thr o ugh Quarter. CLOSE ON FRANK Standing on a HOTEL BALCONY above B ourbon Street, wearing a MASK and watching the FBI AGE NT S as t hey move through the French Quarter. CARL HANRATTY turns and looks up at the balcony, staring right at Frank for a BEAT before he continues through the chaos.", "INT. - HOTEL BALLROOM. - DAY An ENGAGEMENT PARTY is going on - - A HUNDRED PEOPLE IN ELABORATE COSTUMES AND GOWNS. Brenda, dressed in a mask and corset, is standing with some girlfriends -- showing them her engagement ring. Frank takes off his mask, and WE SEE the fear in his eyes-as he walks over to Brenda. FRANK Come with me.", "INT. - COAT ROOM. - NEW ORLEANS HOTEL BALLROOM.. - NIGHT Frank pulls Brenda into the COAT ROOM. They are surrounded by fur coats, expensive black overcoats, a row of black hats. Brenda kisses him. BRENDA Frank, can you believe this party is for us? FRANK We have to leave, Brenda. You love me, right? I mean, you would love me no matter what? BRENDA Of course. FRANK If I was poor, or sick, or if I had a different name. BRENDA A different name? FRANK A name means n othing, right? My name is Frank Co nnors. That's who I am with you. We al l have secrets. Sometimes when I tr avel, I use the name Frank Williams. That's my secret. BRENDA Frank Williams? FRANK It means nothing -- Frank Williams, Frank Black -- when I'm with you, I'm Frank Connors -- that's all that matters. BRENDA Why are you saying this? FRANK Brenda, I do n't want to lie anymore. I'm not a doctor. I never went to medical school. -LRB- CONTINUED -RRB- Brenda smiles, thinks he's joking. FRANK -LRB- CONT'D -RRB- And I'm not a lawyer or a Harvard graduate or a Lutheran. I ran away from home a year and a half ago when I was sixteen. BRENDA Stop teasing me, Frank. You're Frank Connors, right? You're Frank Connors and you're 28-years-old. Why would you lie to me? Brenda turns to Frank, trying not to get upset. BRENDA -LRB- CONT'D -RRB- Frank, what's your name? I want you to tell me your name. FRANK We'll go to Liverpool. We can live there, Brenda, you and I can live wherever we want. I have money, enough for the rest of our lives. But you're gon na have tru st me. Do you trust me? Do you 1ov e me? BRENDA I love you. FRANK No matter what. Even if I h ave to live in Liverpool, or I a different name -- you'll still lov e me? BRENDA -LRB- UPSET -RRB- I love you, Frank. I love you. FRANK But we'll never tell anyone the truth. You ca n't tell you parents. BRENDA No. We wo n't tell anyone. And we'll go away. I do n't care if I ever see my parents again. I just want to be with you. FRANK We'll leave tonight. BRENDA But the wedding is next month. It's all planned. We can leave right after the reception, just like a honeymoon. FRANK No, we have to leave today. I'll pick you up at your parents house in two hours. BRENDA Two hours? FRANK We'll get married in Liverpool. Would you like that? BRENDA Yes. I love you, Frank. But please, before we go -- tell me your name.", "INT. - FRANK'S APARTMENT. - NEW ORLEANS. - NIGHT Frank is packing a su itcase with HUNDRED DOLLAR BILLS. He is trying to get the sui tcase close, sitting on top of it -- the money spilling out the s ides.", "INT. - FRANK CADILLAC - NIGHT A heavy rain is falling as Fr ank drives toward Brenda's parents' house. As he turns ont o their street, HE SEES FIVE PATROL CARS parked in front of th e use. Neighbors have lined the street, and TWO STATE TROOPERS are guarding the front of the house with SHOTGUNS. FRANK stops the car, stares in stunned disbelief at the police in front of the house. Sirens are wailing in the distance as Frank puts his head on the steering wheel and closes his eyes.", "INT. - BRENDA'S PARENTS' HOUSE. - NIGHT. Robert and Carol are sitting in the living room with Brenda, holding her in their arms as two POLICE OFFICERS stand across from them. Brenda is crying, holding her cat as CARL HANRATTY kneels in front of her. CARL HANRATTY Hello, Brenda. My name is CARL HANRATTY, and I'm with the FBI. Brenda keeps her face buried in her father's shirt. CARL HANRATTY -LRB- CONT'D -RRB- That's a pretty cat. What's his name? BRENDA Ringo. CARL HANRATTY I know this is all a bit scary, but I need you to tell me where Frank is going. A lot of people are looking for him out there, and the last thing we want is for Frank to get hurt. And I swear to you, Brenda, if you tell me where he's going -- I'll keep him safe. BRENDA You promise? CARL HA NRATTY Yes. I prom ise. Just tell me where he's going. BRENDA Liverpool.", "INT. - NEW ORLEANS AIRPORT. - NIGHT Frank is walking through an airpo rt. He rushes over to a TWA TICKET COUNTER that is closing down for the night. FRANK Are there any more flights tonight? TICKET AGENT I'm sorry, Sir, there's nothing until morning. This airport shuts down at eleven.", "INT. - FBI OFFICES. - MIAMI. - DAY CARL HANRATTY stands in front of TWENTY FBI AGENTS, pacing. CARL HANRATTY We have to stop him before he leaves the country. I want everyone we have inside Miami International. He's used that airport before, he knows -LRB- CONTINUED -RRB- CARL HANRATTY -LRB- CONT'D -RRB- the layout. One way or another, he'll end up there. FOX He does n't have a passport, Carl. CARL HANRATTY In the last six months he's gone to Harvard and Berkeley -- I'm betting he can get a passport. AMDURSKY I already talked to the Miami police, they've offered fifty uniformed cops in two shifts of twenty-five. FOX Carl, with our guys that's almost a hundred men in one airport. Do n't you think we should spread it around. CARL HA NRATT Y No. Miami i s the exit point. Now all we have to d o is ca tch him.", "INT. - HALL OF RECORDS. MIAMI - DAY Frank walks into the HALL OF RECORDS in MIAMI FRANK Excuse me. Where do you keep the death records?", "INT. - STATE DEATH RECORDS ARCHIVE ROOM. - DAY 162 Frank is looking through a thick book. All of the entries are for 1938, and Frank is quickly scanning pages. He stops when he sees the following entry. FRANK TAYLOR BORN DEC. 3. 1938. DIED DEC. 8 1938. AGE -- FIVE DAYS. MOTHER'S MAIDEN NAME - PENNER.", "INT. - BIRTH CERTIFICATE OFFICES. - CITY HALL. Frank walks up to a window at MIAMI CITY HALL and smiles at the WOMAN behind the counter. FRANK Hello. I'd like to get a copy of my birth certificate, please. CITY HALL WOMAN I'll need your name, date of birth, mother's maiden name and the county and hospital you were born in_ FRANK The name is Frank Taylor. I was born December 3, 1938, in Tampa.", "INT. - PASSPORT OFFICE. - FEDERAL BUILDING. - MIAMI. Frank walks up to the window at the passport office. FRANK -LRB- CONT'D -RRB- I'd like to get a passport, please. PASSPORT EMPLOYEE Have you ever had a passport before? FRANK Never. PASSPORT EMPLOYEE I'll need a copy of your birth certificate. F RANK I brought it wit h me. Frank takes the birth certifi cate out of his pocket and sets it on the counter. FRANK -LRB- CONT'D -RRB- Will this take long. I'm trying to catch a flight.", "INT. - FONTAINEBLEAU HOTEL. - MIAMI. - DAY A NEW PASSPORT sits on a desk in the plush, PENTHOUSE SUITE of the FONTAINEBLEAU HOTEL. Frank stands at the window looking out at a perfect Miami sunset as he talks on the phone. FRANK -LRB- ON PHONE -RRB- This is Frank Taylor, and I'm letting all the universities in the area know that Pan Am will be initiating a new recruiting program this year. I'll be stopping by your campus tomorrow morning.", "EXT. - UNIVERSITY OF MIAMI. - DAY Frank wears his pilots uniform and carries a black briefcase as he walks past a group of students who are protesting the war.", "INT. - GYMNASIUM. - UNIVERSITY OF MIAMI. - DAY Three hundred students, ALL FEMALE, sit on the bleachers of a gymnasium staring up at MR. HENDRICKS, the DIRECTOR OF STUDENT PLACEMENT. MR. HENDRICKS Ladies, quiet down, please. As you all know, Pan Am has sent a pilot here to interview prospective stewardesses for a new Summer internship program. This is Captain Taylor, and he'll be talking to you today. Frank stands in front of the girls, who suddenly get very quiet. F RANK Thank you all for com ing. At the end of the day I' ll be p icking eight young ladies to be part of Pan Am's first `` future stew ardes'' flight crew program. Thes eight girls will accompany me on a two m onth public relations tour Eur ope this Summer, where they will learn first hand what it takes to be a Pan Am stewardess.", "EXT. - MIAMI INTERNATIONAL AIRPORT. - DAY WE SEE FBI AGENTS, UNIFORMED COPS, UNDERCOVER COPS and local detectives all taking their positions in and around the airport. it looks like they're preparing for war, and Carl Shaye is in the middle of it all.", "INT. - INTERVIEW ROOM. - UNIVERSITY OF MIAMI. - DAY Frank sits behind a desk holding a notebook as he INTERVIEWS a young FEMALE STUDENT. FRANK Judy, what does the word `` abroad'' mean to you? JUDY When I hear the word abroad, I think of crossing the ocean and traveling to distant lands. FRANK Thank you.", "INT. - INTERVIEW ROOM. - LATE 170 Frank has drawn a picture of an AIRPLANE ON A CHALKBOARD. He is pointing to various sections of the plane. FRANK And what's this, Monica? MONICA The wing. FRANK Very good- And this? MONICA The tail. FRANK Excellent.", "INT. - GYMNASIUM. - DAY This is the moment of truth. Al l the girls are standing, and Frank is reading from a list. FRANK Debra Jo McMillian. DEBRA JO comes screaming out from the sea of girls, hugging friends and crying as if she had just won the Ms. America Pageant. FRANK -LRB- CONT'D -RRB- Heather Shack. HEATHER SHACK screams and rushes into Debra Jo's arms, the two girls screaming as Frank continues to announce the winners.", "EXT. - MIAMI INTERNATIONAL AIRPORT. - DAY Miami Police Officers are spread out in front of the airport, looking bored as they drink coffee and pace back and forth. A STATION WAGON pulls up to the front of the airport, and TWO COPS WATCH as EIGHT BEAUTIFUL COLLEGE GIRLS walk out, all dressed as flight attendants, all holding luggage. The cops never even glance at Frank, who stands in the middle of the girls as they walk into the airport.", "INT. - MIAMI INTERNATIONAL AIRPORT. - DAY Frank walks through the packed terminal surrounded by the EIGHT GIRLS, all walking in stride, their hair and make-up perfect, every man in the airport turning to stare. Frank and the girls walk past TWO FBI AGENTS, who ca n't help but smile at the girls -- who in turn smile back. FBI AGENT #1 Did you see that blonde in front? FBI AGENT #2 I should've been a pilot.", "INT. - MIAMI AIRPORT COE SHOP. - DAY 174 CARL HANRATTY is sitting in a COFFEE SHOP that looks down over t he entire INTERNATIONA L TERMINAL. HE HEARS an announcement over the airport P.A. sy stem. P.A. O PERATOR -LRB- V.0. -RRB- Will Mr. CARL HANRATTY pick a white courtesy phone. Mr. CARL HANRATTY, pl ease pick up a white courtes y ph one. in the distance, CARL watches as the eight girls walk toward him. He hesitates for a BEAT, then walks to the back of the restaurant and finds a WHITE PHONE. CARL HANRATTY This is Hanratty. INTERCUT WITH", "INT. - MIAMI AIRPORT TICKETING AREA. - DAY AMDURSKY Carl, you're walkie talkie was n't working. There's a guy in a Pan Am uniform sitting in a white Cadillac in front of terminal J! CARL HANRATTY That's the charter terminal. Can you' see his face? AMDURSKY He's got his Pilot's cap on. I think it's him!", "INT. - AIRPORT. - DAY CARL HANRATTY is running through the airport, sprinting past Frank and the college girls as he makes his way outside.", "EXT. - MIAMI AIRPORT - WHITE CADILLAC. - DAY 177 FORTY FBI AGENTS and MIAMI POLICE OFFICERS slowly approach the white Cadillac. CARL HANRATTY has his gun drawn. CARL HANRATTY Frank, get out of the car! Put your hands on the hood! There's no place to run, so just make it easy on yourself! The car door opens, a nd a 20- YEAR-OLD kid gets out of the car, his hands shaking a s h e st ares at Carl -- the pilot's cap falling off his head. KID Do n't shoot me! I' m just a driver! A man paid me a hundr ed doll ars to wear this uniform and p ick someone up at the airport! CARL HANRATTY who are you picking up? KID CARL HANRATTY. Carl lowers his gun, immediately turns back toward theairport -- watches as a BRITISH AIRWAYS JET takes off and flies overhead, banking left and sailing out over the ocean.", "INT. - CARL HANRATTY'S OFFICE. - WASHINGTON D.C. - DAY 178 Snow is falling outside Carl's office window, which overlooks a parking lot. Carl sits at his desk staring down at some COUNTERFEIT CHECKS. A SECRETARY WALKS in and hands him an envelope. SECRETARY This just came for you, Sir. Who do you know in Liverpool? Carl takes the envelope and slowly opens it. He pulls out a stack of BLACK AND WHITE PHOTOGRAPHS, all of which show the EIGHT COLLEGE GIRLS in various locations. There are shots of them on the SPANISH STEPS IN ROME, at the EIFFEL TOWER, in front of BUCKINGHAM PALACE, and in front of SCOTLAND YARD. A POSTCARD OF THE MONA LISA is inside the envelope, with the words `` WISH YOU WERE HERE'' written across the back.", "EXT. - MONTPELIER FRANCE. - DAY The vineyards of Montpelier stretch across the Bas Languedoc valley, where tourists drive through on their way to the Mediterranean. Frank is eating an ice cream as he walks down the main street, the shops and restaurants open and busy for the summer. Frank stops a DELIVERY BOY on a bicycle. FRANK Excuse me. Do u know where the Lavalier fa mily lives?", "EXT. - LAVALIER HOME. Frank is knocking on the do or of the main house of a small vineyard. MONIQUE LAVALIER, 30's, answers the front door holding a baby. FRANK Hello. Do you speak English? Monique nods. FRANK -LRB- CONT'D -RRB- My name is Frank. My mother is Paula Lavalier. I was hoping to find my family. Monique takes Frank by the hand, starts to smile. MONIQUE I am Monique, your aunt. Monique hugs him, kisses his cheeks. MONIQUE -LRB- CONT'D -RRB- -LRB- IN FRENCH -RRB- Pappa! Paula's boy is here!", "INT. - LAVALIER HOME. - DINNER TABLE. - LATE The entire family is sitting around the dinner table, staring at Frank as he takes a sip of wine. FRANK It's very good wine. The family starts to laugh at him. FRANK -LRB- CONT'D -RRB- What? MARCEL The wine here is shit. This valley only grows shit wine. It is used for stretching. FRANK What's stretching? MONIQUE They send our win e by truck to the famous vine yards of Bordeaux and Burgundy, a nd they mix it with the good wine to t r ick t he people. PAP PA LAVAILER The Americans thi nk they are drinking only the best. But they are really drinking the shit fro m Montpelier! Everyone laughs hysterically, and Frank joins in, the family laughing together as they eat Sunday dinner.", "INT. - LAVALIER HOME. - NIGHT. Frank is sitting in the living room staring at a photo album. He sees the old picture of his mother and father sitting on the American tank. MONIQUE Here. Your mother sent me this to me a few months ago. Monique hands Frank a color photograph. Frank looks at the picture, sees Paula standing with Jack Wright, holding a BABY in her arms. MONIQUE -LRB- CONT'D -RRB- You look like your new sister. Frank stares at the picture, then hands the picture back to Monique. FRANK Everyone says that.", "INT. - UNIVERSITY OF MONTPELIER. - DAY Frank walks into a large classroom filled with COLLEGE FRESHMAN. He turns and writes his name on the blackboard : MR. WAGNER. FRANK My name is Frank Wagner, and I'll be teaching the Summer session of American History, the same course I taught at Yale last year. Why do n't you all open your books to chapter one, read quietly to yourselves.", "INT. - LAVALIER HOUSE. - NIGHT The family is eating di nner together, and Frank looks surprised as Pappa La valier brings a birthday cake out from the kitchen. As every one starts to sing-.. FRANK -LRB- V. O. -RRB- Dear Dad. I'm re tired now, living a quiet life in a small village in France. I hope you are doin g well, and you're not mad at me for running away. Frank blows out the candles on the cake. FRANK -LRB- V.0. -RRB- -LRB- CONT'D -RRB- Yesterday was my 19th birthday, and when I blew out the candles I wished that we could all be together, the three of us living in our old house in New Rochelle.", "EXT. - LAVALIER HOUSE. - DAY Frank is working in the garden, surrounded by roses. Monique walks out of the house. MONIQUE I have to pick Pappa up, his car is dead. Come with me, Frank, you can see where he works?", "EXT. - WAREHOUSE. - OUTSKIRTS OF TOWN. - DAY Frank and Monique pull up to the front of a large warehouse. FRANK What is this place? MONIQUE The family business. FRANK I thought the family business was wine? MONIQUE No. Paper.", "INT. - PRINT SHOP. - DAY 187 CLOSE ON A PROFESSIONAL PRINTING PRESS, 90 FEET LONG, TEN FEET WIDE. The giant machine fills warehouse. SIX MEN work in the massive press room, t he dea fening THUMP of the machine shaking the walls as it strug g le s to spit it out 10 COLOR PAGES a minute. WE SEE samples of their work li ning the walls -- FRENCH NEWSPAPERS, COLOR POSTER S, ADVE RTISEMENTS. CLOSE ON FRANK staring up at the giant PRINTIN his body limp, h is face cold. Pappa Lavalier, shift and smoking, walks toward him with a big smile. PAPPA What do you think? FRANK I've read books about these machines. But I've never seen one. PAPPA You want me to show you how it works? FRANK Yes. PAPPA For color printing we set the back gears, then put the plates in up- side-down, pour the ink in last, -LRB- CONTINUED -RRB- PAPPA -LRB- CONT'D -RRB- never when it's cold, then we roll the cylinder brakes until they catch... CLOSE ON FRANK Lost in his own world, his mind racing as he stares at every part of the machine -- his eyes cold with excitement and dread.", "INT. - PRINTING ROOM. - NIGHT The PRINTING PRESS is thumping and grinding, the lights low, the press room empty except for Frank, who stands at one end of the machine, his shirt off, working like a man obsessed as he operates the massive press by himself -- THOUSANDS OF PERFECT BLUE AND WHITE PAN AM CHECKS SLIDING OFF THE PAPER ROLLS AND DROPPING TO THE FLOOR.", "INT. - LAVALIER HOUSE. - MONTPELIER. - NIGHT Frank reaches into the bac k of the closet and pulls out his PILOT'S UNIFORM. As h e sli ps on the jacket, Monique walks in and turns on the light. She s ees his suitcase on the bed. MONIQUE Frank, where are you going? FRANK I do n't know.", "INT. - FBI OFFICE. - WASHINGTON. CARL HANRATTY is sitting in his office trying to use an electric pencil sharpener, which is broken. As Carl pulls out a half- eaten pencil, Fox and Amdursky walk in holding an envelope, big smiles on their faces. AMDURSKY Carl... he cashed a check in Madrid.", "INT. - FBI OFFICES. - WASHINGTON D.C. - DAY Carl, Wilkes, Amdursky and Fox are facing Director Marsh, a stack of checks on the desk in front of him. CARL HANRATTY Singapore. Australia. South America :' Egypt. He's also hit almost every major bank in Europe. FBI DIRECTOR MARSH How many checks? SPECIAL AGENT WILKES Thousands. FBI DIRECTOR MARSH Why was n't I called? CARL HANRATTY Nobody was called, Sir. The banks did n't know what was happening until last week. We think he's been on the run for five months. FBI DIRECTOR MARSH That's impossible. Pan Am would have called us. CARL HANRATTY They did n't c all because he's not forging -- and he's not counterfeiting. It's something else. FBI DIRECTOR MARSH What's he doing? CARL HANRATTY He's making real checks, Sir. These are so perfect, Pan Am cashed them all. FBI DIRECTOR MARSH W here is he? CARL HANRATTY The last check was cashed in Paris a week ago. He'll stay there another week before he moves on. We have to go now, Sir, today! FBI DIRECTOR MARSH Go where? CARL HANRATTY Paris. FBI DIRECTOR MARSH I'm sorry, Carl. If we could n't catch' him here, we're not gon na catch him there.", "INT. - CARL HANRATTY'S OFFICE. - NIGHT Carl paces in his office, holding the phone and talking much too loud, his voice echoing through the hallways. CARL HANRATTY English. Do you speak English? I'm an American FBI Agent. Hello? Shit! Carl slams down the phone, walks out'of his office. CARL HANRATTY -LRB- CONT'D -RRB- Does anyone here speak French. I need someone who speaks French!", "INT. - FBI CONFERENCE ROOM. - DAY Amdursky and Fox walk into the conference room with OLIVER, a heavy set man who looks terrified as they sit him down next to Carl. AMDURSKY Carl, this is Oliver Luc, and he speaks perfect French. CARL HANRATTY Agent Luc, I need you t o tr anslate for me. FOX He's not an agent, Carl. He's a waiter at the restaurant around the corner.", "INT. - FRENCH POLICE STATION. - DAY POLICE DETECTIVE JULIEN, 40's, sits at his desk doing a crossword puzzle in the middle of a busy French police station. His phone rings, and he answers. DETECTIVE JULIEN Julien.", "INT. - CARL HANRATTY'S OFFICE. - DAY Oliver is on the phone, nervously sitting behind Carl's desk. CARL HANRATTY Who answered the phone? What's his name. OLIVER His name is Detective Julien. He works in the vice squad in Paris CARL HANRATTY That's fine. Tell him I have a proposition for him. Tell him the FBI has a proposition for him. Oliver translates as Carl paces in front of him. OLIVER Okay. What's the proposition? CARL HANRATTY Ask him if he'd like to catch the greatest bank robber the world has ever known.", "INT. - PARIS POLICE STATION. - DAY CLOSE ON DETECTIVE JULIEN sitting a t his d esk, his expression suddenly changing as he glances aroun d the s tation. He quickly puts the crossword puzzle away and whis p er s into the phone. DETECTIVE JULIEN Abagnale.", "EXT. - PARIS. - DAY Frank steps out of the lobby doors or a hotel, walks toward a waiting limousine. A DRIVER opens the door for him -- a YOUNG KID that wears a black suit and hat. FRENCH CHAUFFEUR Where to, Mister Wagner? FRANK Let's go for a drive. I need some supplies. The limo drives off.", "EXT. - PARIS STREETS CARL HANRATTY -LRB- V.0. -RRB- When he gets to a new city he starts out slow, hitting the banks on the outskirts of town. At first it's small checks in small banks that pose little or no threat. WE HEAR OLIVER'S TRANSLATION behind Carl's voice. CARL HANRATTY -LRB- V.O. -RRB- -LRB- CONT'D -RRB- Then he starts moving in, circling the city like a mother hawk, picking off every little bank he can find -- slowly inching his way toward the center of the city.", "INT. - STATIONARY STORE. - PARIS. - DAY Frank stands at the counter of a stationery store, looking into a glass case filled with expensive pens. FRANK How much is that Waldmann? Through the window of the stationery store, Frank is watching a BANK. CARL HANRATTY There's always one ba nk that's bigger and richer than all the oth ers. This is what he came for, and he'll watch it for days. He'll know if they add a security-guard, or bring in a new teller. And if he sees anything out of place, a new cleaning man, a window shade that's up instead of down, he'll move on to the next one. That's the luxury of having the entire world as your mark.", "EXT. - PARIS STREET. - DAY CLOSE ON DETECTIVE JULIEN -- standing in the middle of Paris, looking down an endless row of massive banks. CARL HANRATTY -LRB- V.O. -RRB- He'll make his move right before lunch, when everyone's mind is on food and the lines are short. And he likes to stand out -- draw attention to himself.", "EXT. - BANK OF PARIS. - DAY A massive bank in the middle of the city. WE SEE Frank's limo pulling up to the curb, and Frank waiting for the driver to open the door before he gets out. CARL HANRATTY -LRB- V.0. -RRB- The more people see him, the more invisible he becomes.", "INT. - BANK OF PARIS. - DAY 202 Frank walks into the bank, takes out a leather case and opens it, revealing a checkbook. He takes his Waldmann pen from his pocket, smiles at a female TELLER. FRANK Hello. I need to ca sh this. My wife and I are goi ng to N orway this afternoon. Frank turns the check over and endorses it. He hands the check to the teller, but she does n't take it. FRANK -LRB- CONT'D -RRB- Is there something wrong? The bank teller is shaking and staring at Frank. He slowly turns around, sees DETECTIVE JULIEN standing behind him with his gun drawn.", "INT. - FBI CONFERENCE ROOM. - NIGHT Carl, Amdursky, and Fox are all half asleep, waiting in the FBI CONFERENCE ROOM. The clock on the wall reads 3 a.m. -- and the phone finally rings. Before he even picks it up, CARL HANRATTY starts to smile.", "INT. - FRENCH COURTROOM. - DAY A packed courtroom. Frank's hands and legs are shackled. He stands before a JUDGE who is reading his sentence. FRENCH JUDGE -LRB- IN FRENCH -RRB- Frank William Abagnale Jr., I sentence you to two years in Papigone prison.", "INT. - PAPIGONE PRISON. - PARIS. - DAY A cell door closes.", "INT. - AIR FRANCE AIRPLANE FLIGHT 676. - DAY Frank and CARL HANRATTY are sitting next to each other in the back of the plane. Through the window Frank can see the skyline of Manhattan. Amdursky and Fox are smoking in the aisle. FRANK Carl, you have to let me call my father when we land- I want to talk to him before he sees me on television. CARL HANRATTY Your father i s d ead, Frank. I'm sorry. Frank turns to Carl. CARL  HANRATTY -LRB- CONT'D -RRB- He committed su icide. I did n't want to be the one to t ell you. FRANK Suicide. No. That's imp ossible. CARL HANRATTY They found him inside his car, the motor running, the garage door shut. FRANK who are they to think that? Who are they to say something like that?! CARL HANRATTY It's okay, Frank. FRANK Carl, I'm gon na be sick! I have to use the bathroom. Carl quickly takes off Frank's handcuffs, and he jumps from his seat and runs into the bathroom. Carl stands in the aisle with Amdursky and Fox.", "INT. - AIR FRANCE PLANE BATHROOM. - MOMENTS LATER. Frank is on his knees, tears running down his face as he uses the METAL TIP OF A FORK to unscrew a hard plastic plate above the toilet. The screws come free, and Frank is able to pull the entire TOILET UNIT away from the wall. He makes his way into a tiny crawispace, then pulls the toilet back against the wall.", "EXT. - AIR FRANCE PLANE MAIN CABIN. - MINUTES LATER. CARL HANRATTY checks his watch as a FLIGHT ATTENDANT walks past him and smiles. AIR FRANCE STEWARDESS You'll have to take your seat, Sir. We're about to land. Carl knocks on the bathroom door. CARL HANRATTY Frank. Carl tries to open the door. CARL  HANRATTY -LRB- CONT'D -RRB- Frank! Come on, Frank, open the door! Damn it... Frank! AMDURSKY What do we do? CARL HANRATTY Break it down. Amdursky starts kicking at the bathroom door, slamming his heel against the metal release. The door breaks free, and the three men stares in disbelief at the EMPTY BATHROOM.", "EXT. - AIR FRANCE PLANE/KENNEDY AIRPORT RUNWAY.-MOMENTS L ATER. The plane has landed and stopped short on the runway. WE SEE Frank crawling through a HATCH near the landing gear. He drops fifteen feet to the ground below, starts running across the runway.", "INT. - AIR FRANCE PLANE MAIN CABIN. - MOMENTS LATER All of the passengers remain seated as Carl, Amdursky and Fox stand in the aisle. CARL HANRATTY Look under every seat, in every bathroom. Check it all again, even the cockpit! As Carl starts moving through the plane, something outside the window catches his eye.", "EXT. - KENNEDY AIRPORT TARMAC. - DAY He sees Frank sprinting across the tarmac, making his way toward the terminal. INT. - AIR FRANCE PLANE MAIN CABIN. - DAY CARL HANRATTY God in heaven...", "INT. - LONG ISLAND CHURCH. - MORNING. A CHURCH CHOIR is singing COME HOME JESUS, Paula sitting in the front row in a pale blue dress and snow white hat. As the song ends, Paula se es Frank enter the large, empty church. He is dazed and off b alance, his body still weak from prison. FRANK M om... Frank stumbles down the cent er aisle, dropping to his knees and fainting before he reach es t h e al ter.", "INT. - CHURCH OFFICE. - DAY. Frank opens his eyes, sees his mother standing at the window in a PRIEST'S PRIVATE OFFICE -- a cigarette in her hand, a row of collection plates on the desk in front of her... PAULA You want a sip of water? Paula hands Frank some water. He sits up and stares at his mother. FRANK Why did n't you help him? PAULA I did help him. Near the end I sent him money, did you know that? -LRB- CONTINUED -RRB- PAULA -LRB- CONT'D -RRB- I paid his rent. I was a kid when we met, Frankie. I did n't even speak English -- I did n't even know his last name. FRANK Then why did you marry him? PAULA Because he got me pregnant. I was seventeen, and I was told I was going to marry him. They put me on a plane, and said I was the luckiest girl in the world. FRANK What about the baby? PAULA The baby died an hour after it was born. The Doctor's knew as soon as he came out. Paula lights a fresh cigarette PAULA -LRB- CONT'D -RRB- It was a boy. T hey kept telling me I should hold him, but I did n't want to. I was scared he would die in my arms, so I said no. C an you imagine that, Frank, I did n't want to hold my own son? Frank walks toward his mother and takes the cigarette out of her mouth. FRANK You promised. He does n't look back at her as he walks out the door.", "EXT. - CHURCH. - DAY Frank looks dazed as he walks out of the small Church- As he makes his way down the steps, FOUR BLACK VANS speed up next to him, TWO TEAMS OF FBI AGENTS jumping out and grabbing him, throwing him to the ground as he rolls over without a fight, his body limp as he stares up at CARL HANRATTY.", "INT. - COURTROOM. - DAY Frank stands before a JUDGE who is sentencing him. JUDGE Taking into account your refusal to give back the money, your history of bold escape and your complete lack of respect for the uniform of the law, I have no choice but to sentence you to eighteen years in Atlanta's maximum security prison in Dixon county, and recommend strongly that you be kept in an isolation cell for the entirety of that sentence.", "INT. - MAXIMUM SECURITY PRISON - ATLANTA Frank stands in front of his cell in the isolation wing of the prison. There are no bars, no windows, just square, individual cell boxes. Frank walks into his cell, the door closing behind him.", "INT. - PRISON VISITIN G R OO M. - DAY Frank is wearing his pr i s on jum psuit as he's led into the visitor's room and place d i n a chair that faces bulletproof glass. CARL HANRATTY is sittin across from him. They both pick up their phones. CARL HANRATTY Merry Christmas, Frank. Frank does n't answer him. CARL HANRATTY -LRB- CONT'D -RRB- I got some cigarettes here. FRANK I do n't smoke. An awkward moment as Carl puts the cigarettes on the floor. CARL HANRATTY They say the first year inside is the hardest. FRANK You caught me. What do you want? CARL HANRATTY I do n't know. Maybe this was a bad idea. I'll go. As Carl starts to put the phone down. FRANK You're still wearing a wedding ring. CARL HANRATTY Yeah. The truth is, I'm divorced- I have a daughter who's nine. FRANK What's her name? CARL HANRATTY Vanessa. She lives in Chicago with her mother. I do n't see her much. Frank stares at Carl for a BEAT. FRANK What's in the briefcase? CARL HANRATTY I'm on my way to t h e airport. I'm tracking a paper hanger who's working his way through Mi nnesota. This guy is driving us crazy. FRANK Do you have any of the checks? Carl hesitates, then opens his briefcase and takes out a CHECK. He holds it against the glass. CARL HANRATTY This is a counterfeit from Great Lakes Savings and Loan. You can see that he's using a... FRANK It's a teller at the bank. CARL HANRATTY What? FRANK It's a teller. CARL HANRATTY How do you know? FRANK Every bank uses hand stamps for the dates. They get used over and over, so they're always worn down, and the numbers are always cracking -- the sixes and nines go first. Look at the date on that check -- the ink is worn flat, the nines and sixes are cracking -- that's the stamp of a teller, Carl. Looks like you got yourself an inside job.", "INT. - PRISON. - NIGHT Frank is lying in his cell, staring into the darkness. FRANK Eastern flight 794 you are clear to taxi on runway two-zero-four. That's a big thank y ou, and goodbye, Newark. Ladies and gentle man, we are leveled off here at thirty five thousand feet. The sm oking sig gns have been turned off for those of you in a designated smoki ng row. My name is Captain Frank Will iams -- so just sit back, relax, an d enjoy the flight to Milan.", "INT. - JAIL CELL. - ATLANTA PRISON. - NIGHT The prison is locked down, the lights out for the night. CARL HANRATTY and Director Marsh are passing rows of dark cells as they make their way through the prison.", "INT. - INTERROGATION ROOM. - NIGHT Frank is sitting across from Carl and Director Marsh, a glass of milk in front of him. TWO GUARDS stand behind him with rifles. Frank is 23-years-old, but still has the boyish face of a teenager. FRANK Carl, one of these days you should get yourself a new jacket. What is that material? Frank touches Carl's jacket. CARL HANRATTY Cashmere. FRANK That is n't cashmere -- look at the lining. It's some kind of polyester. You should see my tailor in New York. FBI DIRECTOR MARSH Can we do this, please? CARL HANRATTY Frank, this is FBI Director Marsh. He wanted to meet you. FRANK At four in the morning? FBI DIRECTOR MARSH Mr. Abagnale, you've served five years of an eighteen year sentence F RANK That's righ t. Fi ve years, two months. FBI DIRECTOR MARSH I'd like you to loo k at something for me, tell me what do you think. Director Marsh takes an envel ope out of a briefcase, slides it over to Frank. Frank opens t he enve lope and pulls out a PAYROLL CHECK. He holds the check in h is hand, never looks at it. FRANK It's a fake. FBI DIRECTOR MARSH How do you know? You have n't looked at it. FRANK There's no perforated edge, which means this check was hand cut, not fed. The paper is double bonded, much too heavy for a check. The ink is raised against my fingers instead of flat. Frank brings the check to his nose, sniffs it. FRANK -LRB- CONT' D -RRB- This does n't smell like micker. It's' probably drafting ink, the kind you buy at a stationery store. Carl and Director Marsh exchange a look. FBI DIRECTOR MARSH Frank, would you be interested in working with the FBI's fraud and counterfeiting unit? FRANK I already have a job here. I deliver the mail. CARL HANRATTY No, Frank. We'd get you out. FRANK Why are you saying this, Carl? You caught me, is n't that enough? Why ca n't you lea ve me alone? FBI DIRECTOR MARSH Frank, we ha ve the power to take you out of prison. you'd be placed in the custody of t he FBI, where you'd serve the remainde r of yo ur sentence as an employee of t he federal government. FRANK Whose custody? CARL HANRATTY Mine.", "INT. - FBI FIELD OFFICE. - DALLAS, TEXAS. - DAY SUPER : MARCH 29 1973 Frank wears a brand new black suit as he walks into the massive FBI BUILDING. He approaches a SECURITY GUARD. FRANK I'm Frank Abagnale. I'm supposed to start work here today. SECURITY GUARD First floor, Mr. Abagnale. FRANK Call me Frank.", "INT. - FBI BUILDING. - THIRD FLOOR. - DAY Frank makes his way down a long hallway, passing other young men in dark suits who have come out of their offices to see him pass. Frank sees CARL HANRATTY standing at the end of the hall. FRANK Morning, Carl. Frank turns and stares at a door marked FRAUD. He casually walks inside.", "INT. - FRANK'S FBI OFFICE. - DAY A stack of files sit on Frank's desk. There are hundreds of CHECKS, MUG SHOTS, PILES OF COUNTERFEIT MONEY. Frank looks out the window of his office, stares out at the DALLAS SKYLINE. FRANK Look at me, Dad. I'm James Bond.", "INT. - APARTMENT. - DALLAS - DAY. Frank walks through the door of a tiny, run down apartment. CARL HANRATTY stands at the door. FRANK I'd rather stay in a hotel. CARL HANRATTY That's not possible. Frank opens the drapes and looks out at a POLICE STATION that sits across the street from his apartment. FRANK One of the men gave me a check today. It was for nine dollars. CARL HANRATTY That's right. The FBI is paying you prison wages. Carl turns to walk out the door. FRANK Tomorrow's Christmas Eve. Would it be okay if I went to work with you? CARL HANRATTY Tomorrow night I'm flying to Chicago to see my daughter. But I'll be back at work on Monday. FRANK Carl...what do I do until Monday? CARL HANRATTY I ca n't help you there, kid.", "INT. - FBI OFFICES. - DAY Frank sits alone eating a sandwich, looking through a BOOK OF MUG SHOTS. He stops when he sees his own MUG SHOT, the black and white picture staring up at him. Frank carefully rips the mug shot out of the book and puts it in his pocket.", "EXT.  - DALLAS STREETS. - DAY Frank is walking the stre ets, carrying a small bag of groceries as he makes his way home. Something in a STORE WINDOW catches his eye, and F rank s tands frozen on the corner, looking across at a WINDOW DI SPLAY. CLOSE ON THE WINDOW OF A COSTUME SHOP. There are several MANNEQUINS dressed in different costumes. Frank slowly approaches the window, stares at a mannequin wearing an AIRLINE PILOT'S UNIFORM.", "EXT. - DALLAS AIRPORT. - NIGHT Frank gets out of a taxi wearing the PILOT'S UNIFORM. He pulls his cap down tight as he makes his way into the busy airport.", "INT. - DALLAS AIRPORT COFFEE SHOP. - NIGHT Frank sits alone at the airport coffee shop eating a hamburger and reading a COMIC BOOK. CARL HANRATTY walks into the restaurant and sits next to him. CARL HANRATTY That's a nice uniform, Frank. Here, let me get your check. Carl grabs the check from Frank, puts some money on the table. CARL HANRATTY -LRB- CONT'D -RRB- Did you know I was recruited by the FBI while I was still in law school? The government said I was the best the country had to offer, top of my class -- and they chased me until I said yes. FRANK I'm sorry, Carl. CARL HANRATTY I spent four years arranging your release. I convinced the Attorney General of the United States that you would n't run. Frank gets out of his cha ir, walks out of the restaurant. Carl follows him t hrough the a irport. CARL HANRATTY -LRB- CONT'D -RRB- You go back to E urope you'll die in Papigone. You try run here in the states and w e'll send you back to Atlanta for f ifty ye ars. FRANK I never asked for your help. CARL HANRATTY Please, Frank, you leave and I'm finished. I got you out, I convinced them to let you out. FRANK Why did you do it? CARL HANRATTY You're just a kid. FRANK I'm not your kid. I'm not your son. I'm nothing to you. And you're nothing to me. Frank walks toward the AMERICAN AIRLINES ticket counter. CARL HANRATTY I'm gon na let you fly tonight. I wo n't even try and stop you, because I know you'll be back on Monday. FRANK Why would I come back? CARL HANRATTY Because nobody is chasing you. Frank stares at Carl for a long BEAT. FRANK Two mice fell in a bucket of cream. The first mouse gave up and drowned, but the second mouse struggled so hard he churned that cream into butter and he crawled out. CARL HANRATTY Which one are you, Frank? Frank turns to the gin? ar the TICKET COUNTER. FRANK Hello, Amanda, is the jump-seat open on the ten-thirty to N ew York? Carl watches as Frank walks th rough a door marked CREW ONLY, casually making his way toward the pla ne.", "INT. - CARL HANRATTY'S OFFICE. - DAY Carl sits at his desk drinking coffee. He checks his watch, then calls out to his SECRETARY. CARL HANRATTY is Abagnale in yet? SECRETARY No.", "INT. - FBI OFFICE CONFERENCE ROOM. - DAY CARL HANRATTY is using the slide projector and standing in front of TEN AGENTS, including Special Agent Wilkes. CARL HANRATTY Good morning. I've called this emergency briefing to discuss a check -LRB- CONTINUED -RRB- CARL HANRATTY -LRB- CONT'D -RRB- fraud and counterfeiter who's been hitting banks all over Arizona. SPECIAL AGENT WILKES Just tell us how much he's gotten, Carl? CARL HANRATTY Do n't ask. The briefing room door opens, and Frank walks in. Carl spots him in the darkness. CARL HANRATTY -LRB- CONT'D -RRB- Good. You're here. The two men stare at each other for a BEAT. CARL HANRATTY -LRB- CONT'D -RRB- At this time I'd like my point man on this to fill you in. Frank, are you ready to Ake over? FRANK Yeah. I'm ready. Frank walks to the front of the room, stands next to Carl. FRANK -LRB- CONT'D -RRB- John Doe 6116 is a pa perhanger who started in Phoenix, us ing what I call a double deposit forgery system. Next slide. What he's doing is opening two accounts at the same bank under two different names...", "INT. - AIRPLANE. - DAY Frank and Carl are sitting next to each other on a plane, both holding magazines and eating nuts. Carl is wearing a brand new BLACK SUIT. There are several other agents on the plane, including Amdursky and Fox. FRANK Carl, do you guys always fly coach? CARL HANRATTY Yeah. FRANK You want me to talk to someone? See if I can get us bumped to first class? CARL HANRATTY Just relax. We'll be there in two hours. Frank looks out the window. FR A NK I've never been to Arizona. CARL HANRATTY It's hot. Let's just hope we catch this guy fast. FRANK Carl, you ever seen the Grand Canyon? CARL HANRATTY No. FRANK You think i f we have time we can take a quick look? CARL HANRATTY Yeah. If we have time. Carl brushes some crumbs off his suit jacket. CARL HANRATTY -LRB- CONT'D -RRB- I feel a little silly in this suit. FRANK It looks good. You just have to get used to it. CARL HANRATTY How much did you say it cost? FRANK Eight hundred dollars. CARL HANRATTY Where did you get eight hundred dollars? FRANK Credit card. CARL HANRATTY Somebody gave you a credit card? That's a horrifying thought. The two men sit in silence for a BEAT, staring down at their magazines, lost in thought. CARL HANRATTY -LRB- CONT'D -RRB- Can I ask you something, Frank? FRANK Sure. CARL HANRATTY How did you pass the bar exam in Louisiana? FRANK I studied every night for two weeks. CARL HANRATTY Is that the truth? Frank turns to the wi ndow, slowly starts to smile as he looks out at the clouds. TITLE CARD # 1 FRANK ABAGNALE JR. HAS BEEN MARRIED F OR 25 YEARS. HE HAS THREE TEENAGE SONS, AND LIVES A QUIET LIFE IN TULSA, OKLAHOMA. SINCE HIS RELEASE FROM PRISON IN 1973, FRANK HAS HELPED THE FBI CAPTURE SOME OF THE WORLDS MOST ALLUSIVE CHECK FORGERS AND COUNTERFEITERS. FRANK HAS ALSO DEVELOPED MANY OF THE SECURITY FEATURES THAT BANKS USE TO PREVENT CHECK FRAUD. HE HOLDS SEVERAL PATENTS ON THESE FEATURES, AND TO THIS DAY FRANK MAKES A ROYALTY ON ALMOST EVERY CHECK WRITTEN IN THE UNITED STATES. THOSE CHECK ROYALTIES PAY FRANK ABAGNALE MILLIONS OF DOLLARS A YEAR. TITLE CARD # 2 CARL HANRATTY RETIRED IN 1986, HAVING BEEN AWARDED THREE DISTINGUISHED SERVICE AWARDS FROM THE FBI. FRANK ABAGNALE HAS FOUR. THEY REMAIN CLOSE FRIENDS TO THIS DAY."], "labels": [0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0], "summary": "In 1963, teenager Frank William Abagnale Jr. lives in New Rochelle, New York with his father Frank Abagnale Sr. and his French mother Paula. During his youth, he witnesses his father's many techniques for conning people. When Frank Sr. encounters tax problems with the Internal Revenue Service, the family is forced to move from their large home to a small apartment. One day, Frank discovers that his mother is having an affair with his father's friend Jack Barnes. When his parents divorce, Frank runs away. Needing money, he turns to confidence scams to survive and his cons grow bolder. He impersonates a Pan Am pilot and forges the airline's payroll checks. Soon, his forgeries are worth millions of dollars. News of the crimes reach the Federal Bureau of Investigation (FBI) and agent Carl Hanratty begins tracking Frank. Carl finds him at a hotel, but Frank tricks Carl into believing he is Secret Service agent Barry Allen. He escapes before Carl realizes that he was fooled. Frank begins to impersonate a doctor. As Dr. Frank Conners, he falls in love with Brenda, a naive young hospital worker. He asks her attorney father for her hand and also wants his help with arranging to take the Louisiana State Bar exam, which Frank passes. Carl tracks Frank to his and Brenda's engagement party, but Frank escapes through a bedroom window. Before escaping, Frank asks Brenda to meet him at Miami International Airport two days later. There, he sees her, but also spots plainclothes agents and realizes she has given him up, then drives away. Re-assuming his pilot identity, he stages a false recruiting drive for stewardesses at a local college. Surrounded by eight women as stewardesses, he conceals himself from Carl and the other agents walking through, and escapes on a flight to Adolfo Su\u00e1rez Madrid\u2013Barajas Airport, Spain. In 1967, Carl tracks down Frank in his mother's hometown of Montrichard, France. He is incarcerated in a French prison in Marseille where he becomes very ill due to its poor conditions. Carl takes Frank on a flight back to the United States. As they make their approach, he informs him that his father has died. Grief-stricken, Frank escapes from the plane and reaches the house of his now re-married mother who has a daughter. Frank surrenders to Carl and spends 12 years in a maximum-security prison. Carl occasionally visits Frank. During one visit, he shows him a fraud check from a case he is working on. Frank immediately figures out that the bank teller was involved in the fraud. Impressed, Carl convinces the FBI to allow him to serve the remainder of his sentence working for the FBI bank fraud unit. Frank agrees but soon grows restless of the tedious office work. One weekend, Frank prepares to impersonate a pilot again and is intercepted by Carl, who allows him to carry on his act, assuring him that no one is chasing him. As Frank returns to work and discusses another fraud case with Carl, the post-script indicates that Frank has lived for 26 years in the Midwestern United States with his wife, with whom he has had three sons, remains friends with Carl, and has built a successful living as one of the world's leading experts on bank fraud and forgery.", "name": "Catch_Me_If_You_Can"}
{"scenes": ["GODS AND MONSTERS MAIN TITLES BEGIN Writhing pools of light and dark, out of which emerge images from `` The Bride of Frankenstein,'' directed by James Whale. Elsa Lanchester, as the Monster's Bride, looks up, down, left, right, startled to be alive. The Monster stares at her. `` Friend?'' he asks, tenderly, desperately.", "EXT. COUNTRYSIDE - NIGHT (B & W) Lightning splits the black - and - white sky, revealing a single shattered oak in a desolate landscape. Below, a HUMAN SILHOUETTE stumbles through the darkness, the top of his head flat, his arms long and heavy, his boots weighted with mud. Suddenly the storm fades. Light creeps into the scene, and color, as we DISSOLVE TO : THE PACIFIC OCEAN melting into a hazy morning sky. In a box canyon off the coast highway, we see row after neat row of trailer homes, a makeshift village for beach bums.", "INT. TRAILER - DAY CLAYTON BOONE opens his eyes. He is 26, handsome in a rough - hewn, Chet Baker - like way, with broad shoulders and a flattop haircut. He grabs a crumpled pack of Lucky Strikes, lights a bent cigarette. Clay stands and walks bare - assed across the single tin room, his head almost touching the ceiling.", "EXT. TRAILER PARK - DAY Clay goes a few rounds with a weatherstained speed bag that's set up behind his trailer.", "INT. TRAILER - DAY Clay towels off, glances at the morning paper. He moves aside a pile of paperbacks on a card table until he finds a calendar. His finger targets today's first appointment. `` 10 A.M. - 788 Amalfi Drive.''", "EXT. TRAILER PARK - DAY Clay steps out of the trailer, clean - shaven and dressed in dungarees, a T - shirt with a fresh pack of cigarettes flipped into one sleeve. He weight - lifts a secondhand mower onto the bed of his rusty pick - up. Clay climbs into the truck, slides the key into the ignition. It takes a few tries but the engine finally turns over.", "EXT. PACIFIC COAST HIGHWAY - DAY Clay's truck sails down the road, `` Hound Dog'' blaring on the radio. MAIN TITLES END.", "EXT. COLONIAL-STYLE HOUSE - DAY Sprinklers twirl on a grassy slope outside a rambling clapboard house. Below, a swimming pool forms a perfect rectangle of still water. A title reads : SANTA MONICA CANYON. 1957. The pick - up drives past. Clay parks in the back, hops out. ANGLE - HOUSE A SHADOWY FIGURE stands at a window, watching Clay unload his red power mower.", "INT. HOUSE - LIVING ROOM - DAY The shadow is a man with dove white hair, wearing a dress shirt and seersucker jacket. This is JAMES WHALE, age 67. DAVID I'd have more peace of mind if the live - in nurse were still here. HANNA She was nothing but bother. I not like her, Mr. Jimmy not like her. We do better if you live - in again, Mr. David. In the dining room, visible through open double doors, DAVID LEWIS, 55, speaks softly with the housekeeper, HANNA. She is a squat, muffin - faced Hungarian woman in her late 50s, dressed in black, her hair cinched in a tight bun. She speaks with a thick accent. DAVID You'll contact me if there's an emergency? HANNA Yes, I call you at this number. -LRB- calls out. -RRB- Mr. Jimmy? More coffee? WHALE What? Oh yes. Why not? He moves into the dining room, sits opposite David. WHALE Is n't Hanna a peach? Hanna ignores him, returns to the kitchen. DAVID She tells me you have n't been sleeping well. WHALE It's the ridiculous pills they prescribe. If I take them, I spend the next day stupid as a stone. If I do n't, my mind seems to go off in a hundred directions at once - DAVID Then take the pills. WHALE I wanted to be alert for your visit today. Especially since I saw so little of you in the hospital. The remark hits its target. DAVID I'm sorry, Jimmy. But with this movie and two difficult stars - WHALE `` The fault, dear David, is not in ourselves but in our stars.'' DAVID -LRB- too anxious to laugh. -RRB- You remember how a production eats up one's life. WHALE Oh, David. There's no pleasure in making you feel guilty. -LRB- stands. -RRB- You better go, my boy. You'll be late for that aeroplane. David extends his hand, but Whale draws him into a hug. As he starts out, David points to a framed painting. DAVID By the way, I like the Renoir. WHALE Thank you. DAVID -LRB- calls out. -RRB- Goodbye, Hanna. Hanna runs out of the kitchen to escort David to the door. Whale drifts back to the window, watches as Clay revs up the lawnmower, creating a cloud of white smoke. We CUT TO :", "EXT. STREETS OF DUDLEY - DAY (1900) A bean - pole child with flaming red hair -LRB- WHALE at age 12 -RRB- stares up at the coal smoke pouring from a seemingly endless row of chimneys. We're in Dudley, a factory town in the English Midlands region known as the Black Country. SARAH WHALE -LRB- O.S. -RRB- Stop lagging behind, Jimmy. We'll be late for church. YOUNG WHALE Yes, Mum. Whale runs to catch up to his six brothers and sisters. His father, WILLIAM WHALE, frowns at the boy's prissy trot. WILLIAM WHALE Straighten up, son. Young Whale's movements thicken into a dim imitation of manly reserve. The Whale family marches up a steeply mounting street to Dixon's Green Methodist Church.", "INT. WHALE'S HOUSE - LIVING ROOM - DAY Whale's eyes tighten. He focuses on Clay Boone as he peels off his T - shirt, revealing a tattoo on his upper right forearm. WHALE Hanna? Who's the new yardman? HANNA Bone? Boom? Something Bee. I hire him while you were in the hospital. He came cheap. Whale nods, chooses a walking stick. He emerges into the sunlight.", "EXT. WHALE'S HOUSE - DAY Whale moves jauntily onto the front lawn, singing to himself : WHALE The bells of hell go ting - a - ling For you but not for me. Oh death where is thy sting - a - ling? Grave where thy victory? Whale steps up next to Clay. WHALE Good morning. CLAY -LRB- not looking up. -RRB- Mornin'. WHALE My name is Whale. This is my house. CLAY Nice place. WHALE And your name is -? CLAY Boone. Clayton Boone. WHALE I could n't help but notice your tattoo. That phrase? Death Before Dishonor. What does it mean? CLAY Just that I was in the Marines. WHALE The Marines. Good for you. You must have served in Korea. Clay shrugs nonchalantly. WHALE Getting to be a warm day. A scorcher, as you Yanks call it. CLAY Yeah. I better get on with my work. Whale clears his throat behind the back of his hand. WHALE When you're through, Mr. Boone, feel free to make use of the pool. We're quite informal here. You do n't have to worry about a suit. Clay glances warily at Whale. CLAY No thanks. I got another job to get to this afternoon. Whale holds Clay's look. WHALE Some other time, perhaps? Keep up the fine work. Whale heads off, smiling to himself. Pleased to be naughty again.", "INT. WHALE'S HOUSE - STUDIO - DAY The room is filled with unframed canvasses, many of them copies of paintings by the Old Masters. Whale rolls out the easel, lifts a half - painted canvas into position. He stares at the blotches of color, trying to remember what he intended to paint. Whale pulls out a heavy volume on Rembrandt, opens to a black - and - white plate of `` The Polish Rider.'' We CUT TO :", "INT. WHALE HOUSE - DUDLEY - NIGHT (1908) A rough pencil outline of the same painting. Whale, age 16, sits on his bed, ignoring the roughhousing of the three younger BROTHERS who share the room. The door opens and Whale's mother SARAH enters. SARAH WHALE Jimmy. The privy needs cleaning. WHALE I have my class tonight. Both have Midlands accents, like head colds that flatten their speech. Whale holds up the sketch to show his mother. SARAH WHALE Do n't get above yarself, Jimmy. Leave the drawring to the artists. Whale squeezes the pad behind the bed, jumps up. WHALE Quite so, mum. To the privy. And he heads cheerfully out of the room. His mother shakes her head. SARAH WHALE `` Quite so.'' -LRB- calls out. -RRB- Jimmy Whale. Who are ya to put on airs? But Whale is already out the door. We CUT TO :", "INT. WHALE'S HOUSE - BEDROOM - DAY Whale studies his face in the mirror. He gives his white hair a few final licks with his silver - backed brush.", "INT. WHALE'S HOUSE - KITCHEN - DAY Whale comes in from the bedroom. WHALE There is iced tea, Hanna? Cucumber sandwiches? HANNA Yes, Mr. Jimmy. -LRB- smiles. -RRB- An interview. After so many years. Very exciting. WHALE Do n't be daft. It's just a student from the university. The doorbell rings.", "INT. WHALE'S HOUSE - LIVING ROOM - DAY Whale settles into his club chair and opens a book, pretending to read until Hanna ushers in the visitor. HANNA Mr. Kay, sir. WHALE -LRB- feigning surprise. -RRB- Yes? Whale looks up at EDMUND KAY, 22, a slim boy who rests his weight on one slouched hip, his arms twined behind him. There is a look of mild disappointment on Whale's face as he realizes that Kay is a baby poof. WHALE Ah, Mr. Kay. I'd almost forgotten. My guest for tea. Whale stands and holds out his hand. KAY Mr. Whale, this is such an honor. You're one of my favorite all - time directors. I ca n't believe I'm meeting you. WHALE -LRB- gently, teasing. -RRB- No. I expect you ca n't. KAY And this is your house. Wow. The house of Frankenstein. -LRB- looks around. -RRB- I thought you'd live in a spooky old mansion or villa. WHALE One likes to live simply. KAY I know. People's movies are n't their lives. He suddenly growls out an imitation of Boris Karloff. KAY Love dead. Hate living. Kay laughs, a high, girlish giggle. Whale fights a cringe with a polite smile. KAY That's my favorite line in my favorite movie of yours. `` Bride of Frankenstein.'' WHALE Is it now? Hanna? I think we'll take our tea down by the swimming pool. It's clear from Hanna's frown that she does n't approve of the idea. Whale ignores her, turns back to Kay. WHALE Will that be good for you, Mr. Kay? KAY Sure. WHALE -LRB- opens the back door. -RRB- After you then. Whale inspects the boy from behind, noticing his wide hips and plumpish posterior.", "EXT. WHALE'S HOUSE - BACKYARD - DAY Kay's hands flap animatedly as Whale leads him down to the pool. KAY I love the great horror films. And yours are the best. `` The Old Dark House.'' `` The Invisible Man.'' They look great and have style. And funny! Whale points to a small shingled house near the pool. WHALE This is the studio where I paint. KAY Nice. -LRB- refusing to be sidetracked. -RRB- And your lighting and camera angles. You're got to go back to German silent movies to find anything like it.", "EXT. WHALE'S HOUSE - UPPER PATIO - DAY Clay Boone gulps some water from the garden hose. He glances down at the pool, where Kay and Whale sit in cast - iron chairs. HANNA Time for you to leave. Clay turns to Hanna, who holds a tray loaded with finger sandwiches and a pitcher of iced tea. CLAY I'm on my way. She does n't move until Clay starts off.", "EXT. WHALE'S HOUSE - POOLSIDE - DAY Kay flips open his steno pad. WHALE So, Mr. Kay? What do you want to know? KAY Everything. Start at the beginning. WHALE I was born outside London, the only son of a minister who was a master at Harrow. Grandfather was a bishop. Church of. Church of Eng. Whale's tongue trips on the word, his voice suddenly drowned out by the blast of a factory whistle. We CUT TO :", "INT. FACTORY SHOP FLOOR - DUDLEY - DAY (1908) Fiery melt is poured into molds on the shop floor of a machine parts factory. WHALE, 16, grips the hot casting with tongs. His father WILLIAM, his face blackened with grime, hammers away at the flaws. A heavy blow causes young Whale to drop the mold, prompting catcalls and sneers on the floor. There is a look of genuine fear in Whale's eyes as he looks up at his singed, beast - like father. We CUT TO :", "EXT. WHALE'S HOUSE - BACKYARD - DAY Kay clears his throat softly. KAY Mr. Whale? Whale smiles politely to cover his momentary disorientation. WHALE Yes? KAY Your father was a schoolmaster? WHALE Of course. I attended Eton - it would n't do for a master's son to attend where his father taught. I was to go up to Oxford but the war broke out and I never made it. The Great War, you know. You had a Good War, but we had a great one. He glances to see if the boy smiles at the quip. WHALE You ca n't imagine what life was like after the Armistice. The twenties in London were one long bank holiday, a break from everything dour and respectable. I had a knack with pencil and paper, so I was hired to design sets for stage productions. Hanna comes down the path with the tray. She places it on the table. WHALE Thank you, Hanna. Very nice. Hanna remains planted next to the table. WHALE You can go now. She makes an audible sigh and starts back up the hill. WHALE There was one play in particular, a beautiful, grim study of war called `` Journey's End''. Every experienced director turned it down, so I offered myself, bullying and begging for the job. `` Journey's End'' made the careers of everyone associated with it. It was only a matter of time until Hollywood beckoned. KAY How much longer before we get to `` Frankenstein''? WHALE Am I correct in assuming, Mr. Kay, that it's not me you're interested in, only my horror pictures? KAY Oh no, I want to hear everything. You made twenty pictures in all - WHALE Twenty - one. The romantic comedies and dramas were much more to my liking. The horror pictures were trifles. Grand guignol for the masses. KAY But it's the horror movies you'll be remembered for. An abrupt look of anger flashes across Whale's face. WHALE I am not dead yet, Mr. Kay. KAY No. I never said you were. Or will be soon. Kay leans over the steno pad, determined to be more worthy. KAY So. `` Journey's End'' brought you to Hollywood - Whale takes in the boy's blank, bored expression. He sighs. WHALE I have a proposal, Mr. Kay. This mode of questioning is getting old, do n't you think? KAY I do n't mind. WHALE Let's make it more interesting. I will answer any question you ask. But, for each answer, you must remove one article of clothing. Kay's mouth pops open. KAY That's funny, Mr. Whale. WHALE It is, is n't it? My life as a game of strip poker. Shall we play? KAY You're serious. WHALE Quite. KAY Then the rumors are true? WHALE What rumors might those be? KAY That you were forced to retire because, uh - a sex scandal. WHALE A homosexual scandal, you mean? For me to answer a question of that magnitude, you'll have to remove both your shoes and your socks. Kay just sits there, squinting and grinning. KAY You're a dirty old man. Whale tilts his head as if brushing off a compliment. Kay kicks off his penny loafers, bends over to remove his socks. WHALE You are kind to indulge your elders in their vices. As I indulge the young in theirs. Two pale feet emerge. Whale leans forward to examine them. He leans back again. WHALE No. There was no scandal. And he reaches into his coat for a cigar. Whale's hand trembles as he slices a hole at the base, then lights the cigar with a wooden match, sucking and rotating until the tip is roundly lit. WHALE My only other vice. I suppose you'd like a fuller answer to your question. Kay nods. WHALE It will cost you your sweater. Kay hesitates a moment, then sets his pen aside to pull the sweater over his head, revealing a sleeveless T - shirt. KAY Too warm for a sweater, anyway. WHALE You must understand how Hollywood was twenty years ago. Nobody cared a tinker's cuss who slept with whom, so long as you kept it out of the papers. Outside of Hollywood, who knows who George Cukor is, much less what he does with those boys from the malt shops along Santa Monica? Kay stares at him in disbelief. KAY George Cukor? Who made `` A Star Is Born''? I never guessed. WHALE Take off your vest and I'll tell you a story. Kay plucks at his T - shirt, glancing toward the house. WHALE Do n't be shy. There's time to stop before you go too far. KAY I guess. Kay peels off the shirt and tosses it on his shoes and sweater. WHALE George is famous for his Saturday dinner parties. Great artists, writers, society folk, all rubbing elbows with Hollywood royalty. But how many of those oh - so - proper people know about the Sunday brunches that follow? Gatherings of trade eating leftovers, followed by some strenuous fun and frolic in the pool. -LRB- flicks an ash. -RRB- If a goat like that can continue about his business, my more domestic arrangements could've raised very few eyebrows. The revelation seems to have left Kay a little shaken. he flips to a blank page. KAY Can we talk about the horror movies now? WHALE Certainly, Mr. Kay. Is there anything in particular you want to know? KAY Will you tell me everything you remember about making `` Frankenstein''? He glances down at his few remaining articles of clothing. KAY Can that count as one question? WHALE Of course. KAY I ca n't believe I'm doing this. Kay stands to unbuckle his belt, glancing around the yard again. He unzips and steps out of his sharply creased flannel legs. His thighs are thin and pale. KAY Just like going swimming, is n't it? WHALE Maybe you'd like a swim when we're through. I never swim myself, so the pool tends to go to waste. KAY Okay. `` Frankenstein.'' Tell me everything. WHALE Righto. Let me see. Whale swallows a wince, trying to block the pain pushing against his skull. WHALE Universal wanted me for another story, and wanted me so baldly - I mean badly, not baldly. I was given the pick of stories being developed, and I picked that one. KAY Who came up with the Monster's makeup and look? WHALE My idea. Muchly. My sketches. Big heavy brow. Head flat on top so they could take out the old brain and put in the new, like tinned beef. KAY He's one of the great images of the twentieth century. As important as the Mona Lisa. WHALE You think so? That's very kind - Whale clutches at the air, suddenly notices that his hand is empty. He looks down and sees the cigar on the flagstones. KAY Boris Karloff. Where did you find him? Whale bends down to retrieve his cigar - and the change of gravity drives a spike through his skull. KAY Karloff, Mr. Whale. How did you cast him? Whale turns toward the froggy voice. WHALE Please. Excuse me. I must go lie - He forces himself up with one hand. Kay finally looks up, notices Whale's colorless lips and desperate eyes. KAY Mr. Whale? Are you all right? WHALE I just need to - lie down. Studio. Daybed in studio. Whale lurches from the table. Kay jumps forward, catching him under an arm. KAY Oh my God. What's wrong, Mr. Whale? Is it your heart? WHALE Head. Not heart. He leans against Kay, who leads him toward the studio. WHALE Forgive me.", "EXT. WHALE'S HOUSE - DAY Hanna runs down the path, clutching the front of her apron in two tight fists.", "INT. WHALE'S HOUSE - STUDIO - DAY Hanna swings open the screen door - and grimaces when she sees Kay in his BVDs. He is kneeling next to Whale, who is stretched out on the daybed. HANNA Water. Glasses at the sink. She goes to Whale, scooping different bottles from the pocket of her apron. HANNA Which ones? I bring them all. WHALE Luminal. She empties a pill into her palm. Whale places it into his mouth and takes the glass of Water Kay passes over Hanna's shoulder. Whale swallows the pill, then glances up at Kay, feigning surprise. WHALE Mr. Kay. You're not dressed. Kay frantically crosses his arms over his chest and middle, turns to Hanna. KAY I was going to take a swim. WHALE I'm sorry I spoiled it for you. You should probably go home. KAY Right. Kay hurries outside to retrieve his clothes. Hanna undoes Whale's bow tie. She makes no attempt to be gentle. WHALE You must think I'm terrible, Hanna. HANNA I do not think you anything anymore. Just back from the hospital and already you are chasing after boys. WHALE Oh shut up. All we did was talk. My attack had nothing to do with him. HANNA Perhaps we should get you uphill before the pills knock you cold. WHALE No. Let me lie here. Thank you. Hanna nods, moves to the door. Whale closes his eyes, breathes deeply, trying to block the throbbing SOUND in his brain. We CUT TO :", "INT. FACTORY SHOP FLOOR - DUDLEY - DAY (1908) The noise is deafening - the clank of chains, the screech of wheels and the endless banging of hammers. William Whale continues to knock away at the hot casting. The rhythmic sound blends into the insistent knocking of : A FIST which smashes against sheet metal.", "INT. CLAY'S TRAILER - DAY Clay Boone's eyes dart open. DWIGHT -LRB- O.S. -RRB- Boone! You awake? Eight o'clock. CLAY Fuck off! DWIGHT -LRB- O.S. -RRB- You told me to get you up, asshole. A baseball - capped head is visible through the louvered glass in the trailer's door. DWIGHT JOAD, 30, Clay's neighbor, squints to see inside. CLAY I'm up. Thanks. DWIGHT Hasta la vista, Boone. And give the jail bait a squeeze for me. Clay glances over, seems surprised to see a naked back facing him on the bare mattress. CLAY Hey, um. Rose - The girl stirs, turns to face him. She is 18 at most. DAISY Daisy. CLAY Huh? DAISY My name is Daisy. CLAY Time to go, Daisy. She presses her naked body against Clay's. DAISY You know. I could help you fix up this place real nice. Clay takes a deep breath, trying to clear the gumminess from his brain. CLAY Do n't you have to be somewhere? Like high school maybe. DAISY I gave it up for Lent. Daisy smiles at her own joke. Clay frowns. CLAY Right. -LRB- jumps up from the bed. -RRB- Time to hit the road, kid.", "INT. WHALE'S HOUSE - STUDIO - DAY Whale ponders the half - painted canvas, clearly distressed by his lack of progress. The stillness is punctured by the sound of Clay's lawnmower being dragged up the brick steps. Whale smiles, puts down his brush.", "EXT. WHALE'S HOUSE - BACKYARD - DAY Clay stops, turns around, feeling someone's eyes watching him. WHALE -LRB- O.S. -RRB- -LRB- singing. -RRB- The bells of hell go ting - a - ling. The mower slips out of Clay's hands momentarily. he looks around, spots Whale inside the studio. WHALE Everything alright, Mr. Boone? CLAY Just got away from me. Sorry to disturb you. The screen door squeaks open, clatters shut. A leather slipper and rubber - tipped cane appear. Whale strolls into view, smiling. WHALE I was just about to ask Hanna to bring down iced tea. I'd like it very much if you'd join me. CLAY I stink to high heaven right now. WHALE The honest sweat of one's brow. I assure you I wo n't be offended. Let me tell Hanna to bring tea for two. Whale's cane trembles in his skeletal hand. His frailty chips away at Clay's resolve. WHALE Or would you prefer a beer? CLAY No. Iced tea's fine. WHALE Splendid. Clay hoses the crumbs of grass off his arms. He dries his hands and arms with his hat, then wads it up and stuffs it into his shirt to wipe out his armpits.", "INT. WHALE'S HOUSE - STUDIO - DAY Clay stands at the screen door. WHALE Come in, Mr. Boone. Whale sits on a daybed, next to a pile of newspapers. He gestures at a wooden armchair across from him. WHALE My workshop, my studio. Hardly somewhere in which a sweaty workman should feel out of place. Clay glances at the unframed canvases on the wall and stacked in the corners. CLAY These are your paintings? WHALE What? Oh yes. CLAY Excuse me, but - are you famous? WHALE You know what they say. If you have to ask - CLAY I'm just a hick who cuts lawns. But some of these look familiar. WHALE They were familiar when I painted them. That one's copied from a Dutch still life done almost three hundred years ago. And that's a Rembrandt. CLAY They're just copies then. Gotcha. WHALE But before I retired, you might say I had a brief time in the sun. Fame, as it were. Tell me, do you like motion pictures? CLAY Sure, everybody does. When I was a kid I'd go with my sister twice a week. Why? Were you an actor or something? WHALE In my youth, yes, but never in Hollywood. No, I was merely a director here. CLAY Yeah? What were some of your movies? WHALE This and that. The only ones you maybe have heard of are the `` Frankenstein'' pictures. CLAY Really? Clay sits up, surprised, skeptical and impressed all at once. CLAY `` Frankenstein'' and `` Bride of'' and `` Son of'' and all the rest? WHALE I made only the first two. The others were done by hacks. CLAY Still. You must be rich. Making a couple of famous movies like those. WHALE Merely comfortable. Here's Hanna with our refreshments. Can you get the door? Clay jumps up to open the screen door. Hanna walks past, refusing to look at him. She sets the tray on a table very hard, ringing the glasses and silverware. HANNA How are you feeling, Mr. Jimmy? How is your mind today? WHALE My mind's lovely. And yours? Hanna flares her nostrils at him. HANNA You remember what the doctor tells us. WHALE Yes, yes, yes. I merely invited Mr. Boone in for a glass of tea. We'll have a brief chat and he'll finish the yard. HANNA I am not forgetting your last brief chat. WHALE Just go. We can manage without you. Hanna stares up at Clay. HANNA He looks plenty big. You wo n't need my help if anything goes flooey. WHALE Go. She shakes her head and marches out the door. Clay returns to his chair and sits down again. WHALE When they stay in your employ too long, servants begin to think they're married to you. -LRB- smiles at Clay. -RRB- Please, Mr. Boone. Help yourself. CLAY What did she mean by going flooey? WHALE I returned recently from a stay in hospital. CLAY What was wrong? WHALE Nothing serious. A touch of stroke. Clay nods, chugs his tea. When he lowers the glass, he finds the old man watching him. WHALE You must excuse me for staring, Mr. Boone. But you have a marvelous head. CLAY Huh? WHALE To an artistic eye, you understand. Have you ever modeled? CLAY You mean, like posed for pictures? WHALE Sat for an artist. Been sketched. CLAY -LRB- with a laugh. -RRB- What's to sketch? WHALE You have the most architectural skull. And your nose. Very expressive. CLAY Broke is more like it. WHALE But expressively broken. How did it happen? CLAY Football in college. WHALE You went to university? CLAY Just a year. I dropped out to join the Marines. WHALE Yes. You were a Marine. Whale's gaze deepens. He laughs lightly. WHALE I apologize for going on like this. It's the Sunday painter in me. Of course I can understand your refusal. It's a great deal to ask of someone. CLAY You mean - you really want to draw me? WHALE Indeed. I'd pay for the privilege of drawing your head. CLAY But why? WHALE Even an amateur artist needs a subject to inspire him. CLAY And it's just my head you want? Nothing else? WHALE What are you suggesting? You'll charge extra if I include a hand or a bit of shoulder. CLAY You do n't want to draw pictures of me in my birthday suit, right? WHALE I have no interest in your body, Mr. Boone. I can assure you of that. Clay takes a moment to size up Whale - whose innocent, slightly befuddled smile makes him appear about as threatening as a box of cornflakes. CLAY All right then. Sure. I could use the extra dough. WHALE Excellent. We'll have a most interesting time. Whale lifts his glass, takes a small sip of tea.", "EXT. WHALE'S HOUSE - DAY Clay fetches a pair of hedge clippers from his truck. He ca n't help stopping by the side - view mirror to look at his face.", "INT. EXAMINATION ROOM - DAY Doctors and technicians flash lights into Whale's eyes. test his reflexes. inject him with radioactive isotope. Whale sits very still with his head behind a fluoroscope screen while two doctors murmur over the image.", "INT. DOCTOR'S OFFICE - DAY A pair of X rays are slapped wet on a light board. Two skulls, one facing forward, the other in profile. DR. PAYNE, a bland young neurologist, points to a smudge in the side - view X ray. DR. PAYNE This is the area of infarction. By which we mean the portion of brain affected by the stroke. The venetian blinds of the examining room are closed. Whale sits calmly, flanneled legs crossed at the knees, gazing at his own skull. DR. PAYNE You're a lucky man, Mr. Whale. Whatever damage was done by your stroke, it left your motor abilities relatively unimpaired. WHALE Yes, yes, Dr. Payne. But from the neck up? What's my story there? DR. PAYNE That's what I'm trying to explain. Payne turns off the light board and goes to the venetian blinds. The room is instantly full of sun. DR. PAYNE The central nervous system selects items from a constant storm of sensations. Whatever was killed in your stroke appears to have short - circuited this mechanism. Parts of your brain now seem to be firing at random. WHALE You're saying there's an electrical storm in my head? DR. PAYNE That's as good a way as any to describe it. I've seen far worse cases. You might even learn to enjoy these walks down memory lane. WHALE But the rest of it? The killing headaches. The phantom smells. My inability to close my eyes without thinking a hundred things at once. It's all nothing more than bad electricity? DR. PAYNE In a manner of speaking. I've never encountered the olfactory hallucinations, but I'm sure they're related. WHALE So what do I do? DR. PAYNE Take the Luminal to sleep, or whenever you feel an attack coming on. WHALE You seem to be saying that this is n't just a case of resting until I'm better. That my condition will continue to deteriorate until the end of my life. The doctor responds with a sympathetic gaze. Whale nods solemnly.", "INT. HALLWAY - DAY Whale makes his way toward the stairs. He passes a stoop - shouldered ELDERLY WOMAN who leans on the arm of her middle - aged DAUGHTER. Then an OLD MAN in a wheelchair, his eyes brimming with bewilderment and despair.", "INT. WHALE'S HOUSE - FOYER - DAY Hanna opens the door. Clay wears dungarees and a white dress shirt. CLAY Do n't worry, you already paid me. I'm here because - HANNA The Master is waiting for you. She gestures him in, shuts the door.", "INT. WHALE'S HOUSE - KITCHEN - DAY Clay follows Hanna into the kitchen. HANNA He's down in his studio. Here. Take this with you. She thrusts a TV tray toward him. Two glasses, two bottles of beer, a bottle of Coke. CLAY It's your job, lady, not mine. -LRB- hands back the tray. -RRB- I'm here so he can draw my picture. HANNA I'm keeping away. What you are doing is no business of mine. CLAY What're you talking about? HANNA What kind of man are you? Are you a good man? CLAY Yeah, I'm a good man. Something make you think I'm not? HANNA You will not hurt him? CLAY Gim me a break. I'm going to sit on my ass while he draws pictures. Is that going to hurt him? HANNA No. No. -LRB- closes her eyes. -RRB- I am sorry. Forget everything I say. Here. I will take the tray. CLAY You do that.", "INT. WHALE'S HOUSE - STUDIO - DAY Clay opens the squeaking door and enters behind Hanna. Whale stands at a drafting table, sharpening a pencil. Hanna sets the tray down. WHALE Very good, Hanna. Now goodbye. She goes toward the door, wrinkling her forehead at Clay. The screen door bangs shut. WHALE I'm sure you'd like something to wet your whistle while I work. Whale opens a bottle of beer, pours it into a glass, hands it to Clay. He gestures to a chair. WHALE We'll go slowly today. Since this is your first time as a model. Clay sits. He pulls a `` TV Guide'' out of his back pocket. CLAY Did you see this? They're showing one of your movies tomorrow night. WHALE You do n't say? Which picture? CLAY `` Bride of Frankenstein.'' WHALE Hmmm. I much prefer `` Show Boat'' or `` The Invisible Man.'' Shall we begin? Clay takes a swig of beer and sets the glass on the floor. CLAY Ready when you are. Whale stares at Clay. WHALE That shirt, Mr. Boone. CLAY It's new. WHALE I'm sorry. It's too white, too distracting. Would it be asking too much for you to take it off? CLAY I'm not wearing an undershirt. WHALE Pish posh, Mr. Boone. I'm not your Aunt Tilly. CLAY But it's just my face you want to draw. WHALE Oh if it's going to make you uncomfortable. -LRB- sighs. -RRB- Perhaps we can find something else for you to wear. He lifts a drop cloth off a footlocker, revealing a stack of `` Physique'' magazines. Whale casually covers them with a newspaper. WHALE We could wrap this like a toga around your shoulders. Would that help you overcome your schoolgirl shyness? CLAY All right already. I'll take it off. Kind of warm in here anyway. He unbuttons the shirt and pulls it off. WHALE Yes. Much better. -LRB- steps forward. -RRB- Here. Clay adjusts his belt buckle as Whale hangs the shirt on a wall peg. He moves back to the easel again. WHALE I think we'll have you sit slightly sideways, so you can rest one arm on the back of the chair. Yes. Just so. The arm with the tattoo faces the easel. Clay smirks. CLAY Take a picture, it lasts longer. WHALE That's exactly what I intend to do. A clatter of pencils in the easel's tray, followed by a moment of silence. Finally, a low, whistly scratch. Clay concentrates on keeping still, focusing on an open window. WHALE You seem to have no idea how handsome you are, Mr. Boone. It has to do with how snugly your face fits your skull. Clay wipes a thin line of sweat from his waist. WHALE Would you be more comfortable barefoot? Feel free to remove your boots and socks. CLAY No. I'm fine. WHALE It's a bit like being at the doctor, is n't it? You have to remain perfectly still while I examine and scrutinize you. Whale suddenly sniffs, as if smelling something. He sniffs several times more but continues to draw. WHALE -LRB- to himself. -RRB- Dripping? -LRB- to Clay. -RRB- Do you ever eat dripping in this country? The fat from roasts and such, congealed in jars. Used like butter on bread. CLAY Sounds like something you feed the dog. WHALE It is. Only the poorest families ever ate it. We kept ours in a crockery jar. CLAY Your family ate dripping? WHALE -LRB- catching himself. -RRB- Of course not. As I said, only poor people - Whale stops. He lets out a bitter laugh. WHALE I'm sorry. I've just realized how terribly ironic it all is. CLAY What? WHALE I've spent most of my life outrunning my past. Now it's flooding all over me. Clay stares out blankly. WHALE There's something about the openness of your face that makes me want to speak the truth. Yes, my family ate dripping. Beef dripping and four to a bed, and a privy out back in the alley. Are you also from the slums, Mr. Boone? CLAY We were n't rich. But we were n't poor either. WHALE No, you were middle class, like all Americans. CLAY I guess you'd say we lived on the wrong side of the tracks. WHALE In Dudley there were more sides of the tracks than any American can imagine. Every Englishman knows his place. And if you forget, there's always someone to remind you. My family had no doubts about who they were. But I was an aberration in that household a freak of nature. I had imagination, cleverness, joy. Where did I get that? Certainly not from them. Whale's voice has changed, becoming more pinched and nasal. WHALE They took me out of school when I was fourteen and put me in a factory. They meant no harm. They were like a family of farmers who've been given a giraffe, and do n't know what to do with the creature except harness him to the plow. Whale seems completely lost in the past by now. WHALE Hatred was the only thing that kept my soul alive in that soul - killing place. And among those men I hated was my own poor, dumb father. Who put me in that hell to begin with. Whale peers out from behind the square of paper. He pales when he sees his father William, his face covered with grime, glaring at him from across the room. Whale retreats behind the pad, takes a breath. CLAY -LRB- O.S. -RRB- Mr. Whale? Relief floods Whale's face. He looks out, smiles at Clay. WHALE You have to excuse me, Mr. Boone. Since my stroke, I am often overcome with nostalgia. CLAY I do n't mind. I'm not crazy about my old man either. Whale rubs a hand across his eyes and steps into the open. WHALE Why do n't we break for five minutes? You probably want to stretch your legs. Whale pulls the cover sheet over the pad to hide what he's drawn so far. DWIGHT -LRB- V.O. -RRB- So you just sat there while this old limey banged his gums?", "INT. HARRY'S BEACHCOMBER - NIGHT The place is dead. There's only Clay and Dwight sitting at the bar with the owner, HARRY, a balding hep cat with a scraggly tuft of beard. And, in a booth, KID SAYLOR, a cocky 20 - year - old, necking with a pony - tailed TEENAGER. CLAY I liked it. You learn stuff listening to old - timers. DWIGHT -LRB- to Harry. -RRB- You ever hear of this Whale fellow? HARRY Ca n't say that I have. Ca n't say I've heard of a lot of people though. CLAY If you do n't believe me, let's watch this movie. See if his name's on it. How about it, Harry? Can I watch my damn movie? HARRY I told you. I do n't turn on the TV except for the fights. BETTY CARTWRIGHT appears behind the bar, lugging a bucket of ice from the storeroom. She's an attractive woman in her early 30s, big - boned and almost as tall as Clay. BETTY A spooky movie. Just what this place needs tonight. DWIGHT Could n't make it any deader, doll. Set me up. BETTY Sure. Your friend want one? Clay reacts to the silent treatment with a tight smile. DWIGHT Yeah, one for what's - his - name here. She sets down two bottles of Pabst without looking at Clay. CLAY Thanks, doll. BETTY -LRB- to Harry. -RRB- I say let loverboy watch his movie. And be grateful Boone's not cutting Shirley Temple's lawn. CLAY Why is everybody giving me crap tonight? DWIGHT Jesus, Boone. You come in here proud as a peacock because some old coot wants to paint your picture. We're just bringing you back to earth. BETTY Sounds screwy to me. I ca n't imagine a real artist wanting to spend time looking at that kisser. CLAY This kisser was n't so bad you could n't lay under it a few times. DWIGHT Ooooh. Betty glares at Clay, who realizes he's gone too far. BETTY I bet this is just some fruit pretending to be famous. So he can get in the big guy's pants. DWIGHT Ooooh. CLAY What makes you say that? BETTY Just thinking out loud. CLAY Yeah, well keep your filthy thoughts to yourself. BETTY All right, then. He's interested in you for your conversation. We know what a great talker you are. CLAY Fuck you. BETTY Not anymore you do n't. Doll. CLAY -LRB- explodes. -RRB- We're watching the movie, Harry. You got that! We are watching my fucking movie. HARRY Calm down, Clay. Just calm down. We'll watch it. CLAY Good. Fine. Harry reaches up, turns on a battered Motorola. On the tv, a voice announces : `` Tonight, Boris Karloff in ` The Bride of Frankenstein.''' The titles come on. Ending with the phrase `` Directed by'', which floats over a white blob. The blob jumps forward to form letters : `` James Whale.'' CLAY Right there. What did I tell you? James Whale. The movie starts. The Monster being roasted alive in the flaming wreckage of a mill. BETTY This looks corny. CLAY Go wash glasses if you do n't like it. In a flooded crater under the mill, the Monster kills an old man. He climbs up, flips the man's wife into the pit below. An owl blinks impassively. DWIGHT Not bad. Two down and it's just started. Minnie, a hatchet - faced woman with fluttering ribbons, is now alone with the Monster.", "INT. WHALE'S HOUSE - LIVING ROOM - NIGHT Whale and Hanna are in bathrobes and slippers, and there is a glass of milk and a plate of cookies on Whale's TV tray. On the tv, Minnie -LRB- played by UNA O'CONNOR -RRB- squeaks and whimpers and screams. Whale laughs. WHALE Wonderful old Una. Gobbling like an old turkey hen. But Hanna is n't amused. She unclenches her arms to close the bathrobe over her throat. HANNA Oh, that monster. How could you be working with him? WHALE Do n't be silly, Hanna. He's a very proper actor. And the dullest fellow imaginable. Minnie flees in a bowlegged jig up the hill. Whale smiles again.", "INT. HARRY'S BEACHCOMBER - NIGHT On the tv, Dr. Pretorius -LRB- played by Ernest Thesiger -RRB- delivers a toast with inimitably ripe enunciation : `` To a new world of gods and monsters!'' Dwight and Harry and Betty all laugh. BETTY These old movies are such a hoot. They thought they were being scary, but they're just funny. CLAY -LRB- defensively. -RRB- Maybe it's supposed to be funny. BETTY Funny is funny and scary is scary. You do n't mix them. Suddenly the tinny tv soundtrack is drowned out by the voice of Elvis Presley. Kid Saylor bends over the jukebox, wagging his denim butt and tapping a high - top sneaker. CLAY Hey! Some of us are watching a movie! SAYLOR Go ahead. Free country. Clay jumps from his stool. Saylor sees him coming, steps aside. SAYLOR You want me to turn it down? Clay slams the heel of his hand against Saylor's chest. The boy staggers backward. Clay grabs the corner of the jukebox and jerks it from the wall ; the needle scratches across the song. Saylor holds up both hands in a nervous surrender. SAYLOR Hey, I did n't know. It's your favorite movie. Sorry, okay? Clay returns to the bar and uprights the stool. Saylor escorts his girl to the door. HARRY You're like a dog with a bone over this movie, Clay. CLAY I just want to watch it, okay? On the tv, the blind man thanks God for sending him a friend.", "INT. WHALE'S HOUSE - LIVING ROOM - NIGHT Hanna's frown pops open. HANNA He is not going to kill the old man? WHALE No, Hanna. My heart is n't that black. In a crypt, the Monster meets Dr. Pretorius, who is having a midnight snack on top of a closed coffin. `` Friend?'' the monster asks. `` Yes, I hope so,'' answers Pretorius, without batting an eyelash. He offers the Monster a drink, then adds : `` Have a cigar. They're my only weakness.'' WHALE The cigars were my own brand. So that I could have the leftovers. On the tv, the Monster groans : `` Love dead. Hate living.'' Whale's focus sharpens, prompted by the unexpected discussion of death.", "INT. HARRY'S BEACHCOMBER - NIGHT The Monster holds a skull in both hands and happily growls, `` Wiiife.'' Betty, shudders, for real this time. HARRY Sick stuff. Necrophilia. I wonder if they knew how sick they were. CLAY The Monster's lonely and he wants a friend, a girlfriend, somebody. What sick about that?", "INT. WHALE'S HOUSE - LIVING ROOM - NIGHT Dr. Frankenstein and Pretorius make their final preparations. Frankenstein inquires where the fresh heart came from. `` There are always accidental deaths occurring,'' Pretorius replies. `` Always.'' Once again, Whale responds to the talk of death.", "INT. HARRY'S BEACHCOMBER - NIGHT Finally, the Bride comes to life. She looks up, down, left, right, uncertain who she is. The Monster stares tenderly. `` Friend?'' He timidly touches her arm and she screams. BETTY All right! You do n't want him. The Monster is heartbroken. Nobody loves him, not even his Bride.", "INT. WHALE'S HOUSE - LIVING ROOM - NIGHT The Bride shrieks again. HANNA She is horrible. WHALE She is beautiful. The Monster's pain turns to anger. He tears through the lab, orders Frankenstein to escape with his wife. But he wants Pretorius and the Bride to stay. `` We belong dead.'' Whale reacts sharply to the line. The Monster blows up the laboratory and the movie ends. Hanna shivers as she stands. HANNA Ugh. I am sorry, Mr. Jimmy, but your movie is not my teacup. Still, I am glad there is a happy ending. The bad people are dead and the good people live. She hits the button on the Magnavox with the flat of her palm.", "INT. HARRY'S BEACHCOMBER - NIGHT Betty turns off the Motorola. BETTY Weird movie. Weird, weird, weird. Harry stands up and stretches. Clay remains seated. CLAY So what did you think? BETTY Weird. DWIGHT I loved it. I want a switch like that in my trailer, so I can blow us to kingdom come when things do n't go my way. He wobbles when he climbs off his stool. DWIGHT Damn but it's getting drunk in here. Late too. The bride of Dwight is going to bite my head off. He tilts toward the door. DWIGHT You coming, Boone? CLAY I think I'll hang around. HARRY Go home, Clay. We're closing up. CLAY I thought I'd give you a hand since I kept you open. He waits to see how Betty reacts. She shrugs. Harry takes his book and cash drawer to the back door. HARRY I'm next door if you need me. He gives Clay one last look and goes out to the breezeway and his apartment. CLAY You know what? I think you guys are all jealous. BETTY -LRB- laughs. -RRB- What's to be jealous of? CLAY I've gotten to know someone who's famous. BETTY Not so famous any of us have ever heard of him. CLAY If he were that famous, he probably would n't give me the time of day. This way, he's like my famous person. -LRB- laughs at himself. -RRB- Yeah, my own personal famous person. Who treats me like I'm somebody worth talking to. Clay leans down to plug in the jukebox. CLAY You want to go for a swim? She snaps her mouth open and imitates the Bride's furious cat hiss. CLAY What's that mean? BETTY It means it's too cold to go swimming. And I do n't mean the water. CLAY I was n't going to try anything. BETTY Yeah, and I'm never going to smoke another cigarette. He patiently waits by the door while Betty turns out the lights. She walks briskly through the glow of the jukebox, waving Clay outside with her hand.", "EXT. HARRY'S BEACHCOMBER - NIGHT Betty pulls the door shut and bends over to lock it. Clay catches a glimpse of skin in the side slit of her shirttail. CLAY Let's go for a walk at least. Walk and talk. I really feel like talking tonight. Betty's eyes blink in mock surprise. CLAY This old guy - he's the kind of person I expected to meet when I moved out here. Someone who's done things with his life. BETTY Do you realize you're more interested in this old goober than you ever were in me? CLAY It's different. He's a man. And by the way you have no business calling him a homo. BETTY It never crossed your mind? CLAY He's an artist. Anyway, he's too old to think about sex. BETTY All the old men I know think about nothing but sex. She opens the door of her Chevy. Clay grabs it with both hands to keep her from getting in. CLAY C'mon. What's eating you tonight? Betty hesitates, then looks him sharply in the eye. BETTY You picked up that girl right in front of me. CLAY Hey, no strings, right? That's what you always said. Just good pals who have the hots for each other. BETTY It still hurt. A lot. CLAY I did n't mean to. BETTY No, I'm actually kind of glad it happened. It made me wonder what the hell I was doing with my life. Letting you pull me into bed whenever the spirit moved you. CLAY You liked it too. BETTY Sure. I loved it. CLAY If you enjoy it, you should do it. BETTY You know, I just ca n't do that anymore. I still have time to get things right. Get married again - CLAY You mean us? Betty bursts out laughing. BETTY The look on your face! You're not marriage material. You're not even boyfriend material. You're a kid. A big, fun, slightly irresponsible kid. CLAY I'm not a kid. BETTY What are you then? What will you be ten years from now? Still cutting lawns? Still banging horny divorcees in your trailer? Clay glares at her, his jaw working forward in anger. CLAY I like my life. I'm a free man. BETTY Sure you're free, for now at least. But how long before you're just alone? Pathetic and alone. Clay's anger jumps from his jaw into his shoulders and arms. He grabs the door handle. CLAY So you do n't want to fuck. That's what you're telling me? BETTY Is that all this conversation means to you? Am I going to put out or not? CLAY Damn straight. I'm sick of playing games. Betty quickly gets into the car. before she can pull the door shut, Clay slams it on her, hard. Her hands leap in front of her face, as if he'd hit her. The look of fear in her eyes startles Clay out of his rage. CLAY Betty, look. This is coming out all wrong - She frantically turns the key in the ignition and the Chevy pulls out. BETTY From here on out, Boone, you're just another tired old face on the other side of the bar. The car screeches away. Clay stumbles across the highway.", "EXT. TRAILER PARK - NIGHT Clay comes to the dump at the end of the canyon. He climbs into it, kicking at loose cans. CLAY It's all shit! Shit on by women! Shit on by the Marines. Shit on by the world! Fuck! He shouts the word at the cliff, for the raw, sudden violence of shouting. CLAY Fuuuck! A dog in the carport starts to bark. The sound of Clay's pain echoes off the canyon as we CUT TO :", "INT. WHALE'S HOUSE - BEDROOM - NIGHT Whale is sitting up n bed when Hanna knocks. She enters with a tray loaded with bottles and vials. HANNA You will take them all, Mr. Jimmy? WHALE I'll be fine, Hanna. Thank you. HANNA Good night. Whale takes the pills, one by one, until he comes to the bottle of Luminal. He opens the pheno bottle to shake out a capsule and a dozen spill into his palm. He stares at them.", "INT. WHALE'S HOUSE - BEDROOM - DAY Hanna opens the door, gasps when she sees Whale lying motionless on the bed. She spots the empty bottle of Luminal. HANNA Oh no, Mr. Jimmy. Hanna kneels next to the body. She makes a Sign on the Cross, launches into a frantic `` Hail Mary.'' We CUT TO :", "INT. WHALE'S HOUSE - BEDROOM - NIGHT Whale snorts at the imagined scene. One by one, he returns the capsules to their bottle, until a single pill remains. He places it on the table, then turns out the lamp and lies on his back in the dark, waiting for sleep. The distant sound of laughter invades the darkness. Whale sits up, straining to identify the voices. The bedroom wall opposite him melts away, revealing :", "INT. SPECIAL MAKEUP TRAILER - UNIVERSAL STUDIOS - DAY (1935) ELSA LANCHESTER and BORIS KARLOFF sit side by side in dentist chairs, cloths around their necks, heads tilted back. JACK PIERCE, the makeup artist, is patting the hair drawn over a cage on Elsa's head. He looks up, sees Whale, and breaks into a conspiratorial grin. Elsa's eyes are closed ; she has n't heard whale enter. ELSA LANCHESTER You done yet, love? I am absolutely dying for a fag. Whale tiptoes in for a better look. Karloff has a mouthpiece to help him breathe while the assistant adds another coat of green sizing to the still incomplete makeup. BORIS KARLOFF -LRB- gurgles. -RRB- Goo' ` orning, ` ames. WHALE Good morning. And a very good morning to you. Elsa's eyes snap open. There are no mirrors on the walls. ELSA LANCHESTER Uh - oh. The way you look at me, James. What have you done this time? WHALE Bring a mirror. Let the Bride feast upon her visage. ELSA LANCHESTER Boris? Do I look a fright? Karloff shrugs, irked that she's getting all the attention. Jack Pierce lifts a large mirror. JACK -LRB- nasal New Yorkese. -RRB- Behold, the Bride of Frankenstein. Elsa stares at the beautiful corpse in the mirror. She snaps her head left, right, up, down, startled by the sight of herself, electrocuted into frightened, spastic jerks. ELSA LANCHESTER Oh, James. As Whale observes his star we see her spasms through his eyes - as a series of dissonant, line - jumping close - ups. ELSA LANCHESTER And you said there'd be some of me left. Nobody's going to know me in this getup. WHALE Nonsense, my dear. You look extraordinary. -LRB- to an assistant. -RRB- Today's script. Quick. And a pencil. Whale scans the page of shooting script, the margin marked in pencil : CU, MS, MLS. Whale pencils in a bracket and scribbles : CU a, b, c, d - MOS. WHALE Jack, I want to get on this right away. Sorry, Boris, we wo n't get to you until this afternoon. BORIS KARLOFF I ` ish you ` old' e ` ooner. The assistant removes his mouthpiece. BORIS KARLOFF I could have spent the morning tending to my roses.", "INT. SOUNDSTAGE - DAY The interior of Stage C is completely filled by the laboratory set. Electricians adjust the lights on the wooden tower beside the Bride's table. COLIN CLIVE -LRB- Dr. Frankenstein -RRB- and ERNEST THESIGER -LRB- Dr. Pretorius -RRB- sit off to the side, in full makeup and costume. Clive mumbles earnestly over his script. Thesiger pinches his face over the needle he dips in and out of an embroidery ring. Whale comes on the set with Elsa on his arm. She walks regally beside him, the train of her long white robe thrown over one arm. There's a wolf whistle from overhead, and applause, causing Elsa to curtsy to her admirers. Thesiger takes her hand, leans back to study her. ERNEST THESIGER My God. Is the audience to presume that Colin and I have done her hair? I thought we were mad scientists, not hairdressers. ELSA LANCHESTER Only a mad scientist could do this to a woman. ERNEST THESIGER Oh no, my dear. You look absolutely amazing. There's no way I can compete with you. The scene is yours. ELSA LANCHESTER In the sequel, James, two lady scientists should make a monster. And our monster would be Gary Cooper. ERNEST THESIGER I would've thought Mr. Leslie Howard would be more your line. ELSA LANCHESTER More your line. ERNEST THESIGER My line nowadays runs to Rin Tin Tin. Dogs are so much more dependable than men. WHALE Colin? Please. It's time. -LRB- softly, to Thesiger. -RRB- How is he today? ERNEST THESIGER Stiff as a board. -LRB- calls out. -RRB- Yes, Colin. Come see what they've done to our Elsa. Clive walks over, glumly. COLIN CLIVE I'm not at my best today, Jimmy. A touch of flu, you know. Whale sees through the excuse, rests an arm on Clive's shoulder. WHALE Relax, my boy. You could do this scene in your sleep. Clive grits his teeth and nods. Whale positions them in front of the upended table, Clive and Thesiger holding Elsa's robe out by the hems. The shadow of the sound boom passes back and forth while they rehearse. ERNEST THESIGER I gather we not only did her hair but dressed her. What a couple of queens we are, Colin. Elsa giggles. Clive looks distraught - which brings some life to his stiffness. Whale sees this, decides to tune it higher. WHALE Yes, a couple of flaming queens. And Pretorius is a little in love with Dr. Frankenstein, you know. Clive's distress reads clearly now. He is twitchy and alive. WHALE Yes. I think it's coming together. Shall we have a go? He sits in the canvas director's chair, nods to the assistant director. ASSISTANT DIRECTOR Quiet on the set! The warning bell rings. ASSISTANT DIRECTOR Lights! The lights sizzle and blaze. ASSISTANT DIRECTOR Sound! SOUND MAN Okay for sound. ASSISTANT DIRECTOR Camera! A young man with a clapboard steps in front of the camera. CAMERA ASSISTANT Scene two - fifteen. Take one. WHALE Action. The Bride snaps her head in various directions. Thesiger slopes back, fingers splayed, intoxicated by his creation : ERNEST THESIGER The Bride of Frankenstein! Whale sits with his legs crossed, jogging his raised foot as if conducting the scene with his show. Fully engaged, intensely alive. We CUT TO :", "INT. WHALE'S HOUSE - BEDROOM - NIGHT Whale glances at the clock, sees that it is 3:15. He is wide awake. He reaches over, picks up the Luminal. WHALE Luminal. Illumine all. Whale reluctantly places the pill on his tongue and swallows. He rests his head on the pillow and stares at the ceiling, where the reflection of the window sheers casts an ever - shifting pattern of light and dark. We move down to reveal :", "INT. PRISON CELL - NIGHT (BLACK & WHITE) It's a cobblestone cell, a plaster set from `` Bride of Frankenstein.'' Whale sits in a massive chair, straining against thick iron chains, as a lightning storm rages outside. In the distance, heavy footsteps, coming closer, until the cell door is filled with the silhouette of the Monster. Whale hardly dares to breathe as the Monster rips off the door and enters the cell. The Monster steps into the light, allowing us to see his face for the first time. It is Clay Boone, dressed in a Marine parade uniform. He uses his hedge clippers to cut the chains from around Whale's chest. WHALE Thank you. Thank you so much. Clay leans down and takes Whale in his arms, cradling him like a child. They move across the sound stage - Clay carefully sidestepping the lights and cables on the floor - until they reach the next set :", "EXT. COUNTRYSIDE - NIGHT Clay carries Whale past a painted backdrop of a stormy English countryside.", "INT. FRANKENSTEIN'S LAB - NIGHT Whale lies on the Bride's table. Clay pulls on a doctor's smock, picks up a scalpel from a table covered with various medical instruments. he carves a thin circle around the top of Whale's forehead. Then, with one deft movement, he pops off Whale's scalp and pulls out the brain. It is soot - covered, charred, used up. Whale watches with detached fascination as Clay tosses it on the floor, then takes a throbbing, luminous mass from a tray. Clay inserts the new brain into Whale's skull, sutures the scalp back into place. he fastens the conducting clamps around Whale's temples, then throws the heavy circuit breaker. Lights throb with bursts of energy. loose sparks crackle. rotary sparks create snapping circles of fire. as the energy of the raging storm is harnessed into the machinery. Clay steps back to take in his handiwork. A sudden look of panic fills Whale's face. WHALE It is n't working. The experiment is a failure. Clay glances down at Whale, whose breathing is slowing. Realizing that the new brain has n't taken : CLAY Just go to sleep. A serenity suffuses Whale's features as he stares up at the pale flicker of lightning. His breathing finally stops, his face a tranquil mask of death. We CUT TO :", "INT. WHALE'S HOUSE - BEDROOM - DAY Whale wakes with a start. He checks the clock, sees that it's past nine. He presses an intercom button on the bedside table. WHALE I'm up, Hanna. Whale sits up, drinks in the sunlight. He notices some grass clippings and leaves scattered on the bedspread. WHALE What in God's name - Whale turns and sees Clay lying next to him. He gasps. CLAY -LRB- angrily. -RRB- I told you to sleep. Clay's hands close around Whale's neck. We CUT TO :", "INT. WHALE'S HOUSE - BEDROOM - DAY Whale opens his eyes groggily. He scans the room in panic, clearly unable to get his bearings. Whale tries to stand but his legs give way beneath him.", "INT. WHALE'S HOUSE - BATHROOM - DAY (LATER) Whale and Hanna stare straight out as she reaches down and unbuttons the tiny buttons on his pajama fly. Whale supports himself with one hand on Hanna's shoulder as he relieves himself with the other.", "INT. WHALE'S HOUSE - BEDROOM - DAY (LATER) Whale sits up in bed, staring dumbly at the morning paper. Hanna reaches in to take away the breakfast tray. WHALE Does the yardman come today? HANNA Of course. This afternoon. A thin smile forms on Whale's face.", "EXT. WHALE'S HOUSE - DAY Clay prunes the roses on the front lawn. Hanna appears, frowning. CLAY Something I can do for you? HANNA The Master wants to know if you are free for lunch. I tell him you will be having other plans, but he insists I ask. CLAY Got a lawn this afternoon, but I'm free until then. HANNA Expect nothing fancy. Hanna goes inside. Clay rolls the mower down the path.", "INT. WHALE'S HOUSE - KITCHEN - DAY Clay knocks on the bottom of the Dutch door as he lifts the latch and walks in. He is wearing a fresh madras shirt. HANNA The Master is dressing. I am to offer you a drink. There is whiskey and there is iced tea. CLAY Tea is fine. He sits at the kitchen table. HANNA No. You are a guest now. You go in the living room. CLAY That's okay, Hanna. I'm more comfortable in here. It is Hanna, is n't it? She eyes him suspiciously, shrugs, pours a glass of tea. Clay notices a Bible on the counter. CLAY How long you worked for Mr. Whale? HANNA Long enough. Fifteen years. CLAY I bet you've seen a lot of famous people come and go? Movie stars? HANNA No. We live simply, Mr. Jimmy and I. People come to play bridge. And now and then, young men to swim. You have people, Boone? CLAY You mean family? All in Joplin, Missouri. HANNA Your wife? CLAY I'm not married. HANNA Why? CLAY Oh, I do n't know. Because no girl in her right mind will have me? HANNA A man who is not married has nothing. He is a man of trouble. You need a woman. CLAY You proposing what I think you're proposing? Do n't you think I'm a little young for you? Hanna twists her head around with such an indignant look that Clay bursts out laughing. She realizes that she is being teased. HANNA Men. Always pulling legs. Everything is comedy. -LRB- mimics an English accent. -RRB- `` How very amusing. How marvelously droll.'' Hanna stares at Clay until his smile fades. She resumes her chopping in silence. CLAY You ever been married, Hanna? HANNA Of course. I am married still. CLAY Yeah? What's your husband do? HANNA He is dead now, twenty years. CLAY Then you're as single as I am. HANNA No. I have children, grandchildren too. I visit when I can. But now that Mr. Jimmy can not be left very long, I do not get away much. -LRB- sighs. -RRB- Poor Mr. Jimmy. There is much good in him, but he will suffer the fires of hell. Very sad. CLAY You're sure of that? HANNA This is what the priests tell me. His sins of the flesh will keep him from heaven. CLAY Sins of the flesh? Everybody has those. HANNA No. His is the worse. -LRB- worse. -RRB- The unspeakable. The deed no man can name without shame? She loses patience with Clay's blank look. HANNA What is the good English? All I know is bugger. He is a bugger. Men who bugger each other. CLAY A homo? HANNA Yes! You know? Clay slowly sits up. HANNA That is why he must go to hell. I do not think it fair. But God's law is not for us to judge. CLAY You're telling me Mr. Whale is a homo. HANNA You did not know? CLAY Well. no, not really - HANNA You and he are not doing things? CLAY No! HANNA Good. That is what I hope. I did not think you a bugger too. I fear only that you might hurt him if he tries. CLAY I'm not going to hurt anyone. HANNA Yes. I trust you. Off in the distance, a throat loudly trumpets itself clear. HANNA You must go in. Quickly. He will not like to think I have had you in the kitchen. Clay gets up slowly, reluctant to leave the room.", "INT. WHALE'S HOUSE - LIVING ROOM - DAY Whale comes forward as Clay enters, offering a hand at the end of a spindly wrist. WHALE How are you, Mr. Boone? So glad you are free for lunch. CLAY All right, I guess. WHALE I assume you worked up an appetite with your labor. A hesitant smile from Clay. Whale picks a stack of mail off the table, rifles through envelopes. WHALE Forgive my rudeness. At my age, the post is the cream of the day. He returns the stack to the table but holds on to a square envelope. WHALE Do you mind? CLAY Go ahead. Clay looks off while Whale opens the envelope. WHALE Hmmm? Princess Margaret? He is examining a folded card. He rubs a thumb over the printed lettering. WHALE Her Majesty's Loyal Subjects in the Motion Picture Industry. Cordially invited. Reception at the home of. Mr. George Cukor! His lips smack open in disgust. WHALE That pushy little - horning in on the Queen's sister, then offering to share her with the whole damn raj? I live in this country to get away from this rubbish! He tosses the invitation on the table. WHALE Is this David's doing? CLAY This David's a friend? WHALE Yes. An old, useless friend. You must excuse me, Mr. Boone. This is a world I finished with long ago. I pay them no mind and expect them to return the compliment. -LRB- a deep breath. -RRB- Lunch should be ready. Shall we? He holds out an open hand so that Clay can precede him into the dining room.", "INT. WHALE'S HOUSE - DINING ROOM - DAY Hanna sets down two steaming plates of omelettes. Whale hands a glass of red wine to Clay. WHALE Cheers. They both take a sip of wine. WHALE Smells lovely, Hanna. Hanna nods, steals a glance at Clay as she leaves. CLAY Saw your movie the other night. Watched it with some friends. WHALE Did you now? CLAY I liked it. We all did. WHALE Did anyone laugh? CLAY -LRB- covering. -RRB- No. WHALE Pity. People are so earnest nowadays. CLAY Why? Was it supposed to be funny? WHALE Of course. I had to make it interesting for myself, you see. A comedy about death. The trick is not to ruin it for anyone who is n't in on the joke. -LRB- a sip of wine. -RRB- But the Monster never receives any of my gibes. He is noble. Noble and misunderstood. Whale gazes pointedly at Clay, who eats with his elbows on the table, quickly bolting the hot omelette. WHALE In Korea, Mr. Boone? Clay looks up. WHALE Did you kill anyone? CLAY I do n't like to talk about that. WHALE It's nothing to be ashamed of, in the service of one's country. That's something to be proud of. CLAY Proud? Any jerk with a gun can kill someone. WHALE Quite true. Hand - to - hand combat is the true test. Did you ever slay anyone hand - to - hand? CLAY -LRB- defensive. -RRB- No. I could have, though. WHALE Yes, I believe you could. -LRB- a sip of wine. -RRB- How free is your schedule this afternoon? CLAY Full up. I got the hedges to do here, then another lawn out by La Cienega. WHALE What is we say phooey to the hedges? Could you spare an hour after lunch? To sit for me? CLAY Ca n't today. WHALE I'll pay our going rate. Plus what you'd get if you did the hedges. CLAY Sorry. I do n't feel like sitting still today. WHALE All righty. I understand. Whale tilts a scrutinizing eye at Clay.", "INT. WHALE'S HOUSE - PANTRY - DAY (LATER) Hanna carries the dirty dishes back to the kitchen.", "INT. WHALE'S HOUSE - DINING ROOM - DAY Clay starts to bite the tip off a cigar. WHALE Use this. Whale passes him a gold penknife. WHALE Just a trim. And mine while you're at it. Fingers are a bit stiff today. CLAY You ever been married, Mr. Whale? WHALE No. At least not in the legal sense. Clay hands a clipped cigar back to Whale. CLAY So you had a wife? WHALE Or a husband. Depending on which of us you asked. My friend David. He lived here for many years. The other cigar crunches faintly between Clay's fingers. WHALE Does that surprise you? CLAY No, I - you're a homosexual. WHALE Oh dear. If one must have a clinical name. CLAY I'm not, you know. WHALE I never thought you were. CLAY You do n't think of me that way, do you? WHALE What way might that be? CLAY You know. Look at me like - like I look at women. WHALE Do n't be ridiculous. I know a real man like you would break my neck if I so much as laid a hand on him. Besides, you're not my type. Clay suddenly laughs. Whale's smile deepens. WHALE So we understand each other? CLAY What you do is no business of mine. Live and let live, I say. WHALE I hope this has nothing to do with your refusing to sit for me today? CLAY No. I - Whale continues to smile, slyly. WHALE What are you afraid of, Mr. Boone? Certainly not a frail old man like me. Clay has no answer. He gives in with a sigh.", "INT. WHALE'S HOUSE - STUDIO - DAY Clay sits sideways on the chair again. Whale stands at the easel. CLAY Can I see what you did so far? WHALE It will only make you self - conscious. You'll have to remove your shirt. CLAY Sorry. Not today. WHALE But we have to match the other sketch. CLAY I just feel more comfortable keeping it on. You just said you did n't want me self - conscious. Whale steps forward. WHALE Perhaps if we open the shirt and pull - Whale's hands to in. Clay's flesh tightens ; he shrinks back. The hands stop, palms raised. WHALE Oh dear. I have made you nervous. CLAY I'm fine. I'd just rather keep it on. WHALE Suppose we unbutton the top and pull it down around your shoulders? Two buttons. Is that so much to ask? Just two little buttons. Whale's thumb and fingers unpluck buttons in midair. CLAY No! Look. What you told me at lunch is still very weird for me. So either you sketch me like I am or I'll say forget it and go do your hedges. Whale takes a step back. His eyes are locked on Clay, fascinated by his temper. CLAY I do n't mean to be a prick, but that's how I feel. WHALE Of course. I do n't want to scare you off. Not before I'm finished with you. Whale glides behind the easel. The pencils rattle in the tray. WHALE Tell me more about yourself, Mr. Boone. You have a steady companion? CLAY Not at the moment. WHALE Why not? CLAY You know how it is. You have to kiss ass just to get a piece of it. WHALE Very well put. CLAY The world is just one kiss - ass game after another. A man has to make up his own life, alone. WHALE Ah. A philosopher. CLAY Thoreau with a lawnmower. WHALE -LRB- smiles. -RRB- I like that. But take care, Mr. Boone. Freedom is a drug, much like any other. Too much can be a very bad thing. Clay glances out the window. Feigning a merely casual interest : CLAY Is that why you and your friend split up? Because you wanted to be free? WHALE In a way, yes. I suppose so. I know it's why I stopped making pictures. Whale backs away from the easel and stares at the paper with a sour frown. WHALE You might not think it to look at me now, but there was a time when I was at the very pinnacle of my profession. The horror movies were behind me. I'd done `` Show Boat.'' Major success. Great box office. Now I was to do something important. `` The Road Back.'' An indictment of the Great War and what it did to Germany. It was to be my masterpiece. CLAY What happened? WHALE The fucking studio butchered it. It was 1937, Hitler's armies were already massing - and still the New York bankers stood in line to curry his favor. Anything to avoid losing the German market. They cut away the guts and brought in another director to add slapstick. The picture laid an egg, a great expensive bomb. For which I was blamed. A shadow passes over Whale's eyes. He presses two fingers against his temple. WHALE After that, I went out of fashion. I was no longer able to command the best projects, so I walked away. Why should I spend my time working in such a dreadful business? CLAY Do you miss it? WHALE -LRB- dismissive. -RRB- It's so far in the past now. Over fifteen years - Whale stops himself. He smiles gently at Clay. WHALE Making movies was the most wonderful thing in the world. Working with friends. Entertaining people. Yes, I suppose I miss it. More so now that - Whale reaches into his pocket, takes out the bottle of Luminal. WHALE I think we all want to feel we've left our mark on the world. Yes. I wish I had done more work. CLAY You've done a helluva lot more than most people. WHALE Better work. Whale moves across the room to the screen door. WHALE But I chose freedom. David was still in the thick of it, his life full of anxiety and studio intrigue. I did n't fancy spending my golden years as merely `` the friend.'' The dirty little secret of a nervous producer. CLAY How long were you? WHALE Twenty years. Too long. We were like a play whose run outlasted the cast's ability to keep it fresh. So I finally decided to close down the show. Whale places a pill on his tongue and swallows. He fixes Clay with a pinched smile. WHALE When all fetters are loosened, a certain hedonism creeps in, do n't you think? There was a period when this house was overrun with young men. Some even posed for me. Right where you're sitting now. Clay sits uncomfortably in his chair. His face flushes. WHALE Of course, they were n't nearly as bashful. No, this room was once filled with bare buttocks. And pricks. Hard, arrogant pricks - CLAY Cut it out! Clay explodes out of his chair, knocking over a small side table. CLAY Fuck it. I ca n't do this anymore. He looms over Whale, whose breathing starts to quicken. CLAY Is n't it enough you told me you're a fairy? Do you have to rub my nose in it? WHALE I assure you, Mr. Boone, I meant no - CLAY From now on, Mr. Whale, I cut your grass and that's it. Understand? Before Whale can respond Clay storms out, nearly ripping the screen door off its hinges. Whale sits on the daybed, takes a few quick breaths. Suddenly the air is filled with the sounds of people cavorting in the pool. Whale looks up, sees a young man standing outside the screen door. It is now dark outside. YOUNG MAN Come on, Jimmy. Watch me dive. Whale offers a melancholy smile. WHALE I think I'll just rest for a moment. The man shrugs, disappears into the shadows. We move across the room and through the door.", "EXT. WHALE'S HOUSE - NIGHT Whale sits in a director's chair, a martini in one hand, a cigar in the other, a harmless old uncle watching young men swagger and splash in the pool. WHALE I think we're ready to go. He glances over, sees Clay in plaid bathing trunks, sitting apart from the others. He is puffing on a Camel. WHALE You're up, Mr. Boone. Clay ignores him. Whale puts down his martini and cigar, picks up a Polaroid camera. He moves over to clay. WHALE The extras are in their places. Now we need the star. Would n't you like to get in the pool? CLAY You first. WHALE Oh no. I never swim. Whale removes Clay's cigarette, crushes it with his shoe. Behind him, the pool is now a pit full of naked shadows. WHALE You'll have to remove that shirt. Whale touches Clay's bare chest. Clay grabs hold of his wrist, causing the old man to yelp in pain. In the pool, the extras shriek in alarm. Clay's hands close tightly around Whale's throat.", "INT. WHALE'S HOUSE - BEDROOM - DAY Whale's hands fly to his throat. He opens his eyes and gasps greedily for air, the young men's screams lingering in the room. There is a look of genuine terror on his face.", "EXT. BRENTWOOD HOUSE - YARD - DUSK The sun goes down. Clay wearily pushes his lawnmower, struggling to concentrate on the darkened lawn.", "EXT. BRENTWOOD HOUSE - BACK DOOR - NIGHT The smug PROPERTY OWNER peers out at Clay from behind a screen door. CLAY Do you mind turning on a light? It's getting pretty soupy out here. OWNER Should have been here when you said you would. You whack off a tow, do n't think about taking me to court. CLAY You're lucky I even squeezed you in today. OWNER Do n't take that tone with me, bub. There's Japs in this town that work cheaper and do flowers too. Clay takes a deep breath. He ca n't afford to get angry. CLAY Will you just turn on the porch light? Sir? The owner flicks on the light.", "INT. HARRY'S BEACHCOMBER - NIGHT Clay presses through the Saturday night crowd. Clay cranes his neck to scan the crowd. CLAY Where's Betty? HARRY She took the night off. Heavy date. Some guy she's had her eye on for a while. Harry smiles pointedly at Clay, hands him the beer. CLAY Thanks a lot, pal. Clay turns his back on the bar. He sees Dwight moving through the crowd. CLAY Dwight! Dwight nods, a little coolly. DWIGHT Hey, Boone. CLAY Have a drink? Dwight's WIFE, a pert, steely - eyed brunette, places a firm hand on his shoulder. Dwight shrugs, heads toward the door. Clay turns. A pretty, too - tan BLONDE WOMAN in her early 30s is standing at the end of the bar, eyeing Clay. He lifts his glass and she responds with an open smile.", "EXT. CLAY'S TRAILER - NIGHT Clay and the woman go at it, their shadows visible through the glass louvers.", "INT. CLAY'S TRAILER - BATHROOM - DAY Clay tugs on a cord and the harsh overhead fluorescent buzzes to life. He splashes his face with water, then catches his reflection in the mirror.", "EXT. SANTA MONICA LIBRARY - DAY Clay parks outside the local branch of the public library.", "INT. READING ROOM - DAY Clay leafs through an oversized folio, bound copies of The New York Times. He glances at an article from 1936. `` Interview With a Passing Whale.'' There is a picture of Whale, captioned `` Famous British Director.'' A LIBRARIAN approaches with more leatherbound books. LIBRARIAN Here are the trade newspapers you wanted. Clay takes the books, opens one.", "INT. WHALE'S HOUSE - LIVING ROOM - DAY Whale eats lunch off a TV tray. His attention remains focused on `` Queen for a Day'' as Hanna clomps into the room behind him. WHALE Who was that at the door? HANNA A visitor. Whale turns. His face registers surprise when he sees Clay. WHALE Thank you, Hanna. That will be all. Hanna retreats toward the kitchen. Clay steps tentatively into the room. WHALE Mr. Boone. You're not due to cut the lawn until Wednesday. CLAY I'd like to sit for you again. But only if you ease up on the locker room talk. Okay? Whale holds up two fingers, affects an American accent. WHALE Scout's honor. Clay smiles.", "INT. WHALE'S HOUSE - STUDIO - DAY Whale and Boone are back in their familiar positions. An empty glass of beer sits on the floor next to Clay. WHALE I'm curious, Mr. Boone. What convinced you to come back? CLAY I do n't know. I guess I like your stories. WHALE Everybody has stories to tell. CLAY Not me. WHALE What about your stint in Korea? I'm sure it was full of dramatic episodes. CLAY I told you. I do n't like to talk about that. Whale nods, sensing that he's touched a sore spot. WHALE And the fear you showed at our last session? How did you overcome that? CLAY Not fear. More like disgust. WHALE Same difference, Mr. Boone. Disgust, fear of the unknown - all part of the great gulf that stands between us. Am I right in assuming that you've had little experience with men of my persuasion? CLAY There's no people like you in my crowd. WHALE No teammates in football? No comrades in Korea? CLAY You must think the whole world is queer. Well it's not. War sure is n't. WHALE Oh, there may not be atheists in the foxholes, but there are occasionally lovers. CLAY You're talking through your hat now. WHALE Not at all. I was in the foxholes myself. CLAY You were a soldier? WHALE I was an officer. Clay breaks his pose to turn and look at Whale. CLAY This was World War I? WHALE No, my dear. The Crimean War. What do you think? The Great War. You had a Good War, while we had - Whale clears his throat, bored by his standard line. WHALE - a war without end. There were trenches when I arrived, and trenches when I left, two years later. Just like in the movies. Only the movies never get the stench of them. The world reduced to mud and sandbags and a narrow strip of rainy sky. -LRB- a dry snort. -RRB- But we were discussing something else. Oh yes. Love in the trenches. Now he's talking only to himself. WHALE Barnett. Was that his name? Leonard Barnett. He came to the front straight from Harrow. And he looked up to me. Unlike the others, he did n't care that I was a workingman impersonating his betters. How strange, to be admired so blindly. I suppose he loved me. But chastely, like a schoolboy. CLAY Something happened to him? Whale looks up at Clay, stares at him. WHALE I remember one morning in particular. A morning when the sun came out.", "EXT. TRENCHES - DAY (1917) LEONARD BARNETT, 19, boyish and handsome, peers into a periscope. Whale stands beside him, pointing out landmarks on the bleak landscape. WHALE -LRB- V.O. -RRB- Odd, how even there one could have days when the weather was enough to make one happy. He and I were standing on the fire step and I showed him the sights of no - man's land, through the periscope. It was beautiful. The barbed wire was reddish gold, the water in the shell holes green with algae, the sky a clear quattrocento blue. And I stood shoulder to shoulder with a tall apple - cheeked boy who loved and trusted me. Whale reaches over and lays his arm across Barnett's shoulder. Barnett smiles timidly at him. We CUT TO :", "INT. WHALE'S HOUSE - STUDIO - DAY Whale leans forward, completely disoriented. His eyes fix on Clay, the white eyebrows screwed down, until he is able to recognize the face. WHALE Do n't do this to me again, Mr. Boone. I absolutely refuse. Whale stands, his legs shaky. WHALE You will not set me on another walk down memory lane. Not this lane. Not today. CLAY I did n't - WHALE Why do I tell you this? I never told David. I never even remembered it until you got me going. CLAY You're the one who started it. WHALE You're very clever, Mr. Boone. You just sit there and let me talk. What a sorry old man, you're thinking. What a crazy old poof. -LRB- comes closer. -RRB- Why are you here? What do you want from me? CLAY You asked me to model. Remember? WHALE Of course I remember. Do you think I'm so senile - Whale stands over Clay. His pale face turns left, right, looking at Clay with one cold eye, then the other. Clay returns the gaze, worried for Whale. CLAY Mr. Whale? Are you okay? Whale turns away. He yanks out a handkerchief. WHALE Stupid. Very stupid. What have I been thinking? He sits on the daybed and bends over, covering both eyes with the handkerchief. WHALE Just go. Please. Why do n't you go? CLAY I do n't get it. First you creep me out with homo shit. Then you hit me with war stories. And now you're upset because I listen? What do you want? WHALE I want - I want. His pained eyes focus on Clay, and soften. WHALE I want a glass of water. Clay gets up and goes to the sink. WHALE A touch of headache. Clay hands him the water. WHALE Thank you. Whale sets the glass down and sits with his head lowered, his body folded like a bundle of sticks. WHALE My apologies. I had no business snapping at you. CLAY No harm done. WHALE It was foolishness to attempt this portrait. You can not force what will not flow. CLAY You do n't want me to sit for you anymore? Whale shakes his head sadly. He gazes up at Clay, sees the disappointment on his face. WHALE How would you like to come to a party with me? A reception for Princess Margaret. CLAY I thought you were n't going. WHALE If you do n't mind driving, I'd like to take you as my guest. There should be lots of pretty starlets to keep you amused. CLAY I'm game. Sure. WHALE Very good, Clayton. May I call you Clayton? Or do you prefer Boone? CLAY Clayton is fine. Whale smiles gently.", "EXT. OCEAN PROMENADE - DUSK The sun is setting over the Pacific. Clay stands in a phone booth on the strand.", "INT. PHONE BOOTH - DUSK Clay smiles anxiously as the call connects. CLAY Mom? Yeah, it's me. Clay pauses as his mother shoots questions at him. CLAY No, I'm not in jail. I do n't want any money, no. -LRB- louder, to be heard. -RRB- Look, is Sis there? I want to tell her about this movie person I met out here. She'll get a kick out of it. We hear the phrase : `` She's out, Clay.'' Clay closes his eyes as his mother rambles on. CLAY No, I still. I'd give you my phone number if I had a phone - Clay tries to stay calm as his mother berates him for not staying in touch. CLAY How's the old man? Before Clay can protest we hear : `` Hold on.'' Clay glances out at couples strolling up the promenade. An operator interrupts, says : `` One dollar for the next three minutes.'' Clay deposits two quarters before his mother returns. `` He's busy, Clay.'' CLAY Right. The operator comes on again, asking for fifty more cents. Clay stares at the quarters in his hand. CLAY Time's up. I better go. Clay listens as his mother prattles on, until the connection is broken and the phone goes dead. Clay steps out of the booth, takes a deep breath of ocean air.", "INT. WHALE'S HOUSE - BEDROOM - DAY Whale and Hanna go through the closet together. HANNA Mr. Boone. He is an interesting friend. WHALE I'd hardly call our yardman a friend. HANNA No. But someone you can talk to. Whale stops, turns to Hanna. WHALE Do you miss having someone to talk to, Hanna? HANNA I have my family. Also our Lord Jesus Christ. WHALE Of course. How is the old boy these days? The naughty remark is met with a solemn stare. Whale reaches up, chooses a lightweight blue suit. WHALE It needs a hat. There was a wide - brimmed cream fedora. HANNA It must be up in your old room. I will look. The phone rings. Hanna hurries to answer it.", "INT. WHALE'S HOUSE - MAIN HALL - DAY Hanna speaks softly in Hungarian. Whale points upstairs to let her know he will look for the hat himself.", "INT. WHALE'S HOUSE - MASTER BEDROOM - DAY Whale opens the closet door and takes down a stack of hatboxes from the overhead shelf. He opens the first box, takes out a rubbery wad of heavy fabric with two round windows like eyes. It's a gas mask. We CUT TO :", "INT. TRENCHES - NIGHT (1917) The night sky explodes with light and smoke. Whale moves calmly through the chaos, trying to maintain a modicum of order among the troops. WHALE Gas masks on. Gas masks on. At the end of the line, young Barnett is struggling with his straps. Mustard gas is starting to stream into the trench. BARNETT Do n't mind me, Lieutenant. Save yourself. Whale slips the mask over Barnett's face, fastens it. He slides his own mask into position moments before the trench is obliterated by the yellowish smoke. We CUT TO :", "INT. WHALE'S HOUSE - MASTER BEDROOM - DAY Hanna stands in the door with a forlorn frown. HANNA Oh, Mr. Jimmy. You make a mess of it. Here. Hanna lifts the lid of an unopened box to show him the missing fedora. HANNA -LRB- stacking boxes. -RRB- That is my daughter. She say she and her husband are coming to town this afternoon. I am sorry, Mr. Jimmy. I will make it short. WHALE I'll be out this afternoon, remember? Your family can visit as long as they like. HANNA No. I do not cook for them. My daughter's no - good husband will not take one bite of our food. Hanna holds out the box for the gas mask. Whale gives it a long, final look, then drops it in the box. WHALE You can toss this one in the trash. Hanna clamps the lid on the box.", "INT. WHALE'S HOUSE - FOYER - DAY Hanna has opened the door. At the end of the hall, silhouetted against the bright afternoon sky, is Clay. His shoulders fill the doorway. The top of his head is perfectly flat. WHALE Good afternoon, Clayton. CLAY Do I look okay? Clay steps into the light. His khaki pants are clean and pressed. A blue knit shirt fits his muscles snugly. WHALE You look splendid, my boy. Quite splendid.", "INT. WHALE'S HOUSE - GARAGE - DAY Whale crosses to the passenger side of the Chrysler. WHALE I suppose you'd like the top down. CLAY If that's okay? WHALE Nothing would please me more. Clay squeezes behind the wheel, shifts the seat back, explores switches. The vinyl top pops up and folds backward. Whale gets in. Clay starts the engine and backs out.", "EXT. WHALE'S HOUSE - DAY Hanna stands at the front door, hands tangled in her apron. Whale tugs his hat brim at her as the car swings around the driveway. Whale smiles at the wide open sky overhead. Clay steps on the gas and the Chrysler takes off.", "EXT. CUKOR HOUSE - DAY The party is clearly audible from the road, where Clay has squeezed the Chrysler into a long row of shiny cars nuzzling the high brick wall. Whale puts his dark glasses on. WHALE Stars, you know. The suns of other galaxies. They walk up the steep road to the gatehouse. WHALE Good old George. He loves to put on the dog. Only his dogs tend to have a bit of mutt. A WOMAN at the gate inspects the invitation, waves them through.", "EXT. CUKOR HOUSE - LAWN - DAY A sunny patio with hedges and statues. Wickets and stakes have been set up for a game of croquet, but only a handful of very tanned children strut around with mallets. WHALE What did I tell you? Listen. CLAY I do n't hear anything. WHALE Exactly. Cukor was too cheap to hire music. There's nothing but chin - wag. The cold dreary custard of English chin - wag. Whale scans the crowd. WHALE Slim pickings. Well, it's early yet. Perhaps this is a good time to pay our respects. Clay follows Whale toward a trellis alcove covered in ivy. A handful of people grin at the mismatched couple who stand in the shade : a homely older man in glasses and a pretty woman in a white dress with polka dots. GEORGE CUKOR and PRINCESS MARGARET. WHALE Let's get this over with quickly. Whale forgets to remove his hat when he comes forward. Before he can give Cukor their names Princess Margaret's polite smile bursts open in a joyful display of teeth. PRINCESS MARGARET I had no idea you'd be here. She seizes Whale's hand in her little white gloves. PRINCESS MARGARET How are you? WHALE -LRB- taken aback. -RRB- Fine. Quite fine. And Your Royal Highness? PRINCESS MARGARET Splendid. Now that I know you're around. Standing beside him, Clay is clearly impressed that Whale knows a princess. PRINCESS MARGARET Can we get together while I'm in town? I so badly want to sit for you again. WHALE Sit? PRINCESS MARGARET I've changed my hair, you see. Since our last session. Those old snaps look rather dowdy now. Whale realizes she's mistaken him for someone else. He tugs his sunglasses down his nose so she can see his eyes. PRINCESS MARGARET Oh dear. Have I made a blunder? WHALE Ma'am, the pleasure is all mine. James Whale. PRINCESS MARGARET -LRB- laughs. -RRB- I am such a goose. I mistook you for Cecil Beaton. It's the hat. You're wearing one of Cecil's hats, you know. Whale attempts to chuckle while he fights a feeling of humiliation. He turns to Cukor for help. WHALE Hello, George. James Whale. David Lewis's friend. I once made pictures myself, Ma'am. GEORGE CUKOR Yes. Of course. One ca n't throw a rock in this town without hitting one of us old movie directors. Whale feels the sting. He turns to Clay. WHALE Ma'am, may I present Mr. Clayton Boone? Clay steps forward to shake hands. WHALE My gardener, who insisted I bring him today. He so wanted to meet royalty. Cukor's face goes blank with indignation. CLAY Pleased to meet you. PRINCESS MARGARET Quite. I adore gardens. Whale narrows his eyes at Cukor and sharpens his smile. WHALE He's never met a princess. Only queens. Cukor puffs out his chest, quivers a bulbous lower lip at Whale. WHALE George, Ma'am, this has been an honor. An occasion to remember for the rest of my days. He leads Clay away and an American couple promptly crowd in to take their place. Striding through the garden, Whale is obviously pleased with himself. CLAY What was that about? WHALE Nothing of importance. Just two old men slapping each other with lilies. Shall we have a drink? Whale leads Clay to a tented bar. Across the way, David Lewis has come through the gate with a WOMAN on his arm. People look discreetly, not at David but at the woman, lightly veiled in a scarf and sunglasses. CLAY Who's that? WHALE David. The friend I thought was in New York. CLAY No. The girl. WHALE Girl? Oh. Elizabeth Taylor. Clay watches in amazement as ELIZABETH TAYLOR waves to someone and pipes out a happy hello. She hurriedly unties her scarf, thrusts it at David and runs off on tiptoes to embrace a woman. CLAY Is that really her? WHALE David produced her last picture. David glances around while he slips the scarf into a coat pocket. He sees Whale looking at him. He puts on a tight smile and strolls across the patio. DAVID What are you doing here? WHALE Just what I was about to ask you. I thought you were in New York. DAVID I was, until last night. Publicity asked me to fly Miss Taylor in for today's reception. The waiter arrives with their drinks. Only when Clay takes his glass of beer does David see that Whale is not alone. DAVID David Lewis. CLAY Clay Boone. WHALE Our yardman. Who was kind enough to serve as my escort to George's little do. David freezes. Whale lifts his martini glass at Clay and takes a sip. DAVID Should you be drinking in your condition? WHALE Oh, David, stop being a nanny. Clay clears his throat, eager to escape this domestic squabble. CLAY I think I'll go look at Elizabeth Taylor. He hurries off. WHALE You should have seen Georgie's face when he met Clayton. DAVID You did n't, Jimmy. WHALE I did. But Princess Margaret was a doll. We're all equals in her eyes. As commoners, I presume. DAVID You only embarrass yourself. WHALE Oh dear. I'll never work in this town again? DAVID You know what I mean. Your reputation. WHALE But I have no reputation. I'm as free as the air. DAVID Well the rest of us are n't. Ca n't you remember that? WHALE No. I never could. You must regret having had the invitation sent. David is looking over Whale's shoulder. DAVID I did n't ask George to invite you. WHALE Then who did? DAVID Jimmy, there are people here I need to speak to. You'll be fine on your own? WHALE Yes. Perfectly. DAVID All right, then. I'll come by tomorrow for breakfast. Whale nods, watches David stroll over to the pool and greet a gaggle of executives. Whale drifts toward some deck chairs at the far end of the croquet lawn. He sits, takes a sip of his drink. Suddenly a high - pitched giggle pierces the air. KAY Mr. Whale! Whale looks out to see Edmund Kay, his interviewer from several weeks ago, marching across the lawn. WHALE Mr. Kay? KAY Bet you thought you'd never see me again. I did n't know if you'd be well enough to come to this party. WHALE You did n't? KAY I'm the one who got you on Mr. Cukor's guest list. WHALE You, Mr. Kay? How do you know George Cukor? KAY I interviewed him after I met you. I'm his social secretary now. Well, assistant to his secretary. WHALE I commend you. If you're going to pursue poofs, go after those who can do favors for you. You waste everybody's time when you court dinosaurs. KAY Do n't think that, Mr. Whale. I love your movies. That's why I wanted you to come to this. So I could see you with your monsters. WHALE My monsters? KAY Do n't go away. Whale tries to do just that, but finds himself caught in the chair. He is stumbling to his feet when Kay returns with Elsa Lanchester, 55, at his side. ELSA LANCHESTER Jimmy. How are you? WHALE Elsa? She takes Whale's hand, with a look of deep concern and sympathy. Kay races off again. ELSA LANCHESTER I saw Una O'Conner a few weeks ago. She said you'd been under the weather. WHALE Oh, nothing out of the ordinary. Growing old. ELSA LANCHESTER We're all getting a bit long in the tooth. WHALE But you appear quite fresh, my dear. She swats aside the compliment and gestures at the chair. ELSA LANCHESTER Please. You should n't stand on my account. WHALE Perfectly all right. But if you'd like to sit - ELSA LANCHESTER I'm fine, Jimmy. I can only stay a few minutes. WHALE Of course. ELSA LANCHESTER What's our pesky friend up to now? Kay returns, accompanied by a stopped, gray - haired man with a long rectangular face and wary, heavy - lidded eyes. ELSA LANCHESTER Is that Boris? Our little chum appears to be arranging a reunion. WHALE Oh dear. Karloff, age 70, comes reluctantly, followed by his niece ALICE, a bashful young woman who carried a blanket - wrapped bundle. ELSA LANCHESTER Boris, darling. I did n't know you were here. These public revels are hardly up your alley. BORIS KARLOFF I came for the sake of my visiting niece. Alice. And Miranda, my great - niece. His huge hand lifts the blanket in Alice's arms, revealing a bald infant with enormous blue eyes. Karloff gurgles and coos at the child. ELSA LANCHESTER And what do you make of our royal visitant? BORIS KARLOFF Perfectly charming. A real lady. ELSA LANCHESTER Of course she's a lady. What did you expect? A hussy in tennis shoes? Whale looks up and discovers Clay standing a few feet behind Karloff. He is ogling two bosomy actresses who are listening intently to the monocled British consul. Whale's eyes try to focus Karloff and Clay together, his once and future monsters. Kay shouts to a passing photographer carrying a bulky Speed Graphic. KAY Hey, you! With the camera! We got a historical moment here. Come get a picture of it. The man scans the scene for a famous face. KAY This is Mr. James Whale, who made `` Frankenstein'' and `` Bride of Frankenstein.'' and this is the Monster and his Bride. Clay looks up when he hears Kay identify Karloff. PHOTOGRAPHER Oh, Karloff. Right. Karloff and Elsa drift into position next to Whale. The flash goes off, a snap and a crunch of light. Whale cringes in pain. ELSA LANCHESTER -LRB- through clenched teeth. -RRB- Do n't you just love being famous? Another flash. From Whale's perspective, the bulb resembles nothing so much as the translucent tube of electrical current from Dr. Frankenstein's laboratory. Whale concentrates on his smile as another snap of light stabs his brain. He clutches Elsa Lanchester's hand. ELSA LANCHESTER Are you all right, Jimmy? A sharp nod from Whale. The photographer motions to Karloff's niece. PHOTOGRAPHER Let me get one with Frankenstein holding the kid. Alice hands over the baby. Karloff gently cradles the child. Whale stands on his left, Elsa on his right. They all smile at the baby, who gurgles and points up. Whale follows the baby's gaze to the sky, where a large kite rocks and strains in a furious electrical storm. The camera flashes once, then again. PHOTOGRAPHER Got it! Whale glances up - the kite is gone. Thunder rumbles as the group starts to disperse. Whale nods to the faces exchanging good - byes. BORIS KARLOFF So good to see you again, James. He strolls off, clucking and cooing at his baby. KAY Catch you before you go, Mr. Whale. I'll make sure everybody gets sent a print. He goes off with the photographer. Elsa kisses Whale on the cheek. ELSA LANCHESTER We'll be in touch, Jimmy. WHALE Good - bye. So nice to see you. Finally Whale is alone. He staggers to the deck chair and lowers himself sideways into the lawn chair. CLAY You okay? Whale gazes up at Clay. WHALE Tired. A bit tired. Clay nods. Whale smiles at him. WHALE Are you enjoying yourself? CLAY Actually, no. I feel a little out of place. WHALE Neither of us really belongs here. CLAY Must have been funny for you. Seeing your monsters again. WHALE Monsters? The only monsters. -LRB- closes his eyes. -RRB-. are here. Across the lawn, conversation has stopped. Birdlike shrieks come from all directions. CLAY Oh fuck. And we left the top down. You want to run for it? WHALE Run for what? CLAY Ca n't you see? It's raining! The rain is only a flickering of air, but people are jumping and shrieking, throwing coats over their heads as they dash toward the house. CLAY Here. He takes Whale under the arm, helps him up and escorts him to a small tent. On the patio, everyone shoves and squeezes to get through the one open door. Whale stares out, hypnotized by the deluge. From his POV, we see a young man step into the rain. Whale squints, is finally able to identify the man as Leonard Barnett. Whale's eyes follow Barnett as he emerges onto a new landscape, a scarred and barren battlefield. As the storm continues to rage : CLAY -LRB- O.S. -RRB- Mr. Whale? Whale shifts his gaze to Clay. He takes a moment to orient himself. WHALE Let's get out of this funk hole CLAY You do n't want to wait it out? Rain should let up soon. WHALE We're not sugar. We wo n't melt. Whale adjusts the brim of his hat and steps into the downpour. Clay has no choice except to follow. They walk briskly, the minute splashes on Whale's hat forming a ghostly aura of spray.", "INT. CAR - DAY Whale opens the door and climbs in next to Clay. The roof slowly closes over them. CLAY I better get you home before you catch your death from pneumonia. WHALE Catch my death. Clay glances over, sees Whale sitting very wet and rigid, staring straight ahead. CLAY You all right, Mr. Whale? Whale blinks, slowly turns. There is a cracked look in his eyes. WHALE Jimmy. Please. Call me Jimmy. Clay smiles, starts to back the car out.", "INT. WHALE'S HOUSE - FOYER - DUSK The hallway is pitch - dark as Whale and Clay enter. WHALE Hanna! Bring us some towels. We're drenched to the bone! No response. WHALE Blast her. If we soil her holy floor, it's her own damn fault. Whale goes squashing down the hall. Clay remains just inside the open door, prying off his shoes and peeling off his socks. He follows Whale into :", "INT. WHALE'S HOUSE - KITCHEN - DUSK Whale stands over the table with his jaw open. WHALE I do n't believe this. He slides a note to Clay. WHALE It's not like her. CLAY -LRB- reading. -RRB- Just a night out. Sounds like she ca n't say no to her daughter. WHALE Certainly you have better things to do than babysit an old man? CLAY Good. Let's get dry.", "INT. WHALE'S HOUSE - BEDROOM - NIGHT Whale stands just inside the closet, buttoning a crisp white shirt. He reaches for a red bow tie, closes the closet door. In the mirror, Leonard Barnett stands behind him, in uniform. Whale's eyes twinkle in surprise. He drapes the tie around his collar. WHALE What do you think? Barnett smiles his approval.", "INT. WHALE'S HOUSE - UPSTAIRS HALLWAY - NIGHT Clay opens the bathroom door, calls out. CLAY Mr. Whale? No answer. He goes to the top of the stairs and calls out. CLAY Where's those clothes you promised? Again, nothing. Rain ticks against the windows. Clay goes down the stairs.", "INT. WHALE'S HOUSE - BEDROOM - NIGHT Whale fiddles with the knot of his tie. WHALE He trusts me, you know. Barnett sits on the edge of the bed now. He smiles, a bit sadly.", "INT. WHALE'S HOUSE - DOWNSTAIRS HALLWAY - NIGHT There's glow coming from the bedroom, and the sound of Whale's voice. CLAY Mr. Whale? Jimmy? Clay steps slowly toward the door, pushes it open. He peers in.", "INT. WHALE'S HOUSE - BEDROOM - NIGHT Whale pulls on a blazer. CLAY Mr. Whale? Whale jumps. He slaps a hand over his chest, twists around, sees Clay. WHALE Oh, of course. Clayton. You finished your shower already? CLAY Ten minutes ago. Did n't you hear me calling? WHALE I'm afraid not. Terribly sorry. -LRB- stands. -RRB- I believe I promised you some clothes. Whale crosses to the closet. Barnett is nowhere to be seen. WHALE You're much wider than I am. You wo n't want to attempt to get into my pants. CLAY No. Definitely not. Clay chuckles. Whale smiles. WHALE Very good, Clayton. He takes a robe from a hook on the closet door. Clay tries it on but it wo n't close over the towel. WHALE I know. Whale opens a drawer, takes out a crewneck sweater. WHALE Absolutely swims on me, but should take care of your upper half. Clay pulls the sweater over his head. WHALE That only leaves the rest. CLAY You do n't have any baggy shorts? Pajama bottoms? WHALE Sorry. My pajamas are tailored. Would it be too distressing to continue with the towel? No more immodest than a kilt, you know. CLAY Do I have any other choice? WHALE Very sporting of you, Clayton. Clay notices a framed drawing on the desk. CLAY Is that -? WHALE -LRB- nods. -RRB- The only memento I ever kept. My original sketch for the Monster. He hands the sketch to Clay, who stares down at the famous flat head, hooded eyes, bolted neck of the Monster. WHALE Shall we? Clay puts down the sketch, starts into the hall. Whale turns back, sees Barnett standing by the window. Whale flips off the light and closes the door.", "INT. WHALE'S HOUSE - KITCHEN - NIGHT Clay sits at the kitchen table. Whale opens the refrigerator and brings out two plates wrapped in wax paper, and a bottle of beer for Clay. He pours himself a shot of Scotch from a decanter and sits down. WHALE After dinner, if Hanna is n't back? Can we try a few more sketches? CLAY I thought you'd given up on my picture. WHALE I'd like to try again. If you're game. CLAY Why not? Give us something to do while we wait. Clay munches on his sandwich. Whale pours himself another Scotch, takes a sip. WHALE Tell me something, Clayton. Do you believe in mercy killing? CLAY Never gave it much thought. WHALE Come now. I'm sure you came across such situations in Korea. A wounded comrade, or perhaps one of the enemy? Someone for whom death would be a blessing. Clay stops chewing. He stares down at his plate. CLAY I never went. He takes a deep breath, looks up at Whale. CLAY I never made it to Korea. WHALE But you said - CLAY - that I was a Marine. Which is true. You filled in the rest. WHALE I see. Clay downs his beer, refills the glass. CLAY My old man was a Marine. He enlisted the day he turned seventeen. WHALE The Great War? CLAY -LRB- nods. -RRB- By the time he was ready to ship out, the fighting was over. He missed out. WHALE A very lucky thing indeed. CLAY That's not the way he saw it. To him, it was like his life never got started. Nothing else really mattered. Definitely not his family. Whale gazes sympathetically at Clay. CLAY The morning after Pearl Harbor, he drove down to St. Louis to reenlist. He was so damn excited. World War II was going to be his second chance. -LRB- sighs. -RRB- They told him he was too old. fat. nearsighted. Said he'd be more use to his country if he stayed home and looked after his family. WHALE Is that why you joined the Marines? For your father's sake? CLAY I figured he'd think, you know - it was the next best thing. Hey, I loved it too. A chance to be a part of something important. Something bigger than yourself. WHALE What happened? CLAY I did n't have the guts for it. A look of surprise crosses Whale's face. CLAY I mean, literally. My body screwed me up. Burst appendix. They gave me a medical discharge. All I thought about was, how am I going to tell the old man. He breaks into a crooked smile. CLAY You know what he did when I called him? He laughed. He laughed so hard he practically burst a blood vessel. Said it was a good lesson for me. Not to try to fill his shoes. WHALE I'm very sorry. CLAY Them's the breaks, right? No war stories for this pup. WHALE That's where you're wrong, Clayton. You've just told one. A very good story indeed. Whale lifts his glass in a toast. Clay empties his glass of beer. He motions toward the decanter. CLAY Do you mind? WHALE Not at all. He hands the decanter to Clay.", "INT. WHALE'S HOUSE - LIVING ROOM - NIGHT Clay sits in a straight - backed chair, smoking a cigarette and sipping his Scotch. Whale sketches from a wing chair across the room. CLAY Storm's getting worse. WHALE `` A perfect night for mystery and horror. The air itself is filled with monsters.'' CLAY That's from your movie, right? `` The only monsters are here.'' WHALE I do n't remember that one. CLAY James Whale. This afternoon at the party. Whale looks up. CLAY I said it must be weird seeing your monsters again, and you said, `` The only monsters are here.'' I was wondering which here you meant. WHALE I do n't recall. Memories of the war, perhaps. CLAY But that was so long ago. It ca n't still bother you. WHALE Oh, but it does. Especially in light of the journey I'm about to make. CLAY You're planning a trip? Whale's gaze remains dreamy and preoccupied as SOUNDS of battle fill the room. A relentless rat - a - tat of gunfire. The whistling of bombs. The tortured wailing of dying men. Whale stands, moves over to the window. WHALE Barnett. Barnett on the wire. CLAY Your friend? Whale gazes out at the storm. From his POV, we see a scarred and barren landscape, illuminated by occasional flashes of lightning. WHALE He caught his one night coming back from the reconnoiter. I would n't take him out, but McGill did. Just to give the lad a taste. They were nearly home when a Maxim gun opened fire.", "EXT. TRENCHES - NIGHT (1917) We race along the open trench with Whale, the darkened sky intermittently punctured by bursts of gunfire. He reaches the periscope, pulls an enlisted man off it. From his POV, we see Barnett and McGill dodging bullets as they attempt to make their way back. WHALE -LRB- through clenched teeth. -RRB- Come on. Come on. McGill leaps over the barbed wire of a forward trench. Barnett follows. Just as his feet leave the ground his chest is riddled by a fresh round of gunfire. Whale's eyes snap closed, trying to obliterate what they've just seen. WHALE -LRB- V.O. -RRB- Barnett's body fell in wire as thick as briers. It was hanging there the next morning, a hundred yards from the line, too far out for anyone to fetch it.", "INT. WHALE'S HOUSE - LIVING ROOM - NIGHT Whale stares out impassively. WHALE We saw him at morning stand - to and evening stand - to. `` Good morning, Barnett,'' we'd say each day. `` How's ole Barnett looking this morning?'' `` Seems a little peaky. Looks a little plumper.'' His wounds faced the other way and his hat shielded his eyes, so one could imagine he was napping on bedsprings. He hung there until we were relieved. We introduced him to the new unit before we marched out, speaking highly of his companionship. Clay's eyes are filled with pity. WHALE Oh, but we were a witty lot. Laughing at our dead. Telling ourselves it was our death too. But with each man who died, I thought, `` Better you than me, poor sod.'' -LRB- bitterly. -RRB- A whole generation was wiped out by that war. Millions and millions of young men. Whale begins to hum, a tune we have heard before : WHALE Oh death where is thy sting - a - ling? Grave where thy victory? CLAY You survived it. It ca n't hurt you now. It's no good to dig it up. WHALE Oh no, my friend. It's digging itself up. There is nothing in the here and now to take my mind off it. All my diversions have abandoned me. Parties. Reading. Painting. Work. Love. All gone to me now. Whale remains perfectly still, staring out the window. Clay deliberates a moment, then puts down his drink next to the decanter of Scotch. He stands and yanks the neck of the sweater over his face, then tosses it on the sofa. Whale blinks at the reflection in the glass, not yet understanding. CLAY You wanted to draw me like a Greek statue. All right, then. Clay pulls at the knot, lets go of the towel. He defiantly parks his hands on his hips. CLAY There. Not so bad. Whale continues to stare at the reflection, his back to Clay, his eyes wide and expressionless. He turns slowly, fully expecting the vision to evaporate. When he sees that Clay is truly naked he mutters softly under his breath. WHALE So it is going to happen after all. CLAY What'd you say? Whale does n't respond. Finally he opens his mouth to take a breath. WHALE No. It wo n't do. CLAY What wo n't do? WHALE You are much too human. CLAY What did you expect? Bronze? WHALE Do n't move. Whale moves abruptly across the room. He walks past Clay.", "INT. WHALE'S HOUSE - DINING ROOM - NIGHT Whale passes quickly through the dining room and out to the kitchen.", "INT. WHALE'S HOUSE - GARAGE - NIGHT Whale reaches for the hatbox, which sits on top of a garbage can. Suddenly a large hand appears on the box. Whale gasps when a flash of lightning reveals the face of the Monster. The Monster growls out an inarticulate greeting. He picks up the box and hands it to Whale.", "INT. WHALE'S HOUSE - LIVING ROOM - NIGHT Whale removes the lid, sets the hatbox on the sofa. WHALE I would like you to wear this? Whale steps back. Clay takes the box and covers his lap with it. He lifts out the gas mask. CLAY Why? WHALE For the artistic effect. The combination of your human body and that inhuman mask. It's quite striking. CLAY I do n't know. WHALE Please, Clayton. Just for a minute. Long enough for me to see the effect. CLAY It's from the first World War, is n't it? WHALE -LRB- nods. -RRB- There are straps in back. Clay fits the mask on the top of his head and draws it down. The living room turns brownish yellow in the thick glass goggles. WHALE Let me help you. Whale is suddenly behind him. Clay's vision is enclosed in two round windows, so he ca n't see Whale buckling the second strap. CLAY Now what? Mouth muffled by the inhalator, Clay hears his voice from inside his head. Whale comes around to stand in front of him. He grins as he steps back to examine Clay. Clay nervously taps his knees with his hands. CLAY All right. Let's take it off now. WHALE What was that? CLAY It's too tight. Clay raises his voice to make himself heard. He reaches back to undo the buckles. WHALE Allow me. Whale steps in past the goggles. WHALE We do n't want to tear the straps. Clay drops his hands so Whale can undo the buckles. But nothing happens. Clay turns left and right. WHALE Oh yes. I am still here. Two hands grip Clay's shoulders. WHALE What steely muscles, Clayton. Whale's hands squeeze. Clay grabs the frame of his seat, to stop his arms from automatically swinging a fist. Whale's hand slides over Clay's shoulder to his arm, caressing the tattoo. Clay jerks his shoulder to shake Whale off. CLAY Just take off the fucking mask! WHALE Relax, Clayton. I ca n't hear you. I ca n't hear a word. Whale presses his lips to Clay's tattoo. Clay's muscles tense from head to toe. WHALE What a solid brute you are. Whale's tongue moves down Clay's arm. WHALE No? Maybe this, then? The hand slides over Clay's stomach toward his lap. The tattooed arm swings backward, slamming an elbow against Whale's skull. Clay jumps from the chair, knocking into an end table. The glass and crystal decanter fall to the floor. The lamp spills over and the room goes dark. Clay's ankle is caught by the sofa leg and he hits the floor, jamming the inhalator against his mouth. He quickly gets up, on his knees and elbows, pulling at the mask. Flashes of lightning strobe the room as Whale collapses over Clay's back and holds on. WHALE Oh yes. I have you now. A strap breaks. Clay rips the mask off. CLAY Get the fuck off! Whale's hand squeezes between Clay's legs. WHALE What will you do to get yourself back? Clay jabs with his elbow, flipping Whale on his back. His body straddles Whale's and pins him, face to face. CLAY I'm not that way. Get it through your fucking head. I do n't want to mess with you. WHALE Oh, but you feel good, Clayton. His hands clasp Clay's hips. Clay's fist opens as it comes down ; he slaps Whale across the face. WHALE That did n't even sting. You're not such a real man after all. Are you? Clay whacks Whale's face again. WHALE Wait until I tell my friends I had you naked in my arms. Wo n't they be surprised? CLAY I have n't done a damn thing with you! WHALE Oh, but you have. You undressed for me. I kissed you. I even touched your prick. How will you be able to live with yourself? Clay snatches Whale's wrist before it can touch his crotch. With his other hand he picks up the heavy crystal decanter. CLAY What the hell do you want from me?! Whale tilts his face up for another blow. WHALE I want you to kill me. Clay freezes. He stares down at the old man with white hair and wild eyes lying beneath him. WHALE Break my neck. Or strangle me. It would be oh so easy to wrap your hands around my neck and choke the life out of me. Please, Clayton. We've come this far. CLAY You're crazy. Whale's eyes glimmer in the sporadic bursts of lightning. WHALE Exactly, I'm losing my mind. Every day, another piece goes. Soon there will be nothing left. Look at the sketch I made of you. Clay turns to the sketch pad, which lies on the floor next to Whale. The page is filled with nothing but doodles and scrawls. CLAY Look, if you want to die do it yourself! WHALE No, I do n't want to die alone. But to be killed by you - that would make death bearable. They say you never see the one with your name on it. But I want to see death coming at me. I want it to be sharp and hard, with a human face. Your face. Think, Clayton. You'd be my second Monster. Almost as famous as the first. It would be the great adventure you've yearned for. A war story for both of us to share. Clay's breathing comes in quick, panicked bursts. WHALE You'd be fully exonerated, I've taken care of that. I wrote a note, I'll even leave you the house, the car. Clay's body starts to tremble. WHALE Do it now, Clayton. Make me invisible. Clay lets out a howl - his shoulders heave and shake. CLAY I am not your monster. He climbs off Whale, crawls away, his body collapsing in wracking, anguished sobs. Whale opens his eyes, gazes at Clay. WHALE What have I done? -LRB- sits up. -RRB- Oh, selfish, selfish fool. I have lost my mind. He forces himself to his feet. WHALE What was I thinking? Whale picks up the towel and moves over to Clay. WHALE You're a softhearted bloke. A bloody pussycat. Whale places the towel around Clay's shoulders. WHALE My deepest apologies. Can you ever forgive me? Clay does n't look up. WHALE I suppose not. -LRB- a bone - crushing sigh. -RRB- Good God, I am tired. I really must go to bed. Whale starts slowly down the hall.", "INT. WHALE'S HOUSE - BEDROOM - NIGHT Whale sits on the edge of the bed, tugs the bowtie from his collar. Clay taps on the door, opens it. CLAY You okay? WHALE Oh Clayton. CLAY Did I hurt you? WHALE Nothing I did n't deserve. CLAY Need some help? WHALE Pray you, undo this button. He lifts his chin and points to his collar. WHALE I can never manage it when I'm tired. Clay leans in to open the button. His face is only six inches from Whale's. WHALE Do you believe people come into our lives for a reason? Clay does n't answer. Whale turns, breaking their shared gaze. WHALE I can undress myself, thank you. CLAY -LRB- steps back. -RRB- All right. Whale hauls his legs up and stretches out on the bed. WHALE When you die. be sure your brain is the last organ to fizzle - CLAY You'll feel better tomorrow. WHALE Tomorrow and tomorrow and tomorrow. Whale smiles fondly at him. WHALE Goodnight, Clayton. Clay pulls the door shut and it clicks. He stands there a moment.", "INT. WHALE'S HOUSE - KITCHEN - NIGHT Clay shakes open a bedsheet and wraps himself in it.", "INT. WHALE'S HOUSE - LIVING ROOM - NIGHT Clay finds a pack of cigarettes on the floor and lights one, then sets the furniture back up. He picks up the gas mask from beside the sofa, shoves it into its box. Clay sits in the wing - back chair, props his feet on the hassock, adjusting the sheet around his shoulders. We CUT", "INT. WHALE'S HOUSE - BEDROOM - NIGHT Whale bolts up in bed. An electrical storm flashes and cracks in the window. Whale gets out of bed, stares outside. From his POV, the lawn is a barren slope covered with stumps. Whale turns on the desk lamp, sits. He pulls out a piece of paper.", "EXT. BATTLEFIELD - NIGHT We're back to the scene that opened the movie, a flat - topped creature stumbling through the mud. A flash of lightning reveals Clay's face. He turns, signals for Whale to follow him. Whale joins Clay on a slight rise of ground, the rim of a crater. Clay points down into it.", "EXT. CRATER - NIGHT The crater is full of bodies gathered around a pool of water. Whale stumbles down, reaches the bottom and bends over the nearest corpse in khaki. It is Leonard Barnett. There are no wounds on his body, no rips or gaping holes. His eyes are closed in dreamless sleep. Whale looks up and sees that Clay is gone. The only other living creature is an owl, which blinks wearily at him. Whale lies down, finding a spot next to Barnett. He takes a last breath and closes his eyes. We CUT TO :", "INT. WHALE'S HOUSE - LIVING ROOM - DAY A roar of bells blasts Clay awake. The telephone is ringing. A hard pair of shoes thunder out to answer it. HANNA Hello? Oh, Mr. David! Clay blinks at the sight of Hanna in black dress and white apron, chattering on the phone by the far wall. HANNA No, no, he did not tell me. But no problem. I will make breakfast. She scoldingly cuts her eyes at Clay. HANNA Ten? Very good, then. Good - bye. She hangs up and faces Clay with a stern frown. CLAY It's not what you think. HANNA I have brought you your clothes. All I ask is that you get dressed and go. We are having a guest for breakfast. CLAY I need to talk to you about Mr. Whale. HANNA There is nothing you can say that will surprise me. CLAY Maybe. But I still need to talk. Do I have time for a cup of coffee before I go? HANNA I blame my daughter for keeping me out so late. I only hope you did not get him excited. It could give him a new stroke. She stomps into the kitchen. Clay gets up, slips on his undershorts. He's zipping up his chinos when she comes out again with a breakfast tray. She hands him a cup of coffee. CLAY Thanks. -LRB- quickly. -RRB- Why do you do it? HANNA What do I do? CLAY Take care of Mr. Whale like he was your flesh and blood. HANNA It is my job. I did it when he was happy and it was easy. It is only fair I do it now when he is ill. -LRB- picks up the tray. -RRB- Enough talk. I must wake up the master. She marches around the corner towards Whale's bedroom. Clay hears her knocking on a door. HANNA -LRB- O.S. -RRB- Mr. Jimmy? Morning, Mr. Jimmy. Clay pulls on his shirt. Hanna comes back around the corner. HANNA What have you done with him? CLAY I put him to bed. He's not there? She goes to the foot of the stairs and shouts : HANNA Mr. Jimmy! Mr. Jimmy! Hanna starts up the stairs. HANNA Look for him! Clay reaches for his socks when he notices an envelope on the floor next to the chair. He picks it up. On the front is scrawled the word ` CLAYTON'. Clay opens the envelope. Inside is Whale's original sketch of the Monster's head. He turns it over. There is a message written on the back. CLAY No. Clay drops the sketch, looks out. He sees something.", "EXT. WHALE'S HOUSE - BACKYARD - DAY Clay crosses the patio, hurtles down the slope.", "EXT. WHALE'S HOUSE - POOL - DAY Clay leaps headfirst into the water. Whale rests lightly on his back, with an upward sway of straight white hair. Clay hauls the body toward the side. CLAY Almost there. Almost there. He gets an arm around Whale's chest and heaves the body over the curb. he climbs out, drags the body forward to rest in the grass. He grabs the wrist. Nothing. CLAY Son of a bitch. You crazy son of a bitch. Clay straddles Whale's thighs and applies pressure on his rib cage. But it's no use. Clay sits up and takes a deep breath. HANNA Ohhh! Hanna comes down the path, her run slowing to a walk. She stares at Clay. CLAY I did n't do it. This was n't me. HANNA Oh, Mr. Jimmy. CLAY He wanted me to kill him, but I did n't. He did it himself. HANNA He says here good - bye. I find it in his room. He is sorry, he says. He has had a wonderful life. She waves a folded piece of paper. HANNA You poor, foolish man. You could n't wait for God to take you in his time? Clay slowly stands up. Hanna looks around in panic. HANNA You must leave. You were not here this morning. CLAY But I did n't do this! HANNA The police will not know that. They will want to investigate. CLAY We have his note. HANNA Do you want to be questioned about you and Mr. Jimmy? Please, Clayton. It will be better if I find the body alone. CLAY But how're you going to explain this? -LRB- points at the body. -RRB- How did you get him out of the pool? HANNA You are right. Yes. We must put him back. They both hesitate, looking down at Whale. Then Clay drags the body parallel with the pool. Hanna stoops over to adjust the collar of Whale's shirt. HANNA Poor Mr. Jimmy. We do not mean disrespect. You will keep better in water. She nods to Clay. He rolls the body over and it splashes on its belly. It bounces a moment in the waves of the splash, then begins to sink. As it drops, the air in the chest slowly flips the body around. Looking up at them with open eyes, Whale sinks backward into the thickening light. His arms trail upward and the hands lightly flutter as if waving good - bye. The melancholy sound of a solo violin pierces the silence as we CUT TO :", "EXT./INT. BLIND MAN'S HUT - NIGHT A black - and - white scene from `` Bride of Frankenstein.'' The old BLIND MAN plays a mournful lullaby on his violin while the MONSTER listens outside, moved by the music. He smashes open the door of the hut in an effort to get closer to the soul - soothing sound. The blind man stops playing, looks up. BLIND MAN Who is it? You're welcome, my friend, whoever you are. The Monster attempts to communicate, manages only a plaintive moan. The blind man stands. BLIND MAN I can not see you. I can not see anything. You must please excuse me. But I am blind. The Monster holds out his burned hands. BLIND MAN Come in, my poor friend. No one will hurt you here. If you're in trouble, perhaps I can help you. The old man touches the Monster, who recoils with a defensive growl. BLIND MAN Can you not speak? It's strange. Perhaps you're afflicted too. I can not see and you can not speak.", "INT. SUBURBAN HOUSE - NIGHT (1972) MICHAEL BOONE, 10, lies on the living room carpet, staring raptly at the movie playing on the large Zenith console. The house is small but tidy and comfortable. BLIND MAN -LRB- O.S. -RRB- It's been a long time since any human being came into this hut. I shall look after you. And you will comfort me. On the tv screen, the old man starts to cry, then collapses onto the Monster's chest. A thick tear rolls down the Monster's cheek. Clay Boone sits on the sofa, a baby on his lap. He's 40 now, his hair starting to thin but still closely cropped at the top and sides. On the tv, daylight fills the hut. The blind man and the Monster share a meal. BLIND MAN We are friends, you and I. Friends. MONSTER Friends. BLIND MAN Before you came, I was all alone. It is bad to be alone. MONSTER Alone, bad. Friend, good. He takes the old man's hand. MONSTER Friend, good. The blind man nods. On the sofa, Clay watches his son watch the movie.", "INT. LIVING ROOM - NIGHT (LATER) A color promo for `` Chiller Theater'' fills the screen. Clay turns off the set. CLAY Time for bed, sport. Michael groans, slowly stands. CLAY What'd you think of the movie? MICHAEL Pretty cool. Better than most monster movies. CLAY I knew the guy who made it. Michael glances skeptically at his father. MICHAEL Come on, Dad. Is this another one of your stories? CLAY Here. Clay unfolds Whale's sketch of the Monster, hands it to his son. CLAY It's his original sketch of the Monster. Michael turns over the sketch. On the back, scrawled in block letters : `` TO CLAYTON BOONE - FRIEND?'' MICHAEL This is for real? Clay nods. At the same time, his wife DANA appears in the doorway. A pretty, cheerful woman in her mid - 30s. DANA The trash, Clay. Before it rains. CLAY Okay. Clay kisses the top of his son's head. CLAY Off to bed.", "EXT. CLAY'S HOUSE - NIGHT Clay carries a large metal bin down the tidy lawn. The sky momentarily brightens with a silent flash of lightning. Clay gazes up at the electrical storm. He glances back at his house, sees Dana cradling the baby in an upstairs window. The skies open with a shattering crash of thunder. Clay tilts up his face, drinks in the cool rain. Then he extends his arms and staggers along the sidewalk, imitating the Monster's famous lurch. We PULL BACK, revealing a sleepy neighborhood of small houses and neat lawns, until Clay is only a small dot in the landscape. FADE OUT."], "labels": [1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 1.0, 1.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 1.0, 1.0, 1.0], "summary": "In the 1950s, James Whale, the director of Frankenstein and Bride of Frankenstein, has retired. Whale lives with his long-time housemaid, Hanna, who loyally cares for him but disapproves of his homosexuality. He has suffered a series of strokes that have left him fragile and tormented by memories: growing up as a poor outcast, his tragic World War I service, and the filming of Bride of Frankenstein. Whale slips into his past, and indulges in his fantasies, reminiscing about gay pool parties and sexually teasing an embarrassed, starstruck fan. He battles depression, at times contemplating suicide, as he realizes his life, his attractiveness, and his health are slipping away. Whale befriends his young, handsome gardener, Clayton Boone, and the two begin a sometimes uneasy friendship as Boone poses for Whale's sketches. The two men bond while discussing their lives and dealing with Whale's spells of disorientation and weakness from the strokes. Boone, impressed with Whale's fame, watches Bride of Frankenstein on television as his friends mock the movie, his friendship with Whale, and Whale's intentions. Boone assures Whale that he is straight and receives assurance from Whale that there is no sexual interest, but Boone storms out when Whale graphically discusses his sexual history. Boone later returns with the agreement that no such \"locker room\" discussions occur again. Boone is invited to escort Whale to a party hosted by George Cukor for Princess Margaret. There, a photo op has been arranged for Whale with \"his Monsters\": Boris Karloff and Elsa Lanchester from \"ancient\" movie fame. This event exacerbates Whale's depression. A sudden rain storm becomes an excuse to leave. Back at Whale's home, Boone needs a dry change of clothes. Whale can only find a sweater, so Boone wears a towel wrapped around his waist. Whale decides to try to sketch Boone one more time. After some minutes, he shows his sketches to Boone, disclosing that he has lost his ability to draw. After Boone drops his towel to pose nude, Whale makes him wear a World War I gas mask and then uses the opportunity to make a sexual advance on Boone, kissing his shoulder. An enraged Boone attacks Whale, who confesses that this had been his plan and begs Boone to kill him to relieve him of his suffering. Boone refuses, puts Whale to bed, then sleeps downstairs. The next morning, Hanna is alarmed when she cannot find Whale, prompting a search by Boone and Hanna. Boone finds Whale floating dead in the pool, as a distraught Hanna runs out clutching a suicide note. Boone and Hanna agree that Boone should disappear from the scene to avoid a scandal. The film closes roughly a decade later as Boone and his young son, Michael, watch Bride of Frankenstein on television. The son is skeptical of his father's claim that he knew Whale, but Clayton produces a sketch of the Frankenstein monster drawn by Whale, and signed, \"To Clayton. Friend?\" \"Friend?\", being a plea from the original misfit, Frankenstein's monster, and disclosing Whale's true intentions.", "name": "Gods_and_Monsters"}
{"scenes": ["HEAD CREDIT SEQUENCE MYSTERIOUS SEWING ROOM - NIGHT, A HAUNTING LULLABY plays against a black, star - pricked sky when something appears in the distance. A BUTTON - EYED DOLL floats towards CAMERA, through the open window of a small sewing room where it lands in a pair of WAITING HANDS, hands that are made of SEWING NEEDLES. The doll - which resembles a YOUNG BLACK GIRL in old - fashioned clothes, hair fixed with ribbons and braids - is placed on a sewing table. An elaborate sewing kit is opened, and, in flickering green light, the NEEDLE - HANDS go to work. The doll's old clothes are cut away ; button - eyes torn off ; hair pulled out. The doll's stuffing is removed and then the empty cloth body is pulled inside out, turning from NUT BROWN to PALE PINK. Sawdust is poured in the NEW DOLL's mouth ; facial features added ; blue yarn hair punched in ; and then a fresh pair of shiny black button eyes is selected from a button drawer. The transformed doll, in a LITTLE YELLOW RAINCOAT, its new button eyes affixed, is released out the window and BACK INTO THE NIGHT. LAST HEAD CREDIT APPEARS, THEN FADES.", "EXT PINK PALACE, ASHLAND OREGON - DAY WIDE ANGLE on a rambling old Queen Anne - style house with tacked - on outside stairs. It's late winter, the sky a damp, grey sponge. A SIGN in the foreground reads `` Pink Palace, Apartment for Rent''. MR. BOBINSKY - a seven - foot - tall blue - skinned man - performs calisthenics on the rooftop, counting in Russian. MR. BOBINSKY Dras, dva, tri, chetyri. Dras, dva, tri, chetyri. Dras, dva, tri. A BEEPING SOUND begins and he pauses. A tired MOVING VAN backs into frame and up the muddy driveway. A VW BEETLE - suitcases roped to its top - recklessly passes the truck and disappears around the side of the house. Bobinsky shakes his fist angrily after the car and shouts : MR. BOBINSKY -LRB- CONT'D. -RRB- Mer - sa - vich! He marches away indignantly. One of the MOVERS, unseen in the truck, speaks to his companion. MOVER 2 -LRB- O.C. -RRB- We're here. Time to muscle up. ANGLE ON moving truck's REAR DOORS as they're wrenched open by two men - MOVER 1, tall and bear - shaped, and MOVER 2, built like a brick top - to reveal a lot of BOXES and BEAT - UP FURNITURE. They haul out the LOADING RAMP towards CAMERA. NEW ANGLE, EXTERIOR STAIRS to BASEMENT FLAT. APRIL SPINK, a rotund little old English lady with bad legs, surveys the MOVERS as they pass by her chair - lift with boxes and furniture. The old gal ca n't wait to tell her flat mate below about the young, strapping men. MOVER 2 -LRB- CONT'D. -RRB- -LRB- EFFORTS. -RRB- Got it? Almost there, just a few more. Come on, now, LIFT. ANGLE ON FRONT PORCH. The job finished, Mover 2 heads down the front steps while Mover 1 waits for a signature from the unseen - but - for - his - hands new tenant. Papers signed, a tip of a single, grubby dollar bill is placed in the outstretched hand of the disappointed mover, and the door is shut.", "EXT HOUSE, REAR VIEW - SAME ANGLE from BACK YARD. Hiding behind shrubs, WE SHARE the POV of a MYSTERIOUS SPY. With a CLICK, a close - up lens is rotated into place to better see the movers quietly pack into the truck and drive away. A MANGY BLACK CAT walks right in front of the lens and looks at us with concern. OFF - SCREEN, a door bangs open. WE FOLLOW the cat as it races up a tree and out a branch towards the BACK PORCH to investigate. CORALINE JONES, 11, steps onto the porch in a YELLOW RAINCOAT with a shoulder bag. WE - SPY'S POV - CLICK to a CLOSE - UP to find this new tenant has BLUE HAIR and a skeptical face. NEW ANGLE, non - spy reverse, on Coraline as she glances furtively over her shoulder, then hops down the steps and moves diagonally away from the house. NEW Angle, SPY POV. We watch Coraline head towards the WOODY SHRUB we've hidden ourselves in. We DUCK DOWN. ANGLE on Coraline, non - spy, shrub by garden gate. She reaches into the shrub and breaks off a FORKED BRANCH. She removes the stick's red leaves, aims it like a DOWSING ROD and heads into the garden. CAM PUSH IN to shrub as the SPY RISES UP, wearing a three - eyed SKELETON MASK on his head and SKELETON GLOVES on his hands. The black cat hops into frame, glances at the spy and follows the girl. MONTAGE VARIOUS EXT - SAME AFISH POND IN GARDEN - SAME Coraline explores the drained, crumbling pond. She finds an old TURTLE SHELL in the muck and holds it up. After rapping on it to make sure it's empty, she puts the shell into her shoulder bag. ANGLE ON CAROLINE, SPY POV. WE PUSH ASIDE dead vines from the railing of the GARDEN BRIDGE for a better look. Coraline aims her forked stick once more then follows it up from the pond and out the BACK GATE. A gust of WIND blows DEAD LEAVES into a swirling eddy WE TRACK high up into the air. ROCKY PATH HIGH ABOVE HOUSE - LITTLE LATER SPY POV on sky, now dark with GATHERING STORM. Hidden behind a NATURAL WALL OF STONES, WE TILT DOWN to view Coraline crossing frame on a STEEP HILLSIDE path. She steps on an old RAILROAD TIE, and her foot SINKS into the rotted wood, stopping her. WE LEAN OUT for a better view, and DISLODGE some stones that roll down past her. WE DUCK as she jerks her head our way. NEW ANGLE, non - spy. Unnerved, Coraline calls out. CORALINE Hello? Who's there? She throws a rock over the wall of stones, HITS THE UNSEEN SPY, causing a CRY OF PAIN. ANIMAL? HUMAN? Freaked out, she GASPS, runs up the trail. NEW ANGLE, SPY POV. We rise up to watch and the black cat hops onto the stone wall.", "EXT. OVERGROWN ORCHARD - CONT. Coraline races down past an OLD TRACTOR and into an ORCHARD. WIND begins to blow. NEW ANGLE as we move beside Coraline through the old apple trees, where she nearly trips on the tongue of a harvest cart. DOWN ANGLE ON on Coraline as she BACKS INTO a circle of TOADSTOOLS in front of a STUMP. BREATHING HARD, she looks out for her pursuer. NEW ANGLE. The black cat shoots past Coraline in the tall grass. She ca n't see him but she knows something is there. Already behind her now, the cat LEAPS onto the stump with a loud, warning MEROWWW! STARTLED, Coraline YELLS and whips around. She's both angry and relieved when she sees it's just some cat. CORALINE You scared me to death, you mangy thing! Cat GLARES at her with BLUE OPAL EYES, makes a low growl as she stands. She exhales. CORALINE -LRB- CONT'D. -RRB- I'm just looking for an old well. Know it? Cat BLINKS EYES slowly. CORALINE -LRB- CONT'D. -RRB- Not talking, huh? The wind picks up. She grasps the forks of her stick, closes her eyes, and, tracing a figure eight above her, CORALINE -LRB- CONT'D. -RRB- Magic dowser, magic dowser : show. me. the well! ANGLE ON CORALINE FROM HIGH BLUFF. The SPY moves into frame, astride some kind of MOTOR - BIKE. He presses a button on the handlebars and BLASTS a loud AIR HORN. STARTLED, Coraline SPINS around. UP ANGLE ON SPY. As LIGHTNING FLASHES and THUNDER ROLLS, Coraline sees him for the first time. With his turret - lensed SKULL MASK and SKELETON GLOVES and black FIREMAN'S COAT flapping in the wind, he looks like a PSYCHO KILLER! CORALINE -LRB- CONT'D. -RRB- -LRB- freaked out. -RRB- AHHHHH! He REVS his motor, pops a wheelie, then SWOOPS DOWN the bluff towards her. She HOLLERS IN FEAR, then tries to WHACK HIM with her forked stick. CORALINE -LRB- CONT'D. -RRB- GET AWAY FROM ME - He SNATCHES it from her as he passes, KNOCKING HER to the ground. He SIDE - SKIDS his bike, hops off and JUMPS UP onto the stump. Looking TEN FEET TALL from the ground, THUNDER AND LIGHTNING at a peak, the Spy turns his THREE - EYED TURRET LENS and studies her like a predatory alien. And then, the thunder and lightning just FADE OUT and this psycho - killer, three - eyed spy pulls off his mask and Coraline GASPS - he's just a short kid in a costume. Shoulders hunched, neck bent, the Spy - real name WYBIE LOVAT - aged 12 - examines Coraline's forked stick, aims it around. WYBIE -LRB- OBLIVIOUS. -RRB- Hoo! Let me guess, you're from Texas or Utah ; someplace dried out and barren, right? I heard about water - witching before but it does n't make sense ; I mean, it's just an ordinary branch. Coraline, SNATCHES it from his GLOVED HANDS. CORALINE -LRB- ENRAGED. -RRB- IT'S A DOWSING ROD! Coraline smacks Wybie. WYBIE Ow! CORALINE And I DO N'T LIKE BEING STALKED, not by PSYCHO - NERDS OR THEIR CATS! He crouches, nervous, to scratch the cat behind his ears. WYBIE He's not really my cat ; he's kinda feral - you know, wild? Of course, I do feed him every night and sometimes he'll come in my window ` n bring me little dead things. The cat PURRS like a diesel. CORALINE -LRB- TOUGH. -RRB- Look, I'm from Pontiac. WYBIE Huh? CORALINE MICHIGAN? And if I'm a `` water witch'', THEN -. -LRB- points stick, stomps foot. -RRB- - where's the secret WELL? WYBIE You stomp too hard and you'll fall in it! Coraline reacts, hops out of the springy circle. The boy scrapes at the ground, revealing a CIRCULAR COVERING made of WOODEN PLANKS. He wedges a fallen branch under one side, and, using a rock for the fulcrum, pries up the covering. WYBIE -LRB- CONT'D. -RRB- See? Supposed to be so deep if you fell to the bottom and looked up, you'd see a sky full of stars in the middle of the day. CORALINE -LRB- SOFTENS. -RRB- Huh. Her frown RELAXES and the black cat tilts his head, noticing her change in tone. He steps off the branch, and the well cover thumps in place. WYBIE Surprised she let you move in. Jerks his head toward the pink house in distance. WYBIE -LRB- CONT'D. -RRB- my Gramma. She owns the `` Pink Palace''. -LRB- indicates house in distance. -RRB- Wo n't rent to people with kids. CORALINE What do you mean? WYBIE -LRB- suddenly worried. -RRB- Uh. I'm not supposed to talk about it. Changing the subject, he lifts a gloved hand to shake. WYBIE -LRB- CONT'D. -RRB- I'm Wybie, Wybie Lovat. CORALINE -LRB- SKEPTICAL. -RRB- Wybie? WYBIE Short for Wyborne. Not my idea, of course. What'd you get saddled with? CORALINE I was n't saddled with anything. It's Coraline. WYBIE Caroline what? CORALINE Coraline. Coraline Jones. WYBIE -LRB- confused, not hearing it. -RRB- Hmmm. It's not real scientific, but I heard an ordinary name, like Caroline - Her face goes as DARK as the rain clouds above. WYBIE -LRB- CONT'D. -RRB- - can lead people to have ordinary expectations about a person - WYBIE'S GRANDMOTHER -LRB- O.C. -RRB- -LRB- calling from afar. -RRB- Wyborne! CORALINE I think I heard someone calling you, Wyborne. WYBIE What? I did n't hear anything - CORALINE Oh, I definitely heard someone, Why - were - you - born. A distant dinner bell clangs. WYBIE'S GRANDMOTHER -LRB- O.C. -RRB- Wyborne! WYBIE -LRB- under his breath, nervous. -RRB- Grandma! He holds up his hands in surrender, nodding with eyes closed, forcing some laughs. WYBIE -LRB- CONT'D. -RRB- Heh. Well, great to meet a Michigan water witch. He picks up his bike, wheels it around, then holds up his gloved hands. WYBIE -LRB- CONT'D. -RRB- But I'd wear gloves next time. CORALINE -LRB- SKEPTICAL. -RRB- Why? He points to her dowsing rod, nods. WYBIE -LRB- CONT'D. -RRB- ` Cause that dowsing rod of yours? Uh, it's poison oak. CORALINE Ehh! Coraline drops the stick as he zooms away and wipes her hands on her clothes. The cat merows at her, shaking his head with a pitying look, then trots away after Wybie. She STICKS OUT HER TONGUE at him. She looks down at the COVERING to the well. Coraline finds a PEBBLE and drops it through A SMALL KNOT - HOLE. Ear at the knot - hole, she counts until there's a watery `` plop'' far below. FAT RAINDROPS start to fall around her.", "INT. KITCHEN - NEXT MORNING It's POURING out. Coraline looks out a window at the DEAD - LOOKING GARDEN, and places PACKETS OF SEEDS - pumpkins, squash, snap dragons, bleeding hearts - on the sill. She's developed a REDDISH RASH - poison oak - on one hand. The main floor kitchen, like most things in the Pink Palace, is barely maintained, and looks worn and faded. Coraline's MOTHER, MEL JONES, 40, bangs away at her laptop on the table, MOVING BOXES stacked nearby. She's plain - looking and tired and wears a NECK - BRACE. CORALINE I almost fell down a well yesterday, Mom. MEL -LRB- not listening. -RRB- Uh huh. CORALINE I would have died. MEL -LRB- continues typing. -RRB- That's nice. Coraline scratches the rash on her hand, changes subject. CORALINE Hmmm. So can I go out? I think it's perfect weather for gardening. MEL No, Coraline. Rain makes mud. Mud makes a mess. Coraline turns to her. CORALINE But Mom, I want stuff growing when my friends come to visit. Is n't that why we moved here? MEL Something like that. But then we had the accident. CORALINE Was n't my fault you hit that truck. MEL I never said it was. CORALINE -LRB- MUTTERS. -RRB- I ca n't believe it - you and Dad get paid to write about plants and you hate dirt. Mel stops typing, loses her patience. MEL Coraline, I do n't have time for you right now. And you still have unpacking to do. Lots of unpacking. CORALINE That sounds exciting. Mel remembers something. Mel -LRB- CONT'D. -RRB- Oh - some kid left this on the front porch. Coraline walks over and is handed a NEWSPAPER - WRAPPED PACKAGE. Attached note reads : WYBIE -LRB- V.O. -RRB- Hey Jonesy, look what I found in Gramma's trunk. Look familiar? Wybie. She rips open the package and finds the BUTTON - EYED, BLUE - HAIRED, YELLOW RAINCOAT - WEARING DOLL from the head credits - it's a litte Coraline! CORALINE -LRB- to herself. -RRB- Huh. a little me? That's weird. She crumples the note, both annoyed and charmed. MEL What's his name, anyway? CORALINE Wybie. And I'm way too old for dolls. But Coraline takes it with her and leaves the room.", "INT. STUDY - SAME CHARLIE Jones, 40, goose - necked and gangly with thinning dark hair, HUNT - AND - PECKS at his ancient computer, surrounded by boxes of GARDENING MAGAZINES and empty coffee cups. Coraline, with doll, opens the SQUEAKY DOOR. He does n't turn. CORALINE Hey Dad, how's the writing going? Dad? He ignores her reflection in his computer screen as he types away, green letters on black. She CLEARS HER THROAT. CHARLIE Hello, Coraline. -LRB- notices doll's reflection. -RRB- And. Coraline doll? CORALINE D'you know where the garden tools are? He hears rain outside. CHARLIE It's pouring out there, is n't it. CORALINE Humph, it's just raining. CHARLIE What'd the boss say? CORALINE -LRB- MOCKING. -RRB- `` Do n't even think about going out, Coraline Jones.'' CHARLIE Then you wo n't need the tools. Coraline GROANS, stamps her feet. Charlie just taps harder on the keys. Pouting, she makes the door squeak, opening and shutting it till he ca n't take any more. He spins around. CHARLIE -LRB- CONT'D. -RRB- Uhhh, you know, this house is a hundred and fifty years old. CORALINE So? CHARLIE So explore it! He grabs a pen and pad, holds it out. CHARLIE -LRB- CONT'D. -RRB- Go out and. count all the doors and windows and write that down. List everything blue! -LRB- BEGGING. -RRB- Just let me work. She rolls her eyes, takes paper and pen and leaves. MONTAGE, VARIOUS - SAME HALLWAY NEAR STAIRS Coraline, with doll, jumps on BUMP in carpet that moves with each jump. LAUNDRY ROOM/WINTER GARDEN She wipes off the misted glass so she and the doll can see out, then writes in her pad : 7 leaky windows. A drop of water lands on the pad, smearing the ink. She adds really between 7 and leaky windows. HALLWAY NEAR STAIRS Coraline thumps the carpet bump again and pounds up the stairs. PARENT'S ROOM/BATHROOM A FRAMED PHOTO sits in the foreground on a beside table. It shows a younger, happier Coraline with her parents by the BEAR FOUNTAIN at the Detroit Zoo. RACK FOCUS to bedroom door as it swings into the room, with Coraline hanging on it. She drops to the ground and, doll and pad in hand, decides to check out the bathroom. When she pulls aside the mildewed shower curtain she finds a hundred skittering SILVERFISH BUGS. CORALINE Ewww! Disgusted, she jumps into the tub and smashes as many as she can. She turns on the faucet to wash her hands, only to get soaked with rusty water from the shower head. CORALINE -LRB- CONT'D. -RRB- Ahh! She shakes out her hair. HALLWAY NEAR STAIRS Coraline pounds down the stairs, spots the carpet bump again in the hallway and jumps on it. A closet door opens, a light on inside, and she goes to investigate. WATER HEATER CLOSET ANGLE OVER water heater on Coraline. She jots down one rusty water heater in her pad. As she leaves, she flicks off the light switch, not noticing a note taped beside it that says : Do not turn off!", "INT. STUDY - SAME Lights flicker and then Charlie's computer dies. He hollers. CHARLIE No, no, no, no, no ; GAAAA -!", "INT. HALLWAY - SAME CHARLIE -LRB- O.S. -RRB- - AAAAAAA! Coraline reacts with guilty alarm, runs back to the closet and -", "INT. CLOSET - SAME - spots the Do not turn off note. She flips the light switch back on and gets out of there.", "INT. LIVING ROOM - SAME The room is faded and cold with bare windows looking out on rain and gray. The floor is strewn with moving boxes, a few pieces of furniture, Charlie's old Nordic Track. A few garden tools lean against one wall ; a cardboard mattress box leans against a corner wall. Coraline enters, counting windows and doors to note in her pad. She sets the doll on a low table beside an open moving box and smiles. The box is filled with her mom's collection of SNOWGLOBES. She takes out her favorite - the BEAR FOUNTAIN AT THE DETROIT ZOO - and shakes it. She studies the globe and sighs with homesickness. She sets it carefully on the FIREPLACE MANTEL, then unwraps the rest of the snowglobes and places them beside it. Over the mantel hangs a PAINTING of a CRYING BOY IN BLUE - a scoop of ice cream melting on his shirt, his hand holding an EMPTY CONE. Coraline takes up pad and pen and adds to her list, muttering aloud. CORALINE One boring blue boy in a painfully boring painting. four incredibly boring windows. and no. more. doors. She turns to grab the doll off the table by the snow globe box. It's gone. CORALINE -LRB- CONT'D. -RRB- All right, little me, where are you hiding? Scanning the room, she spots the doll LOOKING OUT FROM BEHIND THE MATTRESS BOX leaned against the corner wall. Perplexed, she walks over and kneels down to grab the doll when she notices SOMETHING ON THE WALL behind the box. She shoves the box aside, and discovers the outline of a SMALL DOOR that's been wallpapered over. CORALINE -LRB- CONT'D. -RRB- Huh? Intensely curious, she calls to the kitchen. CORALINE -LRB- CONT'D. -RRB- Hey Mom.", "INT. KITCHEN - CONTINUOUS Mom, typing away, ignores her. CORALINE -LRB- O.S. -RRB- Where does this door go? MEL I'm really, really busy!", "INT LIVING ROOM - CONTINUOUS Coraline tries to open it but there's no handle. CORALINE I think it's locked. MEL -LRB- O.S. -RRB-", "INT. KITCHEN - CONTINUOUS CORALINE -LRB- O.S. -RRB- Pleeeeeeeeease! Mel gets up, really annoyed. Big sigh. MEL Uhhh.", "INT. LIVING ROOM - SAME She walks over to Coraline, looks at the outline of the door in the ratty old wallpaper. MEL Will you stop pestering me if I do this for you? Coraline nods her head quickly, PANTING like a dog. MEL -LRB- CONT'D. -RRB- Fine. She heads back to the kitchen.", "INT KITCHEN - CONTINUOUS Mel pulls open a drawer, pushes a bunch of loose brass and nickel keys aside to find a small, sharp black key. Holds it up.", "INT LIVING ROOM - CONTINUOUS Mel cuts the wallpaper around the door and sticks the key in the lock. Coraline looks on, giddy with anticipation, the doll at her side. Mel turns the key, unlocks the door, and pulls it open to reveal. an UNBROKEN BRICK WALL. Coraline is totally disappointed. CORALINE Bricks? I do n't get it. Coraline scratches her wrist rash with annoyance. MEL They must have closed this off when they divided up the house. Mel gets up to leave. CORALINE You're kidding? And why is the door so small? Mel leaving room, turns back, and loses it. MEL We made a deal. ZIP IT! She exits. Coraline makes annoyed sound. CORALINE You did n't lock it. MEL -LRB- O.S. -RRB- AaaaaH! Coraline pushes the little door shut, her head lowered.", "EXT. HOUSE - NIGHT WIDE ANGLE ON HOUSE. Pouring rain. We hear Charlie singing a song about Coraline, badly. CHARLIE -LRB- O.S. -RRB- Oh, my twitchy witchy girl,", "INT. KITCHEN - SAME CHARLIE, using OVEN MITT to protect his hand, takes a BURNED - UP CASSEROLE DISH from the oven while mom closes up her LAPTOP. Coraline sits at the table with her doll. CHARLIE I think you are so nice, I give you bowls of porridge And I give you bowls of ice - CHARLIE sets the dish on the table. CHARLIE -LRB- really bad note. -RRB- - cream! Coraline pushes it away, disgusted. CORALINE Why do n't you ever cook, Mom? MEL Coraline, we've been through this before : your Dad cooks, I clean, and you stay out of the way. Coraline HUFFS. MEL -LRB- CONT'D. -RRB- I swear I'll go food shopping soon as we finish the catalog. -LRB- indicates Coraline's plate. -RRB- Try some of the chard, you need a vegetable. CORALINE Looks more like slime to me. CHARLIE Well, it's slime or bedtime fusspot - now what's it going to be? Coraline looks to her doll, cradles its head. CORALINE Think they're trying to poison me? She makes the doll's head nod `` yes.'' Coraline rolls her eyes, looks up to the heavens and -", "INT. CORALINE'S BEDROOM - SAME - falls back, washed and dressed for bed, on her pillow. Still raining out. Coraline puts the doll on the chair beside her, then scratches at her wrist. ORIGAMI DRAGONFLIES are strung between the tall, thin bed posts ; the TURTLE SHELL she found in the garden sits up on a box, her NIGHT LAMP that projects stars and moons is warming up on the bedside table. Despite her efforts at decorating, Coraline's new bedroom feels small and cold, cracked and faded. Coraline reaches for a framed PHOTO that rests on a toy PRAYING MANTIS by her night lamp. It's her TWO BEST FRIENDS from home, posing in the snow by her old school's marquee, its letters rearranged to spell `` CORALINE, GOOD BYE!'' She touches her friends' faces with her fingertips. CORALINE Do n't forget about me, guys. Okay? She puts back the photo, hits the light switch over her bed and, looking over at the doll, sighs. CORALINE -LRB- CONT'D. -RRB- Good - night. little me. Her breathing slows and, with the doll WATCHING HER, she starts to fall asleep.", "INT. CORALINE'S BEDROOM - DREAMTIME - SURREAL MIST SWIRLS out her window. MOONS AND STARS SLOWLY MOVE across the walls. SOMETHING in the room goes t - t - t - t - t - t. Coraline sits up, awake. SOMETHING CHITTERS under her bed. She leans over her bedside, head first, peering underneath when a ghost - pale KANGAROO MOUSE JUMPS OUT and bounds out the door.", "INT. HALL - SAME She gives chase, down the upper hall, down the stairs, snaps on the lower hall light, sees it hop into the living room.", "INT. LIVING ROOM - CONTINUOUS Coraline enters. The mouse edges out from beneath the sofa, then hops frantically toward the SMALL DOOR behind the wallpaper! Coraline runs and dives, but the door is open a crack, and the mouse escapes. Coraline grabs the door's edge and pulls it open. Instead of a brick wall, there is a DARK, EXPANDING TUNNEL, with the hopping mouse heading towards a bluish light at the far end. CORALINE Whoa. She catches her breath, pulls the door wider and CRAWLS THROUGH.", "INT. PASSAGEWAY - CONTINUOUS Coraline MOVES FORWARD, towards the light ahead.", "INT. OTHER LIVING ROOM \u00ad CONTINUOUS Coraline steps out through the same little door, into what looks like the EXACT SAME LIVING ROOM she just left, only something is different - it feels deeper, more dimensional. CORALINE Huh? She looks around, notices the painting over the fireplace : the crying blue boy is now SMILING, his shirt clean and his ice cream back on his cone. From across the hall, warm light comes from the kitchen and the smell of delicious food wafts towards her nose. CORALINE -LRB- CONT'D. -RRB- MMMMM, something smells good.", "INT. OTHER KITCHEN - NIGHT Coraline enters to see her mother cooking at the stove, wearing an apron and ROOSTER - HEAD OVEN MITTS. The light and colors are much warmer and the details more perfect in this kitchen. Other Mother is facing away from Coraline as she works. CORALINE Mom?! What are you doing here in the middle of the night? Her mother turns from the stove to greet her and Coraline is DUMBSTRUCK : she's got BUTTONS FOR EYES! She beams with happiness at Coraline's arrival. OTHER MOTHER You're just in time for supper, dear! CORALINE You're not my mother. CORALINE -LRB- CONT'D. -RRB- My mother does n't have b - b - buh. Coraline points to her own eye. OTHER MOTHER B - b - b - buttons? Do you like them? She taps one with her nail. OTHER MOTHER -LRB- CONT'D. -RRB- I'm your Other Mother, silly. Now go tell your Other Father that supper's ready. She opens the oven door and the intoxicating perfume of great cooking fills the air. Coraline breathes it in, suddenly VERY HUNGRY. OTHER MOTHER -LRB- CONT'D. -RRB- Well, go on. He's in his study.", "INT. OTHER HALLWAY - SAME Coraline goes down the hall and opens the study door.", "INT. OTHER STUDY - CONTINUOUS She sees the back of a man like her father, only with more hair. Instead of tapping away at his computer, though, he's picking notes on a BABY GRAND PIANO. CORALINE Hello? He turns around. He, too, has SHINY BUTTON EYES. He seems happier and a little more handsome than real Dad, and wears an IRIDESCENT ROBE over POLKA DOT PAJAMAS, with ORANGE MONKEY SLIPPERS on his feet. He smiles broadly. OTHER FATHER Hello, Coraline. Want to hear my new song? CORALINE My father ca n't play piano. OTHER FATHER No need to. this piano plays ME! DR. SEUSS GLOVES - connected with rods and pulleys - POP OUT of the piano's front and ONTO HIS HANDS. His hands RAISE UP - then DROP DOWN to play pounding STRIDE PIANO as Other Father SINGS out. OTHER FATHER -LRB- CONT'D. -RRB- Making up a song about Coraline. She's a peach, she's a doll, she's a pal of mine. She's as cute as a button in the eyes of everyone who ever laid their eyes on Cor - a - line. Coraline is amazed as his hands fly. OTHER FATHER -LRB- CONT'D. -RRB- When she comes around exploring Mom and I will never ever make it boring our eyes will be on Coraline. Anxious, she taps his shoulder to stop him. CORALINE I, uh - sorry - but she said to tell you the food's ready. OTHER FATHER Mmmmm! Who's starving? Raise your hand. He sticks his hand up, still in a glove, and his other gloved hand slaps his face. She LAUGHS, then covers her mouth.", "INT. OTHER DINING ROOM - SAME Other Mother sets down a HUGE, ROASTED CHICKEN near Coraline on a table spread with CANDLES, fine CHINA and SILVER and a PINEAPPLE CENTERPIECE. FIGURE EIGHT MODEL TRAIN TRACKS circle twin LAZY SUSANS covered in dishes of POTATOES, SWEET PEAS, ROLLS, and CORN. The Other Father seals this Norman Rockwell moment by making PRAYER HANDS and a solemn face. OTHER FATHER We give our thanks and ask to bless, Our Mother's golden chicken breast! He laughs with glee then a STARTING BELL rings and it's time to eat. Other Father really digs in while Coraline tries some chicken. CORALINE Mmmm, this chicken is good. OTHER MOTHER Hungry, are n't you. CORALINE -LRB- nodding, mouth full. -RRB- D'you have any gravy? OTHER MOTHER Well, here comes the gravy train! Choo - choo! Other Mother GIGGLES as a MODEL TRAIN circles round the track, pulling a GRAVY BOAT CAR and blowing its whistle. The train goes in one side of the centerpiece and comes out the other, slowing till the gravy boat lines up with Coraline's plate, where it POURS GRAVY on her potatoes. OTHER MOTHER Another roll, sweet peas? Corn on the cob? Other Mother looks on approvingly, not touching any food herself. CORALINE -LRB- mouth full. -RRB- I'm real thirsty. OTHER MOTHER Of course! Any requests? A beautiful CHANDELIER DRINK DISPENSER descends. CORALINE Mango milk shake? The dispenser SPINS, stops and fills her glass while Other Mother presents dessert : a cake with candles that POP UP and LIGHT THEMSELVES while the words `` WELCOME HOME!'' write themselves in icing. Coraline is taken aback. CORALINE -LRB- CONT'D. -RRB- Home? Her Other Parents squeeze each other's hands warmly. OTHER MOTHER We've been waiting for you, Coraline. CORALINE For me? OTHER FATHER Yep. Was n't the same here without you, kiddo. Coraline remains a little unsure. CORALINE I did n't know I had an Other Mother. OTHER MOTHER Of course you do. Everyone does. She smiles at Coraline, her button eyes gleaming. CORALINE Really? OTHER MOTHER Uh huh, and soon as you're through eating, I thought we'd play a game. She taps her fingers a little too excitedly on the table. CORALINE -LRB- SKEPTICAL. -RRB- You mean like, hide and seek? OTHER MOTHER Perfect! Hide and seek in the rain. CORALINE What rain? THUNDER, LIGHTNING, then RAIN appears outside the window. CORALINE -LRB- CONT'D. -RRB- Huh, what about the mud? OTHER FATHER We love mud here! Other Mother rises, walks towards Coraline. OTHER MOTHER Mud facials, mud baths, mud pies - it's great for poison oak. The takes Coraline's rashy hand, but Coraline pulls it away. CORALINE -LRB- SUSPICIOUS. -RRB- How'd you know I - Coraline adjusts her tone. CORALINE -LRB- CONT'D. -RRB- I, I'd love to play, but. I better get home to my other mother. OTHER MOTHER But I'm your other mother. CORALINE -LRB- BEFUDDLED. -RRB- I mean my other other mother. Mom number one? -LRB- YAWNS. -RRB- I think I should get to bed. OTHER MOTHER Of course, sweetheart, it's all made up. CORALINE -LRB- shakes head. -RRB- But. Other Father steps in beside her. OTHER FATHER Come along, sleepyhead. They lead her from the table towards the stairs to her bedroom.", "INT. CORALINE'S OTHER BEDROOM - SAME In this world, Coraline's bedroom is a dream come true : it is filled with rich color and light ; there's a fire in the fireplace, a sheer, lacy canopy over her now beautiful bed. And her favorite toys are alive! CORALINE Wow. Her ORIGAMI DRAGONFLIES FLUTTER towards her. DRAGONFLIES Hello Coraline, hello, hello! Her BLUE SQUID greets her with a WAVE of its tentacle. TOY SQUID What's shakin', baby? CORALINE Hello. The TURTLE SHELL she'd found CIRCLES HER FEET on clothes pin legs, making PANTING SOUNDS. She laughs, then hears two voices from beside her bed. PHOTO FRIEND 1 -LRB- O.C. -RRB- -LRB- MICHIGAN - SPEAK. -RRB- Hey, how zit goin', yuper! PHOTO FRIEND 2 -LRB- O.C. -RRB- -LRB- MICHIGAN - SPEAK. -RRB- Where's your swampers and tuke? She jumps onto the bed, grabs the photo of her best friends from home, now ALIVE IN THE PHOTO. CORALINE Kripes a - mighty, how are my best trolls? I ca n't wait till summer. You're both comin', right? PHOTO FRIEND 1 We're already here, Coraline - PHOTO FRIEND 2 - gone to Or - e - gine! Coraline grins hugely, then, exhausted, she yawns, stretching out her arms. The Other Mother, in the bedside chair, takes her hand and applies some SOOTHING BLACK MUD to Coraline's poison oak rash. CORALINE Oh, the mud. The Other Mother gently tucks her in then she and the Other Father smile at Coraline as she drifts off to sleep. OTHER MOTHER See you soon. OTHER FATHER See you soon. PULL BACK MATCH", "INT. CORALINE'S REAL BEDROOM - MORNING Coraline awakens. She looks around expecting bright colors, a magic dragonfly. But it's just her NORMAL ROOM : moving boxes ; cracks in the ceiling - nothing's changed. She notices the BUTTON - EYED DOLL on the chair where she left it, where the Other Mother was sitting. She picks it up, absentmindedly goes to scratch her wrist. She stops, noticing that the rash on her wrist IS GONE. CORALINE -LRB- GASPING. -RRB- It's gone, my poison oak, it's gone!", "INT. LIVING ROOM - SAME Coraline goes to the little door, still ajar. She peeks behind and finds the WALL OF SOLID BRICKS. Yes, it was only a dream. CORALINE -LRB- SOFTLY. -RRB- Huh? She shakes her head and pushes the door shut. The kettle blows from the kitchen. KITCHEN - DAY, GROUND FOG OUT WINDOWS Breakfast. Mel and Charlie finish their `` Go Lean Breakfast Twigs'' and mugs of instant coffee. Preoccupied with their work, they half - listen as Coraline recounts her dream, her breakfast untouched. FOG lies outside the windows. CORALINE It was incredibly real, Mom! Only you were n't really you ; you were my other mother. MEL -LRB- DISAPPROVING. -RRB- Buttons for eyes, huh? -LRB- indicates untouched food. -RRB- Coraline, you only dreamed you ate all that chicken. Take your multi - vitamin, at least. CORALINE You were in the dream too, Dad. You had wild - looking pajamas and orange monkey slippers. CHARLIE -LRB- pretend offense. -RRB- Orange? My monkey slippers are blue. He stands, put his dishes in the sink. Whispers over his CHARLIE -LRB- CONT'D. -RRB- -LRB- OPTIONAL. -RRB- Pssst. Can you get me some of that magic mud you were talking about? She points to her rash - free wrists. He nods. CHARLIE -LRB- CONT'D. -RRB- Because I have a terrible case of writer's rash. On my -. Mel CLEARS HER THROAT, interrupting. MEL If the real Charlie Jones wants his pages edited, he'd better wrap them up ASAP. He crisply salutes her, turns on his heel, and marches out the door. Mel gets up to clear the table with Coraline. MEL -LRB- CONT'D. -RRB- Coraline, why do n't you go visit downstairs? I bet those `` actresses'' would love to hear your dream. CORALINE Miss Spink and Forcible? But you said they're dingbats. MEL -LRB- NODS. -RRB- Uh huh. Coraline sighs, gets up to go.", "EXT. HOUSE, FRONT PORCH - MORNING It's drizzling and a WHITE FOG has lowered over the house and grounds. Coraline - yellow rain poncho, garden SHEARS in hand - opens the front door. Stepping out onto the porch, she TRIPS on a big bundle of mail. Annoyed, she picks it up, starts leafing through the envelopes. CORALINE Bo - bin - sky. Bo - bin - sky. Bo - bin - sky. Smells something bad, sniffs the envelopes. CORALINE -LRB- CONT'D. -RRB- Ohh, Poo - eeeee! She goes down the front steps and finds a sign that reads `` Bobinsky there'' with an arrow that points up long, winding outside stairs. With an `` oh well'' shrug, she goes up.", "EXT. HOUSE, BOBINSKY'S - CONTINUOUS At the top, she knocks on the door, a little anxious. CORALINE H - hello? She knocks again. CORALINE -LRB- CONT'D. -RRB- I think our mail got mixed up. Should I leave it outside or. The door swings open. Curious, Coraline peeks inside : it's dark and cramped with something boiling on the stove and a caged chicken. CORALINE -LRB- CONT'D. -RRB- Hmmm. Suddenly a HUGE BLUE MAN swings down behind her and MR. BOBINSKY SEE - KRET. She whips around to find MR. Bobinsky - upside down, reaching right at her face! She ducks and he reaches past her to his actual target - his door knob - and pulls it shut. The Russian giant, dressed in a sleeveless T - shirt and shorts, pulls a RAW BEET from his pants. He's not happy. MR. BOBINSKY -LRB- CONT'D. -RRB- -LRB- SCOWLING. -RRB- Famous Jumping Mouse Circus not ready, little girl! CORALINE -LRB- CONFUSED. -RRB- Circus? Oh, uh, I brought this for you. She holds out his mail. Bobinsky takes it, smelling the stinky envelopes deeply. Nods approvingly. MR. BOBINSKY -LRB- SNIFFS. -RRB- Mmmm. Noviseer. CORALINE Huh? MR. BOBINSKY New `` cheese'' samples. He swings down like a spider monkey and stands beside her on the balcony. Coraline backs away. MR. BOBINSKY -LRB- CONT'D. -RRB- Very clever, using this `` mix up'' to sneak my home and peek at meeshkas CORALINE Meeshkas? MR. BOBINSKY The Mice! CORALINE Oh, sorry. I'm Coraline Jones. MR. BOBINSKY -LRB- BOWS. -RRB- And I am the Amazing Bobinsky! But you can call me Mr. B, because amazing I already know that I am. He smells his mail again, makes pleased sound, then seems to fall off the side of the third story porch! Coraline rushes over, looks down. He cartwheels in from the porch railing behind her. MR. BOBINSKY Ha! You see, Caroline, the problem is my new songs go oompah oompah. But the jumping mice play only toodle toot, like that. Is nice, but not so much amazing? So now -. -LRB- indicates smelly mail. -RRB- - I switch to stronger cheese, and soon - VATCH OUT! He opens his door, crouches low and turns. He hands her a beet. MR. BOBINSKY -LRB- CONT'D. -RRB- Here, have beet. Make you strong. -LRB- salutes her. -RRB- Daas vee DAAN ya, Caroline. He scuttles inside and slams the door shut. Coraline mutters. CORALINE Cor - a - line. Looking at the beet, she makes a disgusted sound and tosses it away, then heads down the stairs.", "EXT HOUSE, SOUTH SIDE YARD - CONTINUOUS When she gets to the bottom, she starts towards the back, gardening shears out. CORALINE -LRB- to herself. -RRB- Oompah oompah, toodle toot, toodle toot. MR. BOBINSKY -LRB- O.C. -RRB- EHHH! CAROLINE : PA - DAZH - DI' - WAIT! She looks up. CORALINE No! Bobinsky LEAPS all the way to the ground, landing beside her, out of breath. MR. BOBINSKY The mice. asked me to give you message. CORALINE The. jumping mice? Mr. B nods gravely. He leans down, so close his moustache touches her ear, and whispers, his voice DEAD - SERIOUS. MR. BOBINSKY They are saying : do not go through leetle door. Do you know such a thing? Coraline is startled. CORALINE The one behind the wall paper? But. it's all bricked up. The old man shrugs, straightens. MR. BOBINSKY Bah. So sorry, is nothing. Sometimes the mice are leetle. He points to his head and rotates his finger. MR. BOBINSKY -LRB- CONT'D. -RRB- mixed up, hmmm? They even get your name wrong, you know. They call you Coraline instead of Caroline, not Caroline at all. He starts back up the stairs. MR. BOBINSKY -LRB- CONT'D. -RRB- Maybe I work them too hard. Coraline stares after him.", "EXT. HOUSE - MOMENTS LATER SHEARS IN HAND, Coraline approaches the family VW, where one PINK SUITCASE remains tied to the roof. She snips it free and takes out her special HAT, a black Japanese schoolboy's cap.", "EXT. HOUSE, STAIRWELL DOWNSTAIRS FLAT \u00ad SAME Coraline climbs down the steps to the basement flat. At the door, she tries the comedy/tragedy door knocker and waits. Nothing. She glances down at the doormat - it reads `` No whistling in the house.'' She peers through the door glass. A YAPPING DOG suddenly LEAPS UP inside, startling her, and a moment after, MISS SPINK - wearing some sort of house robe - opens the door and three SCOTTIE DOGS - HAMISH, JOCK, AND ANGUS - shoot out and surround Coraline. Spink tries to quiet them down. MISS SPINK -LRB- HARSH. -RRB- Oh cease your infernal yapping! -LRB- to Coraline, sweetly. -RRB- How nice to see you, Caroline. Would you like to come in? We're playing cards. CORALINE Still Coraline, Miss Spink. MISS SPINK -LRB- over shoulder. -RRB- Miriam, put the kettle on!", "INT. MISSES SPINK & FORCIBLE'S FLAT - SAME Miss Spink leads Coraline into the living area, as MISS FORCIBLE, taller and sporting a platinum wig and a very large bosom, prepares tea in the kitchen to the side. The dogs race ahead and jump onto the sofa. Coraline scans the walls to see framed POSTERS from the `` Shakespeare'' the ladies used to perform like King Leer and Julius Seize Her. Miss Forcible peers out her, half - blind without her glasses. MISS FORCIBLE April, I think you're being followed. MISS SPINK It's the new neighbor, Miriam - Caroline? She'll be having the Oolong tea. MISS FORCIBLE No, no, no, no. I'm sure she'd prefer Jasmine. MISS SPINK No, Oolong. MISS FORCIBLE Ah, Jasmine it is, then. Forcible grabs a handful of tea, puts it in the pot and pours boiling water in. MISS SPINK Come on, boys! The dogs leap off the sofa and, as Coraline takes their place, she looks to the side and sees a towering bookcase filled with STUFFED SCOTTY DOGS IN KNITTED SWEATERS WITH ANGEL WINGS. CORALINE -LRB- ALARMED. -RRB- Are those dogs. real? MISS SPINK -LRB- SIGHS. -RRB- Our sweet, departed angels. Could n't bear to part with them. so we had them stuffed. Now, there's Hamish the third, the fourth, the eighth, the ninth. Angus the second, the fifth, the. Miss Forcible arrives with a tea tray and urges Coraline to take a candy as Spink goes on and on. MISS FORCIBLE Oh go on, have one - it's hand - pulled taffy from Brighton - best in the world. Coraline reaches for a pink and green one. But the taffy is so old and sticky, her fingers get stuck. Then her other hand gets stuck, trying to get the first hand out. MISS SPINK -LRB- O.C. -RRB- seventh, the third, the ninth, yes, the fourthI'm right ; and Jock Junior, Jock senior, Jock the third, the fourth. Coraline, using her feet, finally un - sticks the candy bowl which FLIES UP and sticks to the ceiling. MISS SPINK -LRB- CONT'D. -RRB- oh, and that's Jock's 2nd cousin, twice removed. She turns to Coraline, about to sip her tea. Spink indicates cup. MISS SPINK -LRB- CONT'D. -RRB- I'll read them, if you like. CORALINE Read what? MISS SPINK Oh, your tea leaves, dear. They'll tell me your future. Drink up then, go on. Coraline gulps down the bitter brew. MISS SPINK -LRB- CONT'D. -RRB- No, not all of it, not all of it. That's right, now hand it over. Coraline passes her the cup. Spink puts a saucer on top and swirls it three times, removes the saucer and peers in at the abstract leaf pattern. She purses her lips. MISS SPINK -LRB- CONT'D. -RRB- Oh. Caroline, Caroline, Caroline ; you are in terrible danger. Miss Forcible snorts. MISS FORCIBLE Oh, give me that cup, April, your eyes are going. MISS SPINK My eyes! You're blind as a bat! Spink passes the cup to Forcible, who adjusts thick glasses and peers closely into it. MISS FORCIBLE Oh, now, ummm. not to worry, child, it's good news : there's a tall, handsome beast in your future. CORALINE A what? MISS SPINK Miriam, oh really, you're holding it wrong. Spink forcibly rotates the cup. MISS SPINK -LRB- CONT'D. -RRB- See? Danger! Coraline wants more information. CORALINE What do you see? The ladies, heads side by side, gaze into the cup. We see a SPIKY CLAW formed from the leaves. MISS SPINK -LRB- OMINOUS. -RRB- I see a very peculiar hand. Forcible rotates the cup back again. Upside down, the claw hand looks like a GIRAFFE. MISS FORCIBLE I see a giraffe. MISS SPINK Giraffes do n't just fall from the sky, Miriam. The stuck candy dish suddenly CRASHES to the floor. MISS SPINK -LRB- CONT'D. -RRB- Oh! MISS FORCIBLE Oh, lord! Coraline asks in a practical voice : CORALINE Well, what should I do? MISS SPINK Never wear green in your dressing room. MISS FORCIBLE Acquire a very tall step ladder. MISS SPINK And be very, very careful. Now, was there something you came to tell us? Coraline thinks it over, then shakes her head. CORALINE No, I guess not. Thanks for the tea, though. She gets up and leaves, the dogs immediately return to their sofa. MISS FORCIBLE Toodle - oo. MISS SPINK Cheery - bye. The ladies resume their card game with Miss Spink turning to the dogs. MISS SPINK -LRB- CONT'D. -RRB- Do you have any nice Queens for mummy?", "EXT. HOUSE, TOP OF BASEMENT FLAT STAIRS - SAME Coraline climbs the stairs up to ground level, intrigued by her fortune. CORALINE -LRB- to herself. -RRB- Danger? Behind her, a PERISCOPE RISES from the WAIST - DEEP FOG. Coraline just catches it in her peripheral view. She frowns but does n't let on she's aware of it. She walks ahead nonchalantly, the periscope following her, then suddenly turns and GRABS it, PULLING UP WYBIE, then PUNCHES him in the arm. WYBIE Owwwwwwww! CORALINE Great, the village stalker. WYBIE Ow. I - I was n't stalking you. We're hunting banana slugs. Wybie takes some SALAD TONGS from a tool belt, snaps them. CORALINE What d'ya mean, `` we?'' There's a soft meowing from under his coat. He opens it up and the BLACK CAT EMERGES and climbs onto his shoulders. CORALINE -LRB- CONT'D. -RRB- Ha! Your cat's not wild, he's a wuss - puss! Cat glares at her angrily. WYBIE What? He hates to get his feet wet. Geez. CORALINE -LRB- MOCKING. -RRB- Wuss - puss. Tired of her company, the cat jumps off Wybie, onto a tree and up onto the roof of the house. Coraline softens. CORALINE -LRB- CONT'D. -RRB- So. that doll. Did you make it look like me? Wybie, scanning under the ground fog for slugs, sticks his head up for a moment. WYBIE Oh no ; I found it that way. It's older than Gramma - old as this house prob ` ly. Coraline is highly skeptical. Wybie returns to his hunt. CORALINE -LRB- points to self. -RRB- C'mom - blue hair, my swampers and raincoat? Wybie stands excitedly and presents a HUGE YELLOW - GREEN SLUG to Coraline. WYBIE Dang, check out Slugzilla! She's not impressed. CORALINE -LRB- FRUSTRATED. -RRB- You're just like them. WYBIE Huh? He looks from the slug to himself. CORALINE I meant my parents ; they do n't listen to me either. Wybie nods, not listening again, takes his camera - WYBIE Uh huh. You mind? - hands it to her. She acts put - out, but frames a shot. He signals he's ready and she fires off one auto - flash shot after another as he strikes silly poses making SOUND EFFECTS : horrified of the slug one moment ; ready to eat it the next ; pretending it's something from his nose in another. She ca n't help but GIGGLE. CORALINE Ew! Finished, Wybie tosses the slug back into the fog, and takes the camera back. He lowers his head, thoughtful, then glances up past Coraline at the house. He SIGHS and speaks in a SAD TONE. WYBIE You know, I've never been inside the Pink Palace. CORALINE -LRB- SCEPTICAL. -RRB- You're kidding. WYBIE Grandma would kill me. Thinks it's dangerous or something. CORALINE Dangerous? WYBIE Well. she had a twin sister. CORALINE So? WYBIE -LRB- O.C. -RRB- When they were kids, Grandma's sister disappeared. -LRB- ON CAMERA. -RRB- She says she was stolen. CORALINE -LRB- O.S. -RRB- -LRB- SKEPTICAL. -RRB- Stolen? ANGLE from roof, over CAT'S SHOULDER as dialog continues. Cat senses something and turns - it's Coraline's DOLL AT THE WINDOW, looking like it's spying on things. CORALINE -LRB- CONT'D. -RRB- Well, what do you think? WYBIE Uhhh, I - I do n't know. BACK TO KIDS. Wybie, astride his electric bike now, WHISTLES and the black cat jumps down from the roof, onto his shoulders. WYBIE -LRB- CONT'D. -RRB- Maybe she just ran away? We hear Wybie's agitated grandmother call out. WYBIE'S GRANDMOTHER -LRB- O.C. -RRB- Wyborne! Wybie turns away : he's said too much. WYBIE Look, I got ta go. He starts to pull away. CORALINE Wait a minute! And he's gone. PUSH IN on her pensive face.", "INT CORALINE'S BEDROOM - NIGHT CU ON DOLL FACE, back in the chair by the bed. Coraline takes some yellow cheese from her pocket and puts it by the door : mice bait. She lies down and her breathing slows, the doll watching her with a nearly IMPERCEPTIBLE SMILE on its face.", "INT CORALINE'S BEDROOM - LATER Coraline sleeping, lighting suggests another dream. SOME THINGS go t - t - t - t - t - t. Coraline sits up, looks to her door, and spots a COUPLE OF KANGAROO MICE stealing the last bit of cheese.", "INT. UPPER HALL - SAME She gives chase after the mice, hopping down the stairs with the cheese.", "INT. LIVING ROOM - SAME Coraline follows the kangaroo mice directly to the little door, opened a crack, where they disappear. She pulls it open. Bricks are gone ; tunnel revealed. She does n't hesitate this time to crawl through the door.", "INT. OTHER KITCHEN - NIGHT Coraline enters Other Kitchen to find Other Mother preparing a delicious breakfast. She looks PRETTIER tonight ; her black hair shining, lips REDDER. She stops HUMMING A LULLABY to greet Coraline. OTHER MOTHER Welcome back, darling. CORALINE Hi. She is grating YELLOW CHEESE into scrambled eggs. OTHER MOTHER So thoughtful of you to send this nice cheddar, Coraline. CORALINE Cheddar? Oh, the mice bait. OTHER MOTHER Would you go fetch your father? Beams at Coraline. OTHER MOTHER -LRB- CONT'D. -RRB- Bet he's hungry as a pumpkin by now! CORALINE You mean my Other Father? OTHER MOTHER Your better father, dear. He's out in the garden. CORALINE. says. But my parents do n't have time to garden. Other Mother SHUSHES her and pops a strawberry in her mouth. CORALINE Mmmmmm! OTHER MOTHER Go on. Coraline shrugs okay, starts for the door.", "EXT STUDY DOOR TO BACK PORCH - CONTINUOUS Looking out, she sees the broken - down garden from the real world, still grey and lifeless in the dim light.", "EXT. OTHER GARDEN - SAME Coraline opens the gate to the garden. A large CRESCENT MOON RISES, and THINGS START TO GROW. Two dead shrubs start to RISE, then BLOSSOM, then the blossoms themselves are LIT UP by some GOLD AND AMBER HUMMINGBIRDS. The hummingbirds circle around Coraline, light her DRAGONFLY BARRETTE, then continue on, LIGHTING UP PITCHER PLANTS that have grown up in a nearby flower bed. A beautiful FROG POKES OUT of one blossom. The birds lead Coraline up steps past a stone wall where BLEEDING HEART GROW, AND GLOW, AND BEAT. She spots the Other Father, riding a PRAYING MANTIS TRACTOR on the hillside, planting SEEDS that instantly grow into FLOWERING PLANTS. OTHER FATHER Hey! CORALINE I love your garden! He waves back, calling : OTHER FATHER Our garden, Coraline! A gang of SNAP DRAGONS goes at her, TICKLING Coraline till she falls down. Her squeals of delight grow into HYSTERICAL LAUGHTER. CORALINE -LRB- GIGGLING. -RRB- Oh ah, stop! Stop tickling, ah! The Other Father hears this and looks over. OTHER FATHER Oops, daughter in distress! He guns the tractor full - speed over a little bridge, grabbing a GOURD TRUMPET from a vine and blowing it. JACK - O - LANTERNS surface in the pond below and spout STREAMS OF WATER. Arriving beside Coraline, he waggles his finger at the naughty snapdragons. OTHER FATHER -LRB- CONT'D. -RRB- Tickle no more, you dragon snappers! Then he deftly cuts a bouquet of them and presents it to Coraline. She nods thanks. CORALINE Well, she says it's time for dinner. breakfast. food? OTHER FATHER Hop on, kiddo, I want to show you something! She does. The Other Father grabs the GEARSHIFT KNOB, pulls it, and the mechanical mantis SPROUTS WINGS. They RISE in the air. Looking down, she sees that the garden is a PORTRAIT OF CORALINE. CORALINE I ca n't believe you did this! OTHER FATHER Mother said you'd like it! Boy she knows you like the back of her hand. He pulls a lever and they ZOOM out of frame.", "INT. OTHER KITCHEN - SAME Coraline does n't hold back this time. She stacks sausages on eggs on top of waffles, rolls it up and stuffs it in her mouth. The Other Mother FEEDS BITS OF SAUSAGE to the HUNGRY SNAPDRAGONS bouquet now in a vase. CORALINE Mmmm. so good! OTHER FATHER I love dinner, breakfast food. OTHER MOTHER Coraline, Mr. Bobinsky has invited you to come see the Jumping Mice perform after dinner. CORALINE Really. That know - it - all Wybie said it was all in Mr. B's head, I knew he was wrong. OTHER FATHER Well, everything's right in this world, Kiddo. Coraline hurries to shovel in the rest of her meal, while her Other Parents smile at one another. OTHER MOTHER Your father and I will clean up while you and your friend head upstairs. CORALINE My friend? There's a KNOCK at the door. Other Mother opens it to reveal the OTHER WYBIE. He's cleaner, with better posture, and cute button eyes. CORALINE -LRB- CONT'D. -RRB- Great. another Wybie. Hello, Why - were - you - born. The boy nods, button eyes shining. CORALINE -LRB- CONT'D. -RRB- Hello? He just makes a shy smile, does n't answer. She's confused. OTHER MOTHER I thought you'd like him more, if he spoke a little less. -LRB- shrugs, smiling. -RRB- So I fixed him. CORALINE So he ca n't talk at all? OTHER MOTHER Nope. She looks Other Wybie over appreciatively. CORALINE Hmm, I like it. OTHER MOTHER -LRB- PROUDLY. -RRB- Now run along, you two, and have fun. Coraline heads out the door with the mute boy.", "EXT. OTHER ESTATE HOUSE - SAME The Other House - lit by amber spotlights looks MAGICAL with ornate GINGERBREAD TRIM ; glowing TOPIARY in the yard. The kids come out the front door. CORALINE You're awful cheerful, considering you ca n't say anything. Other Wybie nods in agreement. Coraline and he start up the stairs to Bobinsky's. CORALINE -LRB- CONT'D. -RRB- Uh. It did n't hurt, did it, when she. She points to her mouth. There's an awkward moment and then he points past her, excitedly : a SMALL BLIMP is flying towards Bobinsky's door. They run up the stairs and watch it slip through an opening above his door. Coraline knocks and the door suddenly SPINS, THROWING THEM INSIDE.", "INT. OTHER MR. BOBINSKY'S FLAT - SAME They somersault to a stop and sit up. Down two rows of SMALL CANNONS that face each, an amazing MINIATURE CIRCUS has been set up, with a FERRIS WHEEL beside it. CORALINE Whoa. cool! Coraline goes right to the Ferris wheel where a MECHANICAL CHICKEN eats dried corn on the cob, fires up its belly, then POOPS OUT POPCORN into paper bags. Other Wybie stomps a firing button and COTTON CANDY shoots out of a cannon. He catches the cone, then starts firing off all the cannons. Coraline looks back to find him covered in the cotton candy. CORALINE -LRB- CONT'D. -RRB- Look at you! Spotlights come on in the big top, the entrance opens, and a big voice is heard over loudspeakers. OTHER MR. BOBINSKY -LRB- O.S. -RRB- Lady and gentleman! For to tickle your eyes and ears and making hearts to thump, I - Sergei Alexander Bobinsky - am introducing. They race to the entrance, stoop down to crawl inside.", "INT. MINIATURE BIG TOP - SAME OTHER MR. BOBINSKY -LRB- O.S. -RRB- my as - tound - ishing, stu - pen - dulous and AH - MAZING Jumping Mouse Circus! They sit between miniature grandstands and watch as the little BLIMP, bathed in spotlights, enters through a flap. It circles around, rising to the top of the tent, then NOSE - DIVES towards the ground! It CRASHES in the center of the circus ring, and OPENS LIKE A FLOWER from which 50 JUMPING MICE spring up like Chinese acrobats to spell out C O R A L I N E. CORALINE -LRB- DELIGHTED. -RRB- My name! The jumping mice leap to the ground in formation, BRANDISH TINY INSTRUMENTS, and DRUMMERS START POUNDING. The DRUM MAJOR MOUSE parachutes down and whips out a BATON. On his signal, the group launch into a WILD RUSSIAN CIRCUS MARCH. Coraline, grinning, turns to the Other Wybie. CORALINE -LRB- CONT'D. -RRB- It's wonderful, Wybie! The boy smiles and nods to the beat of the bass drums as the hopping band marches in and out of ever changing formations - PINWHEELS, X's, CIRCLES WITHIN CIRCLES. They hoppers begin to SPIRAL to the center of the circus ring when the floor RISES UP from its center to form a six - foot Tower of Babel, the mice HOPPING TO THE TOP. The DRUM MAJOR balances on the tippy - top on a COLORFUL CIRCUS BALL. CORALINE -LRB- CONT'D. -RRB- Wow! He RUNS the ball DOWN AND AROUND the spiral as the MICE HOP OFF, and when he hits the ground, the TOWER DROPS AWAY to reveal the OTHER MISTER BOBINSKY! He CRACKS A WHIP. Coraline and Other Wybie STAND and CLAP. Other Bobinsky - in a RINGMASTER'S OUTFIT with a full length cape - bows graciously, doffing his tall black hat. His moustache is waxed, his eyes black buttons. CORALINE -LRB- CONT'D. -RRB- Yah! Whooo - oooh! That was great! OTHER MR. BOBINSKY Very very thank you, lady and gentleman. On cue, the entire jumping mice band DISAPPEARS INTO OTHER MR. B'S SLEEVES while the drum major SWINGS UP from the man's moustache and onto his head, where he's quickly hidden by the tall black hat. CORALINE We loved it, Mr. B. It was. so. so - OTHER MR. BOBINSKY -LRB- COACHING. -RRB- AHHHHHH - CORALINE A - mazing! OTHER MR. BOBINSKY You are very velcome anytime you like, you and also your good friend there. She happily turns to Other Wybie, beaming with joy. OTHER MR. BOBINSKY -LRB- CONT'D. -RRB- Dosvedanya, Coraline. Bobinsky takes her hand to kiss it.", "INT. CORALINE'S OTHER BEDROOM - SAME Other Mother kisses SLEEPING CORALINE'S forehead, sits back in the bedside chair. Other Father, close by, pulls a cotton candy cone off Other Wybie and munches it. Coraline's Other Parents smile warmly, knowing something secret that makes them glad. PULL BACK MATCH", "INT. CORALINE'S BEDROOM - DAY EARLY MORNING. Coraline once again wakes in own bed in the real world, the little doll - left on the chair - now clutched against her chest. CORALINE Ughhh. Her gaze moves from the doll to where she left the cheese by the door. It's GONE. This is much too confusing.", "INT. LIVING ROOM - SAME Coraline tries the small door in the corner wall. It's locked. What the heck?", "EXT. SMALL OFFICE BUILDING IN TOWN - DAY - SQUEALING brakes, as the Jones' JEEP pulls up in front of `` Northwest Garden'' headquarters. TOWNSFOLK in SHAKESPEAREAN COSTUMES stand about, advertising a local festival. Coraline is sharing her latest dream : CORALINE -LRB- V.O. -RRB- there were garden squash like balloon animals AND snap dragons. ON FAMILY : Coraline continues from back seat as her father and mother review their work pages. CORALINE -LRB- CONT'D. -RRB- Oh, and upstairs I saw a real mouse circus, not pretend like the crazy man's in our house. Her parents, preoccupied, ignore her. CHARLIE You sure you wo n't come? MEL -LRB- indicates neck brace. -RRB- Do n't fret, Charlie, they'll love the new catalog. At least, they'll love my chapters. Gives her an `` are n't you funny'' look, opens door. Mel looks back at Coraline. MEL -LRB- CONT'D. -RRB- I did not call him crazy, Coraline. He's drunk. She makes the hand - thumb bottle sign. Charlie leans in to Coraline, pinches her nose. CHARLIE Well, I guess I'll see you around, you dizzy dreamer. Coraline cuts him off, embarrassed. CORALINE Da - ad! I'm not five anymore. Dad sighs, heads up the steps to his appointment as Mel and Coraline drive off.", "INT. UNIFORMS DEPARTMENT STORE - SAME PRESIDENT'S DAY SALE. Mel piles gray blouses, a navy skirt, white socks onto the arms of a CLERK. Sitting alone on some stairs, Coraline sees a pair of fancy GREEN AND ORANGE GLOVES. As she tries them on, a YOUNG RASCAL in costume with sword BOUNCES PAST her down the stairs on a WHEELED STEP STOOL - his FATHER in pursuit. YOUNG RASCAL My kingdom for a hooooooorse! There's an off screen crash, then the step stool rolls back to Coraline. She gets an idea. Mel is checking out school blouses, when Coraline rolls past, first one direction, then the other, modeling the colorful gloves. Without looking up, her mom tells her : MEL Put them back. CORALINE But Mom, the whole school's gon na wear boring gray clothes. No one will have these. MEL Put them back. Coraline mutters : CORALINE My other mother would get them. MEL Maybe she should buy all your clothes. Coraline scowls and stomps away to return the gloves.", "INT. CAR - SAME Coraline and Mel are driving home, shopping bags in back. CORALINE So what do you think's in the other apartment? MEL I do n't know. Not a family of Jones imposters. CORALINE Then why'd you lock the door? MEL -LRB- shorter than previous. -RRB- Oh, I found some rat crap and. I thought you'd feel. safer. CORALINE They're jumping - mice, Mom! And the dreams are n't dangerous ; they're the most fun I've had since we've moved here. MEL Your school might be fun. CORALINE With those stupid uniforms? Right. MEL Had to give it a try. They pull into their DRIVEWAY.", "INT. KITCHEN - SAME Mel pulls out salsa, mustard, catsup, stale tortillas from the fridge. MEL How do you feel about a mustard - ketchup - salsa wrap for lunch? Coraline, carrying in the bags from outside, makes a face. CORALINE Are you kidding me? MEL Mmm. Had to go food shopping anyway. Dad's planning something special. Coraline squinches up her nose. CORALINE Gross - gusting. MEL -LRB- BRIGHTENS. -RRB- You wan na come along? You can pick out something you like. Coraline plops down in a chair. CORALINE Oh, like the gloves? Mel reaches out and musses Coraline's hair. The girl pulls away. MEL Look, Coraline. if things go well today, I promise I'll make it up. CORALINE That's what you always say. Mom rolls her eyes, shaking her head, and opens the door to leave. MEL Wo n't be long. Shuts the door. CORALINE -LRB- MUTTERS. -RRB- But I might be. She leaves.", "INT. KITCHEN - SAME Coraline pulls open the key drawer, looking for the small black key. Not there. She looks around, then spots it hanging on a hook above a door. She stands on a chair and snags it.", "INT. LIVING ROOM - SAME Coraline stoops in front of the small door and pushes the key into the keyhole and unlocks the door. She listens for her mother's car. Nothing. Grasping the key between thumb and forefinger, she closes her eyes, she pulls the door open. ANGLE ON CORALINE : A SOFT BREEZE MOVES her hair. She knows before her eyes open that the BRICKS ARE GONE. CORALINE -LRB- TRIUMPHANT. -RRB- I knew it was real! She opens her eyes, smiles, and CRAWLS FORWARD. ANGLE ON CORALINE THROUGH WINDOW. CAMERA PULLS BACK and we FIND the BLACK CAT, perched on the wet window sill, OBSERVING Coraline as she disappears into the tunnel. With a look of concern, he exits frame.", "INT. OTHER KITCHEN - NIGHT Lunch is ready and waiting for her : foot - long hotdogs with relish ; grilled cheese sandwiches with gherkins ; curly - fries ; piles of coleslaw and potato salad ; five flavors of soda - pop. There's a NOTE attached to a GIFT - OTHER MOTHER -LRB- V.O. -RRB- Dearest Coraline, Miss Spink and Miss Forcible have invited you downstairs after lunch. I hope you like the new outfit I made you! Love, Mother. Coraline tears open the box and finds a pair of beautiful BLUE BOOTS, BLACK CORDUROY TROUSERS, and a METALLIC GREY SWEATER WITH TWINKLING STARS. She holds up the sweater to her body, smiles, then puts down the clothes and digs into lunch.", "EXT. OTHER HOUSE - SAME Coraline, dressed in her FANCY NEW CLOTHES, steps onto the FRONT PORCH and BURPS. It's always nighttime in this world. A CAT MEEEROWS. Coraline looks up to see a BLACK CAT on the porch roof above her. Coraline raises her brows, studies the animal a moment. CORALINE Hmmm. Wybie's got a cat like you at home. Not the quiet Wybie ; the one that talks too much. You must be the Other Cat. The cat LEAPS down and lands on the railing by the basement stairs. He shakes his head and SPEAKS! CAT No. I'm not the other anything. I'm me. He tips his head to one side, opal blue eyes glinting. Coraline is surprised. CORALINE Um. I can see you do n't have button eyes. But if you're the same cat, how can you talk? The cat shrugs from the tip of his tail to his whiskers. CAT I just can. He leaps smoothly from the railing and onto a large, FALLEN TREE. CORALINE Cats do n't talk at home. CAT No? CORALINE Nope. Climbs up the tree's upended roots, head held high and proud. CAT -LRB- DRYLY. -RRB- Well, you're clearly the expert on these things. After all, I'm just a big fat wuss puss. CORALINE Come back. Please? I. I'm sorry I called you that, I really am. Coraline forces herself to be polite. CORALINE -LRB- CONT'D. -RRB- How'd you get here? CAT I've been coming here for a while. He DISAPPEARS behind one a thick root that sticks up, then REAPPEARS from a large knot hole beside Coraline, startling her. CAT -LRB- CONT'D. -RRB- It's a game we play. She. -LRB- indicates house. -RRB-. hates cats and tries to keep me out. But she ca n't, of course. He pokes his HEAD DOWN into the knot hole, then POPS IT UP out of ANOTHER KNOT - HOLE, ten feet away. CAT -LRB- CONT'D. -RRB- I come and go as I please. CORALINE -LRB- SKEPTICAL. -RRB- The Other Mother hates cats? CAT -LRB- CONTEMPTUOUS. -RRB- Not like any `` mother'' I've ever known. CORALINE What do you mean? She's amazing! Cat climbs the tree's branches onto the roof. CAT You probably think this world is a dream come true. But you're wrong. The Other Wybie told me so. CORALINE That's nonsense. He ca n't talk. The cat looks at her, pitying her lack of intelligence. CAT Perhaps not to you. We cats, however, have far superior senses than humans and can see and smell, and - Suddenly, the cat drops into a crouch and freezes, sensing something. CAT -LRB- CONT'D. -RRB- -LRB- WHISPERING. -RRB- Shhhh! I hear something! Right. over. He SCRAMBLES across the roof and disappears around the corner. Coraline shrugs, skeptical, and heads down to Spink and Forcible's, their door now circled with CHASER LIGHTS.", "INT. MISS SPINK AND FORCIBLE'S OTHER APARTMENT - SAME She pushes past elegant VELVET CURTAINS to discover an enormous, darkened THEATER with dim rows of seats and a high WOODEN STAGE. A FLASHLIGHT comes towards her, carried by a black SCOTTIE DOG with button eyes. He looks up at her, sniffs, then leads her down the aisle past rows and rows of BUTTON - EYED SCOTTIES, to a front seat by the Other Wybie. She squeezes his arm hello, he looks back warmly. CORALINE Hey, Wybie. Light flash, the audience quiets, then the curtains open on a SEASIDE SETTING with ROTATING WAVES. OTHER MISS SPINK rises up on stage left, in a MERMAID SUIT, large WIG, BUTTON EYES, and UKULELE. CORALINE -LRB- CONT'D. -RRB- -LRB- SHOCKED. -RRB- She's practically naked! And Miss Spink sings. OTHER MISS SPINK I'm known as the siren of all seven seas The breaker of hearts by the bay. A flat cut - out ship manned by cut - out men rows in behind her. OTHER MISS SPINK -LRB- CONT'D. -RRB- So, if you go swimmin' With bow - legged women, I might steal your weak heart away. She bows her head and the audience of dogs THUMP their tails. Spink is LOWERED through the stage floor, the SCENERY CHANGES, and on the right, a huge SCALLOP SHELL RISES up with the OTHER MISS FORCIBLE, clad in the bare minimum - her homage to Botticelli's BIRTH OF VENUS. She's facing the wrong way. CORALINE -LRB- whisper, to Wybie. -RRB- Oh my God. A dog HOWLS, alerting the near - blind lady, who turns to the audience and begins the next verse. OTHER MISS FORCIBLE A big - bottomed sea witch may bob through the waves, And hope to lead sailors astray, But a true ocean goddess, Must fill out her bodice. -LRB- indicates her ample bosom. -RRB- To present an alluring display. The dogs thump and woof, Wybie and Coraline clap. Spink, furious at the greater reaction, gets back in the competition. Rising up, she makes it clear just who she's dissing. OTHER MISS SPINK Beware of old oysters, too large in the chest, Let's banish them from the buffet. But Forcible is up to the challenge - the scenery starts to change faster and faster as the ladies rise up and down, competing. OTHER MISS SPINK -LRB- CONT'D. -RRB- I'm far more nutritious OTHER MISS FORCIBLE You smell like the fishes OTHER MISS SPINK Did I hear a banshee? OTHER MISS FORCIBLE You're sea - green with envy OTHER MISS SPINK This mermaid enchantress, OTHER MISS FORCIBLE No, I `` Birth of Venus!'' The set rigging ca n't take it anymore - ropes snap, sandbags swing, scenery starts to fall. OTHER MISS FORCIBLE -LRB- CONT'D. -RRB- Will send sailors swooning - oh -! OTHER MISS SPINK Will send sailors swooning - oh -! With a crash, the old ladies TUMBLE DOWN IN A PILE. Coraline winces. The audience HOWLS with laughter as the curtains close on the disaster. DRUM ROLL. A SCOTTIE DOG pushes a large BUCKET OF WATER, labeled `` POOL'', onto center stage. Spotlights tilt up to the top of very tall diving platforms WHERE THE OLD LADIES NOW STAND. Coraline ca n't stand it. CORALINE -LRB- WHISPERS. -RRB- I ca n't look! OTHER MISS SPINK Ready to break a leg, Miriam? OTHER MISS FORCIBLE Our lives for the theater, April! They begin to bounce on the diving boards. As they bounce up, the two troupers unzip FAT SUIT DISGUISES from which emerge their YOUNGER BEAUTIFUL SELVES which LEAP to catch matching TRAPEZE BARS that swing into place. Coraline LAUGHS with relief and amazement, Other Wybie pleased. Dogs WOOF, MUSIC BEGINS and the TWO BEAUTIES - eyes BRIGHT BUTTONS, SEXY BATHING SUITS striped pink and green - SWING OUT over the stage. YOUNG FORCIBLE What a piece of work is man! How noble in reason! They FLY past each other on their trapezes, double up, catch one another hand to ankle. We notice a LARGE PEARL RING on Forcible's finger. YOUNG SPINK How infinite in faculty! In form and moving how express and admirable! In a SUDDEN change of direction, they SWING OUT over the audience, trapeze bar LOWERING and PULL CORALINE INTO THE AIR! She HOLLERS, terrified. They expertly TOSS HER one to the other, FLIPPING AND SPINNING, as they continue their lines. Her SCREAMS become CRIES OF EXHILARATION. YOUNG FORCIBLE In action like an angel! YOUNG SPINK In apprehension how like a god! CORALINE Ahhh! YOUNG FORCIBLE The beauty of the world! YOUNG SPINK The paragon of animals! Coraline swings face - to - face to the dogs in the royal box seats where one licks her. CORALINE Yeah! The acrobats TOSS CORALINE UP into the air and JACK - KNIFE DIVE into the large bucket below. They rise up, unhurt, just in time to catch Coraline. The THREE BOW to THUNDEROUS THUMPING APPLAUSE and, as the camera pulls back on the scene, Other Wybie throws her a rose!", "EXT. OTHER ESTATE HOUSE - NIGHT Other Wybie escorts Coraline up the stone stairs from Spink and Forcible's apartment. The Other Mother and Other Father, a huge, full moon rising behind them, wait at the top of the stairs. OTHER FATHER Hey there. OTHER MOTHER Was it wonderful, dear? Other Mother's hair looks absolutely beautiful and Other Father dapper. Coraline shakes with excitement as they walk toward the front porch. Other Wybie holds back, loses his smile. CORALINE Oh yeah. They swooped down and pulled me right out of my seat - Spink and Forcible. Only they were n't old ladies, that was just a disguise. But then, I was flying through the air and. it was, it was magic. They walk up the front steps. OTHER MOTHER You do like it here, do n't you, Coraline? CORALINE -LRB- nods, turns back. -RRB- Uh - huh! Good night, Wybie. Other Father takes Coraline inside. Wybie, at the bottom of the steps, looks GUILTY AND SAD. Other Mother glares at him, makes a huge, false smile then points to him. He just lowers his head.", "INT. OTHER HALLWAY - CONTINUOUS OTHER MOTHER You could stay here forever. if you want to. CORALINE Really? OTHER FATHER Sure. we'll sing and play games, and Mother will cook your favorite meals. Other Mother rests her hand on Coraline's shoulder. OTHER MOTHER There's one tiny little thing we need to do. CORALINE What's that? OTHER FATHER Well, it's a surprise.", "INT. OTHER DINING ROOM - CONTINUOUS Coraline is seated in her place. The Other Mother places a SMALL BOX with a bow in front of her, and takes her seat along with Other Father. Coraline excitedly removes the lid. OTHER MOTHER For you. our little doll. The `` surprise'' is a spool of BLACK THREAD, a SILVER NEEDLE, and a pair of SHINY BLACK BUTTONS - FOR CORALINE'S EYES. Coraline GASPS. She looks up at her Other Parents, hoping it's a bad joke. OTHER MOTHER -LRB- CONT'D. -RRB- -LRB- SMILING. -RRB- Black is traditional, but if you'd prefer pink or vermillion or chartreuse. Coraline sees their button eyes changing colors, growing ever more panicked. OTHER MOTHER -LRB- CONT'D. -RRB- though you might make me jealous. CORALINE NO WAY! She bats the box away, and her hands FLY to her face, COVER her eyes. CORALINE -LRB- CONT'D. -RRB- YOU'RE NOT SEWING BUTTONS IN MY EYES! OTHER MOTHER Oh, but we need a yes. if you want to stay here. Other Father tests the needle on his finger. OTHER FATHER -LRB- ENTHUSIASTIC. -RRB- So sharp you wo n't feel a thi - Oww! Other Mother KICKS him under the table. Embarrassed, he puts the needle back in the box. OTHER MOTHER There now ; it's your decision, darling. We only want what's best for you. She walks over and puts her hand, now ICY COLD, on Coraline's shoulder. Coraline PUSHES it away and STANDS UP. CORALINE I'm. I'm going to bed! RIGHT NOW! OTHER MOTHER -LRB- WOUNDED. -RRB- Bed? OTHER FATHER Before dinner? Coraline fights to control her quaking voice. CORALINE I'm really, really tired. Yeah. -LRB- fakes huge yawn. -RRB- I just need to sleep on things. Other Mother stands, masking disappointment. OTHER MOTHER Well of course you do, darling. I'll be happy to tuck you in. Coraline backs away, urging them to stay where they are. CORALINE -LRB- palms out, forced smile. -RRB- Oh, no thanks, uh, you - you've done so much already - She turns to leave and finds the Other Mother BLOCKING THE DOORWAY. Other Father joins her. OTHER MOTHER You're welcome. And I -. -LRB- smiles to Other Father. -RRB- we are n't worried at all, darling. -LRB- SOFTLY. -RRB- Soon you'll see things our way. She lets go. She and the Other Father herd Coraline across the hallway to the stairs.", "INT. OTHER HALLWAY, STAIRS, UPPER HALL - CONTINUOUS Coraline carefully climbs the stairs, the Other Parents watching. When they can no longer see her, she RACES up the last steps and DASHES to her Other Bedroom.", "INT. CORALINE'S OTHER BEDROOM - TWILIGHT Coraline shuts the door and is quickly surrounded by fluttering DRAGONFLIES. MAGIC DRAGONFLY What's wrong, Coraline? Do n't you want to play? She jumps up and CATCHES the paper creatures, opens the TOY CHEST and tosses them in. The PLUSH BLUE SQUID greets her from the shelf, followed by the TOY TANK GIRAFFE. TOY SQUID Yeah, I wan na hugga your face! TOY TANK GIRAFFE Get a grip, soldier. She GRABS them both and drops them in the toy chest. Her PHOTO FRIENDS - NOW WITH BLACK BUTTONS FOR EYES - call out from the photo by her bed. PHOTO FRIENDS Hey! PHOTO FRIEND 1 Where's yer buttons, yuper? PHOTO FRIEND 2 You wan na stay, do n'tcha? Coraline grabs them as well, drops them in the chest, and SHUTS the lid. She barricades the door with a DRESSER and CHAIRS and then the TOY CHEST. CORALINE I'm going home tonight, robots - and I wo n't be back. She sits on the bed, pulls off the blue boots then CLIMBS UNDER THE COVERS, pulling them over her head and holding tight. She HUGS herself to stop shaking, knowing she must fall asleep in this bed to wake up in her real bed at home. She closes her eyes and tells herself : CORALINE -LRB- CONT'D. -RRB- Go to sleep, go to sleep, go to sleep, go to sleep! She tosses one way, then another. WE HEAR her voice CORALINE -LRB- V.O. ; CONT'D. -RRB- Go to sleep, go to sleep. There are strange, backwards sounds, then the eerie voices of Other Mother and Other Father. OTHER MOTHER -LRB- V.O. -RRB- There's just one tiny little thing we have to do. CORALINE Go to sleep, go to sleep, go to sleep. OTHER FATHER -LRB- V.O. -RRB- So sharp you wo n't feel a thing. CORALINE Go to sleep, go to sleep, go to sleep. OTHER MOTHER -LRB- V.O. -RRB- Soon you'll see things our way. Coraline fidgets and turns and turns again but sleep finally wraps her and takes her to oblivion. MATCH PULLBACK", "INT. OTHER BEDROOM - LATER We see Coraline's room, BRIGHTLY LIT LIKE MORNING IN THE REAL WORLD. ANGLE ON Coraline's face beneath the covers, as she's WOKEN by the light. With a hopeful look, she calls out, pulls back the covers : CORALINE Mom! Dad! Her smile turns to shock - there's a BRIGHT, FULL MOON in her window and it's STILL NIGHTTIME IN THE OTHER WORLD. CORALINE -LRB- CONT'D. -RRB- Oh God, I'm still here?", "INT. OTHER STAIRS, LOWER HALLWAY - SAME Coraline races downstairs to the Other Living Room where the little door home must be! But the living room is LOCKED TIGHT. She pulls at the handles, plants a foot and tries with all her might! It's no use. She stops, panting, then hears a piano note being hit over and over.", "INT. OTHER FATHER'S STUDY - SAME Coraline opens the door and finds the Other Father sitting at the piano, his back to her, hitting the note. She speaks in her bravest voice. CORALINE Hey you! Where's the Other Mother? I want to go home. The Other Father turns around. He looks ill ; his hair messed and his glasses askew. He speaks, his voice slowed - down. OTHER FATHER All will be swell, soon as Mother's refreshed. Her strength is our strength. The WHITE - GLOVED HANDS POP OUT from the piano. One COVERS HIS MOUTH, the other WAGS A FINGER in his face. OTHER FATHER -LRB- CONT'D. -RRB- Must n't talk when Mother's not here. CORALINE If you wo n't even talk to me, I'm gon na find the Other Wybie. He'll help me. She turns to go. OTHER FATHER No point ; he pulled a long face. He PULLS DOWN the corners of his mouth impossibly far. OTHER FATHER -LRB- CONT'D. -RRB- and Mother did n't like it. The PIANO HANDS pop out again, aggressively SHUT HIS MOUTH and SPIN HIM away from Coraline. Frightened, she runs to the door that leads outside, and pulls it open.", "EXT. OTHER HOUSE - NIGHT, FULL MOON She runs out the back porch, towards the Other Garden. OTHER STEEP HILLSIDE TRAIL She crosses the trail, the Other House in the distance. ENTRANCE TO OTHER ORCHARD She runs down the path. OTHER ORCHARD Coraline runs past trees that are LUSH WITH GREEN LEAVES AND RIPE RED FRUIT. She's panting hard, and has to slow to a fast walk. The further she goes, the LESS TREE - LIKE the fruit trees become. She hears the CAT MEROWWW. Surprised, she looks down. CAT And what do you think you're doing? The cat trots along by her feet. She blinks. CORALINE Well, I'm gettin' outta here. That's what I'M doing. The sky starts to BRIGHTEN and the apple trees become WIRE - THIN SHAPES OF TREES. CORALINE -LRB- CONT'D. -RRB- Huh? Something's wrong. Should n't the old well be here? The remnants of the trees and the sky and the ground give way to a PALE, EMPTY NOTHINGNESS. No ground or shadows. CAT Nothing out here. it's the empty part of this world. She only made what she knew would impress you. CORALINE But why? Why does she want me? They walk over the horizon. CAT -LRB- cont'd. -RRB- She wants something to love, I think. Something that is n't her. Or maybe she'd just love something to eat. CORALINE Eat? That's ridiculous, mothers do n't eat daughters! CAT I do n't know. How do you taste? OTHER HOUSE REAPPEARS A SHAPE RISES in front of them in the whiteness and becomes the beautiful OTHER HOUSE. Coraline and the cat slow, then the front yard and topiary, the sky, hills, white gravel drive and the poplar trees behind them FILL IN. CORALINE Huh? But how can you walk away from something and still come back to it? The cat curls its tail into a question mark, and tips its head to one side. CAT Walk around the world. CORALINE Small world. Coraline shivers. The cat suddenly TENSES, focuses on a shrub. CAT Hang on - He bounds towards the shrub and chases out a CUTE KANGAROO MOUSE in uniform with a TINY TRUMPET. Before Coraline can blink, he's PINNED IT DOWN. CORALINE Stop, he's one of the circus mice! With a SWIFT BLOW of its paw, the cat KNOCKS the mouse into the air, and catches it in his mouth. He gives a QUICK, KILLING BITE - CORALINE GASPS - and the mouse TRANSFORMS into a BIG DEAD RAT. Coraline is stunned. He drops the rat on the ground. CAT I do n't like rats at the best of times, but this one was sounding an alarm. The cat picks the rat up and heads off. Slack - jawed, Coraline speaks with admiration. CORALINE Gooooood kitty. Coraline looks to the house with a determined look. On the porch, she takes out a HEAVY CANE from the UMBRELLA STAND and hits it into her hand.", "INT. HOUSE,   OTHER HALLWAY - SAME Coraline, standing in front of the living room doors, TESTS the cane in her hands, and peers down the hall for danger. It's dead quiet - no piano, no sounds of anything. She JAMS the cane through the doors' handles, and PULLS with all her might. One HANDLE AND LOCK BREAK and the door swings open into the pitch black living room. The hall light casts a narrow path directly to the Other Little Door on the far wall, cracked open. She steps into the room.", "INT. OTHER LIVING ROOM - CONTINUOUS A huge ARMOIRE BUG suddenly crab - steps in her path, blocking the little door, and all around her things start to glow. The room has been TRANSFORMED into an amazing BUG MUSEUM, with all sorts of glowing, living specimens in the place of the old furniture and furnishings. The radiators are now big caterpillars, the Nordic Track a serving bug. The Other Mother speaks out, startling Coraline. OTHER MOTHER -LRB- O.S. -RRB- They say even the proudest - The sofa, now a LARGE BUG, turns in place to reveal her sitting on it. OTHER MOTHER -LRB- CONT'D. -RRB- - spirit can be broken. with love. She's all smiles, button eyes shining, one hand held out in a behold my handiwork gesture. A BUG CHAIR scoops up Coraline and brings her to the Other Mother. The Other Mother takes a candy dish from the servant bug. OTHER MOTHER -LRB- CONT'D. -RRB- Of course, chocolate never hurts. Like one? She extends a CANDY DISH filled LIVING CHOCOLATE BEETLES. OTHER MOTHER -LRB- CONT'D. -RRB- They're Cocoa Beetles from Zanzibar. Coraline is disgusted. The Other Mother takes back the dish and BITES OFF THE HEAD OF ONE. It's the first thing she's eaten in the film. CORALINE I want to be with my real mom and dad. I want you to let me go. The Other Mother FROWNS, swallows. She speaks with a FRIGHTENING STEELINESS in her voice. OTHER MOTHER Is that any way to talk to your mother? Coraline is mad, and feeling mad makes her brave. CORALINE You are n't my mother. The Other Mother STRAIGHTENS. Her button eyes, now DEAD, stare into Coraline's. OTHER MOTHER Apologize at once, Coraline! Coraline stares right back, not blinking. CORALINE No. OTHER MOTHER -LRB- TENSELY. -RRB- I'll give you to the count of three. One. Then she stands up, GROWING TALLER. OTHER MOTHER -LRB- CONT'D. -RRB- two. She grows TALLER STILL and SCARIER like a super model on steroids. TALL OTHER MOTHER THREE! This TALL OTHER MOTHER GRABS Coraline by her NOSE and DRAGS her to the hallway. CORALINE Ow, what are you doing!", "INT. OTHER HOUSE HALLWAY - CONTINUOUS She PULLS Coraline down the hallway to the mirror at the end. Coraline flails at the Tall Other Mother with her fists. CORALINE Ow, that hurts! Tall Other Mother SHOVES Coraline RIGHT THROUGH THE MIRROR as if it was water!", "INT. CLOSET-PRISON BEHIND THE MIRROR - CONTINUOUS Coraline HITS the ground hard. The Tall Other Mother, head thrust through the mirror, stares down at her angrily. TALL OTHER MOTHER You may come out when you've learned to be a loving daughter! She PULLS HER HEAD OUT and leaves Coraline in DARKNESS. Coraline pounds on the mirror - door, kicks it with her blue boots. A SOB wells up in her throat. And then we hear a SOFT GHOSTLY MOAN. She turns. She can just make out a sagging iron bed. When the voice speaks, there is a faint glow from beneath its stained cover. CORALINE -LRB- FRIGHTENED. -RRB- Who's there? TALL GIRL GHOST -LRB- O.S. -RRB- -LRB- WHISPERS. -RRB- Hush! And shush! For the Beldam might be listening! Coraline steps towards the bed, the faint glow from under the covers in sync with the words she hears. CORALINE -LRB- WHISPERS. -RRB- You. you mean the Other Mother? She gently pulls back the sheets. The DIMLY GLOWING GHOSTS of THREE CHILDREN, BUTTON EYES, SIT UP : a SWEET GIRL GHOST, Coraline's size ; a TALL GIRL GHOST, emotional ; a young BOY GHOST, very sad. CORALINE -LRB- CONT'D. -RRB- Who are you? BOY GHOST -LRB- WISTFUL. -RRB- Do n't remember our names. But I ` member my true mommy. The boy, dressed like Huck Finn, CONJURES up ghost flowers. The strange - looking flowers wither and fade. He's so sad that Coraline takes his cold hand and squeezes it. CORALINE Why are you all here? ALL GHOSTS The Beldam! The ghosts move about in a dance macabre, like ghostly fish in water. SWEET GIRL GHOST She spied on our lives, through the little doll's eyes, BOY GHOST And saw that we were n't happy. TALL GIRL GHOST So she lured us away, TALL GIRL GHOST -LRB- CONT'D. -RRB- with treasures and treats, SWEET GIRL GHOST and games to play! BOY GHOST Gave all that we asked - SWEET GIRL GHOST yet we still wanted more - TALL GIRL GHOST So we let her sew the buttons. BOY GHOST She said that she loved us, TALL GIRL GHOST But she locked us here ALL GHOSTS And ate up our lives. The ghosts fall back into their bed and sink down. Coraline is stunned. She thinks a little and then speaks, trying to steady her voice. CORALINE Well, she ca n't keep me in the dark forever ; not if she wants to win my life. Beating her is my only chance. A beat. Then the Sweet Girl asks in her sing - song way : SWEET GIRL GHOST Perhaps, if you do win your escape, you could find our eyes? CORALINE Has she taken those, too? SWEET GIRL GHOST Yes, miss. And hidden them. BOY GHOST Find our eyes, mistress, and our souls will be freed. CORALINE I. I'll try. The ghosts PULSE with hope. Coraline sits down against the mirror door, bounces her head against it. She's not hopeless. Suddenly, HANDS REACH THROUGH THE MIRROR and PULL HER OUT!", "INT. OTHER HALLWAY - NIGHT C.U. of Coraline's FACE, eyes wild, as she TEARS at the hands that hold her. She GRABS one and, FLIPS her MASKED ATTACKER onto the ground. She pulls off his mask : it's the OTHER WYBIE, his mouth stitched into a PAINFUL, EAR TO EAR SMILE. CORALINE -LRB- PANTING. -RRB- WYBIE? Coraline sits him up. CORALINE -LRB- CONT'D. -RRB- Did she do this to you? She unstitches his painfully - huge grin. CORALINE -LRB- CONT'D. -RRB- I hope that feels bet - OTHER WYBIE Shhh. He stops her with a finger to her lips, and points to the Other Living Room, its door UNLOCKED AND OPEN. He grabs her hand and PULLS her there.", "INT. OTHER LIVING ROOM \u00ad CONTINUOUS It's dark, the bug furniture asleep. They run to the big armoire bug that guards the little door and SHOVE IT out of the way. It CRASHES to the floor. And from upstairs, a voice calls out. TALL OTHER MOTHER -LRB- O.S. -RRB- Coraline? Is that you! CORALINE Let's go! She opens the little door. A COLD WIND blows from the dark passageway, now filled with SPIDER WEBS and the SHOES, COATS, AND HATS of other kids who tried to escape. TALL OTHER MOTHER -LRB- O.S. -RRB- Coraline. The tunnel MOVES at the sound of her voice. Coraline takes Other Wybie's arm. CORALINE Come on. She'll hurt you again! He shakes his head no, then pulls off his glove to reveal a HAND MADE OF SAWDUST. He blows his fingers away. HIGH HEELS CLICK from the stairs ; she's ALMOST THERE! TALL OTHER MOTHER -LRB- O.S. -RRB- Coraline? How dare you disobey your mother! Other Wybie shoves Coraline into the tunnel and shuts the door.", "INT. PASSAGEWAY \u00ad CONTINUOUS Hunched down, she moves as quickly as she can, tearing through the sticky cobwebs. TALL OTHER MOTHER -LRB- O.S. -RRB- -LRB- calling after her. -RRB- Coraline! Strands of web brush her face, stick to her hair ; she closes her eyes, hands out until she finally gets to the little door at the other end. She DIVES, TUCKS, -", "INT. REAL LIVING ROOM - CONTINUOUS TIME, BUT DAY HERE - AND ROLLS OUT onto the REAL LIVING ROOM FLOOR. Coraline SLAMS the door shut and turns the sharp little key - still in the keyhole - to LOCK IT. She stands, covered in dust and cobwebs, and calls out with joy and relief. CORALINE I'M HOME!", "INT. HALLWAY, STAIRWAY, DAD'S STUDY - SAME She goes quickly through the apartment, happily calling : CORALINE Anybody here? Hello, hello, hello! Real Dad. Real Mom!", "INT. KITCHEN - SAME CORALINE Oh, Mom's groceries! There are bags of groceries on the table, as if her mother had just gotten in. She pulls open a bag to peek and FRUIT FLIES shoot out. The food is spoiled. CORALINE -LRB- CONT'D. -RRB- -LRB- PUZZLED. -RRB- Uhhh. That's disgusting. Door bell rings.", "INT. HALLWAY - CONTINUOUS She runs excitedly to the door and flings it open. CORALINE I missed you guys so much - You'll never -", "INT./EXT. FRONT DOOR - CONTINUOUS, RAIN But it's just Wybie, the real boy. CORALINE Oh. the Wybie that talks. He's waves, face down, awkward. WYBIE Huh? Ha ha ha. yeah. Um, so you know tha - that old doll I gave you? Coraline tenses, sharp breath. WYBIE -LRB- CONT'D. -RRB- Um. my Gramma's real mad, says it was her sister's - the one that. disappeared? She reads him like a book. CORALINE -LRB- REALIZATION. -RRB- You stole that doll, did n't you? Wybie answers quickly, guilty as heck. WYBIE. says. Well, i - it looked just like you. And I FIGURED - Coraline, rushing the words, tells him the truth. CORALINE It used to look like this pioneer girl ; then Huck Finn junior ; then it was this Little Rascals chick with all these ribbons, and braids, and. Her voice trails off. Coraline studies Wybie, then, snaps her fingers. CORALINE -LRB- CONT'D. -RRB- Grandma's missing sister! He nods, one brow raising up. CORALINE -LRB- CONT'D. -RRB- I think I just met her. C'mon! She pulls him inside and -", "INT HALLWAY - CONTINUOUS - drags him down the hall. WYBIE Uh, listen, I - I - I'm really not supposed TO -", "INT. LIVING ROOM - CONTINUOUS Coraline WALKS HIM to the LITTLE DOOR in the corner wall and points. Wybie looks around anxiously, fearful and curious to be in his grandmother's old house. CORALINE She's in there. Reluctantly, he bends down and reaches for the key in the lock. WYBIE C - can you - can you unlock it? She grabs his hand, stops him. CORALINE Not in a million years. But it would n't matter ; she ca n't escape without her eyes. None of the ghosts can. Wybie stares at her, nodding his head as if he understands her crazy story. He changes the subject, gets back to his mission. WYBIE Huhhhhhh. So, uh, I really need to get that doll? Coraline snaps at him. CORALINE Great! I'd love to get rid of it! She exhales in a huff. Grabs his sleeve, leads him from room.", "INT. CORALINE'S BEDROOM - CONTINUOUS The doll's not on the bed, not on the chairs or moving boxes. CORALINE Where are you hiding, you little monster?! Wybie nervously watches Coraline pull out her dresser drawers, yank cushions off the window seat. WYBIE You and Gramma been talking? CORALINE The doll's her spy! It's how she watches you, finds out what's wrong with your life! Wybie, trapped like a deer - in - the - headlights, tries to make sense of her remarks. WYBIE The doll. is my Gramma's. spy. CORALINE NO! - the Other Mother! She's got this whole world where everything's better - the food, the garden, the -. -LRB- leans in on him. -RRB- - neighbors. Holds her hands up. CORALINE -LRB- CONT'D. -RRB- But it's all a trap! Wybie, eager to escape, cups hand to ear by the window. WYBIE Yeah. Uh, I think I heard someone calling me, Jonesy. Coraline sees right through him. CORALINE Do n't believe me? You can ask the cat! He moves around her towards the door, turns to leave. WYBIE The cat. I - I'll just tell Gramma that you could n't find the doll - OW! A blue boot - thrown by Coraline - HITS his arm. He turns back as she takes off the second one. CORALINE You're not LISTENING TO ME! WYBIE That's. cause. you're CRAZY! He FLEES as the second boot flies past. Coraline GROWLS, and gives chase.", "INT UPPER STAIRWAY - CONTINUOUS She grabs her boots from the floor, and CHASES him down the stairs in her socks.", "EXT. FRONT DOOR/DRIVEWAY - CONTINUOUS, RAINING Door flies open and Wybie RUNS down the front steps to his electric bike. Coraline RACES down after him. CORALINE You creep! WYBIE -LRB- calling over his shoulder. -RRB- Crazy! He RUNS his bike towards the FALLEN TREE, HOPS ON and PEDALS LIKE MAD. As Coraline hurls a boot at him, he GUNS the motor and escapes down a side path past the driveway. CORALINE Crazy? You're the jerk - wad that gave me the doll! Out of breath, she turns away and notices her PARENTS' CAR parked to the side. CORALINE -LRB- CONT'D. -RRB- Mom! Dad! Excited, she hops over the fallen tree and runs to the car.", "INT. JONES' CAR - SAME Coraline, standing in the rain, excitedly looks through the car's window. But the car is EMPTY. She spots her mom's PHONE, then opens the door to grabs it and speed dial a number. CORALINE Pick it up, Dad, pick it up. CHARLIE -LRB- V.O. -RRB- Hi! CORALINE Dad! Whe - CHARLIE -LRB- V.O. -RRB- I'm digging in my garden right now, but leave a message and I'll get right back to you. She dejectedly looks at the phone, then snaps it shut. CORALINE Where have you gone?", "INT. SPINK AND FORCIBLE'S LIVING ROOM - EVENING Miss Spink is knitting a SWEATER WITH WINGS for a worried - looking ANGUS, one of the Scotties, who sits on her lap. Coraline sips tea, anxious, the other two DOGS beside her. CORALINE Uh. do n't you only make wings for the. dead ones? MISS SPINK Just looking ahead dear. Angus has n't been feeling very well of late. MISS FORCIBLE -LRB- O.S. -RRB- April? Are n't you getting ready? MISS SPINK -LRB- looks off camera. -RRB- We've lost our ride, Miriam. Caroline says her parents have vanished, quite completely. ANGLE ON Miss Forcible, tightening her elaborate corset behind a screen, using pulleys and hooks. MISS FORCIBLE What?! We've waited months for those tickets. One of the corset hooks FLIES UP and pulls off her wig. She ignores it and comes over to address Spink. MISS SPINK I suppose we could walk! MISS FORCIBLE With your gamy legs? It's nearly two miles to the theater! Coraline CLEARS HER THROAT, frustrated. MISS SPINK Oh, oh yes. your missing parents. We know just what you need. Miriam, get. that's right. Miss Forcible grabs another dish of old stuck - together candy and puts it in front of Coraline. CORALINE How is hundred - year - old candy going to HELP - Miss Spink suddenly RAISES her KNITTING NEEDLES as if to STAB CORALINE. Coraline yelps, hands up in defense. But it's CANDIES she attacks, sending sticky chips flying, making loud grunts as she stabs. She pulls a LARGE, THREE - SIDED CANDY WITH A HOLE IT from the rubble and passes it to Coraline. MISS SPINK There you go, sweety. Coraline studies the odd candy. CORALINE What's it for? She holds it up, looks through its hole at the ladies. MISS SPINK Well, it might help. They're good for bad things, sometimes. MISS FORCIBLE No, they're good for lost things. They do n't look any different. MISS SPINK It's bad things, Miriam. MISS FORCIBLE Lost things, April. MISS SPINK Bad. MISS FORCIBLE Lost. MISS SPINK Bad things! MISS FORCIBLE Lost. MISS SPINK Bad. MISS FORCIBLE Lost. Coraline ca n't take anymore. She gets up, takes the odd piece of candy and leaves.", "INT. PARENT'S BEDROOM - NIGHT Coraline, dressed for bed with her blanket over her shoulder, walks into her parent's room, the PHOTO of her and her parents at the Bear Fountain in the foreground. She pulls down the bed covers and builds COPIES of her parents out of pillows. She fits an extra neck brace on one pillow head and some reading glasses on the other. Then Coraline lies down and pulls up the covers, very sad. CORALINE Good - night, Mom. Good - night, Dad. She kisses them both and BEGINS TO CRY. CAM PUSHES IN.", "INT. PARENT'S BEDROOM - NIGHT, LATER Coraline, asleep. SOMETHING blurs past camera. One paw and then two paws bat her nose. She opens her eyes to find OPAL BLUE EYES staring at her. It's the BLACK CAT, purring loudly. CORALINE Hello. How did you get in? The cat yawns, his eyes flash. CORALINE -LRB- CONT'D. -RRB- Do you know where Mom and Dad are? The cat blinks. Then he heads out the door.", "INT. LOWER HALLWAY - CONTINUOUS She follows him, wrapped in her blanket, to the MIRROR at the end of the hallway. The mirror starts to GLOW and then an IMAGE FORMS within the glass. It's HER PARENTS! They cling together, blue with cold, as snow falls. CORALINE MOM! DAD! They look up and, with a desperate look, Mel BREATHES on the inside mirror - glass to fog it. She writes H E L P U S. - her fingertip squeaking on the glass like a SMALL, SAD BIRD. Frost RISES UP, hiding the letters and then her parents. The image fades. Coraline STRIKES AT THE MIRROR as hard as she can. GLASS SHATTERS and she drops to the ground, shaking. The cat nuzzles her. CORALINE -LRB- CONT'D. -RRB- How did this happen?", "INT. PARENT'S BEDROOM - SAME From under the bed, the cat drags out the BUTTON - EYED DOLL, REMADE into HER MOTHER on one side, and HER FATHER on the other! CORALINE She's taken them. Coraline, enraged, THROWS the doll. FIRE LIGHT comes up on her face as the background DISSOLVES TO :", "INT. LIVING ROOM, FRONT OF FIREPLACE - SAME CLOSE ON DOLL : BURNING in the FIREPLACE. Coraline and cat watch until the fire burns out. She takes a breath and looks up at the mantel. ANGLE ON snowglobe, the one of the FOUNTAIN BEARS from the Detroit Zoo. Coraline cradles it, remembering. CORALINE They're not coming back, are they - Mom and Dad. Not on their own. The cat blinks. She looks over at the locked little door in the corner wall. CORALINE -LRB- CONT'D. -RRB- Only one thing to do.", "INT CORALINE'S BEDROOM   - CONTINUOUS Series of quick shots of Coraline getting ready to go. Pulls her collecting bag from the closet, her puffy vest, her boots ; grabs a candle and garden shears, puts them in the bag. She stands to go, taking her cap off the chair. The ODD PIECE OF CANDY, the triangle green one with the hole, drops to the floor. She hesitates a moment, then sticks it in her bag.", "INT. PASSAGEWAY - CONTINUOUS We hear the click of the door being unlocked. It opens to reveal the cat, and - holding a lit candle - Coraline. She leaves the key in the lock, like always, takes a breath and crawls forward. The candle casts huge, flickering shadows along the wall. The cat, his voice returned, SPEAKS to her. CAT You know, you're walking right into her trap. CORALINE I have to go back. With great feeling, she explains : CORALINE -LRB- CONT'D. -RRB- They are my parents. CAT Challenge her then. She may not play fair but she wo n't refuse. She's got a thing for games. Coraline thinks about it, remembering. CORALINE Hmmm, okay. The door at the end of the tunnel clicks open, the candle BLOWS OUT and the cat VANISHES IN THE DARK. Coraline tenses when a voice calls out. MOTHER Coraline? CORALINE Mom? There, framed in the open door, back - lit in blue, Coraline's REAL MOTHER, with neck brace and dressed in her shopping clothes, calls. MOTHER Coraline, you came back for us! CORALINE -LRB- RELIEVED. -RRB- MOM! She runs forward eagerly and -", "INT. OTHER LIVING ROOM - NIGHT - out the Other Little Door, throwing her arms out to hug her real Mom. MOTHER Darling! -LRB- voice shifting. -RRB- Why would you run away from me? Coraline sees her mother's hand GROW as it wraps around her. Alarmed, she PUSHES AWAY and sees the DECOY MOM grow into the TALL OTHER MOTHER. The room LIGHTS UP with the glowing bug furniture and a fireplace fire. Coraline tries her best to be brave. CORALINE Where are my parents? The Tall Other Mother's button eyes GLITTER. TALL OTHER MOTHER Gosh, I have no idea where your `` old'' parents are. Perhaps they've grown bored of you and run away to France? Her teeth gleam. CORALINE They were n't bored of me. You stole them! Other Father, a FOOT SHORTER than before, his sagging face a pale PUMPKIN color, his hair VINES, comes up behind Coraline. TALL OTHER MOTHER Now, do n't be difficult, Coraline. Have a seat, wo n't you? Other Father, GURGLING happily, herds Coraline onto the walking bug chair. The Tall Other Mother, standing by the little door, turns to it and CLAPS her hands. A moment later, a HUGE RAT skitters out of the tunnel - FILLED AGAIN with spider webs and children's things - carrying the KEY from the real world door. The Tall Other Mother takes the key, locks the door, and - while the armoire bug assumes guard position - she SWALLOWS THE KEY. CORALINE -LRB- OFFHAND. -RRB- Why do n't you have your own key? OTHER FATHER Only one key. The Other Mother PULLS A VINE growing from his ear, SHUTTING HIS MOUTH. TALL OTHER MOTHER Shhh! -LRB- SUNNIER. -RRB- The garden squash need tending, do n't you think, pumpkin? She turns him around, her hands under his arms and drags him out. OTHER FATHER Squish squash, pumpkin sauce. After a beat, Coraline hears the very faint SOUND OF A FINGER ON GLASS, just like when her mother wrote HELP on the mirror. Coraline jumps to her feet, looking around the room for a sign of her real parents. CORALINE -LRB- loud whisper. -RRB- Mom, Dad, where'd she hide you? A muffled screen door slams O.S. and the Tall Other Mother calls to her from the kitchen. TALL OTHER MOTHER -LRB- O.S. -RRB- Breakfast - time! Coraline leaves frame.", "INT. OTHER KITCHEN - NIGHT Coraline pauses in the doorway. CORALINE -LRB- V.O. -RRB- -LRB- to herself. -RRB- Be strong, Coraline. She sits at the kitchen table in her regular place, her back to the sink. Tall Other Mother, humming happily, prepares a mushroom omelet and bacon. Fragrant cinnamon buns bake in the oven. At the table's center, Coraline sees the box with her BUTTON EYES with needle and thread. A bead of sweat rolls down her forehead. As casually as she can, she asks : CORALINE -LRB- CONT'D. -RRB- -LRB- anxious, trying to be cool. -RRB- Why do n't we play. a game? I know you like them. The Tall Other Mother's button eyes FLASH. TALL OTHER MOTHER Everybody likes games. CORALINE -LRB- NODS. -RRB- Uh huh. Bacon sizzles and spits on the stove. TALL OTHER MOTHER What kind of game would it be? CORALINE An exploring game. a finding things game. Other Mother tries to act disinterested, but her fingers drum with excitement. OTHER MOTHER And what is it you'd be finding, Coraline? Coraline hesitates. CORALINE My real parents. TALL OTHER MOTHER -LRB- DISMISSIVE. -RRB- Too easy. She folds the omelet over in the pan. CORALINE And, and the eyes of the ghost children. Tall Other Mother smiles : now it's getting interesting. TALL OTHER MOTHER Huh. The meal ready, she turns from the stove and takes the food to Coraline. TALL OTHER MOTHER -LRB- CONT'D. -RRB- What if you do n't find them? CORALINE If I lose, I'll stay here with you forever and let you love me. -LRB- indicates button box. -RRB- And I'll let you sew buttons into my eyes. TALL OTHER MOTHER Hmmm. And if you somehow win this game? CORALINE Then you let me go. You let everyone go - my real father and mother, the dead children, everyone you've trapped here. The Tall Other Mother smiles a malicious not in a million years smile. TALL OTHER MOTHER Deal. She holds out her hand. Coraline does n't reach. CORALINE Not till you give me a clue. Tall Other Mother snorts, her smile sours. She slowly circles Coraline, and speaks as if talking to a very stupid child. TALL OTHER MOTHER Oh, right. In each of three wonders I've made just for you, a ghost's eye is lost in plain sight. CORALINE And for my parents? Tall Other Mother - standing behind her in front of the sink - smiles wickedly and just starts TAPPING HER BUTTON EYE with her finger nail. Coraline turns away from her. CORALINE -LRB- CONT'D. -RRB- -LRB- SHRUGS. -RRB- Fine. Do n't tell me. Extending her hand, Coraline starts to turn back. CORALINE -LRB- CONT'D. -RRB- it's a deal - But the Tall Other Mother HAS DISAPPEARED and the tapping now is the FAUCET DRIPPING in the sink. Coraline EXHALES, walks to the sink, stares at the dripping faucet. CORALINE -LRB- CONT'D. -RRB- What does she mean `` wonders?'' Out the kitchen window, the FANTASTIC GARDEN LIGHTS UP, answering her question. She FURROWS HER BROWS, thinks this was too easy. CORALINE -LRB- CONT'D. -RRB- Hmmm.", "EXT. OTHER GARDEN - SAME Coraline walks through the gates. The bright magic of the garden is DARKER NOW, with areas of black against areas of glowing flowers. She passes the PITCHER PLANTS, and the one with the frog suddenly SWALLOWS the animal. She goes up the steps past the BLEEDING HEARTS, which now LEAK STICKY RED JUICE that runs down the wall. At the top, a few SNAPDRAGONS, feeble now, SNAP at her. She KICKS them down. Behind her, a brick tree ring OPENS like a monster's MOUTH and five HUGE, PALE SNAPDRAGONS sneak towards her. They ATTACK, knock her to the ground, spilling her bag. CORALINE No! They GRAB CORALINE at her ankles, knees, hips, waist, and shoulder, and start to ROLL HER UP TOWARDS THE STONE MOUTH. Coraline is just able to GRAB her GARDEN SHEARS. She CUTS OFF one mutant snapdragon's head, then another, until she is free. The HEADLESS STEMS retreat into the rock mouth. Coraline, winded, goes to gather her spilled things when a trio of HUMMINGBIRDS/WASP HYBRIDS SWOOP IN. They do n't attack her ; instead they poke their long beaks into the TRIANGLE CANDY WITH THE HOLE and LIFT OFF. CORALINE -LRB- CONT'D. -RRB- Stop! Coraline chases them, but they're getting away. As she crosses the little bridge, she takes off her cap and FLINGS IT LIKE A FRISBEE at them. SCORE! They fall to the ground, near the eyebrow shrubs, sawdust spilling out. She picks up the triangle candy. CORALINE -LRB- CONT'D. -RRB- Why steal this? With a look of what does she have to lose, she holds it up to her eye and GASPS. CORALINE -LRB- CONT'D. -RRB- Wow. EVERYTHING IS BLURRY GREY like a pencil drawing, all color gone. She scans the garden, turning slowly. As she turns back to where she started, she sees something, right in front of her : a BURNING RED EMBER - A GHOST'S EYE! CORALINE -LRB- CONT'D. -RRB- That must be it. She lowers the stone from her eye, to see that the ghost's eye is the FADED STICK SHIFT KNOB from the preying mantis tractor, which STANDS RIGHT IN FRONT OF HER with the Other Father, a SQUAT PUMPKIN MAN, at its controls, his own hands IMPRISONED IN THE MECHANICAL PIANO HANDS. HEADLIGHTS GLARE and the tractor ROARS TO LIFE. The mechanical hands FORCE Other Father to SHIFT GEARS, and the tractor LURCHES at Coraline, its arms SLASHING. She yells, backs away. Other Father calls in a garbled voice : OTHER FATHER Sorrry, so sorrry, Motherrr making meeee. Coraline backs onto the little bridge that spans the fountains as the tractor moves in. OTHER FATHER -LRB- CONT'D. -RRB- Do n't waaaanno hurrrrrt you. The Other Father tries to steer the tractor away, but the mechanical hands are stronger. It moves onto the bridge - STUPIDLY SMASHING THROUGH THE PLANKS in front of it. Halfway over, it lurches, then STARTS TO FALL THROUGH THE HOLE IT HAS CREATED. The tractor hangs precariously for a moment. Other Father KICKS away one mechanical hand, and with ONE HAND FREE, manages to PULL OFF THE SHIFT KNOB. OTHER FATHER -LRB- CONT'D. -RRB- Taaaake it! Coraline DIVES FORWARD and just GETS THE KNOB before the tractor and Other Father fall away and SINK UNDER THE WATER. Rippling out from Coraline like a gray wave, the entire GARDEN BECOMES ASHEN AND DEAD. Coraline CATCHES HER BREATH, shaken. The ghost eye/gear knob GLOWS RED, no magic candy necessary. BOY GHOST Bless you, miss, you found me! But there's two eyes still lost. CORALINE Do n't worry, I'm getting the hang of it! Coraline looks past the greyed garden towards the Other House. A LUNAR ECLIPSE has begun, the full moon a pale acid green. Coraline looks concerned, then resolved, and then she heads towards the house. A haunting version of Spink and Forcible's show song starts to play.", "EXT. OTHER HOUSE, STAIRWAY TO SPINK AND FORCIBLE'S - SAME CORALINE'S POV DOWN STAIRWAY : chaser lights circle the door at half - speed. Haunting show song continues. REVERSE ON Coraline. She carefully descends towards CAM.", "INT DOWNSTAIRS THEATRE - SAME WE SEE her flickering shadow and then Coraline appears behind the entry curtains. She steps close, pulls the curtain open. Song stops. POV ON THEATER, quiet and dark save for light coming through entry curtains. She spots usher's FLASHLIGHT on the ground. ON CORALINE - she picks it up, clicks it on, and STEPS FORWARD. She sweeps the light beam around, apprehensive, then HEARS SOMETHING overhead. She aims flashlight up and startles a NEST OF BAT - DOGS - half Scotties/half bats. One bares his teeth and GROWLS. She clicks off the light and shivers. On stage, one spotlight and footlights FADE UP on a huge, wrapped SALTWATER TAFFY. It hangs from ropes and sandbags. She cautiously climbs up onto the stage. A HUMAN - SIZED TAFFY THING - striped pale pink and green - can just be seen through the wrapper. She holds her TRIANGLE CANDY - WITH - HOLE to her eye. There is a BLUE - WHITE GLOW coming from inside the wrapper. Coraline PUNCHES A HOLE through the paper, steels herself, then reaches inside. She touches something sticky and cold and inhuman. Clenching her teeth, she grabs hold and pulls out two clasped - together COLD, TAFFY HANDS - Young Spink and Forcible's. Her heart thumps. She PRIES the TAFFY HANDS open like scallop shells until a large PEARL - on - a - ring is revealed. CORALINE -LRB- REALIZING. -RRB- The pearl! The hands suddenly GRAB HER! She SCREAMS. Young Spink and Forcible, twisted together into one taffy monster, THRUST THEIR HEADS FROM THE BAG! TAFFY MONSTER Thief! Give it back! Coraline PULLS AWAY, STRETCHING the candy arm out across the stage! The taffy monster THRUSTS OUT another paired arm, and starts DRAGGING ITSELF TOWARDS CORALINE, ropes swaying on pulleys. TAFFY MONSTER -LRB- CONT'D. -RRB- -LRB- in unison. -RRB- You thief! Thief! Thief! Thief! Give it back! Thief! Give it back! Give it back! Thief! Stop thief! Thief! Stop! Coraline, desperate, gets an idea. She clicks on her flashlight and aims it at the BAT - DOGS. They GROWL with annoyance, OPEN their wings. The taffy monster is GETTING CLOSER! Coraline hurls the flashlight at the bat - dogs and HITS THEM. Angered, they TAKE WING TO ATTACK HER - just like she planned! Bat - dogs are closing on the left, the taffy monster on the right! She waits to the very last second, and then DIVES OUT OF THE WAY! BAT - DOGS AND TAFFY MONSTER COLLIDE! Coraline's hand is released by the taffy hands, leaving her the PEARL. The bat - dogs and taffy monster - stuck together and still - as - stone - turn to dead, grey ash, as does the stage and theater. The PEARL in Coraline's hand PULSES BLUE. TALL GIRL GHOST -LRB- V.O. -RRB- Hurry on, girl - her web is unwinding! Coraline nods, sticks the pearl in her bag, and looks up towards the ceiling and beyond.", "EXT. OTHER HOUSE/OTHER BOBINSKY'S BALCONY - SAME CORALINE'S MOVING POV, on lower ext stairs to UP ANGLE ON BALCONY. We hear haunting circus music in the air. Other Mr. B's Russian flag, TORN in places, waves in the air. The pale green moon is nearly HALF - ECLIPSED now with what is clearly the SHADOW OF A HUGE, DARK, BUTTON. ANGLE ON CORALINE as she climbs the last flight of stairs to Bobinsky's. She stops with a SHUDDER at the top. The flag has been replaced with the EMPTY COAT OF OTHER WYBIE - gloves, pants and sneakers pinned on - hanging like old laundry. CORALINE Oh, Wybie. She takes a breath, leans out over the railing and shouts. CORALINE -LRB- CONT'D. -RRB- EVIL WITCH. I'M NOT SCARED! The door behind her CREAKS open. Coraline shivers - she is definitely scared.", "INT. OTHER MR. B'S ATTIC FLAT - CONTINUOUS Coraline steps into the apartment and carefully shuts the door. The cannons and Ferris wheel are dark and quiet ; the circus tent glows dimly. Pale green moonlight shines in patches through holes in the roof. The corners and edges of the room are very dark. OTHER BOBINSKY suddenly CRAWLS by the door behind her. Coraline whips around, on guard. He LOOMS UP past the cannons on her right, leaning towards her. OTHER MR. BOBINSKY Hello, ga - LOO - boo - shka. There are too many joints in his arms and legs. CORALINE I'm Coraline. His tall, crooked hat is pulled so low, and his collar so high, that his face is completely hidden. He throws out his arm towards her and the CIRCUS BALL from the mouse circus rolls from his sleeve to his hand. OTHER MR. BOBINSKY Is dis vhat you're looking for? She looks through the hole of the triangle candy and sees an AMBER GLOW - the THIRD GHOST'S EYE! CORALINE Uh - huh. She grabs for it, but he's too quick. He back - bends to all fours and SCUTTLES around her towards the back shadows. OTHER MR. BOBINSKY You tink vinning game is goot ting? Coraline holds up the triangle candy, scans the room for him. His voice sounds distorted now. OTHER MR. BOBINSKY -LRB- O.S. -RRB- -LRB- CONT'D. -RRB- You'll just go home and be bored and neglected. WE SEE him twine up a post behind Coraline, crawl out on a beam. OTHER MR. BOBINSKY -LRB- CONT'D. -RRB-. same as alvays. He SWINGS UPSIDE - DOWN from his ankles, his head stopping right by Coraline's. She whips around, alarmed. OTHER MR. BOBINSKY -LRB- CONT'D. -RRB- Stay here vis us ; vee vill listen to you and laugh vis you. He DROPS to the floor on his head, then SLITHERS into the circus tent. Coraline does not want to follow him. But she does.", "INT. CIRCUS TENT - CONTINUOUS The Other Mr. B is perched on a pile of MOLDY CHEESES in the center of the ring. He moves like all his bones are broken. OTHER MR. BOBINSKY If you stay here, you can have vhatever you vant, vsig - DA - alvays. Coraline raises the triangle candy to her eye, sees the AMBER GLOW coming from inside his hat. CORALINE You do n't get it, do you? She moves closer. OTHER MR. BOBINSKY I do n't understand. Small forms MOVE under the back of his coat. CORALINE Of course you do n't understand. You're just a copy she made of the real Mr. B. OTHER MR. BOBINSKY -LRB- last breath. -RRB- Not even that anymore. Coraline pulls off his hat. Instead of his head, a HUGE PALE RAT SITS THERE - holding the circus ball. It barks at her then DIVES DOWN the coat collar. RATS leap from COAT SLEEVES and PANT LEGS, Coraline pulls back, HORRIFIED, as the clothes collapse, scanning around for the circus ball. There's a rat bark behind her and she turns. The HUGE RAT - balanced on a wheel of cheese, circus ball in paws - TAUNTS HER, then RUNS THE CHEESE OUT THE DOOR! She GIVES CHASE.", "INT. OTHER MR. B'S FLAT - CONTINUOUS The OTHER RATS RACE behind the twin rows of cannons - the cheese wheel rat rolls through them, heading towards the door! Coraline CHARGES. The cannons, manned by rats, FIRE COTTON CANDY at her. She's HIT in the side, her leg, her ribs ; she weaves and STUMBLES, the shots landing like punches. CORALINE Ahhh! No! A PET DOOR - perfectly shaped for the rat on the wheel - appears in the front door as the rat approaches. Coraline looks up to see the PET DOOR OPEN and the CHEESE - WHEEL RAT HEADING THROUGH IT TO THE OUTSIDE. Coraline takes her triangle candy stone and THROWS IT as hard as she can AT THE RAT. The whistling candy FLIES through the pet door towards the RAT, just outside.", "EXT. OTHER MR. B'S FLAT - CONTINUOUS The RAT DUCKS, the CANDY MISSES, and the cheese - wheel rat ESCAPES down the stairs with the ball.", "INT. OTHER MR. B'S FLAT - CONTINUOUS Coraline, lurching forward, HOLLERS. CORALINE -LRB- CONT'D. -RRB- NOOOO! Two waiting rats - tail tips tied - pull tails tight, and TRIP her. She CRASHES THROUGH THE DOOR AND -.", "EXT. OTHER HOUSE - CONTINUOUS - OUT onto the balcony which TEARS AWAY FROM THE HOUSE with ATTACHED STAIRWAY. CORALINE Noooo! The whole rig, with Coraline on top, ROTATES as it collapses, THROWING CORALINE toward the front of the house when it HITS THE GROUND. She BLACKS OUT a moment. WHEEZING for breath, Coraline pushes up on hands and knees and SCANS past the topiaries and poplars and white gravel driveway, looking for the cheese - wheel rat and circus ball. No cheese - wheel rat, no circus ball ghost eye. Coraline, lit by a NARROWING BAND of pale green light, turns to look at the moon. It's nearly covered now by the DARK BUTTON SHADOW. Her HAND stings from a scrape. BLOOD trickles from her knee. She feels nothing but COLD LOSS. CORALINE -LRB- CONT'D. -RRB- -LRB- DEVASTATED. -RRB- Oh God, I've lost the game ; I've lost everything. She sobs, hugs knees and face to chest. The band of light that illuminates her is narrowing to near - gone. In the foreground, the HEAD of the cheese - wheel rat - CIRCUS BALL IN ITS TEETH - DROPS ON THE GROUND. Sawdust leaks from its neck. Band of light STOPS NARROWING, the eclipse paused. There's a familiar MEROWWW and Coraline looks up. Across from her on the front yard, sits the BLACK CAT, licking his paws, rat's head and circus ball at his feet. CAT I think I mentioned that I do n't like rats at the best of times. Coraline smiles, walks towards him. CORALINE I think you might have said something like that. CAT It looked like you needed this one, however. He bats the circus ball and it rolls to Coraline. She picks it up, sticks it in her bag. Around her, the YARD, HOUSE, TREES, SHRUBS AND DRIVEWAY TURN ASHEN GRAY. CORALINE Thank you. Looks towards house. CORALINE -LRB- CONT'D. -RRB- I'm heading inside. I still have to find my parents. ANGLE ON MOON. The stalled eclipse STARTS AGAIN, and in one beat, the last sliver of green moon is FULLY BLACKED OUT. The EDGES of the button shadow start to FLAKE AWAY. ON CORALINE WITH CAT. A strange insect thrumming has begun. What appear to be grey paint chips or bits of paper are falling. Confused, she looks up to see :. The huge button shadow is EATEN TO NOTHING and then the SKY around it IS EATEN AS WELL, revealing dirty white light. The destruction TRAVELS from sky to the distant hills, the sound of a million, invisible locusts growing louder. UP ANGLE ON CAT AND CORALINE. The cat hisses. Deeply alarmed, they look from one direction to another. POV out front yard. The destruction TRAVELS up the driveway, PULLS APART the poplars, and then UNRAVELS the topiary elephant and bird. DOWN ANGLE ON Coraline and cat, his TAIL TWITCHING. WE PULL BACK to find they are at the center of a RAPIDLY SHRINKING ISLAND! NEW ANGLE on Coraline and cat as ground beneath their feet STARTS CRACKING, white light coming through. Cat makes a fearful sound, afraid for the first time in the movie! Coraline holds out her arms to the trembling animal, her guardian angel. CORALINE -LRB- CONT'D. -RRB- Come on, quickly! The cat LEAPS and she catches him, then CARRIES HIM up the DISINTEGRATING porch steps to the front door. She gets through just in time, and SLAMS it shut!", "INT. OTHER HOUSE HALLWAY - SAME It's dark and stable in here, with just some creaks and intermittent vibrations. A poisonous green light spills from the other living room. Coraline goes there, carrying the cat over her shoulder, past wallpaper that PEELS UP as she passes, to the room where she last heard the sound of her mother's finger on glass.", "INT. OTHER LIVING ROOM - SAME A poisonous GREEN FIRE - LIKE SLEEPY SEA SNAKES - BURNS in the fireplace. The bug furniture looks grey now, their lights flickering as if short - circuited ; legs and wings twitching uncontrollably. Coraline scans the walls, the ceiling, looking for a sign of her parents. ANGLE ON CORALINE in foreground. She senses the Other Mother behind her, a creature who is no sort of Mother at all but a witch, a Beldam. She turns. The Beldam is hunched on the sofa - her face hidden. BELDAM So, you're back. Her voice sounds dry and tired. She turns her face towards Coraline. It is a WHITE DEATH MASK, cracked and peeling - her true face. BELDAM -LRB- CONT'D. -RRB- And you brought vermin with you. Coraline shudders and steps back. The cat makes a fearful sound and digs his claws into her shoulder. CORALINE No, I. I brought a friend. The Beldam rises up 12 FEET TALL. She is WITHERED to the bone ; with plate - like shoulders and hips ; her bustle now an arachnid's tail section. Her true form. She reaches her long, sharp FINGERS MADE OF NEEDLES to Coraline's face. BELDAM -LRB- FLATLY. -RRB- You know I love you. Coraline works hard to not show how freaked out she is. CORALINE You, you have a very funny way of showing it. The Beldam smiles, turns away, then back, her hand outstretched. BELDAM So? Where are they - the ghost eyes? Coraline pulls out the three spheres from her bag and starts to hand them over. But she catches herself. CORALINE Hold on. And pulls back. CORALINE -LRB- CONT'D. -RRB- We are n't finished yet, are we? The Beldam looks daggers, then smiles sweetly. BELDAM No, I suppose not. After all, you still need to find your old parents, do n't you? Too bad you wo n't have this. She produces the TRIANGLE CANDY that Coraline lost and FLINGS it into the green fire. The Beldam laughs while the MAGIC BURNS out of the candy with sparks and pops. ON CORALINE. The third ghost eye PULSES WITH AMBER LIGHT in her hand. Coraline turns away, so the witch wo n't see. SWEET GIRL GHOST -LRB- O.S. -RRB- Be clever, miss ; even if you win she'll never let you go! Coraline looks towards the locked little door behind the armoire bug and understands : she's got to get the Beldam to unlock it! She furrows her brow as an idea comes to her then nods. She turns to the witch and in the most confident tone she can muster, says : CORALINE I already know where you've hidden them. The Beldam turns from the fire, both concerned and sceptical. BELDAM Well. produce them. Coraline points to the little door. CORALINE They're behind that door. The Beldam leans close, knowing Coraline is wrong, and speaks very quietly. BELDAM Oh, they are, are they? A smile creeps onto her terrible face. And she STARTS TOWARDS THE LITTLE DOOR, moving in an odd, laboring way, as if she had four legs instead of two. She signals the armoire bug to stand aside, her back to Coraline. Coraline hears the soft chirp of her mother's finger on wet glass! Looks around, desperate - where is it coming from?! The cat's ears twitch and focus, and then he SEES SOMETHING on the mantel! He whispers to Coraline - CAT There! - and JUMPS to land beside the DETROIT ZOO SNOW - GLOBE - OPAQUE WITH FROST. C.U. ON SNOW - GLOBE. With a SOFT - CHIRP, a section of glass is WIPED CLEAR from inside by a TINY FOREARM - and we see the tiny, cold figures that are CORALINE'S TRAPPED PARENTS! Coraline's heart races. She purposely stays back from them. CORALINE -LRB- WHISPERING. -RRB- Mom. Dad! ON BELDAM, by little door. Oblivious to Coraline's discovery, she COUGHS up the KEY into her hand. She turns to Coraline, expectantly. CORALINE -LRB- CONT'D. -RRB- Go on. Open it. They'll be there, all right. The Beldam stoops to push the key into the lock, turns it, leaves the key in place. She grins at Coraline and speaks in a low, sing - song voice. BELDAM You're wrong, Coraline! She opens the little door, revealing the empty, spider - web tunnel. ON CORALINE, who glances from the open door to the cat - obscured on the mantel - and back to the Beldam. She's thinking very hard. BELDAM -LRB- CONT'D. -RRB- -LRB- PITYING. -RRB- They are n't there. She opens her hands : one holds box with Coraline's BLACK BUTTON EYES, the other a THREADED NEEDLE. Triumphant, the Beldam softly gloats : BELDAM -LRB- CONT'D. -RRB- Now you're going to stay here forever. Coraline strikes a warrior's pose, and, summons all the fury she can. CORALINE No. I'm. She GRABS THE CAT off the mantel and RAISES HIM OVER HER HEAD. CORALINE -LRB- CONT'D. -RRB- NOT! And she HURLS THE CAT at the Beldam. The YOWLING ANIMAL - face shocked with surprise - SAILS through the air and lands RIGHT ON THE ASTONISHED WITCH'S HEAD. FREAKED - OUT, the cat DIGS in his CLAWS AND BITES the shrieking Beldam, who STAGGERS to one side of the little door. Coraline GRABS the SNOW GLOBE with her parents inside, stows it in her bag, and moves out to approach the door from the other side. The Beldam FLAILS WILDLY at the cat. The cat HOWLS LIKE A BANSHEE, RAISES HIS CLAWS, and - quick as you can - TWO SHINY BLACK BUTTONS HIT THE FLOOR - THE BELDAM'S EYES! ANGLE ON CAT as he's thrown on armoire bug. ON BELDAM, hands covering her face. BELDAM NOOOOOOOOO! Her hands pull away to show EMPTY, FLAT SOCKETS and TORN THREAD! BELDAM -LRB- CONT'D. -RRB- You horrible cheating girl! She furiously STOMPS the floor which FLIES UP in a spiral of floorboards that drive Coraline to the room's center. A huge WEB TRAP LIES BENEATH THE FLOOR! The web trap STRETCHES DOWN into a FIFTY FOOT DEEP PIT. There is nothing beyond but PALE NOTHINGNESS. The cat scrambles along the tops of falling furniture straight to the little door and disappears into the tunnel. Coraline falls the very bottom of the web. Fifty feet above, the Beldam LAUGHS MANIACALLY and LEAPS DOWN like a huge, flying spider! Coraline manages to pull herself to the outside of the trap JUST AS THE BELDAM LANDS. The witch - furious her prey has escaped - spins around, grasping blindly. BELDAM -LRB- CONT'D. -RRB- Noo! Where are you? You selfish brat! Coraline, nearing the top, looks up and spots the LITTLE DOOR, still in the corner wall of the Other Living Room. She goes to climb back inside the web, when her bag GETS CAUGHT on a barb. She pulls and pulls until it breaks free, sending a STRONG VIBRATION DOWN THE SPIRALING WEB TO THE VERY SENSITIVE HAND OF THE BELDAM. BELDAM -LRB- CONT'D. -RRB- Hahahaha. The Beldam smiles - she knows where her prey is now! Coraline makes it to the little door, but the BELDAM IS COMING UP BEHIND HER VERY FAST! BELDAM -LRB- O.S. ; CONT'D. -RRB- YOU. DARE.", "INT. PASSAGEWAY - CONTINUOUS Coraline SCRAMBLES through the door, KEY IN HAND, and grabs the door's handle. Before she can shut it, the BELDAM'S HEAD THRUSTS INSIDE. BELDAM DISOBEY YOUR MOTHER?! Coraline KICKS HER IN THE FACE, knocking her back. The cat takes off down the tunnel. Coraline nearly shuts the door, when NEEDLE FINGERS GRAB HOLD THROUGH THE CRACK. The door STARTS TO PULL OPEN! CORALINE PLEASE. SHUT! The ghost children's FLUTTERY, DISMEMBERED HANDS FLY OUT FROM HER BAG and GRAB HOLD OF CORALINE'S HANDS that grip the door's handle. And her STRENGTH IS QUADRUPLED. The door STARTS TO SHUT. The Beldam SNATCHES DESPERATELY at Coraline, reaching through the closing gap with one thin claw. There's a final moment of resistance - the Beldam's wire - thin wrist caught in the door - and then SNAP! The DOOR SHUTS, and the Beldam's hand drops to the ground! She SCREECHES like a metal rake on pavement! Coraline just manages to lock the door in the dark when it is POUNDED from the other side, green light coming through cracks! She takes off down the tunnel, stooped down, as fast as she can. The pounding grows more insistent, green light flashing. BELDAM -LRB- O.S. -RRB- DO N'T LEAVE ME! DO N'T LEAVE ME! I'LL DIE WITHOUT YOU! And then the tunnel behind coraline STARTS TO GROW SHORTER, like a collapsing accordion and the pounding far door with the blind, one - handed Beldam on the other side STARTS TO CATCH UP TO HER! Ahead, DAYLIGHT APPEARS, and then the LITTLE DOOR TO THE REAL WORLD!", "INT. REAL LIVING ROOM - CONTINUOUS Coraline FLINGS HERSELF through the doorway, SHUTS AND LOCKS THE DOOR and BRACES HERSELF AGAINST IT. A split - second later, the OTHER WORLD DOOR CATCHES UP WITH A CRASH! Coraline is THROWN BACK. But the real - world door and lock, hold. It's over. Coraline lies on her back, as beat - up and tired as she's ever been, GULPING in breaths of air till her heart slows a little. The room is brightly lit by sunlight, the first since she moved here, and the sky out the windows is blue with white clouds. She smiles, remembering, and turns to her bag with the ghost eyes and snow globe with her parents inside. She opens it up, and searches, shoving aside ghost eyes and garden shears. But the snow globe is GONE! She gets on all fours, starts searching the floor. Her hand hits a small PUDDLE by the fireplace, with tiny bits of BLUE SNOW. A drip plops down, then another. She looks up to the mantel and spots the MISSING SNOW GLOBE. She stands up and finds that it's BROKEN OPEN, and neither her parents or the fountain bears are inside. As the last of the snowy liquid drains from the globe, Coraline's face clouds with confusion and fear : What does this mean and where are her parents? Then her WONDERFULLY REAL MOTHER calls to her. MEL -LRB- O.S. -RRB- Coraline? We're home! Her TRUE PARENTS enter the room from the hallway, a dusting of snow on their shoulders and hair. CORALINE Mom! Dad! I missed you so much! Coraline runs to her parents and throws her arms around them. MEL Missed us? C.U. ON CORALINE. Huh? Mel notices the broken snow globe. MEL -LRB- CONT'D. -RRB- Oh no, you broke my favorite snow globe. CORALINE I did n't break it. It must've broke when you escaped. Mom spots her bloody knee. MEL And cut your knee. Charlie crouches low, clutching his briefcase. CHARLIE Coraline, I asked you to count all the windows, not put your knee through them. CORALINE BUT - Mel tells her. MEL Well, get yourself cleaned up. -LRB- WARMS. -RRB- we're going out tonight. CHARLIE We got ta lot to celebrate! Coraline, confused, takes a stab. CORALINE You're talking about. your garden catalog? MEL Of course! What else? Her parents turn to leave the room. CORALINE But look at the snow on your clothes? But the snow melts without a trace. MEL -LRB- CONFUSED. -RRB- What's gotten into you, Coraline? Her parents walk off. Coraline shrugs her shoulders and looks back to the broken snow globe on the mantel. She cocks her head, deeply puzzled, then leaves the room.", "EXT HOUSE - NIGHT, SKY CLEAR The VW is parked out front, its interior light fading as light in Coraline's bedroom window switches on. We HEAR Charlie make a strangled sound.", "INT. CORALINE'S BEDROOM - NIGHT FULL MOON RISING Coraline sits in bed - pajamas washed and PATCHED, wounds - dressed, hair shining. The KEY hangs from a string around her neck. A gibbous moon shines in the clear night sky. Charlie wrestles with a blue stuffed - toy squid like it's an alien face - hugger then, FEIGNING DEATH, falls on the bed. Coraline LAUGHS. CORALINE So, gon na order the tulips? He opens one eye, pretends he's never heard about this. CHARLIE What's that? CORALINE For the garden party! He sits up and kids her, tickling her face with the squid. CHARLIE I have no idea what you're talking about. CORALINE Dad! She turns to Mom, arranging things on a shelf. CORALINE -LRB- CONT'D. -RRB- So, Mom. Invitations? Do n't forget the invitations. Her mother nods, points up. MEL Even Bobinsky? CORALINE Mr. B's not drunk, Mom, he's just. eccentric. Charlie LAUGHS. He bends down to kiss her. CHARLIE Good night, Coraline. As he steps away, Mel slips a slim box under the covers next to her daughter. She gives Coraline a `` told you so'' look, and she and Charlie leave the room. Coraline sits up excitedly and opens the box - it's the GREEN AND ORANGE GLOVES she'd wanted! She pulls one on to admire when the BLACK CAT appears outside her window CORALINE Oh, hello again. She walks over to the window, opens it. CORALINE -LRB- CONT'D. -RRB- You still mad? His expression says yes, he's still mad. CORALINE -LRB- CONT'D. -RRB- I'm really sorry I threw you at her - the Other Mother? - it was all I could think of. The cat's angry expression softens. He rests his head on her hand, licking her fingers and purrs. Coraline exhales with relief then picks him up and carries him over to her bed. She grabs her collecting bag and takes out the large PEARL, the CIRCUS BALL, and the GREY STICKSHIFT KNOB. She holds them out to the cat. CORALINE -LRB- CONT'D. -RRB- I think it's time, do n't you? To set them free? The cat nods. She puts the ghost eyes under her pillow and gently lays down, the cat lying beside her. The two of them close their eyes, and in no time at all, they doze off to sleep. WE SLOWLY TILT UP.", "EXT. DREAMSCAPE - MAGIC TIME A MAGIC ART SKY animates subtly. CAM TILT DOWN ON Coraline, studying sky, her back to us. From behind CAM, CHIMES sound and GOLD LIGHT begins to shine on her. She turns toward us, shielding her eyes. Coraline's eyes adjust to the brightness to see the THREE GHOST CHILDREN, now transformed into GOLDEN ANGELS ; EYES RESTORED, small fluttering WINGS ON THEIR BACKS. SWEET GIRL GHOST It's a fine, fine thing you did for us, miss. CORALINE Well, I'm glad it's finally over! A SHADOW crosses the faces of the three children. They gather around Coraline and bow their heads. SWEET GIRL GHOST -LRB- SIGHS. -RRB- It is over and done with. for us. Silent beat. CORALINE What about. me? The tall girl ghost shifts uncomfortably, then BLURTS TALL GIRL GHOST You're in terrible danger, girl! Coraline is stunned and gestures for an explanation. CORALINE But how? I locked the door!? SWEET GIRL GHOST It's the key, miss, there's only one and the Beldam will find it. The KEY ON THE STRING around Coraline's neck floats out in front of Coraline. She grabs it. The three ghost children all embrace Coraline tenderly. BOY GHOST -LRB- WHISPERS. -RRB- Tai n't all bad, miss. Thou art alive. thou art still. living. They begin to swirl around her, spinning faster and faster. Coraline starts to turn and then she -", "INT. CORALINE'S BEDROOM - NIGHT - ROLLS HERSELF AWAKE IN HER OWN BED. FAST PULL BACK above her to find covers thrown off and the CAT awake by her side. Coraline lifts up her pillow and GASPS - the GHOST EYES ARE IN PIECES like hatched bird eggs. She takes out the key on its string and explains to the cat, her voice CORALINE I - I've got ta hide this somewhere, s - somewhere she can never. The cat does n't like the sound of this. Coraline grabs her blanket and heads to her door. But the cat leaps down and blocks her way. CORALINE -LRB- CONT'D. -RRB- Outta my way! She sidesteps the cat and leaves her room. The cat glares after her", "INT. HOUSE STAIRWAY, LOWER HALL, LIVING ROOM - CONTINUOUS Coraline trots down the stairs and purposefully heads down the hall. She passes the LIVING ROOM and exits frame. CAMERA stays on living room, where, on the LITTLE DOOR in the corner wall, SHADOWS and LIGHT start to MOVE. WE ROCKET IN AND -", "INT. LIVING ROOM - CONTINUOUS The baseboard is PUSHED ASIDE. Through the narrow gap at the door's bottom, the DISMEMBERED HAND OF THE BELDAM CRAWLS OUT. It scrambles out of frame in the direction of Coraline!", "EXT ROCKY PATH HIGH ABOVE HOUSE - SAME Coraline moves briskly, the house below, GRIPPING THE KEY that's tied round her neck. DARK, ROPEY CLOUDS reach like fingers across the gibbous moon. Coraline sings her father's nonsense song, her voice hardly trembling. CORALINE Oh. my twitchy witchy girl, I think you are so nice.", "EXT. ORCHARD - SAME She moves down past the old fruit trees, now covered with BRIGHT SPRING BLOSSOMS that fall gently like snow. CORALINE I give you bowls of porridge And I give you bowls of ice cream. LOW ANGLE ON Coraline, moving away. The BELDAM'S HAND drops into frame and CREEP - CRAWLS after her. CORALINE -LRB- CONT'D. -RRB- I give you lots of kisses, And I give you lots of hugs.", "EXT. WELL - SAME Coraline jams the SAME DEAD BRANCH Wybie used under the well's cover, lining it up over the SAME FULCRUM ROCK. CORALINE But I never give you sandwiches With grease and worms and mung beans. Circling around behind the BIG STUMP, the HAND SCAMPERS behind one rock to a bush to a tree, coming closer. Coraline manages to lever the well's cover off to one side, leaving the WHOLE WELL OPEN. Huffing and sweating, she wipes her brow, then takes the key string that's around her neck. The hand, SEEING what is about to happen, RACES TOWARDS HER! Coraline lifts string and key, not quite over her head. The hand JUMPS onto the big stump and SPRINGS through the air to GRAB THE KEY and PULL CORALINE TO THE GROUND! Coraline makes a CHOKED SCREAM, her fingers caught between the key string and her neck! The HAND wants to DRAG HER BACK TO THE HOUSE and the LITTLE LOCKED DOOR THAT IS BREATHING WITH ANTICIPATION! A BLINDING HEADLIGHT hits HAND and CORALINE ; an AIR HORN SOUNDS ; and WYBIE LOVAT - hollering a BATTLE CRY all his own - comes SPEEDING DOWN THE BLUFF on his whining electric bike! WYBIE YAHHHHH! Wybie GUNS the throttle, and, leaning out, GRABS the confused HAND with his slug tongs! He CIRCLES AROUND and HEADS TOWARDS THE WELL, readying to throw the hand in. But the HAND GETS FREE, and GRABS his handlebars. OUT OF CONTROL, Wybie's bike HITS A ROCK, and WYBIE AND HAND ARE THROWN RIGHT DOWN THE WELL. HOLLERING, he just manages to hang on with one hand! The Beldam's hand, caught on Wybie's coattail, SCRAMBLES UP his body and face and onto the well's edge where it STABS AT HIS FINGERS to make him fall! WYBIE -LRB- CONT'D. -RRB- -LRB- STRUGGLING. -RRB- Get off! Coraline, choking, rises to her feet. She grabs her BLANKET and - in the still - blazing headlight of the crashed bike - she RUNS UP and THROWS IT OVER THE HAND. It fights like crazy as Coraline wrestles to control it. The hand STABS THROUGH THE BLANKET and SHAKES IT OFF. It crouches to attack her! And then WYBIE IS BACK, pumped with adrenaline, a BIG ROCK raised over his head! He HURLS IT DOWN ON THE LEAPING HAND! And it BREAKS into TWENTY LIFELESS NEEDLES. Wybie struggles to catch his breath. Coraline - breathing hard - removes the key and string from around her sore neck. She pulls up the corners of her blanket - with the needles on it - around the rock, and ties it all together with the string. The key is left attached. The two friends carry the heavy package to the well and DROP IT DOWN THE HOLE. By the light of a stray moonbeam, they watch and listen until it makes a muffled splash in the dark water at the bottom. They slide the well cover in place. Still catching his breath, Wybie stands, holding his injured hand, its glove ripped by the Beldam's claw. He looks over at Coraline as the scene brightens a little with moonlight. WYBIE -LRB- CONT'D. -RRB- I - I'm really sorry I did n't believe you about all this. evil stuff, Coraline. Coraline, shoulders rising as she catches her breath, stands and smiles : he called her by real name for the first time. CORALINE Why did you change your mind? He walks over, and takes out an old B&W photo from his jacket. WYBIE W - well, Gramma showed me this picture, after I called you crazy? He hands it to her. ANGLE ON PHOTO : two light - skinned black girls - dressed in old - fashioned clothing - stand in front of the Pink Palace, before it was divided into apartments. One looks just like the sweet ghost girl, and holds the DOLL WITH BUTTON EYES, which looks just like her. WYBIE -LRB- O.C. ; CONT'D. -RRB- It's her and her sister, before she disappeared. ANGLE ON WYBIE AND CORALINE. Behind them, blossoms fall like snow in the orchard. CORALINE The sweet ghost girl. Wybie's grandmother, loud and worried, calls from the distance. WYBIE'S GRANDMOTHER -LRB- O.C. -RRB- Wyborne! Come home! WYBIE -LRB- re : his grandmother. -RRB- Oh, man. what am I going to tell her? She looks up from the photo and smiles. CORALINE Just bring her by the house tomorrow. We can tell her together. WYBIE We. we can? CORALINE You know, I'm glad you decided to stalk me. She gives Wybie a playful punch on the arm and LAUGHS. WYBIE Was n't my idea. The BLACK CAT jumps up on the TREE STUMP and MEROWWS. Coraline smiles. We TILT UP to the sky and see the last ropey clouds - like two clawed hands - clear away from the bright gibbous moon.", "EXT HOUSE, GARDEN - DAY One WHITE BALLOON floats against a blue sky with puffy, white clouds. WE TILT DOWN past more balloons to a TABLE OF REFRESHMENTS, set up by the front gates. Coraline picks up a TRAY OF DRINKS and heads out to her hard - working GUESTS, all wearing garden gloves and showing signs of having helped plant about TWO HUNDRED RED TULIPS. SPINK AND FORCIBLE, along with their DOGS, are set up at a table below the steps. Empty plant cartons are stacked nearby along with some garden tools and empty bags of peat moss. CORALINE Thanks for helping me, Miss Spink, Miss Forcible. MISS FORCIBLE -LRB- straining to see. -RRB- Oh, look April - Pink Ladies! CORALINE Actually, it's just lemonade. Coraline hands them the beverages, then nods towards the GREY DOG digging in the flowers. CORALINE -LRB- CONT'D. -RRB- How's Angus doing? Miss Spink sighs. MISS SPINK Oh, much better, dear. But he ca n't duck his wings forever! Coraline heads up the steps to find her PARENTS dumping a heavy bag of PEAT MOSS around the dead - looking tree in the stone circle. CHARLIE Here comes a burp. Charlie BURPS. MEL -LRB- SCOLDING. -RRB- Charlie! CHARLIE Oh, excu - say - moi, but that pizza was delicious. Mel SIGHS. CORALINE Cold drinks? Charlie nods, grabs them for Mel and Wybie. CHARLIE -LRB- HAPPILY. -RRB- Oh yeah, great! MEL -LRB- SKEPTICAL. -RRB- You were right, Coraline. I really hate dirt, but the tulips look nice. CORALINE Thanks, mom. Coraline, delighted, moves on. Coraline comes upon Bobinsky in the bottom of the drained fish pond. He's stealthily PULLING just - planted tulips from the dirt there, and putting BEETS in their place. MR. BOBINSKY -LRB- O.S. -RRB- -LRB- pulling beets. -RRB- Ooo, dret nican. neit, neit. da, da, dat iz possible. Coraline CLEARS HER THROAT to get his attention. CORALINE How are the meeshkas, Mr. B? Surprised and looking very guilty, he tries to cover up his activities. She smiles and hands him a drink. MR.   BOBINSKY -LRB- SMILES. -RRB- Dey tell me that you - are saviour, Caroline. And - soon as dey are ready - dey vish to give special tenks - you performance. He drains his glass of lemonade. A familiar voice is heard approaching. Coraline turns and smiles. WYBIE'S GRANDMOTHER -LRB- O.C. -RRB- Wyborne, I know where I'm going - ANGLE ON Wybie and his GRANDMOTHER as they walk through the garden gates WYBIE'S GRANDMOTHER -LRB- CONT'D. -RRB- - I grew up here. Coraline sees them and waves. CORALINE Welcome, Ms. Lovat! The old lady looks up and smiles. WYBIE'S GRANDMOTHER Oh, hello. CORALINE I'm Coraline Jones - I've got so much to tell you! MEL -LRB- O.C. -RRB- -LRB- background dialog. -RRB- Here. CHARLIE -LRB- O.C. -RRB- -LRB- background dialog. -RRB- Thanks. MISS SPINK -LRB- O.C. -RRB- -LRB- background dialog. -RRB- Ooo, do you want to pop a little gin in it dear? MISS FORCIBLE -LRB- O.C. -RRB- -LRB- background dialog. -RRB- Of course! CAMERA PULLS UP from the GARDEN, FLIES OVER THE HOUSE and BOOMS DOWN to the PINK PALACE APARTMENTS SIGN out front. On top of the sign sits the black cat, who looks right into camera, blinks, then walks behind the thin post that holds the sign and DISAPPEARS. THE END"], "labels": [0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 1.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 0.0, 1.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0], "summary": "Coraline Jones and her family move from Pontiac, Michigan, to Ashland, Oregon's Pink Palace Apartments. As her parents struggle to complete their gardening catalogue, Coraline is often left alone and meets their new neighbors, including Mr. Sergey Alexander Bobinsky, a Russian circus mouse trainer, Misses April Spink and Miriam Forcible, two once-famous and retired actresses, Wyborne \"Wybie\" Lovat, the talkative grandson of Pink Palace's landlady, and a mysterious black cat. Wybie gives Coraline a button-eyed rag doll he discovered that eerily resembles her. The doll lures Coraline to a small door in the apartment that is bricked up and can only be unlocked by a button-shaped key. That night, a mouse guides Coraline through the door, now a portal to an \u201cOther World\u201d more colorful and cheerful than her real home. Coraline meets her Other Mother and Father, button-eyed doppelg\u00e4ngers of her parents that appear more attentive and caring. After dinner, Coraline goes to sleep in her Other Bedroom, only to awaken in her real bedroom the next morning. After meeting neighbors Mr Bobinsky and Miss Spink and Forcible, Wybie tells her about his grandmother's twin sister who disappeared in the apartment as a child. Undeterred, Coraline visits the Other World the following two nights, meeting the button-eyed Other Mr Bobinsky, the Other Misses Spink and Forcible, and the Other Wybie, who is mute. On her third visit, the black cat follows her and is able to speak in the Other World. The Other Mother invites Coraline to stay in the Other World forever, on the condition she has buttons sewn over her eyes. Horrified, Coraline attempts to flee but fails. After questioning the other father, Coraline has a conversation with the cat as they walk into the empty part of the world the other Mother created. After breaking the handles of the locked door which leads to the room where the portal is, the Other Mother has blocked the portal and transforms into a menacing version of herself and imprisons Coraline behind a mirror. There, Coraline meets the ghosts of the Other Mother's previous child victims, including the sister of Wybie's grandmother. The spirits reveal that the Other Mother, whom they call the \u201cBeldam,\u201d used rag dolls like Coraline's to spy on them, taking advantage of their unhappy lives and luring them into the Other World with happier and joyful lives. After agreeing to let the Beldam sew buttons on their eyes to let them stay, the Beldam locked them in the mirror and \"consumed\" their lives, leaving their souls trapped. To free their souls, Coraline promises to find the children's real eyes. Coraline is rescued by the Other Wybie and escapes back to the real world. She discovers her parents are missing, and realizes they have been kidnapped by the Beldam. Miss Spink and Miss Forcible give Coraline an adder stone, telling her that it finds lost things. And she returns to the Other World but falls into a trap. The Beldam locks the door to the portal and swallows its key, but Coraline, following the black cat's advice, proposes a game: if Coraline cannot find her parents and the ghosts' eyes, she will allow her to sew buttons over her own eyes, but if she succeeds, the children's souls will be freed and she can have her real parents back. The Beldam reluctantly agrees and disappears after giving her a clue: \"In each of three wonders I've made for you, a ghost's eyes is lost in plain sight.\"Using the adder stone, Coraline finds the children's eyes and discovers that the Other Wybie was destroyed by the Beldam for helping Coraline escape. As Coraline finds the eyes, the Other World gradually disintegrates until only her family's living room is left. Coraline sees the Beldam in her true skeletal, arachnid form, after showing the Beldam the ghost's eyes, she reminds Coraline that she still has to find her real parents. The ghosts warn her that even if Coraline wins the games, the Beldam will never let her go. Coraline, knowing what to do, tricks the Beldam into unlocking the portal. While the Beldam is distracted, the cat finds her parents trapped in a snow globe, Coraline then throws the cat at the Beldam's face, ripping her button eyes out. Blinded, the Beldam furiously listens for Coraline and almost manages to get her. But Coraline, with help of the ghosts, manages to close the door and lock it but severing the Beldam's left hand. Coraline's parents reappear in the real world with no memory of what happened to them. That night, the ghosts appear in a dream to thank Coraline for freeing their souls and also warn her that the Beldam will never stop looking for the key to the door. As Coraline prepares to drop the key down an old well, the severed hand tries to drag her back to the Other World. But Wybie arrives on his bike and manages to grab the hand with a pair of tongs, but it breaks free, causing him to almost fall into the well. As the hand tries to loosen Wybie's grip for survival, Coraline wraps it in her towel, but it breaks free and it is about to attack her when Wybie smashes it with a rock. They throw the remains of the hand, the key, and the rock into the well and seal it shut. The next day, Coraline and her parents, who have finally finished their catalog, host a garden party for their neighbors. Wybie arrives to the party along with his grandmother, Mrs Lovat. Coraline is happy to meet her and greets her kindly. The camera zooms out from the garden revealing its design which resembles Beldam's face. The camera keeps zooming out to the front of the Pink Palace. The Cat is seen lying on a wooden sign when he stands up and walks into the side vanishing mysteriously, which suggests that he went to the \"Other World\" through another unknown entrance.", "name": "Coraline_(film)"}
{"scenes": ["INVICTUS `` Sport has the power to change the world. It has the power to inspire, the power to unite people that little else has. It is more powerful than governments in breaking down racial barriers.'' NELSON MANDELA.", "EXT. ALL-WHITE HIGH SCHOOL, WESTERN CAPE - DAY A big, rich, powerhouse all - white high school located near the freeway into Cape Town. The RUGBY FIELDS are immaculate. FIFTEEN YEAR OLD BOYS in striped rugby jerseys train with total intensity under the critical eye of the COACH. Right ACROSS THE BOUNDARY FENCE from the rugby fields is an area of WASTE LAND leading up to the freeway. There, BLACK AND `` COLORED'' -LRB- MIXED - RACE -RRB- BOYS of the same age play a loose game of soccer with a tennis ball. Most of them have bare feet and threadbare, dirty clothes, most of them are noticeably smaller and skinnier than the white boys. Two cultures, separated by more than the high boundary fence. SUPER TITLE : SOUTH AFRICA, FEBRUARY 11, 1990 A COMMOTION ON THE FREEWAY intrudes on the soccer game. Horns honking, cars pull over onto the shoulder, people jump out.", "EXT. FREEWAY - DAY Lead by police motorbikes, then patrol cars, a white Mercedes approaches, heading towards Cape Town. Whoever is in the Mercedes has stopped traffic.", "EXT. ALL-WHITE HIGH SCHOOL, WESTERN CAPE - DAY The soccer players abandon their game and run for the freeway, whistling and shouting. The rugby players are more disciplined - or obedient - and do not acknowledge the commotion until the convoy passes right by them. The coach shakes his head in disgust. HIGH SCHOOL BOY Who is it, sir? COACH It's that terrorist, Mandela. They let him out. -LRB- BEAT. -RRB- Remember this day, boys. It's the day our country went to the dogs. A short, STOCK - FOOTAGE MONTAGE which spans the tumultuous four years between NELSON MANDELA'S release from prison and his inauguration as President of South Africa. Footage would include : - Mandela's release from prison - negotiations with the apartheid regime - scenes of white fear and emigration - the horrifying sectarian violence leading up to the ELECTIONS - the khaki - clad AWB -LRB- Afrikaner right wing -RRB- attack on the World Trade Center -LRB- where negotiations were taking place -RRB- - the lifting of economic sanctions and cultural boycotts - the lifting of the international ban on the Springbok rugby team and immediate Test match losses to New Zealand and Australia. - popular black leader Chris Hani's assassination by white RIGHT WINGERS - black retaliation - Mandela's frantic intervention to keep the country from going up in flames - the election itself, with those incredible images of thousands and thousands of people, black and white, lining up patiently, some to vote for the first time in their lives - the African National Congress victory - Mandela's inauguration as President, where he delivers the `` Never, never and never again shall it be that this beautiful land will again experience the oppression of one by another, and suffer the indignity of being the skunk of the world.'' As APPLAUSE FADES.", "INT. MANDELA'S BEDROOM - NIGHT Dark. We can make out the FORM OF A TALL MAN SLEEPING ALONE at the very edge of the big bed, as if not wanting to rumple the blankets too much. On the bedside table, the clock clicks from 4:59 to 5:00. The man's eyes open in the dark, instantly awake. He reaches out, switches on the light. NELSON ROLIHLAHLA MANDELA, 76, sits up and gets out of bed in one movement. He has the physical vigor and energy of someone twenty years younger. The second he is up, he turns around and makes his bed, leaving it as flawlessly smooth as a hospital bed. Or a prison bunk. For this is the discipline of twenty seven years behind bars.", "INT. MANDELA'S HOUSE - NIGHT Dressed in a tracksuit and cross - trainers, Mandela comes down the stairs and heads for the front door. This is a nice, big house but it is amazingly modest for the President of a wealthy nation, and arguably the most famous man on the planet.", "EXT. MANDELA'S HOUSE - NIGHT Mandela steps outside, closes his front door quietly, takes a moment to savor the air. It is bone dry and cold - typical conditions in the Highveld at this time of year. It is so quiet that, for a moment, it seems as if Mandela is completely alone in the world. The big yard is fenced. There is a small GUARD HOUSE at the driveway gate. When Mandela steps away from the house, A UNIFORMED SOUTH AFRICAN POLICEMAN IN THE GUARDHOUSE pushes the button that opens the gate.", "EXT. STREET OUTSIDE MANDELA'S HOUSE - NIGHT When the gate begins to open we see that there are TWO GREY BMWs parked either side of it.", "INT. GREY BMW - NIGHT LINGA MOONSAMY comes to full alert as the gate opens. He is a big, scowling man dressed in a suit. He checks the load on a pistol, tucks it into his shoulder holster. LINGA Here he comes. Like clockwork. JASON It makes him such an easy target. Behind Linga, in the back seat, sits JASON TSHABALALA, a naturally tense and suspicious man. Both of them are hollow - eyed, exhausted, running on adrenaline. They get out of the BMW, fast and quiet. This does not look good.", "EXT. STREET OUTSIDE MANDELA'S HOUSE - NIGHT As Mandela walks out through the gate, Jason and Linga intercept him. JASON -LRB- traditional greeting in XHOSA. -RRB- I see you, father. Mandela's face comes alive as he smiles. MANDELA -LRB- without breaking stride. -RRB- Morning boys. How are you? Jason is Mandela's head of personal security, Linga his number one bodyguard. They are both former `` terrorists'', and they are utterly devoted to Mandela. JASON We're sharp, Madiba. MANDELA Good. good. And how's your mother doing, Linga? LINGA She's much better, thank you. MANDELA Good. Mandela picks up the pace. Jason and Linga fall back, so that they are a few steps behind him. They share a quick look. They hate this walk. It scares them. There's no way for it to be anything but completely unsanitary, from a security point of view.", "EXT. JOHANNESBURG STREETS - NIGHT A SMALL DELIVERY VAN drives really fast, blows through stop signs.", "EXT. HOUGHTON STREETS - NIGHT Mandela strides along the big, wide, tree - lined streets. Jason and Linga shadow him, eyes and ears alert. Up ahead, we see a SMALL, UPSCALE AREA OF SHOPS AND RESTAURANTS.", "EXT. SMALL, UPSCALE SHOPS - NIGHT Mandela, Jason and Linga reach the shopping area. Dark, deserted. ANOTHER ANGLE of the shops as the small van turns onto the street with a squeal of tires. The SLIDING DOOR on the van IS OPENED from inside. Too dark to see in. Ominous. Mandela, Jason and Linga pass a HUGE POSTER OF MANDELA in the window of CORNER GROCERY. Mandela does not react to this giant picture of himself, Jason and Linga do, proudly - -LRB- A GENERAL NOTE : starting with the window of this grocery, there are pictures of Mandela everywhere. Magazine covers, newspaper centerfolds, T - shirts, children's art - as if to make up for all the time Mandela's image and words were banned. -RRB- - until they HEAR THE SOUND OF THE VAN tearing towards them. They turn, SEE HEADLIGHTS VEERING TO THEIR SIDE OF THE STREET. BOTH MEN DROP THEIR HANDS TO THEIR GUNS. Linga steps in front of Mandela, shielding him, Jason steps out wide, ready for anything. Mandela is completely calm. The van screeches to a halt just past them. A GUY jumps out of the van holding a tied BUNDLE OF NEWSPAPERS, which he drops with a thump at the grocery door. The guy does n't see them. The delivery van is gone before the newspapers stop moving. Mandela heads for the newspapers - he wants to see the headlines. Jason and Linga take their hands off their guns, but they do not relax. These are dangerous times. GO IN ON THE TOP NEWSPAPER, which shows a PHOTO OF THE INAUGURATION, and the following words, in Afrikaans : HE CAN WIN AN ELECTION, BUT CAN HE RUN A COUNTRY? JASON What does it say? MANDELA It says, `` He can win an election, but can he run a country?'' LINGA -LRB- DISGUSTED. -RRB- Not even one day on the job and they're after you. MANDELA It's a legitimate question. Mandela turns and marches for home. Jason and Linga fall in behind him. In the east, the first milky hint of day.", "INT. MANDELA'S HOUSE - BEFORE DAWN The house is now bustling with activity. A pretty member of the KITCHEN STAFF sets a single place at the head of a big, formal dining table. A LADY CHEF stirs the porridge, a KITCHEN ASSISTANT cuts fresh fruit. Mandela's PERSONAL SECRETARY, MARY marches out of her small office with a STACK OF CORRESPONDENCE AND FIVE NEWSPAPERS, places them neatly next to the table setting. Outside, Mandela is surrounded by men. Inside, he has surrounded himself with women of all shapes, colors and ages, to make up for twenty seven years without. MANDELA SHAVES UPSTAIRS IN THE BATHROOM. The razor is dull. Mandela opens drawers looking for another. He opens a drawer that is empty but for a WOMAN'S BEADED BRACELET, broken and shedding tiny colored beads. Mandela looks for it for a moment, then closes the drawer, looks at himself in the mirror. Mostly, Mandela's face is warm, animated, energetic and this is how we see him, almost all the time. But, sometimes, his face can be a remote, sphinx - like mask that conceals all emotion, all feeling. This is his prison face. This is the face that looks back at Mandela, right now, in the mirror. It is the face of a man whose long, hard journey has marked his very soul. Expressionless, Mandela shaves himself with the dull razor. OVER, a COCK CROWS and - - a QUICK SERIES OF SHOTS, as the RAINBOW NATION WAKES UP. TV ANNOUNCER -LRB- V.O. -RRB- Today marks the beginning of a new era in South Africa - From the bush to the cities, from shanty towns to ocean - front mansions, PEOPLE START THEIR DAY. TV ANNOUNCER -LRB- V.O. -RRB- - as President Mandela takes office in Pretoria, facing issues that range from economic stagnation and unemployment to rising crime - Some start the day with a tea tray placed next to their beds by discreet black hands, some with nothing more than brown river water and half a fire - blackened ear of corn for breakfast. TV ANNOUNCER -LRB- V.O. -RRB- - while at the same time balancing black aspirations -", "INT. PIENAAR PARENTS HOUSE - MORNING TV ANNOUNCER - with white fears. Click! The TV is turned off by MR. PIENAAR. -LRB- late 40's -RRB- in his very modest, blue - collar house. MR. PIENAAR. -LRB- GLOOMY. -RRB- I never thought I'd see the day. Mr. Pienaar turns and addresses his son, FRANCOIS PIENAAR, 27, a big, blond, almost - handsome man with a fighter's face and mangled ears. Brutal toughness and honor in his features. A powerful physical presence, possibly dangerous. Francois drips with sweat, wears running clothes. Whatever he does, he is strong, fit and driven. MR. PIENAAR I feel sorry for you, son. You've got your whole life ahead of you. What's it going to be like now? MRS. PIENAAR -LRB- late 40's -RRB- enters holding some kind of PROTEIN SHAKE for Pienaar. MRS. PIENAAR Do n't be so gloomy. -LRB- handing over shake. -RRB- I added vitamins - there's a horrible flu bug going around. Tell Nerine when you get home. PIENAAR Thanks, ma. MR. PIENAAR I'm telling you, Francois - look at Angola, look at Mozambique. Look at Zimbabwe. We're next. They're going to take our jobs and drive us into the sea. Just you wait.", "EXT. UNION BUILDINGS, PRETORIA - DAY Magnificent, sweeping government buildings made of carved African field stone, with an Italian tiled roof, situated on a hill overlooking Pretoria. The seat of power. Today, the entrance is mobbed with a huge, joyous, multi - racial throng, plus news crews from all over the world. Lots of new South African flags evident. We move through the throng and swoop up into the air, so that we can soar along the outside of the building and LOOK THROUGH THE WINDOWS into the offices of state - - where people who worked for the De Klerk regime are packing up, in anticipation of being booted out by the Mandela regime. These characters run the gamut from little old Afrikaner tea ladies in tears, to the stoic fossils of grand apartheid. They are all white. A good third of the offices are already deserted. The deserted offices have open doors. Through a window, through an open door, we see Mandela and his bodyguards striding down a Union Building hallway. We swoop in through the window -", "INT. UNION BUILDING HALLWAYS - DAY - and catch up with the new President. Mandela is regal in a magnificent tailored suit. Jason in front, Linga behind. PORTRAITS of the architects and champions of apartheid look down sternly on them as they pass. They pass a WORKER hanging a PORTRAIT OF MANDELA next to one of De Klerk, the previous President. ON LINGA, as he smiles at that. Mandela, on the other hand, looks into the empty offices, and into the offices being packed up. Up ahead, the double doors to the OFFICE OF THE PRESIDENT, are closed. Jason speeds up, opens them, pokes his head in, then opens the doors wide. JASON -LRB- with great pride. -RRB- After you, Mr. President.", "INT. MANDELA'S OFFICES - DAY Mandela's offices are fronted by a LARGE RECEPTION AREA, already filled with PEOPLE WAITING TO SEE HIM. To one side are his CHIEF OF STAFF'S SUITE of offices, to the other side, the SMALL PRESIDENTIAL SECURITY OFFICE. Beyond these are MANDELA'S SECRETARIES, TYPISTS AND ASSISTANTS - his gatekeepers. Beyond that is the inner sanctum, MANDELA'S OWN OFFICE. The phones are ringing off the hook. Fax machines are chattering. Everyone wants a piece of Mandela. Mandela enters, Jason and Linga behind him. MANDELA Good morning everybody. ALL -LRB- GREETINGS. -RRB- BARBARA MASEKELA, Mandela's CHIEF OF STAFF -LRB- and now Ambassador to the U.S. -RRB-, emerges from her office, carrying an arm load of files, folders and papers - MANDELA Barbara, good morning. You've had your hair done. I like it. - accompanies Mandela back towards his office. BARBARA Thank you, Madiba. We need to talk about your cabinet appointments and ministers. MANDELA Give me one moment, please. Barbara waits outside Mandela's office, as he enters ahead of her.", "INT. MANDELA'S OFFICE - DAY Mandela stands in the middle of his office, takes a moment to savor where he is. Then, he takes off his jacket, hangs it up and is ready for work. MANDELA BARBARA -- Barbara enters. MANDELA - please assemble the staff for me. Whoever has not already left. BARBARA Right now? All of them? MANDELA Yes, please.", "INT. UNION BUILDING STAFF DINING ROOM - DAY What's left of the UNION BUILDING STAFF are packed into the DINING ROOM. White faces, bitter and resentful. Waiting to be fired. Through the glass doors, THEY SEE MANDELA APPROACHING DOWN THE HALLWAY, Linga and Jason with him. STAFF MEMBER#1 Here he comes. STAFF MEMBER#2 He wants the satisfaction of firing us himself. They stand up straight, determined to receive the ax with pride.", "INT. UNION BUILDING HALLWAYS - DAY Linga and Jason amp up when they see the room full of restless Afrikaners. At the STAFF DINING ROOM DOOR, Mandela turns to them. MANDELA I'd like you to stay out here, please. JASON But, Madiba. MANDELA I can not talk to them if I'm hiding behind men with guns. Mandela opens the doors and enters. Jason and Linga stay outside. just.", "INT. UNION BUILDING DINING ROOM - DAY Mandela enters, smiles - gets not one smile in return. MANDELA -LRB- IN AFRIKAANS. -RRB- Gooie more almal. STAFF MEMBER -LRB- ASIDE. -RRB- Does he think greeting us in Afrikaans makes this any sweeter? MANDELA Some of you may know who I am. This gets a few bitter chuckles. Mandela is at this best just talking to people, like this. Only, he does n't just talk to them, he wades in amongst them, shaking hands and making individual contact as he speaks to all of them. MANDELA Good morning. how are you. thank you for coming at such short notice. etc.. Mandela is a continual security nightmare. You can see the tension on Jason and Linga's faces as he disappears into the throng. When Mandela reaches the middle of the room, he stops shaking hands, and turns slowly as he talks to everybody. MANDELA I could n't help noticing the empty offices as I came to work today. And all the packing boxes. One black man, surrounded by a throng of serious white faces. MANDELA Now, of course, if you want to leave, that is your right. And if you feel in your heart that you can not work with your new government, then it is better that you do leave, right away. He can be tough and blunt, when necessary. MANDELA But if you are packing up because you fear that your language, or the color of your skin, or who you served previously, disqualifies you from working here now, I am here to tell you, have no such fear. -LRB- BEAT. -RRB- Wat is verby is verby. What's past is past. We look to the future, now. This is not what they expected to hear. MANDELA We need your help. We want your help. If you would like to stay, you will be doing your country a great service. Mandela pauses, to look at the faces. They are receptive. MANDELA I ask only that you do your jobs to the best of your abilities, and with good hearts. I promise to do the same. -LRB- BEAT. -RRB- If we can manage that, our country will be a shining light in the world. Jason and Linga are right outside the glass doors, looking in and listening. Jason shakes his head. JASON He wants to win them over, one damn boer at a time.", "INT. MANDELA'S OFFICES - DAY Mandela heads back through to his office, Barbara, Mary and other assistants forming a phalanx around him. Linga peels off, goes into the security office. Jason stands at the desk of one of the assistants -LRB- JESSIE -RRB-, waits for her to finish a call, then : JASON Molo, sister. JESSIE -LRB- FRAZZLED. -RRB- It's still morning? Jason grins. JASON When you get a chance, can we see the schedule for the month? We need to plan security. Jessie's phone rings. JESSIE -LRB- ANSWERING PHONE. -RRB- Office of the President, good morning. Jessie waves Jason off. He crosses to the security office, enters.", "INT. SECURITY OFFICE - DAY Once he closes the door behind him, Jason shows his fatigue. Linga is feet - up on the sofa, sucking on a cup of coffee. Three more bodyguards - SAM, KWEZI and WINSTON - slump in chairs. Jason grabs coffee, sits at his desk, puts his feet up with a groan. JASON We need more men. LINGA Did you talk to Barbara about it? JASON Yesterday. A knock at the door. JASON That's Jessie, with the schedule. -LRB- LOUDLY. -RRB- Come in, beautiful. The door opens - but what enters is not beautiful. FOUR BIG WHITE COPS in suits enter, Special Branch written all over them. ETIENNE VAN ECK, HENDRICK BOOYENS, GEORGE and WILLEM. The bodyguards stand up like junk yard dogs protecting their territory. JASON What is this? ETIENNE Mr. Jason Tshabalala? JASON That's me. Am I under arrest? Etienne snaps out a crisp salute. ETIENNE Captain Van Eck and team reporting for duty, sir. Hendrick, George and Willem snap out salutes. Their military deportment contrasts strongly with the less rigid body language of the black bodyguards. JASON What duty? ETIENNE We're the Presidential bodyguard. We've been assigned to this office. -LRB- holding out a sheet of PAPER. -RRB- Here are our orders. Jason takes the orders, studies them, face increasingly angry. LINGA -LRB- TO HENDRICK. -RRB- You're Special Branch, right? Hendrick nods, sternly. Linga, Sam, Kwezi and Winston react to that - there is a long and brutal history between them and the Special Branch. ETIENNE You'll see that they've been signed. JASON I do n't care if they're signed or - Jason does a double - take when he sees the signature on the orders : NELSON R. MANDELA. JASON Wait here. Jason storms out, holding the orders. The four black bodyguards seethe with hostility. The four white bodyguards stare straight ahead, refusing to give ground.", "INT. MANDELA'S OFFICE - DAY Mandela and Barbara look over a position paper on something or other. When Jason knocks and enters, they pause. JASON Sorry to disturb you. MANDELA You look agitated, Jason. JASON That's because I've got four Special Branch cops in my office. MANDELA What have you done? JASON Me? Nothing. They say they're the Presidential bodyguard. They have orders. -LRB- BEAT. -RRB- Signed by you. MANDELA Yes. They've had special training, those boys - with the SAS. And lots of experience. They protected De Klerk. JASON Yes, but - MANDELA You asked for more men, did n't you? JASON Yes, but - MANDELA In public, when people see me, they see my bodyguards, too. You represent me, directly. The rainbow nation starts here. -LRB- BEAT. -RRB- Reconciliation starts here. JASON Reconciliation? Madiba, not long ago they tried to kill us! Maybe even these four guys. They tried and, often, they succeeded!", "INT. SECURITY OFFICE Linga, Sam, Winston and Kwezi stare down Etienne, Hendrick, George and Willem.", "INT. MANDELA'S OFFICE - DAY Mandela stares at Jason in an entirely different way - with wisdom, compassion and sympathy. MANDELA Yes, I know. -LRB- VERY GENTLY. -RRB- Forgiveness starts here, too. Mandela lets that sink in for a moment. He knows he asks for something very difficult, but he demands it of himself to an even greater degree. MANDELA Forgiveness liberates the soul. It removes fear. That is why it is such a powerful weapon, Jason. -LRB- BEAT. -RRB- Please try it. Jason exhales. He is n't remotely ready to forgive. JASON Yes, Madiba. Sorry to disturb you. Jason turns, leaves. Barbara shakes her head at Mandela. BARBARA You ask a lot. MANDELA Only what is necessary.", "EXT. MANDELA'S OFFICES - DAY As Jason - very upset - walks back to security, Jessie holds out a file for him. JESSIE Two copies of the schedule. Jason snatches the file, keeps walking. JESSIE Thank you, Jessie! When he reaches the security office door, Jason walks right past, keeps going, has to make a full loop of the reception area, just to get himself together. Even so, when he gets back to the security office door, Jason pauses, gathers himself to do something that he knows he's going to hate.", "INT. SECURITY OFFICE - DAY Things have n't eased up one little bit inside the office. The silence is deafening. Jason enters, looks them all over. His face is grim. LINGA Can we get rid of these guys, now? Jason flashes a look at Linga, then - and this hurts him, visibly - he holds out one of MANDELA'S SCHEDULES to Etienne. JASON This is his schedule for the next month. Let's look it over for duty assignments. ETIENNE Right. LINGA What? Linga and the others are shocked. LINGA Jason, I have to talk to you. Outside. Linga virtually pulls Jason out of the office.", "INT. MANDELA'S OFFICES - DAY Just outside the Security Office door, so they keep their voices low. LINGA How can we trust them? JASON We ca n't. -LRB- heading back in. -RRB- This is what Madiba wants, okay. Not okay for Linga, judging by the expression on his face.", "INT. SECURITY OFFICE - DAY When Jason and Linga enter, Etienne looks up from Mandela's schedule. ETIENNE Are there any special orders or conditions? JASON No. Yes. Madiba gets upset if you do n't smile when you push people out of the way. HENDRICK Seriously? LINGA Yes, seriously. It's the new South Africa. ETIENNE Madiba? JASON The President's clan name. It's what we call him. The new bodyguards share a look. They're not comfortable with `` Madiba''. ETIENNE We'll call him Mr. President. Jason lifts the schedule. JASON Let's get through this. Still upset and hostile, the black bodyguards look over Jason's shoulder, the white bodyguards look over Etienne's, at the month's schedule. Apartheid is by no means dead in this cramped little office. Both teams study and discuss the schedule - -LRB- shop talk tbd USE THIS TO GIVE US A QUICK GLIMPSE OF A DAY/WEEK/MONTH IN THE LIFE OF M. -RRB- Etienne shakes his head. ETIENNE How's he going to do all this? When does he take a break? LINGA He says he rested enough in prison. Jason recoils at something he sees on the last page of the schedule. JASON Here's a headache. LINGA What? JASON A rugby match at Loftus Versfeld. British Lions against the Springboks. HENDRICK It's going to be a headache for the Lions, that's for sure. We're going to donder them. JASON I do n't care about the game. I care that the President'll be so exposed. LINGA To thousands of drunken - ETIENNE -LRB- INNOCENTLY. -RRB- - sports fans? JASON Yes. Sports fans. LINGA Who did n't vote for him. Who probably hate him. Who came out of the womb with guns in their hands. OVER, THE UNMISTAKABLE SOUND OF PRE - GAME NOISE AT A MAJOR SPORTING EVENT.", "EXT. LOFTUS VERSFELD STADIUM - DAY A huge, raucous crowd, almost entirely white and male. Many wearing the Springbok green and gold. Widespread evidence of drinking. Lots of OLD SOUTH AFRICAN FLAGS - the blue, white and orange apartheid flag - make a defiant statement against the NEW SOUTH AFRICAN FLAGS ringing the stadium. On the field, THE RUGBY TEAMS ASSEMBLE and face each other in two lines. The BRITISH LIONS in their white on white with black and red trim, the SPRINGBOKS in their green and gold. Like their supporters, the Springboks are all white, but for one man, who is `` colored'' -LRB- mixed race -RRB-. Big, tough, brutal - looking men. Scary. -LRB- We may or may not notice Francois Pienaar, standing at the head of the line of Springboks. -RRB-", "INT. LOFTUS VERSFELD STADIUM - TUNNEL ONTO FIELD - DAY At the entrance of the tunnel onto the field, LOTS OF COPS in blue South African Police uniforms. Behind the line of cops, in the tunnel, we find JASON AND ALL THE OTHER BODYGUARDS but for Linga. They are keyed - up, intense - none more so than Jason. JASON -LRB- shouting against the NOISE. -RRB- I want your eyes on the crowd at all times. We're staying in the middle of the field. He's going to walk out, shake hands, walk back. Nothing else. Got it? They nod. They are like the players at game time, only the stakes are much higher. Jason looks deeper into the tunnel, straightens up. JASON Here we go. Mandela strides down the tunnel towards them, wearing a dark suit. Big crowds energize him. His eyes are alive with excitement. One pace behind him, like a huge, dark shadow, comes Linga. Mandela gives Jason a look, Jason nods. We follow Mandela and the bodyguards out of the tunnel -", "EXT. LOFTUS VERSFELD STADIUM - DAY - onto the field, towards the waiting teams. The crowd rise to their feet. Lots of them jeer Mandela, lots cheer. All the old South African flags are waved at him defiantly - plus some new ones. Mandela waves to them all, smiling proudly. To him, a crowd is an opportunity to make new friends. But he stays in the center of the field. Jason and crew are hyper - alert, a human fence around Mandela. Mandela reaches the rugby players. Waiting for him at the head of the Springbok line, wearing the NUMBER 6 JERSEY and captain's armband, is FRANCOIS PIENAAR. Now we know what he does. Mandela extends his hand. MANDELA Good luck, captain. PIENAAR -LRB- SHAKING HANDS. -RRB- Thank you, sir. Mandela shakes hands down the line of Springboks, then returns, shaking hands with the British Lions. Quick, perfunctory handshakes. As Mandela does this, we take BODYGUARD POV SNAPSHOTS of the crowd, increasingly keyed - up and restless. Time to play rugby. Mandela finishes, waves to the crowd, and begins the walk along the center of the field, back to the tunnel. Crowd noise increases. They know the opening whistle is about to blow. Then, Mandela sees something in the crowd, at field level. MANDELA'S POV : A GROUP OF ROUGH - LOOKING WHITE MEN WAVE THE NEW SOUTH AFRICAN FLAG AT HIM. WITHOUT WARNING, MANDELA CHANGES DIRECTION, heads towards this group, towards a wall of his former - and perhaps current - enemies. ON JASON : shit! JASON -LRB- INTO RADIO. -RRB- Stay with him. ETIENNE Stop him. JASON Stay with him. With his bodyguards scrambling to stay in position, Mandela reaches the stands, hand outstretched, leans into the crowd. MANDELA Thank you for honoring our new flag! Some shake his hand, some - very pointedly - do not. The crowd noise takes on an ugly undertone - Mandela is delaying the rugby. Mandela is undeterred. He's into this one - on - one outreach. He turns, looks for more hands to shake - - and Jason steps in between Mandela and the crowd. JASON We're delaying the rugby, Madiba. MANDELA Oh, yes, of course. Mandela gives one last wave, turns away. As he does, SOMEONE WINDS UP AND THROWS SOMETHING from the stands. Jason and Etienne catch the movement, whirl, too late. AN ORANGE WHIZZES PAST MANDELA'S HEAD, explodes juicily on the field. Mandela did n't see it, does n't react. If anything, his smile widens as he heads across the field. The bodyguards close around him protectively, get him back to the tunnel.", "INT. LOFTUS VERSFELD STADIUM - TUNNEL ONTO FIELD - DAY Jason signals for extra bodyguards to escort Mandela all the way up to his box. Hendrick, the biggest, leads the way. Jason stays in the tunnel, along with Etienne. Both men are in a muck sweat, adrenaline coursing through them. ETIENNE Why did n't you stop him? JASON Next time, you try. ETIENNE Does he do that sort of thing all the time? JASON Ask my ulcer. -LRB- BEAT. -RRB- Good thing that was just an orange. ETIENNE And good thing he never saw it. JASON Oh, he saw it. He sees everything. -LRB- rubbing his ulcer. -RRB- I hate rugby.", "EXT. LOFTUS VERSFELD STADIUM - DAY Two international front rows come together with bone - crunching force. Huge, violent men grunt like bulls. The crowd roar vibrates the stadium. The scrum - a phalanx of eight men locked together against eight - wheels, buckles, then steadies under the watchful eye of the referee. Fanning out behind each scrum are the backs - faster, more glamorous players who will run with the ball, or kick it. The Lions scrumhalf thrusts the ball into the maw of the scrum, the huge men lock up against each other with maximum force. The ball comes out the back of the Lions' scrum, the scrumhalf dive - passes it away to the backs, who flick it out laterally to the wing, with lightning speed. The wing lofts a delicate kick just over the onrushing Springbok defenders. The Lions charge the ball, which bounces erratically - - right into the hands of the man who kicked it. One last burst of speed, one quick juke to avoid a desperation tackle, and the wing scores in the corner. As the Lions kicker gets ready to convert the try, we find the Springboks huddling under their goal posts, hands on their hips, stunned. At the center of the huddle Pienaar bleeds behind his gum guard as, furiously, he tries to inject some fire into his team. PIENAAR Concentrate, dammit! Focus! We can beat these guys if we play our game, not theirs! ON PIENAAR, as he realizes he is not getting through. There is dullness, shock in his player's eyes - - which all lift to the heavens as the CONVERSION KICK SOARS through the uprights. We FOLLOW THE KICK as it drops past a GIANT SCOREBOARD. STAY ON THE SCOREBOARD as it registers the conversion and shows the score : LIONS - 10 SPRINGBOKS - 0", "INT. LOFTUS VERSFELD STADIUM VIP BOX - DAY In the VIP box, Mandela turns his back on the field as the game restarts beneath him and continues in the background. He has BINOCULARS around his neck. MANDELA Shall we work while we watch? We have lots of promises to keep. Barbara sits to his right, with her ever - present files and folders. BARBARA Yes, we do. Mary pours tea at the back of the box. Linga stands two steps behind Mandela. On Mandela's left, sits the PRESIDENT OF SOUTH AFRICAN RUGBY, a small man with a small man's ruthlessness and drive. MANDELA It's not too late, if the boys can just pick up their game. RUGBY PRESIDENT If they do n't, heads will roll. This is unacceptable. -LRB- LEANING FORWARD. -RRB- Come on you bloody bastards! Mandela's expression shows that he has a gentleman's distaste for profanity. He turns to Barbara. BARBARA Where do you want go first, for foreign investment? MANDELA Where the money is. America, England, Saudi Arabia. Barbara makes notes. Mandela lifts his BINOCULARS, but instead of looking at the rugby, he looks at the crowd. MANDELA'S POV THROUGH BINOCULARS - Mandela zeroes in on an OLD SOUTH AFRICAN FLAG - the apartheid flag. It is being held by the FOUR KHAKI - CLAD BOERS -LRB- FARMERS -RRB-. Classic South African figures from the rural far north, they are already drunk and suicidally depressed by the turn of events on the field. BARBARA Do you see all the old apartheid flags? It's a disgrace. Mandela lowers his binoculars. MANDELA It's also a constitutional right. BARBARA Along with the apartheid anthem. I know. But it's time people moved on. Mandela grunts, raises his binoculars again. MANDELA'S POV THROUGH BINOCULARS - Mandela finds a SMALL KNOT OF BLACK SPECTATORS, holding the NEW SOUTH AFRICAN FLAG and cheering ecstatically. MANDELA Look at that. The whites are cheering for the Springboks, the blacks are cheering for the Lions. Mandela lowers the binoculars. MANDELA We did that on the island, you know. We supported anyone but the ` boks. It really irritated the warders. BARBARA Of course it did. ON MANDELA as he thinks about this for a moment, then lifts his binoculars to look at the crowd again. MANDELA'S POV THROUGH BINOCULARS - on the knot of black spectators, who leap to their feet, reacting to ACTION ON THE FIELD --", "EXT. LOFTUS VERSFELD STADIUM - DAY - where the Lions score yet another try. This is an ass - whipping. The conversion sails over the ` boks heads. The scoreboard clicks over to : LIONS - 20 SPRINGBOKS - O", "INT. LOFTUS VERSFELD STADIUM VIP BOX - DAY Mandela lowers his binoculars, sets them aside, shakes his head. He knows it's hopeless now. He turns to the Rugby President. MANDELA How long until the World Cup? RUGBY PRESIDENT About a year. MANDELA Plenty of time for improvement. The Rugby President ca n't take it. He stands. RUGBY PRESIDENT Mr. President - I would n't get my hopes up. We're a damn disgrace. He stomps out of the box, no doubt looking for someone to fire. Mandela gets back to work. MANDELA I want to go to India and Indonesia, too. There is a knock at the luxury box door. Linga swings to face the door, alert, as a UNIFORMED DOORMAN opens it. The MINISTER OF SPORT -LRB- Steve Tshwete -RRB-, enters. MINISTER OF SPORT Sorry I'm late. He sits down in the empty chair to the right of Mandela. MINISTER OF SPORT How's it going? MANDELA Very badly. The Minister of Sport checks the score, winces. MINISTER OF SPORT Maybe it's just as well. Mandela shoots him a sharp look. MANDELA Why? MINISTER OF SPORT -LRB- bending close, talking QUIETLY. -RRB- I've just been at a meeting of the National Sports Council executive. There's strong support to drop the Springbok emblem and colors altogether. -LRB- gesturing at the field. -RRB- If they're playing badly, maybe its a good time to make a change. -LRB- with barely hidden RELISH. -RRB- This could be the last time we have to look at the green and gold. The Minister of Sport shoots a glance at Mandela, to see his reaction to all this. Mandela is deep in thought and completely unreadable.", "EXT. LOFTUS VERSFELD STADIUM - DAY One last, bloody, violent bit of play - then, mercifully, the final whistle blows. Final score : LIONS - 32 SPRINGBOKS - 15. The Lions celebrate. The Springboks head off the field, heads down, shoulders bowed in defeat - none more bitterly disappointed or bloodier than Francois Pienaar. In the stands, the unheard of happens - the Springboks are booed by their own fans. Not by everybody, but by enough. We STAY WITH THE ` BOKS as they trudge across the field, then clatter along the concrete tunnel to their dressing room.", "INT. LOFTUS VERSFELD STADIUM - SPRINGBOK DRESSING ROOM The atmosphere is absolutely dismal as the men undress and shower. Nobody catches anybody else's eye. Huge, powerful, pale bodies have been ploughed purple with rake marks, bruises and roasties. Plus, one dark body - that of CHESTER WILLIAMS, a skilled wing from the Cape, a reserved and private man. Pienaar takes off his green and gold jersey, sits, begins taking off his cleats. His body hurts. He has been raked, scratched, bruised, and his ankle is swollen. A noble warrior, defeated. BOLAND BOTHA -LRB- V.O. -RRB- Francois Pienaar's team came to Loftus Versfeld stadium this afternoon, unprepared and arrogant.", "INT. TV STUDIO Meet BOLAND BOTHA as he tapes his commentary on the test match. He is an ex - Springbok player from the boycott years, now turned ponderous, florid rugby commentator. He is a household name, and the last word on the state of the Springboks. BOLAND BOTHA They left 80 minutes later with their tails between their legs, like whipped mongrels. -LRB- BEAT. -RRB- And I, for one, am glad. Not because we lost, but because there's now no way to disguise the fact that we are completely and utterly unprepared to reenter the world of top - notch international rugby. Boland defines the South African talent for pessimism and negativity.", "INT. SA RUGBY PRESIDENT'S OFFICE - NIGHT BOLAND BOTHA -LRB- ON TV. -RRB- The Rugby World Cup is now less than a year away, and I, for one, am relieved that we are the host nation, and therefore qualify automatically for the tournament. Because I'm not sure we would get in on merit alone. The Rugby President sucks on a rum and coke, watches Boland with one of his HENCHMEN. RUGBY PRESIDENT Who gets the axe? Someone has to.", "INT. FRANCOIS PIENAAR'S APARTMENT - NIGHT No after - match party this night. Still depressed by the loss, Pienaar stays home with this fiancee NERINE. BOLAND BOTHA -LRB- ON TV. -RRB- Pienaar's team played without discipline, without strategy and without courage. PIENAAR He's trying to get them to drop me. NERINE He's just bitter because the Springboks were boycotted when he played. PIENAAR Maybe, but people listen to what he says.", "INT. MANDELA'S HOUSE - NIGHT Wearing pyjamas, dressing gown and slippers, Mandela multi - tasks, watching Boland Botha and going through a pile of correspondence, scribbling notes or signing his name. BOLAND BOTHA -LRB- ON TV. -RRB- They brought shame upon our nation, and I, for one, can say without fear of contradiction, that today, these fifteen so - called men did not deserve to wear the hallowed green and gold. ON MANDELA : a thought, an idea - a big one - is churning in his head. He grunts, turns off the TV, puts the correspondence aside, stands. Mary enters with a glass of milk and some pills, on a tray. MARY Here's your muti. I warmed the milk tonight. MANDELA You're too good to me. Mandela takes his pills. MARY Your daughter called, to cancel her visit this weekend. Mandela pauses, between pills. MANDELA Did she say why? MARY No, she did n't. -LRB- making it up. -RRB- She said to tell you she was sorry. Mandela nods, has a hard time swallowing his last pill. MARY Do you need anything else tonight? MANDELA No, thank you. I'm going to bed. Good night. MARY Good night, Madiba. Sleep well. Mandela smiles at her, but as soon as he is past her, the smile fades. As he climbs the stairs to his bedroom, his face becomes sadder and older and lonelier. IN HIS BEDROOM, Mandela pauses to take off his dressing gown. He looks at his bed. It is as smooth and as blank as a sheet of paper. He peels back the bedclothes at one corner, slides under them and pauses for a moment while reaching for the light switch. He switches off the light and lies down, still and straight. The most popular man in the world starts and ends each day alone.", "EXT. TOWNSHIP - DAY A very poor township outside Johannesburg. A stark reminder of how much work Mandela has ahead of him. A STAMPEDE OF KIDS runs by. We FOLLOW THE KIDS and find a SMALL, BEAT - UP CHURCH. A noisy LINE OF THREADBARE KIDS leads from outside into the church. There is a pecking order in the line, based on size. MRS. COLEMAN -LRB- O.S. -RRB- No pushing now! There's enough for everybody!", "INT. SMALL, BEAT-UP CHURCH - DAY At a table near the altar, the kids rummage through bags of second - hand clothes under the watchful eye of MRS. COLEMAN, a stout and charitable woman. Next to her, MRS. DLAMINI hands out a lollipop and says - MRS. DLAMINI God bless you. - to each kid. The clothes and lollipops move fast, rhythm kept by Mrs. Dlamini's `` God bless yous''. The last bag of clothes empties fast as the line of kids reduces until there is only ONE SMALL BOY -LRB- SIPHO -RRB- left and only one article of clothing. An old SPRINGBOK RUGBY PRACTISE JERSEY. Green and gold. Sipho could use it. His clothes are more holes than anything else. He looks at the Springbok jersey mournfully. MRS. COLEMAN You're a very lucky boy. It's a real Springbok practise jersey! It's a bit big, but it's warm and it'll last for ever! Sipho shakes his head. MRS. COLEMAN It's yours, take it! Go on. Sipho turns and leaves. Mrs. Coleman looks at Mrs. Dlamini, completely confused. MRS. COLEMAN Why wo n't he take it? MRS. DLAMINI If he wears it, the others will beat him up. MRS. COLEMAN Because the Springboks are playing so badly? MRS. DLAMINI No. Because, for them, the Springboks still represent apartheid.", "EXT. EERSTERUST CONFERENCE CENTER - DAY Eersterust is a settlement and conference location just outside Pretoria. Today it is the location of a full membership meeting of the National Sports Council, an ANC organization that is now the governing body of all sports in South Africa. A banner draped across the conference center entrance tells us so : WELCOME NATIONAL SPORTS COUNCIL.", "INT. CONFERENCE HALL - DAY An NSC FIREBRAND has the podium and the microphone. NSC FIREBRAND and now for the next item on our agenda. The hall is jammed. Very few white faces. NSC FIREBRAND The NSC executive proposes a full membership vote on the following motion. A ripple of anticipation goes through the delegates. NSC FIREBRAND that as a prominent symbol of the apartheid era, the colors, emblem and name of the Springboks be eliminated immediately. That causes a stir. The delegates understand how big this is. NSC FIREBRAND and that all sports teams representing South Africa shall be known forthwith as the Proteas. Excitement and noise level rises. The NSC Firebrand has to shout through his mike. NSC FIREBRAND -LRB- SHOUTING. -RRB- We will submit this motion to a hand vote. In the event of a close count, we will go to a written ballot. -LRB- the moment he's been WAITING FOR. -RRB- ALL THOSE IN FAVOR OF ELIMINATING THE SPRINGBOKS, RAISE YOUR HANDS. The NSC firebrand shoots his clenched fist into the air. With a roar, the delegates respond, raising their fists. Unanimous. The Springboks are history. ANOTHER ANGLE, as ONE OF THE OLDER DELEGATES steps outside to make a call.", "INT. MANDELA'S OFFICE - DAY At his desk, Mandela puts down his phone. Anger in his eyes. He slams both palms down hard on his desk.", "INT. SECURITY OFFICE - DAY Both bodyguard units -LRB- minus Jason -RRB- are crammed into the small office. The black bodyguards murmur amongst themselves in Xhosa. -LRB- Ad - lib. -RRB- The white bodyguards talk Afrikaans -LRB- ad - lib -RRB-. No talk between the two units, only tension. Tension broken with a crash as JASON SLAMS THE DOOR OPEN. JASON Both units to the cars, right now.", "EXT. UNION BUILDINGS, PRETORIA - DAY Grey BMW, armored grey Mercedes, grey BMW in a line at the entrance. Jason, Kwezi, Winston and Sam scramble out of the building and dive into the lead BMW. Etienne, Hendrick, George and Willem dive into the trailer.", "INT. UNION BUILDING HALLWAYS - DAY Brusque, scowling, Mandela marches towards the exit, shadowed by Linga, flanked by Barbara. BARBARA What do I tell the Japanese trade delegation? MANDELA I delegate that decision to you. BARBARA Do you want me to inform the VP? MANDELA No. BARBARA We should at least include the Minister of Sport. MANDELA No. Mandela heads out to the cars. Barbara has no choice but to follow.", "EXT. UNION BUILDINGS, PRETORIA - DAY Ever the gentleman, Mandela ushers Barbara into the Mercedes. As she gets in : BARBARA I strongly advise against doing this. Especially on your own. It. it gives the impression of autocratic leadership.", "INT. PRESIDENT'S MERCEDES - DAY Mandela gets in, closes the door. BARBARA You risk alienating your cabinet and your party. MANDELA Your advice is duly noted, Barbara. BARBARA Madiba. the people want this. They hate the Springboks. They do n't want to be represented by a team they cheered against all their lives. MANDELA Yes, I know. But in this instance the people are wrong. And it is my job as their elected leader to make them see that. Mandela leans forward to talk to Linga. MANDELA Can you tell the boys that Madiba wants to go to Eersterust, very fast. Linga murmurs into his radio. The convoy pulls out, very fast. Barbara makes one last plea. BARBARA You're risking your political capital. You're risking your future as our leader. MANDELA The day I am afraid to do that is the day I am no longer fit to lead. BARBARA At least risk it for something more important than rugby. Mandela looks out the window, says nothing, angry.", "EXT. FREEWAY - DAY Mandela's convoy heads away from Pretoria, very fast. NSC FIREBRAND -LRB- V.O. -RRB- and in concluding this historic conference.", "INT. CONFERENCE HALL - DAY NSC FIREBRAND brothers, sisters, comrades, we in the executive applaud your diligence and courage. The NSC Firebrand and the executive applaud the members. The applause spreads until the hall rocks. They are all very pleased with themselves.", "EXT. EERSTERUST - CONFERENCE HALL - DAY Mandela's convoy roars in. Mandela is the first one out, Linga next. Jason and crew scramble to cover the immediate area. Kwezi opens the door for Barbara on the other side. Mandela strides over to Jason, says something to him. Jason looks surprised, turns to Hendrick. Linga's customary scowl intensifies.", "INT. CONFERENCE HALL - DAY As the applause finally begins to diminish, the NSC Firebrand turns and nods to a CHURCH CHOIR DIRECTOR, off to the side. The choir director brings his CHOIR onto the stage. NSC FIREBRAND Brothers, sisters. join us in our anthem. Anyone not standing, stands. The choir director raises his hands. The choir inhales. Go. CHOIR -LRB- SINGING. -RRB- Nkosi Sikelel' iAfrica etc. -LRB- God Bless Africa. -RRB- - But before the first line is fully sung, an ASSISTANT rushes out, whispers urgently into the NSC Firebrand's ear. The Firebrand's eyes bug out in surprise. He crosses to the Choir Director, says something quickly. The Choir Director stops the choir in mid - chorus. Consternation everywhere. What's going on? NSC FIREBRAND Brothers, sisters, members of the choir - we would only interrupt such beautiful music for something truly important. In this case, for someone truly important. -LRB- beat, milking it. -RRB- Please welcome President Mandela! The place goes berserk as Mandela enters, with Linga at his back, and - surprise, surprise - Hendrick Booyens leading the way. Face stern and unsmiling, Mandela walks the length of the hall towards the podium. The delegates press in towards them. ANOTHER ANGLE - Jason coordinates security inside and out. Lifts his radio to his mouth. JASON -LRB- INTO RADIO. -RRB- Smile. ON HENDRICK, as his standard bad bastard scowl suddenly becomes a smile - which scares the throng more than the scowl did. ON LINGA, the same. ANOTHER ANGLE - Barbara enters at the back of the hall, accompanied by Kwezi. Mandela reaches the podium, turns looks out over the crowd, face thunderous. When they see his anger, the crowd quietens down quickly. MANDELA Brothers, sisters, comrades, I am here because I feel strongly that you made a decision today without sufficient information or foresight. He lectures them like a headmaster. They do n't like it. MANDELA I am aware of your earlier vote. I am aware that it was unanimous. -LRB- BEAT. -RRB- Nonetheless, I propose that we restore the Springboks. Restore their name, their emblem and their colors, immediately. Instant and complete silence in the hall. This is utterly unpopular. Shocked faces, especially from the executive and the NSC firebrand. ON BARBARA, as she sees her worst political nightmare playing out in front of her. MANDELA Let me tell you why. Murmurs of disapproval and disagreement begin to rise. Mandela's going to have to row upstream on this one. MANDELA on Robben Island, in Pollsmoor Prison, my jailers were all Afrikaners. -LRB- BEAT. -RRB- For twenty seven years, I studied them. I learned their language, I read their history, I read their poetry. I had to know my enemy, in order to prevail against him. -LRB- BEAT. -RRB- And we prevailed, did we not? All of us here. we prevailed. For the first time, Mandela says something the crowd likes. MANDELA Our enemy is no longer the Afrikaner. They are our fellow South Africans, our partners in democracy. Just as quickly, Mandela loses them again. MANDELA And they treasure Springbok rugby. If we take that away, we lose them. We prove that we are what they feared we would be. -LRB- BEAT. -RRB- We have to be better than that. We have to surprise them with compassion, with restraint, and generosity. The grumbling and disagreement becomes noticeably louder. MANDELA Yes, I know. All the things they denied us. ON HENDRICK, totally engrossed in his job, eyes sweeping across the crowd, feeling the tension. MANDELA But this is not the time to enjoy a moment's petty revenge. This is the time to build our nation using every single brick available to us - even if that brick comes clothed in green and gold. The crowd is growing more restless and rebellious by the moment. LINGA is as alert as Hendrick, tuned in to the jumpy vibe. MANDELA -LRB- ANGRY. -RRB- You elected me. -LRB- BEAT. -RRB- You elected me to be your leader. Let me lead you now. -LRB- BEAT. -RRB- Who is with me on this? It's almost as if he's daring them to go against him. MANDELA Who is with me? The murmuring becomes a dull roar of argument and disagreement. ON BARBARA as she closes her eyes and lowers her head : this is a fiasco.", "EXT. EERSTERUST CONFERENCE CENTER - DAY As delegates spill out of the conference hall, Mandela's convoy leaves as fast as it arrived. It almost looks as if they're fleeing.", "INT. PRESIDENT'S MERCEDES - DAY Silence. Mandela looks exhausted, almost gaunt. Facing his own people like that took it out of him. Barbara stares out the window, chewing her lip, totally stressed out. Linga heaves a great sigh, exhales a truckload of stress.", "INT. GREY BMW (LEAD CAR) - DAY Jason and his crew travel in stoic silence.", "INT. GREY BMW (TRAILER) - DAY Similar silence from Etienne and crew. It seems like the silence of defeat.", "INT. PRESIDENT'S MERCEDES - DAY BARBARA Twelve votes. Twelve! MANDELA A luxury. All we needed was one more yes than no. BARBARA What if you had n't got it? MANDELA Well, as you know, I am an obedient party member. Barbara snorts disagreement. She is angry at her boss. BARBARA I'm sorry, Madiba, but we've got problems everywhere we look. Housing, food, jobs, crime, our currency. You ca n't keep interrupting affairs of state to placate a minority. MANDELA But, I must. This minority still controls the army, the police, and the economy. Without them, we can not address the other problems. BARBARA So this rugby, it's just a political calculation? Life and energy, flood back into Mandela. He sits up against his seat belt, faces his Chief of Staff. MANDELA It's a human calculation. -LRB- BEAT. -RRB- If we take away what they cherish - the Springboks, their national anthem - we just reinforce the cycle of fear between us. ON LINGA, in the front seat. He's not supposed to listen - but how could he not? MANDELA I will do what I must to break this cycle. Or it will destroy us.", "INT. SPRINGBOK DRESSING ROOM - DAY The sound of cleats approaching on concrete. Exhausted footsteps. The DRESSING ROOM ATTENDANT PUTS CASES OF BEER -LRB- cans -RRB- on a side table, rips them open, backs away - - as the Springboks enter silently, faces miserable, shoulders slumped. They've lost another game. One of the players grabs a beer, opens it, takes a gigantic SWIG -- ANGRY SPRINGBOK This beer tastes like kuk. - hurls the beer against the wall so hard it ruptures, sending foaming beer everywhere. ON PIENAAR as his eyes flash and he shoots to his feet. PIENAAR It's not the beer. Pienaar picks up a case of beers, goes to the angry Springbok. PIENAAR Take another. -LRB- BEAT. -RRB- Everybody take a beer. This is an order. The entire team takes a beer, including Pienaar. PIENAAR A toast. Pienaar cracks his beer, raises it up. They all crack and raise their beers. PIENAAR to the taste of defeat. That bewilders his team. PIENAAR Drink it. Remember it. And promise yourself never to taste it again. Pienaar takes one long swig - PIENAAR You're right. It tastes like kuk. - tosses his beer against the wall, so that it ruptures. Eighteen other beers rupture against the wall. The dressing room is awash with beer and foam - and re - kindled passion. As with Mandela, Pienaar is a leader, on a smaller scale.", "INT. SECURITY OFFICE - DAY Both units crammed into the small office. As usual, neither team talks to the other. Jason enters with two files. JASON Here's the schedule for the overseas trip. Jason and the boys look over one, Etienne and his unit look over the other - and discuss it amongst themselves in Afrikaans. Hendrick says something pointed, which resonates with the others. LINGA What did he just say? HENDRICK I said - ETIENNE He asked when we were supposed to sleep. HENDRICK As well as other basic human functions. JASON Hey. If Madiba can do it, we can do it.", "INT. UNITED NATIONS GENERAL ASSEMBLY - DAY Mandela addresses the General Assembly, thanking them for their support in the fight against apartheid. MANDELA The millions of our people say thank you, and thank you again. Linga and Hendrick are his closest bodyguards.", "INT. WHITE HOUSE - SOUTH LAWN - DAY Mandela addresses diplomats, members of Congress, black leaders at a made - for - TV ceremony on the South Lawn. MANDELA I have come here with a message. People of the Unites States of America : Open your markets to us. People of the United States of American : Come and invest in our country. Linga, Jason, Etienne and Hendrick are in on this one - a little island of South Africans in a sea of U.S. SECRET SERVICE PROTECTION.", "EXT. BUCKINGHAM PALACE - DAY We are in a COURTYARD behind the palace. Drawn by four white horses, A ROYAL CARRIAGE -LRB- an open carriage -RRB- pulls up, stops. The courtyard quickly fills with liveried footmen, then security guards. QUEEN ELISABETH and Mandela emerge from the palace. Footmen open doors on both sides of the carriage. The Queen and Mandela climb in -LRB- the Queen on the right hand side -RRB-. When they sit down next to each other, Mandela leans over and says something to the Queen that makes her giggle. almost. For Queens do not giggle. The carriage pulls forward and these two human icons sit up straight, as they get set to face the world. TV ANNOUNCER -LRB- V.O. -RRB- and in London, President Mandela made quite an impression on the Queen -", "INT. PIENAAR PARENT'S HOUSE - NIGHT ON TV : footage of Mandela with the Queen, riding down the mall waving to ecstatic crowds. TV ANNOUNCER - as he concluded a gruelling trip TO - Mr. Pienaar MUTES THE TV, so that he can deliver the latest one - liner to Mrs. Pienaar. MR. PIENAAR In related news, it was announced that President Mandela will be visiting South Africa this week. Mrs. Pienaar laughs. IN THE BACKGROUND, in the kitchen, a plump, middle - aged Tswana woman washes the dishes and keeps an eye on the TV. This is EUNICE, the Pienaar's maid. She does not find Mr. Pienaar's joke amusing.", "EXT. JOHANNESBURG AIRPORT - NIGHT The PRESIDENT'S JET taxis towards the familiar BMW, Mercedes, BMW convoy. Mandela disembarks, very slowly. He is exhausted, his feet are swollen, his knee hurts. This is a very different man than the one we have just seen wooing the world. He is met at the bottom of the stairs by Hendrick. HENDRICK It's good to be home, sir. Mandela just nods. Too tired to talk. Hendrick escorts Mandela to the Mercedes, opens the door for him. Mandela takes a step towards the open door - and staggers. Reflexively, Hendrick reaches out, steadies him. MANDELA I'm fine. Mandela steps out of Hendrick's hands, holds onto the open door. MANDELA Travelling the world, begging for money, is very tiring. Mandela reaches into his jacket, pulls a SMALL PACKAGE out, hands it to Hendrick. MANDELA This is for you. Mandela slides into the car. Once the door is closed, Hendrick glances at the package. We do n't see it. It is too dark. But we do see that Hendrick is amazed by it.", "INT. GREY BMW - NIGHT Hendrick is being driven home through the Highveld night. He chews on something really sticky, chewy. He pauses to dislodge some of it from a tooth, before it pulls out a filling. Then, he resumes chewing.", "INT. MANDELA'S BEDROOM - NIGHT On the bedside table, THE CLOCK clicks from 4:59 to 5:00. Mandela's eyes open in the dark. close for a second. then shoot open again. It takes everything Mandela has to sit up and switch on the light.", "EXT. MANDELA'S HOUSE - NIGHT The bodyguards' BMW's flank the gate. As the gate opens - - Linga gets out of one BMW, Hendrick gets out of the other. They are alert. It is freezing cold. Bundled up against the cold, Mandela emerges through the gate and they close in on him. It is clear that he is pushing himself, physically. LINGA -LRB- TRADITIONAL XHOSA GREETING. -RRB- I see you, father. MANDELA Morning boys. HENDRICK Morning, sir. They keep moving. It is too cold for anything else. MANDELA How is your family, Hendrick? HENDRICK Top shape, sir. How about yours? Mandela's smile becomes fixed on his face. MANDELA I have a very big family. 42 million people. Then, he stops, turns, heads back towards the house. MANDELA I do n't think I want to walk today. Hendrick realizes that he blundered, somehow. He shoots an anxious glance at Linga - who looks at him as if he'd just committed blasphemy. Mandela goes through the open gate without a word. The gate closes behind him, leaving Linga and Hendrick to watch him through iron bars. Linga turns on Hendrick. LINGA We never ask him about his family. HENDRICK But he asks about ours all the time. LINGA Think about it, man. He's separated from his wife. His children. how often do you see them here? -LRB- BEAT. -RRB- He's not a saint, okay. He's a man, with a man's problems - and he does n't need us reminding him about them. Linga heads back to his BMW. Hendrick stands at the gate, looking in at the house.", "INT. MANDELA'S HOUSE - DAWN Mandela shaves, avoiding his own gaze. Shaved, showered and dressed, Mandela descends the stairs, sits down to breakfast by himself at the big table. He looks at the newspaper headlines, which talk about CRIME RISING, THE RAND FALLING, THE MANDELA HONEYMOON OVER etc. etc.. Like any other man, Mandela turns to the SPORTS SECTION for relief - and finally finds something to smile about. ON THE NEWSPAPER : SPRINGBOK COACH AND MANAGER AXED. PIENAAR STAYS ON AS CAPTAIN. There is a PICTURE OF PIENAAR. Mandela reacts to it, pleased.", "INT. MANDELA'S OFFICE - DAY As a CABINET MINISTER AND HER ENTOURAGE leave, Barbara enters, holding an envelope. MANDELA Hello Barbara. I like that dress. BARBARA Thank you Madiba. -LRB- OFFERING ENVELOPE. -RRB- This is for you. MANDELA -LRB- TAKING ENVELOPE. -RRB- What is it? BARBARA Your pay checks. You have n't been collecting them. Mandela opens the envelope, looks at a check - and grunts. BARBARA What's wrong? MANDELA This is terrible. BARBARA Madiba, it's what De Klerk got. Plus an increase for inflation. But, Mandela shakes his head, outraged. TV ANNOUNCER -LRB- V.O. -RRB- Today, President Mandela announced that, in his opinion -", "INT. PIENAAR PARENTS HOUSE - NIGHT TV ANNOUNCER -LRB- on TV throughout. -RRB- - his salary is too high. Pienaar and Nerine watch the news with MR. AND MRS PIENAAR. MR. PIENAAR Dead right. They're all overpaid. IN THE BACKGROUND, once again, Eunice washes the dishes and keeps an eye on the TV. TV ANNOUNCER He has therefore decided to donate a third of his monthly income to charity. MR. PIENAAR Give me the houses and cars they give him and I'll donate a third of my salary too. Francois' cell phone rings. PIENAAR -LRB- to Mr. Pienaar. -RRB- You would not. Not in a million years. PIENAAR -LRB- ANSWERING PHONE. -RRB- Hallo, Pienaar. Whatever Pienaar hears on the phone sends him out of the room in a hurry. PIENAAR -LRB- INTO PHONE. -RRB- Hang on a moment, please. TV ANNOUNCER President Mandela said that he wished to set an example to other leaders and cabinet ministers. MR. PIENAAR Fat chance. They're lining their pockets as fast as they can. Nerine is interested in the call that sent Pienaar hurrying out of the room. Mr. Pienaar MUTES THE TV. MR. PIENAAR Must be his girlfriend, hey Nerine. NERINE He knows I'd bloody kill him. ON EUNICE, as eyes and ears alive, she finishes in the kitchen. Pienaar comes back, stands in the doorway, a stunned expression on his face. NERINE What? Who was it? Pienaar does n't answer immediately. MR. PIENAAR Told you. It was his girlfriend. MRS. PIENAAR Shush! PIENAAR I've been invited to tea. NERINE Who with? PIENAAR The President. MR. PIENAAR The President of SA Rugby? Count your fingers after he shakes your hand. Pienaar points at the muted TV. PIENAAR The President. ON THE TV : footage of Mandela with a group of SAUDI PRINCES. Eunice turns and looks at Francois, wide - eyed. The Pienaar family all stare at the TV, stunned. PIENAAR He wants me over for tea, week after next. Eunice picks up her handbag, puts on her coat and heads for the door, stops when she reaches Pienaar. EUNICE Mr. Francois - you must tell Madiba that the bus service is very bad, and too expensive. He must please fix it. -LRB- LEAVING. -RRB- Good night everybody. MRS. PIENAAR Good night Eunice, thank you. All eyes on Pienaar. MR. PIENAAR What the hell does he want with you? Pienaar shakes his head - he has no idea.", "EXT. UNION BUILDINGS, PRETORIA - DAY Nerine's modest little car heads towards the seat of power.", "INT. NERINE'S CAR - DAY Nerine drives. Pienaar wears a blue blazer, grey slacks and subdued tie - and is surprisingly nervous. NERINE Francois, relax. You've met him before. PIENAAR I shook his hand on the rugby field, that's all. NERINE You did n't even vote for him. PIENAAR He's still the President. -LRB- CONFESSING. -RRB- He's had dinner with the Queen. With Presidents and movie stars. All I do is play rugby. What if I pull something stupid in front of him? Nerine stops to let Pienaar out. Gives him a kiss, straightens his hair. NERINE You wo n't. I'll pick you up right here.", "EXT. UNION BUILDINGS, PRETORIA - DAY Pienaar climbs out of Nerine's car. A pretty sizeable KNOT OF JOURNALISTS rush towards him. Pienaar takes a deep breath. He is a bundle of nerves.", "INT. SECURITY OFFICE - DAY Small office packed with big men. ETIENNE See who's coming for tea? HENDRICK My nephew wants me to get his autograph. LINGA Who? ETIENNE Francois Pienaar. JASON Who wants to escort him in? Hendrick bolts for the door. HENDRICK I will. JASON No autographs. HENDRICK -LRB- INSULTED. -RRB- I know how to do my job, okay. Hendrick leaves. LINGA Who's this Pienaar? ETIENNE You ca n't be serious? He's the captain of the Springboks. Linga shrugs, provocatively indifferent. LINGA I like soccer, myself. ETIENNE Well, you know what they say about soccer - it's gentleman's game played by hooligans. One the other hand, rugby is a hooligan's game played by - LINGA Ja, ja, I've heard it before. It was n't funny the first time. Not exactly violin music and roses. but they are talking to each other.", "INT. UNION BUILDING HALLWAYS - DAY Hendrick escorts Pienaar back towards Mandela's offices. Hendrick is the bigger man. PIENAAR Can I ask you a question, Lieutenant? HENDRICK Ja, of course. PIENAAR What's he like? They pause at the office door. Hendrick ponders that question for a moment, then : HENDRICK When I worked for the previous President, it was my job to be invisible. Hendrick opens the door. HENDRICK This President. he found out I like English toffee and brought me some back, from his visit to the Queen. Hendrick ushers Pienaar into Mandela's offices. HENDRICK To him, nobody is invisible.", "INT. MANDELA'S OFFICES - DAY Hendrick gestures to the waiting area. HENDRICK That's where you wait. One of his assistants will come for you. -LRB- POINTING. -RRB- There's a bathroom over there, if you need it. PIENAAR Okay. Thanks. Hendrick turns to leave, hesitates, turns back. HENDRICK What are our chances in the World Cup? I mean, for real. PIENAAR We'll do our best. That, I can guarantee. Hendrick nods solemnly, heads back to security. Pienaar heads straight for the bathroom.", "INT. SECURITY OFFICE - DAY Hendrick enters. Etienne and the other white bodyguards look up. HENDRICK Well, he's not as big as he looks on TV. -LRB- BEAT. -RRB- And we do n't stand a bloody chance in the World Cup.", "INT. UNION BUILDING BATHROOM - DAY Pienaar washes his hands, dries them, dries them again, combs his hair, looks at himself in the mirror, adjusts his blazer.", "INT. MANDELA'S OFFICES - DAY Pienaar returns to the waiting area, sits. There is a clock on the wall. One minute to four. Four Japanese trade officials traipse out, having just met Mandela. The second hand journeys up to vertical. When it hits 4 o'clock exactly - - Mary walks into the waiting area. MARY Mr. Pienaar? Pienaar shoots to his feet. MARY This way, please. Mary leads Pienaar back to Mandela's own office, knocks, opens the door. MARY Go on in. Mouth dry, Pienaar nods - - and enters the inner sanctum.", "INT. MANDELA'S OFFICE - DAY Mandela leaps up from behind his desk, crosses the room to meet Pienaar. MANDELA Francois, what an honor. I'm so excited. They shake hands. MANDELA Thank you for coming all this way to see me. Pienaar gulps like a fish out of water. PIENAAR Yes, sir. No problem. Thank you for inviting me. MANDELA Tell me. How's your ankle? PIENAAR My ankle? MANDELA I was told you'd hurt it. Has it healed? Pienaar relaxes, visibly. This is small talk he can handle. This is Mandela's gift. PIENAAR The truth is, sir, you never play at a hundred percent, no matter what. MANDELA Yes. yes. In sports, and in life. Come. Sit. Please. -LRB- indicating a chair. -RRB- Take this one. Looking into the light hurts my eyes. They sit in the chairs. A KNOCK at the door, and MRS. BRITS the old Afrikaner tea lady enters, carrying a laden tea tray. Mandela stands again, immediately. MANDELA Ah, Mrs. Brits - Pienaar stands just a beat slower. MANDELA - you are a shining light in my day. MRS. BRITS Yes sir. Eyes twinkling, Mrs. Brits puts the tea tray down on the coffee table in front of them. The finest china, cookies on a plate. MANDELA Mrs. Brits, this is Francois Pienaar. He's the captain of the Springboks. Mandela clearly expects Pienaar to shake hands with Mrs. Brits. Pienaar holds out his hand - PIENAAR -LRB- AFRIKAANS GREETING. -RRB- Aangename kennis, Mevrou Brits. - gently shakes hers. MRS. BRITS Ek ook, Meneer. -LRB- TO MANDELA. -RRB- Shall I pour, sir? MANDELA No thank you, I think I'd like to. Mrs. Brits leaves. Mandela does not sit until the door closes behind her. Pienaar only sits after he does. Mandela's manners would not be out of place in Victorian England. MANDELA How do you take your tea, Francois? PIENAAR Milk and sugar, please. Mandela pours tea for both of them. ON PIENAAR, as, just for a moment, he realizes that here he is, with the President pouring him a cup of tea. MANDELA The English have given us many things, including rugby, but afternoon tea is one of the greatest. Mandela hands Pienaar the tea cup. PIENAAR Thank you, sir. Both men have big hands. Fine china dwarfed and threatened. In the exact moment that both their hands hold the same saucer, Mandela looks Pienaar in the eye. MANDELA You have a very difficult job. PIENAAR I do? I sell gas braais. Mandela lets go and Pienaar takes the tea. MANDELA Captain of the Springboks. A very difficult job. PIENAAR Not compared to yours, sir. MANDELA Ah, but then nobody is trying to tear my head off while I'm doing mine. Pienaar grins. True. MANDELA It is not so difficult to get people to do their best. And I imagine that anybody who plays for their country does their best, almost automatically. PIENAAR Or they would n't be chosen in the first place. MANDELA Yes. But to get people to be better than that? Better than they think they can be? Now, that is difficult, I find. PIENAAR Yes sir, it is. MANDELA How do we do that? By example? To an extent. But there is more to it than that. -LRB- searching for the right WORD. -RRB-. inspiration, perhaps. Pienaar is engrossed. This is a master lesson on leadership, from a master. MANDELA How do we inspire ourselves to greatness, when nothing less will do? How do we inspire everyone around us? -LRB- BEAT. -RRB- Sometimes, I think, by using the work of others. Long pause. Pienaar knows to keep quiet. MANDELA On Robben Island, when things were very hard, I found inspiration in a poem. PIENAAR A poem? MANDELA A Victorian poem. Just words. But they helped me to stand when all I wanted was to lie down -. -LRB- SUDDENLY DISMISSIVE. -RRB- But you did n't come all this way to hear an old man talk about things that make no sense. PIENAAR No! They make a lot of sense, sir. -LRB- BEAT. -RRB- On the day of a big match, say a test, in the bus on the way to the stadium, nobody talks. MANDELA Yes. yes. Everybody is preparing. PIENAAR When I think we're ready, I have the bus driver put on a song I've chosen ; a theme song. One we all know. We listen together and. it helps. MANDELA Yes! I remember when I was a guest at the 1992 Olympic Games in Barcelona. The whole stadium welcomed me with a song. -LRB- BEAT. -RRB- At the time the future - our future - seemed very bleak. But to hear that song, in voices from all over our planet. it made me very proud to be South African. It helped me to come home and do better. It allowed me to expect more of myself. A beat. PIENAAR May I ask what the song was, sir? MANDELA Well, it was Nkosi Sikelel' iAfrika. A very inspiring song. Mandela looks into Pienaar's eyes. MANDELA We need inspiration, Francois. Brown African eyes, blue African eyes meet over their cups of tea. MANDELA Because, in order to build our nation, we all need to exceed our own expectations. Something passes between them. Whatever it is has a profound impact on Pienaar. PIENAAR Yes, sir. We probably do. Cameras click and whirr as MANDELA AND PIENAAR SHAKE HANDS for the press. -LRB- NOTE that there are NO FLASHES. -RRB-", "INT. UNION BUILDING HALLWAYS - DAY Pienaar walks away from the President's offices, still processing his meeting with Mandela. He seems a little stunned and mystified. Something profound just happened - but he's not quite sure what.", "EXT. UNION BUILDINGS, PRETORIA - DAY When Pienaar steps outside and sees all of Pretoria - all of South Africa - stretching away below him, he pauses. He looks at his country in a new way. A BEEP BEEP from Nerine's car interrupts his reverie, as she pulls up at the bottom of the stairs.", "INT. NERINE'S CAR - DAY Nerine drives Pienaar away. Pienaar turns, looks back at the Union Buildings. NERINE So? PIENAAR Hm? NERINE What's he like? PIENAAR He's. -LRB- BEAT. -RRB-. he's not like anyone I've ever met before. An unsatisfying answer. Nerine waits for more. But, she is n't going to get it without prying it out of Pienaar. NERINE Well? What did he want? This is the question Pienaar is wrestling with, too. He thinks it over for long enough to drive Nerine crazy. NERINE Ag, come on Francois. It's like talking to a bloody brick wall. What did he want? Pienaar turns in his seat, looks at her as realization comes clear in him. PIENAAR I think. -LRB- BEAT. -RRB- I think he wants us to win the World Cup.", "INT. MANDELA'S HOUSE - DAY A FRAMED PHOTO OF MANDELA SQUARING OFF AGAINST MUHAMMAD ALI looks down - - on Mandela, who is surrounded by HIS GRANDCHILDREN IN THE LIVING ROOM. Mandela likes the babies. THEIR PARENTS, shoo and shepherd the kids, keeping them on their best behavior - - for the PHOTOGRAPHERS shooting this family gathering. Seeing the photographers makes this feel staged. Mandela looks past the photographers, sees his daughter ZINDZI glancing in from the doorway, and then moving on. MANDELA Excuse me. Mandela disentangles the babies, stands, leaves. In the DINING ROOM, Zindzi looks down at a BIG FRONT PAGE PHOTO OF MANDELA AND PIENAAR SHAKING HANDS. She is a modern, cosmopolitan young woman. When Mandela enters, Zindzi looks up from the newspaper with a very Mandela - like grunt. MANDELA What do you think? ZINDZI It does n't matter what I think. MANDELA Yes, it does. ZINDZI -LRB- DEFIANT. -RRB- Okay. I think he looks like one of the policemen who forced us out of our house when you were in jail. I do n't like seeing you shake his hand. And I'm not the only one. Mandela overreacts. MANDELA You criticize without understanding. You seek only to address your own feelings. This is selfish thinking. It does not serve the nation. Zindzi shakes her head, turns, leaves. MANDELA Wait. Please. I - Mandela wants to apologize, does n't know how. Instead, he pulls AN ENVELOPE out of his pocket, holds it out. MANDELA Will you give this to your mother. ZINDZI What is it? MANDELA A bracelet. Zindzi looks into the envelope. In it is the BEADED BRACELET, from earlier, from the bathroom. ZINDZI Just throw it away. MANDELA I do n't have the right to. It's not mine. ZINDZI If she left it here, she meant to throw it away. Only children know how to twist the dagger so deftly. Mandela turns away so that his daughter can not see his eyes. A man so at ease with strangers does not know how to talk to his own family.", "INT. PIENAAR PARENT'S HOUSE - DAY The SAME NEWSPAPER PHOTO of Mandela and Pienaar that Zindzi was looking at - only, this time, someone is cutting it out, very carefully. Eunice. Mr. Pienaar enters to get something from the fridge, sees what Eunice is doing. Eunice stops cutting. Mr. Pienaar looks down at the photo for a long moment. He does n't know how to react to it. EUNICE Mrs. Pienaar said you were finished with the paper. MR. PIENAAR Ja. Of course. Mr. Pienaar leaves. Eunice keeps cutting until the photo can be lifted up. She nods, proud. OVER, A WHISTLE BLOWS, SHARPLY.", "EXT. SPRINGBOK TRAINING FACILITY - DAY On a PRACTISE FIELD at this world - class facility, the SPRINGBOK SQUAD -LRB- about 30 guys -RRB- sprint to the 25 m line, drops, begins 20 explosive push - ups. NOTE, also, that at least half of the players who faced the British Lions earlier are gone. -RRB- MINISTER OF SPORT -LRB- V.O. -RRB- The World Cup is played every four years. Sixteen teams qualify from around the world.", "INT. MANDELA'S OFFICE - DAY THE MINISTER OF SPORTS BRIEFS MANDELA on the World Cup, with the help of a BIG DIAGRAM ON AN EASEL -LRB- just like a March Madness bracket layout, showing all the teams. -RRB- The Minister looks ragged, exhausted. MINISTER OF SPORT Four pools of four teams each, playing in nine different venues around the country. Two teams will advance from each pool to the quarter finals. Mandela studies the diagram. He loves this stuff. MANDELA The Ivory Coast qualified. This is wonderful. -LRB- For the record, the sixteen teams who qualified were : South Africa, New Zealand, Australia, England, Scotland, Ireland, Wales, Canada, Romania, Italy, France, Japan, West Samoa, Argentina, Tonga and Ivory Coast. -RRB-", "EXT. SPRINGBOK TRAINING FACILITY - DAY The Springbok squad leap up after the push - ups, sprint to the 50 m line, drop, begin 20 rapid crunches - - under the critical eye of the new COACH and MANAGER.", "INT. MANDELA'S OFFICE - DAY MINISTER OF SPORT Australia won the previous World Cup. New Zealand won the one They're both clear favorites to reach the finals this time. -LRB- BEAT. -RRB- According to the experts, we'll reach the quarter finals, and no further. MANDELA According to the experts, you and I are still supposed to be in jail. That brings a grin from the Minister of Sport.", "EXT. SPRINGBOK TRAINING FACILITY - DAY The coach blows his whistle. COACH Again! ON PIENAAR, as he leaps to his feet, leads the charge back to the 25 m line.", "INT. MANDELA'S OFFICE - DAY MINISTER OF SPORT You make a personal appearance at the finals, and at the opening match between the Springboks and Australia. -LRB- BEAT. -RRB- The finals will be broadcast to over a billion people around the world, live. MANDELA A billion people watching us! -LRB- wheels turning in his HEAD. -RRB- Yes. yes. This is a great opportunity.", "EXT. SPRINGBOK TRAINING FACILITY - DAY Hands on their knees, sucking air, retching, the squad has worked their way down the full length of the field. SPRINGBOK MANAGER I reckon you've knocked the stuffing out of them today. COACH I have n't even begun. -LRB- BEAT. -RRB- We may not be the most talented team in the world - but we're going to be the fittest. He blows his whistle. COACH And back! The squad ca n't believe their ears. No one moves. Except Pienaar. PIENAAR Come on boys, let's show him. Staggering more than sprinting, Pienaar heads towards the 25m line. SPRINGBOK FLANK Shit, what's Pienaar been eating? But, they follow him.", "INT. MANDELA'S OFFICE - DAY Alone in his office, Mandela looks at the World Cup diagram, for a moment, then picks up his phone. MANDELA -LRB- INTO PHONE. -RRB- Please call the head of South African rugby for me.", "INT. DRESSING ROOM - DAY Thirty completely wiped - out athletes. Some are too tired to shower, some have made it that far, but are too tired to change. Pienaar has showered and changed and slumps next to his locker. The SPRINGBOK MANAGER enters, followed by the RUGBY PRESIDENT. Pienaar and the boys drag themselves upright. The Rugby President looks them over as if they were his very own stable of race horses - a stable he's not entirely sure he likes. RUGBY PRESIDENT Afternoon men. It's good to see you working so hard. I have a short announcement. -LRB- BEAT. -RRB- As part of the PR buildup to the World Cup, you will be conducting coaching clinics in townships all over the country. The players greet this announcement with complete silence. RUGBY PRESIDENT I know you have plenty on your plates already - but this is a request that comes from the top. -LRB- looking at Pienaar, POINTEDLY. -RRB- The very top. The Rugby President turns on his heel, and leaves, followed by the Manager. The players say nothing for a long moment, but body language alone shows that they are completely disgusted. SPRINGBOK HOOKER This is complete crap. SPRINGBOK FLANK Are we some kind of circus act now? SPRINGBOK LOCK We do n't have time for kuk like this. The boys are getting angrier by the second. SPRINGBOK LOCK They expect us to play our best, to give our bloody all, then they add to our bloody workload. The lock turns to Chester. SPRINGBOK LOCK What do you think about this, Chester? All eyes on Chester, as if the poor guy is a magic guide to a world they barely understand. CHESTER WILLIAMS I try not to think. It interferes with my rugby. The perfect answer for these guys. SPRINGBOK LOCK See! Now there's a rugby player. Talk to them Francois. SPRINGBOK WING Make them see that this is a waste of time we do n't have. All eyes on their Captain - who shakes his head, no. PIENAAR I'm not going to talk to them. SPRINGBOK FLANK Why not? PIENAAR Whether we like it or not, we're more than just a rugby team. We're. we're ambassadors inside our own country. And we might as well get used to it. Silence. Rebellious silence. Then : SPRINGBOK LOCK Is this you speaking, or Mandela? Pienaar's eyes are fierce. He needs them to see how serious he is. PIENAAR You know me better than that. -LRB- BEAT. -RRB- Times change. We need to change, too. It is clear that much of his team disagrees with him.", "INT. MANDELA'S OFFICES - NIGHT CLOSE - UP ON A TV - horrible, startling images of the OKLAHOMA CITY BOMBING. TV ANNOUNCER -LRB- ON TV. -RRB- We're looking at the remains of the Federal Building in Oklahoma City, America, which was destroyed today in a massive explosion. PULL BACK to reveal that we are in Mandela's offices. Barbara, Mary, other assistants look on. So do the bodyguards. All faces stunned, appalled. Mandela approaches slowly from his office, drawn in by the horrible, irresistible images. He stands behind his people. TV ANNOUNCER No one has claimed responsibility yet, but authorities say that the timing and target mark this as the work of white, right - wing fanatics. An act of revenge for the FBI killings in Waco, Texas. Jason and Linga share a pointed look. South Africa is a global leader in white, right - wing fanatics. TV ANNOUNCER The explosive, a truck bomb, was apparently a simple mixture of commonly available industrial and agricultural materials. JASON -LRB- TO LINGA. -RRB- That's all we need. A homemade explosive from materials every boer already has. Then, Jason realizes that Mandela is standing right next to him. TV ANNOUNCER So far, the official death toll stands at over a 100 people, which includes at least 12 children from a day care center in the Federal building. Mandela turns to Barbara. MANDELA Please call President Clinton for me. I wish to offer him our condolences. Mandela turns to Jason, eyes deep and dark. MANDELA Do you see why forgiveness is essential, Jason? -LRB- BEAT. -RRB- Revenge only begets revenge. As Mandela walks back to his office, there is a look of utter sorrow on his face.", "EXT. FREEWAY - DAY A luxury bus heads along the freeway.", "INT. LUXURY BUS - DAY The Springbok squad rides in style. Most are wearing tracksuits, most are asleep. Pienaar is awake.", "EXT. TOWNSHIP - DAY The same township where Sipho rejected the Springbok rugby jersey. At one edge we find what passes for a SOCCER FIELD. Just a littered rectangular expanse of Highveld winter dirt. TV VANS and a very nervous SPRINGBOK MANAGEMENT CREW drive to the edge of the field, stop, get out - - and are immediately mobbed by THREADBARE, EXCITED KIDS, many of them begging for cash and candy. SIPHO in the thick of things. One of the Springbok management crew pulls a ROLLED BANNER on two spiked poles out of their van. Mallet and banner in hand, the management crew head to the edge of the field, mobbed by shouting, whistling township kids. They hammer one pole into the ground, unroll the banner -LRB- seen from the back so that we ca n't read the words -RRB-, get set to hammer the second pole into the ground - - except that there is a SMASHED BEER BOTTLE in the way. Broken glass everywhere. They look at the broken glass, then turn and look across the field. Broken glass glints in the low sun, all over the field. SPRINGBOK MANAGEMENT CREW#1 They ca n't play on this. SPRINGBOK MANAGEMENT CREW#2 When are they due? SPRINGBOK MANAGEMENT CREW#1 Fifteen minutes. SPRINGBOK MANAGEMENT CREW#2 Plenty of time. He reaches into his wallet, pulls out a R100 note -LRB- about $ 17 -RRB-, holds it up high. The kids yell for it. SPRINGBOK MANAGEMENT CREW#2 THIS GOES TO WHOEVER COLLECTS THE MOST GLASS! Mayhem, as kids sprint out across the field, hunting for glass. Sipho goes for the tiniest, most treacherous shards.", "INT. LUXURY BUS - DAY The bus hits a rut in the dirt road with an almighty jolt, which wakes the sleeping Springboks. They look out of the windows and see the absolutely hellish outskirts of the township. Every possible incarnation of poverty, as far as the eye can see. This shocks them. Most of them have never been anywhere like this township. SPRINGBOK LOCK Shit, I'm glad I do n't live here.", "EXT. TOWNSHIP - DAY The driver sounds the horn, as they pull into the township.", "INT. LUXURY BUS - DAY The bus pulls up at the field -", "EXT. TOWNSHIP - DAY - which is covered with kids on their hands and knees.", "INT. LUXURY BUS - DAY SPRINGBOK HOOKER What the hell are they doing? The driver sounds the horn again, and the kids on the field sprint for the bus, hands and pockets full of broken glass. PIENAAR Do n't forget, we've got TV cameras on us at all times. SPRINGBOK LOCK -LRB- MUTTERING. -RRB- What a bloody joke.", "EXT. TOWNSHIP - DAY As the kids approach the bus, they dump their broken glass under the banner, which reads - ONE TEAM, ONE COUNTRY - brown, green, white, blue shards tinkling and piling up, like lethal jewels, backlit in the low winter sun. One of the big kids gets the R100. Attention focussed on THAT -- - until the bus door opens with a loud hiss of hydraulics and the Springboks exit, one by one. Pienaar first, with a huge NET BAG OF PRACTISE BALLS over his shoulder. The Springboks are all so big, so strong, so healthy, they look like gods, or aliens, emerging from a spaceship. The kids go quiet, awed and uncomfortable. Until Chester Williams steps off the bus, and there is a collective sigh of recognition and wonder. Now, the kids can relate to the Springboks. Even Sipho, who looks on from the side of the field. Springbok management notes it. The TV crews note it. Pienaar notes it. PIENAAR Okay Chester - I reckon you're up. CHESTER WILLIAMS -LRB- PANICKING. -RRB- What am I supposed to do? PIENAAR What you do best. Pienaar turns to the throng. PIENAAR WHO WANTS TO PLAY RUGBY? A roar. They all do. Pienaar opens the net bag full of rugby balls, gives a ball to Chester. PIENAAR Let rip. Chester boots the ball out over the crowd, high and incredibly far in the thin winter air. -LRB- 60 yards, easily. -RRB- Pienaar tosses balls to the others. PIENAAR Let's do our best. One after another, the Springboks kick the balls high into the air. PIENAAR Go get them! The kids go after them. Sipho stays on the sideline. BEGIN RUGBY CLINIC MONTAGE Barely controlled chaos. Each Springbok works with one ball and a group of kids. There are THREE THEMES to this montage. FIRST, a primer on the basic rules of rugby, with demonstrations. SPRINGBOK HOOKER Who here knows the first rule of rugby? TOWNSHIP KID Me! SPRINGBOK HOOKER What is it? TOWNSHIP KID Only hit the other players when the ref is n't looking! Laughter. A good ice - breaker. PIENAAR No. The first rule of rugby is you can only pass the ball backwards or sideways. Pienaar demonstrates. -LRB- NOTE : All the rules are demonstrated. -RRB- VARIOUS SPRINGBOKS - If you drop the ball, or pass it forwards, you scrum for possession. - This is a scrum. - You kick forwards. If you kick it out of bounds, you throw it back in to a lineout. - This is a lineout. - You score in four ways : a try, when you dot the ball down behind the try line. That's five points. - Another two points when you convert the try by kicking the ball through the uprights. - Three points for a penalty kick. - Three points for a drop kick. - Have you got all that? KIDS No! SPRINGBOK HOOKER Agh, bugger it, let's just run and pass. Whoever drops the ball does pushups! SECOND, as the players work with the kids, they get into it. Much to their own surprise, they enjoy the energy, they enjoy the kids, they enjoy the giving. Even the grumpiest, most conservative Springbok. SPRINGBOK LOCK Okay. Who wants to scrum against me? One huge man scrums against a horde of kids. He pushes them backwards with a roar - then lets them push him backwards. They love it, the cameras love it. THE THIRD THEME shows the emergence of Chester Williams as the face of the Springboks. The crowd of kids around him is twice as big as any other player's crew. Given Chester's basically shy nature, he finds it all a bit overwhelming. The TV cameras follow him even more closely than they follow Pienaar. AT ONE POINT, an errant pass puts a rugby ball right at Sipho's feet. He hesitates, then picks it up. He does n't just hold it, he feels it. END THE MONTAGE as the luxury bus pulls away, surrounded by a horde of cheering kids, many of whom hold new rugby balls under their arms. One blast on the horn, one answering cheer from the kids and the bus slowly accelerates away.", "INT. UNION BUILDING CONFERENCE ROOM - EVENING A cabinet meeting in the rainbow nation, with Mandela at the head of the table. The MINISTER OF THE ENVIRONMENT is making a presentation about a campaign to put an end to littering by plastic bags. Behind him is a VERY DRAMATIC SLIDE IMAGE of a rural barbed wire fence festooned with wind - blown plastic bags. MINISTER OF THE ENVIRONMENT - and in addition to the nationwide PR campaign, we propose that all retail outlets charge a nominal fee for plastic bags - Mary enters quietly, slips a piece of paper in front of Mandela, who reads it, holds up his hand. MANDELA Mr. Minister, please forgive me. This sounds excellent, and we will return to it, but if you'll indulge me for just one minute - Mandela nods to Mary, who switches on a big TV on the wall - which shows NEWS FOOTAGE OF THE COACHING CLINIC in the township. When we see the FOOTAGE OF THE LOCK SCRUMMING WITH THE KIDS, Mandela laughs, delighted, turns to his cabinet. MANDELA You see, that picture is worth any number of speeches.", "INT. PIENAAR PARENT'S HOUSE - NIGHT Mr. and Mrs. Pienaar watch the same report ON TV. Mr. Pienaar has quite a different reaction to Mandela's. MR. PIENAAR Tell me something - how does this help them win rugby matches?", "EXT. CAPE TOWN - AERIAL VIEW - DAY ESTABLISHING SHOT from the air of Cape Town, one of the most beautiful cities in the world. We see the Cape Peninsula, the harbor, the city itself draped around the shoulders of Table Mountain like a multi - colored Mediterranean shawl. On its descent towards Cape Town airport, a SOUTH AFRICAN AIRWAYS JET flies across the view with the smiling face of Chester Williams painted on the fuselage. BOLAND BOTHA -LRB- V.O. -RRB- This is Boland Botha coming to you live from Cape Town airport -", "EXT. CAPE TOWN AIRPORT - DAY From a position near an IDLING LUXURY BUS, Boland speaks into his mike. BOLAND BOTHA - where the Springbok flight has just landed. ON THE APRON, the team disembarks. The boys are dressed in Springbok blazers, slacks and ties. A magnificent sight. Gladiators in top shape, faces appropriately stern.", "INT. CAPE TOWN AIRPORT - DAY People - white people - clap and cheer as the team enters the building. BOLAND BOTHA -LRB- V.O. -RRB- The green and gold have one week to put the finishing touches to their gruelling training program - The team feeds on the energy. They walk taller, faster, closer together. BOLAND BOTHA -LRB- V.O. -RRB- - and I, for one, have to admit to being cautiously excited.", "EXT. CAPE TOWN AIRPORT - DAY ON BOLAND BOTHA, next to the bus. BOLAND BOTHA -LRB- INTO MIKE. -RRB- I say cautiously, because in my humble opinion - Behind Boland, the Springboks get into the bus, fast. BOLAND BOTHA - this team has been over - trained on the field, and over - committed off it.", "INT. MANDELA'S CAPE TOWN HOUSE - DAY A beautiful Cape Dutch style mansion. Mandela stands in his HOME OFFICE, watches Boland on TV. The MINISTER OF SPORTS is with him. BOLAND BOTHA -LRB- ON TV. -RRB- Which makes beating a powerhouse Australian side in the Cup opener next week a tall order, especially since this is an inexperienced team with a history of coming up short in big matches. This is Boland BOTHA - Mandela switches off the TV. MANDELA Around the world - objectively - what are they saying about our chances against Australia? MINISTER OF SPORT Everyone thinks they'll beat us. And if they do, we'll have to go through England and the All Blacks just to get to the Final. MANDELA So it is very important that we beat Australia. -LRB- to Minister of Sport. -RRB- Thank you. The Minister leaves. Alone in his office, Mandela sits, thinks, gets a sheet of paper with his PERSONAL LETTERHEAD on it, uncaps his fountain pen. OVER MANDELA'S SHOULDER, we see him write, and then underline, the title INVICTUS by W.E. Henley. BARBARA KNOCKS, pokes her head in. BARBARA The Cabinet Ministers are here to brief you on the trip to Taiwan. MANDELA I'll be right out. From memory, Mandela writes the first line of the poem : Out of the night that covers me.", "EXT. NEWLANDS - DAY The luxury bus comes around a bend in a leafy suburb of Cape Town, right under the flanks of Table Mountain. Ahead, we see NEWLANDS STADIUM, home of the World Cup opener between the Springboks and Australia. A magnificent old stadium in a beautiful setting.", "INT. LUXURY BUS - DAY All eyes on the stadium as the bus idles past, very slowly. This is a coach move. COACH One week, boys. Excited faces become grave, serious. The bus goes quiet. Coach nods to himself, pleased.", "EXT. NEWLANDS STADIUM - DAY The bus pulls away. WE STAY AT NEWLANDS STADIUM - and SWOOP UPWARDS until we are looking down on the stadium and surrounding streets. This AERIAL SHOT BECOMES A BIG MAP -", "INT. NEWLANDS STADIUM - SECURITY CENTER - DAY - pinned to a board in the security center. JASON We need snipers on top of the stadium and these surrounding buildings. Jason leads the meeting. He uses an old - fashioned pointer. All of Mandela's security detail present, plus LOCAL COP BRASS. LOCAL COP Not a problem. JASON We want these two approaches completely sanitized. LOCAL COP Two approaches? JASON We're not going to decide which way we bring him in until the very last moment. -LRB- BEAT. -RRB- We need uniforms, plain clothes, sharp - shooters. LINGA And sniffer dogs. JASON Yes. No truck bombs, no Oklahoma City. The locals stir, share a look. This is going to be a nightmare. JASON We've got an army unit on standby at Silvermine, if you need more men. Not an option the cops favor, judging by their faces. JASON We're not taking any chances, okay. The President's going to be very exposed. -LRB- BEAT. -RRB- Much too exposed.", "INT. PRESIDENT'S MERCEDES - DAY The silver Mercedes tools into Cape Town past Groote Schuur. Mandela travels with Barbara, who opens her first file of the journey - but is forestalled by her boss. MANDELA Barbara, I have been studying. BARBARA For the summit in Taiwan? Good. MANDELA No. Not exactly. Mandela hands Barbara a folded SPORTS SECTION. MANDELA Test me. Barbara unfolds the sports section - - to reveal COLOR PHOTOGRAPHS OF THE SPRINGBOK SQUAD. A collector's pull - out. Barbara looks at the photos, shakes her head. BARBARA They look like thugs. Mandela just smiles at that remark. MANDELA Block out the names. See if I can recognize them. Barbara gives her boss a put - upon look - this is such a waste of time! - but blocks out the first row of names. Mandela points at the first photo. MANDELA Andre Joubert. -LRB- NEXT PHOTO. -RRB- Gavin Johnson. -LRB- BEAT. -RRB- Did I get them right? BARBARA Yes, Madiba. MANDELA -LRB- immensely pleased with HIMSELF. -RRB- This is how I used to study in law school. -LRB- next photo is of Chester. -RRB- Unfortunately, Chester is far too easy to identify. But that will change. It must.", "EXT. CAPE TOWN STREETS - EVENING The entire Springbok squad has been on a training run through Cape Town, on ordinary streets, through ordinary people. -LRB- This is unthinkable in top - level sports anywhere else. It really happened. -RRB- When they are recognized, drivers toot their horns, pedestrians cheer, kids on bicycles ride with them -LRB- mostly still white -RRB-. As they approach the hotel grounds, Pienaar surges to the front, so that he can give them a message as they pass through the hotel gate. PIENAAR Players - only meeting in the team room after dinner.", "INT. SPRINGBOK TEAM ROOM - CAPE TOWN HOTEL - NIGHT Normally a conference room, now equipped with fridge, pool table, ping pong, sofas, TV etc.. The entire team has assembled, minus Pienaar. A quiet air. Serious, relaxed. Pienaar enters, holding a sheaf of XEROXED PAGES, begins to hand them out. SPRINGBOK HOOKER What's this? Homework? PIENAAR Sort of. The players look down at the pages. ON A PAGE : the words to Nkosi Sikelel' iAfrika, in Xhosa. One by one, the players look from the page to Pienaar. SPRINGBOK WING Cappie? What's this? PIENAAR We need to learn it. We ca n't just mouth the words anymore. SPRINGBOK HOOKER Nobody cares, as long as we win matches. PIENAAR They do care. SPRINGBOK LOCK It's their song, not ours. SPRINGBOK WING It's a terrorist song. SPRINGBOK PROP They used to arrest you for singing it. PIENAAR And now it's one of our anthems. But he's talking to a deeply conservative group of guys. SPRINGBOK HOOKER Cap. You know I leave my guts on the field for you, and you know I'd follow you into a fight anywhere, any time. But this. The hooker crumples the page, is about to throw it away. SPRINGBOK HOOKER I ca n't even read it. I definitely ca n't pronounce the words. One look at his men, and Pienaar knows he has hit a wall. PIENAAR Okay, boys. It's optional. Take it if you want to. The players are relieved. Pienaar looks down at the sheet of paper for a moment, then looks up at the guys. PIENAAR It means `` God Bless Africa''. -LRB- BEAT. -RRB- Which you have to admit, we could use. Nonetheless, most of the players crumple the pages, toss them into the closest trash can.", "INT. TV STUDIO BOLAND BOTHA Tell us, Mr. President, have you always been a rugby fan? Mandela appears with Boland Botha on his show, under a ONE TEAM, ONE NATION banner. MANDELA People do not realize that I once played rugby myself, when I was a student at Fort Hare. It is a very rough game. Almost as rough as politics. Boland laughs. BEGIN BOLAND BOTHA/MANDELA INTERVIEW SEQUENCE SHOTS OF BOOZE BEING DELIVERED to people's houses all over the country by BOTTLE STORE DELIVERY VANS -LRB- a very South African alcoholic enabling service -RRB-. Lots and lots of booze. BOLAND BOTHA -LRB- V.O. -RRB- How do you think the Springboks will do? MANDELA -LRB- V.O. -RRB- I think they will do very well. Their level of commitment is tremendous. THE SPRINGBOKS TRAIN on an isolated field at the SILVERMINE ARMY BASE outside Cape Town. Tactics and refinements, not fitness training. BOLAND BOTHA -LRB- V.O. -RRB- Now, it's been said that you used to support any team who played against the Springboks. MANDELA -LRB- V.O. -RRB- Obviously, that is no longer true. I am one hundred percent behind our boys. JASON, ETIENNE, LINGA and HENDRICK stand anxiously outside Newlands Stadium. One of them points to the top of a tall building nearby - a Eureka! moment, for reasons we do n't yet understand. MANDELA After all, if I can not change when circumstances demand it, how can I ask others to? END BOLAND BOTHA/MANDELA INTERVIEW SEQUENCE", "EXT. CAPE TOWN - DAY A SOUTH AFRICAN DEFENSE FORCE HELICOPTER hovers over the tall building next to Newlands stadium.", "INT. SADF HELICOPTER - DAY IN THE HELICOPTER, Mandela, Jason, Linga, all wearing radio headsets. All wearing suits, as if for a state occasion. JASON -LRB- ON RADIO. -RRB- We're going to land you on top of that building. We'll own the road between it and the stadium. Mandela likes it. Jason gives the pilot a nod and they take off down the peninsula towards Silvermine Army base. FROM THE HELICOPTER, MANDELA LOOKS down at his country, and finds it good.", "EXT. CAPE - DAY Helicopter against spectacular scenery.", "INT. SADF HELICOPTER - DAY Mandela points down. Jason and Linga look. POV FROM THE AIR : They can see the Springboks practising right below them, on the army base. Mandela pulls out the SPORTS SECTION with the Springbok team on it. His study guide. He takes a last minute glance at it as the helicopter loses altitude.", "EXT. SILVERMINE ARMY BASE - RUGBY FIELDS - DAY Mandela's helicopter lands at the edge of the field, and brings practise to a halt. ON COACH - not happy, but what's he going to do. Mandela springs out of the helicopter, energized, excited. Linga and Jason with him. The players assemble in a loose, semi - formal unit. Not a line, but orderly. -LRB- We may or may not notice that Chester Williams is missing. -RRB- Pienaar stands at the front, relaxed. He's an old hand with Mandela, by now. MANDELA Francois, gentlemen - forgive me for interrupting your work the day before such an important match. -LRB- BEAT. -RRB-. I just wanted to wish you good luck, in person. There is a naughty twinkle in Mandela's eye. MANDELA And sometimes, very seldom, as President, I am allowed to do what I want. They all laugh. Mandela wades in amongst them, leaving Linga and Jason behind. Picture this : Behind the barbed wire security of a modern, South African military base, a tall, regal black man in his 70's is surrounded by huge, sweating, battered, brutal - looking white men - PIENAAR -LRB- DOING INTRODUCTIONS. -RRB- Mr. President, this is - MANDELA I know who this is. -LRB- SHAKING HANDS. -RRB- Good luck, Andre. -LRB- shaking hands with all of THEM. -RRB- Good luck Brendan, we're behind you all. Japie - etc - every single one of whose names he has committed to memory. Statesmanship is often about attention to detail. The players are awe - struck. -LRB- FOR THE RECORD : Andre, Gavin, James, Japie, Christiaan, Brendan, Hennie, Joel, Johan, Joost, Marius, James, Chris, Pieter, Garry, Mark, Kobus, Hannes, Krynauw, Ruben, Francois, Robby, Adriaan, Rudolf. -RRB- CUT AWAY to Jason and Linga, who are amazed by what they're seeing. LINGA Did you ever imagine this? JASON How could I? By the time Mandela has shaken every single player's hand, he has won the team over, coach and manager included. They glow. And then, Mandela frowns, steps back, looks at all of them. MANDELA But where is Chester? Pienaar does n't answer immediately, he looks at his coach first. Coach nods. PIENAAR He's injured, sir. His hamstring. We're trying to keep it quiet. MANDELA Is he out for the whole tournament? PIENAAR With hamstrings, who knows? -LRB- BEAT. -RRB- We'll miss him. MANDELA The whole country will miss him. A somewhat sour note to leave on. But it's about to be rescued. SPRINGBOK PROP Mr. President, sir - MANDELA Yes, Hennie. SPRINGBOK PROP - this is for you. From us. The huge, thick man holds out a GREEN CAP with gold piping and a Springbok leaping above the visor. Mandela takes the cap as if he has just been given a holy relic. MANDELA I am honored. Truly honored. Mandela runs his finger over the embroidered Springbok leaping across the front of the cap. MANDELA Good luck gentlemen. Your country supports you, completely. The team applauds, beaming, glowing. Mandela turns to go back to the helicopter. MANDELA Francois, walk with me. Pienaar walks Mandela back towards the helicopter. MANDELA I have something for you. Mandela reaches into his jacket, pulls out an ENVELOPE WITH THE PRESIDENT'S LETTERHEAD on it. Gives it to Pienaar. MANDELA This helped me, many times. Perhaps it will help you, too. Pienaar holds the envelope, stares upwards at the rising, departing helicopter, as do the rest of the team - until Coach blows his whistle. COACH Enough fun and games! We've still got work to do.", "INT. NEWLANDS STADIUM - SECURITY CENTER - NIGHT Jason paces restlessly, going over his mental check list, making sure he has n't missed anything.", "INT. MANDELA'S CAPE TOWN HOUSE - NIGHT Mandela reads, scrawls comments, signs papers from a big `` In'' pile. Mary enters with his glass of milk and his pills. MARY It's time for bed. MANDELA I think I'll stay up a little longer. The country is excited tonight. MARY You need to sleep. The doctor said. MANDELA The doctor has no sense of occasion. Mandela turns on the TV, begins flipping channels. Rugby, rugby, rugby. Mandela is sucked in. Mary sighs.", "INT. COACH'S ROOM - CAPE TOWN HOTEL - NIGHT The coach and the manager. Cats on a hot tin roof. COACH There's nothing more we can do. The game plan's good. It's just a matter of the boys executing it tomorrow. MANAGER That's Pienaar's job. It's in his hands, now.", "INT. PIENAAR'S ROOM - CAPE TOWN HOTEL - NIGHT Room dark but for one small desk light. Pienaar stands at the window, looking out across Cape Town. He is deep in thought. Pienaar turns away from the window, goes to the desk, where, under one small light, we see `` Invictus'', the poem Mandela wrote out by hand. Pienaar begins reading it. There is a soft knock at his door. Pienaar goes to it, opens it. It is Nerine, accompanied by a cop. Pienaar nods at the cop, steps back so that Nerine can enter. As soon as the door closes behind her, Nerine says : NERINE You know the best thing about you being the captain? PIENAAR Uh. the honor? NERINE You do n't have to share a room. Nerine gives Pienaar a scorching kiss. He resists. then responds - then pulls away. NERINE -LRB- BREATHLESS. -RRB- Francois, come on. It's been weeks. PIENAAR Uh uh. I need to be angry for tomorrow. Nerine takes a deep breath, nods, turns away - and sees the poem on Mandela's personal letterhead. NERINE What's this? PIENAAR A poem. From the President. NERINE How does a poem help you play rugby? PIENAAR The same way your visit does. -LRB- BEAT. -RRB- Inspiration. OVER, REFEREE'S WHISTLE BLOWS HARD AND SHARP.", "EXT. NEWLANDS STADIUM - DAY A massive crowd roars. The Wallaby flyhalf runs forward, puts his boot into the ball, sends it soaring towards the waiting Springboks. The Springbok lock rises high into the air, supported on all sides, takes the ball out of the air perfectly - - just as the Wallaby pack closes in and huge men meet with an adrenaline - fueled crunch of bodies. The World Cup has begun at last. But not for Chester Williams. Clad in Springbok blazer and tie, he sits behind the coach, the manager and the reserves, in the stands - and almost succeeds in hiding his utter disappointment at not being on the field.", "INT. NEWLANDS STADIUM - VIP BOX - DAY Mandela looks on, calmly. The Minister of Sport is n't late for this match. The President of Rugby is pale with nerves. Behind Mandela, stand Linga and Hendrick. The VIP box is a safe place, but Jason is n't taking any chances.", "EXT. NEWLANDS STADIUM - DAY Jason prowls through the stadium, talking constantly on his radio. Hunter's adrenaline.", "INT./EXT. NEWLANDS STADIUM - DAY Back to action on the field. The highlights we see here should match the rugby primer we saw in the township. This continues the education of those who do not know rugby. So, for instance, we see a ball knocked forward, and the resulting scrum. We see a ball kicked out of bounds, and the resulting lineout. We see scintillating passing, rucking, mauling, tackling, strategic kicking at it's very best. Both teams are crisp and strong. INTERCUT SHOTS OF THE RUGBY MATCH - - with SHOTS OF THE SECURITY ARRANGEMENTS -LRB- snipers, lots and lots of uniformed cops inside and out, sniffer dogs etc. all overseen by Jason -RRB- - - with SHOTS OF THE CROWD, which, unlike the earlier test against the Lions, is completely and passionately united behind the Springboks -LRB- all commentators talk about the extraordinary passion of the crowd, that day -RRB- - - always returning to the VIP BOX, where something interesting is taking place right behind Mandela : Linga Moonsamy, the rugby scorner, the soccer lover, loses his scowling reserve and gets sucked into the game. When a ball soars between the uprights and everyone in the box groans, Linga leans towards Hendrick and asks : LINGA What happened? HENDRICK They scored. When another ball soars between the uprights and the crowd roars, Linga asks again : LINGA What happened? HENDRICK We scored. A third ball through the uprights. Before Linga can ask : HENDRICK They scored again. A fourth ball, to the joy of the others in the box. LINGA We scored? HENDRICK Ja. We're tied. A fifth ball through the uprights, and the crowd goes wild. HENDRICK We're up by three. ACTION ON THE FIELD, as a Wallaby drive combining backs and forwards moves relentlessly towards the Springbok try line. Six times the drive is stopped by Springbok tackling, but the Wallabies keep possession and, on the seventh wave of the assault score a beautiful open try, which is converted. A ripple of concern goes through the crowd - - and the VIP box. LINGA They're ahead? HENDRICK By four. Nerves in the box. But not on the field, as Pienaar starts a drive with a tackle we feel ourselves, resulting in a change of possession - - and a stunning, open field try scored in the corner by the Springbok wing, who raises his fist in the air, after juking the last Wallaby to try and tackle him. The crowd roars. In the VIP box, Mandela is on his feet, shaking hands with everyone he can reach, including Linga and Hendrick, and the waiter. The difficult, angled conversion is missed. LINGA What does that mean? HENDRICK We're only ahead by one. Another penalty kick. HENDRICK We're ahead by four. A drop goal. HENDRICK By seven. An incredible try by the Springbok fly half. HENDRICK By fourteen. Everyone dares to dream. The classic South African penchant for pessimism begins to abate. Two things to note : The crowd roar grows and grows and grows and is echoed in the VIP box. Even Jason turns to look at the action on the field - but only for a second. Also, this match serves as the coming - out party for the SPRINGBOK FLY HALF, who scores 22 of South Africa's 27 points this day. SUDDENLY, A REFEREE'S WHISTLE CREATES PANDEMONIUM on the field, in the stands, and in the VIP box. LINGA What happened? HENDRICK We won! LINGA We did? Mandela shoots to his feet, pushes his chair away and begins the famous `` Mandela shuffle'' - a very cool African boogie that is one of his signature moves. ON THE MANDELA SHUFFLE -", "INT. VIP PARTY - NIGHT - the same shuffle hours later, at a VIP party. Mandela has changed clothes, wears one of his Indonesian - inspired `` Madiba shirts'' and dances energetically with the absolutely stunning TROPHY WIFE of one of the VIP's. TROPHY WIFE You must be very pleased! MANDELA What man would not be pleased to be dancing with a beautiful woman like you? TROPHY WIFE Oh, Mr. President, you're exaggerating. MANDELA Indeed not. My father was a Xhosa chief, and therefore a polygamist. As you know, I am not. -LRB- BEAT. -RRB- But when I look at you. I envy my father. The man is a major flirt, and really enjoying himself. But, once again, he is dancing with a stranger - - and, when we get close to his eyes, we realize that Mandela is pushing himself way past empty.", "INT. JASON'S HOTEL ROOM - NIGHT Jason is asleep on his face, in his suit and shoes.", "EXT. CAPE TOWN WATERFRONT - NIGHT Big party, spilling onto the streets. Most of the partiers are white. Black South Africans look on, or serve drinks. We follow the crowd into a big sports bar -", "INT. SPORTS BAR - NIGHT - where the Springboks are pounding beers and blowing off the steam of months of training grind, plus a huge win. Even though most of the players are with their wives or girlfriends, pretty, single women crowd them, two and three deep, men pay for round after round of beers. Pienaar and Nerine are part of the action. Then Pienaar gets a TEXT MESSAGE which makes him shake his head, give Nerine a chagrined look. He grabs the Springbok closest to him, puts his mouth near the player's ear and screams again the hubbub : PIENAAR COACH'S RUN, NINE A.M. SHARP. PASS IT ON. The Springbok shakes his head - bloody coach - grabs the player next to him, repeats it. Pienaar watches the message travelling through his team - and grins. Then, something catches his eye on one of the big overhead TV's. ON THE TV : news footage of the Mandela victory boogie. The boogie is followed by a quick `` How far we have come'' type of montage. One of the images shows an island ringed by rough surf. Pienaar gets an idea.", "EXT. CAPE TOWN STREETS - DAY Pienaar leads his hung - over, sleep - deprived team on a very slow jog through the mostly empty streets. When he gets to an intersection, he sneaks a peek down at the palm of his left hand. CLOSE - UP ON PIENAAR'S HAND, where he has drawn a crude street map. Pienaar takes a left at the intersection. Another intersection, another peek at the map on his hand, and another left turn, takes the team -", "EXT. CAPE TOWN WATERFRONT - DAY - back onto the waterfront, to an idling FERRY BOAT, where the coach and the manager wait for them - along with the player's wives and girlfriends. COACH I hope you're not that slow next week. Pienaar grins, stops. The team stops around him. SPRINGBOK FLYHALF What's going on? PIENAAR A change of pace.", "EXT. FERRY BOAT - DAY The ferry pulls away from the waterfront, with the team on board, pulling on tracksuits against the cold sea air. It is early winter. The seas are fairly rough. So are the stomachs of the ` boks who partied hard last night. SPRINGBOK HOOKER Who's bloody idea was this? ON PIENAAR, innocent as a lamb.", "EXT. OPEN OCEAN - DAY Behind the ferry, Cape Town and Table Mountain, in all their glory. Ahead of the ferry, one of the most notorious island prisons in modern history - - ROBBEN ISLAND.", "EXT. ROBBEN ISLAND - DAY Robben Island lies only eight miles from the mainland. It is two miles long, with sandy beaches full of penguins and seals. It would be pretty - - but for its MAXIMUM SECURITY PRISON. Concrete, barbed wire, guard towers. -LRB- In 1995, the political prisoner wing was shut, but the island still housed criminal prisoners, so the island still had the feel of real incarceration. Today, it is a tourist destination. -RRB-", "EXT. OPEN OCEAN - DAY As they approach the island, a sense of dark history settles over the Springboks and their partners. One of the Springboks turns to a DECKHAND, getting ready to moor at the jetty. SPRINGBOK LOCK How do they bring the prisoners here? DECKHAND On this boat. Sobering.", "EXT. ROBBEN ISLAND - DAY The Springboks and their partners step onto dry land with some relief, look around at the prison, humbled. NERINE -LRB- TO PIENAAR. -RRB- Imagine being able to see Cape Town so close by. PIENAAR That would make it worse. They head towards the prison entrance, slowly becoming a tighter and tighter bunch. The ghosts of Mandela, and all the others who spent much of their lives here, are very strong. VARIOUS SHOTS OF THE SPRINGBOK PARTY, in the EXERCISE YARD, the LIME QUARRY, the MESS HALL. None of the usual horsing around. This place affects them, deeply.", "INT. ROBBEN ISLAND PRISON - SECTION B - DAY Section B is the bleak political wing. Tiny cells line each side of a damp concrete hallway. A PRISON GUARD shows the Springboks into the hallway, and they dwarf it, as they stand there, shocked. Shocked at what was done in their names. This group is as quiet as we have ever seen them. PIENAAR Can we see the President's cell? PRISON GUARD Yes, of course. -LRB- leading them down past THE CELLS. -RRB- We've done it up just the way it was. They reach a cell with a piece of white cardboard on the door, showing the number 466/64 - MANDELA'S PRISON NUMBER. PRISON GUARD -LRB- pointing at the number. -RRB- That means he was the 466th prisoner admitted in 1964. The Prison Guard unlocks the door, pulls it open, then unlocks the metal grill that is the inside door.", "INT. MANDELA'S CELL - DAY Pienaar peers into the cell. It is tiny. There is no bed, just a sisal mat on the concrete floor, with a couple of blankets. A chamber pot, a short bench, a tin cup and plate are the only other objects in the room. A couple of small lockers are screwed high to the wall. The barred window is opaque. It lets in light but does not allow the prisoner a view. When Pienaar enters, we see how small the cell really is. He can reach out and touch the opposite walls at the same time. This is a bleak, horrible, dehumanizing place. Pienaar is stunned by it. He turns, slowly, looking at Mandela's world for over twenty years.", "INT. ROBBEN ISLAND PRISON - SECTION B - DAY The other Springboks and their partners wait to look into the cell themselves, a little puzzled by how much time Pienaar's taking.", "INT. MANDELA'S CELL - DAY Pienaar almost looks as if he is in a trance. He hears Mandela's voice in the cell with him. MANDELA. -LRB- V.O. -RRB- -LRB- RECITING `` INVICTUS''. -RRB- Out of the night that covers me, Black as the pit from pole to pole, I thank whatever gods may be For my unconquerable soul. Now, Pienaar sees Mandela in prison clothes, in the cell. -LRB- The image is unclear, ghostly. -RRB- MANDELA -LRB- V.O. -RRB- In the fell clutch of circumstance I have not winced nor cried aloud. Under the bludgeonings of chance My head is bloody, but unbow'd. Pienaar sees Mandela sitting on the dirt in the prison yard, breaking up rock with a hammer, along with rows of other political prisoners. MANDELA -LRB- V.O. -RRB- Beyond this place of wrath and tears Looms but the Horror of the shade, And yet the menace of the years Finds and shall find me unafraid. Pienaar sees Mandela leading his fellow prisoners to the lime quarry, to mine lime under the eye of a guard who looks like Pienaar. MANDELA -LRB- V.O. -RRB- It matters not how strait the gate, How charged with punishment the scroll, I am the master of my fate : I am the captain of my soul.", "EXT. STREET OUTSIDE MANDELA'S HOUSE - NIGHT The gates open. Linga gets out of one BMW, Hendrick out of the other. We know the routine. Only, Mandela does n't appear for his walk. Linga and Hendrick wait for a moment, then head in through the gate -", "EXT. MANDELA'S HOUSE - NIGHT - break into a sprint, when they see MANDELA'S FORM, CRUMPLED on the lawn.", "INT. MANDELA'S HOUSE - MORNING Barbara, Mary, the house staff, plus Linga, Hendrick, Etienne and Jason, all wait. All are scared. Nobody talks. The SOUND OF FOOTSTEPS from on the top floor brings them to their feet. MANDELA'S DOCTOR descends the stairs. BARBARA What happened? DOCTOR It's simple exhaustion, but it'll lead to worse if it's not treated. He needs complete rest. And I do n't mean just shifting the affairs of state to his bedroom. No phone calls, no visitors, no meetings. No politics. MARY You know him. He wo n't do that. DOCTOR Then I'm going to put him into hospital. In isolation. BARBARA No. Not yet. I'll threaten him with hospital if he does n't behave. MARY I'll cancel everything. DOCTOR And I'll come back tonight to make sure he's not working. The doctor leaves. The rest of them look at each other, relieved. and maybe a little guilty, for letting things get this bad. BARBARA -LRB- to Mary, aside. -RRB- Do n't cancel the trip to Taiwan. Not yet.", "INT. MANDELA'S BEDROOM - DAY Dark. Curtains drawn. The door opens quietly. A shaft of light from the door shows Mandela, on his back in bed, eyes closed. Barbara enters. The sight of Mandela lying like this is chilling. It is too close to what he would look like lying in a casket. Barbara makes sure he is breathing. He is. She unplugs his phone, takes it. Unplugs his TV. Sweeps the room for papers, articles, legal briefs. For the first time, she takes an arm load of stuff away from him. She gives Mandela one last, long look, closes the door behind her. We stay behind and look at Mandela, and ponder South Africa's fate if this were worse than just deep, sedated sleep.", "EXT. SPRINGBOK TRAINING FACILITY - DAY Chester Williams jogs under the tense eye of coach, trainer, manager and Pienaar. He accelerates, running fast, but not sprinting. COACH That's not good enough. Chester opens it up. Full sprint, sustained. Pienaar grins. Chester is back. COACH Let's hope the Samoans do n't injure it again.", "EXT. ELLIS PARK STADIUM - DAY ONE, BRIEF SHOT of a typically brutal Samoan tackle, and the ensuing foul play in the maul. FOUR QUICK SHOTS of Chester williams scoring four tries. ONE MORE SHOT of the Springboks trudging off the field. Every single player is bruised or bleeding, or both.", "INT. MANDELA'S OFFICE - DAY Looking frail, but better than before, Mandela pencils in a score ON THE WORLD CUP BRACKET DIAGRAM : SOUTH AFRICA 42, WESTERN SAMOA 14. The diagram shows us that this was a quarter final match. We can see that he has entered all the South African scores. -LRB- For the record : South Africa 27 - Australia 18 ; South Africa 21 - Romania 3 ; South Africa 20 - Canada 0. -RRB- For the semi - finals, against South Africa, Mandela pencils in France. On the other side of the bracket, Mandela pencils in England vs. the All Blacks. With a satisfied grunt, Mandela steps back from the diagram. Things are shaping up nicely. A knock at the door, and Barbara enters, ushering in a GROUP OF LABOR LEADERS. BARBARA Madiba, this is - MANDELA I know who this is. Beaming, exuding energy we know he does n't have, Mandela rises to yet another occasion. He strides forward to shake hands. MANDELA Welcome, and thank you for coming such a long way to see me.", "INT. LUXURY BUS - DAY Monsoon rain batters the bus as it crawls towards KING'S PARK STADIUM, in Durban.", "EXT. KING'S PARK STADIUM - DAY Rain, rain, rain. The field is flooding.", "INT. SPRINGBOK DRESSING ROOM - DAY Coach walks in on his team, who are dressed for the match and ready to go. COACH Forty minute postponement. They're trying to clear the field.", "EXT. KING'S PARK STADIUM - EVENING A HUNDRED ZULU CLEANING LADIES with brooms and squeegees push the water off the field. Capacity crowd cheers them on. -LRB- This happened. There will be stock footage. -RRB-", "INT. SPRINGBOK DRESSING ROOM - EVENING The boys stretch, jump, try to keep warmed - up.", "INT. PENTHOUSE SUITE, TAIWAN - DAY Mandela and a negotiating team are meeting with their opposite numbers from Taiwan. A high - level affair that can not be interrupted. Nonetheless, Mandela takes a discreet look at his watch, and we realize that his mind is back home, with the Springboks.", "INT. SPRINGBOK DRESSING ROOM - NIGHT Pienaar leads his men out into the rain.", "EXT. KING'S PARK STADIUM - NIGHT A quagmire, despite the efforts of the Zulu ladies. Muddy green and gold against the muddy blue, white and red of France. End of a close game. Both teams are tired, muddy and desperate. The French assault the Springbok try line, wave after wave. The Springboks defend valiantly, but slowly go backwards. Finally, the French score a try - or do they? CLOSE - UP ON THE RUGBY BALL, under a mountain of muddy men, on the ground three inches outside the try line. The referee waves off the try.", "INT. PRESIDENT'S JET - DAY Mandela flies home, still working intensely with a mixed South African/Taiwanese trade group. Mary slips a piece of paper in front of him, discreetly. ON THE PIECE OF PAPER IN EXCITED WRITING : BOKS 19, FRANCE 15. WE'RE IN THE FINALS! GO BOKKE! Mandela's face betrays nothing. But, he gets up. MANDELA Please excuse me for a moment. With Mary leading the way, Mandela goes to the back of the plane, looking grave and leaderly - - but once he is through the galley curtain, he breaks into a huge smile. MANDELA This is very good. very good! Who is our opponent? MARY The All Blacks play England tomorrow. Then, we'll know. MANDELA Please make sure that my schedule is clear for the entire match. MARY Yes, Madiba.", "INT. SUN CITY RESORT - DAY ON A BIG SCREEN TV in a private banquet room, the Springbok team watches the England/All Black semi - final, which the All Blacks dominate from beginning to end - - thanks to the exploits of JONAH LOMU, their unnaturally huge, fast left wing, of Tongan parentage -LRB- and unanimous choice for the best player in the entire World Cup -RRB-. Jonah Lomu scores in the first two minutes of the match, the first of four tries. He runs through, over, and around hapless defenders. His speed and balance are almost unprecedented in a man his size. The Springboks go quiet as they watch this beating by the All Blacks.", "INT. MANDELA'S HOUSE - DAY Mandela watches at home with Barbara and Mary. MANDELA Let's do some work while we watch. Barbara resists her natural impulse to work and says : BARBARA Just enjoy the rugby.", "EXT. STREET OUTSIDE MANDELA'S HOUSE - DAY The sound of the match ON THE RADIO of one of the BMWs. Johan Lomu's name in every sentence. All the bodyguards are out of the cars, enjoying the winter sunshine as they listen to the match. KWEZI So, let me understand this. The All Blacks are killing a team that thrashed us last year? ETIENNE Thanks for reminding me. Hendrick opens the trunk of their BMW, pulls out a RUGBY BALL, shows it to Linga. Linga nods. Okay. Throw it.", "INT. SUN CITY RESORT - DAY Another Lomu try, and a ripple goes through the Springboks. SPRINGBOK HOOKER We're going to have to tackle better than the English, that's for sure. PIENAAR We do.", "INT. MANDELA'S HOUSE - DAY TV blares. Barbara does some work. Mandela comes and peeks over her shoulder - MANDELA Are those the judicial appointments for the Free State? - and Barbara shuts the file. BARBARA They'll keep until after the match.", "EXT. STREET OUTSIDE MANDELA'S HOUSE - DAY A pile of guns in holsters, on the hood of a BMW. Suit jackets draped over the side mirrors. In the wide street, in their shirts and ties, the boys toss the ball around. The white bodyguards handle the ball expertly, the black bodyguards for the first time in their lives. ETIENNE Give it a spin when you pass it. -LRB- DEMONSTRATING. -RRB- Like this. Kwezi catches the ball, tries to throw it with spin, blows it. The ball bounces crazily all over the street, seems to have a mind of its own as it eludes Kwezi. They all laugh.", "INT. SUN CITY RESORT - DAY Lomu scores his third try. SPRINGBOK WING How much does Lomu weigh? SPRINGBOK FLANK About 120 kilos. SPRINGBOK LOCK Shit, that's what I weigh. SPRINGBOK WING Ja, but at least you're slow. As we will discover, the wing is going to have to defend against Lomu.", "INT. MANDELA'S HOUSE - DAY Mandela is n't watching TV. He's at the window, looking out at a GAME OF TOUCH RUGBY, taking place on the street outside his house. MANDELA Come and look at this.", "EXT. STREET OUTSIDE MANDELA'S HOUSE - DAY Two mixed teams. Hendrick passes to Linga, who passes back to Hendrick, who scores. HENDRICK -LRB- PANTING. -RRB- You should've played rugby. LINGA -LRB- PANTING. -RRB- They would n't let me carry my gun. Laughter. This scene was unthinkable a year ago.", "INT. MANDELA'S HOUSE - DAY Barbara and Mary stand next to Mandela at the window. Mandela's eyes twinkle with pleasure as he hears the laughter. In a way, this small moment already justifies everything he has done. Almost. He gives Barbara a sly look. MANDELA Do you still think I'm wasting my time with the rugby? Before Barbara can reply, excitement on the TV makes Mandela turn away. He looks at the TV just as Lomu scores his fourth try, to make it 42 - 15. Mandela shakes his head, awed. MANDELA Barbara, can you please tell the Minister of Sport that I need a detailed briefing on the All Blacks. Barbara gives Mandela a long look. BARBARA This rugby, it's still strictly political? MANDELA Oh yes. Of course.", "INT. PIENAAR PARENT'S HOUSE - DAY Pienaar hands an envelope to his father. PIENAAR Do n't lose them. I wo n't be able to get more. Mr. Pienaar opens the envelope, pulls out TICKETS TO THE WORLD CUP FINAL. Mr. Pienaar kisses the tickets. MR. PIENAAR Thanks, Francois. -LRB- fanning out tickets. -RRB- Me, mom, Nerine - wait, and the fourth? Who's it for? Pienaar looks at his father, mischief in his eyes.", "EXT. FREEWAY - END OF THE DAY BMW, Mercedes, BMW, driving from Pretoria to Johannesburg at the end of the day. Red winter sunset over the arid Highveld. GO ` BOKS, GO AMABOKOBOKO signs, side by side. Chester and Pienaar billboards. MINISTER OF SPORT -LRB- V.O. -RRB- The All Blacks beat Ireland 43 to 19 -", "INT. PRESIDENT'S MERCEDES - DAY The Minister of Sport gives Mandela his final briefing. At his side, Barbara thrusts papers in front of Mandela for his signature. This continues throughout. MINISTER OF SPORT - they beat Wales 34 to 9, they beat Japan 145 to 17. MANDELA 145 points, in one match? Linga listens openly. MINISTER OF SPORT It's a new international record. -LRB- back to the briefing. -RRB- They beat Scotland 48 to 30 in the quarter finals. You saw the match with England. MANDELA 45 to 29. And it was not that close. -LRB- BEAT. -RRB- They seem unstoppable. MINISTER OF SPORT If opposing teams play them straight up, Jonah Lomu runs wild. If they focus on Lomu, that leaves others free. -LRB- BEAT. -RRB- And, also, there's the business of the haka. MANDELA Their Maori war dance. Yes. It's very powerful. MINISTER OF SPORT My sources tell me that half of the All Black matches are won before the first whistle, because of it. Mandela peers out of the window at a Springbok billboard. MANDELA How are we going to beat them? MINISTER OF SPORT I have the coach's number. You could call him and ask. MANDELA No. no. I do n't want to break their focus for even a minute. -LRB- INTENSE. -RRB- But, how do we win? ON LINGA : an idea occurs to him. A wild idea. He almost turns and blurts it out - restrains himself. MINISTER OF SPORT Maybe we wo n't. They're favored two - to - one. -LRB- BEAT. -RRB- Madiba, we've already exceeded all expectations. On and off the field. MANDELA It's not enough. Not now. Not so close. -LRB- BEAT. -RRB- This country is hungry for greatness. Barbara pushes another paper in front of Mandela. He signs it.", "INT. SPRINGBOK COACH'S OFFICE - EVENING The coach, the manager and Pienaar gather for a final briefing in the coach's spartan office. COACH How's the feeling in the dressing room? PIENAAR Calm. MANAGER And Lomu? Are they talking about him? Pienaar shrugs - of course. Coach grins. COACH Nobody gives us a bloody chance. I like that. It plays into their one weakness. Both Pienaar and the manager look at the coach. COACH Their vanity. -LRB- BEAT. -RRB- They're already counting the win. But they want to win with style, the way they won all their other matches. They want to show the world how beautiful All Black rugby is. -LRB- GLARING. -RRB- I just want to show the bloody world how hard we tackle. Pienaar's up for that. PIENAAR I wish tomorrow was already here.", "INT. SECURITY OFFICE - ELLIS PARK - NIGHT Jason wishes tomorrow was already over. He goes through his plans, his check lists for the tenth time. He sighs, tries to roll the tension out of his shoulders, gives up. He leaves the office. I/E ELLIS PARK STADIUM - NIGHT Cops at their posts. Jason walks alone through the tunnels, until he comes to a field entrance. He goes to the edge, looks out at the dimly lit field, trying to imagine tomorrow. ETIENNE -LRB- from behind him. -RRB- Come on, man. There's nothing more you can do today. Jason turns to Etienne. JASON Have I ever mentioned to you that I hate rugby? ETIENNE Once or twice, yes. JASON I just want to get him through tomorrow, safely. That's all. ETIENNE We all do. A look between the two men : they are united. They have come a long way.", "INT. PIENAAR'S HOTEL ROOM - JOHANNESBURG - NIGHT As in Cape Town, Pienaar stares out into the night, pensively. Preoccupied. So preoccupied, that when Nerine enters quietly, he hardly turns. NERINE I brought one of your mom's protein shakes. Pienaar nods, thanks. Nerine puts the protein shake down. She tries to read Pienaar's mood, see what he needs from her at this moment. NERINE Thinking about tomorrow? PIENAAR No, tomorrow's taken care of, one way or another. Pienaar turns to her. PIENAAR I'm thinking about how you spend 30 years in a tiny cell, but come out ready to forgive the people who put you there.", "INT. MANDELA'S HOUSE - NIGHT We have seen that solitary shape under the blankets before. We have seen the clock on the bedside table change from 4:59 to 5:00 before. We have seen Mandela's eyes open, immediately. But we have never seen Mandela roll over and go back to sleep. SUPER : JUNE 24, 1995 - RUGBY WORLD CUP FINAL.", "EXT. STREET OUTSIDE MANDELA'S HOUSE - NIGHT The two BWMs wait faithfully.", "INT. GREY BMW (LEAD) - NIGHT Linga looks at his watch.", "INT. GREY BMW (TRAILER) - NIGHT Hendrick does the same. Gets out.", "EXT. STREET OUTSIDE MANDELA'S HOUSE - NIGHT Linga gets out, meets Hendrick at the gate. LINGA Big day. HENDRICK Be an even bigger day if we actually won. Then, they both look at their watches again. HENDRICK Where is he? They share a worried look. Linga reaches for his radio.", "INT. MANDELA'S BEDROOM - NIGHT Mandela's bedroom door is opened from outside the room. Light from the hallway hits the bed. Mandela looks very still under the covers. Mary peers in, concern wiping away sleep. She sees Mandela lying there. Mary tiptoes in, concern growing, until she stands over Mandela - - who opens his eyes without moving otherwise. MANDELA Can a man not sleep in, when he has a big day ahead of him?", "EXT. STREET OUTSIDE MANDELA'S HOUSE - NIGHT Mary's voice on Linga's radio. LINGA -LRB- INTO RADIO. -RRB- Okay, thanks. Out. Linga lowers his radio, embarrassed. LINGA He's sleeping in. HENDRICK Or was. Linga and Hendrick stand at the gate for a moment, then turn to head back to their respective cars. Linga pauses. LINGA I had an idea. About today. -LRB- BEAT. -RRB- It's a crazy idea. HENDRICK Hey, do n't worry, man. I already know you're crazy.", "INT. MANDELA'S HOUSE - EARLY MORNING Mandela eats breakfast - porridge and fresh fruit - and looks over the newspaper headlines, all screaming about today's World Cup final. The doorbell rings, and he pauses, listens to the sound of voices at the door - then the sound of heavy footsteps approaching through the house. Mandela wipes his mouth and waits. Linga and Hendrick appear in the doorway. They look even bigger indoors. MANDELA Morning, boys. LINGA & HENDRICK Morning, Madiba. MANDELA What is it? Linga hesitates - until Hendrick gives him a -LRB- for Hendrick -RRB- discreet nudge. HENDRICK Linga had an idea, sir.", "EXT. MANDELA'S HOUSE - DAY Mary walks briskly to her car, gets in and drives towards the opening gate, fast.", "EXT. STREET OUTSIDE MANDELA'S HOUSE - MORNING Linga and Hendrick watch as Mary drives away. HENDRICK Now you've done it.", "EXT. JOHANNESBURG STREETS - DAY As in Cape Town, the Springboks jog through the streets. As in Cape Town, cars toot their horns, people cheer. But the crowd running with them is twice as large as it was in Cape Town - and twice as black. This crowd shows that the Springboks really do have the support of the whole country now. As the ` boks rumble past, newspaper vendors, gardeners, pharmacy delivery men on small motorbikes abandon their tasks and run alongside the team. Pienaar turns to look at one of his teammates, grins, gets a grin in return.", "INT. SECURITY OFFICE - ELLIS PARK - DAY Jason addresses his entire team -LRB- minus Linga -RRB-, plus assorted POLICE OFFICERS. JASON The tickets sold out long before the team became so popular. So it's not exactly going to be the rainbow nation out there. That's the reality. -LRB- BEAT. -RRB- The President will greet the players before the match, he'll present the trophy after the match. He'll be exposed to 62,000 people, twice. He'll be on TV, live, all over the world. -LRB- expressing his deepest FEAR. -RRB- All it takes is one idiot trying to make a statement, or one crazy fool who thinks he hears god speaking to him over the radio. One of the cops smiles at that. JASON It's happened before! -LRB- SUPER INTENSE. -RRB- But not today. Not on our watch. Not today. The security boys are fired up.", "EXT. OUTSIDE ELLIS PARK STADIUM - DAY It is hours before the match, but every entrance to Ellis Park stadium is chaotic with people, cars, face painters, flag sellers, fruit vendors. Cops everywhere, and everywhere outnumbered. In the crowd outside, WE FIND SIPHO, collecting empty bottles from trash cans, for recycling. Jason was right about the demographics of the crowd : white, khaki - clad, quite a few old South African flags among the sea of new flags. Springbok colors everywhere. We may even see the FOUR BOERE from the Lions debacle earlier. FACE PAINTER -LRB- TO BOERE. -RRB- Face flag? BOER Bugger off! Ellis Park is n't exactly the Rainbow Nation today. BOLAND BOTHA -LRB- V.O. -RRB- We're at Ellis Park on this historic day, where, even this early, crowd excitement is at fever PITCH - Boland does another live remote. FANS CHEER AND WAVE behind HIM BOLAND BOTHA - because their beloved green and gold have somehow managed to exceed all expectations.", "EXT. SPRINGBOK HOTEL - JOHANNESBURG - DAY A luxury bus pulls away from the hotel, with a FULL POLICE ESCORT, LIGHTS ON, SIRENS BLARING. BOLAND BOTHA -LRB- V.O. -RRB- But now they come up against a team that is unlike any other they have played.", "INT. LUXURY BUS - DAY With that inward look of boxers before a big fight, the Springboks begin the journey to the stadium. BOLAND BOTHA -LRB- V.O. -RRB- These All Blacks are possibly one of the greatest international sides ever, with a player in Jonah Lomu who is as dominant as any this correspondent has ever seen.", "EXT. STREET OUTSIDE MANDELA'S HOUSE - DAY Mandela's Mercedes exits his gate, BMWs fore and aft. BOLAND BOTHA -LRB- V.O. -RRB- To lose to them is no disgrace. To lose to them in the finals is, in fact, an honor.", "INT. PRESIDENT'S MERCEDES - DAY Tight on Mandela's face, absolutely expressionless. His game face. BOLAND BOTHA -LRB- V.O. -RRB- I say this with absolutely no negativity. I simply want to save people from the heartbreak of unrealistic expectations.", "EXT. OUTSIDE ELLIS PARK STADIUM - DAY Back to Boland's live remote. BOLAND BOTHA So, take a reality check, sit back and share an afternoon with one billion fellow fans around the world. And as you do, feel a special pride in having made it this far. This is Boland Botha, signing off and sitting back at Ellis Park. Huge crowd now, all around the TV truck, streaming in.", "EXT. LUXURY BUS - DAY Driving down a secure access lane, the Springbok bus and police escort approach Ellis Park. And pass Sipho, who stares up at them from the sidewalk.", "INT. LUXURY BUS - DAY The boys are very quiet - until the sheer spectacle gets to them. Then, the first nerves hit. You can tell in the way they look at each other, the way they swallow.", "EXT. OUTSIDE ELLIS PARK STADIUM - DAY Mandela's convoy pulls up at a secure entrance.", "EXT. ELLIS PARK STADIUM - DAY Stadium almost full. Crowd noise a dull roar. ABOVE THE SPRINGBOK BENCH, near the field, we find Nerine, Mr. and Mrs. Pienaar. and Eunice, as they take their seats. Pienaar got the fourth ticket for her. Eunice turns to Mrs. Pienaar. EUNICE What's Mr. Francois doing now?", "INT. DRESSING ROOM - DAY All dressed, all warmed up, the Springboks are quiet, introspective. Everything that should be said has been said. This is the calm before the storm. -LRB- NOTE that almost every player wears bandages, or braces, or is injured in some way. -RRB- Pienaar is not in the room. I/E ELLIS PARK STADIUM - DAY Dressed in his rugby togs, Pienaar sneaks up the ramp to the edge of the field, takes a peek out of the tunnel - - and is blown away by the magnitude of it all.", "EXT. AERIAL SHOT OF JOHANNESBURG - DAY Vast city seen from the air. Zero in on Ellis Park. ANOTHER ANGLE of a SOUTH AFRICAN AIRWAYS 747 flying over the city, in the direction of Ellis Park.", "INT. 747 COCKPIT - DAY CO-PILOT Final approach, Captain. CAPTAIN Let it be noted that I'm taking control of the aircraft. ANGLE BACK THROUGH THE COCKPIT - NO PASSENGERS. CAPTAIN I assume full responsibility for what happens from now on. CO-PILOT Duly noted. The captain drops the nose of the 747 towards Ellis Park.", "EXT. ELLIS PARK STADIUM - DAY Every seat full. Almost every seat filled by a big white man. Excitement unbearable. Jason stalks the runways between the seating sections, high in the stadium. Binoculars around his neck, radio in hand. Something catches his eye. Something in the air. Jason lifts his binoculars to his eyes. POV THROUGH BINOCULARS - the 747 is heading right for the stadium. Jason lowers his binoculars. He frowns - more puzzled than alarmed. -LRB- This is pre - 9/11. -RRB- He lifts his radio to his mouth. JASON -LRB- INTO RADIO. -RRB- Do you see that jet, to the east? Etienne, in another part of the stadium, looks eastwards - sees it. ETIENNE -LRB- INTO RADIO. -RRB- Did they get clearance for this? JASON -LRB- INTO RADIO. -RRB- Not from us. The 747 gets closer, fast. Jason is hit by a horrible thought. JASON -LRB- INTO RADIO. -RRB- Where is he? LINGA -LRB- ON RADIO. -RRB- VIP BOX. Jason finds the VIP box, looks out at the 747 - - and realizes that the jet is heading straight at that side of the stadium. JASON -LRB- INTO RADIO. -RRB- Get him out of there. Now.", "INT. VIP BOXES - ELLIS PARK - DAY Mandela is not in his seat. Linga turns. Hendrick points at the closed door of the VIP bathroom. LINGA -LRB- INTO RADIO. -RRB- No time.", "EXT. ELLIS PARK STADIUM - DAY Nothing Jason can do about it but hold his breath as -", "INT. 747 COCKPIT - DAY The captain drops the 747 even lower.", "EXT. ELLIS PARK STADIUM - DAY Jason has to fight down the impulse to flee.", "INT. VIP BOXES - ELLIS PARK - DAY Everyone in the VIP box sees the jet. They all stand.", "EXT. ELLIS PARK STADIUM - DAY The 747 nose appears over the rim of the stadium.", "INT. 747 COCKPIT - DAY CAPTAIN Full throttle. Captain and co - pilot go full throttle, yank the 747 straight upwards.", "EXT. ELLIS PARK STADIUM - DAY The ALMIGHTY ROAR OF FULL THROTTLES fills the stadium, as the 747 passes less than 200 feet overhead - - so that everyone can read the huge letters painted on the bottom of the wings : GOOD LUCK BOKKE -LRB- This really happened. -RRB- THE CROWD GOES WILD. JASON NEARLY FAINTS with relief.", "INT. VIP BOXES - ELLIS PARK - DAY Linga and Hendrick share a look. They have just had a brush with the unthinkable.", "INT. DRESSING ROOM - DAY THE DRESSING ROOM VIBRATES with the roar. SPRINGBOK WING What the hell was that? which slowly fades. leaving only the background roar of the revved up crowd. The boys jog in place, dying for the release of rugby. Pienaar appears to be praying, silently.", "INT. ELLIS PARK STADIUM - DAY The REFEREE walks off the field, into the tunnel, stands there for a moment, then raises his whistle to his mouth and blows a LONG, ECHOING BLAST -", "INT. DRESSING ROOM - DAY - which is the signal to come to the field. The cop opens the door, throws down a full parade ground salute as Pienaar leads his men out of the dressing room. PIENAAR Breathe, boys. Breathe.", "INT. ELLIS PARK STADIUM - DAY WITH THE ` BOKS, we head down the hallway, down some stairs to the tunnel onto the field - - where the referee holds his hand up like a traffic cop, keeping the boys in a line in the tunnel. As they wait, they hear the CRUNCHING APPROACH OF BIG MEN IN CLEATS. Down the opposite stairway come THE ALL BLACKS. This is the first time we have seen them in the flesh. Huge men, black on black uniforms, arrogant. Been here before, done this before. The best in the world, expecting nothing but the best from the day. They ignore the Springboks, dismiss them, line up next to them in the tunnel. The SOUND OF THIRTY MEN JOGGING IN PLACE in their cleats, on the concrete, sounds like a drum roll before a medieval battle. The Springbok wing sneaks a peek at JONAH LOMU. The biggest, fastest wing ever. Even bigger looking in this confined space. Bigger than the Springbok wing, bigger than any of the Springbok backs, bigger than most of the Springbok forwards. The referee nods to both captains, turns, and leads them onto the field -", "EXT. ELLIS PARK STADIUM - DAY - where the already - whipped up crowd goes crazy, as both teams sprint onto the field and go through their brief warm - up ritual. WE FOCUS ON THE CROWD, focus on how white and old South Africa most of them are. The referee blows his whistle again, and both teams assemble in a line, facing each other. Glaring like boxers across immaculate green grass.", "INT. ELLIS PARK STADIUM - DAY Seen only in silhouette, Mandela walks down the tunnel. He is flanked by Jason, The Minister of Sport and the President of SA Rugby. Linga, as always, has Mandela's back. Plus Hendrick.", "EXT. ELLIS PARK STADIUM - DAY Mandela emerges into daylight, wearing not a suit, not a Madiba shirt - - he is wearing Francois Pienaar's green and gold number 6 rugby jersey. On his head is THE SPRINGBOK CAP given to him by the team in CAPE TOWN The crowd catches its breath. This is unprecedented, shocking. and brilliant. The Springboks digest this extraordinary display of support. SPRINGBOK HOOKER -LRB- murmuring to Pienaar. -RRB- The All Blacks wo n't like that. Pienaar nods, eyes glinting. Mandela is giving them an edge. As he walks towards the waiting teams, Mandela lifts the Springbok cap high, waves it, and fires his famous, beautiful, huge, African smile at the crowd - - who roar and stand, slowly, and start chanting, slowly. CROWD Nelson. Nelson. Nelson. NELSON. NELSON. NELSON. 63 000 South Africans, chanting as one. A QUICK SERIES OF SHOTS ALL ACROSS SOUTH AFRICA, THE CHANT ECHOES through EMPTY STREETS. Not a soul, not a car to be seen. Everyone is inside, watching TV.", "EXT. ELLIS PARK STADIUM - DAY CROWD NELSON. NELSON. NELSON. etc.. Mandela shakes hands with the Springboks, who are brimming with pride. Mandela shakes Chester Williams' hand with special energy. MANDELA I'm so glad you're here. Chester beams. IN THE STANDS, EUNICE ULULATES, loud African warrior woman call. Mr. Pienaar looks at her, shocked. Looks at her as a person for the first time, maybe. MR. PIENAAR DO THAT AGAIN! Eunice ululates again. ON THE FIELD, Mandela shakes hands with the All Blacks, who, as predicted, do n't like his partisan clothing. Mandela looks up at Jonah Lomu. MANDELA Hello, Jonah. Lomu looks down at Mandela, eyes glowing with aggression - - and suddenly, he bares his tattooed Tongan tongue in a FIERCE WAR CRY. As do the rest of the All Blacks. WE HAVE SEGUED TO THE FAMOUS HAKA, a Maori war dance that tells an opponent they're going have their daughters stolen, their wives ravaged and their brains eaten right out of their skulls with a sharpened tea spoon. It is abundantly clear why, as the Minister of Sports told Mandela, half of the All Blacks matches are won before the whistle blows. This is very intimidating. Especially because, this day, the All Blacks push the haka closer and closer to the Springboks - - who do not back down. In fact, they close ranks and advance. Major, major international smackdown. This is not fake. The emotions, the aggression are real. ON MANDELA, whose diplomatic mask slips a little showing a warrior's glitter in his eyes. He wants to respond, primally. His fists clench at his side. The HAKA ENDS with a fearsome, guttural Maori yell. ON THE SPRINGBOKS, massed together, faces red with emotion, pulses racing. Mandela takes a deep breath in. Then the boys answer. With, of course, a terrorist anthem of their own : NKOSI SIKELEL' IAFRIKA. Pienaar starts it. PIENAAR NKOSI -- ALL SPRINGBOKS - SIKELEL' IAFRIKA etc. With decent pronunciation, with full fervor and heart, THE BOYS ROAR THE ANTHEM back at the All Blacks. The crowd joins them. `` Nkosi'' roars through the stadium, through the nation. ON MANDELA : his heart swells, as he sings with his people. ON JASON, who stands surrounded by his former enemies singing the song that kept him - kept all of them - going through the apartheid years. In this stadium, at this moment, all hostility, all fear, are a thing of the past. The tension finally goes out of Jason's shoulders. ON JASON'S FACE, close to tears, as NKOSI slowly fades. As Mandela said - a very inspirational song. BEGIN HEARTBEAT OVER. Is that a heartbeat, or an African drum? ON THE FIELD, the All Black fly half tees up the ball, for kick off. As the fly half back - pedals slowly, and pauses in readiness, waiting for the whistle - TO RAINBOW NATION FACES, poised all over South Africa, WATCHING ON TV and IN THE STANDS. Heart/drumbeat over. The last face is Sipho's.", "EXT. OUTSIDE ELLIS PARK STADIUM - DAY The crowd noise spills out of the stadium behind Sipho. A RADIO PLAYS NEARBY, tuned to the game. The radio is in a cop car, manned by TWO BEEFY WHITE COPS. As the crowd noise rises, Sipho edges closer to the cops. They eye him out.", "INT. VIP BOXES - ELLIS PARK - DAY Mandela front and center. Minister of Sport to his right, Prime Minister of New Zealand to his left, President of SA Rugby next to him. Both using all their diplomatic skills to stay cool. MANDELA -LRB- to NZ P.M. -RRB- Perhaps we should make a small wager? NEW ZEALAND P.M. All your gold, for all our sheep? MANDELA I was thinking more along the lines of a case of wine. Behind Mandela, Linga and Hendrick suppress grins. They are outwardly professional - but bursting with excitement.", "EXT. ELLIS PARK STADIUM - DAY The referee blows his whistle. The All Black fly half boots the ball towards the Springboks, charges after it, along with the rest of the All Blacks. Game on. We have only seen snippets of rugby, so far. And mostly from a somewhat polite distance - the usual distance of TV coverage. Say, at closest, the referee's point of view. Not now. Not for the climax. We experience this beautiful piece of mayhem up close and personal. We're inside the heaving scrums. We are the ball. We see the way cleats leave a pattern of round white dimples on abused skin, which quickly turn to purple as they fill with subcutaneous blood. We feel a tackle in our own spine ; we see teeth sink into flesh in the intimacy of a loose scrum ; we feel a hard fist smacking us again and again in the hot privacy of a rolling maul. For this is not a pretty match, not for one moment - just as the Springbok coach wanted. This match is all about a less talented team stifling the best team in the world by sheer determination and fitness. This is about the Springboks applying continuous, unrelenting pressure, and forcing the vaunted All Black attack into making mistakes. Lots of them. Dropped balls, errant passes, knock - ons. No fluency of movement, no electric building of momentum. Because of one thing : tackling. Tackling and tackling and tackling again. The first time Lomu touches the ball, the stadium, the nation holds its breath - - until the Springbok wing scythes into him at thigh height, wraps him up and brings him down. The second time Lomu gets the ball he is brought down from behind by Pienaar, with a picture perfect tackle. We can cut away to the faces of the spectators when we want ; from Mandela to Nerine to Sipho and on and on, all over the country. But, in truth, our attention belongs on the field. ON PIENAAR, continually exhorting his men, leading by example, wreaking havoc in the All Black backfield. ON LOMU, who always seems just one broken tackle away from running one in - except that there are no broken tackles. ON THIRTY BIG, STRONG, BATTLE - SCARRED MEN, who have devoted their entire lives to this moment. They are not playing for money. They are playing for pride, for their countries. Outdated notions. We miss them. No tries are scored in the Final. The two fly halves match each other, penalty goal for penalty goal. With each made kick, the goal posts shrink for the next. The penalty goals are unchallenged. It is up to the kicker to make them or fail. That is pressure. The score is 6 - 6 when, just before half time, the Springbok fly half takes a long, perfect pass from the scrum half, and with the All Black defenders looming, kicks a drop goal through the uprights. The Springboks lead 9 - 6. A tight match. So tight, in fact, that there is only one score in the second half - an All Black drop goal that levels the score at 9 - Until right before the end of the match, when the All Blacks camp in the Springbok half. The scrum half sends a long, spiralling pass to the fly half, who is in perfect position to go for a drop goal. The kick soars into the air, high and straight. 43 million South Africans hold their breath. All around the world, fans lean forward on their chairs. This will be the decisive blow. But the kick just goes wide. Relief. The referee blows his whistle to signal the end of regulation. Both teams are spent.", "INT. VIP BOXES - ELLIS PARK - DAY LINGA What happens now? HENDRICK Extra time. Twenty minutes. LINGA I do n't think I can take it. No one can. Mandela paces. Everyone is drained.", "EXT. OUTSIDE ELLIS PARK STADIUM - DAY Sipho leans on the cop car, listening to the radio. He and the two cops suck nervously on sodas.", "EXT. ELLIS PARK STADIUM - DAY Two sets of bruised, bleeding, exhausted, cramping men face each other for the extra time kick off. Pienaar turns to his men. PIENAAR Who's the fittest team on this field? The answer lies in their eyes : they are. An All Black penalty goal makes it 12 - 9 almost immediately. A Springbok penalty goal answers. 12 - 12. Seven minutes from the end of extra time, the Springboks earn a scrum deep in All Blacks territory. PIENAAR Keep it here. Run it forward. The scrum goes down, wheels a little. SPRINGBOK FLY HALF Francois! Pienaar turns his head. The fly half taps his own chest : give me the ball. Pienaar hesitates, then nods to the scrum half : give him the ball. The ball goes into the scrum. The ball works its way back through the feet of the eight Springbok forwards. The scrum half gathers it, spins it out to the fly half - - who takes one step to his left and KICKS A DROP GOAL high into the air. Ball soaring past a backdrop of open mouths. Higher than the uprights. but through them nonetheless. Springboks 15 - 12 All Blacks. An entire nation jumps to its feet.", "INT. VIP BOXES - ELLIS PARK - DAY Everyone is on their feet in the press box. MANDELA How long before the end? MINISTER OF SPORT Seven minutes. They turn out to be the longest seven minutes in Mandela's life. In every South African's life. This is where we fold the Rainbow Nation into the rugby match, fully. INTERCUT BETWEEN PEOPLE ALL OVER SOUTH AFRICA, AND THE RUGBY as we show the whole nation wanting exactly the same thing at the same time. Faces, postures, eyes are identical, no matter where they are, who they are, what color they are. -LRB- It would be nice if we used all the faces we've already cut away to throughout this story. -RRB- ON THE FIELD The All Blacks attack desperately. The Springboks tackle and tackle and tackle. ON PIENAAR, totally spent but dragging himself to his feet for another tackle. He glances over at the referee, makes another tackle - - looks over at the referee - - the referee puts his hands on his whistle - - another tackle, another look - - the referee lifts the whistle to his lips - - another tackle, another look - - the REFEREE BLOWS THE FINAL WHISTLE. It's over. The Springboks have won. END CLIMAX SEQUENCE", "EXT. ELLIS PARK STADIUM - DAY Pandemonium on the field, pandemonium in the stands. Jason is hugged by an ecstatic boer -LRB- Jason is not a hugger -RRB-. Mrs. Pienaar and Nerine are in tears. Mr. Pienaar hugs a shocked Eunice.", "INT. VIP BOXES - ELLIS PARK - DAY Pandemonium in the VIP box. Mandela shakes hands with everyone he can find. It is way too loud to say anything. Hendrick and Linga almost hug. Almost. They shake hands with total joy and engagement, whack each other on the shoulder.", "EXT. OUTSIDE ELLIS PARK STADIUM - DAY Sipho toi - tois next to the cop car -LRB- a township war dance, very political -RRB-. The two cops toi - toi with him. AROUND THE NATION, an EPIDEMIC OF HUGGING begins. This spills out onto the streets later, but for now, let's restrict this to the people who've been watching the match together.", "EXT. ELLIS PARK STADIUM - DAY The Springboks say a prayer on the field. Pienaar kneels in the middle, leading the prayer. Behind them, a WORK CREW ASSEMBLES A PORTABLE PODIUM. At `` Amen'', Pienaar's men lift him to his feet, then onto their shoulders. The crowd roars again and again as PIENAAR TAKES A VICTORY LAP on the shoulders of the men he has led through thick and thin. Tears stream down his face, through his unstoppable grin. As they near the podium, the team is intercepted by a news crew and - - none other then BOLAND BOTHA. BOLAND BOTHA Francois. a few words. The interview booms through the PA system. Pienaar just nods - he is n't about to spoil the moment by reacting to this buffoon. BOLAND BOTHA great game, but I do n't think you could've done it without the amazing support of these 63,000 South Africans - Francois grabs the mike from Boland. PIENAAR -LRB- into mike, words booming. -RRB- We did n't have the support of 63,000 South Africans today. We had the support of 42 million South Africans. The crowd roars. The Springbok manager grabs Pienaar's shoulder, points. SPRINGBOK MANAGER They're waiting for you over there. Pienaar turns, looks. Mandela waits at the podium, eyes alight with joy. In front of him is the WILLIAM WEBB ELLIS TROPHY, a big gold confection. Their eyes meet. Their eyes stay locked as Pienaar fights his way through the press, the officials, his own team, to the podium. Mandela holds out his hand. Pienaar takes it. Big hands, one black, one white, one with bruises visible, one with a lifetime of bruises implied. Both wearing the NUMBER 6 SPRINGBOK JERSEY. MANDELA Francois, I want to thank you most sincerely for what you have done to our country. Pienaar shakes his head. PIENAAR Mr. President, I want to thank you for what you have done. Eyes lock again, for just a moment, blue eyes, brown eyes - African eyes, both. And then PIENAAR RAISES THE TROPHY HIGH. A very traditional sports hero's moment, richly deserved. Real gold, against the green of the battered field. But that is not the real prize. The prize is what happens next, all over the nation. ALL OVER SOUTH AFRICA, people spill out into the streets, to celebrate. Utter joy, everywhere, as black and white, servants and employers, strangers, enemies, foreigners are swept up in love and happiness. People who have been suspicious of each other, hated each other, feared each other all their lives. they hug each other on this day.", "EXT. JOHANNESBURG STREETS - END OF THE DAY Housewives, gardeners, cops, kids dance in the middle of the street. A car horn beeps politely. BMW, Mercedes, BMW come slowly down the street. The crowd begins to dance and ululate as they part to let the convoy through.", "INT. PRESIDENT'S MERCEDES - END OF THE DAY Linga in front. Mandela is alone in the back seat. He looks out at his people as they cheer him through. He also looks exhausted. Spent. None of that shining life force that makes him so big.", "INT. GREY BMW (LEAD) - END OF THE DAY JASON -LRB- INTO RADIO. -RRB- This route's too crowded. We're changing to route B.", "EXT. JOHANNESBURG STREETS - END OF THE DAY The convoy switches to another street - - which is just as crowded as the first, with happy South Africans. It is as if every single person in the Rainbow Nation wants to celebrate together.", "INT. GREY BMW (LEAD) - END OF THE DAY JASON -LRB- INTO RADIO. -RRB- Change to route C.", "EXT. JOHANNESBURG STREETS - END OF THE DAY The convoy switches to yet another street - - to no avail. South Africa is literally dancing in the streets.", "INT. PRESIDENT'S MERCEDES - END OF THE DAY Mandela leans forward, taps Linga on the shoulder. MANDELA Tell Jason it's all right. There's no hurry. LINGA -LRB- INTO RADIO. -RRB- Madiba says no need to hurry.", "INT. GREY BMW (LEAD) - END OF THE DAY Jason nods, puts down his radio, settles back with a deep sigh. So do the rest of the boys in the car. This day is almost over.", "INT. GREY BMW (TRAILER) - END OF THE DAY Etienne, Hendrick loosen their ties, bask in the feeling. Hendrick looks out at the rolling street party - and shakes his head in amazement.", "INT. PRESIDENT'S MERCEDES - END OF THE DAY President Nelson Rolihlahla Mandela undoes the top button of his rugby jersey, settles back with a deep sigh - - and drives home through a nation that has begun the process of forgiving itself. His nation. GO IN ON MANDELA'S FACE as it settles into the now - familiar sphinx - like mask. Except for his eyes. Mandela's eyes glow with deep joy and satisfaction as he moves slowly through a moment in history that he has worked for, all his life. ON MANDELA'S EYES. FADE EVER SO SLOWLY TO BLACK. THE END"], "labels": [0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0], "summary": "On 11 February 1990, Nelson Mandela is released from Victor Verster Prison after having spent 27 years in jail. Four years later, Mandela is elected the first black President of South Africa. His presidency faces enormous challenges in the post-Apartheid era, including rampant poverty and crime, and Mandela is particularly concerned about racial divisions between black and white South Africans, which could lead to violence. The ill will which both groups hold towards each other is seen even in his own security detail where relations between the established white officers, who had guarded Mandela's predecessors, and the black ANC additions to the security detail, are frosty and marked by mutual distrust. While attending a game between the Springboks, the country's rugby union team, and England, Mandela recognises that some black people in the stadium are cheering for England, and not their own country, as the mostly-white Springboks represent prejudice and apartheid in their minds; he remarks that he did the same while imprisoned on Robben Island. Knowing that South Africa is set to host the 1995 Rugby World Cup in one year's time, Mandela persuades a meeting of the newly black-dominated South African Sports Committee to support the Springboks. He then meets with the captain of the Springboks rugby team, Fran\u00e7ois Pienaar (Matt Damon), and implies that a Springboks victory in the World Cup will unite and inspire the nation. Mandela also shares with Fran\u00e7ois a British poem, \"Invictus\", that had inspired him during his time in prison. Fran\u00e7ois and his teammates train. Many South Africans, both black and white, doubt that rugby will unite a nation torn apart by nearly 50 years of racial tensions, as for many black people, especially the radicals, the Springboks symbolise white supremacy. Both Mandela and Pienaar, however, stand firmly behind their theory that the game can successfully unite the South African country. Things begin to change as the players interact with the fans and begin a friendship with them. During the opening games, support for the Springboks begins to grow among the black population. By the second game, the whole country comes together to support the Springboks and Mandela's efforts. Mandela's security team also grows closer as the racially diverse officers come to respect their comrades' professionalism and dedication. As Mandela watches, the Springboks defeat one of their arch-rivals\u2014Australia, the defending champions and known as the Wallabies\u2014in their opening match. They then continue to defy all expectations and, as Mandela conducts trade negotiations in Taiwan, defeat France in heavy rain to advance to the final against their other arch-rival: New Zealand, known as the All Blacks. New Zealand and South Africa were universally regarded as the two greatest rugby nations, with the Springboks then the only side to have a winning record (20\u201319\u20132) against the All Blacks, since their first meeting in 1921. Before the game, the Springbok team visits Robben Island, where Mandela spent the first 18 of his 27 years in jail. There, Pienaar is inspired by Mandela's will and his idea of self-mastery in \"Invictus\". Fran\u00e7ois mentions his amazement that Mandela \"could spend thirty years in a tiny cell, and come out ready to forgive the people who put [him] there\". Supported by a large home crowd of all races at Ellis Park Stadium in Johannesburg, Pienaar motivates his teammates for the final. Mandela's security detail receives a scare when, just before the match, a South African Airways Boeing 747-200 jetliner flies in low over the stadium. It is not an assassination attempt though, but a demonstration of patriotism, with the message \"Good Luck, Bokke\"\u2014the Springboks' Afrikaans nickname\u2014painted on the undersides of the plane's wings. Mandela also famously arrives onto the field before the match wearing a Springbok cap and a replica of Pienaar's #6 jersey. The Springboks complete their run by beating the All Blacks 15\u201312 in extra time, thanks to a drop goal from fly-half Joel Stransky. Mandela and Pienaar meet on the field together to celebrate the improbable and unexpected victory, and Mandela hands Pienaar the William Webb Ellis Cup, signaling that the Springboks are indeed rugby union's world champions. Mandela's car then drives away in the traffic-jammed streets leaving the stadium. As Mandela watches South Africans celebrating together in the street from his car, his voice is heard reciting \"Invictus\" again.", "name": "Invictus_(film)"}
{"scenes": ["EXT. SPACE - MARS - TO ESTABLISH THE RED PLANET momentarily eclipses the Sun. As sunlight breaks across the edge, warming the surface...", "EXT. MARS - DAY We \u2019 re MOVING THROUGH the channels of Acidalia Planitia to find the ARES 3 HAB SITE. LEWIS -LRB- OVER RADIO -RRB- All right, team. Stay in sight of each other. Let \u2019 s make NASA proud... TITLE : SOL 18", "EXT. MARS - DAY CLOSE ON ASTRONAUT MARK WATNEY. He \u2019 s in the middle of an EVA experiment. He chips at a section of rocks and records his observations on his ARM COMPUTER. Bright-eyed and optimistic. Another day at the office. MARK In grid section fourteen twenty-eight, the particles appear predominantly \u201c coarse, \u201d but as we move to twenty-nine, the particles are much finer, and should be ideal for chem analysis. VOICE -LRB- OVER RADIO -RRB- Hear that, everyone? And we FIND RICK MARTINEZ inspecting the MARS ASCENT VEHICLE ( a.k.a \u201c The MAV \u201d ) on the launch pad. They speak over radios. MARTINEZ Mark just discovered \u201c dirt. \u201d Alert the media. MARK What \u2019 s your job today, Martinez? Confirming the MAV is still upright? MARTINEZ Visual inspection of equipment is imperative to mission success. Martinez studies the MAV for a moment, then speaks thoughtfully into his arm computer : MARTINEZ -LRB- CONT \u2019 D -RRB- \u201c The MAV is still upright. \u201d VOICE -LRB- RADIO -RRB- Watney, you keep leaving your channel open... FIND COMMANDER MELISSA LEWIS across the way, overseeing a drill experiment. LEWIS Which leads to Martinez responding, which leads to us listening, which leads to me being annoyed. MARK Martinez, Commander Lewis would like you please shut your smart mouth. VOICE Speaking for the smart people of the world...", "INT. HAB - DAY DR. CHRIS BECK studies samples on slides at his station. BECK We would prefer you use a different adjective to describe Martinez \u2019 mouth.", "EXT. MARS - DAY MARTINEZ Did Beck just insult me? MARK Doctor Beck. And yes. VOICE Happy to turn their radios off from here, Commander...", "INT. HAB - DAY BETH JOHANSSEN sits inside at her computer, tracking ( among other things ) the group \u2019 s communications. JOHANSSEN Just say the word.", "EXT. MARS - DAY MARK Johanssen, constant communication is the hallmark of a -- LEWIS Shut \u2018 em off. Click. Mark and Martinez \u2019 radios go SILENT. As Lewis works, we see Mark throwing up his arms in the background, like \u201c Hey! C \u2019 mon! \u201d LEWIS -LRB- CONT \u2019 D -RRB- I apologize for my countrymen, Vogel. ALEX VOGEL wears the EUROPEAN UNION patch on his shoulder. ALEX Accepted. How many samples do we need, Commander? LEWIS Seven. One hundred grams each. Drill at least thirty centimeters down. While the two of them use a SPECIMEN DRILL to bore holes in the ground, we see Mark waving his arms in the background : C \u2019 mon, turn my radio back on...", "INT. HAB - DAY Johanssen frowns as she receives a MISSION UPDATE from Houston. Her face goes PALE... JOHANSSEN Um... Commander? You should come inside...", "EXT. HAB - DAY JOHANSSEN -LRB- OVER RADIO -RRB- You \u2019 re gon na want to see this. Lewis reads the tension in Johanssen \u2019 s voice. LEWIS What is it? JOHANSSEN We got a mission update. Storm warning. LEWIS I saw the warning in the morning briefing. We \u2019 ll be inside long before it hits. JOHANSSEN They \u2019 ve upgraded their estimate. -LRB- beat -RRB- The storm \u2019 s gon na be worse. LEWIS looks to the skies. IN THE DISTANCE : a STORM darkens the horizon. Angle MARK : as the dirt in front of him starts to blow in the incoming WIND...", "INT. HAB - DAY Lewis reads the update. Everyone else is inside as well. Mood is grim -- this is not good news. LEWIS \u201c... twelve-hundred kilometers in diameter, bearing 24.41 degrees... \u201d JOHANSSEN That \u2019 s tracking right towards us. LEWIS \u201c... based on current escalation, estimate a force of... -LRB- shit -RRB- \u201c Eighty-six hundred Newtons. \u201d MARK What \u2019 s the Abort Force? BECK Seventy-five hundred. MARTINEZ Anything above that and the MAV could tip. VOGEL We \u2019 re scrubbed? LEWIS -LRB- reading -RRB- \u201c Begin abort procedures. \u201d Everyone tries to hide their crushing disappointment. MARTINEZ Maybe it won \u2019 t be as bad as they say. VOGEL They \u2019 re estimating with a margin of error. We can wait it out. MARK -LRB- nods -RRB- Let \u2019 s wait it out. ON LEWIS. This news hits her worst of all. She tries to consider all her options. Mind RACING. JOHANSSEN Commander? Fuck. LEWIS Prep for emergency departure. MARK Commander -- LEWIS We \u2019 re scrubbed.", "EXT. HAB - STORM - DAY The HIGH WINDS slam into our five astronauts as they exit the airlock. They struggle to stay on their feet as they fight their way through the punishing storm. LEWIS Visibility is almost zero. If you get lost, home in on my suit \u2019 s telemetry. The wind \u2019 s gon na be rougher away from the Hab, so be ready. Sand continues to slam them as they take step after agonizing step towards the MAV. It \u2019 s brutal ; they fight for every inch. MARK Hey. Maybe we could shore up the MAV. Make tipping less likely. LEWIS How? MARK We could use cables from the solar farm as guy lines. Mark pauses to catch his breath. Starts forward again... MARK -LRB- CONT \u2019 D -RRB- The rovers could be anchors. The trick would be getting around the -- WHAM! A massive section of antenna SLAMS INTO MARK out of nowhere. He \u2019 s lifted off his feet and YANKED away into the storm. It happens FAST. One second he \u2019 s there... And then he \u2019 s gone. JOHANSSEN WATNEY!!! LEWIS What happened? JOHANSSEN Something hit him -- LEWIS Watney, report -- -LRB- no reply -RRB- WATNEY, REPORT! JOHANSSEN He \u2019 s offline. I don \u2019 t know where he is -- BECK -- Commander, before we lost telemetry, his decompression alarm went off -- LEWIS Shit! Johanssen where did you last see him? JOHANSSEN -- He was right in front of me and then he was gone. He flew off due west -- Lewis surveys the scene. Visibility is NEAR ZERO. She can barely see the people next to her. Tries to keep her heart from POUNDING out of her chest. LEWIS -LRB- CONT \u2019 D -RRB- Okay... okay... Martinez, get to the MAV and prep for launch. Everyone else, home in on Johanssen. JOHANSSEN -LRB- stumbling -RRB- I can \u2019 t see anything -- VOGEL Doctor Beck! How long can a person survive decompression? BECK Less than minute. LEWIS Line up and walk west. Small steps. He \u2019 s probably prone. We don \u2019 t want to step over him. The group fights through the chaos --", "INT. MAV - CONTINUOUS - DAY WHOOSH! Martinez dives into the airlock, forces the door closed. Waits for agonizing seconds as it pressurizes... Pressurized. Martinez races up the ladder, slides into the pilot \u2019 s couch and boots the system. MARTINEZ Commander -- The MAV \u2019 s got an 8 degree tilt. It \u2019 ll tip at 12.3 --", "EXT. HAB - STORM - CONTINUOUS - DAY LEWIS Copy that -- Beck checks the readout on his arm computer. BECK Johanssen, Watney \u2019 s bio-monitor sent something before going offline. My computer just says \u201c Bad Packet \u201d -- JOHANSSEN It didn \u2019 t finish transmitting. -LRB- works her arm computer -RRB- I have the raw packet. It \u2019 s plaintext : BP 0, PR 0, TP 36.2. BECK Copy. -LRB- then -RRB- Blood pressure zero. Pulse rate zero. Temperature normal. LEWIS Temperature normal? BECK It takes a while for the... it takes a while for the body to cool. Everyone stops short as that news lands. MARTINEZ -LRB- OVER RADIO -RRB- Commander. Tilting at 10.5 degrees now, with gusts pushing it to 11. LEWIS Copy. If it tips, can you launch before it completely falls over? MARTINEZ -LRB- OVER RADIO -RRB- -LRB- hesitates -RRB- Uh. Yes. Ma \u2019 am. I could take manual control. LEWIS Copy that. Everyone home in on Martinez \u2019 suit. That \u2019 ll get you to the airlock. Get in and prep for launch. VOGEL What about you, Commander? LEWIS I \u2019 m searching a little more. Get moving. And Martinez, if you start to top, launch. MARTINEZ -LRB- OVER RADIO -RRB- You really think I \u2019 m leaving you behind? LEWIS I just ordered you to. You three, get to the ship. -LRB- as they hesitate -RRB- GO.", "INT. MAV - CONTINUOUS - DAY Vogel, Beck, and Johanssen stumble into the airlock.", "EXT. STORM - CONTINUOUS - DAY Lewis can \u2019 t see a thing in any direction. C \u2019 mon, think, Melissa, think... She reaches into the pack on her back and removes two of the one meter drill bits she was using earlier to take samples. She holds one in each hand, dragging them on the ground as she trudges through the sand. LEWIS Johanssen, would the rover IR camera do any good?", "INT. MAV - CONTINUOUS - DAY JOHANSSEN -LRB- INTO RADIO -RRB- Negative. IR can \u2019 t get through sand any better than visible light. They rip off their helmets. Scramble up the ladder. BECK What \u2019 s she thinking? She \u2019 s a geologist. She knows IR can \u2019 t get through a sandstorm. VOGEL She \u2019 s grasping. For anything. MARTINEZ Commander. We \u2019 re tilting 11.6 degrees. One good gust and we \u2019 re tipping. LEWIS -LRB- OVER RADIO -RRB- What about the proximity radar? Could it detect Watney \u2019 s suit? MARTINEZ No way. It \u2019 s made to see Hermes in orbit, not the metal in a single suit. LEWIS -LRB- OVER RADIO -RRB- Copy. Give it a try. Beck slides into his acceleration couch. BECK Commander, I know you don \u2019 t want to hear this, but Watn... Mark \u2019 s dead. LEWIS -LRB- OVER RADIO -RRB- Copy. -LRB- then -RRB- Martinez, try the radar. MARTINEZ Roger. As Martinez waits for the radar, he glares at Beck. MARTINEZ -LRB- CONT \u2019 D -RRB- What is wrong with you? BECK My friend just died. I don \u2019 t want my Commander to die too.", "EXT. STORM - CONTINUOUS - DAY Lewis fights her way through the storm. MARTINEZ -LRB- OVER RADIO -RRB- Negative contact on proximity radar. LEWIS Nothing?", "INT. MAV - CONTINUOUS - DAY MARTINEZ It can barely see the Hab. There \u2019 s not enough met -- SCREEEACH -- the MAV lurches, begins to tip -- MARTINEZ -LRB- CONT \u2019 D -RRB- Strap in! We \u2019 re tipping! JOHANSSEN 13 degrees -- VOGEL -- We \u2019 re past balance. We \u2019 ll never rock back -- BECK Let it tip. We can \u2019 t leave her. MARTINEZ We \u2019 ll never be able to fix it if it tips. I got one trick left, then I \u2019 m following orders.", "EXT. MAV - CONTINUOUS - DAY WHOOSH -- Martinez fires a burn from the nosecone array. The thrusters fight against the slow tilt of the spacecraft...", "INT. MAV - CONTINUOUS - DAY VOGEL You are firing the OMS? MARTINEZ C \u2019 mon... c \u2019 mon... JOHANSSEN 12.9 degrees... BECK Commander. You need to get back to the ship. Now. MARTINEZ Agreed. He \u2019 s gone, Ma \u2019 am...", "EXT. STORM - CONTINUOUS - DAY Lewis stands alone in the storm. MARTINEZ -LRB- OVER RADIO -RRB- Watney \u2019 s gone. She stares out at the darkness all around her.", "INT. MAV - CONTINUOUS - DAY Martinez fights the controls. Beck and Johanssen share nervous glances. Finally : LEWIS -LRB- OVER RADIO -RRB- Copy. On my way. JOHANSSEN 11.6... 11.5... holding at 11.5...", "INT. MAV - AIRLOCK - CONTINUOUS - DAY WHOOSH. Down below, Lewis slams the airlock door shut. She tears off her suit. Makes her way to the flight cabin. She doesn \u2019 t say a word as she straps herself in to her couch. For a moment, nobody speaks. Then : MARTINEZ Still at pilot release. Ready for launch. Lewis closes her eyes. Nods. MARTINEZ -LRB- CONT \u2019 D -RRB- I \u2019 m sorry, Commander. You need to verbally -- LEWIS Launch. Martinez nods. Activates the sequence. The pyros FIRE. The main engines IGNITE... CLOSE ON LEWIS. Just as the MAV LURCHES UPWARD, we -- CUT TO :", "INT. NASA - PRESS ROOM - DAY THEODORE \u201c TEDDY \u201d SANDERS, Director of NASA, steels himself before he steps to the podium. Normally, he leaves these briefings to his press secretary. Today is different. He opens a RED FOLDER. TEDDY At around 4:30 a.m., central standard time, our satellites detected a storm approaching the Ares 3 mission site on Mars. -LRB- MORE -RRB- TEDDY -LRB- CONT'D -RRB- By 6:45, the storm had escalated to \u201c severe, \u201d and we had no choice but to abort the mission. Thanks to the quick action of Commander Lewis, astronauts Beck, Johanssen, Martinez, and Vogel were all able to reach the Mars Ascent Vehicle and perform an emergency launch at 7:28 central time. -LRB- then -RRB- Unfortunately, during the evacuation, Astronaut Mark Watney was struck by debris and killed. Commander Lewis and the rest of her team were able to intercept safely with the Hermes and are now heading home... -LRB- wavers, then -RRB- But Mark Watney is dead. As the CACOPHONY of questions erupts from the press --", "EXT. MARS - DAY Clear skies above the surface of Mars once again. PRELAP the sound of an ALARM : ARRR... ARRR... ARRR... A BODY lies facedown, half-covered in red sand at the base of a hill. We catch a glimpse of the nametag on the spacesuit : \u201c Watney. \u201d The OXYGEN ALARM inside the helmet continues to BLARE. And just as it builds to crescendo... Mark Watney gasps for air. He jerks back into consciousness. He \u2019 s disoriented, alarms BLARING inside his helmet. As he struggles to move... He screams in pain. Glances down. Sees : A JAGGED LENGTH OF ANTENNA has pierced his spacesuit and stabbed straight into his abdomen. CAKED BLOOD all around the wound. Mark \u2019 s training kicks in -- the suit is breached -- he struggles to his knees -- gasping in pain -- he reaches to the side of his helmet for the BREACH KIT -- pulls the valve free -- grabs hold of the antenna... grits his teeth... AND YANKS the antenna out of his side. The antenna SNAPS FREE -- the suit is exposed to atmosphere -- the pressure inside DROPS -- Mark CRIES OUT, goes woozy -- But stays conscious. He slams the breach kit over the hole. Seals it. Checks his arm readout. The oxygen stabilizes. He \u2019 s still alive. For now. He struggles to his feet. Picks up the length of antenna. Begins the LONG CLIMB up the hill.", "EXT. MARS - HAB - DAY We \u2019 re WITH MARK as he makes the climb, and as he crests the hill we swing around to reveal : THE ARES 3 HABITATION ( a.k.a. \u201c The Hab \u201d ) : The large, white tent-like structure where the six crew members lived during their time on Mars. It \u2019 s been battered by the storm, but it \u2019 s still intact. Mark registers momentary relief. But then his eyes dart over to the MAV LAUNCH SITE. It \u2019 s empty. He keeps walking.", "INT. HAB - AIRLOCK - DAY Mark fumbles his way into one of the hab \u2019 s airlocks. As soon as the airlock equalizes, he tears off his helmet...", "INT. HAB - DAY Mark stumbles into the main area. Peels off his jumpsuit. WINCES as he rips the blood-caked fabric away from HIS WOUND. His fingers probe the puncture. It \u2019 s deep. That \u2019 s bad. He checks his back for an exit wound. There \u2019 s none. That \u2019 s good. He grabs the broken antenna he brought with him. His fingers trace the bloodied end. It \u2019 s jagged -- as though a piece of the antenna broke off inside him. That \u2019 s really bad. Mark stumbles over to the first-aid station. Grabs supplies. Anesthetic. Syringe. Forceps. Needle. Suture thread. ( This is not exactly going to be easy to watch. ) Sweat pouring off his brow, Mark loads up the syringe with anesthetic. Grits his teeth. Injects it into his wound. Gasps. Breathes. Grabs the forceps. Hesitates. I don \u2019 t want to do this. He takes a deep breath... And digs the forceps into his wound. He CRIES OUT in pain. Nearly goes unconscious. Fights it. Don \u2019 t pass out, Mark. He probes with the forceps, grimacing in agony. He can \u2019 t find it. Pushes the forceps in deeper. And DEEPER. Jesus. Mark \u2019 s face goes WHITE. He finds it. Yanks the forceps free. Sees the small piece of shrapnel. It \u2019 s out. Hallelujah. Mark grabs the needle. Tries to thread it. His hands won \u2019 t stop shaking. He makes fists. C \u2019 mon Mark. Steadies himself just enough. He begins to stitch himself up. Bit by agonizing bit. His hands keep shaking, but he refuses to stop until the wound is closed. Finally... He \u2019 s done. He clips the sutures. Collapses back into his chair. Oh Jesus. Tries to catch his breath. We slowly ANGLE IN ON MARK as he struggles to breathe... and breathe... And as we settle into a CLOSEUP, we see the full reality of Mark \u2019 s situation hit him. He \u2019 s in agony. Left for dead. All by himself. The only man on the planet. His eyes drift to the middle distance. Then... MARK Fuck. CUT TO TITLE : THE MARTIAN", "INT. HAB - DAY CAM ANGLE : we \u2019 re looking through what ( we assume ) is a NASA camera. Mark \u2019 s head peeks into frame. He adjusts the camera, seems unfamiliar with how to work the video journal. MARK Okay. Okay... He types on the keypad. We see the NASA TIMESTAMP appear on the frame. There, it \u2019 s working. MARK -LRB- CONT \u2019 D -RRB- This is... Mark Watney. Astronaut. I am entering this log for the record, in case I... don \u2019 t make it. It \u2019 s... -LRB- MORE -RRB- MARK -LRB- CONT \u2019 D -RRB- oh-six-fifty-three on Sol 19. And... I \u2019 m still alive. -LRB- thinks -RRB- Obviously. But I \u2019 m guessing this is going to be a surprise to my crewmates. And NASA. And... the world. So... surprise. -LRB- then -RRB- I didn \u2019 t die on Sol 18. Best I can tell - Mark holds up the jagged piece of antenna. MARK -LRB- CONT \u2019 D -RRB- -- this length of our primary communications antenna tore through my bio-monitor. And ripped a hole in me as well. It was horrible thank you for asking. But the antenna... and the blood... managed to seal the breach in my suit. Which kept me alive. Even though the team must have thought I was dead. -LRB- then -RRB- Commander Lewis... If you ever hear this... Listen. It wasn \u2019 t your fault. Just bad luck. You did what you had to do, and if I had been in your position I would have done the same. I \u2019 m glad you guys made it. -LRB- then -RRB- All right, though. That \u2019 s where we \u2019 re at. Mark Watney, stranded on Mars. I have no way to contact NASA because our communications antenna broke and stuck into my stomach. Which we \u2019 ve covered. And even if I could, it will take... four years before the next manned mission gets here. And I \u2019 m in a Hab designed to last thirty-one days. -LRB- then -RRB- If the oxygenator breaks, I \u2019 ll suffocate. If the water reclaimer breaks, I \u2019 ll die of thirst. If the Hab breaches, I \u2019 ll just sort of... implode. And if, by some miracle, none of that happens... eventually I \u2019 m going to run out of food. So... yeah. Mark trails off. It \u2019 s one thing to know it. It \u2019 s another to say it out loud. MARK -LRB- CONT \u2019 D -RRB- Yeah.", "INT. HAB - NIGHT Mark sits in his bunk. Drumming his fingers on the wall. Thinking.", "EXT. MARS - DAWN The first slivers of sunlight start to creep over the horizon. TITLE : Sol 21", "INT. HAB - DAY Mark flushes the toilet, which begins the procedure of vacuum- drying the waste. Mark glances back at the system. Hmmm... The system finishes its process, sealing the waste into -- A SILVER BAG. Mark studies the bag. Idea forming.", "INT. HAB - DAY Inventory. Mark removes all of the ration packs, stacking them in orderly piles as he catalogues their contents. One case in particular catches his attention. Label : \u201c DO NOT OPEN UNTIL THANKSGIVING. \u201d", "INT. HAB - DAWN Mark sits in the darkness. We get the sense he hasn \u2019 t moved much in the night. He stares into the middle distance. Then. He makes the decision. Get up, Mark. He gets to his feet. Moves with purpose as he rummages through the hab. Looking for something. Where is it? There... A pencil. He pulls a notecard free from one of his manuals. Paper. Back to basics. He sits at the table. And begins writing math equations. MARK -LRB- PRELAP -RRB- Let \u2019 s do the math... CUT TO : Mark addresses camera. He looks a little less-terrible than he did before. MARK -LRB- CONT \u2019 D -RRB- Our surface mission here was supposed to take thirty-one days. For redundancy, they sent enough food to last for sixty- eight days. For six people. So for just me, it \u2019 ll last three-hundred days. And I figure I can stretch that to four hundred if I ration. So... I \u2019 ve still got ta figure out how to grow three years worth of food. Here. On a planet where nothing grows. Luckily, I \u2019 m the botanist. Mark holds up one of his mission briefs. Points to the word \u201c Botanist \u201d under \u201c Watney. \u201d Looks at us like, impressed? MARK -LRB- CONT \u2019 D -RRB- Mars will come to fear my botany powers.", "EXT. HAB - DAY Mark collects the pile of silver bags. Carries them inside.", "INT. HAB - DAY Mark stands in the kitchen, surrounded by silver bags. He fills a large container with water from the Reclaimer. He dumps in the contents of the compost bin. Then he stares at the bags. He does not look happy. He tears open a bag. Dumps the contents into the bin. Tears open another bag. As he does so, he starts to GAG -- TITLE : Sol 24", "EXT. MARS - HAB - DAY Mark scoops Martian dirt into a container with a small shovel. He carries the container to the airlock --", "INT. HAB - DAY Mark enters the Hab, dumps his container of dirt into a corner where he \u2019 s cleared an empty area. TITLE : Sol 25", "INT. HAB - DAY Same shot. Mark enters with another container. We follow to reveal... there \u2019 s now a HUGE PILE of dirt in the corner. TITLE : Sol 28", "INT. HAB - DAY Mark has spread the dirt over a third of the Hab floor. He stares at the compost bin. Eyes it like it \u2019 s his nemesis. Then he takes a deep breath. Opens the bin. Begins dumping it over the Martian dirt. He can \u2019 t hold his breath forever. He breathes eventually. Oh god, that \u2019 s horrible. TITLE : Sol 31", "INT. HAB - DAY Mark cuts each potato into four quarters, making sure each quarter has at least two eyes. He begins planting each potato quarter in nice, orderly rows. As he works, we slowly WIDEN OUT to reveal -- The ENTIRE HAB is now covered in SOIL. Not just the floor -- Mark has cleared every available surface -- bunks, countertops, table -- and covered it with his dirt.", "INT. HAB - DAY Mark packs soil on top of one of the crew member \u2019 s bunks. As he moves the personal items aside, he finds a DATA-STICK. He holds it up and looks at it : hmmmm. CUT TO : Mark has plugged the data-stick into the computer and is now viewing its contents : old episodes of seventies television. Mark just sits there. Watching HAPPY DAYS. TITLE : Sol 36 MARK -LRB- PRELAP -RRB- The problem is water...", "INT./EXT - ROVER - DAY Mark trudges out to the Mars Descent Vehicle ( MDV ) -- the lander that brought the six of them to Mars. He delicately begins to remove the Hydrazine tank from the undercarriage... MARK -LRB- V.O. -RRB- I \u2019 ve created one-hundred and twenty-six square meters of soil. But each cubic meter needs forty liters of water to be farmable. So, I got ta make a lot of water. Fortunately, I know the recipe. Take hydrogen. Add oxygen. Burn. Unfortunately... burn. -LRB- then -RRB- I have hundreds of liters of unused Hydrazine from the MDV. If I run the Hydrazine over an iridium catalyst, it \u2019 ll separate into N2 and H2...", "INT. HAB - DAY Science time. Quick cuts now as Mark shows us how to make water by burning rocket fuel : -- Mark duct tapes torn trash-bags to create a tent, which he uses to cover his work table. -- He tears an air hose from one of the space suits, tapes it to the tent, hangs it from the roof. Now he has a chimney. -- Mark vents pure oxygen from a tank, lights it with a spark from battery wires. Whoosh. Points the flame at the wood shavings. Now he has a small torch. -- Mark holds the torch, starts the Hydrazine flow. The Hydrazine sizzles on the iridium and DISAPPEARS. FOLLOW Mark \u2019 s gaze up to the chimney. FLAME BURSTS start sputtering out from the hose. Mark grins. It \u2019 s working. Mark checks his instruments. Watches the temperature carefully. Repeats the process. We may also notice Mark is wearing the protective inner lining of his EVA suit. Along with goggles. An oxygen mask hangs around his neck.", "INT. HAB - DAY Mark talks directly to camera. We may notice he is standing in the middle of what looks like a mad-scientist \u2019 s chemistry experiment. MARK Then I just need to direct the hydrogen into a small area and burn it. Luckily, in the history of humanity, nothing bad has ever happened from lighting hydrogen on fire. Mark just stares at the camera. Then continues. MARK -LRB- CONT \u2019 D -RRB- Believe it or not, the challenge has been finding something that will hold a flame. NASA hates fire. Because of the whole \u201c fire makes everyone die in space \u201d thing. So everything we brought with us is flame retardant. With the notable exception of... Martinez \u2019 personal items. He holds up Martinez \u2019 pack. Removes a small wooden cross. MARK -LRB- CONT \u2019 D -RRB- Sorry, Martinez. If you didn \u2019 t want me to go through your stuff, you shouldn \u2019 t have left me for dead on a desolate planet. He starts shaving the cross down with a knife. MARK -LRB- CONT \u2019 D -RRB- I figure God won \u2019 t mind, considering the situation.", "INT. HAB - DAY Mark \u2019 s still at it. He looks exhausted. He goes through the procedure once again. Glances at the atmospheric analyzer. Hm. Is that right? Doesn \u2019 t give it a second thought. He strikes the torch again... BOOM! The explosion is LOUD, FAST, and CONTAINED. It blasts Mark clear across the room. He hits the ground like a wet rag.", "INT. HAB - DAY Mark talks to camera. His clothes are somewhat scorched. His hair is singed in patches. MARK So. Yes. I blew myself up. -LRB- then -RRB- Best guess? I forgot to account for the excess oxygen I \u2019 ve been exhaling when I did my calculations. Because I \u2019 m stupid. He \u2019 s still dazed. A little out of it. MARK -LRB- CONT \u2019 D -RRB- Interesting side note : this is how Jet Propulsion Laboratory was founded. Five guys at Cal Tech were trying to make rocket fuel and nearly burned down their dorm. Rather than expel them, Professor... Von Karman? I want to say... banished them to a nearby farm in Pasadena and told them to keep working. And now we have a space program. -LRB- then -RRB- See? I pay attention. -LRB- then -RRB- I \u2019 m gon na get back to work. As soon as my ears stop ringing. He just sits there for a while.", "INT. HAB - DAY Mark \u2019 s back at it. He checks his math, adjusts the O2 levels. He glances at camera, then crosses his fingers. Winces as he fires up the torch. He doesn \u2019 t blow up. Phew. Starts venting the hydrazine. CUT TO : Later. Mark steps back from the table. Wipes the sweat from his brow. Looks at his hands. Sweat. He walks over to the walls. Sees the condensation. Beads of water everywhere. He traces them with his finger. It \u2019 s as though he \u2019 s created a rainforest in his Hab. He walks to the WATER RECLAIMER. Takes the lid off the TANK. It \u2019 s now FILLED with water. Mark grins. TITLE : Sol 48", "INT. HAB - DAY/NIGHT WIDE SHOT : we see the entire Hab. The surfaces covered with soil, the cramped living space, the mad-scientist experiment. Mark works at the table. And as he does so... we begin to SPEED UP. Time lapse photography : Mark vents the Hydrazine -- Mark checks his readouts -- Mark collects water from the reclaimer -- Mark spreads the water over his soil -- Mark eats lunch -- Mark goes back to work -- Moving faster and FASTER : Mark sleeps -- Mark puts on his spacesuit -- Mark exits the Hab -- Mark brings in more dirt -- Mark vents Hydrazine -- Mark eats -- Mark sleeps -- While the days FLY BY, we \u2019 re slowly ANGLING towards the back of the room... -- Mark works Mark eats Mark sleeps Mark works -- Towards a small patch of SOIL in the corner. We land in CLOSEUP : soil filling the frame. We HOLD. And after a beat... A single, green SPROUT breaks through the soil. TITLE : Sol 54 CUT TO BLACK.", "EXT. SPACE And FROM BLACK, we FIND EARTH. The calming blue-greens a welcome reprieve from the fiery reds of Mars.", "EXT. ARLINGTON NATIONAL CEMETERY - DAY Teddy speaks before a memorial. A somber crowd listens in silence. We watch from far away. TEDDY Our nation was blessed to have Mark serving in our space program. His loss will be deeply felt, but the men and women of NASA will soldier forth, onward and upward, unbroken in the mission of their agency. In doing so, they honor the legacy Mark leaves behind, and they ensure his sacrifice will not be in vain.", "EXT. NASA - DAY A MAN walks past the NASA logo greeting visitors at the gate. TITLE : JOHNSON SPACE CENTER, HOUSTON, TX", "INT. NASA - DAY The man enters the main lobby. TITLE : VINCENT KAPOOR, DIRECTOR OF MARS MISSIONS, NASA Guards glance up from the television, nod hello. As Vincent walks through security, we catch a glimpse of their screens : A CNN TITLE reads : \u201c President Speaks At Watney Memorial. \u201d", "INT. NASA - VARIOUS - DAY As Vincent makes his way through NASA, we notice EVERYONE IN THE BUILDING is watching news reports of the Watney service. ON THE SCREENS : We catch a brief glimpse of a female astronaut floating in zero-g, eulogizing Mark.", "INT. NASA - TEDDY\u2019S OFFICE - DAY A man sits at his desk, staring out the window. We recognize him from the beginning of the movie. TITLE : TEDDY SANDERS, DIRECTOR OF NASA ON THE TELEVISION, we see Teddy shake hands with the President at the service. Vincent gives it a passing glance as he enters. VINCENT I thought you gave a lovely speech, by the way. Not one for small talk, Teddy gestures for Vincent to hand him the request form he \u2019 s holding. VINCENT -LRB- CONT \u2019 D -RRB- I need you to authorize my satellite time. Teddy gives it a quick glance, shakes his head. TEDDY It \u2019 s not gon na happen. VINCENT We \u2019 re funded for five Ares missions. I think I can get Congress to authorize a sixth. TEDDY No. VINCENT They evac \u2019 d after eighteen sols. There \u2019 s half a mission worth of supplies up there. I can sell another mission at a fraction of the cost. I just need to know what \u2019 s left of our assets. TEDDY You \u2019 re not the only one who needs satellite time. We \u2019 ve got the Ares 4 supply missions coming up. We should be focusing on the Schiaparelli Crater. VINCENT I \u2019 m talking about securing us another mission. We have twelve satellites in orbit, we can surely spare a few hours -- TEDDY It \u2019 s not about the satellite time, Vince. Vincent shrugs -- then what is it? TEDDY -LRB- CONT \u2019 D -RRB- We \u2019 re a public domain organization. We have to be transparent about this. VINCENT And? TEDDY The second we point the satellites at the Hab... I broadcast pictures of Mark Watney \u2019 s dead body to the world. VINCENT -LRB- disbelief -RRB- You \u2019 re afraid of a PR problem? TEDDY Of course I \u2019 m afraid of a PR problem. Another mission? Congress won \u2019 t reimburse us for a paper clip if we put a dead astronaut on the cover of The Washington Post. VINCENT So... what do we do? He \u2019 s not going to decompose. He \u2019 ll be there forever. TEDDY Meteorology estimates he \u2019 ll be covered in sand from normal weather activity within a year. VINCENT We can \u2019 t wait a year for this. We have work to do. TEDDY Ares 5 won \u2019 t even launch for another five years. We have plenty of time. Vincent thinks about it. Frustrated. Tries another tack. VINCENT Okay, consider this. Right now, the world is on our side. Sympathy for Watney \u2019 s family is high... He knows this sounds cold, but he \u2019 s out of options. VINCENT -LRB- CONT \u2019 D -RRB- Ares 6 could bring the body back. We don \u2019 t say that \u2019 s the purpose of the mission, but we make it clear that would be part of it. We frame it that way, we get more support in Congress. I can sell it. But not if we wait a year. Teddy stares back out the window. Vincent has a point. VINCENT -LRB- CONT \u2019 D -RRB- In a year, people won \u2019 t care any more.", "INT. NASA - MISSION CONTROL - NIGHT A WOMAN in her twenties checks the work order on her screen. TITLE : MINDY PARK, SATELLITE COMMUNICATIONS, NASA She straightens up when she sees the request comes from \u201c KAPOOR, Vincent. \u201d She enters the latitude and longitude... MINDY Acidalia Planitia... Her heart starts to beat a little faster. Click. The images pop up : overhead shots of the Hab site. Morbid curiosity getting the better of her, she scans for Mark \u2019 s dead body. Doesn \u2019 t find it. Hmmm... She zooms in on the Hab. That \u2019 s strange. And then it hits her. Oh god. She doesn \u2019 t know what to do. It takes her a moment to find the phone. Heart POUNDING. MINDY -LRB- CONT \u2019 D -RRB- Security? This is Mindy Park in SatCon. I need the emergency contact number for Dr. Kapoor. Yes, him. Yes it \u2019 s an emergency --", "INT. NASA - MISSION CONTROL - NIGHT A hard-charging WOMAN stares at us in SHOCK -- WOMAN Oh you have GOT to be SHITTING ME -- TITLE : ANNIE MONTROSE, Director of Media Relations, NASA Annie, Vincent, and Teddy all huddle in the conference room. IMAGES of the HAB site on the screens around them. TEDDY How sure? VINCENT Nearly 100 %. ANNIE Do you understand the shitstorm that \u2019 s about to hit us? TEDDY Annie, one thing at a time. -LRB- to Vincent -RRB- Prove it to me. VINCENT -LRB- points to images -RRB- For starters, the solar panels have been cleaned. TEDDY They could have been cleaned by wind. VINCENT Look at Rover 2. According to the logs, Commander Lewis took it out on Sol 17. Plugged it into the Hab to recharge. It \u2019 s been moved. TEDDY She could have forgotten to log the move. VINCENT Here \u2019 s the clincher. Check the MDV. It \u2019 s been taken apart. There \u2019 s no way they do that without telling us. ANNIE Why don \u2019 t we talk to Lewis? Let \u2019 s go to CAPCOM and ask her directly right now. Vincent shoots Teddy a glance. After a moment, Teddy understands what it means. TEDDY No. If Watney is really alive... we don \u2019 t want the Ares 3 crew to know. ANNIE What? How can you not tell them? TEDDY They have another ten months on their trip home. Space travel is dangerous. We need them alert and undistracted. ANNIE They already think he \u2019 s dead. VINCENT And they \u2019 d be devastated to find out they abandoned him alive. ANNIE You \u2019 re on board with this? VINCENT We have to protect the crew. There \u2019 s nothing they can do anyway. Let them deal with the emotional trauma when they \u2019 re not trapped in a spaceship. TEDDY How do we handle the public? ANNIE We have twenty-four hours before we \u2019 re required to release the pics. TEDDY We \u2019 ll need to release a statement with them. We don \u2019 t want people working it out on their own. ANNIE \u201c Dear America. Remember that astronaut we thought we killed and had a nice funeral for? Turns out he \u2019 s alive and we left him on Mars. Our bad. Sincerely, NASA. \u201d TEDDY -LRB- stands up -RRB- I need to get on a plane to Chicago. VINCENT -LRB- Why? Oh... -RRB- Mark \u2019 s parents. TEDDY -LRB- nods -RRB- They should hear it from me before it breaks on the news. ANNIE They \u2019 ll be happy to hear their son \u2019 s alive, at least. TEDDY He \u2019 s alive. But if my math is right, he \u2019 s gon na starve to death long before we can help him. -LRB- then -RRB- I \u2019 m not exactly looking forward to that conversation. Vincent \u2019 s eyes drift to the images of Mars. VINCENT Can you even imagine what he \u2019 s going through? He \u2019 s fifty million miles from home. He thinks he \u2019 s totally alone and that we all gave up on him. What kind of effect does that have on a man \u2019 s psychology? -LRB- then -RRB- What \u2019 s he thinking about right now?", "EXT. SPACE - MARS - TO ESTABLISH MARK -LRB- PRELAP -RRB- I \u2019 m gon na die up here...", "INT. HAB - DAY Mark stares directly into camera. MARK... if I have to listen to any more goddamn disco music. We now notice that Vicki Sue Robinson \u2019 s \u201c Turn the Beat Around \u201d is playing on the computer. MARK -LRB- CONT \u2019 D -RRB- Jesus, Commander Lewis, you couldn \u2019 t have packed anything from this century? -LRB- then -RRB- I \u2019 m not turning the beat around. I refuse to. CUT TO :", "INT. HAB - NIGHT Mark sits at his work station, checking A MAP of Mars while he makes calculations. TITLE : Sol 70 MARK -LRB- V.O. -RRB- It \u2019 s time to start thinking long term. The next NASA mission is Ares 4. It \u2019 s supposed to land at the Schiaparelli Crater, 3,200 km away. We see Mark trace a route from his position to the crater. MARK -LRB- V.O. -RRB- NASA presupplies each mission years in advance, so the MAV is already there, synthesizing fuel. In four years when the Hermes returns, I \u2019 ll have to launch from there. Which means I got ta get to the crater.", "EXT. HAB - DAY Quick cuts. Mark rips the ( VERY large ) battery out of Rover 1 and drags it over to Rover 2. Stares at it. Where am I gon na put this?", "INT. HAB - NIGHT Mark speaks directly to camera. MARK But here \u2019 s the rub. I \u2019 ve got two rovers designed to go a max distance of 35 kilometers before they need to be recharged at the Hab. That \u2019 s problem A. Problem B is it \u2019 ll take me... roughly fifty days to make the journey. So I have to be able to live for fifty days. Inside a rover with marginal life support the size of a small van. -LRB- MORE -RRB- MARK -LRB- CONT'D -RRB- And yeah, problem C is if I don \u2019 t figure out how to make contact with NASA in the first place, none of this matters anyway. So... yes, in the face of overwhelming odds, I am left with only one option : -LRB- then -RRB- I \u2019 m gon na have to science the shit out of this. MUSIC UP : The bouncing bass line of \u201c Rubberband Man \u201d by The Spinners carries us through --", "EXT. HAB - DAY -- Mark attaches the battery to Rover 2 with a makeshift harness.", "EXT. HAB - DUSK -- Mark sits behind the wheel of his wagon train. Takes it for a test drive. It \u2019 s not pretty, but the spare battery HOLDS. As do the solar cells.", "INT. ROVER - NIGHT Mark speaks to the camera. His teeth are chattering. MARK Okay, so... success? I \u2019 ve doubled my battery life by scavenging Rover 1. BUT. If I use the heater, it \u2019 ll eat up half my battery power every day. If I don \u2019 t use the heater, I will be slowly killed by the laws of thermodynamics. -LRB- tries to stop shaking -RRB- I \u2019 d like to solve this problem, but unfortunately my brain is frozen. Mark drives back towards the Hab.", "EXT. MARS - DAY Mark drives the Rover across Acidalia Planitia. IN THE DISTANCE : a GREEN FLAG is planted at the top of a hill. MARK -LRB- V.O. -RRB- Good news : I may have a solution to my heating problem. Mark climbs the hill. MARK -LRB- V.O. -RRB- Bad news : it involves me digging up the Radioisotope Thermoelectric Generator. Now, if I remember my training correctly, one of the lessons was titled, \u201c Don \u2019 t Dig Up The Big Box of Plutonium, Mark... \u201d Mark begins to dig up the big box of plutonium. MARK -LRB- V.O. -RRB- I get it. RTGs are good for spacecraft, but if they rupture around humans... no more humans. Which is why we buried it when we arrived. And planted that flag so we would never be stupid enough to accidentally go near it again. Mark unearths the RTG. It looks like a small missile. MARK But. As long as I don \u2019 t break it... -LRB- hesitates -RRB- I almost said \u201c everything will be fine \u201d out loud. My point is...", "INT. ROVER - DAY Mark talks to camera while he drives the rover. He \u2019 s covered in sweat. He even has his shirt off. MARK I \u2019 m not cold anymore. And yes, I could choose to think about the fact that I \u2019 m warm because I have a decaying radioactive isotope riding shotgun next to me, but right now I have bigger problems on my hands. I \u2019 ve scoured every single data file on Commander Lewis \u2019 personal drive, and this is officially the LEAST disco song she owns. Mark hits play on the computer. \u201c Hot Stuff \u201d by Donna Summer starts playing. It \u2019 s super disco-y. Mark drives, stone- faced, while it plays.", "EXT. MARS - DAY The rover heads towards the Hab in the distance, growing smaller and smaller in frame. Got ta have some HOT LOVE baby this evening... Hot hot hot hot... stuff...", "INT. NASA - PRESS ROOM - DAY SATELLITE IMAGERY : from above, Mark \u2019 s rover cuts across Mars. REPORTER 1 Where is Watney going? A CNN REPORTER conducts an interview with Vincent in the NASA MEDIA ROOM. Annie watches like a nervous stage mom. VINCENT We believe he \u2019 s preparing for a journey. He \u2019 s conducting incremental tests -- taking Rover 2 out for longer and longer trips each time. REPORTER 2 To what end? Why would he leave the relative safety of the Hab? VINCENT Communication. We believe he plans to travel to the Ares 4 launch site in order to make contact with us. But it would be a dangerous gamble. REPORTER 3 He \u2019 d be risking his life to talk to you? VINCENT -LRB- nods -RRB- This is the problem Mark faces. He \u2019 s alone. And he needs to make contact to survive. But if we could talk to him, we \u2019 d tell him to stay put. Mark needs to trust we \u2019 re doing everything in our power to bring him home alive.", "INT. NASA - DAY Venkat walks quickly down the halls with Annie... ANNIE Don \u2019 t say \u201c Bring him home alive. \u201d It reminds the world he might die. VENKAT You think people might forget that? ANNIE You asked how you did and I \u2019 m giving you my answer. My answer is \u201c Eh. \u201d And yes, I \u2019 m going to make everyone forget there \u2019 s a strong likelihood Mark Watney is going to die because that \u2019 s what you pay me for and unfortunately I need this job because I \u2019 m currently paying alimony to two deadbeat ex-husbands because somehow gender equality has bitten me square in the ass. VENKAT Hard to believe tha -- ANNIE I left them.", "INT. NASA - CONFERENCE ROOM - DAY Vincent and Annie enter just as the rest of the Department Heads are settling for the meeting. Teddy glances up -- TEDDY Don \u2019 t say \u201c Bring him home alive, \u201d Vincent. VINCENT You know, these interviews aren \u2019 t easy. God forbid I try to say something proactive and positive. TEDDY Annie... ANNIE No more Vincent on television. Copy that. Vincent starts to muster an \u201c are you kidding me? \u201d as Mindy passes out a brief to the department heads. TEDDY Seventy-six kilometers. Am I reading that right? Nobody \u2019 s quite sure who Teddy is asking. MINDY Are you asking me? TEDDY I am. MINDY Yes, sir. Mark drove straight away from the Hab for almost two hours, did a short EVA, then drove for another two. We think the EVA was to change batteries. A man who seems to embody the word \u201c gruff \u201d stares at Mindy over his brief. Who is this kid? GRUFF MAN Are we doing a daddy/daughter thing today? Where \u2019 s the Director of SatCon? TITLE : MITCH HENDERSON, Hermes Flight Director, NASA VINCENT Ms. Park is the person who figured out Mark was alive in the first place. She \u2019 s in charge of tracking him now. TEDDY Quit being a dick, Mitch. Where \u2019 s Mark going? Is this another test? MINDY He \u2019 s seventy-six kilometers away from the Hab. If it \u2019 s a test and it doesn \u2019 t work... he \u2019 s dead. TEDDY He didn \u2019 t load up the Oxygenator or the Water Reclaimer? MINDY I didn \u2019 t see that happen, no sir. TEDDY You didn \u2019 t see it? MINDY Every forty-one hours, we have a seventeen minute gap. It \u2019 s just the way the orbits work. So... it \u2019 s possible we missed something. TEDDY I want that gap down to four minutes. I \u2019 m giving you total authority over satellite trajectories and orbital adjustments. Make it happen. MINDY -LRB- um... -RRB- Okay. TEDDY Let \u2019 s assume Ms. Park didn \u2019 t miss something, so Mark \u2019 s not going to Ares 4. Yet. But he \u2019 s smart enough to figure out that \u2019 s his only chance. Bruce, what \u2019 s the earliest we could get a presupply there? Teddy looks to the brilliant-but-constantly-harried man skyping in on the computer screens. TITLE : BRUCE NG, Director, Jet Propulsion Laboratory. BRUCE With the positions of Earth and Mars, it \u2019 ll take nine months. And it \u2019 ll take us six months to build it in the first place. TEDDY Three months. -LRB- off Bruce -RRB- You \u2019 re gon na say that \u2019 s impossible, then I \u2019 m gon na give a speech about the blinding capabilities of the JPL team. And then you \u2019 ll do the math in your head and say something like \u201c The overtime alone will be a nightmare. \u201d BRUCE -LRB- oh god I didn \u2019 t even think of that ) The overtime will be a nightmare. TEDDY Get started. I \u2019 ll find you the money. MITCH It \u2019 s time to tell the crew. VINCENT Mitch, we discussed this. MITCH You discussed this. But I \u2019 m the one who decides what \u2019 s best for the crew. They deserve to know. TEDDY Sorry, Mitch. I \u2019 m with Vincent. They need to concentrate on getting home. MITCH Bullshit. TEDDY Once we have a real rescue plan, we \u2019 ll tell them. Otherwise it \u2019 s moot. Bruce has three months to get the payload done. That \u2019 s all that matters right now. BRUCE We \u2019 ll do our best. TEDDY Mark dies if you don \u2019 t.", "INT. HAB - NIGHT The Hab has been TRANSFORMED into a makeshift GREENHOUSE. Plants sprout everywhere. Mark uproots some of the potatoes, cuts them in pieces. Replants them. TITLE : Sol 79 MARK -LRB- V.O. -RRB- It \u2019 s been 48 sols since I planted the potatoes, so now its time to reap and re- sow. They grew even better than I expected. I now have 400 healthy potato plants. The smaller ones I \u2019 ll re-seed. The larger ones are my food supply. All natural, organic, Martian-grown potatoes. You don \u2019 t hear that every day, do you? -LRB- then -RRB- But, by the way, none of this matters, at all, if I don \u2019 t figure out how to make contact with NASA...", "INT. HAB - NIGHT Back to work. Mark sits at the table, studies his maps. He can \u2019 t crack the problem. C \u2019 mon, Mark, think... Then it hits him. He zooms in on the map. We catch a glimpse of two words : \u201c Chryse Planitia. \u201d Mark leaps from his chair. Studies the map up close. He nods. Whispers to himself. Okay... MARK I know what I \u2019 m gon na do.", "INT. NASA - MISSION CONTROL - NIGHT SATELLITE VIEW : Mark \u2019 s Rover 2 cuts through Mars. MINDY He \u2019 s on the move again -- Vincent huddles over Mindy \u2019 s screen. VINCENT Where the hell is he going? He hasn \u2019 t changed course in thirteen days. And he \u2019 s nowhere near course for Ares 4... MINDY Unless he \u2019 s not taking a direct route. Maybe he \u2019 s trying to avoid some obstacle... VINCENT What obstacle? It \u2019 s Acidalia Planitia. There \u2019 s nothing out there but -- Vincent stops short. Mindy looks at him : what? VINCENT -LRB- CONT \u2019 D -RRB- I need a map. Vincent bolts away. Mindy follows.", "INT. NASA - BREAKROOM - NIGHT Vincent hurries into the employee break room. A lone TECHNICIAN sits, sipping coffee. ON THE BACK WALL : a large poster of Mars ( the type they sell in gift shops. ) Vincent rips the poster off the wall. TECHNICIAN Hey -- c \u2019 mon -- VINCENT I \u2019 ll buy you a new one. -LRB- to Mindy -RRB- What \u2019 s the Hab \u2019 s location? MINDY 31.2 degrees north, 28.5 degrees west. Vincent marks it off on the map with a sharpie. Draws Mark \u2019 s location. He needs a ruler. Looks around, grabs the Technician \u2019 s notebook out of his hands. Uses the spine to connect the dots. Studies it. Grins. VINCENT I know where he \u2019 s going. Vincent, lost in his own world now, bolts for his office. As he hurries away ( leaving Mindy and the Technician behind ) : VINCENT -LRB- CONT \u2019 D -RRB- I need to get on an airplane! TECHNICIAN Who \u2019 s he talking to? MINDY I \u2019 m honestly not sure.", "EXT. MARS - DAY Mark \u2019 s Rover 2 crests a hill, approaching HIS DESTINATION : There, buried in a mound of Martian sand, we catch a glint of metal in the sunlight. As Mark drives towards it...", "INT. JPL LOBBY - DAY Bruce waits in the lobby as Vincent walks through the front doors. TITLE : Jet Propulsion Laboratory, Pasadena, California They shake hands.", "INT/EXT. JPL STORAGE - DAY Bruce and Vincent hurry across the JPL campus. In the background, deer frolic. ( NOTE : This is real. Deer frolic out in the open on the JPL grounds. NOTE : It \u2019 s awesome. ) VINCENT What are the odds Mark can get it working again? BRUCE Hard to say. We lost contact in \u2018 97. We think it was battery failure. -LRB- then -RRB- Though I \u2019 d like to point out it lasted three times longer than expected in any scenario. VINCENT Nobody \u2019 s criticizing JPL \u2019 s work, Bruce. I want talk to everyone who was here in \u2018 97. BRUCE They \u2019 re already waiting for you.", "EXT. MARS - DAY Mark, on foot now, digs at the location. As he begins to reveal the buried metal...", "INT. JPL - GARAGE Vincent and Bruce enter the cavernous JPL garage. A large crowd mills around an APPARATUS covered by a sheet. VINCENT This the replica? Bruce nods, pulls off the sheet to reveal... VINCENT -LRB- CONT \u2019 D -RRB- Pathfinder. The American spacecraft launched in 1996. It \u2019 s in two notable sections -- the large LANDER and the smaller SOJOURNER ROVER. Vincent \u2019 s eyes gleam as he stares at the craft.", "EXT. MARS - DAY Mark has now uncovered Pathfinder. He stares at it with a similar gleam in his eye. Then he drags the Lander to the back of Rover 2, begins lashing it to a makeshift hitch... TITLE : Sol 109", "EXT. HAB - DAY Sojourner now sits beside the workbench outside the Hab, watching as Mark methodically takes apart the Lander. It looks like he \u2019 s been at this a while. He removes the battery, replaces it with an environment heater. Like a surgeon performing a heart transplant. He locks the heater into place, and as it CLICKS we -- CUT TO BLACK.", "INT. JPL GARAGE - DAY Titles ( s ) PATHFINDER LOG : SOL 0 BOOT SEQUENCE INITIATED TIME 00:00:00 LOADING OS... PERFORMING HARDWARE CHECK... INT TEMPERATURE : - 34C, EXT TEMPERATURE : NONFUNCTIONAL, BATTERY : FULL, HIGAIN : Okay, LOGAIN : Okay, METEOROLOGY : NONFUNCTIONAL, SOLAR A : NONFUNCTIONAL, SOLAR B : NONFUNCTIONAL, SOLAR C : NONFUNCTIONAL, HARDWARE CHECK COMPLETE THEN : BROADCASTING STATUS LISTENING FOR TELEMETRY SIGNAL... LISTENING FOR TELEMETRY SIGNAL... LISTENING FOR TELEMETRY SIGNAL... THEN : SIGNAL ACQUIRED. INT. JPL GARAGE - DAY Vincent, Bruce, and the JPL team see the words come up on the main screen. The room begins to BUZZ...", "EXT. HAB - DAY Mark stares at the high gain antenna on the Lander. It starts to MOVE... angling towards Earth. Mark begins to dance.", "INT. JPL GARAGE - DAY Vincent and Bruce cluster around the station of TIM GRIMES. TIM As soon as I received the high-gain response, I directed Pathfinder to take a panoramic image. VINCENT Have you received it yet? TIM Yes, but I thought we would all rather look at this black screen instead of a vibrant red planet. BRUCE -LRB- off Vincent \u2019 s look -RRB- Tim is our finest comm tech, and we all appreciate his acerbic wit. Bruce mouths \u201c I will fire you \u201d to Tim. TIM Incoming. ON THE SCREENS : the panoramic starts to appear, one vertical stripe at a time. VINCENT Martian surface... more surface... BRUCE There \u2019 s the Hab! VINCENT What \u2019 s that? VINCENT -LRB- CONT \u2019 D -RRB- \u201c I \u2019 ll write messages here. Are you receiving? \u201d The image reveals a handwritten note, posted on a metal rod. The image reveals two more notes, spaced a few feet apart. VINCENT -LRB- CONT \u2019 D -RRB- \u201c Point here for yes. \u201d \u201c Point here for no. \u201d TIM Thirty-two minute round trip communications time. He can only ask yes/no questions, and all we can do is point the camera. This won \u2019 t exactly be an Algonquin round table of snappy repartee. BRUCE Tim. TIM Roger that. Pointing the camera...", "EXT. MARS - DAY Mark watches as the camera moves towards one of his notes. We ANGLE IN on the paper, focusing on one word in particular : \u201c YES. \u201d MARK -LRB- PRELAP -RRB- So here \u2019 s the rub...", "INT. HAB - DAY Mark addresses camera. MARK Somehow, we need to have complex astrophysical engineering conversations using only a still-frame camera. From 1996. Luckily, the camera spins 360, so I can make an alphabet. I just can \u2019 t use our alphabet. Twenty-six letters plus question card into 360 gives us 13 degrees of arc. Too narrow. I wouldn \u2019 t know what the camera was pointing at. So. Hexadecimals to the rescue...", "EXT. HAB - DAY Mark methodically sets up cards marked \u201c A-F \u201d and \u201c 0-9 \u201d in a circle around the camera. MARK -LRB- V.O. -RRB- I figured one of you guys kept an ASCII table somewhere...", "INT. HAB - DAY Mark sits in Johanssen \u2019 s bunk. Scrolling through her laptop. MARK -LRB- V.O. -RRB- Ladies and Gentlemen, I give you supernerd Beth Johanssen, who also had copies of Zork 2 and Leather Goddesses of Phobos on her laptop. Seriously, Johanssen... it \u2019 s like the Smithsonian of loneliness on there...", "INT. JPL GARAGE - DAY Tim consults an ASCII chart as he points the camera...", "EXT. HAB - DAY The camera swings from card to card... MARK -LRB- V.O. -RRB- Not that I \u2019 m complaining.", "INT. HAB - DAY Mark translates the numbers with his ASCII table : \u201c HOW ALIVE \u201d Mark ponders the question. Begins writing his response.", "INT. JPL GARAGE - NIGHT \u201c Impaled by antenna. Bio-monitor destroyed. Crew had reason to think me dead. Not their fault. \u201d", "INT. ROVER - NIGHT Mark inputs the code into the rover \u2019 s computer. WATNEY -LRB- V.O. -RRB- Now that we can have more complicated conversations, the smart people at NASA have sent me instructions on how to hack the rover so that it can talk to Pathfinder. If I hack a tiny bit of code, just twenty instructions in the Rover \u2019 s operating system, NASA can link the rover to Pathfinder \u2019 s broadcasting frequency... and we \u2019 re in business. Mark waits patiently at the computer. Text pops up on Mark \u2019 s screen. As he reads : VENKAT -LRB- V.O. -RRB- \u201c Mark, this is Vincent Kapoor...", "INT. JPL - GARAGE - NIGHT Vincent and Bruce huddle around Tim \u2019 s console while Vincent dictates and Tim types. VINCENT We \u2019 ve been watching you since Sol 54...", "INT. NASA - MISSION CONTROL - NIGHT Teddy, Mitch, Annie, and the rest of the team watch Vincent \u2019 s text cross the screen. VINCENT -LRB- V.O. -RRB- \u201c The whole world is rooting for you. Amazing job, getting Pathfinder. We \u2019 re working on rescue plans. Meantime... \u201d", "INT. ROVER - NIGHT Mark reads the text. His first human contact in quite some time. VINCENT -LRB- V.O. -RRB- \u201c We \u2019 re putting together a supply mission to keep you fed until Ares 4 arrives. \u201d", "INT. JPL GARAGE - NIGHT Vincent and Bruce huddle around Tim \u2019 s console. TIM -LRB- reading -RRB- \u201c Glad to hear it. Really looking forward to not dying. \u201d Everyone laughs, cheers. Tim notices there \u2019 s more... TIM -LRB- CONT \u2019 D -RRB- \u201c How \u2019 s the crew? What did they say when they found out I was alive? \u201d Vincent and Bruce share a glance. Vincent thinks about it. BRUCE Tell him. Hm. Tell him...", "INT. ROVER - NIGHT Mark watches the text pop up onscreen : VINCENT -LRB- V.O. -RRB- \u201c We haven \u2019 t told the crew you \u2019 re alive yet. We need them to concentrate on the mission. \u201d", "INT. JPL GARAGE - NIGHT The whole room waits patiently. Tim reads the response. TIM He says... \u201c They don \u2019 t know I \u2019 m alive? What the -- \u201d -LRB- hesitates -RRB- \u201c What the... f-word... f-word in gerund form... f-word again... is wrong with you... f-words. \u201d VINCENT Mark, please watch your language...", "INT. ROVER - NIGHT Mark reads the response. VINCENT -LRB- V.O. -RRB- Everything you type is being broadcast live all over the world. Mark \u2019 s eyes narrow as he types his response. Hits ENTER.", "INT. JPL GARAGE - NIGHT The group reads Mark \u2019 s response. They go PALE. Oh, Jesus. Vincent hangs his head. Tim tries not to smile and fails.", "INT. NASA - TEDDY\u2019S OFFICE - NIGHT Teddy is on the phone as Mitch approaches. TEDDY -LRB- INTO PHONE -RRB- Yes sir... he \u2019 s under a tremendous amount of stress... I understand. We \u2019 re working on it. Thank you, sir. Teddy hangs up. Glances at Mitch. TEDDY -LRB- CONT \u2019 D -RRB- I just had to explain to the President of the United States what a \u201c bureaucratic felcher \u201d is. MITCH I made the mistake of typing it into Google. -LRB- off Teddy \u2019 s look -RRB- Don \u2019 t. -LRB- then -RRB- Problem is, Mark \u2019 s right. This is only gon na get worse the longer we wait. We need to tell the crew. TEDDY You \u2019 re bringing this up while Vincent \u2019 s in Pasadena so he can \u2019 t argue the other side. MITCH I shouldn \u2019 t have to clear this with you or Vincent or anyone else. -LRB- then -RRB- It \u2019 s time, Teddy. Teddy thinks about it.", "EXT. HERMES - PRESENT - SPACE THE HERMES : the massive spacecraft makes its way through space on its long journey back to Earth. TITLE : Four Months Since Mars Departure We ANGLE towards one of the windows to FIND COMMANDER LEWIS staring out at the starfield... JOHANSSEN -LRB- O.S. -RRB- Commander Lewis...", "INT. HERMES - FLIGHT DECK - SPACE Lewis is alone, in a secluded section of the ship. She keys the console. LEWIS Go ahead. JOHANSSEN -LRB- OVER RADIO -RRB- Data dump is almost complete. LEWIS Copy. Coming to you.", "INT. HERMES - CORRIDOR - SPACE Lewis floats towards the Semicone-A ladder. MARTINEZ beats her there. As he floats up the ladder... LEWIS You \u2019 re in a hurry. MARTINEZ My son turned three yesterday. Should be some pics of the party. As they make their way down the ladder, the centripetal force from the rotating craft creates artificial gravity. Halfway down, they have to use their hands on the ladder...", "INT. HERMES - REC ROOM - SPACE Lewis and Martinez enter the Rec Room. The others are already there -- the data dump is the highlight of the day. JOHANSSEN All right, we \u2019 ve got a batch of personals. Dispatching them to your laptops... I don \u2019 t need to read Vogel \u2019 s weird German fetish emails... VOGEL They are telemetry updates. JOHANSSEN Whatever does it for you. We \u2019 ve got a system update, I \u2019 ll take care of that, and... huh. There \u2019 s a voice message. Addressed to the whole crew. LEWIS -LRB- shrugs -RRB- Play it. Johanssen opens the message. Hits play. MITCH -LRB- MESSAGE -RRB- Hermes, this is Mitch Henderson. I have some news. There \u2019 s no subtle way to put this : Mark Watney is still alive. The news hits the crew like a freight train. MITCH -LRB- MESSAGE -RRB- -LRB- CONT \u2019 D -RRB- I know that \u2019 s a surprise. And I know you \u2019 ll have a lot of questions. Here are the basics : he \u2019 s alive and healthy. We found out two months ago and decided not to tell you. I was strongly against that decision. We \u2019 re telling you now because we finally have communication with him and a viable rescue plan. We \u2019 ll get you a full write up of what happened, but it \u2019 s not your fault. Mark stresses that every time it comes up. Take some time to absorb this. Your science schedules are cleared for tomorrow. Send all the questions you want and we \u2019 ll answer them. Henderson out. For a moment the group sits in stunned silence. MARTINEZ He... He \u2019 s alive? Vogel cracks a smile. VOGEL Watney lives. Beck starts to laugh. Relief pouring out of him. BECK Holy shit. Commander! He \u2019 s alive! But Lewis is still in shock. Her words barely a whisper : LEWIS I left him behind. JOHANSSEN Commander... it wasn \u2019 t... BECK We all left together. LEWIS You were following orders. -LRB- then -RRB- I left him behind. The group trades glances, but nobody knows what to say. Without another word, Lewis turns and exits the room.", "EXT. MARS - SPACE - TO ESTABLISH TITLE : Sol 128", "INT. HAB - DAY Mark removes water from the water reclaimer. Goes down the rows of plants, watering one by one. MARK -LRB- PRELAP -RRB- Now that NASA can talk to me, they won \u2019 t shut up...", "INT. HAB - DAY Mark talks to camera. MARK They \u2019 ve got a room full of people trying to micromanage my crops. Which is awesome. Look, I don \u2019 t mean to sound arrogant here, but I \u2019 m the best botanist on the planet. So. Mark adjusts the camera to show more of the lab. We see the lush greenery of the potato plants EVERYWHERE. MARK -LRB- CONT \u2019 D -RRB- In other news, there \u2019 s been a request for me to pose for a picture on the next transmission. I \u2019 m debating between \u201c High School Senior... \u201d Mark leans one elbow against an imaginary pillar and hooks his other thumb on his imaginary belt loops. MARK -LRB- CONT \u2019 D -RRB- And \u201c Coquettish Ingenue... \u201d Mark turns his back to camera, looks at us over his shoulder, and bites on his thumb suggestively. MARK -LRB- CONT \u2019 D -RRB- But I \u2019 m not sure how that will translate with the spacesuit on. -LRB- then -RRB- One big bonus of this NASA communication : Email! Just like the days on the Hermes, I get data dumps. Not just friends and family, but NASA also sends choice messages from the public. Rock stars, athletes, even The President. The coolest one is from my alma mater, the University of Chicago. They say once you grow crops somewhere, you have officially \u201c colonized \u201d it. So, technically, I colonized Mars. -LRB- then -RRB- In your face, Neil Armstrong. MUSIC UP : \u201c Right Back Where We Started From \u201d by Maxine Nightingale takes us into... EXT. HAB - DAY -- Mark stands outside in his suit. Positions himself in front of the camera. Holds up a notecard. We \u2019 re behind him, we don \u2019 t see what the notecard says. As he poses -- CUT TO :", "INT. NASA - CONFERENCE ROOM - DAY Annie tosses a photo on the conference room table : Mark, in his spacesuit, gives the camera a big thumbs-up. He holds up a note that says, \u201c Ayyyyyyy! \u201d ANNIE I ask for a picture and I get the goddamn Fonz? Vincent and Bruce are both on monitors from JPL. VINCENT -LRB- ONSCREEN -RRB- Just be grateful you got something, Annie. ANNIE It \u2019 s not gon na work. I need something with less-Happy-Days and more... Mark \u2019 s face. VINCENT -LRB- ONSCREEN -RRB- I could tell him to take his helmet off, but then he \u2019 d, you know, die. TEDDY Let \u2019 s release the photo when we detail the rescue operation. I want to announce we \u2019 re launching some supplies to him next year during the Hohmann Transfer window. VINCENT -LRB- ONSCREEN -RRB- I \u2019 m on a plane to you this afternoon. We \u2019 ll have the release ready. TEDDY Good, but Annie will handle camera appearances. Vincent gives a look that says \u201c Et tu, Teddy? \u201d TEDDY -LRB- CONT \u2019 D -RRB- Bruce, is your team still on schedule? BRUCE -LRB- ONSCREEN -RRB- It \u2019 ll be tight. But we \u2019 ll make it. TEDDY Nine-month travel time, that puts the probe to Mars on Sol 868. Did we get the Botany Team \u2019 s analysis? VINCENT -LRB- ONSCREEN -RRB- They estimate Mark \u2019 s crops will last him until Sol 912. They grudgingly admit Mark is doing great work. MITCH Grudgingly? VINCENT -LRB- ONSCREEN -RRB- Mark has a tendency to tell them to have sex with themselves whenever they question one of his decisions. TEDDY Get him in line, Vincent. We can \u2019 t afford any miscommunication. I hate this margin. 912 sols worth of food. We get there on 868. And that \u2019 s assuming nothing goes wrong... EXT/ INT. HAB AIRLOCK - DUSK Mark finishes putting on his spacesuit. Snaps his helmet into place. Grabs his toolkit. Mark steps into the airlock. Closes the door behind him. As he does, we begin ANGLING towards the carbon-thread canvas lining the side of the airlock. As the depressurization process begins, the canvas starts to STRETCH... And the sheet RIPS. The Hab breaches. In one-tenth of a second, the tear travels the length of the airlock -- The full force of the Hab \u2019 s atmosphere rushes through the breach... KAAAA-BOOOOM! The airlock ( with Mark in it ) is LAUNCHED LIKE A CANNONBALL. It flies forty meters through the air --", "INT. HAB - DUSK QUICK SLO-MO SHOT as the crops inside the HAB are DESTROYED in the depressurization.", "INT/EXT. AIRLOCK - DUSK RAMP to regular speed -- WHAM! The airlock hits the hillside -- Mark \u2019 s body SLAMS into the wall -- his faceplate SHATTERS -- the airlock FLIPS and TUMBLES down the hill. Mark is tossed around inside like a ragdoll in a washing machine. The airlock rolls another fifteen meters... And comes to a stop.", "INT. AIRLOCK - DUSK Panicked breaths. Ringing ears. Mark struggles to stay conscious. His head bleeding. Jesus Christ. What just happened? He looks through the window. Sees the collapsed Hab. The debris of ruined equipment scattering the field between them. Psssssshhhhhhhh... Mark wipes the blood from his brow, rolls to his knees. Struggles out of his suit. Checks his wounds. He \u2019 s alive. Psssssshhhhhhhh... What the hell is that sound? Air. The airlock is leaking. Mark \u2019 s heart starts to pound. He searches frantically for the leak, checking every seam, every inch of fabric... Psssssshhhhhhhh... Mark checks his arm computer. Oxygen flow steady. This will keep him alive. For now. But he has to find that leak... Think, Watney. How do you find an invisible leak? He does an inventory. He has his toolkit. He has the patch kit from his suit. Think, Watney... It hits him. He pulls the knife out of the toolkit... And cuts his own hair. He hacks a chunk clean out of it. Holds the loose hair tight. Then he goes back to the arm computer. BOOSTS the oxygen flow. Now, all I need is a spark... Yanks the WIRES from the power generator free. Strips the casing. Here goes nothing... He holds the wires in the oxygen flow, rubs them together to create a SPARK. WHOOSH. He lights the hair on fire, creating the key to his plan : SMOKE. Mark holds his breath. Watches the smoke wisp and curl towards the floor... Heading right through the microscopic TEAR in the fabric. Mark grins. I \u2019 ve got you. Goes back to the toolkit. Finds that old stalwart of every NASA space mission : Duct tape. He tears a piece free. Seals the hole. The hissing stops. Mark breathes. Okay... Now what? CUT TO : Mark cuts off one of the arms from his EVA suit. Cuts it into one square piece. Opens the patch kit. Works fast to glue the square over the area where the faceplate used to be. Then glues the arm-hole shut. CUT TO : WHAM! Mark slams his back into the airlock wall, hitting it with enough force so that... The airlock ROLLS. It \u2019 s clumsy -- like rolling a phone booth from inside -- but it works. The airlock rolls a little less than a meter. Mark takes a breath. Girds himself to do it again...", "INT/EXT. AIRLOCK/HAB - NIGHT The airlock has traveled the fifty meters so that it \u2019 s now close to the Hab. Mark exits the airlock. He \u2019 s wearing the patched-up suit. Which means his faceplate is completely covered with fabric, and he only has one arm free. He points the free arm in front of him and begins to walk. INSIDE THE SUIT : Mark is using the camera in his arm computer to navigate. The camera projects an image onto the inside of the faceplate. Which is now fabric. It \u2019 s crude, but it \u2019 ll work. MARK \u2019 S POV : Mark hurries through the rip in the airlock. Stumbles through the deflated Hab, past the mess of debris, heading for the bunk. Finds what he \u2019 s looking for... Martinez \u2019 SUIT.", "INT. HAB - NIGHT Mark stands in the center of the Hab. We finally get a good look at it. And it \u2019 s A MESS. Equipment overturned, debris everywhere. But the worst part? Mark \u2019 s crops are RUINED. Mark stares at the disaster of frozen soil and uprooted plants. All his work. His lifeline. Destroyed. He stares at the mess for a long time. Then he begins to clean it up.", "INT. ROVER - NIGHT Mark sits at the keypad. Takes a moment to compose his words. God, how do I explain this? As he begins to type... VINCENT -LRB- PRELAP -RRB- The crops are dead...", "INT. NASA - CONFERENCE ROOM - NIGHT Vincent, Teddy, Annie and a team of others study the analysis reports. Mood is somber. VINCENT Complete loss of pressure boiled off most of the water. Any bacteria that survived, died in the sub-zero temperatures when exposed to Mars \u2019 atmosphere. ANNIE How long does he have? VINCENT He can still eat the potatoes he has, he just can \u2019 t grow any more. We estimate they \u2019 ll give him about 200 sols. TEDDY And rations get him to what? Sol 409? VINCENT -LRB- nods -RRB- So with potatoes he can stretch to 609. ANNIE By Sol 868 he \u2019 ll be long dead. TEDDY We \u2019 re gon na have to launch as soon as possible. Which changes our travel time. MITCH We \u2019 re working on it. Prelim estimates call for a four-hundred fourteen day trip. TEDDY -LRB- does math -RRB- It \u2019 s Sol 135 now. We need thirteen days to mount the boosters and perform inspections. Which gives Bruce and his team... -LRB- fuck -RRB- Forty-seven days to make this probe. ANNIE How long does it normally take? VINCENT Six months. Minimum. TEDDY I \u2019 m gon na let you call Bruce and give him the news.", "INT. JPL BULLPEN - NIGHT Bruce and his team sit around a speakerphone. They \u2019 ve just hung up with Vincent. Everyone looks suitably SHELLSHOCKED. BRUCE Okay. -LRB- long pause -RRB- Okay. Everyone is at a loss for words. You might as well have told this team they have to build a unicorn. BRUCE -LRB- CONT \u2019 D -RRB- I \u2019 m, uh... I \u2019 m gon na need a change of clothes. We \u2019 re all gon na need a change of clothes.", "EXT. HERMES - SPACE The Hermes continues on its course back to Earth. TITLE : Sol 136 MARTINEZ -LRB- PRELAP -RRB- \u201c Dear Mark... \u201d", "INT. HERMES REC ROOM - SPACE Martinez types at his terminal. MARTINEZ -LRB- V.O. -RRB- \u201c Apparently, NASA \u2019 s letting us talk to you now, and I drew the short straw. Sorry we left you behind on Mars, but we don \u2019 t like you. \u201d", "INT. ROVER - NIGHT Mark reads his email. MARTINEZ -LRB- V.O. -RRB- \u201c Also, it \u2019 s a lot roomier on the Hermes without you. We have to take turns doing your tasks, but it \u2019 s only botany ( not real science. ) How \u2019 s Mars? \u201d Mark types his response. MARK -LRB- V.O. -RRB- \u201c Dear Martinez, Mars is fine. I accidentally blew up the Hab, but unfortunately all of Commander Lewis \u2019 disco music still survived. \u201d", "INT. HERMES REC ROOM - SPACE Martinez reads Mark \u2019 s response. MARTINEZ \u201c How \u2019 s the Hermes? Cramped and claustrophobic? Every day I go outside and look at the vast horizons just because I can. \u201d -LRB- then -RRB- \u201c Tell the others I said hello. \u201d Martinez types. We see his response on his screen : \u201c Will do. \u201d", "EXT. HAB - DAY Back to work. No choice. Mark clears the detritus from inside the Hab. Stares at the hole in the airlock.", "INT./EXT. HAB - DAY Mark covers the hole with Hab canvas. Begins strapping it in place with duct tape. Doubles up the tape in a circular pattern. Studies his work. It \u2019 s not pretty, but with a little luck... Mark repressurizes the Hab. Watches the canvas stretch as the pressure equalizes. He holds his breath... The canvas holds.", "INT. HAB - NIGHT Mark takes inventory of his remaining potatoes. Outside, gusts of wind slam the canvas. Mark tries to stay focused on the matter at hand. Tries not to think about the fact that his life is currently held together by duct tape. Keep working, Mark...", "INT. JPL - RICH\u2019S OFFICE - NIGHT A man sleeps in his office, half-on and half-off his small love seat. He snores ever-so-slightly. TITLE : RICH PURNELL, ASTRODYNAMICS, NASA On his computer screen, we see orbital computations running. Vectors between Earth and Mars cycle over and over. VOICE -LRB- O.S. -RRB- Rich? MIKE WATKINS pokes his head in Rich \u2019 s office. Rich stirs. MIKE Rich? Wake up. Sorry, they \u2019 re asking for the probe courses. RICH What time is it? MIKE 3:42. Rich nods. Grabs the old cup of coffee from his end table. Takes a big drink. His face registers shock. He opens his mouth and lets the coffee fall directly on the floor. MIKE -LRB- CONT \u2019 D -RRB- I know we \u2019 re coming at this backwards, but we can \u2019 t commit to a firm launch date with this many unknowns. RICH It \u2019 s all right. All twenty-five models will take four-hundred fourteen days to reach Mars. They vary only slightly in thrust duration, and the fuel requirement is nearly identical. MIKE -LRB- looking at Rich \u2019 s calculations ) Four-hundred fourteen days. Not an ideal time to launch, is it? RICH Earth and Mars are really badly positioned. Heck, it \u2019 s almost easier to... Rich trails off. MIKE Almost easier to what? RICH -LRB- lost in his head -RRB- I need more coffee... MIKE Almost easier to what? Rich walks out of the room. MIKE -LRB- CONT \u2019 D -RRB- You understand I \u2019 m your boss, right?", "INT. NASA - MISSION CONTROL - DAY Vincent dictates a message to Mark. Mindy types while he talks. VINCENT \u201c... the probe will take 414 days to reach you, and will deliver enough food to last you to Ares 4. \u201d MINDY Tell him about the name. VINCENT \u201c We \u2019 ve officially named the probe \u2018 Iris \u2019... \u201d", "INT. ROVER - DAY Mark reads the message in the Rover. VINCENT -LRB- V.O. -RRB- \u201c After the Greek goddess who traveled the heavens with the speed of wind. Among other things, she \u2019 s also the goddess of rainbows. \u201d Mark types his response...", "INT. NASA - MISSION CONTROL - DAY Mindy reads Mark \u2019 s response on his screen as Vincent waits. Mindy suppresses a smile, throws it up on the main screens : \u201c Gay probe coming to save me. Got it. \u201d", "INT. NASA - CONFERENCE ROOM - DAY Teddy addresses the group from the head of the table. TEDDY Okay, let \u2019 s ask the... -LRB- consults his files -RRB- Two hundred million dollar... sorry, five hundred... That \u2019 s a \u201c five? \u201d -LRB- off their looks -RRB- Let \u2019 s ask the very, very expensive question : is this probe gon na be ready on time? Bruce looks noticeably more exhausted than everyone else. BRUCE We \u2019 re behind. TEDDY Give me a number. BRUCE Fifteen days. If I had another fifteen days, I could get it done. TEDDY All right, let \u2019 s create fifteen days. Thirteen days to mount the probe. Can we reduce? VINCENT It... actually only takes three days to mount it. We can get that down to two. But the other ten are for testing and inspections. TEDDY How often do those inspections reveal a problem? The room goes silent. Everyone trades nervous glances. MITCH Are you suggesting we don \u2019 t do the inspections? TEDDY Right now I \u2019 m asking how often they reveal a problem. VINCENT About one in twenty launches. But that \u2019 s grounds for a countdown halt. We can \u2019 t take that chance. TEDDY Anyone else know a safer way to buy more time? Nobody does. TEDDY -LRB- CONT \u2019 D -RRB- Tell Dr. Keller to stretch Watney \u2019 s rations four more days. She won \u2019 t like it, but that \u2019 ll get us to fifteen. And we \u2019 ll cancel the inspections. VINCENT Teddy... TEDDY It \u2019 s on me, Vincent. -LRB- to Bruce -RRB- You \u2019 ve got your two weeks. Get it done.", "INT. HAB - DAY Mark sits at the table. A ration pack and two potatoes in front of him. He talks to camera. He looks depressed. TITLE : Sol 154 MARK So. I have to hold out until the probe gets here with more food. And this is what \u201c minimal calorie count \u201d looks like. -LRB- holds up the pack -RRB- Standard issue ration. But instead of three every one day, I \u2019 m now eating one every three days. -LRB- opens pack -RRB- Oh good. Meatloaf. He divides the meatloaf into thirds. Sets the majority aside. Focuses on what \u2019 s left. Which is pathetic. MARK -LRB- CONT \u2019 D -RRB- This is today \u2019 s allotment. Which I will supplement with potatoes. Which I am beginning to hate with the fiery passion of a thousand suns. And now I \u2019 ve been told to do this. Mark hacks off even more of the meager ration and half of a potato and sets that aside. There \u2019 s barely anything left. MARK -LRB- CONT \u2019 D -RRB- The point is, \u201c Stretch the rations four more days \u201d is a real dick-punch. There are also two pills on the table. Mark crushes them. MARK -LRB- CONT \u2019 D -RRB- I \u2019 m dipping this potato in Vicodin and there \u2019 s nothing anyone can do about it.", "EXT. CAPE CANAVERAL - DAY The IRIS PROBE, now mounted on the booster, is readied for launch. WATER VAPOR clouds the launchpad. The final SUPPLIES are loaded into the probe.", "INT. NASA - MISSION CONTROL - DAY Full house. Mitch presides over the room, in his element. MITCH Do you believe in God, Vincent? VINCENT Several. My mother \u2019 s Catholic and my father \u2019 s Hindu. MITCH We \u2019 ll take all the help we can get. Mitch puts on his headset. MITCH -LRB- CONT \u2019 D -RRB- This is the Flight Director. Begin Launch Status Check. LAUNCH CONTROL -LRB- OVER COMMS -RRB- Roger that, Houston... And as Mitch runs through the status check...", "INT. NASA - MISSION CONTROL - DAY Teddy watches the countdown clock from the observation room. He looks over what appears to be a SPEECH. We catch a few words, including, \u201c... successful launch... \u201d Teddy closes the speech in a BLUE FOLDER. As the clock approaches 00:00:15.... MITCH -LRB- ON THE FLOOR -RRB- This is Flight. We are go for launch on schedule. TIMER CONTROLLER -LRB- V.O. -RRB- 10... 9... ON THE FLOOR : Vincent leans against the wall. Deep breath. TIMER CONTROLLER -LRB- V.O. -RRB- 8...", "INT. NASA - MISSION CONTROL - DAY ANNIE paces in front of the NINE TELEVISIONS in her office. TIMER CONTROLLER -LRB- V.O. -RRB- 7... 6...", "INT. JPL -  CONTROL ROOM - DAY BRUCE sits with his engineers, all in rapt attention. TIMER CONTROLLER -LRB- V.O. -RRB- 5... 4...", "INT. JPL - RICH\u2019S OFFICE - DAY RICH PURNELL works on orbital calculations at his computer. Isn \u2019 t paying attention to the launch at all. TIMER CONTROLLER -LRB- V.O. -RRB- 3... 2...", "EXT. CAPE CANAVERAL LAUNCHPAD - DAY TIMER CONTROLLER -LRB- V.O. -RRB- 1... LIFTOFF. Clamps RELEASE, the booster FIRES --", "INT. NASA - MISSION CONTROL - DAY TIMER CONTROLLER -LRB- V.O. -RRB-... and liftoff of the Iris Supply Probe. CHEERS course through the room. While team members congratulate one another, the LAUNCHER INTERFACE frowns at his station. LAUNCHER INTERFACE Getting a little shimmy, Flight. MITCH Say again?", "INT. HULL - DAY A VIOLENT SHIMMY rattles the payload as the craft ACCELERATES. The bolt at the forefront CRACKS --", "EXT. IRIS CRAFT - DAY As the first stage depletes its fuel, it JETTISONS the stage- clamps. As the stage begins to fall away from the shimmying craft, it CATCHES HOLD, swinging unnaturally to the side. The second stage engines IGNITE --", "INT. HULL - DAY WHOOSH -- the acceleration SHAKES the craft. The BOLT SHEARS CLEAN OFF -- the payload ROCKS -- THE OTHER FOUR BOLTS SNAP -- Iris slips from its supports, and SLAMS INTO THE HULL --", "INT. NASA - CONTROL ROOM - DAY ALARMS and LIGHTS flash across the consoles. A cacophony of urgent voices from the floor : LAUNCHER INTERFACE Whoa! Flight, we \u2019 re getting a large precession! GUIDANCE Force on Iris at 7 G \u2019 s. TELEMETRY Intermittent signal loss. MITCH Launch, what \u2019 s happening? LAUNCHER INTERFACE It \u2019 s spinning on the long axis with a 17 degree precession. COMMS We \u2019 ve lost readings on the probe, Flight. MITCH -LRB- goes cold -RRB- Shit. It shook loose in the bay. LAUNCHER INTERFACE Loss of signal, Flight. GUIDANCE L.O.S. here, too. TELEMETRY Same here. The voices go SILENT. The alarms BLARE. Then : MITCH SatCon? SATCON No satellite acquisition of signal. Mitch looks to the main screen. It GOES BLACK, with LARGE WHITE LETTERS reading : \u201c L.O.S. \u201d CAPCOM Flight, US Destroyer Stockton reports debris falling from sky. ON THE SCREENS : cameras catch glimpses of debris trails falling from the sky. Mitch puts his head in his hands. MITCH Roger. Then Mitch Henderson says the words every Flight Director hopes he never has to say : MITCH -LRB- CONT \u2019 D -RRB- GC, Flight. Lock the doors.", "INT. NASA - VINCENT\u2019S OFFICE - NIGHT Vincent sits in his office. NASA is eerily silent now. It \u2019 s night. Vincent stares into space. Click. He \u2019 s been motionless so long, the sensors think the office is empty and shut off the lights. Vincent shifts. The lights click back on. A chime RINGS OUT on his computer. Vincent glances at the screen, sees a relayed message from Pathfinder : \u201c WATNEY : How \u2019 d the launch go? \u201d", "EXT. SPACE - TO ESTABLISH The SOMBER REDS of MARS blaze against the spacescape. TITLE : Sol 186", "EXT. MARS - DAWN Mark stands outside. The horizon reflects off his faceplate. MARK -LRB- V.O. -RRB- So, um. Commander Lewis. I need you to do something for me. If I die. I need you to check on my parents. They \u2019 ll want to hear about our time on Mars first- hand. I \u2019 ll need you to do that. It won \u2019 t be easy talking to a couple about their dead son. It \u2019 s a lot to ask ; that \u2019 s why I \u2019 m asking you. I \u2019 m not giving up. Just planning for every outcome. Please tell them I love what I do. And I \u2019 m really good at it. And I \u2019 m dying for something big and beautiful. And greater than me. -LRB- then -RRB- Tell them I said I can live with that.", "EXT. CNSA - TO ESTABLISH - DAY An impressive headquarters in the heart of Beijing. TITLE : CHINA NATIONAL SPACE ADMINISTRATION", "INT. CNSA - DAY ONSCREEN : Teddy and Vincent answer questions from reporters. VINCENT -LRB- ONSCREEN -RRB-... we substituted protein cubes for the standard rations. The thrust of the launch, combined with the simultaneous lateral vibration, liquefied the cubes and created an unbalanced load. REPORTER 4 -LRB- ONSCREEN -RRB- Why wasn \u2019 t this accounted for in the inspection phase? TEDDY -LRB- ONSCREEN -RRB- In order to make our launch window, we were forced to accelerate our schedule. REPORTER 4 -LRB- ONSCREEN -RRB- You skipped the inspections? TEDDY -LRB- ONSCREEN -RRB- Yes. We hear a MAN \u2019 S VOICE. He speaks in SUBTITLED CHINESE. VOICE Their astronaut is going to die. Reveal A MAN AND A WOMAN watching the monitor. The voice belongs to : TITLE : ZHU TAO, Under-Director, CNSA ZHU Perhaps. Perhaps not. -LRB- hands Guo the brief -RRB- The Taiyang Shen \u2019 s booster. Our engineers have run the numbers, and it has enough fuel for a Mars injection orbit. TITLE : GUO MING, Director, CNSA GUO -LRB- are you kidding? -RRB- Why hasn \u2019 t NASA approached us? ZHU They don \u2019 t know. Our booster technology is classified. GUO So if we do nothing... ZHU The world would never know we could have helped. GUO Then. Merely for the sake of argument, let \u2019 s say we decide to help them... ZHU We \u2019 d be giving up a booster and effectively cancelling Taiyang Shen. GUO considers this. But he \u2019 s already made the decision... GUO We need to keep this among scientists. A cooperation between space agencies...", "INT. NASA - TEDDY\u2019S OFFICE - DAY We \u2019 re SLOWLY PUSHING IN on Teddy as he listens to the voice on the other end of the phone detail the terms. Teddy closes his eyes. Relief washes over him. It takes him a moment to realize they \u2019 re waiting for his answer. TEDDY Yes.", "INT. JPL -  BULLPEN - DAY Bruce stands at the white boards, addressing his department heads. He \u2019 s energized, writing like a madman while he talks : BRUCE All right, thanks to our friends in China, we get one more chance at this. We finished the Iris probe in sixty-three days. Now we get to do it again in twenty-eight...", "INT. NASA - SUPER COMPUTER ROOM - DAY Rich Purnell stares at the calculations on the screen. Can these be right? He runs the numbers again. As he sees the readout on his screen, he grins : holy shit, I \u2019 m right.", "INT. NASA - HALLWAYS - DAY Rich hurries through the halls.", "INT. NASA - VINCENT\u2019S OFFICE - DAY Vincent \u2019 s on the phone. VINCENT We \u2019 re jettisoning any sort of landing system -- the idea is we \u2019 re only sending rations, so they can crash land on Mars... SECRETARY Wait -- Rich barges into to Vincent \u2019 s office. RICH You should hang up the phone. VINCENT I \u2019 m sorry -- who are you? RICH My name is Rich Purnell and I work in astrodynamics and you should hang up the phone right now. VINCENT -LRB- into phone -RRB- I \u2019 ll call you back. Rich hands Vincent his summary.", "INT. NASA - CONFERENCE ROOM - DAY We \u2019 re FOLLOWING ANNIE as she hurries into the briefing room. Vincent, Rich, Bruce, and Mitch are already there. Annie \u2019 s reading the email on her phone. ANNIE What the hell is \u201c Project Elrond? \u201d VINCENT I had to make something up. ANNIE \u201c Elrond? \u201d MITCH -LRB- realizing -RRB- Because it \u2019 s a secret meeting. ANNIE How do you know that? Why does \u201c Elrond \u201d mean \u201c secret meeting? \u201d BRUCE The Council of Elrond. From Lord of the Rings. It \u2019 s the meeting where they decide to destroy the One Ring. ANNIE I so quit right now. TEDDY -LRB- entering -RRB- If we \u2019 re calling something Project Elrond, I would like my codename to be \u201c Glorfindel. \u201d ANNIE Oh my god I hate every one of you. MITCH Teddy doesn \u2019 t even know what this is about? VINCENT Tell them exactly what you told me. RICH I can get the Hermes back to Mars by Sol Wait... what? Jesus. It \u2019 s as though Rich just dropped a bomb in this room. MITCH What? TEDDY How? Rich looks around. Grabs items off the table to demonstrate. RICH Okay... let \u2019 s pretend this stapler is the Hermes. And you are... I \u2019 m sorry, what \u2019 s your name again? TEDDY Teddy. -LRB- then -RRB- I \u2019 m the Director of NASA. RICH Okay, Teddy, you \u2019 re Earth. And right now the Hermes is heading towards you and is about to start its month-long deceleration to intercept. But, instead, I \u2019 m proposing... -LRB- demonstrates -RRB- We start accelerating immediately, to preserve velocity and gain even more. We don \u2019 t intercept Earth at all, but we come close enough to use a gravity assist to adjust course. While we \u2019 re doing that... He grabs the pen out of Teddy \u2019 s pocket. RICH -LRB- CONT \u2019 D -RRB- We resupply with the probe -- VINCENT The Taiyeng Shen. RICH Pick up whatever provisions we need... and then we \u2019 re accelerating towards Mars. -LRB- to Annie -RRB- You \u2019 re Mars. And we \u2019 re going too fast at this point to fall into orbit, so it \u2019 s a flyby. BRUCE What good is a flyby if we can \u2019 t get Watney off the surface? VINCENT Watney would have to intercept using the MAV. Vincent demonstrates, blasting his pen off of Annie \u2019 s shoulder. Rich catches it, and points everything back towards Teddy... RICH And we head back home. I \u2019 ve done the math. It checks out. The group sits in stunned silence. Teddy \u2019 s the first one to grasp the full magnitude of what they \u2019 ve just proposed. He locks eyes with Vincent -- TEDDY Rich? RICH Yes sir? TEDDY Get out. And there \u2019 s no mistaking Teddy \u2019 s tone, so Rich does exactly that. After he leaves the room -- TEDDY -LRB- CONT \u2019 D -RRB- Is he right? VINCENT I believe so. TEDDY And we need to use the Taiyeng Shen? VINCENT Yes. ANNIE What am I missing? Why is that important? VINCENT Because we can only do one. TEDDY Send Watney enough food to last until Ares 4, or send Hermes back to get him right now. VINCENT -LRB- nods -RRB- Both plans require the Taiyang Shen, so we have to choose. ANNIE What about the Hermes crew? We \u2019 d be asking them to add... -LRB- does the math -RRB- 533 days to their mission. MITCH They wouldn \u2019 t hesitate. Not for a second. That \u2019 s why Vincent called this meeting. He wants us to decide instead. Vincent nods. That \u2019 s correct. MITCH -LRB- CONT \u2019 D -RRB- Bullshit. It should be Commander Lewis \u2019 call. VINCENT It \u2019 s a matter of life and death, Mitch. We need to make this decision. MITCH She \u2019 s the Mission Commander. Life and death decisions are her damn job. TEDDY Can the Hermes function for 533 days beyond the scheduled mission end? VINCENT It should. The Hermes was made to do all five Ares missions, so it \u2019 s only halfway through lifespan. ANNIE But if something went wrong... VINCENT We would lose the crew. And the Ares Program with them. BRUCE So... what? We either have a high chance of killing one person, or a low chance of killing six people. How do we make that decision? VINCENT We don \u2019 t. Teddy does. All eyes on Teddy now. The room sits in silence. Teddy thinks for a long time. Feeling the full burden of leadership. Then : TEDDY We still have the chance to bring five astronauts home safe and sound. I \u2019 m not risking their lives. MITCH Let them make that decision. TEDDY Mitch. We \u2019 re going with option one. Mitch stares at Teddy. Quietly seething. MITCH You goddamn coward.", "EXT. HAB - DAY/DUSK Mark trudges out of the airlock, goes about his routine. He walks over to the solar panels, starts to scrub them for ( what seems like ) the thousandth time... And stops. He can \u2019 t do it anymore. He stares at them for a long time. Then drops the brush. He walks to the top of the hill. Sits down. He closes his eyes. CUT TO : Later. Mark hasn \u2019 t moved. The sun is beginning to set. The temperature ALARM on his suit is beginning to BLARE. It gets cold FAST on Mars. Mark overrides the alarm. Sits in the silence. As he glances back towards the setting sun, something METALLIC glints in the dust beneath him. Hmm. Mark gets up. Walks towards it. It \u2019 s Vogel \u2019 s specimen drill. Dropped when the storm hit. Mark looks around, sees the HOLES drilled in the rock formation. His fingers trace the unfinished work. He picks up the drill.", "INT. NASA - MISSION CONTROL - DAY SATELLITE VIEW : We can see Mark making his way to the Rover. MINDY He \u2019 s been doing EVAs throughout the day. Vincent is hovering over Mindy \u2019 s station. MINDY -LRB- CONT \u2019 D -RRB- There \u2019 s a pattern to them. He goes out three hundred meters. Then stops. Three hundred more meters. Then stops. VINCENT And nobody gave him instructions? Did JPL schedule something? Mindy shakes her head. MINDY He \u2019 s at the Rover. -LRB- then -RRB- We \u2019 re receiving a transmission. She pulls it up on the screen. Frowns. It \u2019 s a jumble of numbers and data. MINDY -LRB- CONT \u2019 D -RRB- \u201c Chem analysis... sample batch 1A-7C... \u201d Vincent \u2019 s the first to figure it out. VINCENT Commander Lewis \u2019 geo-compositing experiments. Mindy frowns. I \u2019 m sorry, what? Vincent looks at the screens. Admiration in his eyes. VINCENT -LRB- CONT \u2019 D -RRB- He \u2019 s finishing the mission.", "INT. HAB - NIGHT Mark addresses camera while he works at the experiment table, diligently crushing the rock samples and testing them with his chemistry set. Still somber. But he \u2019 s working. MARK We evac \u2019 d eighteen sols into a thirty-one sol mission... Which means we \u2019 ve got thirteen sols of experiment and research schedules. For each of us. So. Commander Lewis... your work \u2019 s in good hands. Beck -- I \u2019 ll be honest with you, I don \u2019 t understand chemolithotrophic detection. At all. But I \u2019 m doing my best. Johanssen, I know you don \u2019 t like it when I touch the ChemCam, but guess what? I \u2019 m touching the ChemCam. Vogel, I think I \u2019 ve got a new cataloguing system for the core samples that I \u2019 ve titled \u201c Das Core Samples \u201d out of respect for the Fatherland. And Martinez... I still don \u2019 t know what it is you do. Why did we bring you? No idea. -LRB- then -RRB- I \u2019 m trying to keep everything documented and organized. I know that \u2019 s not exactly my strong suit, but I want it all to make sense, in case... you know. Maybe you can teach it in class someday. The Watney Syllabus. \u201c How to Make a Bathtub Using NASA Tubing and an Old RTG. \u201d \u201c How to Cook a Potato Six-Thousand Different Ways. \u201d \u201c How to Make Water Out of Rocket Fuel. To Keep You Alive. For Just A Little Longer. \u201d", "INT. HERMES - FLIGHT DECK - SPACE From his computer, Vogel runs a diagnostic check on the ship \u2019 s engines. As he finishes his work for the day, he turns his attention to his Email. Frowns when he sees : \u201c Subject : Unsere Kinder \u201d Our children? That \u2019 s strange. He tries to open the attachment, but it \u2019 s unreadable.", "INT. HERMES GYM - SPACE Vogel glides along passage to the Rec Room. Johannsen jogs within the rotating drum. Vogel approaches. VOGEL I have a problem.", "INT. HERMES GYM - SPACE Johanssen leads Vogel into the gym. VOGEL It \u2019 s an email from my wife. The subject line says \u201c Our Children, \u201d but the computer won \u2019 t open the attachment. JOHANSSEN Let \u2019 s take a look. -LRB- as she works -RRB- Huh. This isn \u2019 t a jpg. It \u2019 s a plain ASCII text file. Looks like... I don \u2019 t know what this looks like. Math equations. Does this make any sense to you? VOGEL -LRB- reads -RRB- \u201c Rich Purnell Maneuver. \u201d Ja. It is a course maneuver for the Hermes... And as Vogel tries to make sense of what he \u2019 s looking at, one phrase in particular stands out on the screen : \u201c SOL 561. \u201d VOGEL -LRB- CONT \u2019 D -RRB- Mein Gott.", "INT. HERMES REC ROOM - SPACE All five crew members are seated around the main table in The Rec -- the cramped area of the ship used for personal time. Lewis finishes briefing the team. LEWIS... and the mission would conclude with Earth intercept 211 days later. She gives the others a chance to absorb the news. They trade astonished glances. MARTINEZ Would this really work? LEWIS We ran the numbers. They check out. VOGEL -LRB- nods -RRB- It \u2019 s a brilliant course. BECK Why all the cloak and dagger? LEWIS NASA rejected the idea. They \u2019 d rather take a big risk on Watney than a small risk on all of us. Whoever snuck it in Vogel \u2019 s email obviously disagreed. MARTINEZ So. We \u2019 re talking about going directly against NASA \u2019 s decision? LEWIS Yes. If we do the maneuver, they \u2019 ll have to send the supply ship or we \u2019 ll die. We have the opportunity to force their hand. JOHANSSEN Are we gon na do it? LEWIS If it were up to me, we \u2019 d already be on our way. MARTINEZ Isn \u2019 t it? Up to you, I mean. LEWIS Not this time. This is something NASA expressly rejected. We \u2019 re talking about mutiny. Which is not a word I use lightly. We do this together, or not at all. Before you answer, consider the consequences. If we mess up the supply rendezvous, we die. If we mess up the Earth gravity assist, we die. If we do everything perfectly, we add 533 days to our mission. 533 more days before we see our families again. 533 days of unplanned space travel where anything could go wrong. Something might break that we can \u2019 t fix. If it \u2019 s mission critical, we die. MARTINEZ Sign me up. LEWIS Easy, cowboy. You and I are military. There \u2019 s a good chance we \u2019 d be court- martialed when we got home. As for the rest of you, I guarantee they \u2019 ll never send you up again. BECK If we go for it... how would it work? VOGEL -LRB- shrugs -RRB- I plot the course and execute it. JOHANSSEN Remote Override. They can take over the Hermes from Mission Control. LEWIS Can you disable it? JOHANSSEN Hermes has four redundant flight computers, each connected to three redundant comm systems. We can \u2019 t shut down the comms ; we \u2019 d lose telemetry and guidance. We can \u2019 t shut down the computers ; we need to control the ship. I \u2019 d have to disable the Remote Override on each system... It \u2019 s part of the OS, I \u2019 d have to jump over the code... BECK Johanssen used to go by the hacker handle \u201c Lady Sorrow \u201d in high school. Just so we \u2019 re all on the same page. JOHANSSEN Beck is a liar. And he should keep our conversations private. -LRB- then -RRB- But, yeah. I can do it. LEWIS It has to be unanimous. If anyone says no, that \u2019 s it. We go home as planned. But I vote yes. MARTINEZ I vote yes. VOGEL If we do this, it would be over nine hundred days of space. That is enough space for one life. -LRB- then -RRB- Yes. Beck thinks about it long and hard. Then : BECK Let \u2019 s go get him. And then there was one. All eyes turn to Johanssen. LEWIS Johanssen? As Johanssen glances up at us, feeling the full weight of the world on her small shoulders --", "INT. NASA - MISSION CONTROL - NIGHT BRENDAN HATCH oversees Mission Control from 1 a.m. to 9 a.m. The shift is much quieter than the day shift. Usually. CAPCOM Flight, CAPCOM. BRENDAN Go CAPCOM. CAPCOM Unscheduled status update from Hermes. BRENDAN Roger. Read it out. CAPCOM I... I don \u2019 t get it, Flight. No real status. Just a single sentence. BRENDAN What \u2019 s it say? CAPCOM Message reads : \u201c Houston, be advised : Rich Purnell is a steely-eyed missile man. \u201d BRENDAN What? Who the hell is Rich Purnell? ALARMS start ringing out on the various stations. GUIDANCE Flight, Guidance. BRENDAN Go Guidance. GUIDANCE Hermes is off-course. BRENDAN CAPCOM, advise Hermes they \u2019 re drifting. Guidance, get a correction ready -- GUIDANCE Negative, Flight. It \u2019 s not drift, they \u2019 ve adjusted course. Deliberate 27.812 rotation. BRENDAN What the hell? CAPCOM, ask them what the hell. CAPCOM Roger Flight. Message sent. Minimum reply time 3 minutes, 4 seconds. BRENDAN Telemetry, any chance this is instrumentation failure? TELEMETRY Negative, Flight. BRENDAN Oh god. Guidance, Flight. GUIDANCE Go Flight. BRENDAN Work out how long they can stay on this course before it \u2019 s irreversible. GUIDANCE Working on that now, Flight. BRENDAN And somebody find out who the hell Rich Purnell is!", "INT. NASA - TEDDY\u2019S OFFICE - DAWN Teddy \u2019 s staring out the window when Mitch enters. Teddy makes him wait. TEDDY Annie will go before the media this morning and inform them of NASA \u2019 s decision to reroute the Hermes to Mars. MITCH That seems like the smart move. Considering the circumstances. TEDDY You may have killed the whole crew. MITCH Whoever gave them the maneuver only passed along information. The crew made the decision on their own. Teddy looks at him. Don \u2019 t give me that horseshit. TEDDY We \u2019 re fighting the same war. Every time something goes wrong, the world forgets why we fly. I \u2019 m trying to keep us airborne. This is bigger than one person. MITCH No. It \u2019 s not. Teddy relents. Just slightly. God, I hope you \u2019 re right. Then : TEDDY When this is over... I \u2019 ll expect your resignation. MITCH -LRB- a beat ; then -RRB- I understand. TEDDY -LRB- we \u2019 re finished here -RRB- Bring our astronauts home.", "EXT. MARS Beneath us, sunlight creeps across the ridges of the Schiaparelli Crater. We PRELAP the sound of DRILLING. TITLE : Sol 219 MARK -LRB- PRELAP -RRB- Every Ares mission requires three years of presupplies...", "INT. HAB - DAY Mark talks directly to the camera. MARK -LRB- CONT \u2019 D -RRB-... so NASA figured out it \u2019 s a lot easier to ship some of this stuff ahead of time rather than bring it with us. So, as a result, the MAV for Ares-4 is already waiting at the Schiaparelli Crater. And the plan is to use it to launch me into orbit just as the Hermes is passing. And then, I guess... they catch me? In space. Mark thinks about that. Grins. Okay, I guess that sounds awesome. MARK -LRB- CONT \u2019 D -RRB- Anyway, that \u2019 s not really my problem right now. First, I have to get there. And it \u2019 s 3,200 kilometers away. So I have 200 sols to figure out how to bring everything here that \u2019 s keeping me alive -- the Atmospheric Regulator, the Oxygenator, and the Water Reclaimer -- along for the ride. Luckily, I have the brainpower of the entire planet Earth helping me with this endeavor. So far we \u2019 ve come up with, \u201c Drill holes in the roof of your rover and then hit it with a rock. \u201d -LRB- then -RRB- We \u2019 ll get there. MUSIC UP : The opening CHORDS of \u201c Starman \u201d by David Bowie take us to...", "EXT. HAB - DAY Mark, in his MAV SUIT, stands on top of Rover Two. He holds the large ROCK SAMPLE DRILL like a jackhammer, drilling holes through the roof. It \u2019 s grueling work. He \u2019 s been at this a while : we catch a glimpse of the SEVEN- HUNDRED HOLES he \u2019 s drilled around the edge of the roof. He finishes the last hole. Then he grabs a SCREWDRIVER. And a ROCK. Jams the screwdriver between the holes like a chisel. WHACK! He hits it with the rock. WHACK! He hits it again. And again.", "EXT. MARS - DAY - BEGIN MONTAGE \u201c Didn \u2019 t know what time it was the lights were low, oh, oh... \u201d Mark positions the partially-disassembled rover in front of the camera. Frames his handiwork. Waits.", "INT. NASA ROVER ROOM - DAY - MONTAGE \u201c I leaned back on my radio, oh, oh... \u201d Vincent and his engineers study Mark \u2019 s photograph. Okay, good. The engineers start sketching out what to do next...", "EXT. CNSA - DAY - MONTAGE \u201c Didn \u2019 t know what time it was the lights were low, oh, oh... \u201d A bleary Teddy and Mitch step into the lobby of the China National Space Administration. They find Zhu and Guo waiting for them with an entourage. As they shake hands...", "INT. HAB - KITCHEN - DAY - MONTAGE \u201c There \u2019 s a starman waiting in the sky... \u201d Mark, inventories his remaining ration packs while he eats a potato. He labels a few ration packs as he sets them aside : \u201c Departure, \u201d \u201c Birthday, \u201d \u201c Last Meal... \u201d", "EXT. HERMES - SPACE - MONTAGE The Hermes approaches Earth, slowing rotation...", "INT. HERMES - VIDEO BOOTH - REC ROOM - SPACE - MONTAGE Martinez talks to his wife, MARISSA, on a screen in the video booth. She \u2019 s upset with him. MARISSA Five hundred and thirty-three days longer? And you said yes to this? MARTINEZ I did. He would have done the same for me. You know that. MARISSA And you think I \u2019 m gon na forgive you? MARTINEZ I do. Goddamn it, he \u2019 s right. After a moment, she holds her hand up to the screen. He does the same.", "INT. JPL - WHITE ROOM - DAY - MONTAGE Bruce and his team oversee the Iris 2 Probe as it \u2019 s loaded into shipping containers. A few Chinese members of the CNSA ( dressed in protective gear ) watch as well.", "INT. HERMES - VIDEO BOOTH - REC ROOM - SPACE - MONTAGE Lewis, floating now due to the lack of centripetal gravity, talks on the computer to her husband, ROBERT. It \u2019 s clear they love each other. ROBERT -LRB- ONSCREEN -RRB- I found it at the flea market. Original. Pressing. Robert holds up a vintage 1973 copy Abba \u2019 s Greatest Hits album. Lewis squeals when she sees it. Claps with delight.", "EXT. LAUNCH PAD - CHINA - DAY - MONTAGE The Iris 2 Probe is attached to the booster.", "INT. CNSA - DAY - MONTAGE Mitch engages in a heated argument with the Chinese Flight Director. MITCH All due respect to your CNSA protocol, we haven \u2019 t done things that way since Apollo 9 -- The translator tries to translate his words. Zhu raises his eyebrows, glances at Teddy -- is this guy for real? Teddy shakes his head, Don \u2019 t look at me, man.", "EXT. HAB - DAY - MONTAGE Mark seals the tent to the roof of Rover 2, then pressurizes it. Checking for leaks. It \u2019 s like a hot-air balloon.", "INT. NASA - WORK ROOM - MONTAGE Vincent and his engineers are doing the exact same thing -- they have a mirrored set of Mark \u2019 s equipment. They try to figure out how to fit the Oxygenator into the pop tent.", "INT. HERMES FLIGHT DECK - SPACE - MONTAGE Vogel entertains his WIFE and their young CHILDREN. He flips from a low-G area into a non-G area. ON THE SCREEN : The kids laugh and laugh.", "INT. CNSA - DAY - MONTAGE The Taiyang Shen LAUNCHES. Mitch, Teddy, and the Chinese scientists all clap, shake hands.", "EXT. MARS - DAY - MONTAGE \u201c He told us not to blow it \u2018 Cause he knows it \u2019 s all worthwhile... \u201d Mark, bops his head to the music as he drives Rover 2 across the dunes.", "EXT. IRIS 2 PROBE - DAY (STOCK) The Iris 2 probe separates from its booster rocket.", "INT. HERMES FLIGHT DECK - MONTAGE Martinez takes control of the probe. He pilots it towards the Hermes...", "EXT. HERMES - SPACE - MONTAGE The probe approaches the Hermes as the docking procedure begins...", "INT. HERMES - AIRLOCK 3 - SPACE - MONTAGE Beck, geared up in his EVA suit, tethered to the wall, guides the probe to the docking port.", "INT./EXT HERMES - REC ROOM - SPACE - MONTAGE Johannsen watches anxiously through the window port as Beck secures the docking.", "INT. HERMES - AIRLOCK 3 - SPACE - MONTAGE Beck, geared up in his EVA suit, tethered to the wall, guides the probe to the docking port.", "EXT. HERMES - SPACE - END MONTAGE \u201c Let the children lose it, let the children use it, let all the children boogie... \u201d The Hermes, rotating once again, soars through space on its return journey to Mars. It leaves the Earth behind... And the music slowly FADES OUT.", "EXT. MARS As we hold in silence on the Red Planet, the title takes a little longer than usual to appear onscreen.... TITLE : Sol 461 MARK -LRB- PRELAP -RRB- I \u2019 ve been thinking about laws on Mars...", "EXT. HAB - DAY And it \u2019 s OVER SIX MONTHS LATER, so a lot has changed. MARK -LRB- PRELAP -RRB- There \u2019 s an international treaty saying no country can lay claim to anything that \u2019 s not on Earth. Both Rovers are now hitched together. Pathfinder rides on top of Rover 1 like Granny Clampett. Rover 2 houses all the equipment. The whole thing looks like a Gypsy caravan made of billion dollar NASA equipment. MARK -LRB- PRELAP -RRB- -LRB- CONT \u2019 D -RRB- And by another treaty, if you \u2019 re not in any country \u2019 s territory, maritime law applies. So Mars is \u201c international waters. \u201d", "INT. HAB - DAY The Hab is similarly transformed. All the major equipment has been stripped for parts. Sections of the canvas have been cut down, re-glued, making the tent lopsided in places. MARK -LRB- PRELAP -RRB- NASA is an American non-military organization, and it owns the Hab. So, as soon as I step outside, I \u2019 m in international waters.", "INT. HAB - DAY Mark talks directly to camera. The six months have transformed him as well. He \u2019 s GAUNT. His hair is longer. His impressive beard shapes his face. MARK Here \u2019 s the cool part. I leave this morning for the Schiaparelli crater, where I will commandeer the Ares 4 lander. Nobody explicitly gave me permission to do this, and they can \u2019 t until I \u2019 m aboard the Ares 4. So I will take control of a craft in international waters without permission. Which, by definition, makes me a pirate. -LRB- then -RRB- Mark Watney, Space Pirate. It \u2019 s better than winning the Nobel Prize.", "INT. HAB - DAY Last day in the Hab. Mark shaves his beard. CUT TO : Mark organizes the boxes and boxes of experiments he was keeping alive during his time in the Hab. Among the labels we see \u201c Das Soil Samples. \u201d CUT TO : Mark pulls on his suit. Performs final shutdown. All the computers, lights, heaters go DARK. Silence.", "EXT. HAB - DAY Mark depressurizes the Hab. Stares at it for a moment. Thank you for keeping me alive.", "EXT. ROVER - DAY Mark opens Rover 2. We catch a glimpse inside : it \u2019 s filled with frozen potatoes and scavenged equipment. Mark tosses the box of remaining rations inside. We catch a glimpse of one of the labels : \u201c Goodbye, Mars. \u201d", "INT. ROVER - DAY Mark climbs into Rover 1. Powers up the system. Here we go.", "EXT. ROVER - DAY Mark rolls out of the Hab site. Heading towards the horizon.", "EXT. MARS - VARIOUS - DAY MARK -LRB- V.O. -RRB- Everywhere I go, I \u2019 m the first. It \u2019 s a strange feeling. Mark leaves FOOTPRINTS in the red dirt as he walks. MARK -LRB- V.O. -RRB- Step outside the rover? First guy to be there. Climb that hill? First guy to do that. Mark takes careful note of one of the Martian moons ( PHOBOS ) in the sky. Finds his course. MARK -LRB- V.O. -RRB- Four and a half billion years... nobody here. And now... me. -LRB- then -RRB- I \u2019 m the first person to be alone on an entire planet.", "EXT. MARS - DAY Mark sits outside the rover in his MAV suit while he waits for the solar panels to charge. He takes in the view. Phobos arcs through the sky. It \u2019 s beautiful.", "INT. NASA - MISSION CONTROL - DAY SATELLITE VIEW : Mark \u2019 s caravan makes its way around the impressive Marth Crater. Mindy watches at her station. Vincent approaches. VINCENT How \u2019 s our boy doing? MINDY So far, so good. He \u2019 s sticking to schedule. Drives for four hours before noon. Then sets the solar panels. And waits thirteen hours while they recharge. Sleeps somewhere in there. Then starts again. VINCENT How \u2019 s his morale? MINDY He \u2019 s asked us to call him \u201c Captain Blondebeard. \u201d VINCENT -LRB- thinks about that... huh -RRB- Mars would be governed by maritime law, so technically -- MINDY Yeah, he explained it to us.", "EXT. MARS - DAY The ROVER cuts across Mars. No music. Just quiet. Wheels turning in the rust-colored dirt. TITLE : Sol 494 The Rover has a max speed of 25 kph, so it \u2019 s slow going. But hypnotic. Right now, it \u2019 s the only thing moving on the entire planet.", "EXT. MARS - DAY ANGLE MARK. Watching the horizon.", "INT. NASA - VINCENT\u2019S OFFICE - DAY A stack of paperwork drops in front of Vincent. We notice diagrams for the MAV. BRUCE Okay, we \u2019 re gon na start by stating, for the record, that you \u2019 re not gon na like this. Vincent starts to look through the plans. MITCH The problem is the intercept velocity. The Hermes can not enter Mars orbit, or they \u2019 ll never have enough fuel to make it home. The MAV is only designed to get to Low Mars Orbit. So in order for Mark to escape Mars \u2019 gravity entirely and intercept the Hermes... VINCENT He needs to be going fast. BRUCE -LRB- nods -RRB- Which means we need to make the MAV lighter. A lot lighter. Five-thousand kilograms lighter. VINCENT You can do that? Bruce gives him a look that says, well, that depends on your definition of \u201c do that, \u201d Vincent. He begins to deconstruct a scale model of the MAV : BRUCE There were some gimmes right off the bat. The design presumes 500 kilograms of Martian soil and samples. Obviously, we won \u2019 t do that. MITCH There \u2019 s just one passenger instead of six. With suits and gear, that saves another 500. Then we ditch the life support. We don \u2019 t need it. We \u2019 ll have Watney use his EVA suit for the whole trip. VINCENT How will he use the controls? MITCH He won \u2019 t. Martinez will pilot the MAV remotely from the Hermes. VINCENT We \u2019 ve never had a manned ship controlled remotely before. -LRB- off Mitch \u2019 s look -RRB- But... I \u2019 m excited for the opportunities that affords. BRUCE If we go remote, we can lose the control panels. Then we dump the secondary and tertiary comm systems. VINCENT You \u2019 re going to have a remote controlled ascent with no backup comms? MITCH He \u2019 s not even to the bad stuff yet, Vincent. Really? VINCENT You better skip to the bad stuff. BRUCE We have to remove the nose airlock, the windows, and Hull Panel 19. VINCENT -LRB- what? -RRB- You \u2019 re taking the front of the ship off? BRUCE Sure. The nose airlock alone is 400 kilograms. VINCENT You \u2019 re going to launch a man into space with a giant hole in the front of the ship? BRUCE Well... no. We \u2019 re gon na have him cover it with Hab canvas. Vincent puts his head in his hands. BRUCE -LRB- CONT \u2019 D -RRB- The hull \u2019 s mostly there to keep the air in. Mars \u2019 atmosphere is so thin you don \u2019 t need a lot of streamlining. By the time the ship \u2019 s going fast enough for air resistance to matter, it \u2019 ll be high enough that there \u2019 s practically no air. VINCENT You \u2019 re sending him to space under a tarp. BRUCE Yes. Can I go on? VINCENT -LRB- thinks genuinely -RRB- I \u2019 m not really sure I want you to, but okay.", "INT. NASA - MISSION CONTROL - DAY Mindy reads Mark \u2019 s response while the group awaits. Mitch looks on from his station. MINDY Mark says... \u201c Are you f-word-ing kidding me? \u201d VINCENT Do you think he meant it like... -LRB- excited -RRB- \u201c Are you kidding me? \u201d Or more... -LRB- angry -RRB- \u201c Are you kidding me? \u201d MINDY -LRB- doesn \u2019 t want to hurt Vincent \u2019 s feelings ) It \u2019 s... possible he meant it the first way?", "INT. ROVER - ARES 4 MAV SITE - DAY TITLE : Sol 538 Mark stares at the camera with a look that says, \u201c Oh jesus these JPL guys are gon na get me killed. \u201d MARK -LRB- distraught -RRB- I know what they \u2019 re doing. I know what they \u2019 re doing. They keep repeating \u201c accelerate faster than any man in the history of space travel \u201d like this is a good thing, like this \u2019 ll distract me from how insane their plan is. Oh really? I get to be the fastest man in the history of space travel? You \u2019 re launching me into space in a convertible. No no, it \u2019 s worse, because I don \u2019 t have any controls. You \u2019 re launching me into space in a tin can. And, by the way, physicists don \u2019 t even use words like \u201c fast \u201d when describing acceleration, so they \u2019 re only doing it in hopes I won \u2019 t raise any objections because I like the way \u201c fastest man in the history of space travel \u201d sounds. Well, you know what? -LRB- thinks about it -RRB- I do like it. I do like the way it sounds. -LRB- then -RRB- Okay, fine. Let \u2019 s do this. MUSIC UP : \u201c Waterloo \u201d by ABBA begins to play...", "EXT. MAV - DAY Mark stands at the base of the MAV. He holds a large wrench in his hand, almost like a weapon. As Mark stares up at the MAV with a gleam in his eyes... \u201c My my at Waterloo Napoleon did surrender... \u201d", "INT. MAV - DAY Mark tears the acceleration chairs out of the cockpit.", "EXT. MAV - DAY WHUMP. One after another, the acceleration chairs hit the dirt in a pile. WHUMP.", "INT. MAV - DAY Mark tears out the control panels. He \u2019 s having fun.", "EXT. MAV - DAY WHUMP. The controls hit the dirt. The pile is growing. MUSIC UP : \u201c Waterloo \u201d by ABBA begins to play...", "INT. HERMES FLIGHT DECK - SPACE Martinez runs through a flight simulation at his station. It \u2019 s not going well. \u201c Collision with Terrain \u201d blinks in angry red letters on his screen. JOHANSSEN And... you killed him. Lewis shrugs. The taskmaster. LEWIS Try it again. Martinez reboots the simulator...", "INT. MAV COCKPIT - DAY Mark waits in the airlock with a mess of stripped equipment.", "EXT. MAV - DAY The outside of the MAV now looks like the set of Sanford and Son. Mark wrenches one of the MAV \u2019 s hull panels free.", "EXT. MAV - DAY UP ABOVE : The nose airlock breaks free, and tumbles down towards camera, BLACKING OUT FRAME.", "EXT. MAV - DUSK FROM BLACK, we FIND MARK. He \u2019 s sitting on a hill slope, surveying his handiwork. The MAV has been TRANSFORMED. The whole front has been torn off. Hab canvas now covers it. Equipment litters the area all around us. Junkyard on Mars. \u201c Finally facing my Waterloo... \u201d Mark just sits. Exhausted. The music FADES.", "EXT. HERMES - SPACE The Hermes halts rotation as it approaches Mars. TITLE : Sol 560 LEWIS -LRB- PRELAP -RRB- Here \u2019 s the plan...", "INT. HERMES REC ROOM - SPACE The whole crew is present for the state of the union. LEWIS Martinez will fly the MAV. Johanssen will sysop the ascent. Beck and Vogel, I want you in Airlock 2 with the outer door open before the MAV even launches. Once we reach intercept, it \u2019 ll be Beck \u2019 s job to get Watney. BECK He might be in bad shape. The stripped down MAV will get up to 12 g \u2019 s during the launch. He could be knocked unconscious and may have internal bleeding. LEWIS Well, then it \u2019 s a good thing you \u2019 re our doctor. What \u2019 s the intercept plan? BECK We finished attaching the tethers into one long line. It \u2019 s 214 meters long. I \u2019 ll have the MMU, so moving around should be easy. LEWIS How fast a relative velocity can you handle? BECK Once I get to Mark? I can grab the MAV at 5 meters per second. 10 is like jumping onto a moving train. Any more than that and I might miss. LEWIS We \u2019 ve got some leeway. The launch will be 52 minutes before the intercept and it takes 12 minutes. As soon as Mark \u2019 s engine cuts out we \u2019 ll know our intercept point and velocity. BECK Good. And 214 meters isn \u2019 t a hard limit, per se. LEWIS Yes. It is. BECK I take off the tether, I could get way out to -- LEWIS Not an option. Vogel, you \u2019 re Beck \u2019 s backup. All goes well, you \u2019 re pulling them back aboard with the tether. If things go wrong, you \u2019 re going out after them. VOGEL Ja. LEWIS All right. Let \u2019 s go get our boy.", "INT. POP UP TENT - DAY Mark sits inside the makeshift pressurized tent. He tears open his last remaining ration pack : \u201c Goodbye, Mars \u201d He eats in silence. TITLE : Sol 561", "EXT. NASA - NIGHT It \u2019 s a mob scene at NASA. Networks from all across the globe have sent teams to cover the event. Campers, crews, and chaos all around as everyone fights for real estate in the biggest story of the century.", "EXT. TIMES SQUARE - NIGHT New-Years-Eve-Level crowds gather in Times Square. On the Jumbotron, news reports announce the \u201c Watney Rescue. \u201d", "INT. MISSION CONTROL -  NIGHT Teddy, Vincent, and Annie watch from an observation area. ANNIE If something goes wrong, what can Mission Control do? VINCENT Not a damned thing. -LRB- off her look -RRB- It \u2019 s all happening twelve light-minutes away. That means it takes twenty-four minutes for them to get the answer to any question they ask. The whole launch is twelve minutes long. They \u2019 re on their own. ANNIE Not that we have a choice, but... are we sure we want to be broadcasting this to the world? I mean, if something goes wrong -- VINCENT -LRB- cutting her off -RRB- Yes. -LRB- resolute -RRB- We want to be broadcasting this. Mitch takes his position as Johanssen \u2019 s VOICE rings out : JOHANSSEN -LRB- OVER COMMS -RRB- Fuel Pressure green.", "EXT. STREETS - BEIJING - DAY Crowds watch the screens in Beijing as Johanssen \u2019 s voice RINGS OUT : JOHANSSEN -LRB- OVER COMMS -RRB- Engine alignment perfect...", "EXT. ST. PETERSBERG - DAY The cold is not keeping the crowds from watching the screens in the Palace Square. JOHANSSEN -LRB- OVER COMMS -RRB- Communications five by five...", "INT. HERMES - FLIGHT DECK - SPACE Lewis nods. She \u2019 s been waiting for this moment for some time. Keys the console -- LEWIS About two minutes, Watney. How you doing down there?", "INT. MAV - COCKPIT - DAY Mark tries to keep his emotions under control as he waits in the cockpit... MARK It \u2019 s good to hear your voice, Commander. I \u2019 m eager to get up to you. He fails. His voice breaks. MARK -LRB- CONT \u2019 D -RRB- Thank you for coming back for me.", "INT. HERMES FLIGHT DECK - SPACE LEWIS We \u2019 re on the case. Remember, you \u2019 ll be pulling some pretty heavy G \u2019 s. It \u2019 s okay to pass out. You \u2019 re in Martinez \u2019 hands. MARK Tell that asshole no barrel-rolls. LEWIS Copy that, MAV. CAPCOM... CLOSE ON JOHANSSEN, at her station. JOHANSSEN Go. LEWIS Remote Command... CLOSE ON MARTINEZ, grinning in anticipation. MARTINEZ Go. LEWIS Recovery...", "INT. HERMES - AIRLOCK 2 - SPACE CLOSE ON BECK as he floats in the open airlock. Beneath him, the Red Planet blazes in all its brilliance. BECK Go. LEWIS -LRB- OVER COMMS -RRB- Secondary recovery... CLOSE ON VOGEL, clamped to the floor behind Beck. VOGEL Go.", "INT. HERMES - FLIGHT DECK - SPACE CLOSE ON LEWIS : LEWIS Pilot... And finally...", "INT. MAV - COCKPIT - DAY CLOSE ON MARK WATNEY, in his EVA suit, strapped into his acceleration seat. MARK Go.", "EXT. VARIOUS - DAY/NIGHT ALL AROUND THE WORLD -- the CROWDS ERUPT IN CHEERS as they hear Mark \u2019 s voice.", "INT. NASA - MISSION CONTROL - NIGHT LEWIS -LRB- OVER COMMS -RRB- Mission control, this is Hermes actual. We are go for launch, and will proceed on schedule. 10 seconds to launch... mark.", "INT. HERMES - FLIGHT DECK - SPACE MARTINEZ Main engines start. JOHANSSEN 8... 7... mooring clamps released... LEWIS About five seconds, Watney. Hang on.", "INT. MAV - DAY Mark tenses in anticipation. MARK See you in a few, Commander. JOHANSSEN -LRB- OVER COMMS -RRB- 4... 3... 2... 1... LIFTOFF. Mark is SLAMMED back into his acceleration couch --", "EXT. LAUNCHSITE - DAY SFX : the MAV launches upward with incredible force. And yes, as discussed, in the history of space travel, no manned ship has ever accelerated with more force.", "INT. MAV - DAY Mark can \u2019 t even GASP -- the wind knocked out of him -- He struggles to remain conscious as the ship shakes VIOLENTLY -- MARK \u2019 S POV : staring forward, at the HAB CANVAS ( which now patches where the nosecone used to be. ) As the ship accelerates, the canvas begins to RIP --", "INT. HERMES - FLIGHT DECK - SPACE JOHANSSEN Velocity 741 meters per second. Altitude 1350 meters... LEWIS That \u2019 s too low -- MARTINEZ I know. It \u2019 s fighting me -- JOHANSSEN Velocity 850, altitude 1843 -- LEWIS Watney? Watney, do you read? Can you report?", "INT. MAV - DAY But Mark \u2019 s barely conscious -- his eyes drifting from terrified to serene as he fades -- HIS POV -- the canvas RIPS FREE.... Revealing the RED ATMOSPHERE of Mars. And as it thins -- as we rocket towards the heavens -- the red gives way to the black... And the last thing Mark sees before he drops unconscious -- Are the STARS.", "INT. HERMES - FLIGHT DECK - SPACE JOHANSSEN He \u2019 s well below target altitude. LEWIS How far below? JOHANSSEN Working on it -- Main shutdown in 3... 2... 1... Shutdown. MARTINEZ Back to automatic guidance. Confirm shutdown. LEWIS Watney? Do you read? BECK -LRB- OVER COMMS -RRB- He \u2019 s probably passed out. He pulled 12 G \u2019 s on the ascent. Give him a few minutes. LEWIS Copy. JOHANSSEN I have interval pings. Intercept velocity will be 11 meters per second... BECK -LRB- OVER COMMS -RRB- I can make that work. JOHANSSEN Distance at intercept will be -- -LRB- goes pale -RRB- We \u2019 ll be 68 kilometers apart.", "INT. HERMES - AIRLOCK 2 - SPACE BECK Did she say 68 kilometers? Kilometers?", "INT. HERMES - FLIGHT DECK - SPACE MARTINEZ Oh my god... LEWIS Keep it together. Work the problem. Martinez, do we have any juice in the MAV? MARTINEZ Negative, Commander. They ditched the OMS system to make launch weight. LEWIS Then we have to go him. Johanssen, time to intercept? JOHANSSEN 39 minutes, 12 seconds -- LEWIS What if we point our attitude thrusters all the same direction? MARTINEZ Depends on how much fuel we want to save for attitude adjustments on the trip home. LEWIS How much do you need? MARTINEZ I could get by with maybe 20 percent of what \u2019 s left. LEWIS Johanssen -- JOHANSSEN -LRB- already working it -RRB- Use 75.5 percent of remaining attitude adjust fuel. That \u2019 ll bring the intercept range to zero. LEWIS Do it. JOHANSSEN Hang on -- that gets the range to zero, but the intercept velocity will be 42 meters per second -- LEWIS Then we have 39 minutes to figure out how to slow down. Martinez, burn the jets.", "EXT. HERMES - SPACE WHOOSH. The attitude thrusters FIRE. The Hermes changes course --", "INT. MAV - DAY CLOSE ON MARK as his eyelids flutter. He winces in pain as he slowly regains consciousness. BENEATH HIM -- the orbiting MAV offers an unobstructed view of Mars. The great red planet \u2019 s horizon stretches out forever as the wispy atmosphere gives it a fuzzy edge. It \u2019 s breathtaking. Awe-inspiring. Mark holds up his middle finger. Fuck you, Mars. MARK MAV to Hermes -- LEWIS -LRB- OVER COMMS -RRB- Watney?! MARK Affirmative, Commander. LEWIS -LRB- OVER COMMS -RRB- What \u2019 s your status? MARK My chest hurts. I think I broke some ribs. -LRB- then -RRB- How are you? LEWIS -LRB- OVER COMMS -RRB- We \u2019 re working on getting you. There was a complication during launch. MARK Yeah. The canvas didn \u2019 t hold...", "INT. HERMES - FLIGHT DECK - SPACE MARK -LRB- OVER COMMS -RRB- I think it ripped early in the ascent. LEWIS That \u2019 s consistent with what we saw. MARK -LRB- OVER COMMS -RRB- How bad is it, Commander? LEWIS We \u2019 ve corrected the intercept range, but we \u2019 ve got a problem with the intercept velocity. MARK -LRB- OVER COMMS -RRB- How big a problem? LEWIS 42 meters per second.", "INT. MAV - DAY We \u2019 re CLOSE ON MARK as that news lands. MARK Well. Shit.", "INT. HERMES - FLIGHT DECK - SPACE Everyone struggles to find a solution. Mark \u2019 s voice interrupts the silence : MARK -LRB- OVER COMMS -RRB- Commander?", "INT. MAV - DAY LEWIS -LRB- OVER COMMS -RRB- Go ahead, Mark. MARK I could find something sharp in here and poke a hole in the glove of my EVA suit. I could use the escaping air as a thruster and fly my way to you. Since the source is on my arm, I could direct it pretty easy.", "INT. HERMES - FLIGHT DECK - SPACE LEWIS I can \u2019 t see you having any control if you did that. You \u2019 d be eyeballing the intercept and using a thrust vector you can barely control. MARK -LRB- OVER COMMS -RRB- Those are very good points. But. Consider this :", "INT. MAV - DAY MARK I would get to fly around like Iron Man.", "INT. HERMES - FLIGHT DECK - SPACE LEWIS We should have left him on Mars. MARK -LRB- OVER COMMS -RRB- Iron Man, Commander. Iron Man. Lewis rubs her face. Thinks. Hmm... LEWIS Maybe it \u2019 s not the worst idea. MARTINEZ No, it actually is. The worst idea. Ever. LEWIS Not his part. But using atmosphere as thrust... -LRB- springs into action -RRB- Martinez, get Vogel \u2019 s station up and running... MARTINEZ It \u2019 s up. What do you need? LEWIS I need to know what happens if we blow the VAL. Both Martinez and Johanssen straighten up. What? MARTINEZ You want to open the Vehicular Airlock? LEWIS It would give us a good kick. MARTINEZ Yeah. And it might blow the nose of the ship off in the process. JOHANSSEN And... all the air would leave. And we need air. To not die. LEWIS We \u2019 ll seal the bridge and reactor room. We let everywhere else go vacuo. MARTINEZ But we \u2019 d still have the same problem as Watney. We can \u2019 t direct the thrust. LEWIS We don \u2019 t have to. The VAL is in the nose. We just point the ship at Mark. MARTINEZ -LRB- reading the numbers -RRB- A breach at the VAL would decelerate us 29 meters per second. JOHANSSEN Which gives us a relative velocity of 13 meters per second. LEWIS Beck -- you hearing this?", "INT. HERMES - FLIGHT DECK - SPACE MARTINEZ How do we open the airlock doors? There \u2019 s no way to open them remotely, and if anyone \u2019 s nearby when it blows... LEWIS Right... right... -LRB- thinks -RRB- Vogel? VOGEL -LRB- OVER COMMS -RRB- Go ahead, Commander. LEWIS Take your suit off. -LRB- then -RRB- I need you to come back in and make a bomb.", "INT. MAV - DAY MARK Did you say \u201c bomb? \u201d You guys are making a bomb without me?", "INT. HERMES - AIRLOCK 2 - SPACE VOGEL Um... Again, please, Commander. LEWIS -LRB- OVER COMMS -RRB- You \u2019 re the chemist. Can you make a bomb with what we \u2019 ve got on board? VOGEL Probably. But... I feel obliged to mention that setting off an explosive device on a spacecraft is a terrible, terrible idea. LEWIS -LRB- OVER COMMS -RRB- Copy that. Can you do it? VOGEL -LRB- thinks ; then -RRB- Ja.", "INT. MISSION CONTROL - NIGHT Lewis \u2019 voice rings out through the room : LEWIS -LRB- OVER COMMS -RRB- Houston, be advised : we are going to deliberately breach the VAL to produce thrust. CHAOS erupts at Mission Control. WHAT DID SHE JUST SAY?", "INT. HERMES - FLIGHT DECK - SPACE LEWIS Beck -- leave your suit on. Meet Johanssen at Airlock 1. We \u2019 ll open the outer door. I need you to place the charge on the inner door...", "INT. HERMES - AIRLOCK 2 - SPACE LEWIS -LRB- OVER COMMS -RRB-... and climb back to Airlock 2 along the hull. BECK Copy. On my way.", "INT. HERMES/MAV - SPACE - INTERCUT Mark RIPS free a jagged edge of metal scrap from what used to be the console. MARK Commander, I can \u2019 t let you guys do this. I \u2019 m ready to puncture the suit. Let \u2019 s go with the Iron Man plan. LEWIS Absolutely not. MARK The thing is, I \u2019 m selfish. And I want the memorials back home to be just me. I don \u2019 t want the rest of you losers in them. -LRB- earnest -RRB- Commander... call it off. LEWIS Oh. Okay. Well, if you want us to call it off, then I guess we have to oh wait... wait a minute. Yep. I \u2019 m looking at my shoulder patch and it turns out I \u2019 m Commander. So shut up. MARK -LRB- mutters -RRB- Smart ass.", "INT. HERMES REC ROOM - SPACE Vogel works fast. He pours SUGAR into a strong glass beaker. Drills a hole in the stopper as Johanssen enters -- JOHANSSEN Bomb? VOGEL -LRB- nods -RRB- Bomb. In a pure oxygen environment, 16.7 million Joules will be released for every kilogram of sugar used. Eight times more powerful than a stick of dynamite. He pours LIQUID OXYGEN into the beaker. JOHANSSEN How do we activate it? Vogel strips electrical wires, threads them into the stopper. VOGEL Can you run this to one of our lighting panels? Johanssen grins.", "INT. HERMES - VAL (AIRLOCK 1) - SPACE Beck ( in his spacesuit ) enters the Vehicular Airlock as Johanssen is ripping wires out of the lighting panel and threading them into the bomb. JOHANSSEN Make sure you \u2019 re not still here when this goes off. He takes the bomb from her. JOHANSSEN -LRB- CONT \u2019 D -RRB- Wait -- They share a look. JOHANSSEN -LRB- CONT \u2019 D -RRB- Be careful. Out in space. Johanssen kisses his face plate. JOHANSSEN -LRB- CONT \u2019 D -RRB- Don \u2019 t tell anyone I did that. Beck smiles. Closes the ( inner ) Airlock door behind her. INT/EXT. HERMES - VAL ( AIRLOCK 1 ) - SPACE As the OUTER DOOR opens, revealing SPACE, Beck finishes securing the improvised bomb to the inner door. BECK Bomb is set. On my way.", "INT. HERMES - FLIGHT DECK - SPACE As Johanssen races back to her post, Martinez works quickly at his station. MARTINEZ Guys, I \u2019 m running the numbers -- even with optimal VAL blow, we \u2019 re gon na be off on our angle. LEWIS What \u2019 s the new intercept distance? -LRB- impatient -RRB- Johanssen. JOHANSSEN 260 meters. Approximate. LEWIS That \u2019 s too far... She thinks for a moment. Then she races off the flight deck. MARTINEZ Commander?", "EXT. HERMES - SPACE Beck climbs out of Airlock 1, and makes his way along the hull of Hermes, using the handholds. We FOLLOW HIM as he traverses the ship, and as he makes his way into Airlock 2...", "INT. HERMES - AIRLOCK 2 - SPACE ... he finds LEWIS, fully suited up, waiting for him. LEWIS The intercept distance is gon na be too far. I \u2019 m going untethered. BECK Commander, I can do this -- LEWIS It \u2019 s not a debate, Beck. I \u2019 m not risking another crew member. Beck sees there \u2019 s no arguing with her. LEWIS -LRB- CONT \u2019 D -RRB- Johanssen, time to VAL blow? JOHANSSEN -LRB- OVER COMMS -RRB- 15 seconds... LEWIS We sure know how to cut it close.", "INT. HERMES - FLIGHT DECK - SPACE Vogel rushes into the flight deck. JOHANSSEN 10 seconds... MARTINEZ Strap in. They tighten the restraints on their chairs. JOHANSSEN 5... 4... 3... LEWIS Brace for deceleration. JOHANSSEN 2... 1... Activating Panel 41. She presses ENTER.", "INT. HERMES - VAL (AIRLOCK 1) - SPACE We \u2019 re CLOSE ON THE BOMB as the current hits it... KA-BOOOM! The EXPLOSION RIPS THE AIRLOCK DOOR TO SHREDS -- As the Hermes decelerates, Lewis and Beck are SLAMMED up against the wall --", "INT. HERMES - FLIGHT DECK - SPACE Martinez, Vogel, and Johanssen endure the deceleration in their chairs. After four seconds, the ship stabilizes -- JOHANSSEN Bridge seal holding. MARTINEZ Damage? LEWIS -LRB- OVER COMMS -RRB- Worry about that later... What \u2019 s our relative velocity?", "INT. HERMES - AIRLOCK 2 - SPACE JOHANSSEN -LRB- OVER COMMS -RRB- 12 meters per second. LEWIS Copy. And with that, Commander Lewis places her feet against the back wall for leverage... AND JUMPS.", "INT. HERMES - FLIGHT DECK - SPACE LEWIS -LRB- OVER COMMS -RRB- What \u2019 s our intercept range? Johanssen stares at the calculations. That can \u2019 t be right... JOHANSSEN 312 meters.", "INT. MAV - DAY Mark hears the news. Oh SHIT. MARK You said 312? Great. I \u2019 ll wave at you guys as I go by. LEWIS -LRB- OVER COMMS -RRB- I have visual on the MAV --", "EXT. HERMES - SPACE Lewis sails clear of the ship, controlling her movements with her MMU. We SPOT the rotating MAV way off in the distance -- LEWIS Mark -- you \u2019 re still WAY TOO FAR -- I \u2019 m not gon na make it --", "INT. MAV - DAY Mark hears the news. Steels himself. MARK Commander. Seriously. -LRB- then -RRB- I got this. Mark unclips his harness. Slams his makeshift knife into his suit. WHOOSH -- the air shoots out through the puncture --", "EXT. MAV - DAY And we \u2019 re OUTSIDE THE MAV -- as it tumbles away from us -- Mark Watney soars out of the ship. MARK -LRB- having the time of his life ) I have visual on the Commander. AHEAD IN THE DISTANCE -- there \u2019 s Lewis. Mark tries to adjust course as they rocket towards each other. LEWIS Johanssen -- what \u2019 s my relative velocity to Mark? And as our SCORE begins to BUILD...", "INT. HERMES - FLIGHT DECK - SPACE ANGLE JOHANSSEN -- knuckles white as she types -- JOHANSSEN 5.2 meters per second... ANGLE MARTINEZ -- on the edge of his seat -- LEWIS -LRB- OVER COMMS -RRB- Copy. Adjusting course -- ANGLE VOGEL -- heart in his throat -- JOHANSSEN 3.1 meters per second...", "INT. HERMES - AIRLOCK 2 - SPACE ANGLE BECK -- watching the two figures rocket towards each other below -- JOHANSSEN -LRB- OVER COMMS -RRB- Distance to target -- 24 meters --", "EXT. HERMES - SPACE ANGLE LEWIS -- as she counter-thrusts, fires her MMU. Trying to slow as Mark approaches -- JOHANSSEN -LRB- OVER COMMS -RRB- 11 meters to target... And finally...", "EXT. SPACE ANGLE MARK. As he cuts through space. Free as the proverbial bird. The Red Planet silhouetted behind him as he leaves it behind, once and for all. As the score SWELLS to CRESCENDO, these two astronauts soar towards one another, arms outstretched... JOHANSSEN -LRB- OVER COMMS -RRB- 6 meters to target... JUST AS THEY REACH EACH OTHER -- MARK Contact.", "EXT. SPACE - DAY Mark and Lewis float together, holding tight to one another. CLOSE ON MARK. As he stares at Lewis. The first human he has seen in ages. He smiles. MARK You have terrible taste in music.", "INT. NASA - MISSION CONTROL - NIGHT Everyone leaps up as Lewis \u2019 voice rings out through mission control -- LEWIS -LRB- OVER COMMS -RRB- I got him. They ERUPT into CHEERS --", "EXT. ST. PETERSBERG - DAY -- and the CHEERS explode through RUSSIA...", "EXT. TIMES SQUARE - NIGHT ... and NEW YORK as news reports break the story of Mark \u2019 s rescue on the big screens.", "EXT. BEIJING - DAY ... and CHINA...", "EXT./INT. AIRLOCK - DAY LEWIS guides MARK towards the airlock with her MMU. LEWIS -LRB- INTO COMMS -RRB- Beck, prep the sick bay. We \u2019 re bringing him to you. Everyone else, meet me in Airlock Two. MARTINEZ, JOHANSSEN, and VOGEL race down from the bridge to meet them. They \u2019 re not in suits -- they have to wait for the outer airlock to close. THROUGH THE OBSERVATION WINDOWS : they see Lewis and Mark touch down in the airlock. The outer airlock closes -- WHOOSH -- Mark collapses, exhausted. The inner airlock opens. Martinez, Johanssen, and Vogel race into the room, grab Mark. Supporting him. Holding him. MARK Hi guys. Everyone fighting back tears. JOHANSSEN Oh, hey Mark. Haven \u2019 t seen you in a while. MARTINEZ Yeah. What \u2019 ve you been up to? MARK Oh. You know. Same old, same old. Click. They help him with his helmet. As they pull it off, everyone is suddenly taken aback. Oh my god... VOGEL You smell horrible. MARK I haven \u2019 t showered in a year and a half. Cut me some slack. Johanssen \u2019 s eyes are watering. Good lord, he smells bad. JOHANSSEN You don \u2019 t know what you \u2019 re asking us here. MARTINEZ Yeah, captain, we may need to put him back. MARK I missed you guys. They hold each another.", "EXT. EARTH - TO ESTABLISH Home. It \u2019 s never looked more warm and welcoming.", "EXT. PARK - JOHNSON SPACE CENTER - DAY A man sits by himself on a bench. ANGLE to reveal it \u2019 s MARK WATNEY. Basking in the warmth of a beautiful day. TITLE : DAY 1", "INT. NASA - TEACHING THEATER - DAY The young, fresh-faced recruits in NASA \u2019 s Astronaut Candidate Program are abuzz as Mark enters the room. The students nudge each other -- Look, there he is. By the time Mark reaches the lectern at the front, he has the full attention of the class. MARK Welcome to the Astronaut Candidate Program. Pay attention. This could save your life. -LRB- then -RRB- Trust me, I know what I \u2019 m talking about. The class laughs. MARK -LRB- CONT \u2019 D -RRB- Okay, let \u2019 s see if I can get some of your questions out of the way up front. Yes, I did, indeed, survive on a deserted planet by farming in my own shit. It was even more disgusting than it sounds. Let \u2019 s never speak of it again. More laughter. Mark lets it subside. MARK -LRB- CONT \u2019 D -RRB- Question Two : \u201c When you were stranded and alone up there... did you think you were gon na die? \u201d And there \u2019 s a pause as Mark thinks about it. The rare moment of reflection for our hero. He nods. Genuine : MARK -LRB- CONT \u2019 D -RRB- Yes. Then... MARK -LRB- CONT \u2019 D -RRB- And it \u2019 ll happen to you, too. You should know that going in. It \u2019 s space. It \u2019 s filled with chance, circumstance, and bad luck. It doesn \u2019 t cooperate. At some point, I promise, at some point every single thing is gon na go south on you, and you \u2019 ll think : this is it. This is how I end. -LRB- then -RRB- And you can either accept that... or you can get to work. He lets those words land. MARK -LRB- CONT \u2019 D -RRB- That \u2019 s all it is. You simply begin. Solve one problem. Then the next one, then the next. -LRB- then -RRB- You solve enough problems... and you get to come home. Mark opens his notebook. MARK -LRB- CONT \u2019 D -RRB- All right. Questions? Every hand in the class shoots into the air. MUSIC UP : \u201c LOVE TRAIN \u201d by The O \u2019 Jays carries us to...", "EXT. LAUNCHPAD - DAY A SPACECRAFT is readied for launch. ANNIE -LRB- PRELAP -RRB-... as soon as Mission Control finishes their pre-flight checks, we will begin launch procedures...", "INT. NASA -  PRESS ROOM - DAY ANNIE MONTROSE stands at her place at the podium. Annie \u2019 s a little older, a little wiser, but can still command a room. ANNIE The Ares 5 team will rendezvous with the Hermes approximately 48 minutes after launch. From there, they \u2019 ve got 414 days of space travel ahead of them, arriving at Mars on March 30th. And I \u2019 ll let the Director of Mars Missions, Vincent Kapoor, brief you on the particulars. VINCENT steps to the podium. He \u2019 s calm. At ease. Much better on television than we \u2019 ve ever seen him. VINCENT Good morning. Their mission is scheduled for 41 Sols. Your briefs detail the research and experiment schedules... And the MUSIC CONTINUES THROUGHOUT as...", "INT. NASA - MISSION CONTROL The room is ABUZZ WITH ACTIVITY as they prepare for launch. MINDY PARK takes her place at her STATION. She \u2019 s moved up in the world, now bears the title of : MINDY Flight, CAPCOM. Ready to begin preflight check. BRENDAN HATCH takes his place as the new FLIGHT DIRECTOR. BRENDAN Go ahead, CAPCOM. UP ABOVE : In the VIEWING ROOM... TEDDY SANDERS watches the activity from his solitary seat. He has his GREEN FOLDER at the ready beside him.", "EXT. JPL - MORNING A DEER trots through JPL grounds... it \u2019 s still early yet at the Jet Propulsion Labs in Pasadena.... But BRUCE NG is awake. And he still looks as exhausted and rumpled as ever. But he \u2019 s in a good mood. He eats breakfast with his team outside as they watch the news reports detailing the \u201c ARES 5 LAUNCH. \u201d Bruce and his team laugh, make jokes with each other. One of them tosses food to the deer.", "INT. SUBURBAN HOUSE - DAY \u201c People all over the world, join in... \u201d Five BEAUTIFUL BLONDE CHILDREN race through the house, wearing NASA t-shirts and jumpsuits -- we get the sense this is the Superbowl for this family. ALEX VOGEL grabs his youngest daughters as they race past. He scoops them up in his arms. They laugh and laugh.", "INT. SPACECRAFT - DAY The Ares 5 astronauts secure themselves into their acceleration chairs. We settle on one astronaut : WEN JIANG. The first Chinese national to go to Mars. CAPCOM -LRB- OVER COMMS -RRB- Guidance. WEN Go.", "INT. NASA - MISSION CONTROL ZHU TAO and GUO MING stand at the back of the room, listening with pride as Wen runs through his check. A historic moment for their country.", "EXT. PARK - MORNING MITCH HENDERSON watches his grandson run around the park. We get the sense ( the forced ) retirement is treating him well.", "INT. HOSPITAL - DAY \u201c Let this train keep on riding, riding on through... \u201d CHRIS BECK accepts a bouquet of flowers from a nurse. Sets them down next to the others as he checks on... His wife. BETH JOHANSSEN. Who \u2019 s holding THEIR NEWBORN BABY GIRL in her arms. Beck climbs into the hospital bed next to them.", "INT. SPACECRAFT - DAY As we hear the TIMER CONTROLLER initiate the COUNTDOWN... TIMER CONTROLLER -LRB- OVER COMMS -RRB- 10... 9... 8... We settle on the final member of the ARES 5 team : RICK MARTINEZ. He grins as he feels that all-too-familiar surge of adrenaline. Here we go again...", "INT. HOUSE - DAY We \u2019 re MOVING DOWN THE HALLWAY of a quaint house. On the WALLS : vintage albums and posters... Donna Summer \u2019 s LAST DANCE on 7 \u201d... C \u2019 est Chic... A framed top that looks like something Gloria Gaynor wore... TIMER CONTROLLER -LRB- OVER COMMS -RRB- 7... 6... And mixed in among the glittery paraphernalia : The NASA Distinguished Service Medal... The Congressional Medal of Honor... MELISSA LEWIS is glued to the television. She doesn \u2019 t look up as her husband brings her a cup of tea. She \u2019 s with the crew in this moment. Her husband doesn \u2019 t take offense. He gives her a loving pat and exits. TIMER CONTROLLER -LRB- OVER COMMS -RRB- -LRB- CONT \u2019 D -RRB- 5... 4...", "INT. NASA - MISSION CONTROL \u201c People all over the world, \u2018 round the world y \u2019 all, join hands... \u201d WIDE ON THE WHOLE ROOM as the team stares back at us in eager anticipation. TIMER CONTROLLER -LRB- OVER COMMS -RRB- 3... 2... 1... Launch. The crowd erupts into cheers. They reach for one another. We drift up to find...", "EXT. SPACE Earth. Blue and beautiful. Home. FADE OUT.", "THE END"], "labels": [0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0, 1.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0], "summary": "In 2035, the crew of the Ares III mission to Mars is exploring Acidalia Planitia on Martian solar day (sol) 18 of their 31-sol expedition. A severe dust storm threatens to topple their Mars Ascent Vehicle (MAV). The mission is scrubbed, but as the crew evacuates, botanist/engineer Mark Watney is struck by debris, knocked unconscious and flung a considerable distance away. The telemetry from his suit's bio-monitor is damaged, so he is presumed dead. With the MAV on the verge of toppling and unable to find him, the rest of the crew takes off for their orbiting vessel, the Hermes. Watney awakens after the storm, injured and with a low-oxygen warning. He returns to the crew's surface habitat (\"Hab\") and treats his wound. As Watney recovers, he begins a video diary. Unable to communicate with Earth, his only chance of rescue is the next Mars mission. In four years, the Ares IV will land 3,200 kilometers (2,000 mi) away at the Schiaparelli crater. Watney's immediate concern is food; being a botanist, he creates a garden inside the Hab using Martian soil fertilized with the crew's bio-waste and manufactures water from leftover rocket fuel. He then cultivates whole potatoes from eyes taken from potatoes in packaged meals. He also begins modifying the rover for the journey to the Ares IV MAV site. On Earth, NASA satellite planner Mindy Park, reviewing satellite images, notices moved equipment and realizes Watney is alive. NASA director Teddy Sanders releases the news to the public, but decides to not tell the Ares III crew so that they will remain focused on their mission, over flight director Mitch Henderson's strong objection. Watney takes the rover on a one-month journey to retrieve the Pathfinder probe, which fell silent in 1997. Using Pathfinder's camera and motor, he establishes visual contact with NASA. NASA transmits a software patch to link the rover with Pathfinder, enabling communication by text. Sanders finally allows Henderson to inform Watney's crewmates. Mars missions director Vincent Kapoor and Jet Propulsion Laboratory (JPL) director Bruce Ng prepare a space probe to deliver enough food for Watney to survive until Ares IV's arrival. However, the Hab's airlock blows out, exposing the Hab to the harsh Martian environment; the potato plants all die. To save time, Sanders orders the routine safety inspections be bypassed. His gamble fails, and the Atlas V rocket explodes soon after liftoff. The China National Space Administration offers NASA their secret booster rocket, the Taiyang Shen (\"Sun God\"). The decision is made to use the rocket to resupply Watney. However, JPL astrodynamicist Rich Purnell devises an alternative plan: have the Taiyang Shen rendezvous with and resupply the Hermes, which will then use Earth's gravity to \"slingshot\" back to Mars two years earlier than Ares IV. Sanders rejects the idea, considering it too risky for the Hermes crew. Henderson surreptitiously sends Purnell's proposal to the crew; they unanimously vote to implement it without seeking NASA approval, disabling NASA's remote controls and making the course change. Sanders is forced to support them publicly, but demands Henderson resign after the mission is completed. Watney begins the 90-sol journey to Schiaparelli, where the MAV for Ares IV has been pre-positioned. He must use it to rendezvous with the Hermes, but it needs to be lightened considerably. After takeoff, the MAV runs out of fuel at too low an altitude. Also, its velocity relative to the Hermes is too great for a pickup. Commander Lewis quickly improvises, using an explosive to breach a forward airlock, resulting in air escaping violently and slowing down the Hermes. It is still not enough; using a tethered Manned Maneuvering Unit, Lewis is unable to reach Watney. Watney pierces his pressure suit, using the escaping air to propel himself to Lewis, ending his 543 sols alone on Mars. After returning to Earth, Watney becomes a survival instructor for astronaut candidates. Five years later, as the Ares V is about to launch, those involved in Watney's rescue are seen in their current lives.", "name": "The_Martian"}
{"scenes": ["This story takes place in its own universe. It has no connection to any of the DC films that have come before it. We see it as a classic Warner Bros. movie. Gritty, intimate and oddly funny, the characters live in the real world and the stakes are personal. Although it is never mentioned in the film, this story takes place in the past. Let's call it 1981. It's a troubled time. The crime rate in Gotham is at record highs. A garbage strike has crippled the city for the past six weeks. And the divide between the `` haves'' and the `` have- nots'' is palpable. Dreams are beyond reach, slipping into delusions. OVER BLACK : HEAR LAUGHTER. The sound of a man totally cracking up. FADE IN : INT. DEPT. OF HEALTH, OFFICE - MORNING CLOSE ON JOKER ( 30's ), tears in his eyes from laughing so hard. He's trying to get it under control. His greasy, black hair is matted down. He's wearing an old, faded red hooded zip-up sweatshirt, a threadbare gray scarf, thin from years of use, hangs loosely around his neck. WE NOTICE TWO FADED OLD SCARS cut at the corners of his mouth. Almost forming a smile. He's sitting across from an overworked SOCIAL WORKER ( 50's ), African American. Her office is cramped and run-down in a cramped and run-down building. Stacks of folders piled high in front of her. She just sits behind her desk, waiting for his laughing fit to end, she's been through this before. Finally it subsides. Joker takes a deep breath, pauses to see if it's over. Beat. JOKER -- is it just me, or is it getting crazier out there? Despite the laughter, there's real pain in his eyes. Something broken in him. Looks like he has n't slept in days. SOCIAL WORKER It's certainly tense. People are upset, they're struggling. Looking for work. The garbage strike seems like it's been going on forever. These are tough times. -LRB- then -RRB- How'bout you. How's the job? Still enjoying it? JOKER Yeah, I mean, it's different each day, so I really like that. I do n't think I could ever work in an office. Behind a desk. -LRB- MORE -RRB- JOKER -LRB- CONT'D -RRB- -LRB- beat -RRB- No offense. She smiles. Writes something down. Looks at the clock, she's running late for her next appointment. SOCIAL WORKER Have you been keeping up with your journal? JOKER Everyday. SOCIAL WORKER Great. Did you bring it with you? Beat. JOKER -LRB- dodging the subject -RRB- I'm sorry. Did I bring what? SOCIAL WORKER -LRB- impatient ; she does n't have time for this -RRB- Arthur, last time I asked you to bring your journal with you. For these appointments. Do you have it? JOKER Yes ma'am. Beat. SOCIAL WORKER Can I see it? He reluctantly reaches into his bag. Pulls out a weathered notebook. Slides it across to her -- JOKER I've been using it as a journal, but also a joke diary. Funny thoughts or, or observations -- Did I tell you I'm pursuing a career in stand-up comedy? She's half-listening as she flips through his journal. SOCIAL WORKER No. You did n't. JOKER I think I did. She does n't respond, keeps flipping through his journal -- SOCIAL WORKER Oh yeah. Because of what your mother said, -- about your purpose. `` To bring laughter and joy to the world,'' right? JOKER Right. ANGLE ON JOURNAL, pages and pages of notes, all in neat, angry-looking handwriting. Also, cut out photos from hardcore pornographic magazines and some crude handmade drawings. A flash of anger crosses Joker's face. We see him picking at his right eyebrow, almost obsessively. Trying to stay calm. His eyebrow is actually half-gone. Something he does a lot. JOKER I did n't realize you wanted to read it. The social worker gives him a look, then reads something in the pages that gives her pause. SOCIAL WORKER -LRB- reading out loud -RRB- `` I just hope my death makes more sense than my life.'' She looks up at Joker. He just stares back. Lets it hang out there for a beat. Then he laughs a little, even though he does n't think it's funny -- JOKER Yeah. I mean, that's just -- SOCIAL WORKER Does my reading it upset you? He leans in. JOKER No. I just, -- some of it's personal. You know? SOCIAL WORKER I understand. I just want to make sure you're keeping up with it. She slides his journal back to him. He holds it in his lap. SOCIAL WORKER What about your mom? How's she feeling? JOKER She has good days. But mostly bad. It's been a big help having me there. She really needs me. SOCIAL WORKER Seems like she's been sick a lot since you got home. JOKER -LRB- nods -RRB- Yeah, it's good I'm there. When I was in the hospital, after my last episode -- she was having trouble getting over there to visit. She looks back up at the clock, she needs to get to her next appointment. SOCIAL WORKER All right. So, I'll see you again, two weeks from today? He nods. But keeps sitting there for a moment. She stands up, trying to signal it's time for him to leave -- SOCIAL WORKER Is there something else I can help you with, Arthur? My next appointment is waiting. He just keeps sitting there. JOKER Yeah, I was wondering if you could ask the doctor to increase the dosage on my medications? Nothing seems to make a difference. SOCIAL WORKER -LRB- looking over his record -RRB- Do you know which ones you'd like increased? Shakes his head, no. SOCIAL WORKER Have you been sleeping? JOKER -LRB- lying -RRB- Some. She glances at his file again. SOCIAL WORKER Arthur, you're on seven different medications. Surely they must be doing something. He finally stands up. Zips up his faded red sweatshirt. Looks at her -- JOKER I just do n't wan na feel so bad anymore. CUT TO BLACK : TITLE : JOKER", "EXT. GOTHAM SQUARE, MIDTOWN - KENNY'S MUSIC SHOP - DAY GOTHAM SQUARE IS CLOGGED WITH TRAFFIC. Non-stop honking horns, pedestrians crowding the sidewalk. Huge billboards, giant movie marquees, garbage bags piled high everywhere. Underneath it all we hear a TINKLING PIANO playing something bouncy and fast-paced. FROM ACROSS THE BUSY CITY STREET, we see Joker. He's dressed as a sad-faced HOBO CLOWN. This is his job. Dressed in tattered clothes, dark five o'clock shadow painted on his face, big bulbous red nose, his mouth's outlined in white, turned down at the corners. He's holding up a sign in front of Kenny's Music Shop that reads, `` EVERYTHING MUST GO!'' A banner above the store reads, `` GOING OUT OF BUSINESS!'' Behind him, an OLD MAN plays a piano on the street. Both of them there to draw attention to the big sale going on in the store. Joker's doing a little Charlie Chaplin like waddle to the music. Most people walk right past, ignoring him. A few bump into him by mistake. JOKER SEES A GROUP OF FIVE BOYS, no more than 15-years-old, walking toward him. He moves out of their way. They crack up laughing when they see him. Start making fun of him. Joker ignores them, tries to do his job the best he can while maintaining some dignity. Keeps dancing and holding up the sign. One of the kids knocks the sign out of Joker's hands -- KID #1 Suck my dick, clown. The kids laugh. Joker does n't say anything. Just bends over to pick up the sign -- Another kid kicks him in the ass -- KID #2 Whoops. Joker falls face first onto the sidewalk. Oddly, the old man playing the piano picks up the pace of the music -- The kids crack up. One of the boys grabs Joker's sign and takes off running across the street -- The other kids follow, weaving through traffic -- Joker gets up and gives chase. He needs his sign back. He almost gets hit by a taxi, spinning out of the way just in time -- Spinning right into another taxi that stops just short of hitting him. Joker keeps running through traffic. People stare. A clown barreling down the street has got to be a joke --", "EXT. CORNER, SIDE STREET - GOTHAM SQUARE - CONTINUOUS The five boys are booking it down the crowded street laughing and whooping it up. At the last second they take a sharp right turn down a cross street -- Joker almost overshoots the corner, slip-sliding in his big red shoes -- He rights himself and heads down after them -- Sees them running up ahead -- WHAP! Out of nowhere Joker gets hit in the face! He falls to the ground. One of the kids was hiding between parked cars and hit Joker with the `` EVERYTHING MUST GO!'' sign, splintering it in two -- The other kids turn back and walk up to Joker down on the ground. Joker reaches out, still trying to save the sign -- THE KIDS START KICKING AND BEATING THE SHIT out of Joker. It's brutal and vicious. Nobody on the street stops to help. CLOSE ON JOKER'S HOBO CLOWN FACE, down on the ground. Sweat running down his face, smearing his make-up. He does n't even look like he's in pain. He just takes the beating. That stupid frown painted on his face.", "INT. CITY BUS (PULLING OUT) - HEADING DOWNTOWN - DUSK Joker, makes his way toward the back of the crowded bus, now walking with a slight limp, but keeping his head held high. His make-up's washed off, costume and props all shoved into a big shopping bag slung over his shoulder. Some white grease- paint still smudged on the sides of his face. He finds an empty seat in the back of the bus. Sees a sad- eyed FOUR-YEAR-OLD GIRL, face puffy from crying, sitting on her knees looking back at him. Her mother's facing forward, but even from behind you can tell she's angry. Joker sees the sad-eyed girl staring straight back at him. He does n't know where to look, feeling self-conscious and small. He gets back into `` character'' smiling like a clown and covers his face with his hands -- Starts playing the peek-a-boo game with her. The girl stares back at him for a moment then giggles -- WOMAN ON BUS -LRB- turns back to Joker ; already annoyed -RRB- Can you please stop bothering my kid? JOKER I was n't bothering her, I was -- WOMAN ON BUS -LRB- interrupts -RRB- Just stop. AND SUDDENLY JOKER STARTS TO LAUGH. LOUD. He covers his mouth trying to hide it -- Shakes his head, laughter pausing for a moment, but then it comes on stronger. His eyes are sad. It actually looks like the laughter causes him pain. People on the bus are staring. The girl looks like she's going to cry again. WOMAN ON BUS You think that's funny? Joker shakes his head no, but he ca n't stop laughing. He reaches in his pocket and pulls out a small card. Hands it to the woman. CLOSE ON THE CARD, it reads : `` Forgive my laughter. I have a condition ( more on back )'' She turns the card over and there is a bunch of information in small writing -- `` It's a medical condition causing sudden, frequent, uncontrollable laughter that does n't match how you feel. It can happen in people with a brain injury or certain neurological conditions.'' She does n't read it ( but if you freeze frame the movie you could ). She just shakes her head annoyed and throws the card on the ground. Joker laughs harder. Tears running down his face. Not wanting to attract any more attention to himself, he pulls up his red hood, and uses his threadbare scarf to cover his mouth, trying to muffle the laughter. He looks out at the city passing him by.", "EXT. LOWER EAST SIDE, STREETS - GOTHAM - EVENING The bus pulls away, sun almost gone. Joker heads slowly down the litter-covered streets. Garbage is piled along the sidewalks, the air thick with smog creates a haze over everything. The streets are crowded with the poor, the elderly and disenfranchised. Women with children in busted strollers. Homeless people sleeping on subway grates. Stray dogs. His is one of the few white faces. Joker makes his way into a run-down drug store, behind him two drunks fight on the corner, beating the shit out of each other. Joker, and nobody else for that matter, pays them any attention. No one here gives a shit.", "INT. LOBBY, APARTMENT BUILDING - EVENING A shabby lobby in a building that was once probably pretty nice, but now it's a dump. Joker checks his mailbox. He's holding a small white ( prescription ) bag in his hand. The mailbox is empty.", "INT. ELEVATOR, APARTMENT BUILDING - CONTINUOUS Joker steps onto the wheezing elevator, harsh fluorescent lights, graffiti on the walls. As the door closes, he hears -- SOPHIE -LRB- OS -RRB- Wait!! He puts his foot out with some panache to stop the closing door -- He's a romantic at heart. Ding. And SOPHIE DUMOND ( late 20's ), tired eyes, hands filled with grocery bags, steps onto the elevator with GIGI, her 5-year- old daughter. SOPHIE Thank you. -LRB- realizing -RRB- Of course it's you, -- everyone else in this building is just so fucking rude. Joker nods `` thanks.'' Holds his breath, hoping he does n't start to laugh. Floors dinging as the elevator rises. Joker sees GiGi licking the dirty smudged elevator handrail behind her mom. SOPHIE How's your mom doing? He takes a deep breath, he's uncomfortable talking to her, holds up the white prescription bag. JOKER It's day to day. I'm doing everything I can to get her back on her feet. -LRB- re : pharmacy bag -RRB- Picked up her medicine. Gon na make her some dinner. SOPHIE -LRB- smiles ; being polite -RRB- She's lucky she has you -- Joker smiles thanks, ca n't help but glance at GiGi licking the rail. Sophie finally notices. She wants to grab her but ca n't with her hands full. Tries to kick her away -- SOPHIE Jesus. Do n't do that, GiGi! How many times have I told you that? -LRB- to Joker -RRB- This building is so awful, is n't it? Joker just nods... he does n't know what to say, but clearly wants to continue this conversation with Sophie. The doors open. They all step off. SOPHIE Okay. Well, tell your mom I said hello. And Sophie and GiGi walk down the hall -- the opposite way of Joker. He just stands there for a beat. Heart beating fast. JOKER -LRB- calls out after her -RRB- Hey Sophie -- She turns around. JOKER I'll tell my mom you said hello. She smiles as in `` yeah, that's what I said.''", "INT. MOM'S APARTMENT, FRONT DOOR - EVENING Old apartment, worn carpet. Nothing's new inside but it's fairly neat and well-kept. Joker closes the door behind him, leans his back against it and swoons. Hears a deep purring sound. He looks down and sees an OLD ORANGE CAT, rubbing up against his leg. Then -- MOM -LRB- OS -RRB- -LRB- shattering the moment, calls out -RRB- Happy?! Did you check the mail before you came up? JOKER Yes, Ma. Nothing. No letter. MOM -LRB- OS -RRB- You sure you looked? Sometimes I do n't know where your head is. Joker glances back down and sees the cat is gone. JOKER Yes I'm sure. And my head's right here. I'm gon na make you some dinner, okay? QUICK CUTS : JOKER TEARS OPEN THE PRESCRIPTION BAG... A FLURRY OF PILL BOTTLES TUMBLE OUT ONTO THE COUNTER. SEE HIS NAME, `` ARTHUR FLECK'' ON THE ORANGE PILL BOTTLES, AND GLIMPSE THE GENERIC DRUG NAMES, TEMAZEPAM... PERPHENAZINE... AHENELZINE... AMITRIPTYLINE... BENZEDRINE... DIAZEPAM... MEPROBAMATE... TAKES OUT ONE PILL FROM EACH THE TEMAZEPAM AND MEPROBAMATE BOTTLES. TWO PILLS BEING CRUSHED UP TO POWDER. SPRINKLES THE POWDER ON TOP OF A TV DINNER. SWALLOWS A HANDFUL OF PILLS FROM THE OTHER BOTTLES. LOOKS DOWN AND SMILES AT THE ORANGE CAT LOOKING UP AT HIM FROM THE COUNTER.", "INT. MOM'S BEDROOM, APARTMENT - NIGHT Joker brings the food to his mother, PENNY ( 70's ), lying in her bed. The TV is on, playing the local news. Joker sets the food down in front of his mother. He covers the pain from his beating the best he can -- His mother does n't seem to notice anyway. MOM He must not be getting my letters. Joker sits down on a chair next to the bed. JOKER He's a busy man. MOM Too busy for me? I worked for that family for 12 years. He always had a smile for me. Least he could do is write back. JOKER Ma, eat. You need to eat. MOM You need to eat. Look how skinny you are. Before Joker can say anything, his mother points to the news on the TV -- MOM All day long it's more bad news. That's all there is. JOKER Maybe you should n't watch so much television. MOM -LRB- ignoring -RRB- He's the only hope for Gotham. He'll make a great mayor. Everybody says so. JOKER -LRB- playful -RRB- Everybody who? Who do you talk to? MOM Well everybody on the news. JOKER Stop it. He's not even gon na run. Why would Thomas Wayne want to be mayor? He can do more good as a businessman. MOM Because he cares about this city. And everyone in it -- that's why I ca n't believe he has n't written me back. JOKER He will. Now eat some dinner. He feeds her a bite of the food. JOKER How you feeling today? MOM I do n't know. It always hits me worse at night, you notice that? He shakes his head. JOKER -LRB- teasing -RRB- Maybe it's the moon. Maybe you're a werewolf? HE HOWLS SOFTLY like a wolf. She laughs. MOM It's not funny. Joker watches her as he cuts up some more of her food. MOM Anyway, I wrote a new letter today. A better one. I want you to hand deliver it to him. JOKER What? Why? MOM Cause maybe the mailman is throwing them away. We should have tipped him at Christmas time. JOKER Who tips their mailman? MOM Some people do. Rich people do. Joker sighs, resigned. JOKER Okay. I can try his office. Tomorrow. MOM Thank you. -LRB- she pats the bed -RRB- Come sit. It's almost on. Joker gets into bed with her. CLOSE ON TELEVISION, intro to `` LIVE WITH MURRAY FRANKLIN! ``, and we HEAR THE ANNOUNCER over clips of comedy bits, stars and Murray Franklin himself -- ANNOUNCER -LRB- ON TV -RRB- It's Live with Murray Franklin! Tonight Murray welcomes, Sandra Winger, comedian Skip Byron and the piano stylings of Yeldon & Chantel! As always, Don Ellis and his Jazz Orchestra. And now, without any further ado -- Murray Franklin! Joker and his mom watch from bed, this is a ritual of theirs.", "INT. LIVING ROOM, MOM'S APARTMENT - NIGHT Late night. Joker's mom is dead asleep. Joker is alone in the living room, which doubles as his bedroom. He ca n't ever sleep. He opens his worn notebook. Flips to a page titled `` Jokes'' and starts writing -- CLOSE ON WORDS, as he slowly writes : `` The worst part about having a mental illness is...'' ANGLE ON JOKER, pausing, thinking it over for a moment. Then he laughs to himself when he comes up with something. CLOSE ON WORDS, coming faster now, ``... that people still expect you to behave as if you do n't.'' CUT TO :", "EXT. WAYNE TOWER, STREET - MIDTOWN - MORNING Joker's looking up at the intimidating steel and glass tower, he looks so small, holding his mom's letter in his hand. Bustle of professionals coming in and out of the company's corporate headquarters, Joker looks out of place. He heads inside through the giant glass doors.", "INT. RECEPTION, WAYNE ENTERPRISES - 25TH FLOOR - MORNING Joker steps off an elevator and walks up to the white marble reception desk as if he belongs there -- JOKER Hello. I have a personal letter for Mr. Thomas Wayne. RECEPTIONIST Okay. You can leave it with me. JOKER It's kind of important. I need to make sure he gets it himself. RECEPTIONIST Oh, in that case, I'll buzz you right in. Joker goes to enter -- RECEPTIONIST I'm kidding. Leave it here. He laughs along with her, even though she's not laughing. JOKER Oh. Right -- well, my mom used to work for the Wayne family -- for 12 years. She was their housekeeper. A couple other business people are now waiting behind Joker, there for meetings. RECEPTIONIST That's great. But you can leave it with me or you can leave with the letter. Those are your options. Now please step aside. JOKER Mr. Wayne knows her. Can you maybe at least call back to him? Tell him that I'm here. RECEPTIONIST Thomas Wayne is away on business. Joker is getting frustrated. JOKER Okay. Well, can I have your name? So I know who I left it with. Now Joker sees a GROUP OF MEN walking behind the glass that separates the reception area from the back offices. Amongst the group, he catches a glimpse of THOMAS WAYNE ( 60's ), deep tan, hair dyed so black it's almost blue. JOKER Wait. He's right there. -LRB- goes up to the glass, shouts -RRB- Mr. Wayne! Mr. Wayne. He starts banging on the glass... but the group keeps moving. Not noticing him. RECEPTIONIST Sir. Please stop. Sir!! Joker keeps banging on the glass.", "EXT. WAYNE TOWER, FRONT ENTRANCE - MORNING The glass doors swing open and Joker is forcibly thrown onto the street. TWO LARGE SECURITY GUARDS stand over him. He is still holding the letter. He makes as if he's going to leave peacefully, then at the last minute, TAKES ANOTHER RUN AT THE DOOR -- The two guards stiff arm him. CUT TO :", "INT. HA-HA'S TALENT BOOKING, LOCKER ROOM - DAY The cramped locker room of a small talent booking agency. This is where Joker works. They `` rent out'' talent for parties and events. Clowns, magicians, male strippers. Joker takes off his shirt, grimaces in pain as he moves. His body's bruised from the beating he took chasing after his sign. RANDALL -LRB- OS -RRB- You okay? He turns. RANDALL ( mid 50's ), a big bear of a know-it-all, standing there. He's a party clown as well. He's half-dressed in his clown suit. RANDALL I heard about the beat down you took. Fucking savages. JOKER It was just a bunch of kids. I should have left it alone. Randall opens his locker -- RANDALL It's crazy out there. And it's only getting worse. JOKER -LRB- nods -RRB- My mother says that the people nowadays lack empathy. RANDALL What's empathy? JOKER It means like `` feeling for other people.'' RANDALL Like sympathy? JOKER Kind of. But different. Randall comes over, hands Joker a brown paper bag -- Joker looks inside. It's a GUN, a.38 snub-nose revolver. Joker looks up at him, confused -- RANDALL Take it. I got a few. You got ta protect yourself out there, buddy. Too many wackos. As Joker stares at it -- RANDALL -LRB- lowers his voice -RRB- It's a.38 snub-nose. Gets the job done if you ever need to use it. Usually pulling it out is enough. JOKER I, I do n't have the money for this, Randall. RANDALL Do n't sweat it. You can pay me some other time. You're my boy. That lands with Joker, he smiles to himself. RANDALL -LRB- as he walks away -RRB- But you did n't get it from me, okay? Joker nods. Puts the brown paper bag in his locker. Slowly starts to get dressed -- his eyes darting toward the bag as he does. Another clown, GARY ( 30's ), a dwarf, pops his head into the locker room. GARY Arthur, -- Hoyt wants to see you in his office. JOKER What for? GARY No clue.", "INT. FRONT OFFICE, HA-HA'S TALENT BOOKING - DAY Joker still half-dressed, walks into the cramped office. His boss, HOYT VAUGHN ( 60's ) sits behind a metal desk. The office is a complete mess, newspapers and files litter the desk. A giant ashtray filled with cigarette butts. A calendar of booking hangs on the wall. A scribbled, jumbled mess. JOKER Hey Hoyt. Gary said you wanted to see me? HOYT -LRB- without even looking up -RRB- How's the comedy career? Are you a famous stand-up yet? JOKER Not quite. Have n't even performed yet. Just been working my material. This business is all about fine- tuning. Now Hoyt looks up. Takes a drag from his cigarette. HOYT Right. Joker goes to sit down -- HOYT Do n't sit. This will be quick. Joker stops in his tracks. HOYT Look, I like you, Arthur. A lot of the guys here, they think you're a freak. But I like you. I do n't even know why I like you. I mean, you do n't say much. -LRB- beat -RRB- It's probably that stupid laugh. It gets me every time. Kills me. Unsure how to respond, Joker just nods. HOYT But I got another complaint. And it's starting to piss me off. Joker takes a deep breath, maybe picks at his eyebrow. HOYT Kenny's Music. Sunday. The guy said you disappeared. Never even returned his sign. JOKER No. I got jumped. I told you about that. HOYT For a sign? Bullshit. It makes no sense, just give him his sign back. He's going out of business for god's -- BANG! Out of nowhere, Joker slams his head into the wall. Head-butting it hard. HOYT -LRB- taken aback -RRB- Hey! BANG! BANG! He does it two more times. Breaking the plaster on the wall -- HOYT What the fuck, Arthur?! JOKER -LRB- voice tightens -RRB- I do n't have his sign. And Joker just stares at Hoyt, some blood forming on his forehead -- CUT TO :", "EXT. BACK ALLEY, OUTSIDE HA-HA'S - AMUSEMENT MILE - DAY WE'RE AT THE FAR END OF AN ALLEY, about halfway down, catch a glimpse of Joker still half-dressed on the other side of a dumpster. From this vantage, all we can see is him furiously KICKING and STOMPING on something... or somebody. We do n't hear anything. And we ca n't make out what it is that he's so violently beating down. It could be a cat... a cardboard box... a homeless person... We do n't know. Joker just continues unleashing his rage --", "INT. CITY BUS (MOVING) - DUSK Joker at the end of his work day, sitting in his spot toward the back of the bus. Across the aisle from him, he's innocently watching a young couple, playfully teasing each other.", "EXT. GOTHAM, LOWER EAST SIDE - EVENING Joker heading back home down the litter-covered streets like he does every night. Garbage still piled along the sidewalks, air still thick with smog. He's carrying the paper bag that Randall gave him.", "INT. LOBBY, APARTMENT BUILDING - EVENING Joker checks his mailbox. Empty.", "INT. ELEVATOR, APARTMENT BUILDING - CONTINUOUS Joker is on the elevator, as the door closes, he sticks his foot out to stop it. The door limps back open. Ding. He looks to see if anybody, if Sophie, is coming. He waits. Hoping. The door starts to close on him again -- Right before it does, he stops it with his foot again. Ding.", "INT. MOM'S APARTMENT, BATHROOM - NIGHT JOKER'S GIVING HIS MOM A BATH, being careful with her as he shampoos her hair. MOM -- so what did he say when you gave him the letter? JOKER They would n't let me see him. -LRB- lying -RRB- But they promised me it would get to him. MOM It's good they promised. He only works with the best. We should hear something soon. He fills an empty plastic container with some bath water. JOKER Look up. She tilts her head back and he rinses her hair with the water from the container... JOKER Why are these letters so important to you, Ma? What do you think he's gon na do? MOM He's gon na help us. JOKER Help us how? MOM Get us out of here, take me away from this place and these -- these awful people. JOKER You worked for him over 30 years ago. What makes you think he would help you? She looks at him with conviction. MOM Because Thomas Wayne is a good man. If he knew how I was living, if he saw this place, it would make him sick. I ca n't explain it to you any better than that. Joker nods. Annoyed, but not worth the argument. He stands up to get her a towel. JOKER I do n't want you worrying about money. Everyone's been telling me they think my stand-up is ready for the big clubs. It's just a matter of time before I get a break. She steps into the towel. He's helping dry her off. MOM Happy, what makes you think you could do that? JOKER What do you mean? MOM I mean, do n't you have to be funny to be a comedian? Beat.", "INT. MOM'S BEDROOM, APARTMENT - LATE NIGHT Joker's mom is out cold in her bedroom, a half-eaten plate of food is next to her on the bed.", "INT. LIVING ROOM, MOM'S APARTMENT - CONTINUOUS Joker sits on the couch. The TV is on, but the sound is off. He holds the.38 SNUB-NOSE REVOLVER Randall gave him in his hand. He's never held a gun before, looks uncomfortable with it, the weight of it in his hand... He points it at the TV, hand trembling a bit... Points it at the cat... Points it at his head. Looks closely at the grip. The barrel. The cylinder. Now he casually pulls the trigger -- BLAMMMMMMM! He jumps up off the couch. What the fuck!? He looks around in a panic. His hands shaking. He shot a hole in the wall. MOM -LRB- OS -RRB- -LRB- awoken by the shot -RRB- HAPPY!? What was that? JOKER What?! He quickly turns up the TV volume. REALLY LOUD. Shoves the still smoking gun under the couch cushions. MOM -LRB- OS -RRB- THAT NOISE! DID YOU HEAR THAT NOISE? He's inspecting the hole in the wall. Shouts back over the TV noise -- JOKER I'M WATCHING AN OLD WAR MOVIE. MOM -LRB- OS -RRB- TURN IT DOWN! He heads for his mother's bedroom.", "INT. MOM'S BEDROOM, DOORWAY - CONTINUOUS Joker looks in on his mom in her dark bedroom, can make out the outline of her body sitting up. MOM It's so loud. JOKER I know. The Americans are really giving it to the Japs. He walks over to her in the darkness. Kisses her on the forehead. JOKER -LRB- softly -RRB- I'm sorry. I'll turn it down.", "INT. KITCHEN, MOM'S APARTMENT - LATE NIGHT Joker is writing in his journal. He speaks softly to himself as he writes... JOKER Why did n't Randall tell me the gun was loaded? He's my friend. With my luck, I could have killed someone. -LRB- beat -RRB- I could have killed myself. CLOSE ON THE LAST LINE, he crosses out `` could''... Writes... `` should''. JOKER -LRB- still to himself -RRB- I should have killed myself. CLOSE ON JOKER as he crosses out something again... JOKER -LRB- louder to himself -RRB- I should kill myself. Beat.", "EXT. STREET, LOWER EAST SIDE - MORNING HANDHELD POV, see the run-down building where Joker lives from across the street. REVEAL, Joker is watching his own building on the far side of a parked truck. Red hood pulled up, covering his head. He waits. Watches. Now we see Sophie exiting the building with her daughter GiGi. Sophie's dressed more conservatively than when we previously met her. Joker starts following them.", "EXT. PUBLIC SCHOOL - MORNING Sophie drops GiGi off at school. Joker's still watching. Following.", "EXT. ELEVATED SUBWAY PLATFORM - MORNING Sophie waits on the platform. Lights a cigarette. We see Joker, hidden behind a steel support beam -- watching her from a distance.", "INT. SUBWAY (MOVING) - MORNING Joker stands at the window between two subway cars. Just watching Sophie as she reads a book in the next car. The train comes to a stop and she exits. Joker exits as well.", "EXT. STREET, UPPER EAST SIDE - MORNING Nicer part of Gotham. Joker follows Sophie from a distance, watches as she walks into Gotham First National Bank. Sees her say hello to the guard. This is where she works. Joker just watches and waits.", "INT. GOTHAM FIRST NATIONAL - LATER A large, mid-level bank. Sophie is one of THREE BANK TELLERS working behind the plexiglass windows. Joker pulls the hood back off his head, takes a deep breath before he walks up to her window. She is looking down, counting her drawer. Takes another deep breath. Then -- JOKER Hello. I'd like to open an account. She looks up. SOPHIE -LRB- surprised -RRB- Hey, what are you doing up here? JOKER Oh, hi. That's weird. -LRB- pausing to see if he's gon na laugh ; he's good -RRB- I did n't know you worked at a bank. SOPHIE Pretty glamorous, right? Not getting the sarcasm, Joker nods. Looks around. JOKER Very glamorous. Look at this place. She laughs. He stands there awkwardly for a moment looking around to see what she's laughing about. Realizes she thought he was making a joke. Beat. JOKER I'm a comedian. I do stand-up comedy. SOPHIE Really? I had no idea. JOKER Yeah. You know, I'm always making funny observations. Always on the look out for my next bit -- so it makes sense. SOPHIE Right. Anyway, is there something I could help you with? Beat. JOKER I said hi to my mom. SOPHIE Excuse me? JOKER Last week. You said to say hi to my mom. I did. Made her day. They are interrupted by the BRANCH MANAGER ( 50's ), white, heavy-set, who has come up behind Sophie -- BRANCH MANAGER Everything okay here? He puts his heavy hand on Sophie's shoulder. She practically shudders from his touch. SOPHIE Everything is fine Mr. Slotnick. Now he leans down and whispers something in her ear -- Joker just watches through the glass. SOPHIE -LRB- shakes her head ; to her manager -RRB- No. He's not. He's interested in opening an account. BRANCH MANAGER -LRB- to Joker -RRB- Great. You just need to fill out a form. They are back there -- against the wall. As the manager talks, Sophie makes wide eyes at Joker, like `` I almost got in trouble.'' JOKER -LRB- covering ; trying to act cool -RRB- Okay. Thank you, sir. And thank you as well, Miss. Joker walks back to the wall by the forms. He fumbles around for a minute, clearly not there to open an account. He begins filling out a form. Then -- JOKER -LRB- shouts out, to no one in particular -RRB- YOU KNOW WHAT?! I FORGOT MY ID! I'LL BE BACK. THANK YOU. He walks out of the bank. Head in the clouds.", "INT. GOTHAM COMEDY CLUB, CHINATOWN - NIGHT Joker sitting in the middle of a dark, crowded comedy club. People on dates. Groups of friends. All here to watch the stand-up. He sits at a small table by himself, watching the act on stage. The comic on stage is killing it. The whole room is laughing and applauding. Everyone except Joker. He's watching. Studying. Diligently jotting down notes in his notebook.", "EXT. GOTHAM COMEDY CLUB, STREET - CHINATOWN - NIGHT People are piling out of the club, onto the narrow street, jumble of lit-up signs, most glowing yellow or red. Joker walks out alone, carrying his notebook. He sees a FLYER taped to the entrance of the club. CLOSE ON THE FLYER, `` Open mic night. Thursdays. 10pm.'' He rips the flyer off the wall.", "INT. HA-HA'S TALENT BOOKING, LOCKER ROOM - DAY Joker is working on his `` Mr. Jingles'' clown look, using the small mirror in his locker. Behind him a couple of other clowns are eating their lunch at a small table, not paying Joker any attention. Joker pauses half-finished, and stares at himself for a beat. He starts to examine the two small scars on the corners of his mouth, we really notice how they form a smile. Joker hooks the corners of his mouth down with his index fingers, turning his smile into a frown -- He lets go and his smile returns. Does it again, up and down, up and down, his face a living comedy/tragedy mask. And then he pulls his fingers wider, stretching his smile into a grotesque parody, pulling his mouth so wide tears come to his eyes -- AND WE HEAR JOKER SINGING `` If You're Happy and You Know It'' at his next gig. JOKER -LRB- PRE-LAP -RRB- -LRB- singing -RRB- -- if you're happy and you know it and you really want to show it, if you're happy and you know it clap your hands.", "INT. GOTHAM GENERAL - CHILDREN'S WARD - EVENING Joker is performing for a ward full of sick children, wearing an oversized white lab coat over his `` Mr. Jingles'' clown costume. A few nurses and doctors watch as well. His white clown face, mouth outlined in black and filled in with red, his green wig frizzy and worn out. Joker plays a UKULELE along with the song. JOKER If you're happy and you know it, stomp your feet. Joker and the kids stomp and sing along. JOKER If you're happy and you know it, stomp your feet. -LRB- stomp, stomp -RRB- If you're happy and you know it and you really want to show it, if you're happy and you know it stomp your feet. As the song winds down, the KIDS and NURSES clap. Joker takes an exaggerated and ridiculous bow -- And as he does, his.38 SNUB-NOSE REVOLVER slips out of his pants and slides across the floor. Everyone stops. Looks at the gun on the floor.", "INT. LOBBY, GOTHAM GENERAL - LATER Joker is on a payphone in the lobby of the hospital. He's in his street clothes, wig in his hand, clown-face still painted on. JOKER -LRB- into phone -RRB- Hoyt, let me explain. HOYT -LRB- OVER PHONE -RRB- Oh, this'll be good. Please tell me why you brought a gun into a sick kid's ward? JOKER -LRB- into phone -RRB- It was, it was a prop gun. It's part of my act now. HOYT -LRB- OVER PHONE -RRB- Bullshit. Jingles would never carry a fucking gun. Besides, Randall told me you tried to buy a.38 off him last week. Joker's taken aback that Randall would do that to him. JOKER -LRB- into phone -RRB- Randall told you that? HOYT -LRB- OVER PHONE -RRB- He was with me when the call came in. You're a fuck up, Arthur. And a liar. You're fired. JOKER -LRB- into phone -RRB- Hoyt -- HOYT -LRB- OVER PHONE -RRB- Say it, Arthur. -LRB- beat -RRB- Let me hear you say it. JOKER -LRB- into phone -RRB- Say what? HOYT -LRB- OVER PHONE -RRB- I'm a fuck up and I'm fired. Joker picks at his eyebrow. JOKER -LRB- into phone ; low -RRB- -- I'm a fuck up and I'm fired. HOYT -LRB- OVER PHONE -RRB- Louder. JOKER -LRB- into phone ; louder -RRB- I'm a fuck up and I'm fired. HOYT -LRB- OVER PHONE -RRB- Yes. You are. Click. He hears Hoyt hang up. Beat.", "INT. SUBWAY (MOVING) - NIGHT JOKER SITS ON THE SUBWAY CONTEMPLATING WHAT JUST WENT DOWN, face still painted, his bag on the seat next to him, along with his wig. There's only one other person on the subway car, a YOUNG WOMAN ( 30's ) sitting at the far end -- reading a book. The train comes to a stop and THREE WALL STREET GUYS enter. They are being loud and obnoxious, clearly drunk. One of them is eating some french fries out of a greasy McDonald's bag. He flops down on the bench across from the girl and checks her out. The other two guys start getting into it with each other -- WALL STREET #1 -- I'm telling you, she wanted my number. We should have just stayed. The train starts moving again... WALL STREET #2 You're dreaming, man. She was n't interested -- at all. WALL STREET #1 Are you nuts? Did you see how close we were dancing!? She was in love, bro. He starts dancing a bit with himself, mimicking what he remembers. Wall Street # 2 takes a swig from the brown bag he is carrying. WALL STREET #2 She could n't wait to get away from you. Joker is watching them closely, impressed by their confidence and easy-going camaraderie. WALL STREET #1 -LRB- to the third guy -RRB- Ryan, am I crazy? Tell him what you saw. But the third Wall Street guy is n't paying his friends any attention. He has his eyes set on the young woman sitting across from him, reading her book. WALL STREET #3 -LRB- to the girl -RRB- Hey. You want some french fries? He holds out his McDonald's bag and shakes it to get her attention. The other two share a look. Joker watches from his seat. WALL STREET #3 Hello? I'm talking to you. You want some fries? She looks up and shakes her head, polite smile. YOUNG WOMAN No thank you. The other two guys crack up at this apparent blow-off. The third Wall Street guy shakes his head, embarrassed, and starts softly flinging fries at the young woman. WALL STREET #3 You sure? They're really good. She just buries her face deeper in her book -- WALL STREET #2 Do n't ignore him. He's being nice to you. One of the french fries lands in her hair. She looks down toward Joker, looking to see if he's going to do something or say something -- Joker just sits there nervous. Not sure what to do, or even if he wants to do anything at all. AND HE JUST BURSTS OUT LAUGHING. He covers his mouth with his hand as they continue to harass the woman. They all look over -- What the fuck is this clown laughing at? WALL STREET #1 Something funny, asshole? With their attention diverted, the young woman rushes out through the door between subway cars, glancing back at Joker before she goes -- WALL STREET #3 -LRB- shouts after her -RRB- BITCH! Joker laughs even harder through his hand. The Wall Street guys turn to him sitting by himself at the end of the car -- Joker sees them staring. Looks down at the ground, hand still covering his mouth, face turning red. Subway swaying, lights flickering on and off. Beat. One of the guys heads down the car toward Joker, starts singing `` Send in the Clowns'' as he approaches -- WALL STREET #1 -LRB- singing -RRB- Is n't it rich? Are we a pair? Me here, at last on the ground You in mid-air Send in the clowns. The others crack up and follow after him. The guy plops down next to Joker, puts his arm around his shoulder as he sings -- JOKER -LRB- shakes his head, stifling the laughter -RRB- Please. Do n't. WALL STREET #1 -LRB- continues singing to him -RRB- Is n't it bliss? Do n't you approve? One who keeps tearing around, One who ca n't move. Joker starts to get up -- The lead guy pulls him back down. WALL STREET #1 Where are the clowns? There ought to be clowns. As he finishes the song, Joker's laughing fit is coming to an end. One of the other guys sits down on the other side of him. He's now sandwiched in between them -- WALL STREET #2 So tell us, buddy. What's so fucking funny? JOKER Nothing. I have a condition -- Joker reaches into his bag to get one of his `` Forgive my laughter'' cards, the third guy sees him reaching and tries to grab the bag from him -- - Joker pulls on it -- JOKER No. It's just my stuff. I do n't have anything. The guy rips the bag from his hand -- WALL STREET #3 I'll tell you what you have, asshole. Joker gets up from between them to go grab his bag back. The two guys are cracking up. WALL STREET #3 You want it back? Here -- Joker reaches out to grab the bag -- And the guy tosses it over his head to one of his friends. Keeping it away from Joker. Three guys in suits tossing a bag around, playing'monkey in the middle' with a clown. THE LIGHTS ON THE TRAIN SEEM TO GLOW BRIGHTER AND WE HEAR the drum roll opening to BOBBY SHORT singing `` Send in the Clowns'' Live at the Caf\ufffd Carlyle. Joker keeps trying to catch his bag until suddenly -- WHAP! Out of nowhere one of the guys punches him hard in the face. Joker goes down as if in slow motion. Blood coming from his nose. He tries to get up, but his feet slip from under him and he falls back down -- WALL STREET #1 Stay down you freak. And the third Wall Street guy starts kicking him -- The others join in. Surrounding Joker on the ground, kicking him deliberately, sadistically, and the music swells -- BLAM! SUDDENLY THE LIGHTS GO BACK DIM, and one of the guys stops kicking and falls back dead. Blood splattering on the subway wall behind him -- And we HEAR Bobby Short sing out, picking up from where the Wall Street Guy left off -- BOBBY SHORT -LRB- SINGING -RRB- Just when I'd stopped opening doors Finally knowin' the one that I wanted was yours BLAM! BLAM! Wall Street # 2 goes down -- Revealing Joker on the ground, opening his eyes to see what he did, smoking gun in his hand -- BOBBY SHORT -LRB- SINGING -RRB- Making my entrance again with my usual flair Sure of my lines No one is there The third guy takes off running for the doors that separate the cars. Joker starts after him, but then stops... turns back to grab his bag and his wig, his hands shaking from the adrenaline. The train is coming to a stop. BOBBY SHORT -LRB- SINGING -RRB- Do n't you love farce? My fault I fear... Joker picks up his bag between the two dead bodies, blood everywhere... The subway doors wheeze open and Joker steps halfway off the train, waiting to see if the third Wall Street guy gets off in the car ahead of him. Joker sees him run off --", "EXT. SUBWAY PLATFORM - CONTINUOUS The platform is empty, the Wall Street guy is running toward the stairs -- Joker follows -- Behind them, the train pulls away -- BOBBY SHORT -LRB- SINGING -RRB- I thought that you'd want what I want. Sorry, my dear. The guy makes his way to the stairs, unaware that Joker is behind him -- BLAM! The third guy falls, tumbling down the stairs. Joker walks over to the body and empties the chamber -- BLAM! BLAM! BOBBY SHORT -LRB- SINGING -RRB- But where are the clowns? Quick, send in the clowns Do n't bother they're here. And as `` Send in the Clowns'' ends, Joker fires the last shot -- BLAM! He's got nothing left.", "EXT. STREET, ROBINSON SQUARE PARK - NIGHT Joker hauls ass out of the subway and makes a mad dash across a busy street, horns honking -- Running as fast as he can past piles of garbage, he takes a sharp turn high-tailing into a small, run-down needle park, disappearing into the darkness.", "INT. PUBLIC BATHROOM, ROBINSON SQUARE PARK - NIGHT Joker runs into the bathroom, locks the door behind him and SUDDENLY EVERYTHING HITS HIM ALL AT ONCE -- He throws up into the dirty toilet, puking his guts out -- He finishes, wipes his mouth with the back of his hand. And pulls the gun out of his waist, looking around for someplace to throw it out. Under the sink he sees a rusted, metal grate hanging off the wall covering some pipes. Before he bends down, Joker catches his reflection in the smudged mirror. Sees himself holding the gun in his hand -- Beat. He raises the gun to his head and pulls the trigger -- Click. It's empty. He gets down on his knees, sweat dripping off his face, pulls the grate away from the wall. And tosses the gun away inside. Moves the grate back in place. Joker stands back up and turns on the faucets. Rinses out his mouth. Looks at his smudged reflection as he starts washing the clown make-up off his sweaty face -- JOKER Hi. Do you like to laugh? Water dripping, white grease paint running off his face -- JOKER Remember how I told you that I'm a stand-up comedian? -LRB- again -RRB- Hi. How are you? Beat.", "INT. APARTMENT BUILDING, LOBBY - LATER Joker enters his building with great urgency. No time for the elevator, he takes the stairs. Two at a time. He races up the stairwell.", "INT. HALLWAY, APARTMENT BUILDING - CONTINUOUS When he gets to his floor, instead of making a left toward his apartment -- He makes a right, toward Sophie's. He stops at her door. Out of breath. Knocks. He hears footsteps. Quickly pulls the folded-up flyer out of his pocket. The peephole in the door goes dark and then light again. He hears locks unlocking. Sophie opens the door halfway -- Joker looks down at his feet -- JOKER Hi. Do you like to laugh? SOPHIE What? JOKER -LRB- continuing without taking a breath -RRB- Remember the other day when I told you about my stand-up comedy. Well, I'm doing a set next Thursday and I'm inviting a bunch of my friends and I was wondering if maybe you wanted to come and check it out. He reaches out to give Sophie the flyer, she opens the door wider -- He notices her face, sees her eyes are red. JOKER Were you crying? Why are you crying? Beat. SOPHIE I had a bad day. JOKER I'm sorry. I, I did n't -- SOPHIE It's okay. How would you know. JOKER What happened? SOPHIE I got fired. From the bank. Joker takes a deep breath and smiles without realizing it, hoping he does n't start to laugh. JOKER What for? SOPHIE Because, -- I do n't know. It does n't fucking matter. I do n't know what I'm gon na do. And she starts crying again. Joker does n't move. Just stands in the doorway awkward. JOKER -LRB- finally -RRB- Okay. Well, all the info is right there on the flyer. He starts to walk away, then turns back to her -- JOKER You know they say laughter is the best medicine. Sophie wipes her eyes and manages a smile. SOPHIE Is that what they say? Joker just nods yes and walks back toward his mother's apartment.", "INT. DEPT. OF HEALTH, OFFICE - MORNING JOKER SITS ACROSS from the same Social Worker from the opening scene. Same depressing office. She stares at him for a beat, clearly annoyed. SOCIAL WORKER We spoke about this last time, Arthur. You're supposed to bring your journal with you. JOKER Well I did n't think you were going to read it. SOCIAL WORKER You said it did n't bother you. JOKER I lied. Everything bothers me. SOCIAL WORKER What about it bothered you? JOKER It's personal. It's my private thoughts. Plus it contains original comedy material that I do n't feel comfortable handing over to you. She looks at him and shakes her head. Not in the mood to deal with this. SOCIAL WORKER Arthur, I have some bad news for you. He looks up, intrigued. SOCIAL WORKER They've cut our funding. We're closing down our offices next week. He looks around, just noticing some MOVING BOXES stacked against the wall. JOKER So where will we be meeting? SOCIAL WORKER We wo n't be. The city's cut funding across the board. Social services is part of that. Joker nods, not hating the idea. JOKER Okay. SOCIAL WORKER They do n't give a shit about people like you, Arthur. You do n't have a voice and they do n't really care what happens to you or to us for that matter. He sits there for a moment. And then it dawns on him -- JOKER How am I gon na get my medication? Beat.", "INT. MOM'S APARTMENT, KITCHEN - MORNING CLOSE ON A COUPLE OF PILLS, as they get crushed up. CLOSE ON THE RESIDUE, as it's sprinkled on top of a bowl of oatmeal. MOM -LRB- OS -RRB- Happy! Come in here. Thomas Wayne is on TV. Joker takes a couple of pills for himself. Looks inside. Not many left. He looks over at the orange cat sitting on the counter, purring loudly, watching him. MOM -LRB- OS -RRB- Quick! Come.", "INT. MOM'S BEDROOM, APARTMENT - CONTINUOUS Joker walks in carrying her breakfast. She waves him over to her bed. MOM They're interviewing him about those horrible murders on the subway last week. JOKER Why are they talking to him? His mother shushes him. Joker sits on the end of the bed next to her. It's one of those `` Good Morning, Gotham'' shows. THOMAS WAYNE -LRB- ON TV -RRB- -- as you know, Jerry, all three of them worked at Wayne Investments, and they were the best of the best. Solid young men. A small smirk registers on Joker's face when photos of the THREE WALL STREET GUYS come up on the screen. THOMAS WAYNE -LRB- ON TV -RRB- And while I did n't know them personally, like all Wayne employees, past and present, they were family. Joker's mom perks up at that -- MOM You hear that! I told you. We're family. ANGLE ON TELEVISION, footage of GRAFFITI around the city. `` KILL THE RICH'' spray painted on a storefront. `` F CK WALL STREET'' written on a subway wall. `` RESIST'' scrawled across a billboard. \"GOOD MORNING\" HOST -LRB- ON TV -RRB- There now seems to be a groundswell of anti-rich sentiment in the city. It's almost as if our less fortunate residents have taken the side of the killer. THOMAS WAYNE -LRB- ON TV -RRB- Yes and it's a shame. It's one of the reasons I'm considering a run for mayor. Gotham has lost its way. \"GOOD MORNING\" HOST -LRB- ON TV -RRB- Are you announcing your candidacy? THOMAS WAYNE -LRB- ON TV -RRB- -LRB- smiles -RRB- No comment. We hear his mother gasp, excited. \"GOOD MORNING\" HOST -LRB- ON TV -RRB- What about the eyewitness report of the suspect being a man in clown make-up or a clown mask -- Care to comment on that? Joker leans in, intrigued. The camera zooms in closer to Thomas Wayne on the screen... THOMAS WAYNE -LRB- ON TV -RRB- It makes total sense to me. What kind of coward would do something that cold-blooded? Someone who hides behind a mask. Someone who's envious of those more fortunate than themselves, yet too scared to show their own face. -LRB- to camera -RRB- And until that jealousy ends, those of us who've made a good life for ourselves will always look at those who have n't as nothing but clowns. CUT TO :", "INT. COMEDY CLUB, BACKSTAGE HALLWAY - NIGHT JOKER'S POV, slowly walking down the hall -- as if in slow motion -- toward a curtain at the end, spotlight bleeding through, other wannabe comics looking at him as he passes -- CLOSE ON JOKER, eyeing the others, sweat beading on his forehead -- He gets to the curtain, the light, pulls his worn joke- notebook out of his back pocket. Glancing into the room he sees it's a pretty good crowd. Sees Sophie taking a seat in the back. Wheeling back into the dark hallway, he catches his breath in the shadows -- And starts BANGING HIS HEAD BACK against the wall -- He hears the EMCEE from the stage. EMCEE -LRB- OS -RRB- This next comic describes himself as a lifelong Gotham resident who from a young age was always told that `` his purpose in life was to bring joy and laughter into this cold, dark world.'' Ummm. Okay. He hears the crowd laugh. EMCEE -LRB- OS -RRB- Please help me welcome Arthur Fleck! There is a smattering of applause. CUT TO : JOKER STEPPING ON STAGE, out under the spotlight, lifts the microphone in front of his mouth, the light so bright he ca n't see faces in the dark audience, his hand trembling holding onto his worn notebook -- He takes a deep breath, looks out at the dark crowd, and opens his mouth. And starts to laugh. His eyes go wide. God no, not now. A terrified look comes to his face under the laughter. He just keeps laughing. The crowd is just staring back at him. Finally he composes himself -- JOKER -LRB- trying to stop himself from laughing -RRB- -- good evening, hello. -LRB- deep breath ; trying to stop laughing -RRB- Good to be here. -LRB- keeps cracking up -RRB- I, I hated school as a kid. But my mother would always say, -- -LRB- bad imitation of his mom, still laughing -RRB- `` You should enjoy it. One day you'll have to work for a living.'' -LRB- laughs -RRB- `` No I wo n't, Ma. I'm gon na be a comedian!'' Dead silence. Except for Joker, who's still cracking up. CUT TO :", "EXT. COMEDY CLUB, CHINATOWN STREET - NIGHT Joker and Sophie walking out of the club after the show, the audience trickles out around them. Nobody looking in Joker's direction, nobody says anything to him, maybe one or two even cracking up at him behind his back. Garbage bags crowding the narrow street, lit up by the bright signs. Joker and Sophie walk a ways without saying a word. Awkward silence. Then -- JOKER So, did you laugh? Really could n't see much from up there. Sophie pauses, does n't know what to say. She lights up a cigarette. SOPHIE -LRB- trying to be nice -RRB- Of course. Yeah. You could n't hear anything? JOKER All I heard was my heart pounding. SOPHIE It was good. I really needed to get out of my apartment so, thanks. -LRB- beat -RRB- What happened to the rest of your friends? JOKER What friends? SOPHIE Did n't you say some of your friends were coming? JOKER -LRB- he forgot ; recovers -RRB- Yeah, I decided not to invite them. As a performer sometimes you want to see how a `` real'' crowd reacts. People who do n't already love me, or, or have a notion of who I am, you know? SOPHIE -LRB- nodding -RRB- Yeah. I get that. Joker smiles at the connection. They walk past a newsstand -- a wall of Chinese language newspapers mixed with local papers and tabloids, screaming headlines about the three Wall Street Guys gunned down on the train. J oker stops and stares at the headlines -- CLOSE ON HEADLINES, `` Subway Vigilante''... `` Yuppie Slaughter'' `` Killer Clown On The Loose? ``... SOPHIE -LRB- OS -RRB- -LRB- re : the headlines -RRB- You believe that shit? JOKER Yeah, -- I do n't know how something like that happens. SOPHIE Please. I'll bet you five bucks those rich assholes deserved it. He turns to her. JOKER You think? SOPHIE Look at their faces. Those smug smiles. I've seen that look. Fuck them. Sophie flicks her cigarette away and starts walking. SOPHIE The guy who did it is a hero. Three less pricks in Gotham City. Woo- hoo! Only a million more to go. Joker watches her walk for a beat. JOKER -LRB- calls out to her -RRB- Hey. You want to get some coffee? Sophie turns around and smiles. She looks great, even in front of the mounds of garbage bags that line the sidewalk. AN AMBULANCE SCREAMS BY, SIRENS BLARING as Sophie says something that Joker does n't hear. She keeps walking. Joker chases after her and trips over a TIN GARBAGE CAN LID -- CLANG. CLANG. He falls down flat on his face. Sophie turns and bursts out laughing. She ca n't help but laugh. It's the first time she's laughed all night.", "INT. SZECHUAN ACE RESTAURANT, TABLE - NIGHT Table covered with plates of half-eaten Chinese food. Joker and Sophie sitting across from each other, middle of conversation. Crowded room, brightly lit, looks more like a casino. Almost everybody eating there is Chinese. It's loud. SOPHIE -- I'm telling you, it's across the board. Wall Street, the banks, politicians. They've been making a killing for years. Fuck them. Joker takes a moment to think about what she said. JOKER I do n't know. SOPHIE What do n't you know? JOKER Not all of them are awful. Take someone like Thomas Wayne for example. He's a hero. SOPHIE Oh c'mon, he's the worst! Joker is taken aback -- JOKER Sophie, he's the only one who can save this city. SOPHIE You ca n't be serious!? He's a complete narcissist. Brags about his money. Meanwhile, the rest of us can barely make rent. Or feed our kids. Joker nods. Thinking about it. Then -- JOKER What happened? SOPHIE With what? JOKER With your job. At the bank? SOPHIE -LRB- suddenly uncomfortable -RRB- Oh. Yeah, I was, um, -- JOKER We do n't have to talk about it. Beat. SOPHIE Have you ever been fired before? Joker thinks it over for a moment. JOKER Every time. SOPHIE And have you ever wanted to torch the place? JOKER -LRB- thinks it over again -RRB- Every time. Sophie smiles. SOPHIE Right. And this was like the first good job I had in like, years. Not waitressing or anything like that. It was 9-5. I had benefits. You know what that means when you have a kid? Joker just looks at her, he does n't really know what that means. He just smiles. SOPHIE But from the very first day, the manager guy starts smiling at me, whispering in my ear, touching me, trying to get me to sleep with him -- JOKER -LRB- interrupting -RRB- Did you do it? Did you go to bed with him? SOPHIE Fuck no. The guy's a fucking pig. So finally I complained to his boss, and they fired me... And now, now I do n't know what to do with myself. JOKER Right. Wait, what do you mean? SOPHIE I finally felt good. Like I had a future. A purpose. And now I do n't even know how I'm gon na pay my rent. AND JOKER STARTS LAUGHING. He puts a hand over his mouth trying to cover it, but he ca n't stop cracking up -- It's unsettling and disturbing for Sophie. People eating, waiters in red vests, busboys, all look over and stare at him. A few laugh. Joker turns away embarrassed, he looks out the plate-glass window, face turning red from laughing so hard -- AS HE LOOKS OUT, HE SEES A GROUP OF ROWDY KIDS walking down the street. One of them glances back before he turns the corner -- HE'S WEARING A CLOWN MASK THAT LOOKS JUST JOKER'S CLOWN FACE. And then he's gone. The group disappears around the corner -- Joker ca n't believe his eyes, still laughing -- He turns to Sophie who did n't see them. Just sits there awkwardly waiting for it to stop. Finally, it subsides -- JOKER -LRB- catching his breath -RRB- I'm sorry. I have this thing -- SOPHIE I know. Awkward beat. SOPHIE How did you get it? JOKER I do n't know. I read you can get it from a brain injury or, or a lesion in there. My mom said I was born this way. Born laughing. SOPHIE Is that why she calls you Happy? JOKER Kind of. That actually started when I was a kid. The other kids made fun of me, called me Happy -- but not in a good way. I got so sick of it, one day when I was about ten, I, I, -- He smiles. SOPHIE What? JOKER I took a razor and cut this smile onto my face. -LRB- she's taken aback as he points to the scars -RRB- Sort of like `` You want happy? Here, how's this for happy?'' He looks down, still smiling. She just watches him for a beat. SOPHIE You okay? JOKER I've been thinking about this night my whole life. They just sit there for a beat. Quiet.", "INT. MOM'S APARTMENT, LIVING ROOM - NIGHT Joker opening the door to his mother's apartment, holding a doggie bag in his hand, sees the flickering blue light of the TV on in the living room, hears the end of `` LIVE WITH MURRAY FRANKLIN!'' He locks the locks, drawing the security chain high on the door. TURNS TO CATCH A GLIMPSE OF HIS MOTHER PASSED OUT in the living room, the cat jumping up next to her on the chair. Joker watches for a beat as Murray does his signature sign off, the one he's been doing for years -- MURRAY FRANKLIN -LRB- ON TV -RRB- -LRB- looking into camera -RRB- Good night! And always remember, -- That's life. JOKER -LRB- quietly -RRB- `` That's life.'' He hears Don Ellis and his Jazz Orchestra playing the show's closing song -- the instrumental version of Frank Sinatra's `` That's Life''. As the music continues, Joker puts his face up against his mom's nose, to see if she's breathing or if she's dead. He feels her breath against his cheek. Now he picks his mother up in his arms and carries her into her bedroom to the music, almost as if he's dancing with her as he leaves the room... We stay behind. `` That's Life'' still playing from TV. He comes back into the living room and turns off the TV. Takes off his jacket and throws it on the couch. Notices something sticking out of his jacket pocket. He pulls it out. It's the envelope he was supposed to deliver to Thomas Wayne. He stares at it for a beat. And then -- Quietly rips it open, starts to read the letter : CLOSE ON WORDS, `` Dearest Thomas, I do n't know where else to turn...'' `` Need your help...'' `` You have a son. We have a son. His name is Arthur.'' Stops reading, stays on -- `` You have a son.'' JOKER STARING DOWN AT THE LETTER, reading those words over and over again -- `` You have a son.'' CUT TO :", "INT. MOM'S BEDROOM, APARTMENT - EARLY MORNING JOKER'S SITTING IN A CHAIR in his mother's room watching her sleep. He has clearly been up all night. Still wearing the same clothes. He's holding her letter in his hand as the sun is just starting to rise outside the windows, light just beginning to crack the gloom. THE ORANGE CAT SITS AT HIS FEET staring up at him, wo n't take her eyes off of him. Joker impatiently sits there for another moment waiting for his mother to wake up, then suddenly -- SHRIEKS OUT AT THE TOP OF HIS LUNGS like a teapot, kicking his back on the chair like an excited toddler -- His mother wakes with a start, looking around half asleep and confused -- Joker turns and sees the cat run out of the room -- MOM -- what, what time is it? He does n't answer. MOM What happened? Did you hurt yourself again? Joker holds her letter up in his hand. JOKER What is this? How come you never told me? MOM Is, is that my letter? Is that my letter, Happy? JOKER How could you not tell me, Ma? MOM You told me you dropped it off. You have no right opening my mail. Who do you think you are? JOKER -LRB- raising his voice ; excited -RRB- -LRB- MORE -RRB- JOKER -LRB- CONT'D -RRB- Apparently I'm Thomas Wayne's son! How could you keep that from me? His mother slowly getting up out of bed. MOM Stop yelling at me, you're gon na kill me, give me a heart attack! She goes into the bathroom. JOKER -LRB- shouts after her -RRB- I'm not yelling! I'm just, excited. How can any of this be real!? How can Thomas Wayne be my father? MOM -LRB- OS -RRB- -LRB- shouts back from behind the door -RRB- I'm not talking to you until you calm down. Joker sits for a minute then gets up and goes to her bathroom door. Talks to his mother from the behind the closed door. JOKER -LRB- lowers his voice ; trying to sound calm -RRB- Okay. How's this, Mom? Better? Will you please talk to me? Joker leans in closer to the door. Leaning against it with just his head -- JOKER Please. MOM -LRB- OS -RRB- He is an extraordinary man, Arthur. We had a connection. I was so beautiful then. We were in love. Joker just leans there, listening. He closes his eyes, it's all too much. MOM -LRB- OS -RRB- His wife could see it. She was jealous from the moment I started working there. She fired me before I even knew I was pregnant with you. -LRB- hear her crying now -RRB- -LRB- MORE -RRB- MOM -LRB- OS -RRB- -LRB- CONT'D -RRB- And, I never told him or anybody because, well, you can imagine what people would say about Thomas and me, and, and what they would say about you. JOKER -LRB- eyes still closed, head leaning against the door -RRB- What would they say, Ma? MOM -LRB- OS -RRB- That I was a whore, and Thomas Wayne was a fornicator, and that you're a little, unwanted bastard. AND THE BATHROOM DOOR SUDDENLY SWINGS OPEN, and Joker falls face first into the bathroom -- Just missing his mother, crashing down onto the floor -- CUT TO :", "EXT. BOARDWALK, AMUSEMENT MILE - MORNING Joker heads down the boardwalk toward Ha-Ha's, a bounce in his step. Looming behind him like the skeletons of monsters, a sprawling rickety-looking wooden roller coaster and the gigantic steel Wonder Wheel in the amusement park by the ocean. Sound of waves crashing, seagulls squawking.", "INT. HA-HA'S TALENT BOOKING, LOCKER ROOM - MORNING Joker walks into the locker room, sees Randall half-dressed for work, red nose, big pants, big shoes, no wig yet, sitting with Gary, TWO OTHER CLOWNS AND A MAGICIAN around the small table, shooting the shit, drinking coffee. They nod hello at Joker or give him a perfunctory wave, most of his co-workers think he's a freak. GARY Hey Art, I heard what happened -- I'm sorry man. RANDALL Yeah, Hoyt did you wrong, buddy. Does n't seem fair. Joker looks hard at Randall for a moment, just slowly nods, and continues on to his locker. He starts to clean it out, stuffing all of his clown gear into an old brown paper shopping bag. Hears them talking about him behind his back, about why he got fired, laughing at him -- HA-HA CLOWN #1 -LRB- OS -RRB- Did you really bring a gun to the kid's hospital, Artie? What the fuck would you do that for? Joker does n't answer them, just continues emptying his locker, a bag of balloons, a magic wand, some trick flowers -- HA-HA CLOWN #2 No, I heard he pulled it out and waved it around like a cowboy. His co-workers crack up. Joker answers the guy without looking back -- JOKER It was a prop gun. And I did n't pull it out, it fell out. MAGICIAN So is that part of your new act? If your singing does n't do the trick, you just gon na shoot yourself? More laughter. HA-HA CLOWN #2 I thought Jingles was a lover not a fighter. Joker turns and looks at all of them, nods at Randall -- JOKER Why do n't you ask Randall about it? It was his idea. GARY -LRB- to Randall -RRB- Since when do you use a prop gun? RANDALL What? I do n't. Stop talking outta your ass, Art! -LRB- to the guys -RRB- -LRB- MORE -RRB- RANDALL -LRB- CONT'D -RRB- I think all his stupid laughing musta scrambled his brain or something. The guys laugh and keep jawing. Joker does n't say anything. Just finishes packing his bag and closes his locker door --", "EXT. HA-HA'S, BACK ALLEY - AMUSEMENT MILE BOARDWALK - MORNING Joker exits the back door holding onto his brown shopping bag under his arm, starts down the alley. Behind him, Randall hustles out and chases down the alley after him, still half-dressed for work. RANDALL -LRB- calling out -RRB- Art! Hold up, -- As he catches up with Joker his red nose falls off, but he's so out of breath he does n't realize he lost it -- RANDALL What the fuck was that about? Beat. JOKER What? RANDALL Why would you say that? That, that it was my idea. Joker just looks back at Randall. Sees his red Styrofoam nose bouncing down the alley behind him. JOKER... RANDALL You do n't get it, do you, buddy, that shit that went down on the subway, that's no joke. They got clown sketches on the front of every fucking paper. It's just a matter of time before the cops come around. Beat. JOKER I do n't know anything about it. RANDALL -LRB- leans in close ; lowers his voice -RRB- Art, you know you're my boy. I'm not gon na say shit. I just hope you got rid of that gun. That ca n't come back on me, okay? JOKER Randall, I did n't shoot anybody. That was n't me. And I do n't have time for this, I got somebody real important I got ta go see. Joker turns to go -- RANDALL You know they're sellin' masks. JOKER -LRB- turning back around -RRB- What? RANDALL They're selling masks of your clown face, -- based off the description I guess. It's like a thing now. JOKER What are you talking about? RANDALL There's a lot of people in this city who are happy you did what you did. If you did it. JOKER Randall. Your nose. RANDALL What? Randall touches his face. Realizes his nose is not there. Joker points to Randall's clown nose tumbling back down the alley. And Randall hustles after it, chasing after his red nose blowing skipping away in the wind --", "INT. METRO TRAIN (MOVING) - COUNTRYSIDE, OUTSIDE GOTHAM - NEXT AFTERNOON CLOSE ON NEW `` KILLER CLOWN'' SKETCH ON FRONT PAGE OF THAT DAY'S TABLOID, a more detailed drawing. HEADLINE, `` KILLER CLOWN STILL ON THE LOOSE!'' SUB-HEAD, ``'Kill the Rich' -- A New Movement?'' ANGLE ON JOKER LOOKING DOWN AT HIS NOTEBOOK, STARING AT A PHOTOGRAPH OF THOMAS WAYNE RIPPED OUT FROM A MAGAZINE, taped to a page. He glances at his distorted reflection in the window, takes his hand and parts his hair to the side, more like Thomas Wayne's hair. Maybe there is a resemblance. WIDER ANGLE, train is packed with wealthy white businessmen and a couple businesswomen heading home after work, many of them reading the same tabloid. The `` Killer Clown'' sketch of Joker's clown face dots the train. No empty seats -- except the one next to Joker.", "INT. TAXI CAB (MOVING), COUNTRYSIDE - AFTERNOON JOKER IN THE BACK OF A TAXI STARING OUT AT THE COUNTRYSIDE, at the trees and green grass and blue sky and open spaces whizzing by. The sun is getting low, bathing everything in a golden light. He does n't see garbage anywhere.", "EXT. WAYNE MANOR, FRONT LAWN - MAGIC HOUR Joker walking along an intimidating wrought iron fence, surrounding the estate like prison bars, the brown paper shopping bag stuffed under his arm. The big house set up a small hill, evergreens dot the lush grounds. As he walks around looking for the front entrance, Joker catches a glimpse of an innocent looking EIGHT-YEAR-OLD BOY tracking him from behind the trees, hiding as he follows. Joker stops. He sees the boy stop behind a tree. Joker continues walking until he gets to the front gate. He digs into his bag and pulls out the magic wand -- He holds it up for the boy to see. The boy steps out from behind a tree to get a closer look. Joker puts the brown bag down on the ground, looks over the wand, pretending like he's trying to figure out what it does. He waves the wand over the front gate lock to `` try and see'' if it will open -- It does n't. 58. The little boy walks down toward the fence, face like an angel. Joker waits until he gets closer and then reaches his hand through the fence and hands the kid his magic wand so he can try and figure out what it does -- The boy takes the wand and it goes limp in his hand before he can wave it -- He laughs, surprised. He hands it back to Joker. The boys sees Joker's face up close, staring at his scarred smile -- Joker straightens the wand back out, and reaches in through the fence again so the kid can give it another try. AND AGAIN THE MAGIC WAND DROOPS IN THE BOY'S HAND. He laughs and gives it back to Joker -- Joker examines the wand as if its `` broken'', stiffens it one last time, crouches down lower, and... Ta-da! A bouquet of flowers bursts out the end of the wand -- Joker smiles and hands him the wand bouquet of flowers -- The little boy takes the flowers. Keeps staring at Joker, at the scars around his mouth. Now, he reaches his hand out through the fence and touches Joker's face, tracing his finger around the edges of Joker's mouth, over his scarred smile -- Joker closes his eyes -- embarrassed -- but it feels good to him, nobody ever touches him besides his mother. He starts to smile, when a man's voice shatters the moment -- ALFRED -LRB- OS -RRB- -LRB- shouting ; slight English accent -RRB- Bruce! What are you doing? Get away from that man. The little boy pulls his hand back. Turns and runs away -- Joker looks up and sees a balding, tired-looking, ALFRED PENNYWORTH ( 50's ) bounding down the hill toward them. Joker stands back up. ALFRED -LRB- still shouting -RRB- What are you doing? Who are you? Little Bruce runs behind Alfred, hiding behind his legs. JOKER My name's Arthur. I'm here to see Mr. Wayne -- ALFRED -LRB- interrupting -RRB- You should n't be talking to his son. Why did you give him those flowers? Alfred takes the flower-wand away from the kid -- JOKER I, I was just trying to make him laugh. He hands it back to Joker. ALFRED Well it's not funny. Do I need to call the police? JOKER No, please. My mother's name is Penny Fleck. She used to work here, years ago. Can you tell Mr. Wayne that I need to see him? ALFRED -LRB- color drains from his face ; beat -RRB- You're her son? JOKER Did you know her? Alfred does n't say anything. Joker puts his face right up against the bars, whispers so the boy ca n't hear him -- JOKER You do n't need to cover for them. I'm sure Mrs. Wayne was very upset when she found out. ALFRED There was nothing to find out about. Your mother was, was delusional. She was a sick woman. JOKER No. No, just let me speak to Mr. Wayne. Now Alfred leans in closer to Joker, almost looks like he feels some pity for him -- ALFRED Please just go, before you make a fool of yourself. Beat. JOKER -LRB- blurts out -RRB- Thomas Wayne is my father -- Alfred looks at Joker, and ca n't help but crack up laughing at him. AND JOKER REACHES THROUGH THE BARS AND GRABS HIM. Pulls him in close, trying to choke him, still holding the wand of flowers in one hand -- AS HE CHOKES ALFRED, Joker sees little Bruce, wide-eyed in the shadows, looking out at him in horror. Joker stops. Lets go of Alfred... Takes off running back down the street away from Wayne Manor, magic wand in hand, leaving the rest of his clown gear behind. CUT TO :", "EXT. LOWER EAST SIDE, STREETS - NIGHT JOKER'S BACK IN HIS PART OF TOWN, garbage everywhere here. The neighborhood at night is alive. Loud kids on the street corners... A drunk seemingly fights no one... Hookers working the street... He hears a wailing siren... As Joker turns the corner, he sees AN AMBULANCE PARKED in front of his building. Lights flashing. Hit with a sense of dread, he runs toward the building --", "EXT. STREET, APARTMENT BUILDING - NIGHT A SMALL CROWD OF GAWKERS have gathered around watching the drama unfold. Shouting and laughing, loud dance music blaring out an open window, feels like an impromptu block party. Joker runs up, sees his mother being wheeled down the front steps unconscious on a stretcher, AN EMT holding an oxygen bag on her face. TWO DETECTIVES IN PLAIN SUITS following behind them. It's a chaotic scene. FROM ABOVE, Joker pushing through the crowd, rushes to his mother's side. We do n't hear what he says to the paramedics over the music and the crowd, just see them nod okay and Joker follow after them into the back of the ambulance --", "INT. CITY AMBULANCE, BACK (PARKED) - NIGHT Joker looking out the back doors as they start to shut close -- CATCHES A GLIMPSE OF SOPHIE, coming out of the building. He stares at her through the small back door window. Casually waves at her, trying to connect with her -- Joker sees the two detectives approaching Sophie as the ambulance pulls away. Speeding away down the street, siren wailing -- CUT TO :", "INT. CITY HOSPITAL, EMERGENCY TREATMENT ROOM - NIGHT Joker's standing near the doorway of a large overcrowded treatment room. Watching a sleep-deprived ER RESIDENT ( late 20's ), and an EMERGENCY NURSE start to intubate his mother. He hears shouts and cries of pain from around the crowded room. Joker turns away when he sees them insert a thin endotracheal tube into her mouth and down through her larynx. It makes him gag --", "EXT. CITY HOSPITAL, ER - NIGHT Joker sits on a bench outside the bustling emergency room. He's getting some fresh air, but he picked a weird spot to do it. He watches the sick and dying being rushed through the glass doors. Opening and closing. This happens in the background throughout the scene. The two detectives walk up to Joker, interrupting him watching the doors. Gotham police detectives, GARRITY ( 50's ), grey hair, and BURKE ( 30's ), his partner. DET. GARRITY Mr. Fleck, sorry to bother you, I'm Detective Garrity, this is my partner Detective Burke. Joker looks up at them. Does n't say anything. DET. GARRITY We had a few questions for you, but you were n't home. So we spoke to your mother. JOKER You did this to her? DET. GARRITY What? No. We just asked her some questions and she started getting hysterical -- hyperventilating, trouble speaking -- then she collapsed. Hit her head pretty hard. JOKER They told me she had a stroke. Beat. DET. GARRITY Sorry to hear that. AND JOKER BURSTS OUT LAUGHING, he ca n't stop it. The detectives are taken aback. They do n't know what to make of him laughing. They share a look. DET. BURKE -LRB- confused -RRB- I'm lost. Is something funny? JOKER -LRB- laughter choking up in his throat -RRB- No I, -- I have a, a -- Tears rolling down his face, he takes out one of his cards and hands it to Det. Burke. Burke glances over the card, a skeptical look on his face. DET. BURKE Okay. But we have some questions for you. DET. GARRITY About those subway killings from a few weeks ago. Joker pauses for a moment, his laughter subsiding. He holds his breath. JOKER I do n't know anything about that. DET. GARRITY We have an eyewitness who described a white male, about 6 feet tall, in clown make up. Or a clown mask. Spoke to your boss at Ha-Ha's, Mr. Vaughn, and he said you were on a job the day of the shooting. Joker's still holding his breath, he nods yes. DET. GARRITY -LRB- just continues -RRB- He also said you got fired that day, -- For bringing a gun into the children's hospital. And Joker cracks up again, his laughter coming back harder -- He covers his mouth with his hand, shaking his head no, his face now turning red. DET. GARRITY You were n't fired? Joker catches his breath as the intensity of his laughter starts to wane, petering out. JOKER Not for having a gun. That was prop gun. Part of my act. Joker's laughter finally stops for good. DET. BURKE So why were you fired? JOKER They said I was n't funny. The detectives share another look. Joker stands up. JOKER Now, if you do n't mind, I have to go back and look after my mother. Detective Burke steps close to him, holds up the card that Joker handed him -- DET. BURKE Hey lem me ask you a question? This condition of yours, -- Is this real or is this like some sorta clown thing? JOKER Clown thing? DET. BURKE I mean, is it part of your act? JOKER What do you think? And Joker walks away -- heads for the sliding glass doors. Only the motion detector does n't engage -- AND HE SLAMS RIGHT INTO THE GLASS DOOR HARD. He bounces back.", "INT. HALLWAY, NURSE'S STATION - CITY HOSPITAL - NIGHT Joker walking down the hallway, ER flooded with the poor and uninsured. Overwhelmed doctors and nurses trying their best to keep up. He stops at the busy nurse's station, and stands there for a moment, trying to get a nurse's attention -- JOKER Excuse me, I was wondering how I could check my mother out of here? One of the nurses at the desk looks up at him, seems slightly annoyed. ER NURSE What's your mother's name? JOKER Penny Fleck. I'd like to take her home. The sleep-deprived ER RESIDENT who was working on his mother overhears Joker, comes over to talk to him with a clipboard in his hand. Joker recognizes him -- ER RESIDENT Mr. Fleck, your mother had a stroke. It's very serious. You ca n't `` check her out.'' She's gon na be here for at least a week. JOKER She's not gon na wan na stay that long. She does n't like hospitals. Or doctors. ER RESIDENT I'm sorry to hear that. But she ca n't just leave. JOKER I do n't like hospitals either. Beat. The resident just nods okay. Looks down at his clipboard -- ER RESIDENT Listen, I wanted to talk you about something we noticed in her tox report. We found heavy traces of multiple medications in her system. JOKER Okay. Thanks. He turns to go, but the resident continues -- ER RESIDENT One of them's perphenazine. It's a powerful anti-psychotic. If she was taking that regularly and then suddenly stopped, the withdrawal could have contributed to her stroke. Did you notice any symptoms? JOKER Symptoms? ER RESIDENT Withdrawal symptoms. Nausea... anxiety... hallucinations. Joker shakes his head, no. ER RESIDENT Do you know how long she's been taking it? Joker shakes his head no again, leans in closer to the resident -- JOKER Can you tell me what those symptoms are again? CUT TO :", "INT. PATIENT BAY, EMERGENCY TREATMENT ROOM - NIGHT CLOSE ON TV, Murray Franklin is in the middle of doing his monologue. MURRAY FRANKLIN -LRB- ON TV -RRB- So I told my youngest son, Tommy, remember he's the'not so bright' one, -- -LRB- laughter -RRB- I told him that the garbage strike is still going on. And he says, and I'm not kidding, Tommy says, `` So where are we gon na get all our garbage from?'' Murray Franklin cracks up at his own joke. Studio audience laughs. JOKER LAUGHS, LYING IN BED NEXT TO HIS UNCONSCIOUS MOTHER in the large overcrowded treatment room. Blue curtain dividers separate the bays. He's watching the show on a TV bolted high on the wall. He glances over at his mother, laughing over the sounds of her labored breath, the pain and suffering of those around him. He looks back up at the television. MURRAY FRANKLIN -LRB- ON TV -RRB- And finally, in a world where everyone thinks they could do my job, we got this videotape from the Gotham Comedy Club. Here's a guy who thinks if you just keep laughing, it'll somehow make you funny. Check out this joker. EXTREME CLOSE ON TV, GRAINY VIDEO OF JOKER'S STAND-UP PERFORMANCE. Joker on stage smiling behind the microphone, under the harsh spotlight. Joker watching himself on TV, his jaw drops -- JOKER -LRB- ON TV -RRB- -LRB- trying to stop himself from laughing -RRB- -- good evening, hello. -LRB- deep breath ; trying to stop laughing -RRB- Good to be here. -LRB- keeps cracking up -RRB- I, I hated school as a kid. But my mother would always say, -- -LRB- bad imitation of his mom, still laughing -RRB- `` You should enjoy it. One day you'll have to work for a living.'' -LRB- laughs -RRB- `` No I wo n't, Ma. I'm gon na be a comedian!'' Back to Murray Franklin shaking his head, trying not to laugh. MURRAY FRANKLIN -LRB- ON TV -RRB- You should have listened to your mother. The studio audience erupts into laughter. ANGLE ON JOKER, watching Murray Franklin make fun of him on TV. He gets up and starts walking toward the TV set as if in a trance. Unsure if this is really happening. MURRAY FRANKLIN -LRB- ON TV -RRB- One more, Bernie. Let's see one more. I love this guy. The tape continues of Joker at the comedy club. JOKER -LRB- ON TV -RRB- It's funny, when I was a little boy and told people I wanted to be a comedian, everyone laughed at me. -LRB- opens his arms like a big shot -RRB- Well no one is laughing now. Dead silence. Nobody is laughing. Not even him. CUT BACK CLOSE ON MURRAY FRANKLIN, just shaking his head. MURRAY FRANKLIN -LRB- ON TV -RRB- You can say that again, pal! Murray cracks up and the studio audience laughs along with him. CLOSE ON JOKER, looking up at the television, hearing them all laughing at him. Beat. JUMP CUT : Joker is dragging a chair to the television set. In a rage, he gets up on the chair and tries to pull the TV out of the wall, as the show continues to play -- But the set is firmly secured to the wall, and Joker pulls so hard the chair flips from underneath him and he goes flying up the air, crashing down hard onto the floor.", "INT. CAFETERIA, CITY HOSPITAL - EARLY MORNING Joker walks with a plastic tray of food. Some runny eggs and a coffee. He keeps his head down so no one can see his face. There are a few DOCTORS AND NURSES sitting and chatting at one table. A group of ORDERLIES are sitting together at another table. He goes and sits down in the far corner, far away from everyone else. Sees a tabloid newspaper left on the table, and picks it up to read so he does n't seem so alone. ANGLE ON FRONT PAGE HEADLINE, `` Thomas Wayne Announces Run'', over a full-page campaign-style photograph of Thomas Wayne waving to a crowd standing next to his wife, MARTHA ( 50's ), a severe looking, well-preserved former model, and little Bruce Wayne standing in front of them. Photo catches Bruce looking into camera, eyes wide, scared by the crowd. SUB-HEADLINE READS, `` Protest Planned at Wayne Hall Opening Tonight'' Joker stares at the family photo. CLOSE ON BRUCE WAYNE IN PHOTO, Joker's fingers ripping his picture out of the front page. YOUNG DOCTOR -LRB- OS -RRB- -- I'm sorry to bother you, but can you settle an argument for us? CLOSE ON JOKER LOOKING UP, interrupted from ripping out the picture. One YOUNG DOCTOR and TWO NURSES are standing around him. We stay with Joker, do n't see their faces. Just their bodies, all dressed in green scrubs, uniforms. JOKER Excuse me? YOUNG DOCTOR -LRB- OS -RRB- You were the guy on Murray Franklin last night, right? He hears the nurses giggle. JOKER No, sorry. Was n't me. NURSE #1 -LRB- OS -RRB- Of course it was you. You were the comedian. YOUNG DOCTOR -LRB- OS -RRB- Except you were n't funny. You did n't tell any jokes. He hears the nurses giggle again. STAY CLOSE ON JOKER, getting upset. He just shakes his head. JOKER I do n't know what you're talking about. YOUNG DOCTOR -LRB- OS -RRB- No. It was definitely you, buddy. You're the guy who could n't stop laughing. Murray killed you. More laughter. Joker looks up at them. JOKER If I were you, I'd walk away from this table before I strangle all three of you with that fucking stethoscope hanging from your neck. Beat.", "EXT. CENTER FOR PERFORMING ARTS, WAYNE HALL - UPTOWN - DUSK Joker crosses a busy street heading to the Center for Performing Arts. Light falling. Storm clouds gathering. Joker stops when he sees -- A CROWD OF PROTESTERS SCREAMING AND SHOUTING IN FRONT OF WAYNE HALL, behind steel barricades. Many wearing Joker's `` clown face'' mask... A few wave homemade signs, `` CLOWN FOR MAYOR''... `` KILL THE RICH''... `` MR. WAYNE, AM I A CLOWN?'' A LINE OF POLICEMEN AND SECURITY GUARDS stand between the crowd and the lit-up white marble building. Joker watches the protest for a moment, then continues across the street. It starts to rain.", "EXT. WAYNE HALL, FRONT ENTRANCE - EVENING A FIGHT BREAKS OUT between a `` clown'' masked protester and two cops. The crowd goes crazy, pushing through the barricades toward the building in the driving rain. The police and Wayne Hall Security fight to keep them out -- Amidst all the chaos, we glimpse Joker slipping into the building unnoticed --", "INT. LOBBY, WAYNE HALL - EVENING Joker walks through the massive multi-level lobby. It's completely empty since the performance has already begun and whatever security was available is outside helping the police deal with the protesters. He looks up in awe at the crystal chandeliers... The shiny, marble floor beneath his feet. He's never seen anything this opulent in his entire life.", "INT. BACK OF THEATER, WAYNE HALL - EVENING JOKER MAKING HIS WAY THROUGH THE DARK SHADOWS ALONG THE BACK WALL OF THE AUDITORIUM, looking for Thomas Wayne in the sold- out black-tie audience -- He catches bits of Chaplin's MODERN TIMES projected on a screen behind the Gotham Philharmonic playing the silent movie's score... the Tramp roller skating blindfolded on a date with the Gamin ( Paulette Goddard ) in a department store. He continues moving along the wall from aisle-to-aisle looking for Thomas Wayne... The audience laughs as the Tramp skates blindfolded, skirting along the edge of a balcony with no rail, orchestra playing the bouncy score. Joker ca n't find Thomas Wayne in the dark -- He moves to the top of the next aisle, pausing to watch more of the film. Suddenly somebody bumps into Joker -- He looks up and sees it's one of Thomas Wayne's TWO SECURITY GUARDS, escorting Thomas Wayne out of the auditorium -- Joker turns and watches them lead him out. Behind Joker on screen, the Tramp is rescued by the girl before he falls off the edge, orchestra swelling --", "INT. LOBBY, WAYNE HALL - CONTINUOUS Joker peeks his head out of the auditorium, sees Thomas Wayne heading into the men's room, his two security guards waiting by the door, still hear the orchestra playing the score -- Joker glances back into the auditorium -- Sees a lobby broom and upright dustpan tucked in the back corner --", "INT. HALLWAY, MEN'S ROOM - WAYNE HALL - SECONDS LATER Joker's sweeping up the hallway with his head down, hear the orchestra playing the melancholy `` Smile'' from the film's score. He sweeps along to the music like Emmett Kelly's famous hobo clown... Sweeping around the two security guards' feet... Annoyed, they move a bit away from the bathroom door... And do n't give Joker a second look as he heads inside...", "INT. MEN'S ROOM, WAYNE HALL - CONTINUOUS Joker sweeps his way into the cavernous, black & white tiled bathroom, ornate gold fixtures. It's empty save for Thomas Wayne peeing at the far end of a long line of urinals. Joker takes a deep breath, and walks down the line of urinals right up next to Thomas Wayne -- He stands there for a beat while Thomas urinates, lobby broom and upright dustpan in hand -- THOMAS WAYNE -LRB- glances over ; annoyed -RRB- Can I help you, pal? JOKER What? Yeah. No I, I -- THOMAS WAYNE -LRB- interrupting -RRB- You need to get in here or something? Thomas Wayne finishes and zips his fly back up. Joker is not sure what to say to him, just says -- JOKER Dad. It's me. Beat. But Thomas Wayne does n't hear him, he was flushing the urinal. He walks toward the sink. THOMAS WAYNE Excuse me? Joker follows after him. JOKER My name is Arthur. I'm Penny's son. -LRB- beat -RRB- I know you did n't know about me, and I do n't want anything from you. Well... maybe a hug. And Joker smiles, it's all very emotional for him. Thomas looks over at him like he's fucking crazy. THOMAS WAYNE Jesus? You're the guy who came by my house yesterday. Joker nods, relieved he finally broke through. JOKER Yes. But they would n't let me in, would n't let me see you. So I came here. I have so many questions. Thomas Wayne just laughs to himself and turns on the gold faucets at one of the sinks. THOMAS WAYNE Look pal, I'm not your father. What's wrong with you? JOKER How do you know? Thomas Wayne just keeps washing his hands, does n't even look over at Joker. THOMAS WAYNE Cause you were adopted. And I never fucked your mother. What do you want from me, money? JOKER No. What? I was n't adopted. Thomas starts drying his hands. THOMAS WAYNE She never told you? Your mother adopted you before she even started working for us. She was arrested when you were four years old and committed to Arkham State Hospital. She's batshit crazy. Joker starts to smile, feels a laugh coming on. JOKER No. No, I do n't believe that. Thomas finishes drying his hands. Turns to Joker, his tone way more serious now. THOMAS WAYNE I do n't really give a shit what you believe. -LRB- steps in closer -RRB- But if you ever come to my house again, if you ever talk to my son again, if I ever even hear about you again, I'll -- AND JOKER CRACKS UP LAUGHING, interrupting his threat. Laughing right in his face -- THOMAS WAYNE Are you laughing at me? Joker's laughing so hard he ca n't answer. THOMAS SHOVES JOKER HARD UP AGAINST THE TILED WALL, gripping his neck with one hand. Joker just cracks up louder, he drops the dustpan and broom -- THOMAS WAYNE -LRB- shouting -RRB- You think this is funny? Thomas Wayne's security guards bang open the door, rushing into the bathroom when they hear the shouting -- They stop when they see Thomas has Joker jacked up against the wall. JOKER -LRB- tries shaking his head no ; still laughing and -RRB- choking -RRB- No, no I have a con -- THOMAS WAYNE -LRB- interrupting ; raising his voice -RRB- Is this a fucking joke to you? AND THOMAS WAYNE PUNCHES JOKER STRAIGHT IN THE FACE with his free hand, blood spraying from his nose --", "EXT. WAYNE HALL, FRONT ENTRANCE - PLAZA - NIGHT The two security guards roughly throw Joker out of the hall, right in front of the drenched crowd of screaming protesters, TV cameras and photographers now on hand, bulbs flashing -- Joker knowing how to take a fall, plays it up in front of this audience for all it's worth, tumbling end-over-end out onto the plaza in the rain -- He rolls to his feet with a bit of panache and brushes himself off like it was nothing. The protesters go crazy, cheering and applauding his act -- And Joker takes a deep dramatic bow. Wet hair. Bloody nose. He turns and sees the security guards coming back out -- Joker takes off running through the plaza in the downpour, running out of the Center for Performing Arts. Turns down a side street almost slipping -- And keeps running even though nobody's chasing after him. We HEAR the familiar beats of THE SUGARHILL GANG'S `` Apache'' as Joker just keeps running and running.", "INT. APARTMENT BUILDING, HALLWAY - NIGHT Joker knocking on Sophie's apartment door, `` Apache'' blaring inside. He's soaking wet, clothes clinging to his body. There's no answer. He knocks again. Hard to hear anything over the loud music. Now he tries the door. It's unlocked.", "INT. SOPHIE'S APARTMENT, FRONT HALL - CONTINUOUS Joker walks into Sophie's apartment, `` Apache'' thumping, lights dim. JOKER Sophie? WALKS INTO THE DARK LIVING ROOM, catches a glimpse of Sophie, naked riding on top of SOME GUY on the couch -- The guy sees Joker standing in the shadows and jumps. Sophie turns and sees Joker as well. She screams --", "INT. HALLWAY, APARTMENT BUILDING - NIGHT Joker rushing for his mother's apartment. Behind him, the guy comes out half naked into the hallway, zipping up his pants, screaming at Joker -- Joker does n't look back, does n't hear the guy yelling at him -- Quickly opens the door to his mother's apartment and hurries inside.", "EXT. ARKHAM STATE HOSPITAL - MORNING A GRAY, BEHEMOTH STATE HOSPITAL looming over the city block. Metal screens cover steel-framed windows. Joker crosses the street toward the building, eyes weary, he has n't slept in days. HE SEES TWO GOTHAM CITY COPS AND A PARAMEDIC rolling a gurney into the entrance... a naked, sunburned man screaming his head off is handcuffed to the stretcher underneath a white sheet. Joker follows them inside.", "INT. ARKHAM STATE HOSPITAL - ADMINISTRATIVE OFFICE - MORNING Joker sits waiting in a cramped office, looking out a plexiglass window that overlooks the crowded hallway -- A constant din of people moving about, talking and shouting. Patients handcuffed to the armrests of their wheelchairs, lying on stretchers, heads covered with pillowcase turbans or forearms to block out the harsh fluorescent lights. His gaze is interrupted by a CLERK ( 40's ), ID clipped to his shirt, who's lugging an old heavy file storage box. He drops the box down on his messy desk with a thud. CLERK Sorry for the wait. All our records that are 10 years or older are stored in the basement. You're talking over 30 years ago, -- I had to do some serious digging. Joker nods thanks. CLERK Like I said, if it's in here, I'm still gon na need a release from her. The clerk opens the file box. Starts digging though it. Joker stares out the plexiglass window that faces the hallway -- JOKER Can I ask you a question? How does someone wind up in here? Have all these people committed crimes? CLERK -LRB- going through the files -RRB- Some have. Some are just crazy and pose a danger to themselves or others. Some just got nowhere else to go. Beat. JOKER -LRB- nods ; looks down -RRB- Yeah, I know how that is. Sometimes I do n't know what to do, y'know, I do n't think I can take any more of this. The clerk is half listening as he scans the paper work. CLERK Yeah, I ca n't take much more of this shit either. -LRB- MORE -RRB- CLERK -LRB- CONT'D -RRB- Now they talking about more layoffs, man, we're understaffed as it is. I do n't know what I'm gon na do. Joker looks up at the guy, thinking he's made a connection. JOKER Last time I ended up taking it out on some, -- people. Bad shit. I thought it would bother me but, it really has n't. For the first time, the clerk looks at him -- CLERK What's that? JOKER It's just so hard to try and be happy all the time, y'know, when everything's going to shit all around you. CLERK -LRB- taken aback ; beat -RRB- Listen, I'm just an administrative assistant, like a clerk. I file paperwork, fill out forms. I do n't really know what to tell you, but maybe you should see someone -- they have programs, like city services. JOKER -LRB- backtracking -RRB- Yeah. They cut those. Anyway, I was just talking to talk. The clerk just nods. Finally finds what he was looking for. CLERK -LRB- surprised -RRB- Here it is, -- Fleck. Penny Fleck. He pulls out an old file, bulging with yellowing records. Moves the box to the floor and sits down at his desk. JOKER -LRB- saying it out loud for himself to hear -RRB- So she was a patient here. The guy opens the file. Yellowing pages of her records -- CLERK -LRB- nods, skim-reading -RRB- Uh-huh. Diagnosed by Dr. Benjamin Stoner... The patient suffers from delusional psychosis and narcissistic personality disorder... Found guilty of endangering the welfare of a child -- The clerk stops reading out loud, eyes going wide as he skims further ahead. Joker just looks at the guy, waiting to see what he's gon na say. JOKER What? CLERK You said she's your mother? Joker just nods. CLERK -LRB- closes the file -RRB- I'm sorry, I ca n't. Like I said, I ca n't release this without the proper forms. I could get in trouble. -LRB- closes the file ; beat -RRB- Besides, it's pretty bad. CLOSE ON JOKER, he shakes his head and smiles to himself. JOKER I can handle bad. I've been on a pretty bad run myself. The clerk puts the file down on his desk -- CLERK I ca n't help you. If you want these records you have to get your mom to sign a patient disclosure form. I can have someone mail you one. Joker just sits there, thinking it all over for a moment. Then snatches the file off the clerk's desk -- The clerk grabs it as well. They play tug-of-war with the file, it's awkward and goes on way too long. Finally, Joker shoves the guy hard and pulls the file away -- He takes off running out of the office with it. The clerk watches for a beat, but does nothing.", "INT. HALLWAY, ARKHAM STATE HOSPITAL - MORNING Joker running down the hallway, files in his hands. Frantic. Unaware he is not being chased. Turns a corner and runs down another long hallway. Gets to a stairwell door and runs in.", "INT. STAIRWELL, ARKHAM STATE HOSPITAL - CONTINUOUS Bounding down the steps. He stops at a landing below. Looks up, sees no one is chasing after him -- ANGLE ON JOKER, catching his breath. He opens the file, flipping through the records, finds the page the clerk was reading. As he reads it over for himself, he HEARS his mother being interviewed for her psychiatric assessment, over 30 years ago. MOM -LRB- VO -RRB- He's not adopted -- he's Thomas Wayne's son. I work for him, I told you, I clean his house. He's always smiling at me. CUT TO :", "INT. EMERGENCY INTERVIEW ROOM, ARKHAM STATE HOSPITAL - DAY 80 ( FLASHBACK ) Penny Fleck ( late 20's ) is sitting across the table from DR. BENJAMIN STONER ( 50's ), in a dreary small interview room, windows covered with security screens. Penny takes a drag off a cigarette, her face is beaten to shit, nose battered, lip busted up. Dr. Stoner is going over Penny's thick file, the same file Joker's holding in his hands. DR. STONER We went over this, Penny. You adopted him. We have all the paperwork right here. Penny does n't say anything, just smiles like she's in on a big secret. And exhales smoke. Dr. Stoner keeps going through the file, pulls out black & white forensic photographs of three-year-old Joker's body -- DR. STONER You also stood by as one of your boyfriends repeatedly abused your adopted son. And battered you. Penny looks at Dr. Stoner like he's crazy. MOM He did n't do anything to me. Or to my boy. Can I go now, I do n't like hospitals. Dr. Stoner lays out the photographs in front of Penny -- Penny keeps smoking her cigarette, glances down at the photos, we catch glimpses of various bruises on parts of Joker's body... A filthy crib... A rope tied to the radiator... CUT BACK TO : Joker looking over the same black & white photographs, still HEARS his mother -- MOM -LRB- V0 -RRB- I never heard him crying. Not once. He's always been such a happy little boy. DR. STONER -LRB- VO -RRB- Penny, your son was found tied to a radiator in your filthy apartment, malnourished, with multiple bruises across his body and severe trauma to his head. Joker looks up from the file when he hears/reads this, turns and looks at Penny's reaction -- HE'S NOW IN THE INTERVIEW ROOM WITH THEM, living what he's reading on the page. He sees his mother lean forward in her chair, glaring at Dr. Stoner -- MOM That's not true. My apartment was n't filthy. I keep a clean house. Joker just stares at his mother. Dr. Stoner looks at Penny, not sure how to respond to that. DR. STONER -LRB- beat -RRB- And what do you have to say about your son? ANGLE ON PENNY, thinking it over, taking a drag off her cigarette. MOM I'm just glad I got to know him. Joker just keeps staring at her as she exhales -- JOKER BACK IN THE STAIRWELL LOOKS UP FROM THE FILE, looks like maybe there's cigarette smoke drifting in front of his face -- CUT TO :", "EXT. SCHOOL PLAYGROUND, STREET - AFTERNOON Joker walking fast toward the playground. Sees Sophie talking with some other moms, as GiGi and a few kids play on the monkey bars. Sophie walks toward him, still disturbed about last night -- SOPHIE What the hell was that? You ca n't just walk into my apartment like that. He is taken aback by her anger -- JOKER No, wait, -- Sophie, we can get through this, that's why I'm here. SOPHIE What are you talking about? What do you think this is? JOKER I do n't know. I mean I've never been with a woman `` like that,'' but, this feels like a beginning to me. SOPHIE Arthur, I was just being nice to you. I felt sorry for you. I have a boyfriend. JOKER You what? What? What kind of woman are you? Who does that? Some of the other mothers turn toward them -- SOPHIE You need to leave. I'm not having this conversation with you. JOKER -LRB- shouts -RRB- Why not? GiGi runs up to Sophie's side to see what's going on, to see if her mother's okay. SOPHIE -LRB- turns to her daughter -RRB- Go back with your friends, honey. Mommy's having a grown up talk. Before GiGi leaves Joker looks down at her -- JOKER No. Do n't listen to her GiGi, you need to hear this. Your mother's a bad person. She's a whore, she's seeing two men at once. You ca n't trust her, -- She'll break your fucking heart. Joker turns to go, behind him GiGi starts to cry. He's close to tears himself. Sophie takes off after him, and reaches out and grabs him -- Joker spins quickly around to face her, looks like he might even hit her -- JOKER How come nothing ever comes easy for me? And Sophie slaps him hard across the face -- Then turns and walks away. CLOSE ON JOKER, he begins to laugh -- CUT TO : INT. MOM'S APARTMENT, LIVING ROOM - NIGHT Joker manically pacing around the living room, banging the side of his head with his hand, muttering to himself, almost like he's having a conversation with himself, taking part in some story in his head, in the background the 11:00 News is playing on the television. Footage of a protest in front of Wayne Tower... Protesters in `` Joker'' clown masks... Hear the NEWS ANCHOR's bombastic voice over, `` The anger and resentment that's been building up for weeks now, seems close to exploding. Protestors today, many dressed as clowns, took to the streets in front of Wayne Tower in one of many planned demonstrations.'' Joker stops when he hears this, turns to the flickering screen -- ANGLE ON TELEVISION, protesters in the middle of a massive crowd outside a Wayne Tower. \"CLOWN\" PROTESTER #1 -LRB- ON TV -RRB- You'll see what's gon na happen at City Hall next Thursday. We're gon na -- Joker sits down on the couch eyes, leaning forward to make sure he's seeing what he's seeing -- \"CLOWN\" PROTESTER #2 -LRB- ON TV -RRB- -LRB- interrupts ; screaming into camera -RRB- [ Beep ] the rich, [ beep ] the media, [ beep ] the blacks, [ beep ] the whites, [ beep ] everybody. They all [ beeped ] us, that's what this is [ beeping ] about! CLOSE ON JOKER, does n't even blink, it's like he's watching himself on television. CUT TO :", "INT. MOM'S APARTMENT, LIVING ROOM - MORNING Sun peeking through the windows. PHONE RINGING. Joker opening his eyes. His orange cat is sitting on his chest, staring at him. Joker finally got some sleep. He lies there for a beat. Phone still ringing, until the machine picks up the call. SHOW BOOKER -LRB- ON MACHINE -RRB- This message is for Arthur Fleck. My name is Shirley Woods, I work on the Murray Franklin show. Joker sits up, the cat jumps off his chest. He ca n't believe what he's hearing. He gets up off the couch as the woman continues to leave a message on the machine -- SHOW BOOKER -LRB- ON MACHINE -RRB- I do n't know if you're aware, but Murray played a clip of your stand- up on the show recently and we've gotten an amazing -- Joker picks up the phone -- JOKER -LRB- into phone ; skeptical -RRB- Who is this? SHOW BOOKER -LRB- OVER PHONE -RRB- Hi, this is Shirley Woods from Murray Franklin Live. Is this Arthur? Beat. JOKER -LRB- into phone -RRB- Yes. Joker looks down at the cat purring at his feet, and kicks it away. SHOW BOOKER -LRB- OVER PHONE -RRB- Hi Arthur. Well, as I was saying -- we've gotten a lot of calls about your clip, amazing responses. And, Murray asked if I would reach out to see if you would come on as his guest. Can we set up a day? PUSH IN ON JOKER'S FACE, as it sinks in. JOKER -LRB- into phone -RRB- Murray wants me to come on the show? SHOW BOOKER -LRB- OVER PHONE -RRB- Yes. Is n't that great? He'd love to talk to you, maybe do some of your act. Does that sound good to you? As the PUSH IN ON JOKER finishes. Hold.", "INT. CITY HOSPITAL, HOSPITAL ROOM (SHARED) - MORNING JOKER WALKS INTO HIS MOTHER'S SHARED HOSPITAL ROOM, passing an elderly wheezing woman in the bed closest to the door. Sees his mom in her bed by the window. He pulls the blue curtain separating the beds, giving him and his mother some privacy. Sits down on the edge of her bed. She smiles when she sees him. Still fairly incapacitated. He leans down close to her. Speaks softly, but filled with rage -- JOKER Ma, remember how you used to tell me that God gave me this laugh for a reason. That I had a purpose. To bring laughter and joy into this fucked up world, -- She looks at him confused. JOKER HA! It was n't God, it was you or, or one of your boyfriends, -- how could you let that happen? What kind of woman are you? What kind of mother are you? She looks away. JOKER What's my real name? Her whole body is shaking, overwhelmed with emotion. JOKER C'mon, Ma, I know I was adopted. What's my name? Who am I really? She looks back him, struggles to speak -- MOM H-h-happ -- JOKER -LRB- interrupting, snaps at her -RRB- -LRB- MORE -RRB- JOKER -LRB- CONT'D -RRB- Happy?! I'm not happy. I have n't been happy for one minute of my entire fucking life. He reaches behind her, grabs one of her pillows -- JOKER But you know what's funny? You know what really makes me laugh? Leans down closer, face-to-face with her -- JOKER I used to think my life was nothing but a tragedy, but now, now I realize it's all just a fucking comedy.", "INT. BLUE CURTAIN, HOSPITAL ROOM (SHARED) - CONTINUOUS Other side of the blue divider curtain. We see Joker's feet shifting a little. SLOWLY WE PULL OUT, backing out of the room. Leaving behind whatever Joker's doing to his mother on the other side of the curtain. And we HEAR applause...", "INT. MOM'S APARTMENT, LIVING ROOM - NIGHT JOKER'S STUDYING VHS TAPES OF `` MURRAY FRANKLIN LIVE! ``, studio audience applauding Murray... He jots down notes in his worn notebook... Watches the guests come out... how they cross the stage... how they greet Murray... how they sit down... if they cross their legs or not... studying how he should act, how to be a person like other people. His cat sits on top of the TV watching him the whole time, never taking her eyes off him. JUMP CUT : Practicing. Joker walks across the living room like he's on the show, smiling, waving to the `` audience''... He mimes shaking Murray's hand... Mimes unbuttoning his jacket and sits down. He smiles and pulls out his worn notebook from his pocket -- JOKER You wan na hear a joke, Murray? He `` waits'' for Murray to answer. Then Joker nods okay and opens his notebook -- JOKER -LRB- reading -RRB- Knock-knock. His cat still watching him, now at his feet. Joker crosses and uncrosses his legs... Looks uncomfortable. He glances down at his cat. It's as if he can hear the cat talking to him. JOKER -LRB- nods ; frustrated -RRB- Yeah, I do n't know if I should cross or uncross'em. Both feel completely unnatural. Joker gets up off the couch and walks back across the living room. Waves to the `` audience''... Mimes shaking Murray's hand... Mimes unbuttoning his coat and sits down... Crosses his legs. JOKER Thanks for having me on, Murray. I ca n't tell you how much this means to me, it's been a life long dream. I have a joke for you -- Joker stands back up. Looks down at the cat again. JOKER You're right. You're right, uncrossed is better. Joker sits back down... Does n't cross his legs this time. CUT TO :", "EXT. POTTER'S FIELD CEMETERY - DUSK WIDE SHOT, a lone figure in a vast sea of mass graves, grey headstones. This is where they bury the poor and the unclaimed dead. Joker stands by his mother's grave. His head bowed, face in his hands, his body convulsing. He's dressed in an ill- fitting faded rust colored suit, almost shiny from all the wear. Behind him in the distance, the TWO DETECTIVES stand by their parked car on the cemetery roadway. Sun dying in the sky. CLOSE ON JOKER'S FACE BURIED IN HIS HANDS, see he's laughing -- impossible to tell if he's laughing because of his condition or laughing for real.", "EXT. ROADWAY, POTTER'S FIELD CEMETERY - DUSK Joker walking away from his mother's grave, goes to the two detectives -- GARRITY and BURKE -- waiting for him by their unmarked car. His face is still red, tears in his eyes from laughing. JOKER -LRB- wiping his eyes ; restrained anger -RRB- You should n't be here. It's not right. DET. GARRITY We just came to pay our respects. Sorry about your mother. DET. BURKE Yeah, it's too bad. Joker just stares at the two detectives. Awkward beat. DET. BURKE Where is everybody? JOKER It's always been just me and her. Joker pauses for a moment, then starts to walk away. DET. BURKE -LRB- calls out -RRB- We saw you on Murray Franklin. Joker turns back to them. JOKER You saw that? DET. GARRITY Yeah. Heard you were on, so we got a videotape. DET. BURKE I just could n't tell if you were actually trying to be funny or not. JOKER Yeah, well I guess you did n't get the joke. DET. GARRITY Listen, we need to clear a few things up, we spoke to the hospital administrator -- JOKER -LRB- interrupting -RRB- Which hospital? DET. BURKE The Children's Hospital. -LRB- reminding -RRB- The night you were fired. He said it did n't look like a prop gun, it was heavy, like a real one. We have some more questions for you. JOKER I just buried my mother. The detectives share a look. Garrity pulls out a card. Hands it to Joker. DET. GARRITY We can do it tomorrow. But you need to come down to the precinct -- first thing in the morning. JOKER -LRB- looks down, reading the card -RRB- Right. Thanks for coming. DET. BURKE Of course. Joker looks back up. JOKER That was a joke. We hear applause followed by the familiar opening riff to ELTON JOHN'S `` Bennie & the Jets''.", "INT. MOM'S APARTMENT, BATHROOM - NEXT AFTERNOON JOKER'S LEANING OVER THE BATHROOM SINK, water running. He's wearing rust colored pants and a white `` beater'' T-shirt. A `` Joker'' clown mask hangs off the dirty mirror by its elastic band. `` Bennie & the Jets'' blaring from a transistor radio turned all the way up. Joker lifts his head up. He's dyed his hair green like his old `` Mr. Jingles'' clown wig -- but he's missed spots. Some of his hair is still its original color, sticking out all helter- skelter. JUMP CUT : Now he's smearing white grease-paint all over his face. He's dancing along to the music, gyrating and thrusting his hips to the beat, as he glances at the mask hanging from the mirror, trying to copy how it looks... A copy of a copy of himself. He barely hears someone banging on the front door over the loud music -- Does n't answer. Joker just keeps putting on his make-up, dancing provocatively to the music. More banging on the front door. Joker casually opens the medicine cabinet. Finds some old rusty scissors and turns the radio off --", "INT. FRONT DOOR, MOM'S APARTMENT - AFTERNOON Joker unlocks the locks, keeping the security chain latched, and cracks open the door, -- Sees Randall. Looks down, and sees Gary next to him. Undoes the chain and opens the door for them -- Randall and Gary get a look at Joker's face, his dyed green hair still wet, streaking white grease-paint smeared over part of his face -- GARY -LRB- re : his look -RRB- Hey Arthur, how's it going? You get a new gig? Joker shakes his head no, steps aside so they can come in, palming the scissors in his hand -- RANDALL You must be goin' down to that rally at City Hall. Right? I hear it's gon na be nuts. JOKER Is that today? Randall looks at him and laughs -- RANDALL Yeah. What's with the clown-face then? Joker shuts the door behind them. Locks the chain-lock. JOKER My mom died. RANDALL -LRB- nodding -RRB- Yeah we heard. That's why we're here. Figured you might wan na go out, get a drink or something? Joker does n't answer. Awkward beat. GARY We do n't wan na bother you. Randall just thought we should come and pay our respects. RANDALL Yeah, we're family. We got ta stick together. Joker stares at Randall. JOKER -LRB- beat -RRB- It's not a good time. I'm in the middle of something here. GARY Of course. No problem. Another time. Gary turns to go. Randall pauses for a moment, has something else to say before he leaves -- RANDALL Yeah. Another time, then. Oh hey, -- one other thing -- He takes a step closer to Joker -- RANDALL Listen, the cops have been poking around the shop, they're talking to all the clowns about those subway murders and -- GARY -LRB- interrupting -RRB- They did n't talk to me. RANDALL -LRB- snaps at Gary -RRB- That's because the suspect was a regular-sized person. If it was a fucking midget you'd be in jail right now. -LRB- turns back to Joker -RRB- Anyway, Hoyt said they were looking for me, and, and I just wan na see what you said. You know, make sure our stories line up, bein' that you're my boy and -- AND JOKER STABS THE SCISSORS AS DEEP AS HE CAN into Randall's neck. Blood spurts. Randall screams. Gary stumbles back in shock -- GARY -LRB- screaming -RRB- What the fuck what the fuck WHAT THE FUCK -- Joker pulls them out and jams them into Randall's eye before he can react. The sound is sickening. Gary's screaming in the background -- Randall blindly fights back, screaming in pain, flailing his arms, his own blood blinding him -- Joker grabs Randall by the head -- all of his pent up rage and frustration pouring out of him -- AND SLAMS HIS HEAD AGAINST THE WALL. AGAIN. And AGAIN. And AGAIN. Joker lets go of Randall's head, and Randall drops to the ground. Joker leans back against the wall, out of breath, kind of slides down the wall to the floor -- Sees Gary huddled in the corner, trembling with fear -- JOKER -LRB- catching his breath -RRB- I'm gon na be on TV tonight. Can you believe it? Gary does n't answer. Does n't move -- JOKER It's okay, Gary. You can go. Gary backs away toward the door. Joker sits there for a moment, breathing heavy, wipes Randall's blood off his face -- GARY -LRB- OS -RRB- Hey, Art? Joker turns, sees Gary at the front door. He points up high to the chain-lock. He ca n't reach it. Joker just shakes his head to himself and gets up to unlock the door. He walks past Gary who's still trembling almost too afraid to look up at him. Joker leans over him and undoes the chain, opens the door. Gary bolts, running down the hallway as fast as he can -- CUT TO :", "INT. MOM'S BEDROOM, APARTMENT - LATE AFTERNOON ( Over the following, we do n't see Joker's face. We do n't reveal his finished `` look'' just yet. ) CLOSE PICKING UP HIS NOTEBOOK, fanning through the pages -- Pausing at the BLACK & WHITE RIPPED PHOTO OF BRUCE WAYNE for a moment. Continues, stopping at the same entry from the opening scene -- CLOSE ON WORDS, `` I just hope my death make more sense than my life.''", "INT. LIVING ROOM, MOM'S APARTMENT - LATE AFTERNOON CLOSE ON TAKING RANDALL'S WALLET OUT OF HIS BLOOD SOAKED PANTS, pocketing all the cash. CLOSE ON BUTT OF A GUN STICKING OUT OF RANDALL'S WAISTBAND, glimpse Joker's hand reaching for it --", "INT. KITCHEN, MOM'S APARTMENT - LATE AFTERNOON JOKER'S P.O.V. FINISHING WRITING A NOTE, `` On Murray Franklin Tonight -- Please Watch!'' CLOSE ON STUFFING THE NOTE AND ALL OF RANDALL'S MONEY into an envelope -- TURNING ENVELOPE OVER, WRITING `` SOPHIE'' on the front.", "INT. LIVING ROOM WINDOW, MOM'S APARTMENT - LATE AFTERNOO N CLOSE ON THE ORANGE CAT AT THE WINDOW, and maybe if we're looking close enough we notice something strange... the cat has no reflection. ANGLE OVER JOKER'S SHOULDER OPENING THE WINDOW, shooing the cat out onto the fire escape, out into the dying day -- JOKER -LRB- OS -RRB- Go on. Go. You're free. CLOSE ON THE CAT LOOKING BACK AT JOKER FOR A LONG MOMENT, before scampering off out into the world, leaving him behind for good. As he closes the window we almost catch Joker's reflection in the glass --", "INT. HALLWAY, APARTMENT BUILDING - LATE AFTERNOON FOLLOWING BEHIND JOKER, walking down the hallway as if in slow motion, heading for Sophie's apartment. His dyed green hair now slicked back. He's wearing the ill-fitting rust colored suit he wore to his mother's funeral. STILL FROM BEHIND, he lays the envelope in front of Sophie's door, then pulls something else out of his pocket -- his body obscuring what it is -- puts it down by her door and leaves. As he walks away down the hallway, we see what else Joker left behind -- HIS WAND OF FLOWERS, at Sophie's door. Hold.", "INT. ELEVATOR, HALLWAY - LATE AFTERNOON FROM BEHIND JOKER STEPPING ONTO THE ELEVATOR, TURNING TO FACE US AS THE DOOR STARTS TO CLOSE, FINALLY REVEALING HIS LOOK -- Green hair slicked back like one of the Wall Street assholes he killed... White grease paint smeared over his face... red nose painted on... dark blue peaks over and under his eyes... his mother's red lipstick crudely outlining his broken smile... Under the harsh flickering fluorescent lights, he looks like an insane version of his mask. The door closes on his new face. Ding.", "EXT. APARTMENT BUILDING - LATE AFTERNOON Joker steps out of his building into the setting sun, just as Garrity and Burke are getting out of their unmarked Ford LTD Crown Vic -- DET. GARRITY Hey Arthur, where you going? DET. BURKE Yeah, thought you were coming down to the station this morning. And Joker takes off running -- Garrity gives chase on foot as Burke hurries back into the car --", "EXT. 174TH STREET, TWO LANES - CONTINUOUS Joker darts out from his block into the avenue, sprints across the busy, two-lane street without looking -- Running right in front of an oncoming YELLOW CAB on the far side of the street -- BAM! The cab hits him and Joker goes crashing into the windshield. Bounces up and over the car. Landing hard on the pavement -- The car directly behind the cab skids to a stop just before running over Joker's face. Swerving into the other lane and CRASHING INTO an oncoming truck. Cars on both sides of the street skidding trying to stop -- Crashing. It's chaos. Joker pops back up from getting hit. He's in pain. But not dead. Garrity has drawn his service revolver as he makes his way through the pile up. And Burke, now blocked because of the crash has jumped out of his car -- Joker takes off running, limping down the street toward an entrance for the elevated train --", "EXT. ELEVATED TRAIN STATION, STEPS - CONTINUOUS Joker hustling up the stairs, dripping sweat, his white grease-paint running down his face. He gets to the top of the stairs, looks back and catches a glimpse of Garrity and Burke at the bottom --", "EXT. PLATFORM, ELEVATED TRAIN STATION - CONTINUOUS Joker makes his way down the crowded platform, the passengers starting to file on a waiting Lexington Ave/Pelham Express Train heading downtown. The train's packed with protesters heading to the rally at City Hall. Many carrying signs... most of them in `` Joker'' masks... a few painted up to look like the `` Joker'' mask. Joker fits in with all of them. He looks through the crowd of clowns and sees the two cops getting to the top of the stairs, looking up and down the platform for him. Pulling out their badges on chains from around their necks. Identifying themselves as cops. Joker's willing the doors to close. But they do n't. The two detectives run onto the train just as the doors are finally closing --", "INT. LEXINGTON AVE/PELHAM EXPRESS (MOVING) - CONTINUOUS    1 Joker moves through the loud train pushing through the rowdy protesters -- Into the next car, all of them packed. AS THE TRAIN GOES UNDERGROUND, the lights flicker on and off -- car GOING BLACK FOR A FEW SECONDS as the train turns and dips and speeds down the tracks. Joker glances back at Burke and Garrity pulling out their badges on chains around their necks. Smith & Wesson service revolvers by their sides. Shouting at the crowd, identifying themselves as cops. Joker hears some on the train shouting back in anger at the police, keeps moving... past clown-faced protestors carrying signs, `` RESIST''... `` AM I A CLOWN? ``... `` SAVE A CITY, KILL A YUPPIE''... The two cops push through the car, scanning all the `` clown'' faces... So many look like Joker. They just shove protesters out of the way, shouting at them all the while. A few more voices rising up in protest -- Joker feels Burke and Garrity behind him getting closer. In the flickering light sees a DRUNK GUY ( 20's ) wearing a'Joker' mask and pulls it right off his face -- The drunk guy turns ready to fight. He throws a punch at Joker, and Joker steps out of the way -- The guy pummels someone else -- A FIGHT BREAKS OUT, spilling down the car. Joker slips the clown mask over his clown face -- AND JUST STANDS THERE IN THE MIDDLE OF THE CHAOS, at home with the chaos all around him -- Garrity and Burke spot Joker's rust colored suit in the middle of the unruly mob -- Burke pulls his gun -- BURKE -LRB- shouting -RRB- EVERYBODY DOWN, GOTHAM PD! The crowd does n't drop to the ground. They just keep fighting with each other -- Burke sees Joker just standing there. Keeps yelling for the crowd to get down, get down, but they do n't listen to him -- He starts shoving protestors down, out of the way -- and AND THEN THE MOB TURNS ON HIM AND GARRITY, starts closing in around them -- Garrity and Burke are pointing their guns at the crowd, yelling panicked for them to back off, back off, and one idiot reaches for Garrity's gun -- Bang. Burke fires into the crowd, as the train pulls into the station -- A protestor falls dead. The other clowns on the train go crazy, starting to riot. Glimpse Joker walking away calmly out of the chaos. Taking off the mask and dropping it at his side as he steps off the train, disappearing onto the crowded platform. CUT TO :", "EXT. WGCTV STUDIOS, FRANKLIN THEATER - MIDTOWN - EVENING An excited line of ticket holders waiting to get in to `` Live with Murray Franklin!'' The poster marquee box near the door reads : `` TONIGHT'S GUESTS. Lance Reynolds. Dr. Sally Friedman. And Special Guest.'' They swing open the doors and start to let the audience inside...", "EXT. BACKSTAGE DOOR, FRANKLIN THEATER - SIDE STREET - EVENING Random fans and autograph hounds hanging out by the backstage door, waiting for the night's guests to arrive...", "INT. STUDIO 4B, STAGE - FRANKLIN THEATER - EVENING Studio audience filing into the studio, being seated in the wide bleachers along one wall. Three TV monitors hang from the ceiling, facing the audience. Three studio cameras on the floor, black cables strewn everywhere. The set for `` LIVE WITH MURRAY FRANKLIN!'' is dark... but we can still make out his desk... guest chairs... Don Ellis and his Jazz Orchestra's band stand... big blue curtain.", "INT. HALLWAY, FRANKLIN THEATER - EVENING The host of the show, MURRAY FRANKLIN ( 60's ), usually quick with a bemused grin but right now in a sour mood, walks fast down the hall toward the drab dressing rooms with his old- school producer, GENE UFLAND ( 60's ), who's holding the show's rundown rolled up in his hand. GENE UFLAND -- You got ta see this nut for yourself, Murray. I do n't think we can put him on. With the rioting out there. MURRAY FRANKLIN -LRB- annoyed -RRB- Jesus, Gene, I do n't have time for this. Cindy's been breaking my balls all day. GENE UFLAND She's still mad at you about that thing? MURRAY FRANKLIN Three marriages, you'd think I'da fuckin' learned something. -LRB- then -RRB- What do I got ta see? I already know he's a nut. That's why we're putting him on, it's a goof. A young BLONDE INTERN walks by in the opposite direction. She nervously smiles to them and keeps walking. Both men turn and check out her ass. Murray winks at Gene. GENE UFLAND -LRB- just shakes his head, and smiles -RRB- I'm telling you, you got ta see him, Murray. I think it's too risky, the show's too big. It's worth too much to blow it on this, -- this freak.", "INT. DRESSING ROOM, FRANKLIN THEATER - CONTINUOUS Joker's sitting on a small couch in the cramped dressing room, watching the local news on a TV that's mounted up on the wall, live shots from the subway station where Burke shot the protestor, footage of the City Hall rally, clashes with police. He's cleaned himself up as best he could... white grease- paint smeared more evenly over his face, green dyed hair slicked back in place. Red lips redone. Murray and his producer Gene open the dressing room door without knocking -- Joker gets up off the couch and goes to shake Murray's hand. Murray pauses when he sees Joker's face. JOKER -LRB- shakes Murray's hand ; effusive -RRB- Murray, I ca n't believe this is real, that I'm really here. GENE UFLAND It's Mr. Franklin kid, show some respect. MURRAY FRANKLIN Oh shut up, Gene. -LRB- to Joker -RRB- Murray is fine. I prefer it in fact. Thanks for coming on the show. JOKER Are you kidding? Thank you for the opportunity. I've been watching you forever. My mother never missed a show. Murray nods not listening, he's heard this before. MURRAY FRANKLIN So what's with the face? Are you part of the protests? JOKER No, I do n't believe in any of that. I do n't believe in anything. I just thought it would be good for my act. GENE UFLAND -LRB- upset -RRB- Your act? Did n't you hear that a kid got killed on the subway and two cops who were almost beat to death? You did n't hear about the dozens of protestors and police injured in the riots? Joker looks like he's about to bust out laughing. All of that news is playing out on the TV above their heads. He takes a deep breath. Swallows the laugh. Beat. JOKER No. I had n't heard. Gene and Murray share a look. GENE UFLAND -- the audience is gon na go crazy if you put him on. It was okay maybe for a bit, but not a whole segment. Murray thinks about it for a beat. MURRAY FRANKLIN I like it. It's timely. It's edgy. It's, it's dangerous. The best comedy is all those things put together. -LRB- done -RRB- We're gon na go with it. Gene rubs his temples, he does n't like this, but Murray is the boss. JOKER Thank you Murray. MURRAY FRANKLIN -LRB- flashes his bemused smile ; condescending -RRB- Couple rules though, -- No cussing, no off-color material, we do a clean show, okay? You'll be on after Dr. Sally. Someone will come and get you. Good? Joker nods good. Smiles back at Murray. Murray and Gene turn to go, exchanging smirks with each other as they walk out, making light of Joker who we see behind them still standing there. JOKER Hey Murray, -- one small thing? When you bring me out, can you introduce me as `` The Joker''? Murray and Gene look back at him GENE UFLAND What? You do n't want to use your real name? JOKER Honestly, I do n't even know what my real name is. Joker smiles, the guys ca n't tell if he's kidding or not. JOKER Besides, that's what you called me on the show, Murray. A joker. Remember? MURRAY FRANKLIN -LRB- to Gene ; trying not to crack up ) Did I? GENE UFLAND I have no idea. MURRAY FRANKLIN -LRB- turns back to Joker -RRB- Well, if you say so, kid. Joker it is. Murray starts to laugh at Joker as he closes the dressing room door, shutting it right in his face. CUT TO :", "INT. BACKSTAGE, BEHIND CURTAIN - STUDIO 4B - NIGHT JOKER'S BACKSTAGE AT THE EDGE OF THE BLUE CURTAIN, trying to watch the show through a slim gap. Behind him there's a monitor on a cart playing the live feed. He moves the curtain aside to get a better look -- Glimpses Murray laughing, finishing up talking to noted sex therapist DR. SALLY FRIEDMAN ( 60's ). MURRAY FRANKLIN -LRB- to Dr. Sally -RRB- You got ta see our next guest for yourself. Will you stick around? Maybe you can help, I'm pretty sure he could use a doctor. The audience laughs. DR. SALLY FRIEDMAN Oh. Does he have sexual problems? MURRAY FRANKLIN He looks like he's got a lot of problems. Another big laugh. MURRAY FRANKLIN -LRB- turns, looks into camera -RRB- It's been a crazy few days here in Gotham, and, I think maybe things are about to get crazy around here too. Do n't go anywhere folks. We'll be right back. APPLAUSE SIGN LIGHTS UP. Everyone claps. Joker keeps watching Murray through the slim gap at the end of the curtain. Hears the floor director shout, `` And we're out. Back in three.'' Joker adjusts the waist of his pants under his jacket. Takes a deep breath.", "INT. DIRECTOR'S BOOTH, STUDIO 4B - NIGHT Perched one story above the studio. There's a long console where the DIRECTOR sits in front of a gooseneck microphone, looking over a double-bank of monitors. Sitting next to him are the ASSOCIATE PRODUCER who times the show, and the TECHNICAL DIRECTOR who operates the board. The monitor showing the live feed is playing a commercial. ASSOCIATE PRODUCER Back in 30 seconds. DIRECTOR Okay, cue the clip. We'll come to it straight out of break. ASSOCIATE PRODUCER Five... Four... Three... DIRECTOR Roll clip. Put up the show graphic. ON THE SHOW MONITOR, video of Joker's original stand-up performance comes up with the show's graphic in the lower right of the screen.", "INT. TALK SHOW SET, STAGE - STUDIO 4B - CONTINUOUS ON THE SET, Murray watches the clip on the monitor above his desk, ca n't help but laugh. Sees the FLOOR DIRECTOR counting him down silently with her fingers... Three... Two... points to Camera One. MURRAY FRANKLIN -LRB- looking into camera -RRB- O-kay, you may have seen that clip of our next guest when we first played it two weeks ago. Now before he comes out, I just want to say that we're all heartbroken here and sensitive to what's going on in the city tonight. But, this is how he wanted to come on the show. So let me introduce -- The Joker. BEHIND THE BLUE CURTAIN, Joker gathers himself, ready for his moment. Does n't hear his introduction or see a STAGEHAND pull open the curtain for him to go out -- ON SET, THE CURTAIN'S OPEN, Don Ellis and his Jazz Orchestra are playing Joker on. He does n't come out. Murray looks over to the empty space in the curtain. The audience laughs. BEHIND THE CURTAIN, Joker sees the stagehand motioning for him to go out on stage. Joker starts out, pausing when he takes a step into the bright lights. The stagehand does n't see him stop, and drops the curtain back on Joker before the audience can really see his face -- Tangling Joker up in the curtain. The audience keeps laughing thinking it's part of his act. The band keeps playing him on. Joker untangles himself from the curtain and the audience gets a good look at him. Some continue laughing. A few boo. Most do n't know what to make of him. Joker walks across the stage, forgetting to wave like he practiced. He trips over the riser surrounding the set when he goes to shake Murray's hand. Almost falls on him. Murray tries not to crack up. The audience laughs. Thinks it's part of Joker's act. Joker reaches out to hug Dr. Sally as she goes in for a handshake. Another awkward moment. More laughs. Joker finally sits down next to Murray. Crosses and uncrosses his legs. Ca n't get comfortable. MURRAY FRANKLIN So, ahhh, thanks for coming on the show. But I got ta tell ya, with what happened at City Hall today, I'm sure many of our viewers here in the studio, and at home, might find this look of yours in poor taste. Joker's not listening to Murray. He's mesmerized by all the lights shining on him... all the eyes on him... he does n't answer Murray. Nervous laughter from the audience. MURRAY FRANKLIN -LRB- tries again -RRB- Can you tell us why you're dressed like this? AND JOKER STARTS TO LAUGH. Not embarrassed of it anymore. He goes with it. Giving in to it, enjoying the laughter. MURRAY FRANKLIN -LRB- ca n't help but smile at Joker's laughing -RRB- Okay. But I'm not sure how any of this is funny. A lot of those protesters are going with this look. City seems to be full of clowns these days. JOKER -LRB- just nods, still laughing -RRB- Yeah. Is n't it great? Joker just keeps cracking up. Audience still is n't sure what to make of him. There's some awkward laughter.", "INT. DIRECTOR'S BOOTH, STUDIO 4B - CONTINUOUS Nobody's laughing in the booth. TECHNICAL DIRECTOR -LRB- looks to the director -RRB- This guy's got nothing. DIRECTOR -LRB- hits the producer's talk button ; into the mic -RRB- Gene, what the hell? You wan na kill this?", "INT. TALK SHOW SET, STAGE - CONTINUOUS Murray glances over at his producer Gene Ufland, who's sitting off-camera on a director's chair by a monitor. Gene shrugs at him. MURRAY FRANKLIN -LRB- smiles ; trying to save the interview -RRB- So when we talked earlier, you mentioned that you are n't political. That this look is n't a political statement. JOKER -LRB- between laughs -RRB- That's right. I'm not political, Murray. I'm, I'm, I'm just trying to make people laugh. MURRAY FRANKLIN -LRB- beat ; smiles -RRB- How's that goin' for ya? Have you been working on any new material? Do you want to tell us a joke? The audience claps, egging Joker on to tell a joke. Joker looks over at Murray -- his laughing fit finally subsiding -- and reaches into his jacket pocket and -- Pulls out his worn notebook, catching his breath. Looks through it to find a new joke. MURRAY FRANKLIN You brought a joke book? The audience laughs. Joker smiles, opens the page to Bruce Wayne's photo, pauses for a moment then turns the page. Finds a joke -- JOKER -LRB- reading -RRB- Okay. Here's one. Knock knock. MURRAY FRANKLIN Oh god, a knock-knock joke? And you need to read it? JOKER -LRB- nods, reads it again -RRB- I want to get it right. Knock knock. Murray makes a face like, `` Okay, I'll go along with this.'' MURRAY FRANKLIN Who's there? JOKER -LRB- looks up from his notebook -RRB- It's the police, ma'am. Your son has been hit by a drunk driver. He's dead. Beat.", "INT. DIRECTOR'S BOOTH, STUDIO 4B - CONTINUOUS The associate producer tries not to laugh, but she ca n't help it. The director looks over at her like she's lost her mind. DIRECTOR -LRB- shakes his head -RRB- Okay, ready Camera Two. Take Two. Ready Three. Three. ON THE MONITORS, some of the audience cracks up. Joker smiles at the response. Murray Franklin shakes his head, smirking at the joke despite himself. MURRAY FRANKLIN -LRB- ON MONITORS -RRB- So, Arthur, you told me backstage that your -- Joker leans over interrupting Murray, whispers something to him.", "INT. TALK SHOW SET, STAGE - STUDIO 4B - CONTINUOUS Murray nods as Joker whispers. MURRAY FRANKLIN -LRB- bemused smile ; patronizing -RRB- Right. Sorry. I mean Joker -- you told me backstage that your mother's a big fan of the show, that she never misses it. Joker puts the notebook back in his pocket. Crosses his legs, starting to get a bit more comfortable. JOKER That's right, Murray. But she's dead now. The audience laughs. MURRAY FRANKLIN -LRB- goes along with the `` joke'' -RRB- Hold on. Your mother's dead? JOKER Yeah. She is. Murray's not sure if this is part of his act. MURRAY FRANKLIN Okay. What about your father? Does he watch the show? Laughter from the crowd. JOKER I do n't know who my father is, Murray. Turns out I was adopted and sexually assaulted by my mother's boyfriend. A few in the audience groan. A couple even laugh. Still think it's just Joker's edgy, off-kilter sense of humor. Don Ellis plays `` wha-wha-wha-whuuuuh'' on his trumpet from the band stand. DR. SALLY FRIEDMAN Ahhhh! No, no, -- You can not joke about that. MURRAY FRANKLIN -LRB- shakes his head ; irritated -RRB- Yeah, that's not funny, that's not the kind of humor we do on this show. Murray glances over at Gene in the wings. He gives him the `` wrap it up'' sign. JOKER -LRB- just keeps going, on a roll -RRB- Sorry. It's been a rough few months, Murray. I mean, after my mother died, the police came to question me at her funeral. Who does that? MURRAY FRANKLIN -LRB- too easy -RRB- Oh really? Were you a suspect? The audience laughs. JOKER Very funny, Murray. No, they came because I killed those three Wall Street guys. Beat. Studio audience ca n't tell if he's joking or not. Murray ca n't either. MURRAY FRANKLIN -LRB- looks at him confused -RRB- Okay. I'm waiting for the punchline. JOKER There is no punchline. It's not a joke.", "INT. DIRECTOR'S BOOTH, STUDIO 4B - CONTINUOUS The director stares at the monitor. DIRECTOR Did he just confess to killing the Wall Street Three? TECHNICAL DIRECTOR -LRB- horrified -RRB- Yeah. I think he did. ASSOCIATE PRODUCER -LRB- turns to the director, nods -RRB- He definitely did. DIRECTOR Jesus Christ. -LRB- hits the camera talk button, into mic -RRB- Camera Three, get in close. ANGLE ON MONITOR, Camera Three zooming in close on Joker's face.", "INT. TALK SHOW SET, STAGE - CONTINUOUS Gene Ufland is now standing up from his chair. Motions for Murray to kill the interview. Murray shakes his head to himself. This is a big `` get,'' it could be great television. MURRAY FRANKLIN -LRB- turns back to Joker ; with gravitas -RRB- You're serious, are n't you? You're telling us you killed those three boys on the subway. Why should we believe you? JOKER -LRB- shrugs -RRB- I got nothing left to lose, Murray. Nothing can hurt me anymore. This is my fate, it was always my fate. My life is nothing but a comedy.", "INT. SOPHIE'S APARTMENT, LIVING ROOM - CONTINUOUS Sophie's sitting on her couch watching this interview play out on TV. GiGi's asleep next to her. The open envelope and the money are lying on the coffee table. No sign of the flowers anywhere. MURRAY FRANKLIN -LRB- ON TV -RRB- Let me get this straight, you think killing those young men is funny? JOKER -LRB- ON TV -RRB- Yeah. But comedy is subjective, is n't that what they say? Besides, the way I see it, what happened was a good thing. All of you, Gotham, the system that knows so much, you decide, you decide what's right and wrong. What's real or what's made up. The same way you decide what's funny or not. Sophie edges forward on the couch, can almost see a hint of agreement on her face.", "INT. TALK SHOW SET, STAGE - STUDIO 4B - CONTINUOUS Back on set, we can tell by the way Murray's now interviewing Joker, talking to him slower, more thoughtfully, that he thinks this is gon na get him an Emmy... Maybe even a Peabody. MURRAY FRANKLIN -LRB- beat -RRB- Okay, I think I understand. You did it to start a movement, to become a symbol. JOKER C'mon, Murray, do I look like the kind of clown who could start a movement? I killed those guys because they were awful. Everybody's awful these days. It's enough to make anyone crazy. MURRAY FRANKLIN So that's it, you're crazy. That's your defense for killing three young men? Because they were mean to you? JOKER No. They could n't carry a tune to save their lives. Some audible groans from the audience. JOKER Why is everyone so upset about these guys? Because Thomas Wayne went and cried about them on TV? MURRAY FRANKLIN You have a problem with Thomas Wayne, too? JOKER Yeah. I do. Everything comes so easy for him. MURRAY FRANKLIN And what's wrong with that? JOKER Have you seen what it's like out there, Murray? Do you ever actually leave the studio? Everybody just yells and screams at each other. Nobody's civil anymore. Nobody thinks what it's like to be the other guy. You think men like Thomas Wayne, men at ease, ever think what it's like to be a guy like me? To be anybody but themselves. -LRB- shaking his head, voice rising -RRB- They do n't. They think we'll all just sit there and take it like good little boys. That we wo n't werewolf and go wild. Well, this is for all of you out there. Joker `` howls at the moon.'' It's fucking weird.", "INT. STATION SQUAD ROOM - 7TH PRECINCT - CONTINUOUS OFFICERS AND DETECTIVES JUMPING INTO ACTION, rushing past a small portable black & white television sitting on one of the desks, hear one of them shout -- POLICE LIEUTENANT -LRB- OS -RRB- That asshole just confessed to killing those Wall Street guys on fucking live TV! ANGLE ON THE LITTLE TV, TIGHT TWO-SHOT OF JOKER looking at Murray. MURRAY FRANKLIN -LRB- ON TV -RRB- -LRB- shakes his head -RRB- So much self-pity, Arthur. You sound like you're making excuses for killing three young men. Not everybody's awful.", "INT. TALK SHOW SET, STAGE - STUDIO 4B - CONTINUOUS Back on set. Joker looks straight at Murray. JOKER You're awful, Murray. There is no more laughter. The audience is watching this exchange with full attention. MURRAY FRANKLIN Me? How am I awful? JOKER Playing my video, inviting me on the show, -- You just wanted to make fun of me. Well it's easy to laugh at Frankenstein on a crowded beach, is n't it? You're just like the rest of them, Murray. Everything comes too easy for you. MURRAY FRANKLIN -LRB- on the spot ; defensive -RRB- You do n't know the first thing about me, pal. Look what happened because of what you did, Arthur, what it led to. There are riots out there. Two policemen are in critical condition, someone was killed today. Joker nods in agreement, yeah, it's because of what he did. JOKER How about another joke, Murray? What do you get when you cross a mentally-ill loner with a system that abandons him and treats him like trash? Murray pauses for a minute, not really listening to Joker, suddenly realizing the seriousness of the situation. He starts to turn to camera -- JOKER -LRB- pulls Randall's gun -RRB- I'll tell you what you get. You get what you fucking deserve, -- And as Murray Franklin turns back to him, JOKER SHOOTS THE SIDE OF MURRAY'S HEAD OFF -- Blood splatters all over the back of the set. Some spraying in Joker's face. AUDIENCE SCREAMS! Dr. Sally dives for the floor.", "INT. SOPHIE'S APARTMENT, LIVING ROOM - CONTINUOUS Sophie screams and jumps to her feet horrified! Waking up GiGi who starts to cry when she sees what's on television -- ON THE TELEVISION, Joker gets up and walks right up to the camera. Blood sprayed over his white painted face. Hear the studio audience still screaming, bedlam all around him. JOKER -LRB- ON TV -RRB- -LRB- looks straight into camera ; screams Murray's signature sign off -RRB- GOOD NIGHT AND ALWAYS REMEMBER, -- THAT'S LIFE! And as Joker waves goodbye to the home audience, a black & white `` INDIAN-HEAD TEST PATTERN'' cuts off the show -- `` PLEASE STAND BY'' HERB ALPERT'S `` Spanish Flea'' plays underneath. Beat.", "INT. TALK SHOW SET, STAGE - CONTINUOUS BACK LIVE IN THE STUDIO, JOKER'S TACKLED BY TWO SECURITY GUARDS AND SOME STAGEHANDS, still hear screams of terror from the audience around him. HIS FACE HITS THE SHINY FLOOR AS IF IN SLOW MOTION -- And we HEAR the soft and familiar opening to FERRANTE & TEICHER's piano version of `` Send in the Clowns''. CUT TO :", "INT. GOTHAM SQUAD CAR (MOVING), GOTHAM STREETS - NIGHT JOKER GAZING OUT THE WINDOW, at all the violence and madness in the city. We only see it in the reflection of the glass... the fires burning... the mob crowding the streets. Joker's handcuffed in the back of the squad car moving slowly through the rioting, sirens wailing, red lights flashing, blood still splattered on his face. STAY ON JOKER'S FACE AS HE HEARS THE POLICE RADIO CRACKLING, reports of rioters in `` Joker'' masks setting fires, breaking windows, looting stores. The images reflected in the window start to speed up as the officer driving weaves faster through the chaos. POLICE OFFICER #1 -LRB- OS -RRB- Look what you caused, you freak, the whole city's on fire because of you. AND JOKER BANGS HIS HEAD HARD AGAINST THE STEEL MESH CAGE -- BAM. POLICE OFFICER #2 -LRB- OS -RRB- Keep it up, asshole. Watch what happens when we get to the station. HE BANGS HIS HEAD AGAIN. BAM. BAM. Some blood is forming on his forehead -- POLICE OFFICER #1 -LRB- OS -RRB- -LRB- glancing at Joker in the back seat, shouting -RRB- -- Calm the fuck down, you're not going anywhere! And when the cop driving turns back, catch a glimpse of someone or something running out into the street in front of the speeding squad car -- CLOSE ON JOKER AS THE SQUAD CAR SWERVES OUT OF THE WAY, Joker banging up against the door -- CRAAAASSSHHHHHH!!!! The squad car hits a parked car hard and flips over, sliding across the street on its roof --", "EXT. SQUAD CAR (SLIDING), STREET - CONTINUOUS SPARKS FLY UNTIL FINALLY THE UPSIDE DOWN SQUAD CAR COMES TO A STOP. Smoke rising from the wreck. Ferrante & Teicher's piano only version of `` Send in the Clowns'' still playing... Both police officers in the front seat are either unconscious or dead. We see movement in the back seat, hard to tell what's going on inside. Suddenly the back door kicks open -- And Joker falls out of the car, landing hard on the street, one hand free, handcuffs dangling from his other hand. Hear sirens in the distance -- JOKER LEANS BACK AGAINST THE CAR, his face bloody, his body broken from the crash. Sitting there amongst the wreckage, can still see and hear the chaos, the fires burning all around him. He reaches for a jagged shard of broken glass -- And pauses for moment catching his breath, hand holding the jagged glass resting on his lap, wailing sirens getting closer, looks like he's about to cut his wrists --", "EXT. MOVIE THEATER, STREET - UPTOWN - CONTINUOUS A WELL-HEELED CROWD LETTING OUT OF A MOVIE THEATER, the violence has even reached up here, the nice part of town... Sirens wailing, gangs of punks wearing `` Joker'' masks running past, breaking car windows, fires burning... Catch a glimpse of the lit up marquee listing the films playing, `` Blow Out'' and `` Zorro the Gay Blade''. Hear `` Send in the Clowns'' still playing... FROM BEHIND SEE A SILHOUETTED COUPLE AND THEIR KID hurry down the dark side of the street, ducking into an alley to avoid the chaos -- Catch a glimpse of a punk in a `` Joker'' mask following after them pulling a gun -- EXT. SQUAD CAR ( UPSIDE DOWN ), STREET - CONTINUOUS Joker lifts the jagged shard of glass, handcuff swinging... Passes by his wrist... And starts cutting into the slit on one corner of his mouth, making his smile longer and wider. Blood pouring down his face, onto his hand... Joker tearing into the other side of his mouth, jagged glass ripping into his flesh, spurting blood, handcuff swinging -- Sirens on top of him, red lights flashing over his face -- ANGLE ON JOKER LIT UP RED, done cutting his smile, letting go of the jagged bloody shard... Leans his head back against the squad car, and closes his eyes, covered in his own blood. He's finished. Now he is the Joker.", "EXT. ALLEY, MOVIE THEATER - CONTINUOUS FROM BEHIND, FAMILY IN THE SHADOWS sees the guy's eyes go wide behind the mask, pointing his gun, music swelling -- PUNK -LRB- shouting -RRB- You still think we're all fucking clowns? And the punk shoots the man. Reaches out and grabs something off the woman's neck before he shoots her as well. Both fall to the ground dead. Revealing their young son standing behind them -- CLOSE ON EIGHT-YEAR-OLD BRUCE WAYNE, closing his eyes as blood sprays across his face. He opens his eyes and looks up scared at the man in the `` Joker'' mask who killed his parents, Thomas and Martha Wayne. `` Send in the Clowns'' ends. CUT TO BLACK. A long beat. HEAR LAUGHTER. The sound of a man totally cracking up. FADE IN :", "INT. ARKHAM STATE HOSPITAL, INTERVIEW ROOM - MORNING CLOSE ON JOKER, tears in his eyes from laughing so hard. He's enjoying it, not trying to get it under control. His head's been shaved. He looks medicated or maybe even lobotomized. Wearing white institutional clothes. HIS NEW SMILE IS ALL STITCHED UP, cut deep up the corners of his mouth. Forming a longer, `` happier'' smile. He's sitting across from an overworked HOSPITAL DOCTOR ( 50's ), African American woman. Somehow it's the exact same room Joker imagined his mother was in some 30 years ago. The room and the doctor also look vaguely similar to the social worker and her office in the opening scene. The doctor just sits there, waiting for him to stop laughing. A weathered notebook is on the table in front of him. Finally, Joker stops himself. HOSPITAL DOCTOR What's so funny? He takes a deep breath, his eyes are glazed over. His voice is scratchy, like he does n't use it much. JOKER -- just thinking of this joke. HOSPITAL DOCTOR Do you want to tell it to me? Beat. JOKER No. HOSPITAL DOCTOR Because you do n't think I'll get it? JOKER Because it's personal, it's between me and him. Beat. HOSPITAL DOCTOR Okay. Is the medication working? How's your sleeping? JOKER -LRB- nods yes -RRB-... HOSPITAL DOCTOR How are you feeling? JOKER Good. Everything's good now. HOSPITAL DOCTOR Have you been writing in your journal? Joker slowly nods. HOSPITAL DOCTOR Great. I want to make sure you're keeping up with it. JOKER -LRB- beat -RRB- Yeah. HOSPITAL DOCTOR Have you written about your episode? About what happened? JOKER How I remember it. HOSPITAL DOCTOR -LRB- re : the journal -RRB- Can I see? Joker slides his journal across to her. She picks it up and flips through the pages -- ANGLE ON JOURNAL, blank page after blank page, there's nothing inside of it. The doctor looks up at him confused. ANGLE ON JOKER, a smile creeping across his face. And we HEAR the groovy organ opening to FRANK SINATRA's anthem `` That's Life''... Beat.", "INT. HALLWAY, ARKHAM STATE HOSPITAL - MORNING From behind, see Joker shuffling down the hallway past all the other mental patients, an orderly by his side. Sinatra starts singing. And Joker does a slide step to the music like he can hear it too... into a skip... and another slide step into a spin... Dancing down the hallway into the sunset... IRIS OUT : `` That's Life'' keeps playing over credits."], "labels": [1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 1.0, 1.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0], "summary": "In 1981, party clown and aspiring stand-up comedian Arthur Fleck lives with and cares for his mother, Penny, in crime-ridden Gotham City amidst a recession. Arthur suffers from a neurological disorder that causes him to laugh uncontrollably at inappropriate times, requiring medication, for which he depends on social services. After Arthur is attacked by juvenile delinquents, his co-worker Randall gives him a revolver for self-defense. Arthur pursues a relationship with his neighbor, single mother Sophie, and invites her to see his routine at Pogo's comedy club. At a children's hospital, Arthur is fired when his revolver falls out of his coat in full view of the children. Depressed on the subway, still in clown makeup, Arthur witnessed three drunk businessmen harassing a woman, and then is beaten by the group, who happen to work for Wayne Investments; he shoots and kills two of them in self-defense and murders the third as he attempts to flee. The killings are condemned by billionaire mayoral candidate Thomas Wayne, who calls his political opponents \"clowns\". Protesters react by donning clown masks in Arthur's image. Budget cuts shut down the social service program, leaving Arthur without medication. Sophie attends Arthur's stand-up routine, which goes poorly; he laughs uncontrollably, and his jokes fall flat. Arthur intercepts a letter from Penny to Thomas, alleging that he is Thomas's illegitimate son, and berates his mother for hiding the truth. He goes to Wayne Manor, where he meets Thomas's young son Bruce, but flees after a struggle with family butler Alfred Pennyworth. Penny suffers a stroke and is hospitalized. Arthur's idol, popular late-night talk show host Murray Franklin, mocks Arthur by showing clips of his failed performance, calling him a \"joker\", angering Arthur. Arthur confronts Thomas, who tells him that he is not his father and that Penny is not his biological mother. In denial, Arthur visits Arkham State Hospital and steals Penny's file, which states she was a narcissist who adopted Arthur while working as a housekeeper for the Waynes in the 1950s. Penny then raised Arthur with her abusive boyfriend, who later died in jail. For allowing the abuse Penny was sent to Arkham. Distraught, Arthur enters Sophie's apartment unannounced. Frightened, Sophie talks to Arthur as if the two had never met, saying she recognizes him from down the hall, then asks him to leave. The film then flashes back to moments in the story in which Arthur had seen Sophie, revealing that Sophie had not actually been there, confirming that the two were strangers, and her presence in his life was a delusion. The following day, Arthur smothers Penny at the hospital, killing her for her deceit. Arthur is invited to appear on Murray's show due to the popularity of his stand-up clips. He is visited by ex-colleagues Randall and Gary. Arthur kills Randall out of revenge while sparing Gary for treating him well in the past. Two detectives pursue Arthur, now in a colorful costume, onto a subway filled with clown protesters. One detective accidentally shoots and kills a protester, thus inciting a riot, while Arthur escapes during the chaos, making his way to the TV studio. Before the show goes live, Arthur asks Murray to introduce him as Joker, a reference to Murray's mockery. On stage, Arthur tells morbid jokes, confesses to the subway murders, rants about how society abandons the downtrodden and mentally ill, and berates Murray for mocking him. Murray tries to be reasonable with Arthur, who flies into a rage and assassinates him on live TV before the horrified audience is evacuated. He is arrested as riots erupt across Gotham. One of the rioters corners the Wayne family in an alley and murders Thomas and his wife, sparing Bruce. Rioters in an ambulance crash into the police car carrying Arthur, freeing him; he stands atop the car, starts dancing to the cheers of the crowd, and smears blood on his face in the shape of a smile. Later, at Arkham State Hospital, Arthur laughs menacingly to himself about a joke during a session with a therapist but declines to tell it, claiming she \"wouldn't get it\". He escapes, leaving behind bloodied shoeprints as orderlies chase him throughout the corridors.", "name": "Joker"}
{"scenes": ["EXT. SOUTH BOSTON ST. PATRICK'S DAY PARADE -- DAY", "INT. L STREET BAR & GRILLE, SOUTH BOSTON -- EVENING The bar is dirty, more than a little run down. If there is ever a cook on duty, he's not here now. As we pan across several empty tables, we can almost smell the odor of last nights beer and crushed pretzels on the floor. CHUCKIE Oh my God, I got the most fucked up thing I been meanin' to tell you. As the camera rises, we find FOUR YOUNG MEN seated around a table near the back of the bar. ALL Oh Jesus. Here we go. The guy holding court is CHUCKIE SULLIVAN, 20, and the largest of the bunch. He is loud, boisterous, a born entertainer. Next to him is WILL HUNTING, 20, handsome and confident, a softspoken leader. On Will's right sits BILLY MCBRIDE, 22, heavy, quiet, someone you definitely would n't want to tangle with. Finally there is MORGAN O'MALLY, 19, smaller than the other guys. Wiry and anxious, Morgan listens to Chuckie's horror stories with eager disgust. All four boys speak with thick Boston accents. This is a rough, working class Irish neighborhood and these boys are its product. CHUCKIE You guys know my cousin Mikey Sullivan? ALL Yeah. CHUCKIE Well you know how he loves animals right? Anyway, last week he's drivin' home. -LRB- laughs. -RRB- ALL What? Come on! CHUCKIE -LRB- trying not to laugh. -RRB- I'm sorry,'cause you know Mikey, the fuckin guy loves animals, and this is the last person you'd want this to happen to. WILL Chuckie, what the fuck happened? CHUCKIE Okay. He's driving along and this fuckin' cat jumps in front of his car, and so he hits this cat - Chuckie is really laughing now. MORGAN - That is n't funny - CHUCKIE - and he's like `` shit! Motherfucker!'' And he looks in his rearview and sees this cat - I'm sorry - BILLY Fuckin' Chuckie! CHUCKIE So he sees this cat tryin to make it across the street and it's not lookin' so good. WILL It's walkin' pretty slow at this point. MORGAN You guys are fuckin' sick. CHUCKIE So Mikey's like `` Fuck, I got ta put this thing out of its misery'' - So he gets a hammer - WILL/MORGAN/BILLY OH! CHUCKIE out of his tool box, and starts chasin' the cat and starts whackin' it with the hammer. You know, tryin' to put the thing out of its misery. MORGAN Jesus. CHUCKIE And all the time he's apologizin' to the cat, goin' `` I'm sorry.'' BANG, `` I'm sorry.'' BANG! BILLY Like it can understand. CHUCKIE And this Samoan guy comes runnin' out of his house and he's like `` What the fuck are you doing to my cat?!'' Mikey's like `` I'm sorry'' - BANG -'' I hit your cat with my truck, and I'm just trying to put it out of it's misery'' - BANG! And the cat dies. So Mikey's like `` Why do n't you come look at the front of the truck.'''Cause the other guy's all fuckin flipped out about - WILL Watching his cat get brained. Morgan gives Will a look, but Will only smiles. CHUCKIE Yeah, so he's like `` Check the front of my truck, I can prove I hit it'cause there's probably some blood or something'' - WILL - or a tail - MORGAN WILL! CHUCKIE And so they go around to the front of his truck. and there's another cat on the grille. WILL/MORGAN/BILLY No! Ugh! CHUCKIE Is that unbelievable? He brained an innocent cat! The opening credits roll over a series of shots of the city and the real people who live and work there, going about their daily lives. We see a panoramic view of South Boston. Will sits in his apartment, walls completely bare. A bed, a small night table and an empty basket adorn the room. A stack of twenty or so LIBRARY BOOKS sit by his bed. He is flipping through a book at about a page a second. Chuckie stands on the porch to Will's house. His Cadillac idles by the curb. Will comes out and they get in the car. We travel across crowded public housing and onto downtown. Finally, we gaze across the river and onto the great cementdomed buildings that make up the M.I.T. campus.", "INT. M.I.T. CLASSROOM -- DAY The classroom is packed with graduate students and TOM. PROFESSOR LAMBEAU -LRB- 52 -RRB- is at the lectern. The chalkboard behind him is covered with theorems. LAMBEAU Please finish McKinley by next month. Many of you probably had this as undergraduates in real analysis. It wo n't hurt to brush up. I am also putting an advanced fourier system on the main hallway chalkboard - Everyone groans. LAMBEAU I'm hoping that one of you might prove it by the end of the semester. The first person to do so will not only be in my good graces, but go on to fame and fortune by having their accomplishment recorded and their name printed in the auspicious `` M.I.T. Tech.'' Prof. Lambeau holds up a thin publication entitled `` M.I.T. Tech.'' Everyone laughs. LAMBEAU Former winners include Nobel Laureates, world renowned astro - physicists, Field's Medal winners and lowly M.I.T. professors. More laughs. LAMBEAU Okay. That is all. A smattering of applause. Students pack their bags.", "INT. FUNLAND \u2013 LATER The place is a monster indoor funpark. Will, Chuckie, Morgan, and Billy are in adjoining batting cages. Will has disabled the pitching machine in his and pitches to Chuckie. The boys have been drinking. Will throws one to Chuckie, high and tight. Several empty beer cans sit by the cage. CHUCKIE Will! Another pitch, inside. CHUCKIE You're gon na get charged! WILL You think I'm afraid of you, you big fuck? You're crowdin' the plate. Will guns another one, way inside. CHUCKIE Stop brushin' me back! WILL Stop crowdin the plate! Chuckie laughs and steps back. CHUCKIE Casey's bouncin' at a bar up Harvard. We should go there sometime. WILL What are we gon na do up there? CHUCKIE I do n't know, we'll fuck up some smart kids. -LRB- stepping back in. -RRB- You'd prob ` ly fit right in. WILL Fuck you. Will fires a pitch at Chuckie's head. Chuckie dives to avoid being hit. He gets up and whips his batting helmet at Will.", "EXT. SOUTH BOSTON ROOFTOP -- EARLY AFTERNOON SEAN McGUIRE -LRB- 52 -RRB- sits, FORMALLY DRESSED, on the roof of his apartment building in a beat - up lawn chair. Well - built and fairly muscular, he stares blankly out over the city. On his lap rests an open invitation that reads `` M.I.T. CLASS OF'67 REUNION.'' While the morning is quiet and Sean sits serenely, there is a look about his that tells us he has faced hard times. This is a man who fought his way through life. On his lonely stare we :", "EXT. M.I.T. CAMPUS LAWN -- DAY A thirty year REUNION PARTY has taken over the lawn. A well dressed throng mill about underneath a large banner that reads `` WELCOME BACK CLASS OF' 72.'' We find Professor Lambeau standing with a drink in his hand, surveying the crowd. He is interrupted by an approaching STUDENT. STUDENT Excuse me, Professor Lambeau? LAMBEAU Yes. STUDENT I'm in your applied theories class. We're all down at the Math and Science building. LAMBEAU It's Saturday. STUDENT I know. We just could n't wait'till Monday to find out. LAMBEAU Find out what? STUDENT Who proved the theorem.", "EXT. TOM FOLEY PARK, S. BOSTON -- AFTERNOON In the bleachers of the visiting section we find our boys, drinking and smoking cigarettes. Will pops open a beer. The boys have been here a while and it shows. Billy sees something that catches his interest. BILLY Who's that? She's got a nice ass. Their P.O.V. reveals a girl in stretch pants talking to a beefy looking ITALIAN GUY -LRB- BOBBY CHAMPA -RRB- MORGAN Yah, that is a nice ass. CHUCKIE You could put a pool in that backyard. BILLY Who's she talking to? MORGAN That fuckin' guinea, Will knows him. WILL Yah, Bobby Champa. He used to beat the shit outta' me in Kindergarten. BILLY He's a pretty big kid. WILL Yah, he's the same size now as he was in Kindergarten. MORGAN Fuck this, let's get something to eat. CHUCKIE What Morgan, you're not gon na go talk to her? MORGAN Fuck her. The boys get up and walk down the bleachers. WILL I could go for a Whopper. MORGAN -LRB- nonchalant. -RRB- Let's hit `` Kelly's.'' CHUCKIE Morgan, I'm not goin' to `` Kelly's Roast Beef'' just cause you like the take - out girl. It's fifteen minutes out of our way. MORGAN What else we gon na do we ca n't spare fifteen minutes? CHUCKIE All right Morgan, fine. I'll tell you why we're not going to `` Kelly's.'' It's because the take - out bitch is a fuckin' idiot. I'm sorry you like her but she's dumb as a post and she has never got our order right, never once. MORGAN She's not stupid. WILL She's sharp as a marble. CHUCKIE We're not goin'. -LRB- beat. -RRB- I do n't even like `` Kelly's.''", "INT. M.I.T. HALLWAY -- LATER Lambeau, still in his reunion formal - wear, strides down the hallway, carrying some papers. A group of students have gathered by the chalkboard. They part like the red sea as he approaches the board. Using the papers in hand, he checks the proof. Satisfied, he turns to the class. LAMBEAU This is correct? Who did this? Dead silence. Lambeau turns to an INDIAN STUDENT. LAMBEAU Nemesh? Nemesh shakes his head in awe. NEMESH No way. Lambeau erases the proof and starts putting up a new one. LAMBEAU Well, whoever You are, I'm sure you'll find this one challenging enough to merit coming forward with your identity. That is, if you can do it.", "INT. CHUCKIE'S CAR, DRIVING IN SOUTH BOSTON -- CONTINUOUS The street is crowded as our boys drive down Broadway. They move slowly through heavy traffic, windows down. Chuckie sorts through a large `` KELLY'S ROAST BEEF'' BAG as he drives. MORGAN Double Burger. Will holds the wheel for Chuckie as he looks through the bag. MORGAN -LRB- same tone. -RRB- Double Burger. Chuckie gets out fries for himself, hands Will his fries. MORGAN I, I had a Kelly's Double Burger. CHUCKIE Would you shut the fuck up! I know what you ordered, I was there! MORGAN So why do n't you give me my sandwich? CHUCKIE What do you mean `` your sandwich?'' I bought it. MORGAN -LRB- sarcastic. -RRB- Yah, all right. CHUCKIE How much money you got? MORGAN I told you, I just got change. CHUCKIE Well give me your fuckin' change and we'll put your fuckin' sandwich on layaway. MORGAN Why you got ta be an asshole Chuckie? CHUCKIE I think you should establish a good line of credit. Laughter, Chuckie goes back searching through the bag. CHUCKIE Oh motherfucker. WILL She did n't do it again did she? CHUCKIE Jesus Christ. Not even close. MORGAN Did she get my Double Burger? CHUCKIE NO SHE DID N'T GET YOUR DOUBLE BURGER! IT'S ALL FUCKIN' FLYIN' FISH FILET! Chuckie whips a FISH SANDWICH back to Morgan, then to Billy. WILL Jesus, that's really bad, did anyone even order a Flyin' Fish? CHUCKIE No, and we got four of'em. BILLY You got ta' be kiddin' me. Why do we even go to her? CHUCKIE Cause fuckin' Morgan's got a crush on her, we always go there and when we get to the window he never says a fuckin' word to her, he never even gets out of the car, and she never gets our order right cause she's the goddamn MISSING LINK! WILL Well, she out did herself today. MORGAN I do n't got a crush on her. Push in on Will who sees something O.S. Will's P.O.V. reveals BOBBY CHAMPA and his friends walking down the street. One of them casually lobs a bottle into a wire garbage can. It SHATTERS and some of the glass hits a FEMALE PASSERBY who, although unhurt, is upset. CHUCKIE What do we got? WILL I do n't know yet. Will's P.O.V. : The woman says something to Bobby. He says something back. By the look on her face, it was something unpleasant. MORGAN Come on, Will. CHUCKIE Shut up. MORGAN No, why did n't you fight him at the park if you wanted to? I'm not goin' now, I'm eatin' my snack. WILL -LRB- smiles. -RRB- So do n't go. Will is out of the door, jogging toward Bobby Champa. Billy gets out, following Will with a look of casual indifference. CHUCKIE Morgan, Let's go. MORGAN I'm serious Chuckie, I ai n't goin'. Leaving the car, Chuckie opens his door to follow. CHUCKIE -LRB- spins in his seat. -RRB- You're goin'. And if you're not out there in two fuckin' seconds, when I'm done with them you're next! And with that, Chuckie is out the door.", "EXT. SIDEWALK --CONTINUOUS Will comes jogging up towards BOBBY CHAMPA, calling out from across the street, WILL -LRB- smiling, good naturedly. -RRB- Hey, Bobby Champa! I went to Kindergarten with you right? Sister Margaret's class. Bobby is bewildered by this strange interruption and unsure of Will's intentions. Just when it looks as though Bobby might remember him, Will DRILLS HIM with a sucker - punch which begins the FIGHT SEQUENCE : 40 FRAMES OVER M. GAYE'S `` LET'S GET IT ON.'' Will's momentum and respectable strength serve to knock the hapless Champa out cold. As soon as Will hits Bobby, his friends CONVERGE ON WILL. Billy JUMPS IN and wrestles one guy to the ground. The two exchange messy punches on the sidewalk. Will is in trouble, back pedaling, dodging punches, trying to avoid being overrun. When Will goes for one guy, another has an open shot and he HAMMERS WILL with a right hand to the head. Will is staggered and bleary, as a second guy winds up for a shot he is BLIND SIDED by Chuckie who hits the kid like he was a tackling sled, lifting him off the ground. Chuckie turns to see Will still outnumbered. It's all Will can do to stay standing as Morgan DROP KICKS one of Champa's boys from the hood of a car. Contrary to what we might think, Morgan is actually quite a fighter. He peppers the kid with a flurry of blows. The fight is messy, ugly and chaotic. Most punches are thrown wildly and miss, heads are banged against concrete, someone throws a bottle. In the end, it's our guys who are left standing, while Bobby's friends stagger off. Chuckie and Morgan turn to see Will, standing over the unconscious Bobby Champa, still POUNDING him. ANGLE ON WILL : SAVAGE, UGLY, VICIOUS, AND VIOLENT Whatever demons must be raging inside Will, he is taking them out on Bobby Champa. He pummels the helpless, unconscious Champa, fury in his eyes. Chuckie and Billy pull Will away. The POLICE finally arrive on the scene and having only witnessed Will's vicious attack on Champa, they grab him.", "EXT. SIDEWALK (FULL SPEED) -- CONTINUOUS A crowd of onlookers have gathered. Chuckie addresses them. CHUCKIE Hey, thanks for comin' out. WILL Yeah, you're all invited over to Morgan's house for a complementary fish sandwich. The Police slam Will into the hood of a car. WILL -LRB- to Police. -RRB- Hey, I know it's not a French cruller, but it's free. The cop holding Will SLAMS his -LSB- Will's -RSB- face into the hood, another cop uses a baton to press Will's face into the car. The look of rage returns to Will's eye. WILL Get the fuck off me! Will resists. Another cop comes over. Will KICKS HIM IN THE KNEE, dropping the cop. Momentarily freed, Will engages in a fracas with three cops. More converge on Will, who - though he struggles - takes a beating.", "EXT. SEAN'S ROOF -- NIGHT Sean sits, exactly as we first saw him, except his tie is now loose and an empty bottle of BUSHMILLS is at his side. He stares out over the City. A MATRONLY LANDLADY comes out of a doorway on the roof. LANDLADY Sean? Sean does n't answer. LANDLADY Sean? You okay? SEAN Yeah. A beat. LANDLADY It's getting cold. After a moment, she retreats back down the stairs. Sean does n't move.", "EXT. CHARLES RIVER, ESTABLISHING SHOT -- MORNING The morning sun reflects brilliantly off the river.", "EXT. COURTHOUSE -- NEXT MORNING Will emerges from the courthouse. Chuckie is waiting for him in the Cadillac with two cups of DUNKIN' DOUGHNUTS coffee. He hands one of them to Will. This feels routine. CHUCKIE When's the arraignment? WILL Next week. Chuckie pulls away.", "EXT. M.I.T. CAMPUS, ESTABLISHING SHOT -- MORNING Students walk to class, carrying bags. More than any other, students seem to be heading into one PARTICULAR CLASSROOM.", "INT. M.I.T. CLASSROOM -- MORNING The classroom is even more crowded than last we saw it. Tom takes notes as Lambeau plays along with the excited environment with mock pomposity and good humor. LAMBEAU Is it my imagination, or has my class grown considerably? Laughter. LAMBEAU I look around and see young people who are my students, young people who are not my students as well as some of my colleagues. And by no stretch of my imagination do I think you've all come to hear me lecture. More laughter. LAMBEAU But rather to ascertain the identity of who our esteemed `` The Tech'' has come to call `` The Mystery Math Magician.'' He holds up the M.I.T. Tech featuring a silhouetted figure, emblazoned with a large, white question mark. The headline reads `` Mystery Math Magician strikes again.'' LAMBEAU Whoever you are, you've solved four of the most difficult theorems I've ever given a class. So without further ado, come forward silent rogue, and receive thy prize. The class waits in breathless anticipation. A STUDENT shifts his weight in his chair, making a noise. LAMBEAU Well, I'm sorry to disappoint my spectators, but it appears there will be no unmasking here today. I'm going to have to ask those of you not enrolled in the class to make your escape now or, for the next three hours be subjected to the mundities of eigenvectors. People start to gather their things and go. Lambeau picks up a piece of chalk and starts writing on the board. LAMBEAU However, my colleagues and I have conferred. There is a problem on the board, right now, that took us two years to prove. So let this be said ; the gauntlet has been thrown down. But the faculty have answered the challenge and answered with vigor.", "INT. M.I.T. HALLWAY -- NIGHT Lambeau comes out of his office with Tom and locks the door. As he turns to walk down the hallway, he stops. A faint TICKING SOUND can be heard. He turns and walks down the hall. Lambeau and Tom come around a corner. His P.O.V. reveals a figure in silhouette blazing through the proof on the chalkboard. There is a mop and a bucket beside him. As Lambeau draws closer, reveal that the figure is Will, in his janitor's uniform. There is a look of intense concentration in his eyes. LAMBEAU Excuse me! Will looks up, immediately starts to shuffle off. WILL Oh, I'm sorry. LAMBEAU What're you doing? WILL -LRB- walking away. -RRB- I'm sorry. Lambeau follows Will down the hall. LAMBEAU What's your name? -LRB- beat. -RRB- Do n't you walk away from me. This is people's work, you ca n't graffiti here. WILL Hey fuck you. LAMBEAU -LRB- flustered. -RRB- Well. I'll be speaking to your supervisor. Will walks out. Lambeau goes to `` fix'' the proof, scanning the blackboard for whatever damage Will caused. He stops, scans the board again. Amazement registers on his face. LAMBEAU My God. Down the hall, we hear the DOOR CLOSE. He turns to look for Will, who is gone.", "EXT. BOW AND ARROW PUB, CAMBRIDGE -- THAT NIGHT A crowded Harvard Bar. Will and our gang walk by a line of several Harvard students, waiting to be carded. MORGAN What happened? -LRB- beat. -RRB- You got fired, huh? WILL Yeah, Morgan. I got fired. MORGAN -LRB- starts laughing. -RRB- How fuckin' retarded do you have to be to get shit - canned from that job? How hard is it to push a fuckin' broom? CHUCKIE You got fired from pushing a broom, you little bitch. MORGAN Yah, that was different. Management was restructurin' - BILLY Yah, restructurin' the amount of retards they had workin' for them. MORGAN Fuck you, you fat fuck. BILLY Least I work for a livin'. -LRB- to Will. -RRB- Why'd you get fired? WILL Management was restructurin'. Laughter. CHUCKIE My uncle can probably get you on my demo team. MORGAN What the fuck? I just asked you for a job yesterday! CHUCKIE I told you `` no'' yesterday! After two students flash their ID's to the doorman -LRB- CASEY -RRB- our boys file past him. ALL -LRB- one after another. -RRB- What's up Case. With an imperceptible nod, Casey waves our boys through. A fifth kid, a HARVARD STUDENT, tries to follow. He is stopped by Casey's massive, outstretched arm : CASEY ID?", "INT. BOW AND ARROW -- CONTINUOUS Chuckie is collecting money from the guys to buy a pitcher, all but Morgan cough up some crumpled dollars. CHUCKIE So, this is a Harvard bar, huh? I thought there'd be equations and shit on the wall.", "INT. BACK SECTION, BOW AND ARROW -- MOMENTS LATER Chuckie returns to a table where Will, Morgan and Billy have made themselves comfortable. He -LSB- Chuckie -RSB- spots two ATTRACTIVE YOUNG HARVARD WOMEN sitting together at the end of the bar. Chuckie struts his way toward the women and pulls up a chair. He flashes a smile and tries to submerge his thick Boston accent. CHUCKIE Hey, how's it goin'? LYDIA Fine. SKYLAR Okay. CHUCKIE So, you ladies ah, go to school here? LYDIA Yes. CHUCKIE Yeah, cause I think I had a class with you. At this point, several interested parties materialize. Morgan Billy and Will try, as inconspicuously as possible, to situate themselves within listening distance. A rather large student in a HARVARD LACROSSE sweatshirt, CLARK -LRB- 22 -RRB- notices Chuckie. He -LSB- Clark -RSB- walks over to Skylar and Lydia, nobly hovering over them as protector. This gets Will, Morgan, and Billy's attention. SKYLAR What class? CHUCKIE Ah, history I think. SKYLAR Oh. CHUCKIE Yah, it's not a bad school. At this point, Clark ca n't resist and steps in. CLARK What class did you say that was? CHUCKIE History. CLARK How'd you like that course? CHUCKIE Good, it was all right. CLARK History? Just `` history?'' It must have been a survey course then. Chuckie nods. Clark notices Chuckie's clothes. Will and Billy exchange a look and move subtly closer. CLARK Pretty broad. `` History of the World?'' CHUCKIE Hey, come on pal we're in classes all day. That's one thing about Harvard never seizes to amaze me, everybody's talkin' about school all the time. CLARK Hey, I'm the last guy to want to talk about school at the bar. But as long as you're here I want to `` seize'' the opportunity to ask you a question. Billy shifts his beer into his left hand. Will and Morgan see this. Morgan rolls his eyes as if to say `` not again.'' CLARK Oh, I'm sure you covered it in your history class. Clark looks to see if the girls are impressed. They are not. When Clark looks back to Chuckie, Skylar turns to Lydia and rolls her -LSB- own -RSB- eyes. They laugh. Will sees this and smiles. CHUCKIE To tell you the truth, I was n't there much. The class was rather elementary. CLARK Elementary? Oh, I do n't doubt that it was. I remember the class, it was just between recess and lunch. Will and Billy come forward, stand behind Chuckie. CHUCKIE All right, are we gon na have a problem? CLARK There's no problem. I was just hoping you could give me some insight into the evolution of the market economy in the early colonies. My contention is that prior to the Revolutionary War the economic modalities especially of the southern colonies could most aptly be characterized as agrarian precapitalist and. Will, who at this point has migrated to Chuckie's side and is completely fed - up, includes himself in the conversation. WILL Of course that's your contention. You're a first year grad student. You just finished some Marxian historian, Pete Garrison prob ` ly, and so naturally that's what you believe until next month when you get to James Lemon and get convinced that Virginia and Pennsylvania were strongly entrepreneurial and capitalist back in 1740. That'll last until sometime in your second year, then you'll be in here regurgitating Gordon Wood about the Pre - revolutionary utopia and the capital - forming effects of military mobilization. CLARK -LRB- taken aback. -RRB- Well, as a matter of fact, I wo n't, because Wood drastically underestimates the impact of - WILL `` Wood drastically underestimates the impact of social distinctions predicated upon wealth, especially inherited wealth.'' You got that from `` Work in Essex County,'' Page 421, right? Do you have any thoughts of your own on the subject or were you just gon na plagiarize the whole book for me? Clark is stunned. WILL Look, do n't try to pass yourself off as some kind of an intellect at the expense of my friend just to impress these girls. Clark is lost now, searching for a graceful exit, any exit. WILL The sad thing is, in about 50 years you might start doin' some thinkin' on your own and by then you'll realize there are only two certainties in life. CLARK Yeah? What're those? WILL One, do n't do that. Two - you dropped a hundred and fifty grand on an education you coulda' picked up for a dollar fifty in late charges at the Public Library. Will catches Skylar's eye. CLARK But I will have a degree, and you'll be serving my kids fries at a drive through on our way to a skiing trip. WILL -LRB- smiles. -RRB- Maybe. But at least I wo n't be a prick. -LRB- beat. -RRB- And if you got a problem with that, I guess we can step outside and deal with it that way. While Will is substantially smaller than Clark, he -LSB- Clark -RSB- decides not to take Will up on his -LSB- Will's -RSB- offer. WILL If you change your mind, I'll be over by the bar. He turns and walks away. Chuckie follows, throwing Clark a look. Morgan turns to a nearby girl. MORGAN My boy's wicked smart.", "INT. BOW AND ARROW, AT THE BAR -- LATER Will sits with Morgan at the bar watching with some amusement as Chuckie and Billy play bar basketball game where the players shoot miniature balls at a small basket. In the B.G. occasionally we hear Chuckie shouting `` Larry!'' When he scores. Skylar emerges from the crowd and approaches Will. SKYLAR You suck. WILL What? SKYLAR I've been sitting over there for forty - five minutes waiting for you to come talk to me. But I'm just tired now and I have to go home and I was n't going to keep sitting there waiting for you. WILL I'm Will. SKYLAR Skylar. And by the way. That guy over there is a real dick and I just wanted you to know he did n't come with us. WILL I kind of got that impression. SKYLAR Well, look, I have to go. Got ta' get up early and waste some more money on my overpriced education. WILL I did n't mean you. Listen, maybe. SKYLAR Here's my number. Skylar produces a folded piece of paper and offers it to Will. SKYLAR Maybe we could go out for coffee sometime? WILL Great, or maybe we could go somewhere and just eat a bunch of caramels. SKYLAR What? WILL When you think about it, it's just as arbitrary as drinking coffee. SKYLAR -LRB- laughs. -RRB- Okay, sounds good. She turns. WILL Five minutes. SKYLAR What? WILL I was trying to be smooth. -LRB- indicates clock. -RRB- But at twelve - fifteen I was gon na come over there and talk to you. SKYLAR See, it's my life story. Five more minutes and I would have got to hear your best pick - up line. WILL The caramel thing is my pick - up line. A beat. SKYLAR Glad I came over.", "EXT. BOW AND ARROW -- LATER Our boys are walking out of the bar teasing one another about their bar - ball exploits. Across the street is another bar with a glass front. Morgan spots Clark sitting by the window with some friends. MORGAN There goes that fuckin' Barney right now, with his fuckin' `` skiin' trip.'' We should' a kicked that dude's ass. WILL Hold up. Will crosses the street and approaches the plate glass window and stands across from Clark, separated only by the glass. He POUNDS THE GLASS to get Clark's attention. WILL Hey! Clark turns toward Will. WILL DO YOU LIKE APPLES? Clark does n't get it. WILL DO YOU LIKE APPLES?! CLARK Yeah? Will SLAMS SKYLAR'S PHONE NUMBER against the glass. WILL WELL I GOT HER NUMBER! HOW DO YA LIKE THEM APPLES?! Will's boys erupt into laughter. Angle on Clark, deflated.", "EXT. STREET -- NIGHT The boys make their way home, piled into Chuckie's car, laughing together.", "EXT. CHARLES STREET BRIDGE -- DAWN Shot of car crossing over the Charles St. Bridge, overtaking a red - line train.", "EXT. CHARLESTON BACKROAD -- DAWN Traveling through narrow back roads in Charlestown, passing the Bunker Hill monument.", "EXT. WILL'S APARTMENT -- DAY Arriving at Will's house and dropping him off.", "INT. M.I.T. BUILDING AND GROUNDS GARAGE -- DAY Lambeau walks into a small garage facility. The area stores lawn machinery and various tools. An older man, TERRY -LRB- 58 -RRB- sits behind the desk reading the BOSTON HERALD sports page. Lambeau has obviously never been here before. He takes in the surroundings, somewhat uncomfortable. Gets dirty. LAMBEAU Excuse me. Is this the buildings and grounds office? TERRY Yeah, can I help you? LAMBEAU I'm trying to find the name of a student who works here. TERRY No students work for me. LAMBEAU Could you just check, because the young man who works in my building - TERRY Which one's your building? LAMBEAU Building two. Terry checks a list behind his -LSB- own -RSB- desk. Looks up. TERRY Well, if something was stolen, I should know about it. LAMBEAU No, no. Nothing like that. I just need his name. TERRY I ca n't give you his name unless you have a complaint. LAMBEAU Please, I'm a professor here and it's very important. TERRY Well, he did n't show up for work today. Terry takes a beat. Holding all the cards. TERRY Look, he got his job through his P.O. so you can call him. Terry goes through a stack of paper on his desk. Takes out a card and hands it to Lambeau. Lambeau looks blankly at the card which reads : `` PAROLE EMPLOYMENT PROGRAM.''", "INT. COURTROOM -- DAY Will stands before JUDGE MALONE -LRB- 40 -RRB- being arraigned. It is fairly unceremonious, the courtroom nearly empty, save Will and the PROSECUTOR. Lambeau walks in from the back. WILL There is a lengthy legal precedent, Your Honor, going back to 1789, whereby a defendant may claim self - defense against an agent of the government where the act is shown to be a defense against tyranny, a defense of liberty - The Judge interrupts to address the prosecutor. JUDGE MALONE Mr. Simmons, Officer McNeely who signed the complaint is n't in my courtroom. Why is that? PROSECUTOR He's in the hospital with a broken knee, Your Honor. But I have depositions from the other officers. WILL Henry Ward Beecher proclaimed, in his Proverbs From Plymouth Pulpit back in 1887, that `` Every American citizen is by birth, a sworn officer of the state. Every man is a policeman.'' As for the other officers, even William Congrave said ; `` he that first cries out ` stop thief' is ` oft he that has stolen the treasure.'' PROSECUTOR Your Honor - Will cranks it up. WILL -LRB- to Prosecutor. -RRB- I am afforded the right to speak in my own defense by our constitution, Sir. The same document which guarantees my right to liberty. `` Liberty,'' in case you've forgotten, is `` the soul's right to breathe, and when it can not take a long breath laws are girded too tight. Without liberty, man is a syncope.'' -LRB- beat, to Judge. -RRB- Ibid. Your Honor. PROSECUTOR Man is a what? WILL Julius Caesar proclaimed - Though he be wounded - `` Magna.'' The Judge interrupts. JUDGE MALONE Son. -LRB- a beat. -RRB- My turn. The Judge opens Will's CASE HISTORY. JUDGE MALONE -LRB- reading. -RRB- June,' 93, assault, Sept.'93 assault. Grand theft auto February' 94. A beat, the Judge takes particular notice. JUDGE MALONE Where, apparently, you defended yourself and had the case thrown out by citing `` free property rights of horse and carriage'' from 1798. Lambeau has to smile, impressed. The Judge shakes his head. JUDGE MALONE March,'94 public drunkenness, public nudity, assault. 10/94 mayhem. November' 94, assault. Jan.'95 impersonating a police officer, mayhem, theft, resisting - overturned - The Judge takes a beat. Gives Will a look. JUDGE MALONE You're in my courtroom, now and I am aware of your priors. -LRB- beat. -RRB- I'm also aware that you're an orphan. You've been through several foster homes. The state removed you from three because of serious physical abuse. The Judge holds a look to Will, who looks down. JUDGE MALONE Another Judge might care. You hit a cop, you go in. -LRB- beat. -RRB- Motion to dismiss denied. The Bailiff goes to remove Will from the courtroom. JUDGE MALONE Keep workin' on your arguments, son. A word of advice for trial ; speak English. As Will is removed from the courtroom, Lambeau approaches Judge Malone who is stepping down from the bench. LAMBEAU Excuse me, your Honor. -LRB- offers hand. -RRB- Gerald Lambeau. An awkward beat. Lambeau waits for some sign of recognition. LAMBEAU I'm a professor at M.I.T. -LRB- beat. -RRB- Combunatorial Mathematics. The Judge offers only a blank look. JUDGE MALONE Oh. Pleased to meet you. LAMBEAU Do you have a minute?", "INT. MIDDLESEX COUNTY JAIL, HOLDING AREA -- SAME A GUARD walks Will down a hallway toward a group of phones. GUARD One call, to an attorney. -LRB- beat. -RRB- One. The Guard gives Will a hard look for a beat. Then leaves. WILL How many? Will picks up the phone, dials. WILL Hey, Skylar?", "INT. SKYLAR'S DORM -- DAY SKYLAR Yeah? WILL It's Will, the really funny good looking guy you met at the bar? SKYLAR I'm sorry, I do n't recall meeting anyone who fits that description. WILL Okay, you got me. It's the ugly, obnoxious, toothless loser who got drunk and would n't leave you alone all night. SKYLAR Oh Will! I was wondering when you'd call. WILL Yeah, I figured maybe sometime this week we could go to a cafe and have some caramels. SKYLAR Sounds good, where are you now? WILL You are n't, by any chance, Pre - law? Are you?", "INT. MIDDLESEX COUNTY JAIL, INTERROGATION ROOM -- LATER Professor Lambeau sits, waiting. Will is brought in, shackled, by the guard. LAMBEAU Hello. Gerald Lambeau, M.I.T. WILL Fuck do you want? LAMBEAU I've spoken with the judge and he's agreed to release you under my supervision. WILL -LRB- suspicious. -RRB- Really? LAMBEAU -LRB- beat. -RRB- Yes. Under two conditions. WILL What're those? LAMBEAU That you meet with me twice a week --. -LRB- a beat. -RRB- and you meet with a therapist. WILL If I agree to this, I walk right now? LAMBEAU That's right. WILL I'll do the work. I'm not going to meet with a therapist. LAMBEAU Now, it wo n't be as bad as it sounds, Will. -LRB- beat. -RRB- I've already spoken to one therapist, his name is Henry Lipkin and he's a friend of mine. He's also published four books and is widely considered to be one of the brightest men in his field. -LRB- beat. -RRB- I'm sure it'll be better than spending the next six months in jail.", "INT. FUNLAND -- DAY Will and Chuckie walk up to an enclosed trampoline. Billy and Morgan prefer to use it for their own version of `` Wrestlemania.'' As Will and Chuckie approach, Billy is on top of a bloodied Morgan and has him in the `` Cobra Clutch.'' Will and Chuckie watch for a beat. Billy tightens his grip. BILLY Submit, bitch! Submit! Submit! MORGAN -LRB- being strangled. -RRB- Suck my cock! BILLY Oh, Morgan! Chuckie turns to Will, conspiratorially as they wait for the fight to finish. CHUCKIE What'd you get? You get leniency? WILL Probation, counselin', few days a week. CHUCKIE You're fuckin' good. Will smiles. CHUCKIE Just submit, Morgan. He's got you in the Cobra Clutch. MORGAN -LRB- to Chuckie. -RRB- Fuck your mother too!", "INT. WILL'S APARTMENT -- NIGHT Will sits alone in his one room apartment, reading. A closer look reveals he is reading a self - help PSYCHOLOGY BOOK. Will is flipping through the book at about a page per second. He shakes his head and smiles. Upon finishing the book, he throws it in a nearby WASTEBASKET. Push in on the back of the book where a SMILING PSYCHOLOGIST is pictured.", "INT. PSYCHOLOGIST'S OFFICE -- CONTINUOUS Will sits in a well decorated Psychologist's Office. Across from Will sits the same PSYCHOLOGIST, HENRY LIPKIN -LRB- 40 -RRB-, from the book. They are in mid - session. WILL That's why I love stock - car racin'. That Dale Ernhart's real good. PSYCHOLOGIST Now you know Will, and I know, what you need to be doing. You have a gift. WILL I could work the pit maybe, but I could never drive like Dale Ernhart - PSYCHOLOGIST You have a quality - something you were born with, that you have no control over - and you are, in a sense, hiding that by becoming a janitor. And I'm not saying that's wrong. I'm friends with the janitor that works in my building. He's been to my house for dinner. As a matter of fact I did some free consultation for `` Mike'' - that's not his real name. That's in my book. WILL Yeah, I read your book. `` Mike'' had the same problems as `` Chad'' the stockbroker. PSYCHOLOGIST Yes. The pressures you feel, and again, I am neither labeling nor judging them, are keeping you from fulfilling your potential - you're in a rut. So stop the Tom Foolery - the Shenanigan's, Will. WILL You're right. I know. PSYCHOLOGIST Will, your not getting off that easy. WILL No, but, I mean you know. I do other things. That no one knows about. PSYCHOLOGIST Like what, Will? WILL I go places, I interact. PSYCHOLOGIST What places? WILL Certain, clubs. -LRB- beat. -RRB- Like, Paradise. It's not bad. Will gives the Psychologist a furtive look. WILL It's just that feeling when you can take your shirt off and really dance. -LRB- beat. -RRB- When the music owns you. Do you understand? PSYCHOLOGIST I might understand that. WILL Do you find it hard to hide the fact that you're gay? PSYCHOLOGIST What? WILL C'mon, I read your book. I talked to you. It's just something I know to be true. PSYCHOLOGIST That's very presumptuous. WILL Buddy, two seconds ago you were ready to give me a jump. PSYCHOLOGIST -LRB- a little laugh. -RRB- Well, I'm sorry to disappoint you, but I'm married and I have two children. WILL I'm sure you do. You probably got a real nice house, nice car - your book's a best seller. PSYCHOLOGIST You're getting defensive, Will. WILL Look, man. I do n't care if you're putting from the rough. There are solid arguments that some of the greatest people in history were gay ; Alexander the Great, Caesar, Shakespeare, Oscar Wilde, Napoleon, Gertrude Stein, not to mention Danny Terrio, not many straight men can dance like that. PSYCHOLOGIST Who is `` Danny Terrio?'' WILL If you wan na hit `` Ramrod,'' take your shot. Take some pride in it. You go to church? So fuckin' what, God loves you. I mean, Christ. A guy as well known as you? By the time you put your disguise on and skulk out of the house Sunday nights you probably look like `` Inspector Clouseau.'' The Psychologist calmly packs his things. PSYCHOLOGIST Well, I can see this is pointless. WILL You're getting defensive. Henry. And hey, chief - tell the wife, at least. Christ, set her free. The shrink gets up and walks out. WILL Fuckin' hypocrite.", "INT. HALLWAY -- CONTINUOUS The Psychologist comes walking out, much to the surprise of Lambeau and Tom who have been waiting in the lobby. LAMBEAU Henry? The Psychologist keeps walking. PSYCHOLOGIST No. You know what, Gerry? This is why I do n't do pro - bono anymore. It's not worth it to me. LAMBEAU What happened? PSYCHOLOGIST I do n't have the time. I'm going on national television this week. LAMBEAU Wait a minute, Henry. He -LSB- Henry -RSB- is out the door. Lambeau looks to Tom.", "INT. LAMBEAU'S OFFICE -- DAY Will is in Lambeau's office. Lambeau is at the board, working on a diagram as Tom takes notes. Will seems disinterested. LAMBEAU This rectangle is subdivided into rectangles. One edge of an inner rectangle is an integer. Can you prove that one edge of the larger rectangle is an integer? WILL Of course. LAMBEAU Okay. How? WILL It's an integer proof. Lambeau smiles. WILL What? Hey, look buddy my time's almost up. You want me to sit here for an hour and write it out? Lambeau says nothing. Will gets up and goes to the board. WILL Look, I'll give you the key steps to it but I'm not gon na do the whole thing. Lambeau keeps smiling. LAMBEAU That would be a monumental waste of time, would n't it, Will? WILL I think so. LAMBEAU I happen to know so. Lambeau rises and goes to the board. LAMBEAU You're thinking too hard. What if I did this? He draws a vertical line through the diagram. LAMBEAU Now, what if I do this? He draws a horizontal line through the diagram. He hands Will the chalk. LAMBEAU Have you ever played checkers? Will realizes what Lambeau is getting at. In a flash he starts drawing lines through the diagram, energized. WILL You color - code it. Half - red, half - black. If that's an integer - Lambeau steps in, writing with him -LSB- Will -RSB-. LAMBEAU What's that? WILL Half - red, half - black - LAMBEAU - that? - WILL - Half - red, half - black - LAMBEAU - That edge! WILL An integer. The two stop. They are silent for a moment. Like two gunfighters after a duel, they put down the chalk. LAMBEAU -LRB- checks his watch. -RRB- It would appear we got that proof in under the wire after all. It's not how hard you look at things, young man, it's the way you look at them. If you take aim before you fire, you will find the most difficult problems become, quite literally, child's play. Will gets his coat. LAMBEAU Will, you've managed to offend four of my colleagues so much that they refused to come back. You're meeting with the leading hypnotist in the country next week and Tom and I plan to sit in on the sessions, so I expect you to behave appropriately.", "INT. LAMBEAU'S OFFICE -- DAY Will sits in a chair across from Lambeau and the HYPNOTIST. Lambeau's assistant, TOM -LRB- 33 -RRB- takes notes. The Hypnotist makes small talk with Lambeau, who checks his watch. LAMBEAU Shall we start the, uh. WILL Yeah, when do I get my hypnosis? You guys been talkin' for twenty minutes. HYPNOTIST Yes, Will. We'll get to that. But first, why do n't you go to sleep for me. He SNAPS HIS FINGERS and instantly Will's head goes BACK and his EYES CLOSE. The Hypnotist gives Lambeau a look. HYPNOTIST Would you mind standing on one leg? Will gets up and stands on one leg. Lambeau is impressed.", "INT. LAMBEAU'S OFFICE -- LATER Will is reclining, eyes closed, in a trance - like state. The mood is more serious now. HYPNOTIST Okay, you're in your bed, Will. Now how old are you? WILL Seven. HYPNOTIST And what do you see? WILL Somethin's in my room. HYPNOTIST What is it? WILL It's like a small figure, hoverin' over me. Gettin' closer. Will flinches. HYPNOTIST You're in a safe place, Will. WILL It's touching me. Lambeau makes a sound. The Hypnotist shushes him -LSB- Lambeau -RSB- with his -LSB- Hypnotist's -RSB- finger. Tom returns to his note - taking. HYPNOTIST Where is it touching you? WILL Down there. -LRB- indicating genitals. -RRB- And I'm nervous. HYPNOTIST You do n't have to be nervous, Will. Lambeau and the Therapist trade looks. This is working. WILL'Cause I'm not ready. -LRB- calming. -RRB- But the figure tells me everything's gon na be all right.'Cause the figure's a Libra too. And we start dancin' and it's beautiful - Will breaks into song at full volume. WILL `` SKY ROCKETS IN FLIGHT!'' LAMBEAU -LRB- getting up. -RRB- Oh Jesus. The Hypnotist gets up and starts heading towards the door. Will is still singing from `` Sky Rockets.'' LAMBEAU Wait a minute, Barry. HYPNOTIST I have better ways to spend my time. He is gone. Will stops singing, laughs. LAMBEAU Oh, for God's sake, Will. WILL Oh, come on! You're not pinnin' this one on me. He left, I wanted to talk to him for another twenty minutes. I was havin' fun. LAMBEAU I told you to cooperate with these people. WILL C'mon, that guy was a fuckin' piece of work. Will gets up and adopts a hypnotic persona in front of Lambeau. WILL -LRB- spooky voice. -RRB- Look into my eyes. I do n't need therapy. LAMBEAU Get out, Will. WILL Okay. do n't forget to get another therapist for next week. LAMBEAU That's enough. Will is out the door. Lambeau turns to Tom. TOM I called Mel Weintraub this morning, to check for availability. LAMBEAU What's the point? TOM What do you want to do? LAMBEAU There is somebody. TOM Who is he? LAMBEAU He was my roommate in college.", "INT. BUNKER HILL CAMPUS -- DAY This is SEAN MAGUIRE'S `` Dying and Bereavement'' class. Emblazoned on the door is `` room 101.'' While the lecture hall could hold sixty students, there are less than fifteen here today. Sean Maguire lectures to the class in a resigned tone. Tired of teaching, tired of life, he finds himself resigned to the tedium of teaching core classes to an indifferent student body. SEAN Establishing trust is the most important component in making breakthroughs with a patient. Why? A beat. SEAN Maureen? MAUREEN'S only response is an empty stare. SEAN Keep up the good work, Maureen. Vinnie? VINNIE looks up. VINNIE Because trust is an important thing. SEAN Do n't bullshit me, Vinnie. Did n't your brother give you the notes? Okay. If a patient does n't trust you then they wo n't feel safe enough to be honest with you - then there's no point to them being in therapy. It's like saying - `` Fine, come here and do n't tell me a thing but go home feeling like you're doing something about your problems - and give me my fifty bucks before you leave will ya'!'' He looks around the room for approval. No one is listening. SEAN If you do n't help them trust you - then there's no way you'll ever get them to sleep with you. And that should be the goal of any good therapist. Insecure women, you know. nail'em when they're vulnerable, that's always been my motto. The students look up, somewhat stunned. SEAN See, I got Vinnie's attention. Laughter. Sean starts to resume his lecture, when he notices LAMBEAU standing in the back of the room. There is an awkward moment. SEAN Gerry. LAMBEAU Sean. SEAN -LRB- to class. -RRB- Well, it seems we're in the presence of greatness. Professor Gerald Lambeau is a Field's Medal winner. Combunatorial Mathematics. 1986. The students stare blankly. LAMBEAU Hello. SEAN The Field's Medal is the Nobel Prize for math. -LRB- beat. -RRB- But it's only given out every four years. A beat. SEAN Okay, that's all for today. Try and get through Fernald by Monday. The class starts to pack up and file out. Lambeau approaches Sean who steps down from the lectern. LAMBEAU Good to see you. SEAN Good to see you. LAMBEAU Is there someplace we can talk?", "EXT. HARVARD SQUARE -- NIGHT Will and Skylar on their first date. They watch a street MAGICIAN doing tricks with a rabbit. The guy's tricks are pretty good, but his on - stage persona could use some work. He is incessantly repeating the phrase `` this is the rabbit, the rabbit really does the tricks.'' Will gives Skylar a look and they move on.", "INT. TOY STORE -- LATER Will and Skylar walk into the small shop. SKYLAR I do n't know, it was just kind of the boring suburban thing. Private school, Harvard, and now Med. School. -LRB- Beat. -RRB- I actually figured out that at the end of it, my brain will be worth a quarter of a million dollars. I should n't have told you that. WILL I bet your parents were happy to pay. SKYLAR I was happy to pay. I inherited the money. WILL Is Harvard gettin' all that money? SKYLAR Stanford. I'm leaving in June after I graduate. WILL So you just want to use me and go? SKYLAR Well, I'm gon na experiment on you for my anatomy class, then go. WILL In that case, fine. -LRB- beat. -RRB- Want to see my magic trick? SKYLAR Sure. Will, pulls out a bulging HANDFUL OF CARAMELS. WILL Now, I'm gon na make all these caramels disappear. SKYLAR Okay. Will goes into all manner of hocus - pocus theatrics. Then shakes his hand wildly. The trick does n't pan out and the caramels go flying all over the store. Skylar laughs. WILL It works better when I have my rabbit.", "INT. LOCKOBER RESTAURANT -- NIGHT Lambeau and Sean share a table at this exclusive restaurant. Sean seems slightly out of place in his wrinkled sport coat. LAMBEAU I did n't see you at the reunion. SEAN I've been busy. LAMBEAU You were missed. -LRB- beat. -RRB- How long has it been since we've seen each other? SEAN Since Nancy died. LAMBEAU I'm sorry, that damn conference - SEAN I got your card.", "INT. HARVARD SQ. DINER: \"THE TASTY\" -- NIGHT A FRY COOK hands Will and Skylar a pair of CHEESEBURGERS. SKYLAR Have you ever seen Annie Hall? WILL No. SKYLAR Well, there's this part of the movie that's about how there's always this tension on a first date where both people are thinking about what's going to happen with the whole ` good night kiss' thing. Will smiles. WILL I really do n't ` date' that much. SKYLAR -LRB- laughs. -RRB- You know what I mean. I know you've at least thought about it. WILL No I have n't. SKYLAR Yes you have. You were thinking you were gon na get a good night kiss. WILL -LRB- mock protest. -RRB- No I was n't. SKYLAR Yes you were. WILL I was kinda' hopin' to get a `` good night laid'' but. I'll take a kiss. She laughs. SKYLAR Oh, you will? WILL No. I was hoping to get a kiss. SKYLAR Then why do n't we just get it out of the way. He looks at her. WILL Now? Both of them have cheeseburger in their mouths. SKYLAR Yeah. They kiss, mouths full of burger. It's nice. A beat. SKYLAR That had to be the worst good night kiss. Will laughs. WILL Hey, look lady, I'm just here for the free food. She smiles. SKYLAR Free? WILL Hey, I spent all my money on those caramels. She laughs.", "INT. LOCKOBER RESTAURANT -- SAME Lambeau and Sean, having finished their meal. Lambeau has been pitching Sean. SEAN I've been busy, Gerry. I got a full schedule. LAMBEAU This kid's special, Sean. I've never seen anything like him. SEAN Not much free time, Gerry. LAMBEAU Have you ever heard of a man named Ramanujan? Sean nods his head. SEAN Yeah. LAMBEAU He was alive over a hundred years ago. He was Indian. Dots, not feathers. Sean finishes the joke. Lambeau chuckles. LAMBEAU So this Ramanujan lived in a tiny hut in India. No formal education, no access to other works. But he came across an old math book and from this basic text he was able to extrapolate theories that had baffled mathematicians for years. SEAN And he mailed it to Hardy - LAMBEAU That's right, Sean. He mailed it to a professor at Cambridge who immediately recognized the brilliance in his work and brought Ramanujan to England. SEAN Where he contracted pneumonia and died at a young age - LAMBEAU They worked together for the remainder of their lives, producing some of the most exciting math theory ever done. Ramanujan's genius was unparalleled, Sean. This boy is like that. But he's very defensive and I need someone who can get through to him. SEAN Why me? LAMBEAU I need someone with your kind of background. SEAN My kind of background? LAMBEAU You're from the same neighborhood. South Boston. SEAN He's from Southie? How many people did you try before you came to me? LAMBEAU -LRB- looks squarely at Sean. -RRB- Five. Sean gives a slight, knowing smile. SEAN Who? Barry, Henry, Rick. Lambeau nods. SEAN Not Rick? You did n't send him to Rick? LAMBEAU Just meet with the boy once a week. SEAN Can we do it at my office? LAMBEAU That would be fine. The waiter comes with the CHECK. Each man reaches for it. LAMBEAU Sean, please. SEAN I got it. LAMBEAU It's on the college. Sean relents.", "EXT. BUNKER HILL CAMPUS -- MORNING Establishing shot of the red - brick campus. Planes land at nearby Logan airport. Will walks up the steps.", "INT. SEAN'S OFFICE -- DAY Sean's office is comfortable. Books are stacked against the wall. There is a PAINTING on the wall behind Sean. Sean is seated behind a desk. Lambeau sits in a chair in the back of the room, next to Tom. A long beat passes, they wait. LAMBEAU Any vulnerability he senses, he'll exploit. SEAN I'll be okay. LAMBEAU It's a poker game with this young man. Do n't let him see what you've got. Sean nods. Will walks in. Everyone stands to greet Will. LAMBEAU Hello, Will. Any trouble finding the place? WILL No. LAMBEAU Will, this is Sean Maguire. Sean, Will Hunting. Sean and Will nod. An awkward moment as the four men stand. LAMBEAU Well, let's get started. WILL Yeah, let's let the healing begin. Lambeau is slightly embarrassed. Sean smiles at Will's joke. SEAN Would you excuse us? LAMBEAU Tom. SEAN You too, Gerry. Lambeau looks at Sean, surprised. Sean's stare is unwavering. After an awkward moment, Lambeau goes, leaving Sean and Will alone. Will does n't look at Sean for more than a second. He seems more interested in the room. There is a long silence as Sean watches Will. SEAN Hello, Will. I'm Sean Maguire. A smile crosses Will's face as he walks to his chair and sits. He lights a cigarette. Sean continues to watch him. Finally - SEAN Where are you from in Southie? WILL Did you buy all these books retail, or do you send away for like a `` shrink kit'' that comes with all these volumes included? SEAN Have you read all these books, Will? WILL Probably not. SEAN -LRB- indicating a shelf. -RRB- How about the ones on that shelf? Will's eyes flicker up to the shelf for an instant. WILL Yeah, I read those. SEAN What did you think? WILL I'm not here for a fuckin' book report. They're your books, why do n't you read'em? SEAN I did. WILL That must have taken you a long time. SEAN Yeah, it did take me a long time. Sean says this with pride. His determined stare and confident manner catch Will a bit off guard. Will rises from his chair and goes to the shelf. WILL -LRB- looking at book. -RRB- `` A History of the United States, Volume I.'' If you want to read a real history book, read Howard Zinn's `` A People's History of the United States.'' That book will knock you on your ass. SEAN How about Noam Chomsky's `` Manufacturing Consent?'' WILL You people baffle me. You spend all this money on beautiful, fancy books - and they're the wrong fuckin' books. SEAN You think so? WILL Whatever blows your hair back. Will returns to his chair. Pause. SEAN -LRB- indicating cigarette. -RRB- Guy your age should n't smoke so much. Stunt your growth. WILL You're right. It really gets in the way of my jazzercizing. Sean does not seem at all affected by Will's attitude. He remains behind the big desk with almost half a smile on his face. Will is aware of Sean's confidence. WILL Do you lift? SEAN Yes, I do. WILL Nautilus? SEAN Free weights. WILL Oh yeah? Me too. What do you bench? SEAN 285. WILL Oh. Will gets up again and moves around his chair to Sean's painting. It is a picture of an old sailboat in a tremendous storm - by no means a masterpiece. Will studies it. WILL You paint this? SEAN Yeah. Do you paint? WILL No. SEAN Crayons? WILL This is a real piece of shit. SEAN Tell me what you really think. WILL Poor color composition, lousy use of space. But that shit does n't really concern me. SEAN What does? WILL The color here, see how dark it is? It's interesting. SEAN What is? WILL I think you're one step away from cutting your ear off. SEAN Oh, `` Starry Night'' time, huh? WILL You ever heard the saying, `` any port in a storm?'' SEAN Sure, how ` bout `` still waters run deep'' - WILL - Well, maybe that means you. SEAN Maybe what mea - WILL Maybe you were in the middle of a storm, a big fuckin' storm - the waves were crashing over the bow, the Goddamned mast was about to snap, and you were crying for the harbor. So you did what you had to do, to get out. Maybe you became a psychologist. SEAN Maybe you should be a patient and sit down. WILL Maybe you married the wrong woman. SEAN Watch your mouth. WILL That's it is n't it? You married the wrong woman. She leave you? Was she bangin' someone else? Sean is walking slowly towards Will. WILL How are the seas now, D - In a flash, Sean has Will by the throat. Will is helpless. SEAN If you ever disrespect my wife again. I will end you. WILL Time's up.", "INT. HALLWAY -- CONTINUOUS Will walks out of Sean's office past Lambeau and Tom who are sitting in the hallway. WILL At ease, gentlemen.", "INT. SEAN'S OFFICE -- DAY Sean stands behind his desk in his office, still very much on edge. Lambeau walks in. LAMBEAU Five minutes, Sean. Are you okay? A pause, Sean is staring at his painting. LAMBEAU I'll understand if you do n't want to meet with him again. SEAN Thursday, four o'clock. Make sure the kid is here.", "EXT. WONDERLAND RACETRACK -- DAY Will and Skylar sit in the stands watching the dogs run. They ad lib teasing one another about England, Ireland, and America. SKYLAR You grew up around here? WILL Not far from here, South Boston. SKYLAR How was that? WILL Pretty boring, I guess. She smiles. SKYLAR I bet you have a great family. WILL You know, nothing special. SKYLAR You have a lot of brothers and sisters? WILL Do I have a lot of brothers and sisters? SKYLAR Yeah. WILL Well, Irish Catholic. What do you think? SKYLAR How many? WILL You would n't believe me if I told you. SKYLAR What, five? Will shakes his head. SKYLAR Seven? Will shakes his head. Smiles. SKYLAR Come on. WILL I have twelve big brothers. SKYLAR Not a chance. WILL Yup, you're lookin' at lucky thirteen. SKYLAR Bullshit. WILL I swear to God. SKYLAR Your house must have been a zoo. WILL It was great. There was always someone to play with, give you advice. SKYLAR Do you know all their names? WILL ` Course I do, they're my brothers. SKYLAR Well. WILL Marky, Ricky, Danny, Terry, Mikey, Davey, Timmy, Tommy, Joey, Robby, Johnny, and Brian. SKYLAR -LRB- laughing. -RRB- Do you keep in touch with them? WILL All the time. We all live in Southie. I live with three of them now. Skylar smiles. SKYLAR I want to meet them. WILL We'll do that.", "INT. SEAN'S APARTMENT -- NIGHT As we pan across Sean's small apartment, we find it strewn with dirty clothes and the sink full of dishes. Although, if it were n't for the clutter, the place would feel pretty bare. A framed SPORTS ILLUSTRATED cover featuring a screaming Larry Bird and entitled `` CELTIC PRIDE'' hangs on the wall. Sean sits at the table next to another nearly empty bottle of BUSHMILL'S IRISH WHISKEY. He is deep in thought.", "INT. SEAN'S OFFICE -- DAY Will strolls into the office. Sean is waiting there behind his desk. He seems different. More calm. Will and Sean stare at each other for a long moment. WILL You again. How the paintin' coming? Sean stands up. SEAN Come with me.", "EXT. BOSTON COMMON -- MINUTES LATER Sean and Will sit in the bleachers at the mostly empty park. They look out over a small pond, in which a group of schoolchildren on a field trip ride the famous Swan Boats. WILL So what's with this place? You have a swan fetish? Is this something you'd like to talk about? SEAN I was thinking about what you said to me the other day, about my painting. I stayed up half the night thinking about it and then something occurred to me and I fell into a deep peaceful sleep and have n't thought about you since. You know what occurred to me? WILL No. SEAN You're just a boy. You do n't have the faintest idea what you're talking about. WILL Why thank you. SEAN You've never been out of Boston. WILL No. SEAN So if I asked you about art you could give me the skinny on every art book ever written. Michelangelo? You know a lot about him I bet. Life's work, criticisms, political aspirations. But you could n't tell me what it smells like in the Sistine Chapel. You've never stood there and looked up at that beautiful ceiling. And if I asked you about women I'm sure you could give me a syllabus of your personal favorites, and maybe you've been laid a few times too. But you could n't tell me how it feels to wake up next to a woman and be truly happy. If I asked you about war you could refer me to a bevy of fictional and non - fictional material, but you've never been in one. You've never held your best friend's head in your lap and watched him draw his last breath, looking to you for help. And if I asked you about love I'd get a sonnet, but you've never looked at a woman and been truly vulnerable. Known that someone could kill you with a look. That someone could rescue you from grief. That God had put an angel on Earth just for you. And you would n't know how it felt to be her angel. To have the love be there for her forever. Through anything, through cancer. You would n't know about sleeping sitting up in a hospital room for two months holding her hand and not leaving because the doctors could see in your eyes that the term `` visiting hours'' did n't apply to you. And you would n't know about real loss, because that only occurs when you lose something you love more than yourself, and you've never dared to love anything that much. I look at you and I do n't see an intelligent confident man, I do n't see a peer, and I do n't see my equal. I see a boy. Nobody could possibly understand you, right Will? Yet you presume to know so much about me because of a painting you saw. You must know everything about me. You're an orphan, right? Will nods quietly. SEAN Do you think I would presume to know the first thing about who you are because I read `` Oliver Twist?'' And I do n't buy the argument that you do n't want to be here, because I think you like all the attention you're getting. Personally, I do n't care. There's nothing you can tell me that I ca n't read somewhere else. Unless we talk about your life. But you wo n't do that. Maybe you're afraid of what you might say. Sean stands, SEAN It's up to you. And walks away.", "INT. CONSTRUCTION SITE -- DAY Will and Chuckie doing demo at the site. They throw cinderblocks out a window into a pile. They are filthy.", "EXT. SOUTH BOSTON STREET -- NIGHT Rain pounds South Boston. Chuckie sits with the Cadillac fiddling, humming to the radio. Morgan and Billy sit in the back, sharing a case of beer. Will is at a pay phone.", "INT. SKYLAR'S ROOM -- NIGHT SKYLAR Hello? Will hangs up and runs back to the car, soaked. CHUCKIE Who'd you call? WILL No one. I did n't have the number. MORGAN What are you, retarded? You went all the way out there in the rain and you did n't have the number? WILL No, it was your mother's 900 number. I just ran out of quarters. Laughter. Chuckie pulls away from the curb. MORGAN Why do n't we get off mothers, I just got off yours. There is a long moment of silence in response to Morgan's attempt at levity. Then laughter. BILLY You're a pretty funny guy. Here, have a nickel. Billy WHIPS his EMPTY BEER CAN off of Morgan's head. MORGAN Keep fuckin' with me. Watch what happens. BILLY All right, then. MORGAN Watch what happens.", "INT. SEAN'S OFFICE -- DAY Will sits across from Sean completely silent and takes out a pack of cigarettes. SEAN No smoking. Will puts the cigarettes away. Sean stares at Will and occasionally at the clock. Sean continues to check the clock on the wall. It is the only clock in the room and it is BEHIND Will. Their hour is almost up. CLOSE ON : WILL'S EYES INTERCUT WITH THE CLOCK. He is counting seconds. As the second hand crosses the twelve, Will stands up and walks out, leaving Sean alone.", "INT. HALLWAY -- LATER Lambeau and Sean walk down the hallway after the session. LAMBEAU What do you mean `` he did n't talk?'' You sat there for an hour? SEAN No, he just sat there and counted the seconds until the session was over. It was pretty impressive, actually. LAMBEAU Why would he do that? SEAN To show me he does n't have to talk to me if he does n't want to. LAMBEAU Oh, what is this? Some kind of staring contest between two kids from the `` old neighborhood?'' SEAN I wo n't talk first.", "EXT. WILL'S APARTMENT -- EVENING Chuckie drops Will off at his apartment, watches him -LSB- Will -RSB- walk up the steps.", "EXT. WILL'S APARTMENT -- MORNING Chuckie pulls up to the curb and walks up the steps to Will's front door. After a beat, Will emerges. They get back in -LSB- the car -RSB-.", "EXT. CONSTRUCTION SITE -- DAY Will and Chuckie at work. Chuckie shows Will how to be a man.", "INT. L STREET BAR & GRILLE, SOUTH BOSTON -- NIGHT The bar is a bit more crowded than usual. Will and Chuckie walk back to their table, carrying beers. They pass a table of GIRLS, local regulars getting just as bombed as the guys. These girls are a little overdone. Too much make - up, too much hairspray, and too much body for such tight outfits. One of the girls, KRYSTYN, smiles at Will who seems subdued. KRYSTYN Hi, Will. WILL How you doin', Krystyn. They pass the table of girls. Chuckie looks at one, ruefully. CHUCKIE I did n't get on Cathy last night. WILL Why not? CHUCKIE I do n't know. Chuckie turns back to one of the girls, calling out : CHUCKIE Cathy! Why did n't you give me none of your twat last night? A girl at the table, CATHY, holds up her PINKY FINGER and smiles - revealing a mouthful of MISSING TEETH. CATHY Fuck you and your Irish curse, Chuckie! CHUCKIE She's missin' teeth, Will. Will nods, not really into it tonight. CHUCKIE Plus, it's like, five to two Morgan ends up marryin' her. There's only so many times you can bang your friend's future wife. They get to the table. Will's heart just is n't in it. WILL I'm takin' off. ALL We're goin' late night. WILL I'm tired.", "INT. LAMBEAU'S OFFICE -- DAY Will and Lambeau work together at the board. They communicate non - verbally as they collaborate on a problem. After a particularly amusing series of numbers, they share a look and laugh.", "INT. SEAN'S OFFICE -- DAY Will and Sean sit in silence. A long moment passes. Sean casually reclines in his chair, disinterested. Will restlessly looks around the room and then back to Sean. An odd half smile crosses Sean's face. After a moment : WILL You know, I was on this plane once. And I'm sittin' there and the captain comes on and is like `` we'll be cruising at 35,000 feet,'' and does his thing, then he puts the mike down but forgets to turn it off. Then he says `` man, all I want right now is a blow - job and a cup of coffee.'' So the stewardess goes runnin' up towards the cock - pit to tell him the mike's still on, and this guy in the back of the plane goes `` do n't forget the coffee!'' SEAN -LRB- smiles. -RRB- You've never been on a plane. WILL I know, but the joke's better if I tell it in the first person. A beat. WILL I have been laid you know. Sean smiles. SEAN Yeah? You got a lady now? WILL Yeah, I went on a date last week. SEAN How'd it go? WILL Fine. SEAN Well, are you going out again? WILL I do n't know. SEAN Why not? WILL Have n't called her. SEAN Jesus Christ, you are an amateur. WILL I know what I'm doing. She's different from the other girls I met. We have a really good time. She's smart, beautiful, fun. SEAN So Christ, call her up. WILL Why? So I can realize she's not so smart. That she's boring. You do n't get it. Right now she's perfect, I do n't want to ruin that. SEAN And right now you're perfect too. Maybe you do n't want to ruin that. Will says nothing. SEAN Well, I think that's a great philosophy Will, that way you can go through your entire life without ever having to really know anybody. Sean looks directly at Will, who looks away. A beat. SEAN My wife used to turn the alarm clock off in her sleep. I was late for work all the time because in the middle of the night she'd roll over and turn the damn thing off. Eventually I got a second clock and put it under my side of the bed, but it got to where she was gettin' to that one too. She was afraid of the dark, so the closet light was on all night. Thing kept me up half the night. Eventually I'd fall asleep, out of sheer exhaustion and not wake up when I was supposed to cause she'd have already gotten to my alarms. Will smiles, Sean takes a beat. SEAN My wife's been dead two years, Will. And when I think about her, those are the things I think about most. Little idiosyncrasies that only I knew about. Those made her my wife. And she had the goods on me too. Little things I do out of habit. People call these things imperfections Will. It's just who we are. And we get to choose who we're going to let into out weird little worlds. You're not perfect. And let me save you the suspense, this girl you met is n't either. The question is, whether or not you're perfect for each other. You can know everything in the world, but the only way you're findin' that one out is by giving it a shot. You sure wo n't get the answer from an old fucker like me. And even if I did know, I would n't tell you. Will smiles. A beat. WILL Why not? You told me every other fuckin' thing. You talk more than any shrink I ever met. Sean laughs. SEAN I teach this shit, I did n't say I knew how to do it. WILL You ever think about gettin' remarried? SEAN My wife's dead. WILL Hence, the word remarried. SEAN My wife's dead. WILL Well I think that's a wonderful philosophy, Sean. That way you can go through the rest of your life without having to really know anyone. A beat. Sean smiles. SEAN Time's up.", "EXT. SKYLAR'S DORM -- AFTERNOON Will is waiting outside the door for someone to come out - so he can go in.", "INT. SKYLAR'S DORM -- AFTERNOON The door to Skylar's dorm is partially open. Will stands outside while Skylar remains on the threshold. SKYLAR Where have you been? WILL I'm sorry, I been real busy. SKYLAR You were busy? You know, I really was waiting for you to call me. WILL Sorry. I'm sorry. Give me another crack at it. Let me take you out. SKYLAR You should have called. I have an `` O - chem'' lab due tomorrow and it's impossible. -LRB- beat. -RRB- It's not an excuse dummy. I want to go out with you. But look : She holds up her Lab. Will glances at it. SKYLAR Tomorrow? WILL Promise? SKYLAR If you bring the caramels. Will smiles.", "EXT. HARVARD SQUARE -- LATER Will sits in an outdoor cafe, thinking. After a beat, he leans over to two students working at a nearby table, borrows a pen and paper and starts writing.", "EXT. SKYLAR'S DORM -- DAY Will is a solitary figure strolling across the lawn. He stops at Skylar's dorm and knocks on the door.", "INT. SKYLAR'S DORM -- DAY She emerges. He hands her the paper he was working on. It is her O - chem lab. WILL I could n't wait till tomorrow. SKYLAR How the hell did you do that? WILL Did n't your mother ever tell you not to look a gift horse in the mouth? SKYLAR I'm supposed to understand this. WILL You're not going into surgery tomorrow are you? SKYLAR No. WILL Then let's go have some fun. With a smile, she relents.", "INT. SEAN'S OFFICE -- DAY Sean and Will in session. SEAN Really? How'd the date go? WILL Do you still counsel veterans? -LRB- beat. -RRB- I read your book last night. SEAN No, I do n't. WILL Why not? SEAN I gave that up when my wife got sick. WILL Is that why you did n't write anything else? SEAN -LRB- smiles. -RRB- I did n't write anything else'cause nobody, including most of my colleagues bothered to read the first one. WILL Well, I've read you colleagues. Your book was good, Sean. -LRB- beat. -RRB- All those guys were in your platoon? SEAN Yeah. WILL What happened to that guy from Kentucky? SEAN Lon? He got married. He has a kid. I kind of lost touch with him after Nancy got sick. WILL Do you ever wonder what your life would be like if you never met your wife? SEAN What? Do I wonder if I'd be better off if I never met my wife? Will starts to clarify his question. SEAN No, that's okay. It's an important question.'Cause you'll have your bad times, which wake you up to the good stuff you were n't paying attention to. And you can fail, as long as you're trying hard. But there's nothing worse than regret. WILL You do n't regret meetin' your wife? SEAN Why? Because of the pain I feel now? I have regrets Will, but I do n't regret a singel day I spent with her. WILL When did you know she was the one? SEAN October 21, 1975. Game six of the World Series. Biggest game in Red Sox history, Me and my friends slept out on the sidewalk all night to get tickets. We were sitting in a bar waiting for the game to start and in walks this girl. What a game that was. Tie game in the bottom of the tenth inning, in steps Carlton Fisk, hit a long fly ball down the left field line. Thirty - five thousand fans on their feet, screamin' at the ball to stay fair. Fisk is runnin' up the baseline, wavin' at the ball like a madman. It hits the foul pole, home run. Thirty - five thousand people went crazy. And I was n't one of them. WILL Where were you? SEAN I was havin' a drink with my future wife. WILL You missed Pudge Fisk's homerun to have a drink with a woman you had never met? SEAN That's right. WILL So wait a minute. The Red Sox have n't won a World Series since nineteen eighteen, you slept out for tickets, games gon na start in twenty minutes, in walks a girl you never seen before, and you give your ticket away? SEAN You should have seen this girl. She lit up the room. WILL I do n't care if Helen of Troy walked into that bar! That's game six of the World Series! Sean smiles. WILL And what kind of friends are these? They let you get away with that? SEAN I just slid my ticket across the table and said `` sorry fellas, I got ta go see about a girl.'' WILL `` I got ta go see about a girl''? What did they say? SEAN They could see that I meant it. WILL You're kiddin' me. SEAN No Will, I'm not kiddin' you. If I had gone to see that game I'd be in here talkin' abouta girl I saw at a bar twenty years ago. And how I always regretted not goin' over there and talkin' to her. I do n't regret the eighteen years we were married. I do n't regret givin' up counseling for six years when she got sick. I do n't regret being by her side for the last two years when things got real bad. And I sure as Hell do n't regret missing that damn game. A beat. Will is impressed. WILL Would have been nice to catch that game though. SEAN -LRB- breaking. -RRB- Well hell, I did n't know Pudge was gon na hit the home run. They laugh.", "INT LAMBEAU'S OFFICE -- DAY The office is more crowded than usual. TOM and THREE of LAMBEAU'S COLLEAGUES including the esteemed ALEXANDER PEKEC are in the room. Will sits at a work - station which projects a proof of his -LSB- Will's -RSB- onto the chalkboard. Lambeau stands beside the projected image at the board arguing with Pekec, a foreign mathematician. The image is of a Ramses graph binary tree. LAMBEAU Alexander, I know your theory. The boy is updating, he's strategy stealing. PEKEC With a Ramses graph on the binary tree - LAMBEAU - But what he's doing, he's attaching an edge to the adjacent vertex. He can always failsafe to either side - PEKEC Maker can. This is not new, Gerry! Pekec starts writing lines beside Will's proof on the board. PEKEC But I can always garbage out. -LRB- writes frantically. -RRB- All the way to `` N'' to the minus one. LAMBEAU No, there's a limit. PEKEC The limit is not found! -LRB- turns to Will. -RRB- The limit is not found. WILL But I can always go to the other side. PEKEC There is no proof - Lambeau can no longer contain himself. LAMBEAU Maker builds `` K'' to the `` N.'' N is three to the K times - PEKEC - But - WILL Look, I wrote it down. They turn to Will who places his proof on the projector. The image is cast over their faces. It reads : As Pekec reads and the realization dawns on him : WILL It's just simpler this way. Lambeau turns with satisfaction to an understanding Pekec. LAMBEAU Alexander, your theory is changed.", "INT. SKYLAR'S ROOM -- NIGHT Will and Skylar in her room, post coital. They are wrapped in a sheet. Will is absent - mindedly playing the memory game SIMON. The pattern grows increasingly complex. After a beat : SKYLAR Why do we always stay here? WILL'Cause it's nicer than my place. SKYLAR I've never seen your place. WILL Exactly. SKYLAR What about your friends? Or your brothers? When do I get to meet them? WILL They do n't come over here that much. SKYLAR I think I can make it to South Boston. WILL Aah, it's kind of a hike. SKYLAR Is it me you're hiding from them or the other way around? WILL All right, all right. We'll go. SKYLAR When? WILL Sometime. I do n't know. Next week. SKYLAR What if I said I would n't sleep with you again until you let me meet your friends? WILL I'd say. -LRB- reaches for phone. -RRB- It's only four in the mornin', they're prob ` ly up. She laughs. Stops him. SKYLAR You men are shameful. If you're not thinking of your wiener then you're acting on its behalf. WILL Then on behalf of my wiener, I'd like to ask for an advance.", "INT. L STREET BAR & GRILLE -- LATER Skylar and Will sit together along with Will's gang. The boys are considerably drunk, but it makes for good entertainment. Everyone here is having fun including Sylar. MORGAN Will, I ca n't believe you brought Skylar here when we're all wrecked. What's she gon na think about us? WILL Yeah, Morgan. It's a real rarity that we'd be out drinkin'. BILLY I've been shit faced for like two weeks. MORGAN Oh great, tell her that! Now she really thinks we're problem drinkers! CHUCKIE Two weeks? That's nothin'. My Uncle Marty? Will knows him. That guy fuckin' drinks like you've never seen! One night he was drivin' back to his house on I - 93 - Statie pulls him over. ALL Oh shit. CHUCKIE Guy's tryin' to walk the line - but he ca n't even fuckin' stand up, and so my uncle's gon na spend a night in jail. Just then there's this fuckin' BOOM like fifty yards down the road. Some guy's car hit a tree. MORGAN Some other guy? CHUCKIE Yeah, he was probably drunker than my Uncle, who fuckin' knows? So the cop goes `` Stay here'' And he goes runnin' down the highway to deal with the other crash. So, my Uncle Marty's standin' on the side of the road for a little while, and he's so fuckin' lit, that he forgets what he's waitin' for. So he goes, `` Fuck it.'' He gets in his car and drives home. MORGAN Holy shit. CHUCKIE So in the morning, there's a knock on the door it's the Statie. So my Uncle's like, `` Is there a problem?'' And the Statie's like `` I pulled you over and you took off.'' And my Uncle's like `` I never seen you before in my life, I been home all night with my kids.'' And Statie's like `` Let me get in your garage!'' So he's like `` All right, fine.'' He takes around the garage and opens the door - and the Statie's cruiser is in my Uncle's garage. ALL No way! You're kiddin'! CHUCKIE No, he was so hammered that he drove the police cruiser home. Fuckin' lights and everything! MORGAN Did your Uncle get arrested? CHUCKIE The fuckin' Trooper was so embarrassed he did n't do anything. The fuckin' guy had been drivin' around in my Uncle's car all night lookin' for the house. Everyone is laughing. Skylar speaks above the din. SKYLAR There was this Irish guy, walking down the beach one day. She has everyone's attention. Will is nervous. SKYLAR And he comes across a bottle, and this Genie pops out. The genie turns to the Irishman and says - `` You've released me from my prison, so I'll grant you three wishes.'' The Irish guy thinks for a minute and says `` What I really want is a pint of Guiness that never empties.'' And - POOF! A bottle appears. He slams it down, and - lo and behold - it fills back up again. C/U of Will. Hoping the joke pans out. SKYLAR Well, the Irish guy ca n't believe it. He drinks it again, and again - BOOM! It fills back up. So, while the Irish guy is marveling at his good fortune, The Genie is getting impatient, because it's hot and he wants to get on with his freedom. He says `` Let's go, you have two more wishes.'' The Irish guy slams his drink again, it fills back up, he's still amazed. The Genie ca n't take it anymore. He says `` Buddy, I'm boiling out here. What are your other two wishes?''. -LRB- beat. -RRB- The Irish guy looks at his drink, looks at the Genie and says. `` I guess I'll have two more of these.'' The gang erupts with laughter. CHUCKIE It's a good thing no one's Irish here. MORGAN I'm Irish. Chuckie, Will look at Morgan, baffled.", "EXT. L STREET BAR & GRILLE -- LATER Everyone is walking out, saying good - bye. Chuckie goes over to Will and Skylar. CHUCKIE I'm glad you came by, changed my opinion of Harvard people. SKYLAR See ya' Chuckie. I had fun. Chuckie heads towards Will to say goodnight. WILL I do n't know what the fuck you're doin'. You're givin' us a ride. CHUCKIE What do I look like, Al Cowlins? -LRB- seriously. -RRB- You want to take my car, drop her off? WILL I was countin' on it. MORGAN Chuck, let's go. CHUCKIE You're walkin' bitch, Will's takin' the car. Morgan mumbles something and staggers off. Billy follows with an indifferent shrug. WILL Thanks, Chuck. CHUCKIE Do n't get too slap - happy, you're takin' me home first. WILL I do n't know, Chuck. It's kinda outta the way. CHUCKIE Just'cause you do n't have to sleep in the one room palace, do n't start thinkin' you're bad. SKYLAR -LRB- to Will. -RRB- I thought you said you'd show me your place. WILL Not tonight. CHUCKIE Yeah, not tonight. Not any other night. He knows, once you see that shit - hole he's gettin' dropped like a bad habit. SKYLAR I wanted to meet your brothers. Chuckie gives Will a curious look. WILL They're all sleepin' now. -LRB- a beat, to Chuckie. -RRB- Let me get those keys.", "INT. FACULTY CLUB -- NIGHT A cocktail party is underway. Professors mingle with representatives from high tech companies. Lambeau stands holding a drink and surrounded by several RECRUITERS. Apparently he's the star of the show. RECRUITER #1 What I want to know, Gerry, is when we get to meet this wonder - boy. LAMBEAU We're still working together, the boy's a little rough. RECRUITER #2 We've got our share of eccentric geniuses at Tri - tech. We know how to deal with that. RECRUITER #3 I think we all do. Laughter. RECRUITER #1 If you're not exaggerating, Gerry - LAMBEAU Was I exaggerating in nineteen eighty - four when I told you I'd win the Field's medal within two years? More laughter. RECRUITER #1 In that case the boy could run shipping for us, routing - RECRUITER #2 You say he does n't have a diploma, but we'll -- RECRUITER #1 I do n't need to see a driver's license. I can think of three departments right now that he could head up for us. LAMBEAU At ease, gentlemen. We're looking carefully at all our options. RECRUITER #3 All right, Gerry. Close to the vest. -LRB- gives him his card. -RRB- Good luck with these vultures. He walks off.", "INT. TIMMY'S TAP -- DAY Timmy's Tap is a local watering hole, not unlike the L Street Bar. Sean is at the bar, telling a joke to TIMMY -LRB- 45 -RRB- the owner of the place, and several other REGULARS. SEAN So she goes runnin' up the aisle and I figure `` fuck it'' and I yell out `` do n't forget the coffee! The men erupt in laughter. MARTY, one of the regulars pipe up. MARTY Bullshit! You did n't say that! Timmy and Sean exchange a look. TIMMY Jesus Christ, Marty. It's a joke. Lambeau enters, a bit overdressed in his sport coat and tie. SEAN Gerry! Any trouble finding the place? LAMBEAU Not at all. SEAN Timmy this is Gerry, an old friend of mine. We went to college together. TIMMY Good to meet you. LAMBEAU Pleasure to meet you. SEAN Could we get a couple of sandwiches? -LRB- beat, smiles. -RRB- Put it on my tab. Sean heads towards a table. TIMMY You ever plan on payin' your tab? SEAN -LRB- pulls out lottery ticket. -RRB- I got the winning numbers right here. TIMMY What's the jackpot? SEAN Twelve million. TIMMY I do n't think that'll cover it. Lambeau follows -LSB- Sean -RSB-. They sit. LAMBEAU You're here quite a bit, then. SEAN I live right around the corner. LAMBEAU You moved? SEAN I been here a couple years. There is an awkward moment. SEAN You wanted to talk about Will? LAMBEAU Seems like it's going well. SEAN I think so. LAMBEAU Well, have you talked to him at all about his future? SEAN We have n't really gotten into it. LAMBEAU Maybe you should. My phone's been ringing off the hook with job offers. SEAN Jobs doing what? LAMBEAU Cutting edge mathematics. Think tanks. The kind of place where a mind like Will's is given free reign. SEAN That's great, Gerry, that there's interest - But I'm not sure he's ready for that. LAMBEAU Sean, I really do n't think you understand - SEAN What do n't I understand? Timmy comes over with the sandwiches. SEAN Thanks, Timmy. LAMBEAU Excuse me, Timmy. Could you help us? We're trying to settle a bet. TIMMY Uh - oh. LAMBEAU Have you heard of Jonas Salk? TIMMY Yeah, cured polio. LAMBEAU You've heard of Albert Einstein? Timmy smiles. Gives him a look. LAMBEAU How about Gerald Lambeau? Ever heard of him? TIMMY No. LAMBEAU Okay thank you, Timmy. TIMMY So who won the bet? LAMBEAU I did. A beat. Timmy leaves. LAMBEAU This is n't about me. I'm nothing compared to this young man. -LRB- beat. -RRB- Sean, in 1905 there were hundreds of Professors who were renowned for their study of the universe. But it was a 26 - year - old Swiss Patent clerk, doing physics in his spare time, who changed the world, Sean. Can you imagine if Einstein had given that up? Or gotten drunk with his buddies in Vienna every night? All of us would have lost something. And I'm quite sure Timmy never would have heard of him. SEAN Is n't that a little dramatic, Gerry? LAMBEAU No, Sean. This boy has that gift. He just has n't got the direction. We can give that to him. A beat. SEAN He married his cousin. LAMBEAU Who? SEAN Einstein. Had two marriages, both trainwrecks. The guy never saw his kids, one of whom, I think, ended up in an asylum - possible Unabomber addition - LAMBEAU You see, Sean? That's exactly not the point. No one remembers that. They - SEAN I do. LAMBEAU Well, you're the only one. Beat. LAMBEAU This boy can make contributions to the world. We can help him do that. SEAN Just. take it easy, Gerry. LAMBEAU Look, I do n't know what else I can say. I'm not sitting at home every night, twisting my mustache and hatching a plan to ruin the boy's life. But it's important to start early. I was doing advanced mathematics at eighteen and it still took me twenty - three years to do something worthy of a Field's medal. SEAN Maybe he does n't care about that. A beat. LAMBEAU Sean, this is important. And it's above personal rivalry - SEAN Now wait a minute, Gerry - LAMBEAU No, no you hear me out, Sean. This young man is a true prodigy - SEAN Personal rivalry? I'm not getting back at you. LAMBEAU Look, you took one road and I took another. That's fine. SEAN Is it Gerry?'Cause I do n't think it's fine with you. Give him time to figure out what he wants. LAMBEAU That's a wonderful theory, Sean. It worked wonders for you. A beat. Lambeau gets up. LAMBEAU Sean, I came here today out of courtesy. I wanted to keep you in the loop. As we speak the boy is in a meeting I set up for him over at Tri - tech.", "INT. TRI-TECH LABORATORIES, OFFICE -- SAME Three well dressed TRI - TECH EXECUTIVES sit around a conference table, which is littered with promotional brochures. The executives exchange a confused look. One of them speaks. EXECUTIVE -LRB- tentative. -RRB- Well, Will, I'm not exactly sure what you mean, we've already offered you a position. Cut to reveal : Chuckie sitting across from the executives, hair combed down, wearing his Sunday best. CHUCKIE Since this is obviously not my first time in such altercations, let me say this : Chuckie rubs the tips of his fingers together, indicating `` cash.'' The executives are baffled. CHUCKIE Look, we can do this the easy way or the hard way. The executives are completely blank. CHUCKIE At the current time I am looking at a number of different fields from which to disseminate which offer is most pursuant aid to my benefit. -LRB- a beat. -RRB- What do you want? What do I want? What does anybody want? Leniency. EXECUTIVE I'm not sure - CHUCKIE - These circumstances are mitigated. Right now. They're mitigated. Chuckie puts his hands up, as if getting a vibe from the room. EXECUTIVE Okay. Chuckie points to the third executive. CHUCKIE He knows what I'm talking about. The third executive is baffled. CHUCKIE A retainer. Nobody in this town works without a retainer. You think you can find someone who does, you have my blessin'. But I think we all know that person is n't going to represent you as well as I can. EXECUTIVE Will, our offer starts you at eighty - four thousand a year, plus benefits. CHUCKIE Retainer. EXECUTIVE You want us to give you cash right now? CHUCKIE Allegedly, what I am saying is your situation will be concurrently improved if I had two hundred sheets in my pocket right now. The executives exchange looks and go for their wallets. EXECUTIVE I do n't think I. Larry? EXECUTIVE I have about seventy - three. EXECUTIVE Will you take a check? CHUCKIE Come now. what do you think I am, a juvenile? You do n't got any money on you right now. You think I'm gon na take a check? EXECUTIVE It's fine, John, I can cover the rest. CHUCKIE That's right, you know. -LRB- turns to # 1. -RRB- He knows. Chuckie stands up and takes the money. CHUCKIE -LRB- to exec # 1. -RRB- You're suspect. I do n't know what your reputation is, but after the shit you tried to pull today, you can bet I'll be looking into it. Any conversations you want to have with me heretofore, you can have with my attorney. Gentlemen, keep your ears to the grindstone.", "EXT. AU BON PAIN COURTYARD, HARVARD SQUARE -- DAY Will and Skylar sit in the open courtyard of this Harvard Square eatery. Skylar is working on another O - chem lab. Will sits across from her, slightly bored watching her work. WILL How's it goin'? SKYLAR Fine. WILL Want me to take a look? SKYLAR No. WILL C'mon, give me a peek and we'll go to the battin' cages. SKYLAR It's important that I learn this. WILL Why is it important to you? If I inherited all that money, the only thing important to me would be workin' on my swing. SKYLAR Clearly. WILL You're rich. What do you have to worry about? SKYLAR Rich? I have an inheritance. It's two hundred and fifty thousand dollars. That's exactly what it'll cost me, minus about five hundred bucks, to go all the way through med school. This is what I'm doing with that money. I could have done anything I wanted. I could have expanded my wardrobe, substantially. WILL Instead you're going to bust your ass for five years so you can be broke? SKYLAR No, so I can be a doctor. A beat. Will nods. She looks down, then up. SKYLAR All right, Mr. Nosey Parker. Let me ask you a question? Do you have a photographic memory? WILL I guess. I do n't know. How do you remember your phone number? SKYLAR Have you ever studied Organic Chemistry? WILL Some, a little. SKYLAR Just for fun? WILL I guess so. SKYLAR Nobody does organic chemistry for `` fun.'' It's unnecessary. Especially for someone like you. WILL Like me? SKYLAR Yeah. Someone like you who divides his time, fairly evenly, between the batting cages and bars. Will laughs. SKYLAR How did you do that? I ca n't. I mean even the smartest people I know, and we do have a few at Harvard, have to study - a lot. It's hard. -LRB- beat. -RRB- Listen, Will, if you do n't want to tell me - WILL Do you play the piano? SKYLAR Come one Will. I just want to know. WILL I'm trying to explain it to you. So you play the piano. When you look at the keys, you see music, you see Mozart. SKYLAR I see `` Hot Cross Buns,'' but okay. WILL Well all right, Beethoven. He looked at a piano and saw music. The fuckin' guy was deaf when he composed the Ode to Joy. They had to turn him around to take a bow because he could n't hear the crowd going crazy behind him. Stone deaf. He saw all of that music in his head. SKYLAR So, do you play the piano? WILL Not a lick. I look at a piano and I see black and white keys, three pedals and a box of wood. Beethoven, Mozart, they looked at it and it just made sense to them. They saw a piano and they could play. I could n't paint you a picture, I probably ca n't hit the ball out of Fenway Park and I ca n't play the piano - SKYLAR But you can do my O - chem lab in under an hour, you can - WILL When it came to stuff like that I could always just play. Skylar is awestruck with admiration for Will, the Robot - pimp. So much so that Skylar has to kiss him, then push him away. SKYLAR I ca n't believe it's taken me four years to meet you and I'm going to California in two months, Will. -LRB- beat. -RRB- Have you ever been to California? I bet you'd like it. Will freezes. A beat. SKYLAR Maybe not.", "INT. CHUCKIE'S APARTMENT -- DAY Chuckie sits on his couch, watching cartoons in his boxers and a tee - shirt, eating cereal. The doorbell rings. He sits. CHUCKIE Get it, ma! She does n't. He gets up. Opens door. It's Skylar. CHUCKIE -LRB- surprised. -RRB- Hey. SKYLAR Hi. CHUCKIE How you doin'? SKYLAR Good. An awkward beat. CHUCKIE How'd you know where to find me? SKYLAR -LRB- smiles. -RRB- You were the only Sullivan in the phone book. Chuckie smiles. SKYLAR Will and I dropped you off here, remember? CHUCKIE Oh, right. SKYLAR This is your house, right? Chuckie nods and is about to respond when he is interrupted by a nagging shriek from his mom. CHUCKIE'S MOM -LRB- O.S. -RRB- Get in here, Chuckie! CHUCKIE -LRB- calling back. -RRB- Pipe down, Ma! SKYLAR I guess so. CHUCKIE What? No. This is my mother's house. I do n't live with my mother. I just stop by, help out. I'm good like that. SKYLAR Is this a bad time? CHUCKIE She'll live. -LRB- beat. -RRB- If she starts yelling again I might have to run in real quick and beat her with the stick again but. SKYLAR Okay. CHUCKIE Let's take a walk.", "EXT. CHUCKIE'S STREET -- DAY Chuckie, still in his boxers walks with Skylar who is talking. SKYLAR See, now this does n't feel right. -LRB- beat. -RRB- When I made the decision to come over here it felt right. I had all these rationalizations. I just do n't understand why Will never tells me anything, he wo n't let me get close to him, he tells me these weird lies - CHUCKIE You caught that, huh? SKYLAR I just wanted to find out what was going on. But now that I'm here it seems strange, does n't it? CHUCKIE Well, I do n't have no trousers on. She laughs. A beat. CHUCKIE I know why you're here. Will do n't talk much. SKYLAR I do n't care what his family's like or if he does n't have any brothers, but he does n't have to lie to me. CHUCKIE I really do n't know what to say. Look, I lie to women all the time. That's just my way. -LRB- beat. -RRB- Last week Morgan brought these girls down from Roslindale. I told them I was a cosmonaut. They believed me. But Will's not usually like that - MAN ON PORCH Put some clothes on, Sullivan! CHUCKIE Take it easy father! She laughs. CHUCKIE All I can say is ; I known Will a long time - And I seen him with every girl he's ever been with. But I've never seen him like this before, ever with anyone, like how he is with you. SKYLAR Is that true? CHUCKIE Yeah, it is.", "INT. LAMBEAU'S OFFICE -- DAY Tom and Will are sitting waiting for Lambeau. TOM! WILL! Lambeau enters going over a thick proof Will has completed. LAMBEAU This is correct. I see you used Mclullen here - WILL I do n't know what it's called. LAMBEAU - This ca n't be right. -LRB- examining proof. -RRB- This is going to be very embarrassing. Have you ever considered - WILL I'm pretty sure it's right. Will gets up to leave. WILL -LRB- turning back. -RRB- Can I ask you a favor, can we do this at Sean's from now on?'Cause I leave work to come here and the fuckin' commute is killin' me - LAMBEAU That's fine, but did you ever think - WILL It's right. -LRB- a beat, heading out. -RRB- Take it home with you. LAMBEAU Will, what happened at the Tri - tech meeting? WILL I could n't go'cause I had a date. So I sent my chief negotiator. LAMBEAU Will, on your own time, you can do what you like. When I set up a meeting, with my associates, and you do n't show up it reflects poorly on me. WILL Then do n't set up any more meetings. LAMBEAU I'll cancel every meeting right now. I'll give you a job myself. I just wanted you to see what was out there. WILL Maybe I do n't want to spend my life sittin' around and explaining shit to people. LAMBEAU The least you can do is show me a little appreciation. WILL -LRB- indicates proof. -RRB- You know how fuckin' easy this is to me? This is a joke! -LRB- crumples proof. -RRB- And I'm sorry you ca n't do this. I really am.'Cause if you could I would n't be forced to watch you fumble around and fuck it up. LAMBEAU Sure, then you'd have more time to sit around and get drunk. Think of how many fights you could have been in by now. Will turns around reveling that he's lit the PROOF ON FIRE. Will drops it on the floor. Lambeau drops to his knees and puts it out. He looks up at Will. LAMBEAU You're right, Will. I ca n't do that proof and you can. And when it comes to this there are only twenty people in the world that can tell the difference between you and me. But I'm one of them. WILL Well, I'm sorry. LAMBEAU So am I. -LRB- beat. -RRB- Yes. That's right, Will. Most days I wish I never met you. Because then I could sleep at night. I would n't have to walk around with the knowledge that someone like you was out there. And I would n't have to watch you throw it all away. Lambeau gathers his composure and calmly walks over to the wrinkled proof. He picks it up, smooths it out.", "INT. SKYLAR'S ROOM -- NIGHT Will and Skylar lie in bed. Skylar watches Will sleep. She gets up and goes to the fridge. Returning to the bed : SKYLAR Will? Are you awake? WILL No. SKYLAR Come with me to California. WILL What? SKYLAR I want you to come with me. WILL How do you know that? SKYLAR I know. I just do. WILL Yeah, but how do you know? SKYLAR I do n't know. I just feel it. WILL And you're sure about that? SKYLAR Yeah, I'm sure. WILL'Cause that's a serious thing you're sayin'. I mean, we might be in California next week and you could find out somethin' about me that you do n't like. And you might feel like `` hey this is a big mistake.'' -LRB- getting upset. -RRB- But you ca n't take it back,'cause you know it's real serious and you ca n't take somethin' like that back. Now I'm in California,'cause you asked me to come. But you do n't really want me there. And I'm stuck in California with someone who really does n't want me there and just wishes they had a take - back. SKYLAR `` Take - back?'' What is that? I do n't want a take - back. I want you to come to California with me. WILL I ca n't go out to California. SKYLAR Why not? WILL One, because I have a job here and two because I live here - SKYLAR -LRB- beat. -RRB- Look, Will if you're not in love with me, you can say that. WILL I'm not sayin' I'm not in love with you. SKYLAR Then what are you afraid of? WILL What do you mean `` What am I afraid of?'' SKYLAR Why wo n't you come with me? What are you so scared of? WILL What am I scared of? SKYLAR Well, what are n't you scared of? You live in your safe little world where nobody challenges you and you're scared shitless to do anything else - WILL Do n't tell me about my world. You're the one that's afraid. You just want to have your little fling with the guy from the other side of town and marry - SKYLAR Is that what you think - WILL some prick from Stanford that your parents will approve of. Then you'll sit around with the rest of the upper crust kids and talk about how you went slummin' too. SKYLAR I inherited that money when I was thirteen, when my father died. WILL At least you have a mother. SKYLAR Fuck you! You think I want this? That money's a burden to me. Every day I wake up and I wish I could give that back. I'd give everything I have back to spend one more day with my father. But that's life. And I deal with it. So do n't put that shit on me. You're the one that's afraid. WILL What the fuck am I afraid of?! SKYLAR You're afraid of me. You're afraid that I wo n't love you back. And guess what? I'm afraid too. But at least I have the balls to it give it a shot. At least I'm honest with you. WILL I'm not honest? SKYLAR What about your twelve brothers? WILL Oh, is that what this is about? You want to hear that I do n't really have any brothers? That I'm a fuckin' orphan? Is that what you want to hear? SKYLAR Yes, Will. I did n't even know that? WILL No, you do n't want to hear that. SKYLAR Yes, I do, Will. WILL You do n't want to hear that I got cigarettes put out on me when I was a little kid. That this is n't surgery. Will lifts his shirt, revealing a six inch SCAR on his torso. WILL You do n't want to hear that. Do n't tell me you want to hear that shit! SKYLAR Yes I do. Did you ever think that maybe I could help you? That maybe that's the point, that we're a team? WILL What, you want to come in here and save me? Is that what you want to do? Do I have a sign that says `` save me'' on my back? SKYLAR I do n't want to `` save'' you. I just want to be with you. I love you. I love you! Will, full of self - loathing, raises his hand to strike her. WILL Do n't bullshit me! Do n't fuckin' bullshit me! SKYLAR -LRB- standing up to him. -RRB- You know what I want to hear? I want to hear that you do n't love me. If you tell me that, then I'll leave you alone. I wo n't ask any questions and I wo n't be in your life. A beat. Will looks Skylar dead in the eye. Lowers his hand. WILL I do n't love you. He walks out.", "EXT. SKYLAR'S DORM -- NIGHT Will leaves pulling on his clothes.", "INT. NATIONAL SECURITY AGENCY, OFFICE -- DAY Will sits across from two N.S.A. AGENTS, OLIVER DYTRESS and ROBERT TAVANO. These guys are smug, clean cut, gung - ho and looking sharp in twin navy blue suits. WILL So why do you think I should work for the National Security Agency? DYTRESS Well, you'd be working on the cutting edge. You'd be exposed to the kind of technology you could n't see anywhere else because we've classified it. Super string theory, Chaos Math, Advanced algorithms - WILL Codebreaking. DYTRESS That's one aspect of what we do. WILL Come on, that's what you do. You handle more than eighty percent of the intelligence workload. You're seven times the size of the C.I.A. DYTRESS That's exactly right, Will. So the question as I see it is n't `` why should you work for N.S.A.'' it's `` why should n't you?'' WILL Why should n't I work for the National Security Agency? That's a tough one. Will bites his tongue, trying to make this work.", "INT. CHUCKIE'S HOUSE -- DAY Chuckie, Billy, and Will sit in the Sullivan kitchen. Billy cracks open a beer and Chuckie reads the sports page. Both boys are smoking. Will drinks a beer, distractedly. We hear the faint music track and soft moans of a PORNO MOVIE emanating from a back room. After a beat, Chuckie looks up. CHUCKIE Morgan, if you're watchin' pornos in my mom's room again I'm gon na give you a fuckin' beatin'! After a beat, Morgan comes out of the back room, red - faced. MORGAN -LRB- innocently. -RRB- What's up guys? CHUCKIE Why do n't you beat off at your house? MORGAN I do n't have a VCR at my house. Will pays no attention to this exchange", "EXT. SOUTH BOSTON PAY PHONE -- DAY Will is on pay phone talking to Skylar. WILL I just wanted to call before you left. -LRB- beat. -RRB- I'm takin' all these job interviews. So I wo n't just be a construction worker.", "INT. SKYLAR'S DORM -- DAY SKYLAR I never cared about that. An awkward beat. WILL Yeah. SKYLAR I love you, Will. -LRB- pause. -RRB- No take - backs. Will says nothing. SKYLAR Will? A beat. WILL Take care. SKYLAR Goodbye. Will hangs up. Hold on him for an agonizing beat.", "INT. SEAN'S OFFICE -- DAY Lambeau is scribbling away at work. Tom is taking notes. Will is tapping his fingers, waiting for him to finish. LAMBEAU I can. I'm almost there.", "INT. LOGAN AIRPORT TERMINAL -- SAME Skylar stands at the gate, carry - ons in hand. Her flight is boarding. She looks for Will over the crowd.", "INT. SEAN'S OFFICE -- SAME Will picks up a FRAME from Sean's desk. It is CARLTON FISK'S BASEBALL CARD. Will has to smile. Lambeau looks up. LAMBEAU What are you smiling at? WILL It's a Carlton Fisk baseball card. Will can see that Lambeau wants more. WILL Pudge Fisk. You follow baseball? LAMBEAU No.", "INT. LOGAN AIRPORT TERMINAL -- SAME The final boarding call is announced and the last passenger boards. After a beat, Skylar turns and gets on the plane.", "INT. SEAN'S OFFICE -- SAME Will, holding the card, reflects for a beat and puts it down. WILL Oh, well, it's just somethin' Sean told me. It's a long story. A beat. WILL You all set? LAMBEAU I've got the first part. The rest I can do at home. Will gets up. LAMBEAU Will, the N.S.A. has been calling me just about every hour. They're very excited about how the meeting went. Lambeau is excited. Will clearly is not. WILL Yeah.", "INT. SEAN'S OFFICE -- NIGHT Will sits across from Sean. SEAN So you might be working for Uncle Sam. WILL I do n't know. SEAN Gerry says the meeting went well. WILL I guess. SEAN What did you think? WILL What did I think? A beat. Will has obviously been stewing on this. WILL Say I'm working at N.S.A. Somebody puts a code on my desk, something nobody else can break. So I take a shot at it and maybe I break it. And I'm real happy with myself,'cause I did my job well. But maybe that code was the location of some rebel army in North Africa or the Middle East. Once they have that location, they bomb the village where the rebels were hiding and fifteen hundred people I never had a problem with get killed. -LRB- rapid fire. -RRB- Now the politicians are sayin' `` send in the Marines to secure the area'''cause they do n't give a shit. It wo n't be their kid over there, gettin' shot. Just like it was n't them when their number got called,'cause they were pullin' a tour in the National Guard. It'll be some guy from Southie takin' shrapnel in the ass. And he comes home to find that the plant he used to work at got exported to the country he just got back from. And the guy who put the shrapnel in his ass got his old job,'cause he'll work for fifteen cents a day and no bathroom breaks. Meanwhile my buddy from Southie realizes the only reason he was over there was so we could install a government that would sell us oil at a good price. And of course the oil companies used the skirmish to scare up oil prices so they could turn a quick buck. A cute, little ancillary benefit for them but it ai n't helping my buddy at two - fifty a gallon. And naturally they're takin' their sweet time bringin' the oil back and maybe even took the liberty of hiring an alcoholic skipper who likes to drink seven and sevens and play slalom with the icebergs and it ai n't too long'til he hits one, spills the oil, and kills all the sea - life in the North Atlantic. So my buddy's out of work and he ca n't afford to drive so he's got to walk to the job interviews which sucks'cause the shrapnel in his ass is givin' him chronic hemorrhoids. And meanwhile he's starvin''cause every time he tries to get a bite to eat the only blue - plate special they're servin' is North Atlantic scrod with Quaker State. A beat. WILL So what'd I think? I'm holdin' out for somethin' better. I figure I'll eliminate the middle man. Why not just shoot my buddy, take his job and give it to his sworn enemy, hike up gas prices, bomb a village, club a baby seal, hit the hash pipe and join the National Guard? Christ, I could be elected President. SEAN Do you think you're alone? WILL What? SEAN Do you have a soul - mate? WILL Define that. SEAN Someone who challenges you in every way. Who takes you places, opens things up for you. A soul - mate. WILL Yeah. Sean waits. WILL Shakespeare, Neitzche, Frost, O'Connor, Chaucer, Pope, Kant - SEAN They're all dead. WILL Not to me, they're not. SEAN But you ca n't give back to them, Will. WILL Not without a heater and some serious smelling salts, no. SEAN That's what I'm saying, Will. You'll never have that kind of relationship in a world where you're afraid to take the first step because all you're seeing are the negative things that might happen ten miles down the road. WILL Oh, what? You're going to take the professor's side on this? SEAN Do n't give me your line of shit. WILL I did n't want the job. SEAN It's not about that job. I'm not saying you should work for the government. But, you could do anything you want. And there are people who work their whole lives layin' brick so their kids have a chance at the kind of opportunity you have. What do you want to do? WILL I did n't ask for this. SEAN Nobody gets what they ask for, Will. That's a cop - out. WILL Why is it a cop - out? I do n't see anythin' wrong with layin' brick, that's somebody's home I'm buildin'. Or fixin' somebody's car, somebody's gon na get to work the next day'cause of me. There's honor in that. SEAN You're right, Will. Any man who takes a forty minute train ride so those college kids can come in in the morning and their floors will be clean and their trash cans will be empty is an honorable man. A beat. Will says nothing. SEAN And when they get drunk and puke in the sink, they do n't have to see it the next morning because of you. That's real work, Will. And there is honor in that. Which I'm sure is why you took the job. A beat. SEAN I just want to know why you decided to sneak around at night, writing on chalkboards and lying about it. -LRB- beat. -RRB-'Cause there's no honor in that. Will is silent. SEAN Something you want to say? Sean gets up, goes to the door and opens it. SEAN Why do n't you come back when you have an answer for me. WILL What? SEAN If you wo n't answer my questions, you're wasting my time. WILL What? Will loses it, slams the door shut. WILL Fuck you! Sean has finally gotten to Will. WILL Who the fuck are you to lecture me about life? You fuckin' burnout! Where's your `` soul - mate?!'' Sean lets this play out. Possible `` shepard'' change. WILL Dead! She dies and you just cash in your chips. That's a fuckin' cop - out! SEAN I been there. I played my hand. WILL That's right. And you fuckin' lost! And some people would have the sack to lose a big hand like that and still come back and ante up again! SEAN Look at me. What do you want to do? A beat. Will looks up. SEAN You and your bullshit. You got an answer for everybody. But I asked you a straight question and you ca n't give me a straight answer. Because you do n't know. Sean goes to the door and opens it. Will walks out.", "INT. MAGGIORE BUILDER'S CONSTRUCTION SITE -- DAY Will and Chuckie take crowbars to a wall. This is what they do for a living. As they routinely hammer away, Will becomes more involved in his battle with the wall. Plaster and lathing fly as Will vents his rage. Chuckie, noticing, stops working and takes a step back, watching Will. Will is oblivious.", "INT. SEAN'S OFFICE -- DAY Lambeau and Tom are in his office. Will is nowhere to be seen. Lambeau is on the phone. LAMBEAU What I mean, Sean, is that I'm sitting in your office and the boy is n't here. -LRB- beat. -RRB- Well, it's ten past three. -LRB- beat. -RRB- An hour and ten minutes late. -LRB- beat. -RRB- Well, if he does n't show up and I have to file a report saying he was n't here and he goes back to jail, it wo n't be on my conscience, Sean. -LRB- beat. -RRB- Fine. He hangs up. Tom picks up a FORM up off the desk. TOM What should I do? LAMBEAU The boy was here. He came in, sat down and we worked together. A blank look. LAMBEAU He came in, sat down, and we worked together. TOM Okay. Tom understands, begins filling out the form.", "EXT. HANRAHAN'S PACKAGE STORE -- LATER Will walks out carrying a brown bag. He is filthy, having just knocked off work.", "EXT. MAGGIORE BUILDER'S CONSTRUCTION SITE -- PARKING LOT Chuckie is sitting on the hood of his Cadillac, watching Will across the street. Chuckie is covered in grime as well. Will starts walking towards Chuckie. As he draws closer, he heaves a can of Budweiser a good thirty yards, to Chuckie who handles it routinely. Will takes a seat next to Chuckie and they crack open their beers. Other workers file out of the site. They drink. CHUCKIE How's the woman? WILL Gone. CHUCKIE What? WILL She went to Medical school in California. CHUCKIE Sorry, brother. -LRB- beat. -RRB- I do n't know what to tell ya. You know all the girls I been with. You been with'em too, except for Cheryl McGovern which was a big mistake on your part brother. WILL Oh I'm sure, that's why only one of us has herpes. CHUCKIE Some shows are worth the price of admission, partner. This gets a small laugh from Will. CHUCKIE My fuckin' back is killin' me. A passing SHEET METAL WORKER overhears this. SHEET METAL WORKER That's why you should' a gone to college. WILL Fuck you. CHUCKIE Suck my crank. Fuckin' sheet metal pussy. -LRB- beat. -RRB- So, when are you done with those meetin's? WILL Week after I'm twenty - one. CHUCKIE Are they hookin' you up with a job? WILL Yeah, sit in a room and do long division for the next fifty years. CHUCKIE Yah, but it's better than this shit. At least you'd make some nice bank. WILL Yeah, be a fuckin' lab rat. CHUCKIE It's a way outta here. WILL What do I want a way outta here for? I want to live here the rest of my life. I want to be your next door neighbor. I want to take out kids to little league together up Foley Field. CHUCKIE Look, you're my best friend, so do n't take this the wrong way, but in 20 years, if you're livin' next door to me, comin' over watchin' the fuckin' Patriots' games and still workin' construction, I'll fuckin' kill you. And that's not a threat, that's a fact. I'll fuckin' kill you. WILL Chuckie, what are you talkin'. CHUCKIE Listen, you got somethin' that none of us have. WILL Why is it always this? I owe it to myself? What if I do n't want to? CHUCKIE Fuck you. You owe it to me. Tomorrow I'm gon na wake up and I'll be fifty and I'll still be doin' this. And that's all right'cause I'm gon na make a run at it. But you, you're sittin' on a winning lottery ticket and you're too much of a pussy to cash it in. And that's bullshit'cause I'd do anything to have what you got! And so would any of these guys. It'd be a fuckin' insult to us if you're still here in twenty years. WILL You do n't know that. CHUCKIE Let me tell you what I do know. Every day I come by to pick you up, and we go out drinkin' or whatever and we have a few laughs. But you know what the best part of my day is? The ten seconds before I knock on the door'cause I let myself think I might get there, and you'd be gone. I'd knock on the door and you would n't be there. You just left. A beat. CHUCKIE Now, I do n't know much. But I know that.", "INT. SEAN'S OFFICE -- DAY Lambeau stands across from Sean, seething. LAMBEAU This is a disaster! I brought you in here to help me with this boy, not to run him out - SEAN Now wait a minute - LAMBEAU - And confuse him - SEAN - Gerry - LAMBEAU And here I am for the second week in a row with my professional reputation at stake - SEAN Hold on! LAMBEAU Ready to falsify documents because you've given him license to walk away from this. SEAN I know what I'm doing and I know why I'm here! LAMBEAU Look Sean, I do n't care if you have a rapport with the boy - I do n't care if you have a few laughs - even at my expense! But do n't you dare undermine what I'm trying to do here. SEAN `` Undermine?'' LAMBEAU He has a gift and with that gift comes responsibility. And you do n't understand that he's at a fragile point - SEAN He is at a fragile point. He's got problems - LAMBEAU What problems does he have, Sean, that he is better off as a janitor or in jail or hanging around with - SEAN Why do you think he does that, Gerry? LAMBEAU He can handle the work, he can handle the pressure and he's obviously handled you. SEAN Why is he hiding? Why is he a janitor? Why does n't he trust anybody? Because the first thing that happened to him was that he was abandoned by the people who were supposed to love him the most! LAMBEAU Oh, come on, Sean - SEAN And why does he hang out with his friends? Because any one of those kids would come in here and take a bat to your head if he asked them to. It's called loyalty! LAMBEAU Oh, that's nice - SEAN And who do you think he's handling? He pushes people away before they have a chance to leave him. And for 20 years he's been alone because of that. And if you try to push him into this, it's going to be the same thing all over again. And I'm not going to let that happen to him! LAMBEAU Now do n't do that. Do n't you do that! Do n't infect him with the idea that it's okay to quit. That it's okay to be a failure, because it's not okay! If you're angry at me for being successful, for being what you could have been - SEAN - I'm not angry at you - LAMBEAU Yes you are, Sean. You resent me. And I'm not going to apologize for any success that I've had. SEAN - I do n't have any anger at you - LAMBEAU Yes you do. You're angry at me for doing what you could have done. Ask yourself if you want Will to feel that way for the rest of his life, to feel like a failure. SEAN That's it. That's why I do n't come to the goddamn reunions! Because I ca n't stand the look in your eye when you see me! You think I'm a failure! I know who I am. I'm proud of who I am. And all of you, you think I'm some kind of pity case! You with your sycophant students following you around. And your Goddamn Medal! LAMBEAU Is that what this is about, Sean? The Field's Medal? Do you want me to go home and get it for you? Then will you let the boy - SEAN I do n't want your trophy and I do n't give a shit about it!'Cause I knew you when! You and Jack and Tom Sanders. I knew you when you were homesick and pimply - faced and did n't know what side of the bed to piss on! LAMBEAU That's right! You were smarter than us then and you're smarter than us now! So do n't blame me for how your life turned out. It's not my fault. SEAN I do n't blame you! It's not about that! It's about the boy!'Cause he's a good kid! And I wo n't see this happen to him - wo n't see you make him feel like a failure too! LAMBEAU He wo n't be a failure! SEAN If you push him into something, if you ride him - LAMBEAU You're wrong, Sean. I'm where I am today because I was pushed. And because I learned to push myself! SEAN He's not you! A beat. Lambeau turns, something catches his eye. Sean turns to look, IT'S WILL. He is standing in the doorway. WILL I can come back. LAMBEAU No, that's fine, Will. I was just leaving. There is an awkward moment as Lambeau gets his coat and leaves. WILL Well, I'm here. -LRB- beat. -RRB- So, is that my problem? I'm afraid of being abandoned? That was easy. SEAN Look, a lot of that stuff goes back a long way. And it's between me and him and it has nothing to do with you. WILL Do you want to talk about it? Sean smiles. A beat. Will sees a FILE on Sean's desk. WILL What's that? SEAN Oh, this is your file. I have to send it back to the Judge with my evaluation. WILL You're not going to fail me are you? Sean smiles. WILL So what's it say? SEAN You want to read it? WILL No. -LRB- beat. -RRB- Have you had any experience with that? SEAN Twenty years of counseling you see a lot of - WILL No, have you had any experience with that? SEAN Yes. WILL -LRB- smiles. -RRB- It sure ai n't good.", "INT. WILL'S CHILDHOOD APARTMENT -- FLASHBACK From a child's P.O.V. we see a man, partially obscured by a doorframe. The man turns toward the P.O.V.", "INT. SEAN'S OFFICE -- DAY SEAN -LRB- after a pause. -RRB- My dad used to make us walk down to the park and collect the sticks he was going to beat us with. Actually the worst of the beatings were between me and my brother. We would practice on each other trying to find sticks that would break. WILL He used to just put a belt, a stick and a wrench on the kitchen table and say `` choose.''", "INT. WILL'S CHILDHOOD APARTMENT -- FLASHBACK A large, callused hand sets down a wrench next to a stick.", "INT. SEAN'S OFFICE -- DAY SEAN Got ta go with the belt there. WILL I used to go with the wrench. SEAN The wrench, why? WILL Cause fuck him, that's why. A long quiet moment. WILL Is that why me and Skylar broke up? SEAN I did n't know you had. Do you want to talk about that? -LRB- beat. -RRB- I do n't know a lot, Will. But let me tell you one thing. All this history, this shit. -LRB- indicates file. -RRB- Look here, son. Will, who had been looking away, loos at Sean. SEAN This is not your fault. WILL -LRB- nonchalant. -RRB- Oh, I know. SEAN It's not your fault. WILL -LRB- smiles. -RRB- I know. SEAN It's not your fault. WILL I know. SEAN It's not your fault. WILL -LRB- dead serious. -RRB- I know. SEAN It's not your fault. WILL Do n't fuck with me. SEAN -LRB- comes around desk, sits in front of Will. -RRB- It's not your fault. WILL -LRB- tears start. -RRB- I know. SEAN It's not. WILL -LRB- crying hard. -RRB- I know, I know. Sean takes Will in his arms and holds him like a child. Will sobs like a baby. After a moment, he wraps his arms around Sean and holds him, even tighter. We pull back from this image. Two lonely souls being father and son together.", "INT. RED LINE CAR -- DUSK Will rides the Red Line, above ground. He looks out over the landscape. Small back yards, laundry hangs from wire lines. Chainlink fences, overgrown with weeds.", "EXT. SOUTH BOSTON PARK -- DAY Will walking through South Boston. He cuts through a park. A senior citizen is spearing trach for the city.", "INT. WILL'S APARTMENT -- NIGHT Will at home. Not reading. Looks up at the ceiling.", "EXT. TRI-TECH LABORATORIES -- DAY Will walks up to a nondescript building, he walks through the glass doors, into the lobby.", "INT. TRI-TECH LABORATORIES, RECEPTION -- CONTINUOUS Will walks into the lobby. A SECURITY GUARD looks up. SECURITY GUARD Can I help you? WILL Yeah, my name is Will Hunting. I'm here about a position. SECURITY GUARD One moment. The guard reaches for the phone. DISSOLVE TO BLACK. FADE UP to the sound of laughter.", "INT. L STREET BAR & GRILLE -- DAY Chuckie is again regaling Will and the guys at their table. CHUCKIE Oh my God, I got the most fucked up thing I been meanin' to tell you. MORGAN Save it for your mother, funny guy. We heard it before. CHUCKIE Oh, Morgan. They both get up, in one another's face. This is a play fight. `` You gon na start?'' `` You gon na pay my hospital bills?'' WILL Sorry to miss this.", "INT. L STREET -- SAME Will comes back from the bathroom. WILL -LRB- to Chuckie. -RRB- You and Morgan throw? CHUCKIE No, I had to talk him down. WILL Why did n't you yoke him? CHUCKIE Little Morgan's got a lot a scrap, dude. I'd rather fight a big kid, they never fight, everyone's scared of'em. You know how many people try to whip Morgan's ass every week? Fuckin' kid wo n't back down. MORGAN -LRB- from across the table. -RRB- What'd you say about me? CHUCKIE Shut the fuck up. Billy walks in the door and give Chuckie a look. Chuckie turns to Will. CHUCKIE -LRB- To Will. -RRB- Hey, asshole. Happy Birthday. MORGAN You thought we forgot, did n't you? I know I'm gettin' my licks in. Laughter as the boys converge on Will. He goes willingly out the door.", "EXT. L STREET -- CONTINUOUS As they come out the door, rather than beating Will mercilessly, they stop. Morgan goes into his own, personal rendition of `` Danny Boy.'' No one joins in. CHUCKIE Shut up, Morgan. -LRB- to Will. -RRB- Here's your present. Chuckie indicates an old CHEVY NOVA, parked illegally in front of the bar. WILL You're kiddin' me. CHUCKIE Yeah, I figured now that you got your big job over in Cambridge, you needed some way to get over there and I knew I was n't gon na drive you every day. Laughter. CHUCKIE Morgan wanted to get you a `` T'' pass. MORGAN No I did n't. Will approaches the car to take a closer look. CHUCKIE But you're twenty - one now, so - BILLY Yeah, now that you can drink legally, we thought the best thing to get you was a car. More laughter. Will inspects the Nova. WILL You're kiddin' me. -LRB- a beat. -RRB- This is the ugliest fuckin' car I ever seen in my life. Laughter, a beat. WILL -LRB- serious. -RRB- How the fuck did you guys do this? CHUCKIE Me and Bill scraped together the parts, worked on it. Morgan was out panhandlin' every day. MORGAN Fuck you, I did the body work. Whose fuckin' router you think sanded out all that bondo? CHUCKIE Guy's been up my ass for two years about a fuckin' job. I had to let him help with the car. WILL So, you finally got a job Morgan? MORGAN Had one, now I'm fucked again. WILL -LRB- to Chuckie. -RRB- So what do you got, a fuckin' Hyundai engine under there? Can I make it back to my house? CHUCKIE Fuck you. I re - built the engine myself. That thing could make it to Hawaii if you wanted it to. Chuckie gives Will a look. CHUCKIE Happy 21, Will.", "INT. SEAN'S OFFICE -- DAY Will sits across from Sean. SEAN Which one did you take, Will? WILL Over at Tri - tech. One of the jobs Professor Lambeau set me up with. I have n't told him yet, but I talked to my new boss over there and he seemed like a nice guy. SEAN That's what you want? WILL Yeah, I think so. SEAN Good for you. Congratulations. WILL Thanks you. -LRB- a beat. -RRB- So, that's it? We're done? SEAN We're done. You did your time. You're a free man. A beat. WILL I just want you to know, Sean. SEAN You're Welcome, Will. WILL I'll keep in touch. SEAN I'm gon na travel a little bit, so I do n't know where I'll be. Will smiles. SEAN I just. figured it's time I put my money back on the table, see what kind of cards I get. Will smiles. Sean hands him a piece of paper. SEAN I'll be checking in with my machine at the college. If you ever need anything, just call. Sean smiles. SEAN Do what's in your heart, son. You'll be fine. WILL Thanks you, Sean. They embrace. SEAN No. Thank you. WILL -LRB- re : embrace. -RRB- Does this violate the patient/doctor relationship? SEAN Only if you grab my ass. They laugh. WILL See ya. SEAN Good luck. Both men smile.", "INT. HALLWAY OUTSIDE SEAN'S OFFICE - MOMENTS LATER Will comes out of Sean's office and sees Lambeau walking up. LAMBEAU -LRB- surprised. -RRB- Will. WILL Hey, how you doin'? LAMBEAU You know, you're no longer required to come here. WILL I was just sayin' goodbye to Sean. LAMBEAU -LRB- a beat. -RRB- Sam called me. From Tri - tech. He says you start working for them next week. Will nods. LAMBEAU Well, that's, I think that's terrific. Congratulations. WILL Thank you. LAMBEAU I just want you to know. It's been a pleasure. WILL Bullshit. They laugh. LAMBEAU This job. Do it if it's what you really want. WILL I appreciate that. A moment. Will starts to go, Lambeau watches him for a beat, Will turns back around. WILL Hey, Gerry. LAMBEAU Yes. WILL Listen, I'll be nearby so, if you need some help, or you get stuck again, do n't be afraid to give me a call. LAMBEAU -LRB- has to smile. -RRB- Thank you, Will. I'll do that. Will smiles, turns and walks away.", "INT. SEAN'S OFFICE -- DAY Sean is packing his office. Lambeau opens the door. LAMBEAU Hello, Sean. SEAN Come in. LAMBEAU Sean. SEAN -LRB- a beat. -RRB- Me too. A moment. LAMBEAU So I hear you're taking some time. SEAN Yeah. Summer vacation. Thought I'd travel some. Maybe write a little bit. LAMBEAU Where're you going? SEAN I do n't know. India maybe. LAMBEAU Why there? SEAN Never been. Lambeau nods. LAMBEAU Do you know when you'll be back? SEAN -LRB- picks up a flyer from his desk. -RRB- I got this mailer the other day. Class of Sixty - five is having this event in six months. LAMBEAU I got one of those too. SEAN You should come. I'll buy you a drink. Lambeau smiles. LAMBEAU Sean. A beat. LAMBEAU The drinks at those things are free. Sean smiles. SEAN Hell, I know that. Both men laugh. LAMBEAU How about one now? SEAN Sounds good. They start to walk out. SEAN It's on you though, until eight o'clock tonight when I win my money. Sean pulls out his lottery ticket. They start out down the hall.", "INT. HALLWAY -- CONTINUOUS On their backs as they walk down the hall. LAMBEAU Sean, do you have any idea what the odds are against winning the lottery? SEAN I do n't know. Got ta be at least four to one. LAMBEAU About thirty million to one. SEAN You're pretty quick with those numbers. How about the odds of me buying the first round? LAMBEAU About thirty million to one.", "EXT. BANK OF THE CHARLES RIVER -- AFTERNOON Will sits alone, thinking. We hold on him for an extended beat until he gets up and walks away.", "EXT. SEAN'S APARTMENT -- EARLY EVENING Begin final sequence. A wide, establishing shot of Sean's apartment complex as the sun is setting. The lights are on in one unit. A tighter shot reveals Sean, in his apartment, packing his belongings in cardboard boxes.", "EXT. SEAN'S APARTMENT, STREET -- SAME The camera cranes down from Sean's window and onto the street, where we pan to reveal Will, sitting in his car and looking up at Sean as he packs his things. Will's car is packed full of clothes and books.", "EXT. SOUTH BOSTON STREET -- SAME Chuckie and the boys drive down the street in the Cadillac. Morgan and Billy ride in the back, leaving the shotgun seat open for Will.", "EXT. SEAN'S APARTMENT -- SAME Will holds an envelope which he slips in Sean's mailbox. He puts the flag up and smiles as he looks up at Sean in his apartment who is still unaware that Will is there.", "EXT. WILL'S APARTMENT -- SAME Chuckie pulls up in front of Will's house. He honks the horn, waits a beat, then gets out and heads toward the house.", "EXT. SEAN'S APARTMENT -- SAME Will drives away from Sean's house. Sean hears the car pull out and looks out the window. Sean sees Will's car pulling away. Curious, he investigates.", "EXT. WILL'S APARTMENT -- SAME Chuckie walks up Will's front steps.", "EXT. SEAN'S APARTMENT -- SAME Sean walks out to the sidewalk and looks around. Seeing the mailbox flag has been raised, he walks over to it.", "EXT. WILL'S APARTMENT -- SAME Chuckie knocks on Will's front door. There is no answer. He waits a beat, looks in the window. An incredulous smile slowly starts to form.", "EXT. SEAN'S APARTMENT -- SAME Sean opens the card Will left for him. It reads : WILL -LRB- in writing. -RRB- Sean - If the Professor calls about that job, just tell him, `` Sorry, I had to go see about a girl.''", "EXT. WILL'S APARTMENT -- SAME Chuckie walks back towards his car unable to contain the broad smile. He knows Will is gone. He shrugs in explanation to the guys. Morgan takes Will's seat as they pull away from the curb.", "EXT. SEAN'S APARTMENT -- SAME We pan up from the letter to Sean. A broad smile comes over him. This is a look we have n't seen. Sean is truly happy.", "EXT. MASSACHUSETTS TURNPIKE -- SUNSET Will is on the road, driving away. As we pull back and credits roll, the car disappears into the horizon. THE END"], "labels": [0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 1.0], "summary": "Twenty-year-old Will Hunting of South Boston is a self-taught genius, though he works as a janitor at MIT and spends his free time drinking with his friends, Chuckie, Billy, and Morgan. When Professor Gerald Lambeau posts a difficult mathematics problem as a challenge for his graduate students, Will solves the problem anonymously, stunning both the students and Lambeau. As a challenge to the unknown genius, Lambeau posts an even more difficult problem. Will flees when Lambeau catches him writing the solution on the blackboard late at night. At a bar, Will meets Skylar, a British woman about to graduate from Harvard College, who plans on attending medical school at Stanford. The next day, Will and his friends fight a gang who used to bully Will as a child. Will is arrested after he attacks a responding police officer. Lambeau sits in on his court appearance and watches Will defend himself. He arranges for him to forgo jail time if he agrees to study mathematics under Lambeau's supervision and participate in therapy sessions. Will tentatively agrees, but treats his therapists with mockery. In desperation, Lambeau calls on Dr. Sean Maguire, his college roommate, who now teaches psychology at Bunker Hill Community College. Unlike other therapists, Sean actually challenges Will's defense mechanisms, and after the first session where Sean threatens Will after he insults his deceased wife and a few unproductive sessions, Will begins to open up. Will is particularly struck by Sean's story of how he met his wife by giving up his ticket to the historic game six of the 1975 World Series, after falling in love at first sight. Sean does not regret his decision, even though his wife died of cancer. This encourages Will to build a relationship with Skylar, though he lies to her about his past and is reluctant to introduce her to his friends or show her his rundown neighborhood. Will also challenges Sean to take an objective look at his own life, since Sean cannot move on from his wife's death. Lambeau sets up a number of job interviews for Will, but Will scorns them by sending Chuckie as his \"chief negotiator\", and by turning down a position at the NSA with a scathing critique of the agency's moral position. Skylar asks Will to move to California with her, but he refuses and tells her he is an orphan, and that his foster father physically abused him. Will breaks up with Skylar and later storms out on Lambeau, dismissing the mathematical research he has been doing. Sean points out that Will is so adept at anticipating future failure in his interpersonal relationships that he deliberately sabotages them in order to avoid emotional pain. Chuckie likewise challenges Will over his resistance to taking any of the positions he interviews for, telling Will he owes it to his friends to make the most of opportunities they will never have, even if it means leaving one day without looking back. He then tells Will that the best part of his day is a brief moment when he waits on his doorstep thinking Will has moved on to something greater. Will walks in on a heated argument between Sean and Lambeau over his potential. Sean and Will share and find out that they were both victims of child abuse. Sean helps Will to see that he is a victim of his own inner demons and to accept that it is not his fault, causing him to break down in tears. Will accepts one of the job offers arranged by Lambeau. Having helped Will overcome his problems, Sean reconciles with Lambeau and decides to take a sabbatical. When Will's friends present him with a rebuilt Chevrolet Nova for his 21st birthday, he decides to pass on the job offer and drive to California to reunite with Skylar. Some time later, Chuckie goes to Will's house to pick him up, only to find that he is not there, much to his happiness.", "name": "Good_Will_Hunting"}
{"scenes": ["INT.  BOULEY RESTAURANT, NEW YORK - NIGHT Dim lighting, crowd buzz, a long line of the rich, the celebrated, the congenitally impatient. Everyone in this queue holds a reservation at least an hour overdue. Tourists ca n't even make the line. PAN ahead to. the burnished dining room, the tables of power, the elegant service. Covertly, many eyes are drawn to the one table receiving by far the most lavish service of all. Captains hover, presenting delicacies, pouring wines, murmuring obsequiously to a guest whose person they screen from our view. We can see, however. the honored guest's companion. Ignored, bemused, across the table. This is DIGGER DOWNES, 36, darkly attractive. Kind eyes, an intellectual's mouth, Saville Row's most unobtrusive and conservative chalk - stripe suit. He is gay, but you would n't guess it. Loyal and wise and generous, and you might. He watches with a quiet twinkle, as the Captains now step back, revealing to us. their most unlikely icon. JULIANNE POTTER, almost 28, wears her favorite bulky sweater over a bunch of other stuff she pulled together in fifteen seconds. She is unkempt, quick, volatile, scattered, and beneath it all, perhaps because of it all, an original beauty. Dark liquid eyes, a cynical mouth, slender expressive fingers, which point to. CAPTAIN A variation on our squid ink risotto. Trace of Moselle, to sweeten the stock. She does n't like that idea at all. Shoots him a sharp look of doubt that makes him smile. Murmur. CAPTAIN Do n't kill us on this one, it's a long shot. Places the moist lump of black rice before her. She takes a surprisingly small amount, rolls it over her tongue. Makes dead flat eye contact with Digger. And nods, it's actually quite nice. The Captain breathes with relief. She turns her dark eyes to him. The tone says they're pals. JULIANNE I'm writing it up as inventive and confident. Which it is. Off the record, I'll need an extra boat of the ink. Or a salt shaker. CAPTAIN I'll toss a coin. As the Captain splits, Digger looks around at the other tables, which makes many pairs of eyes awkwardly glace away. DIGGER Is it ever embarrassing, having your bum kissed in public? JULIANNE If your ass is n't chapped, you are not a good - writer of note. She glances at her two remaining waiters, who shamelessly fawn nearby. JULIANNE Is it sad to be an editor, and bask only in reflected insincerity? DIGGER I've adjusted, and thanks for asking. She leans forward, as if sharing something conspiratorial. JULIANNE See the pull of a book like Twenty Chefs, is not who I put in. It's who I leave out. DIGGER Which is everyone you could n't get in. JULIANNE Plus some guys whose food I do n't like. Pushes the risotte across to him. He lifts a fork. DIGGER This fellow from Newsday ever call? She shrugs. Pulls a cellular out of a large, jumbled bag. JULIANNE I'll buzz my machine. Inventive and confident, yeh? She dials. He tastes. DIGGER Needs salt. JULIANNE Is Newsday a real interview, or just some cute guy you're setting me up w. DIGGER I do n't send you men, anymore. You do n't know what to do with them. She's punching in her code. JULIANNE Sometimes I do. Like for two months. DIGGER weeks. Over the phone, we hear her answering machine. MAN'S VOICE -LRB- V.O., soft. -RRB- Hey. It's Michael. And her face changes. Warms. Just to hear the guileless voice. MICHAEL -LRB- V.O. -RRB- God, it must be, what, months, huh? I ca n't wait to talk to you. I'm in Chicago at the Ritz Carlton. She looks impressed and surprised. Fancy place for this guy. MICHAEL -LRB- V.O. -RRB- Call me four in the morning, whatever, we got ta talk. As she hangs up. She still has that look in her eye. Digger has never seen that, and he likes it very much. DIGGER Who called? The man of the moment? She smiles. A sweet, natural smile that makes us like her, too. The Bohemian sophisticate has vanished. JULIANNE No, no, the opposite. That's my best friend, Michael O'Neal. He sounds desperate to talk. DIGGER The wandering sportswriter. He pushes the risotto back her way. DIGGER I did n't know you two had a past. Her gaze sharpens. Hmmn? DIGGER The look in your eye. She blushes. Shakes her head, no way. JULIANNE Sophomore year at Yale we had this one hot month. And, you know me, I got restless. He knows her. She got restless. JULIANNE So I get up the nerve to break his heart. I tell him there's this dreamy exchange student from Pakistan who wants to, you know. He knows. JULIANNE And he gets this. look. He says, `` I knew I could n't hold your interest'', which, of course, makes me feel like the shallow bitch I've always been. He nods, yeah. JULIANNE Then he says, `` But what makes me want to cry. Is I'm losing the best friend I ever had.'' Hears the feeling. In her voice. JULIANNE And when he said it, I knew. I felt the same. Silence now. She covers with a smile. JULIANNE So I cried. For maybe the third time in my life. And I kissed him. And we've been best friends ever since. Ever since. Fingers turning her wine glass. JULIANNE Nine years, we've seen each other through everything. Losing jobs, losing parents, losing lovers. travelled all over, we've had the best times. The best times of my life, maybe. Just drinking and talking. Even over a phone. DIGGER Kindred spirits. JULIANNE No, he's nothing like me. He's like you. Only straight. No offense taken. JULIANNE He's the salt of the earth. Kind and loyal and generous. The one constant thing in my life, is he'll always be there. DIGGER He's still in love with you. That stops her. She has to say. JULIANNE Maybe. But it never gets in the way. Something she probably has n't confessed out loud before. Digger understands. DIGGER Well, he has a true friend in you. He wants her to know he sees that. DIGGER Whenever George tells someone how steadfast I am, he always makes me sound boring. JULIANNE Solid and genuine is not boring. Michael can be completely insane. A young waiter arrives. Sets a boat of black squid ink beside her plate. JULIANNE There was this one night in Tucson, like six years ago. we got amazingly drunk, I mean, Keith Richards time. The kid tops off her glass of meursault. Looking at her. JULIANNE God, I have n't thought of this in so long. The waiter hanging now. Openly listening. JULIANNE I can even believe we did this. Digger sees the guy listening, gestures to her with his eyes. So she looks up. JULIANNE Could you give us a minute? The kid stunned, speechless. People lose jobs for a lot less. JULIANNE You wo n't miss much, I promise there was no sex. He reddens and disappears. DIGGER I've lost interest. JULIANNE He takes a razor from his dinky little dopp kit, cuts his fingertip, takes my hand, does the same to me. She places the tips of her index fingers together. DIGGER Blood oath. JULIANNE He says, `` Swear. When we're both 28, if we've never been married. we marry each other!'' And laughs again. Can you believe that? But Digger is n't smiling. She wonders why. Begins to spoon black squid ink onto her risotto. JULIANNE See, he figured that would be a sign from God, or someone of comparable authority, that we'd misunderstood our destinies. He still has this real serious look. She's still spooning ink. JULIANNE We never talked about it again. I do n't know what made me think of. DIGGER -LRB- quietly. -RRB- I do. And everything. Stops. She lifts her spoon, mesmerized by the gravity of his tone. DIGGER You'll be 28 in three weeks. How old is he? Holy. Fucking. Shit. It hits her like a ton of lead bricks. She shovels some swampy risotto into her mouth, without looking. JULIANNE You think. DIGGER Desperate. To talk. She shovels in more drippy black goop. It is really disgusting. JULIANNE He's not proposing marriage, there's no way I'm buying one word of th. DIGGER Then why are you compulsively eating? If you're not hysterical? More goes in. Her lips and mouth completely black. Like a circus clown. JULIANNE He ca n't do that to me! DIGGER We're about to find out. Ink is now dribbling out of the black hole of her mouth and down her face. She absently dabs a napkin, keeping some of it from reaching her sweater. JULIANNE When I turn him down. She realizes the full weight of the truth. JULIANNE We'll never be the same. DIGGER I have a suggestion. JULIANNE I'll have to kill myself before I call him. Staring in each other's eyes. DIGGER -LRB- sadly. -RRB- That was it.", "INT. JULIANNE'S BATHROOM - LATE NIGHT Julianne furiously scrubs her blackened tongue with a toothbrush. Gray foam pours from her mouth, spattering the oversized basketball jersey she wears as a nightshirt. In the mirror, her troubled eyes dwell on Michael, flick to the cordless phone standing ominously on the closed toilet lid. She spits, sticks her tongue way out. Incredibly black. Great. Depressed, terrified, and disfigured for life. She snatches up the hated phone, and wanders aimlessly into. her bedroom. West Village view. Defiantly jumbled, aggres - sively eclectic. Traces of wonderful taste mixed with I - like - it - you - got - a - problem - with - that? She stumbles around, rehearsing. JULIANNE This is awkward timing, Michael, I just joined this convent, and they never give your deposit ba. Stops. Full - length mirror. She straightens her hair, to look her best. JULIANNE Michael, I'm married. Not enough. JULIANNE and I have two weeks to live. Changes tone. JULIANNE Michael, I'm trying to be gay, do n't confuse me. She turns to continue pacing, and walks straight INTO a dresser. Stuns her, momentarily. Enough, already! She punches up the number, primping absently in the mirror. When it connects. JULIANNE I was calling Michael O'Neal, but seeing it's so late, I could just leave a mes. No such luck. Cut off. Waits. And then. JULIANNE -LRB- soft. -RRB- Good evening, sir. You've been enrolled in the Obscene Call Of The Month Club, and th. MICHAEL -LRB- V.O. -RRB- Hey! God, it's so good to hear your voice. She forgets herself. Because it's good to hear his, too. MICHAEL -LRB- V.O. -RRB- I've been calling for days! JULIANNE Yeh, well my old machine kept eating messages. I tried constructively ignoring it in hopes of improvement, but finally. MICHAEL -LRB- V.O., urgent. -RRB- Look, I have to ask you something. She swallows. MICHAEL -LRB- V.O. -RRB- Something so incredibly important, that if you turn me down, I do n't know what I'll d. JULIANNE -LRB- bright. -RRB- I just have to tell you this one thing first, okay? I mean this will hand you the biggest laugh of your adult life. Silence. Come on girl, suck it up. JULIANNE I was thinking about you, and I remembered this unbelievably insane night we spent together in Tucson, like a thousand years ago? More silence. Really quiet. JULIANNE I mean, there's no way you could possibly remember the. MICHAEL -LRB- V.O., soft. -RRB- Are you kidding? Stops her. Like a brick wall. The sweetness in his voice. MICHAEL -LRB- V.O. -RRB- I think about that night all the time. She's going to have a heart attack. MICHAEL -LRB- V.O. -RRB- But it's not why I called. She blinks. It's not. And just as a tsunami of relief begins to sweep away. MICHAEL -LRB- V.O. -RRB- I called because I met someone. And her smiles breaks off. Like a spine snapping. Because there is something in his voice. JULIANNE Well, that's great. You have n't really had anybody since Dingbat Jennylee. MICHAEL -LRB- V.O. -RRB- You do n't understand. I've never felt this way about anybody! Never. She sits down, hard. Right on the floor. MICHAEL -LRB- V.O. -RRB- And she's all wrong for me! JULIANNE Well, somet. MICHAEL -LRB- V.O. -RRB- I mean she's a junior at Chicago University, she's twenty years old! Like when I first met you. Like when. Julianne's mouth is suddenly dry. MICHAEL -LRB- V.O. -RRB- And her dad is like this billionaire who owns the White Sox and some cable empire, and you know how I've always been miserably awkward around those kinda stuffed suits. She's finally making her mouth work. JULIANNE Well, sure. MICHAEL -LRB- V.O. -RRB- But they're so down to earth, such wonderful people. JULIANNE You've met her parents. MICHAEL -LRB- V.O., quiet. -RRB- Well. Sure. Wow. MICHAEL -LRB- V.O. -RRB- See. We're getting married. This Sunday. There's a knife in her heart. She can scarcely breathe. JULIANNE Michael, it's Wednesday night, you ca n't possibly be getting married on Su. MICHAEL -LRB- V.O. -RRB- Actually, it all starts tomorrow. It's one of those four - day weddings, with all the traditional events, and ten million people flying in from Madagascar such. JULIANNE -LRB- incredibly lame. -RRB- Are n't you. working this weekend? I mean, is that responsible? MICHAEL -LRB- V.O. -RRB- Well, the Sox are at home. SI's letting me do a profile on the Big Hurt. That's Frank. JULIANNE -LRB- barely audible. -RRB-. Thomas, yeh. She's staring at herself in the mirror. MICHAEL -LRB- V.O. -RRB- Jules. I'm scared. A straw to lunge at. JULIANNE Well, maybe we should talk ab. MICHAEL -LRB- V.O. -RRB- I need you. So heartfelt. A lifetime of emotion welling in her eyes. MICHAEL -LRB- V.O. -RRB- If you ca n't come. And hold my hand. I'll never get through this. Oh. MICHAEL -LRB- V.O. -RRB- Please come, please. JULIANNE W. MICHAEL -LRB- V.O. -RRB- I ca n't wait for you to meet her! HOLD ON Julianne. Staring in the mirror. Like watching the end of her life.", "INT.  BEDROOM - LATER The closet, the armoire, all the drawers are wide open. Two huge suitcases open on the bed, into which Julianne is flinging clothes, as she fumbles to smoke and dial at the same time. Over the phone, now. DIGGER -LRB- V.O., machine. -RRB- You've reached Digger and George. Brevity will be appreciated. BEEP. JULIANNE -LRB- in a rage. -RRB- IT'S ME AGAIN, WHY ARE N'T YOU GUYS UP HAVING SAFE SEX? SNATCHES up a tiny, clingy, sexy dress. Pouts at it. JULIANNE OR, IN THE ALTERNATIVE, WHY ARE N'T YOU INTERRUPTING IT TO ANSWER THE PHONE? She holds the dress against her body. It's hot. JULIANNE YOU, YOU, YOU! IT'S ALL ABOUT YOU, IS N'T IT? She clicks OFF. Checks the dress in the mirror. Raises the short skirt a little higher.", "INT. DIGGER'S CHEROKEE, JFK AIRPORT - EARLY MORNING Digger driving the open - air Cherokee up the ramp to United Airlines departures. Julianne, wind - whipped, trying to light a fresh cigarette from the butt of the last one. He glances over. Hates to see this. DIGGER You ca n't get lung cancer and die in four days. Go to Plan B. She sucks deep. Really deep. JULIANNE You have no appropriate sense of emergency. My best friend is ruining his life. DIGGER No, he's ruining yours. JULIANNE Same difference. If you love someone, it's your duty to save them from themselves. DIGGER You have a real philosophy of life. JULIANNE It's called the Law of Love, asshole. She is tight enough to snap. And at the edge of tears. Staring out at the skycaps, clinging to her cigarette, as he eases to the curb. DIGGER -LRB- gently. -RRB- Why do n't we have a drink? You could catch a later fl. JULIANNE I'm a busy girl. I've got four days to break up a wedding, and steal the bride's fella. She finally looks at him. He does n't say anything. JULIANNE He's adored me for nine goddamn years. DIGGER I can see why. JULIANNE She knows him maybe five seconds, plus she has billions of dollars, plus she's perfect, so do n't go feeling sorry for Miss Pre - Teen Illinois! He's not. So her voice softens. Which shows the hurt. JULIANNE And do n't go feeling sorry for me, you do n't know me that well. We're only friends. DIGGER -LRB- softly. -RRB- I stand corrected. Tears now. Stand in her eyes. JULIANNE I'm making a big mistake, huh? DIGGER -LRB- shrugs. -RRB- Maybe you'll learn something. He wraps his hand over hers. She looks down at it. JULIANNE I'm gon na bring him back, man. Against all odds, y' know. Cos if I do n't. She wraps her fingers around his. JULIANNE I got ta live with it forever. Looks in his eyes. JULIANNE And at my wedding. I'll be the only bride with her own best man. And she kisses his cheek. Jumps out of his car. Before she cries. Yanks her bags from the back. Brave smile. They trade small salutes. And then she's gone.", "INT.  O'HARA AIRPORT, CHICAGO - MORNING The jetway disgorging passengers into the swarming ant colony called O'Hare. Julianne lugging multiple carry - ons, trying to pull fly - away strands of hair into place, nervous as a schoolgirl, looking all around, and. there he is. MICHAEL is tall and square - shouldered, a boyish grin, an unruly shock of hair. He looks gorgeous, sweet, and just dangerous enough to be irresistible. Worthwhile stakes. His face lights to see her, and she. RUNS to his arms, shedding bags along the way, slamming off heedless civilians, to be. SWEPT OFF the earth in strong arms, spun around, laughing like crazy, their cheeks tight together. When he sets her down. he kisses her nose. His arms are still around her. MICHAEL -LRB- murmurs. -RRB- Can you believe it? Can you believe I'm actually gon na do this? JULIANNE -LRB- lost in his eyes. -RRB- Not hardly. He beams. Turns. She follows his gaze, and. there she is. KIMBERLY WALLACE is 20, small and slender, but it is a body to die for. The face is striking, not at all perky and vapid, but lovely and interesting. Worst of all, intelligent. She walks toward them purposefully, her eyes locked to the woman in her fiancee's arms. At the last moment, Michael releases Julianne and Kimmy. THROWS her arms around the startled visitor. HOLDS her tight, with such genuine warmth that Julianne can only, slowly, hug back. As Michael beams. KIMMY This just makes everything so perfect. Her arms stay around the slightly dazed Julianne. The younger girl leans close, confides. KIMMY All I've heard, from the day I met Michael, is Julianne this, and Julianne that. JULIANNE Well, we're. KIMMY I think the best part of marrying this guy is finding you. Pale gray eyes. Alive with joy and intimacy. KIMMY I've never had a sister.", "INT.  KIMMY'S CONVERTIBLE - DAY Kimmy TEARING down the throughway in her Mercedes 500 SL, a dashing, confident driver. Julianne riding shotgun, hair flying, a total wreck, in the open convertible. Michael is happily crouched on the little platform behind their seats, hugging his knees. The roar of the wind makes it impossible for him to hear them. KIMMY My heart's in my throat, here. Right off, I have to ask this monstrous favor. JULIANNE You need a few dollars. Kim glances over. At eighty miles an hour. A bittersweet look. KIMMY Dry. Just like he said. Her eyes at once admiring and regretful. JULIANNE Excuse me? KIMMY I can be quick. I can even be funny. Shakes her head. An endearing youngster. KIMMY But I ca n't be dry. JULIANNE Can you watch the road? KIMMY See. Dry. It's in the delivery. She looks back to the highway. KIMMY This is a very presumptuous and burdensome fav. JULIANNE you want a menage on your wedding night. KIMMY -LRB- straight back. -RRB- No, that would n't be burdensome. Julianne studying the delicate, angular profile. Hard not to like this kid. KIMMY My classmate Angelique shattered her pelvis line dancing in Abeline on Spring Break. Looks over. The sweetest smile. KIMMY Be my maid of honor. Julianne just blinks. KIMMY You ca n't believe what it'd cost to bring in a temp. JULIANNE Uh. How about promoting a bridesmaid? Someone you know for at least forty - five minutes. We CUT OFF a huge SEMI who BLASTS his horn. Kimmy fearless, oblivious, and analytical. KIMMY The bridesmaids are my only two female relatives under forty. Identical twin debutantes from Nashville, who are basically vengeful sluts. With amazing bodies! JULIANNE Which was the disqualifying factor? KIMMY The twin part. I like to remain impartial in my contempt. Sees the off - ramp, and SLICES across FOUR LANES of speeding bullets in a heart - stopping nanosecond. This kid could drive for Penske. Julianne has to pound her chest to get her heart started. Looks back to see if Michael fell out. he is absurdly wind - blown. Gives her a beautiful grinning thumbs - up. Loves this stuff. KIMMY This means I have four days to make you my new best friend. Brings Julianne's eyes back. KIMMY And since I already know everything about you. Including intimate facts I'm mortified to have heard, but too envious to forget. It's time for you to learn about me. Easing off the freeway. She meets Julianne's glance. KIMMY Force yourself. To get personal. JULIANNE -LRB- smiles. -RRB- Sounds like a plan.", "INT.  DRESS SHOP, NORTH MICHIGAN AVENUE - MORNING The place is stunning. High - ceiling, soft light, large rococo mirrors, Louis Quatorze sofas and chairs. Michael wanders rest - lessly, fish out of water among designer displays and stylish female patrons. Takes a look at his watch.", "INT.  DRESSING ROOM - MORNING A period sitting room, ringed with mirrors along its tapestried walls. Kimmy sits on a Louis Treize loveseat next to a stack of costly gowns. Watching with an expertise beyond her years, as. Julianne stands on a platform. A seamstress fitting her into a sleek pale daffodil - colored gown. There are pins everywhere, as the seamstress struggles toward a perfect fit. Continuously looking to Kim for approval. KIMMY If you'd rather the lilac. Julianne shakes her head. This one is beautiful. JULIANNE I thought bridesmaids had to wear the same dress. KIMMY Not you. You wo n't be comfortable unless you're distinctive. Julianne glances over. JULIANNE What else did he tell you. KIMMY you hate weddings, you never go. Oh. Well, yeah. KIMMY You're not up for anything conventional, or popularly assumed to be female priorities. Including marriage. Or romance. Or even. And she stops. Not wanting to offend. JULIANNE -LRB- quietly. -RRB- not even love. The look holds. The seamstress keeps working, as if she's deaf. JULIANNE That's why Michael and I were the wrong fit. Right from the start. KIMMY He said that, too. She stands up. Walks to the platform. Smooths her hand over the fabric down Julianne's back, along her hips. Communicating to the seamstress with her irritated expression. KIMMY Well, I thought I was like you. And proud to be. Until I met rumpled, smelly old Michael. Pins start to come out. Kimmy points, these, too! KIMMY And then I found I was just a sentimental schmuck. Like all those flighty nitwits I'd always pitied. She leans forward. So they can look at each other. KIMMY Funny world, huh? Julianne swallows. It is that. JULIANNE I need a smoke. And before anyone can breathe, she steps OFF the platform RIPPING the living shit out of the gown, right down the side. The seam - stress' eyes FLASH OPEN in abject horror. Julianne, a deer in headlights, looks quickly around at the evidence of her screw - up in six different mirrors. Kimberly just steps to her, fingers the tear. KIMMY It's mostly the seam. Let's get this to Carlos. And UNZIPS Julianne down the back. In her rush to step out, Julianne STUMBLES, but her arms are pinned by the pulled - down dress and she just. TOPPLES like a felled oak, THUDDING on her face, the gown RIPPING some more, the seamstress SCREAMING like an idiot. Then. Silence. Julianne looking up helplessly, a trussed hog, bound in her dress. KIMMY -LRB- firm. -RRB- Just. Do n't. Move. Like you talk to a three - year - old. Deftly, Kimmy pulls the dress free, leaving Julianne in her underwear. Signals to the seamstress, let's go. JULIANNE Do n't you have to be somewh. KIMMY just my bridal shower. And Michael has to meet our dads and the groomsmen at Comiskey for a one - thirty game. Opens the door. KIMMY Other than that. Closed SOLID. Gone.", "INT.  DRESSING ROOM - LATER Julianne sits on the loveseat in her bra and panties, lighting one cigarette from the butt of another. Suddenly, she hears. an ARGUMENT outside the door. Strains to listen. It does sound like Michael and Kim. We ca n't make out the words. She jumps up, dashes for the door, STUBBING her toe on the platform, SHIT! , falls heavily AGAINST the door with a THUD that makes her wince, and. the argument stops. Damn. She opens the door a crack. Sees nothing. Opens it wider to reveal. a teenaged BOY looking right at her. He sends a true shit - eating grin and she SLAMS the door hard enough to RATTLE walls. She PACES furiously, helplessly, arms around her half - naked self, until. soft knock. The door opens a crack, and her daffodil gown comes through it. JULIANNE Come in, and shut the. Stops. Because it's Michael who has entered. With the dress. JULIANNE door. So he does. She flushes and SNATCHES up her own clothes, which were characteristically tangled in a heap, and tries desperately to untangle them enough to cover herself. He is amazed and amused by her embarrassment. MICHAEL -LRB- laughing. -RRB- Should I turn around, or someth. JULIANNE Michael, I'm in my underwear! She's TEARING at her clothes, only making more of a mess. MICHAEL We've seen each other a lot more naked than this. She seems ready to rip her clothes apart, so he gently takes them from her hands. She tries to stand unselfconsciously as he easily untangles them. MICHAEL I mean, we were skinny - dipping in Greece, just as pals, less than two years ago. She GRABS the clothes and covers the front of herself. Looking at him with a mix of emotions she could n't begin to sort out. JULIANNE Things are different now. He looks in her eyes. And nods, a little sadly. Guess they are. MICHAEL -LRB- softly. -RRB- Well. I leave with two thoughts in my mind. He walks to the door. Puts his hand on the latch. Looks back. MICHAEL -LRB- even softer. -RRB- You're still a very pretty girl. The look holds. And holds. There is such feeling on both sides, she does n't know what to make of it. She swallows. JULIANNE What's the sec. MICHAEL Mirrors. And he's gone. She looks around at six different VIEWS of her uncovered backside. Hmm.", "INT.  HOTEL UNDERGROUND GARAGE - DAY The parking valets wait by their stand as the convertible pulls up. These girls must be late for something, the way they're jumping out of the car. JULIANNE luckiest guy in the Northern Fucking Hemisphere, is all I'm s. KIMMY What? Because I'm a little understand. JULIANNE most sentimental schmucks I pity want a honeymoon after their wedding. Just to top it off. The valet gives Kimmy her ticket. KIMMY I ca n't expect the NBA to hold up the playoffs. They're walking fast toward the garage elevators. KIMMY I'm excited Sports Illustrated gave him this kind of shot, he's only there a ye. JULIANNE So your honeymoon is exactly where? Well. KIMMY It depends. If San Antonio sweeps Sacramento, we could start there. Or Phoenix. Or depending on Indiana - Clevel. JULIANNE garden sports, all. Little swing of maybe fifty degrees Fahrenheit, represents a packing challenge, but there's fine food and cocktails at a choice of Embassy Suit. At the elevator. Kimmy SLAMS the button. KIMMY It's his career, I'm supportive. Look, I've been everywhere, I've seen the world, I've laid on a beach. I want to be with the man I love. That's what makes it a honeymoon. End of story. Okay? JULIANNE I'm just saying he's lucky. An empty elevator arrives. They get in. JULIANNE Takes one woman in a billion to put up with his array of shit. The guy is a one - man festival of idiosync. Kimmy SLAMS the penthouse button. Looks at her calmly. Go on. JULIANNE Well. You've been introduced to the symphonic range of. KIMMY his snoring, yeah. He says it's worse than ever. That snaffle one? Julianne imitates an incredibly annoying high - pitched SNARL. Three times. Kimmy nods. KIMMY Well now it has this sorta phlegm rattle behind it. Stopped at the lobby. A family of four gets in. Oblivious, Kimmy DEMONSTRATES the phlegm rattle. Really gets into it. As the family watches, Julianne tries her own version. Like that? No. More like this. The family is looking at each other. KIMMY Guess what? Earplugs work. Oh. JULIANNE How about. KIMMY cigars in bed? I broke him on that. But the bathroom's a swamp, he wears Reeboks to dinner, tells the same, admittedly funny, jokes three hundred times. Sucks in a breath. KIMMY loves action movies, subscribes to Playboy for godsake, reads over my shoulder, ca n't keep track of the checks he writes. Ninth floor. The family gets out. The door closes. KIMMY He sucks soup through his front teeth. JULIANNE A trademark move, do n't touch it. KIMMY But he sure can kiss. JULIANNE It's been awhile. I'll take your word. KIMMY After two weeks of cataloguing all his faults, I made a command decision that changed my life. She SLAMS the EMERGENCY STOP button. We JOLT to a halt. KIMMY I threw the list away. Shakes her head. KIMMY He's not a balance sheet, so many wonderful qualities, so many faults. He's Michael. From her heart. KIMMY And loving him means loving all of this. JULIANNE Do you get nervous in small confined spaces? KIMMY So it's sweet of you to be protective. JULIANNE Let me rephrase that. KIMMY But nothing ever could, ever did, give me a moment's pause about this marriage. JULIANNE Do you get hysterical in small confined spa. KIMMY except one. Julianne's face. Stops. JULIANNE Oh, yeah? Kimmy nods. Confides. KIMMY You. A stopper. KIMMY You'll always be there. In his mind. The perfect creature he loved for all those y. JULIANNE Well, perfection can get wearing after whi. KIMMY I'm not joking. I had to face up to all my competitive drives, and believe me, I've got'em. JULIANNE No. KIMMY And the answer was so simple. JULIANNE I was gon na predict that. KIMMY You win. Julianne blinks. Excuse me? KIMMY You're enshrined in his heart and memory. Unassailable. Which works out great. JULIANNE I've missed a step. KIMMY He has you on a pedestal. And me in his arms. Oh. Julianne smiles. LUNGES for the EMERGENCY button, YANKING it so hard it comes OFF in her hand. A terrifying BUZZER ensures. JULIANNE Jesus, we're trapped! KIMMY Ju. JULIANNE No, this happened to me once, almost, it was excruciating! Begins BANGING random buttons, out of control. Kimmy watching this. Julianne looks WILDLY up. JULIANNE There's a panel up there, you could boost me. RIPPING off her platform shoes. JULIANNE You know how little air is in these things? I've seen statistics! Once you're trapped between floors. Kimmy taps her. Points to the lighted panel. It says PH, they've reached the Penthouse. JULIANNE God! Then the door is jammed! Takes a heavy platform and begins BANGING the metal door with all her strength, sending resounding BOOMS throughout the area, as Kimmy reaches and. presses DOOR OPEN. The metal doors part, opening directly onto the banquet room, just as a mighty blow comes down, and the platform FLIES from Julianne's hand straight BETWEEN. two identical stunning YOUNG WOMEN, serving as twin hostesses for the shower. A beat of mutually - stupefied looks, and we hear the shoe CRASH somewhere, to a small spattering of SHRIEKS. MANDY Mah Gawd, it's the bride, and the woman she'll nevah live up to! KIMMY -LRB- mutters to Julianne. -RRB- That would be us. SAMMY Did she say th' wrong thang agin? It is so in character! AMANDA and SAMANTHA NEWHOUSE, 19 - year - old twins. True Southern belles, with the faces of angels and bodies made for hot oil wrestling. Mandy's hair is dyed ash blonde, Sammy's is amber. Otherwise, the experience is similar. JULIANNE -LRB- thrusts out her hand. -RRB- I'm Julianne Potter, and. SAMMY we'd be the vengeful sluts. We came in complementary colors. MANDY Have you sized up the groomsmen, Jules? As M. of H., you get first fuck. Do n't pick the short, hairy, rich one. JULIANNE unless he has a hump. The girls cast identical blank looks at Kimberly. KIMMY -LRB- to the sluts. -RRB- Dry. I told you. WOMAN'S VOICE -LRB- V.O. -RRB- Is this Michael's Julianne? All eyes turn to an elegant woman of barely 40. She has her daughter's hair and eyes and slender form. But the bearing rules half an empire. Fonda would envy. ISABELLE I'm Isabelle Wallace, and my handsome new son scarcely did you justice, girl. She takes both of Julianne's hands, and our heroine is sort of magically charmed. As if touched by Glinda the Good Witch of the North. ISABELLE Now, my husband says to scoot you over to the ballpark, so you can hang with Michael. But first, you have to meet a lot of really old women. Looking warmly in her eyes. ISABELLE That is, if you've absorbed enough profanity. Flicks a glance at the twins. Leads Julianne off. MANDY -LRB- O.S., pouting. -RRB- We sayed one fuck.", "INT.  TAXI, SOUTH SIDE - DAY Cab crawling toward COMISKEY PARK through stifling traffic. Julianne oblivious, cellular to her ear. JULIANNE Desperate measures! Do you hear me? Digger, are you the. SQUAWK. Static. Then. JULIANNE I do n't know, hit men, whoopee cushions, saltpeter, something! The girl is impossibly impregnable. Even I want her to get the guy! Listens. JULIANNE Tell him the what? The truth?? She shakes her head. What a guy. JULIANNE That desperate. May I never get.", "INT.  LUXURY BOX, COMISKEY PARK - AFTERNOON Game in progress. Watched by Michael, three groomsmen his age, two middle - aged men, and one bodyguard. Suddenly, a dull THUMPING at the door. It keeps up. They finally all look over. The bodyguard gets the door, revealing. JULIANNE Which of you gents ordered two beers? One single tray. Holding fourteen beers. Balancing on one hand. Michael JUMPS UP, terrified at the impending mayhem this sight suggests. MICHAEL Wow! Lem me give you a ha. JULIANNE -LRB- sweetly. -RRB- Michael. You'll unwittingly imply that I'm clumsy. He stops in his tracks. The guys whistle. MICHAEL Think of that. And as well as I know you. She goes first to the bodyguard. BODYGUARD Sorry, ma'am, I'm on duty. JULIANNE -LRB- lovely smile. -RRB- It's Miss.. And thanks. That leaves two for me. Heads down the row. MICHAEL Julianne Potter, this is Hank and Gerry from SI, and you know Daniel. She's nodding, flawlessly plucking two beers each from perimeter of the tray, keeping the rest perfectly balanced in the center. Michael is flat dumbstruck. Next, a tall patrician gentleman with rolled - up sleeves on his hand - stitched silk shirt. MICHAEL Oh. This is my father - in - law, Walter. Once again, she gracefully plucks two beers for the distinguished father - in - law. MICHAEL How are you doing this? You're on drugs. Sets them down. The man has a smile wonderful in its ease. Murmurs. WALTER If he gives you grief, I'll have him skillfully beaten, where the wounds wo n't show. JULIANNE I guess getting him whacked would be politically out of the question. WALTER Under the circumstances. Charmed to know you, Jules. JULIANNE Nice meeting you, too, Walt. A nod between equals. She moves on. MICHAEL And, this guy, you know. She sure does, and effortlessly balancing her one - hand load, she dips to kiss a porky, balding guy with big - time shoulders. Straight on the lips. JULIANNE Papa Joe. They go way back. He is uncomfortable at this rich man's wedding, even as gracious as everyone has been. His watering eyes twinkle at her, and the voice has a trace of Boston. JOE You gon na be my boy's best man? Despite SHOUTS from the others. JULIANNE Best everything, Joe. But I'm going to dance with you. MICHAEL Dance? You do n't dance! You learn to dance? Her innocent smile. JULIANNE Moves. You've never seen. BIG reaction from the guys, as she heads toward Michael with the last of the beers, not looking down at the FIELDER'S MITT which lies right in her path, and as his lips part to scream a warning, she skips. neatly AROUND it. He's in shock. MICHAEL You're an impostor! What have you done with my best friend? As he takes away the remaining beers. MICHAEL And how was the hot dog? Hot dog? His eyes fix on her left breast. HUGE mustard stain. She ca n't believe it. MICHAEL Cheap and unnecessary. We were looking anyway.", "EXT.  LUXURY BOX ROOF - DAY Michael and Julianne sit with their beers on the edge of the luxury box roof. The game, the stadium, spread out beneath them. Yet they are alone in the world. She dangles her legs, and we can hear her kicking the glass below. JULIANNE I just admire your maturity, that's all. I mean, there are people who would find that kind of perfection boring. Day after day, year after year. MICHAEL see, that's what I thought at first. How can you like someone that perfect? No potential for long - range livability. Drinking their beers. Side by side. Both stare only at the game. MICHAEL Luckily. The closer I watched, the more the fault came into focus. Each imperfection its own adorable slice of vulnerability. JULIANNE Such as. MICHAEL She's too genuine. JULIANNE Hate that. MICHAEL How can you trust someone you can never mistrust? JULIANNE What's next? Keep sipping. Never look at each other. MICHAEL No matter how many times I leave the toilet seat up, she forgets and puts it down. JULIANNE Endearingly absent - minded. MICHAEL My very point. Here's another one. Shakes his head. This one really gets him. MICHAEL Every day. She makes the bed. JULIANNE Quite the little eccentric. MICHAEL At first, I thought it was a gag, but she's always done it! This is not the ammunition Julianne was hoping for. JULIANNE Is there a coup de grace in here, somewh. MICHAEL She admires. Tommy Lasorda. JULIANNE Waiter! Check, please! MICHAEL She finds him `` personable.'' JULIANNE Can that kind of defect be passed on genetically? She looks over now. And Michael is looking back. Smiling the most wonderful smile. Her reaction shows that she thinks it's for her, until. MICHAEL Then again. She has a few good traits. Hating herself for asking, but seeing no way out. JULIANNE Gim me like, eight and nine off the top ten list. MICHAEL First girl I ever knew. Who lets me give her a bath. The look in his eyes. She can hardly bear it. MICHAEL And when I hug her, even in public. I do n't have to let go right away. She lets me hold her as long as I want. He seems so deeply in love. MICHAEL Nice kid, do n't you think? A beat. A slow nod. A quiet. JULIANNE Looks like, from here.", "INT.  SOUTH SIDE CLUB - NIGHT A slender black woman sings a SOARING Gospel number, backed by three ladies who could each solo in any church choir. It is mesmerizing, stirring, transcendent. The unseen audience CLAPPING FIERCELY in rhythm, SHOUTING support. SLOW PAN now. every face is black. We are n't in church at all, but a venerable blue club. One of those places you'd swear everybody's played, from Robert Johnson to Bessie Smith and back again. As the song ends, there is APPLAUSE, some RAPPING on tables with their knuckles or their drunks. We keep PANNING to a far corner. Three faces. Julianne leans across her beer to Kimmy. JULIANNE How'd you find this pl. Kim shaking her head. Looks admiringly to Michael. KIMMY Lived here my whole life, never heard of it. Until our first date. She reaches slender fingers. Traces one back along his hair. KIMMY He finds all these spots, everywhere he goes, it's a mystical gift. MICHAEL -LRB- shy. -RRB- Jesus, one d - back from the Bears knows a place. KIMMY It's not just clubs. This guy always knows the best everything. The best guitar store, the best beef ribs, the best Horowitz record, was he always like the. JULIANNE always. The best dim sum, the best camping stuff. KIMMY Stop, we're embarrassing h. JULIANNE best valley in New Zealand, best. women's shoes. MICHAEL I tried those on. When you were n't looking. Now he's grinning at Julianne. And she likes that a lot. JULIANNE Where was that, Florence, huh? MICHAEL Firenze. Together in the memory. As Kimmy watches. JULIANNE The Vespa? Me hanging on behind in the rain all night? MICHAEL Till the gas ran out. And, the first sniff of left - out. KIMMY I love Florence. Julianne's eyes flicker. Could this be a teensy opening? Keeps her eyes, her easy smile, and her killer instincts trained on Michael. JULIANNE Take her there. He nods, okay. JULIANNE I mean, now. She's perky, she deserves a honeymoon. He draws a breath. JULIANNE I heard. If San Antone sweeps Sacramento. What is this shit? You got ta get off the road by September anyway, when does Fall Quarter start? And the happy couple look at each other. They are awkward. Julianne's heart soar like eagle. KIMMY Uh. I'm not coming back. For senior year. Could this be. The Mother Lode? JULIANNE Do n't architects find a degree, sort of. an asset? The couple still staring in each other's eyes. KIMMY Well, the school will be here. Architecture will still be around. Right now. MICHAEL I travel every week. College ball, motor sports, training camps. KIMMY The most important thing. Is being together. And she smiles. Beautifully. KIMMY I'm just a baby. I've got all. the time. in the world.", "EXT.  CLUB - NIGHT Michael putting Kim in the back of a cab. As Julianne watches. MICHAEL Because I could come. KIMMY To the twins' soiree? So they can paw you and drool? JULIANNE -LRB- calls out, helpful. -RRB- They're gon na drool anyway! Kim smiles. He kisses her, tenderly, through the open window. She waves past him at Julianne. KIMMY -LRB- to both. -RRB- Enjoy each other. And drives off. As he watches after, Julianne comes up behind him. Slips her hand up onto his shoulder muscle. Starts giving a little massage. JULIANNE Should I whistle down a cab? MICHAEL Hey, cabs are expensive. I'm cheap, remember? Turns his head, to see her. She's still rubbing his shoulder. JULIANNE Sometimes. About the dumbest things. Share a smile. As always, it covers a lot of years. MICHAEL The El's right down the street. Unless you're afraid of the neighborhood. She looks around. It is an issue. But she remembers. JULIANNE No. I'm always safe with you. She means that. He takes her by the hand. They begin walking. JULIANNE Pretty amazing girl, you've got. Make that kind of sacrifice. MICHAEL What, leaving school. JULIANNE all of it. She's leaving her family, her friends, everything she knows. She's putting her career on hold, and she seems a pretty ambitious, driven, kind of pers. MICHAEL -LRB- quietly. -RRB- In her way. JULIANNE All to follow you in this dumb job, where you travel 52 weeks a year to College Station, Texas, and such. It's not a job for a grown man, Michael, Peter Pan never married. He's let go of her hand now. Looking down at the pavement before him, fists in his jacket pockets. JULIANNE -LRB- softly. -RRB- I do n't think she's naturally the. submissive type. Are n't you afraid she's gon na choke on this stand - by - your - man shit after awhi. MICHAEL -LRB- real quiet. -RRB- No. Hit a nerve. This is promising. JULIANNE I mean Walter owns the Sox, cable sports. most girls in her spot would be angling to get Daddy to offer you some juicy gig right here in t. MICHAEL She would never. Never. Even think of that. Paydirt. Julianne's Geiger Counter is going berserk. JULIANNE I guess you're right. That would be deceitful. manipulative. controlling. emascula. MICHAEL I got the point. He looks over at her. No smile on his face. An edge we have n't seen. She shrugs. JULIANNE Still. All's fair in love and w. MICHAEL That would be a girl. I do n't even know. They've reached the stairs to the El. A rickety train RATTLES above them. As they start up, she slips her arm around his waist. JULIANNE -LRB- murmurs. -RRB- Forgive me, okay? I was talkin' crazy. He slides his arm around her shoulder. Pals. They climb out of frame.", "INT.  HOTEL BATHROOM - LATE NIGHT CLOSE on a shallow pool of water in a bathroom sink. Green powder pouring in, a hand SWIRLING it around, until. JULIANNE -LRB- O.S. -RRB- It's Albanian, I think. Or Mongolian. Or Canadian. One of those. I bought it downstairs. it becomes truly disgusting lumpy green mud. JULIANNE -LRB- O.S. -RRB- I figure, what the hell. Can it make me look worse? Follow the hand up as it SLATHERS the shit across her face in great green dripping gobs. She's juggling the wall phone, trying to keep it mudless, as she assures Digger. JULIANNE Dig, of course. Of course, of course, of course, of course I have a plan. Certainment! More green slime. The Julianne we know disappears. JULIANNE How? I ask myself, what would Lucy Ricardo do in this situa. Desecrates three hotel towels, wiping her hand. JULIANNE Well, one worked, once. THROWS them in the bathtub. Fastidiousness a short suit. JULIANNE Ricky would n't let her in the show. Reaches for her toothbrush, absently. All her attention is on the conversation and the hideous green face in the mirror. JULIANNE I recall it differently, but we digress. Without looking, picks up a tube of hotel shampoo. JULIANNE So in the version, you're Ethel, with better fashion instincts. Squeezes it all over the toothbrush. JULIANNE This puts you in charge of Plan B, the unprincipled and insanely dangerous back - up plan. Lifts it toward her mouth, liquid shampoo dripping from the bristles. JULIANNE In case simple lying does n't work. At the last second. She stops. We do n't know why, because she's still never looked at the brush. JULIANNE Question. What happens if you brush your teeth with shampoo? Turns on the tap. Tries to scrub the toothbrush clean, and DROPS the phone into the green swamp, which SPATTERS all over her front. Euucch. She's stymied, agitated, circling the sink, leaning down to it. JULIANNE HOLD ON. I'M COMING IN FOR YOU! She sets the toothbrush down in her toiletries kit. Decides to YANK on the phone's cord, and the receiver SPRINGS out, BOPPING her in the face. She's so filthy at this point, she just wipes it clean on her nightshirt. Tells Digger. JULIANNE You okay? This is one of those problem phones. Lifts the toothbrush and tube of paste from her kit. JULIANNE Right. Your role. You know guys from Sports Illustrated, yes? I mean, you can walk right in there. Squeezes on the paste, lifts the brush to her mouth. JULIANNE You could get access to letterhead, for example. JAMS it in her mouth, brushing as. JULIANNE -LRB- mouthful. -RRB- or even, maybe, their fax. Stops. The funniest look on her face. Down to the toothpaste tube. Which says BEN GAY. Oh.", "INT.  TIFFANY'S - MORNING Julianne and Kimmy cruise the stately display cases. Everywhere, the Tiffany logo, the silent, watchful staff in morning coats. As they browse, Julianne takes a blueberry Danish from a paper sack, and begins to eat. The staff notices. So does Kim. JULIANNE It's an homage thing. Hmm? JULIANNE Awkward girls grow up on Audrey Hepburn movies. You would n't understand. Kimmy does n't. But wipes a blue glob from Julianne's face. KIMMY Anyway, I think you're wrong. Wrong? KIMMY What you were saying before. Before? KIMMY About Michael's job. JULIANNE Oh, that. I forgot I even said th. KIMMY I just think you're wrong, is all. JULIANNE Probably am. Forget I brought it up. Points to some jade pins. Kimmy wrinkles her nose. KIMMY I mean, he loves his job. JULIANNE Bad games, bad towns, bad pay, bad flights, bad hotels, real bad food. Homeless, rootless, lonely, maybe your copy gets into one issue out of four. Smiles. JULIANNE What's not to love? None of this is lost on Kimmy. She's wondered the same. KIMMY But he always says. JULIANNE whatever is manly and independent. Kim nods slowly. Way ahead of her. JULIANNE Why would he trade that for running, say, a big piece of the PR at a powerful, complex, challenging conglomerate like your dad's? Kim stares back. A strange look. KIMMY That's just the sort of thing my father and I discussed. Julianne just blinks. Amazed. JULIANNE I'm not stupid. Say, how about this? Pointing to tiny golden scissors in the novelty case. Kim so absorbed by the main topic, she has to force herself to focus on. KIMMY For the twins? What in the world is th. JULIANNE Gold nose hair clippers. Points to the tiny hand - lettered sign. Indeed. Kimmy shrugs, not quite it. KIMMY So you do n't think Michael's as happy with his job as. Julianne points to a matched pair of large. KIMMY Gold dog collars? They do n't have dogs. JULIANNE Hello. Kim nods, oh. But ca n't keep her mind off. KIMMY You think he'd accept? Hmm? KIMMY Michael. A job like that. Oh, well. JULIANNE By any yardstick that involves sanity, it would be the greatest thing that ever happened to him. Present company excepted. Kimmy nodding slowly. Her yearing achingly apparent. JULIANNE On the other hand, he's proud. Last thing a man wants to admit, is being trapped in a dispiriting dead - end job that can never support a family. A very sweet smile. JULIANNE Throw a man a life preserver. He'll say, `` Thanks, anyway, I'd rather drown.'' Kim nods again. Right. They are so bonded at this moment. KIMMY So. one almost has to. JULIANNE Exactly. KIMMY Exactly what? JULIANNE What you said. Make it appear that he's doing you the favor. Kimmy bites her lip. Her eyes go down. Self - conscious to admit. JULIANNE I could n't really. do that. After, you know. Her voice trails off. JULIANNE -LRB- kind, but wise. -RRB- lying. All the time. That brings the gray eyes up. Julianne bats her dark ones. JULIANNE Oh, darling, my pitiful desires and ambitions are dirt beneath the manly boots of your priorities! Kimmy has to smile small. A self - awe gal. JULIANNE -LRB- pouring it on. -RRB- Two hundred seedy motels a year? Dinners out of vending machines? Waiting for you in vermin - infested corridors of dark crotch - rot locker rooms? This stuff makes me hot! KIMMY The very words I've used. Julianne ` thinks it over.' Kimmy waits for guidance. JULIANNE We make Dad your co - conspirator. Michael does a favor for Walter. Simple. JULIANNE Walter's reorganizing his public relations, needs a brilliant guy who's close to him, who he can completely trust. Kimmy nodding. Hope overriding reason. JULIANNE So you beg. Michael, please do this for Daddy, please, please, please, blah, blah, blah. it's only for six months. it would mean so much to me to help him out. Turns up her palms. Viola! KIMMY He'll see right through it. JULIANNE Only. If he wants to. They share a smile. JULIANNE In six months, he'll be happy, settled, successful. KIMMY He wo n't get mad, huh? MR.  MOONEY -LRB- O.S. -RRB- May I be of any help, whatsoever? Mr. Mooney is the most gracious Brit salesperson ever to offer kindness, intelligence and thoughtfulness to a customer. He is large, sixty, with disappearing hair, watering eyes, and a manner that makes you think of immediately hiring a butler. JULIANNE Bridesmaid gifts for two, well, assertive, outspoken, Tennessee debutantes. KIMMY -LRB- still focused. -RRB- He wo n't be mad? JULIANNE -LRB- to Mooney. -RRB- Nothing here seems to quite capture their distinctive personalities. MR.  MOONEY Something customized, perhaps? We can fashion most any item from gold. Ah. Julianne nodding. Reflecting. MR.  MOONEY An object that might represent what is closest. To their heart. KIMMY -LRB- under her breath. -RRB- Do n't even think dildo. Julianne digs through her jumbled bag. JULIANNE Could you do this. Tossing an object on the counter. JULIANNE In 24 carat? It is a MASTERCARD. A gold one. KIMMY -LRB- softly. -RRB- Bingo. They smile at each other. More bonded than ever. KIMMY You do n't think he'll be mad. A beat. Can Julianne even make herself do this? JULIANNE Your call. You can live a lie. In a fabulous selection of Red Roof Inns. Or you can make one desperate stab at hap. KIMMY I just do n't want to freak him out. What do you think? Julianne stares into the soft gray eyes. It's now or never. The smile of a dear sister. JULIANNE How mad could he get?", "INT.  FASHION RESTAURANT - LUNCH HOUR Julianne enters with a really nervous Kimberly in tow. Approaches the maitre d'. We CLOSE to hear. MAITRE D' Oh, Mr. Wallace and his guests have retired to the humidor. Points to an escalator, leading to the mezzanine. Behind a glass wall, what looks like a British men's club. Thirty guys and a billion cigars. As Julianne starts toward it. MAITRE D' Oh. Mademoiselle. She turns back. Loves this shit. MAITRE D' It's unofficial, of course. But, traditionally, the humidor is for gentlemen, only. JULIANNE Great. I've got this girlfriend at the Justice Department? With all this time on her hands? Her look is every bit as hard as his. He gestures to the escalator. She takes Kimmy's hand, and up they go. We can see Walter in a big leather chair, enjoying a major stogie. Kimmy licks her lips. They enter. Every head turns. A nice range of reactions, from offended to attracted and points in between. JULIANNE -LRB- murmurs. -RRB- Piece of cake. I'll hang, and think happy thoughts. Kimmy nods. Heads over toward her father. Julianne walks, confidently, even provocatively, to the wall lined with bins of cigars. Every eye in the place is on her butt. She runs her fingers over a few contenders. Plucks one out, examines it, puts it back. Walks a little farther. Selects another, big and black. Rolls it expertly in her fingers. Sniffs along its length. A guy comes over. Could be 40, successful, a broker's pin - stripe. Nearly as attractive as he thinks he is. GUY Know what you're looking for, little lady? Little lady, huh? She glances at his coven of buddies, who pretend not to notice. Then, straight to the guy's blue eyes. JULIANNE Yeah. Do you? GUY I asked first. Ah. Wit. She holds up her cigar. JULIANNE I like'em long and hard. Kind of. big around. Runs it under her nose. JULIANNE Smell is important, I'm a believer in that. Takes a match from a cut crystal bowl. JULIANNE But you never know what you've got. Till you run your tongue over it. And she does. Moistening the full length of the cigar. The boys are laughing openly. She STRIKES the match. As she lights up. GUY I meant. What you're looking for in a man. She glances at his wedding ring. Then, straight into his eyes. JULIANNE Actually, I'm partial to married gentlemen. The way she says that. The guy swallows. We can see some of the air has been sucked from the room. GUY Why is that? JULIANNE It's so much time. When I phone the wives. Explosive LAUGHTER from the peanut gallery. As she jams the big Clemente Churchill into her mouth, she sees Kimmy waving her over from across the room. Without even looking at the guy she's just put away. she crosses the room, Walter stands politely, looking very dapper, very powerful, and focusing on her with considerable interest. He waits until she sits on the edge of a costly leather hassock. WALTER -LRB- simply. -RRB- Your idea? She ca n't read this guy. Maybe that's how he built an empire. She nods, yeah. WALTER You're a woman of insight. He sits on the arm of his chair. Close enough to speak quietly. WALTER My wife and I love this marriage, and deplore its circumstances. He puffs his cigar. Julianne puffs her. Kimmy looks on, a kid watching the grown - ups. WALTER As you guessed, my daughter is unhappy about giving up her life. And, in my opinion, cowardly in avoiding the necessary confrontation. Then he stops. As if reading Julianne's eyes. WALTER Mike has a world of ability. I'd do anything to have him in my company. One more puff. WALTER Except ask him. Julianne is a little stunned. Kimmy looks helpless. WALTER He'd resent it. And me. And, most important, Kim. No smile on his lips. Straight talk. WALTER He's a great kid, but he's still a kid. Instead of recognizing that his resistance comes from insecurity, he'd turn it to anger. To protect himself. Spreads his hands. WALTER from realizing that he's ignoring my daughter's needs, despite how very much he loves her. He looks to his daughter now. WALTER They both have some growing up to do. But they're good people, they're starting with love. They've got time. JULIANNE -LRB- softly. -RRB- I think you're making a mistake, sir. His eyes come back to her. A little sharply. WALTER And that interests me. How someone who knows him so well could be so wrong. A formidable guy. She meets his gaze. JULIANNE See, I love him, too, as much as anyone here. And for a whole lot longer. From her heart. JULIANNE I think I know best what would make him happy.", "INT.  TOILET STALL - DAY Julianne, fully dressed, sits on the closed lid of a toilet seat. The stall is tiny enough to arouse claustrophobia in an astronaut. Her cellular phone pressed to her ear, she is listening angrily, smoking ferociously, every call in her body running at red - line. JULIANNE Okay, okay, okay, okay, I hear you, all right? She closes her eyes. JULIANNE It is stupid, dishonest, desperate beyond belief, and ca n't possibly ever work. It can only end in humiliation and disgrace. Now can I say two words? Deep drag on the cigarette. For strength. JULIANNE Do it! Do it! Do it! Do it! Do it! Do it! She's striped her gears. COUGHS horribly. JULIANNE All right, twelve words.", "INT.  PUBLIC RESTROOM - DAY Julianne exits the stall. To face three BLACK TEENAGE GIRLS. Just staring at her. TEENAGER -LRB- supportive. -RRB- You do it, girl. Julianne nods to the kids. They nod back. Damn straight. She exits the restroom, into. glaring sunlight. We are in the middle of the BROOKFIELD ZOO. And sitting on a bench, eating popcorn from a bag. MICHAEL Wow. What was going on in there? She shudders. JULIANNE Some crazy person.", "EXT.  ZOO - DAY Michael and Julianne walking together. He's eating his popcorn. She carries a cardboard container with nachos, a gooey fudge waffle cone, and a large drink. MICHAEL You're not eating. JULIANNE I never eat when I'm serene. MICHAEL You never eat when you're despondent. JULIANNE I switched that around when you were n't looking. She swirls a single nacho chip in cheese. But her heart is n't in it. MICHAEL Last zoo we were in was. Beijing, yeah? Sure. The rhinos were fucking. JULIANNE Boy, those were the days. And when she looks over. His eyes are waiting. MICHAEL -LRB- softly. -RRB- Yeah, they were. They're passing the hippo pen. But they do n't notice. JULIANNE That was nice. The way you said that. So was that. He's feeling restless, something. Does n't know quite what to say. MICHAEL It's weird being the groom. All these things Kimmy has to take care of. JULIANNE You need a baby - sitter. That's what I'm here for. He holds her eyes. Then looks down. Awkward. And the way he's doing it begins to excite her. JULIANNE Say it. He looks up, neither one of them noticing that as they walk, she is about to. CRASH into a chest - high metal stand that displays animal facts. We have followed him as she is WIPED from frame. His face from shock. to amusement. MICHAEL Now, there's my girl. to tenderness. PAN back to see her wearing everything from her cardboard container. Nachos, fudge sauce, Diet Coke, the works. It is really awful. Kids, bystanders, laughing cruelly. Her eyes fill with tears, and she tries bravely to smile against it. JULIANNE See, I can only do it with beer. He takes out his handkerchief. And with that and his hands, gently scoops the worst of the mess off her. The fact that he's touching her breasts and her body is something they pretend not to notice. She laughs softly, and a few tears fall, even though she does n't know why. Such an odd, raw, confusing moment. To the world looking on, they are lovers. MICHAEL -LRB- murmurs. -RRB- See, better already. And he kisses her face. Not quite her lips. But only an inch away. We can feel her heart pounding. He strips off his shirt, only a tank top underneath. MICHAEL We'll go back to the bathroom, you'll put this on. Okay? She sniffles, okay. Swallows. JULIANNE Bet you're glad I'm here to take care of you. He puts his arm around her. MICHAEL Bet I am. Holds her close, as they start toward the restroom. MICHAEL Hope that crazy person's not still there. We're on their backs. JULIANNE -LRB- O.S. -RRB- She does n't scare me.", "EXT.  BEACH CLUB, LAKE MICHIGAN - SUNSET Julianne in T - shirt and shorts, rushes onto the deck of a sprawling beach club. Clutching her bag, she quickly surveys the scene. the entire beach has been taken over by the wedding party. Young folks, old folks, little kids, maybe 200 people. We SCAN with her to find a crowd around. a three - on - three volleyball game. Kimmy and two groomsmen on one side, facing Michael and the Tennessee debs. The twins wear spectacular bikinis and are surprisingly athletic, as well as predictably uninhabited. As the next point begins, Kimmy serves. Sammy in back makes a nice dig, lobbing to Mandy who sets for Michael's vicious SPIKE straight THROUGH his best man's hapless defense. The crowd cheers Michael, and as he turns, Mandy gives him a savage. CHEST BUMP of congratulation, that any NFL linebacker would be proud of. It puts the surprised Michael straight on his butt. Laughter, applause. The twins pull him up and Sammy gives him a hot kiss on his ear that makes the crowd react. Kim plays good sport. Julianne watches Michael's body for a beat, then. dashes off. Down the beach, several barbecue grills have been set up. Manned by beach club staff and family alike. Michael's pop, Joe, is dispensing beers from a keg. Kim's mom, Isabelle, is coordinating the beans, potato salad and corn - on - the - cob table. Julianne races across the sand to. a huge smoky grill where Walter is basting baby back ribs, clearly enjoying himself. Julianne runs up to him, says something into his ear. He looks at her. Then turns his station over to a club steward, and follows Julianne down toward the lakeside. CLOSE now. As they stroll together, she's a little breathless. He's watching her profile, curious, silent. At the water's edge. JULIANNE -LRB- whispers. -RRB- Is anybody watching? WALTER I hope so. This is all too mysterious to waste on just me. She reaches into her big bag. Pulls out a single folded sheet of paper. JULIANNE I picked up Michael's messages for him, at our hotel. I stole one. His face darkens. The easy smile fades. He holds up his palms. WALTER Julianne, reading my son - in - law's mail, is not something. JULIANNE Sir, this is important! Have n't you ever in your life cut one corner, to make something important turn out right? His smile returns. Just a little. WALTER Matter of fact, that's how I got married. The look holds. She thrusts the paper out. He still does n't take it. JULIANNE It's a fax from Sports Illustrated from Ben Isaacson, Michael's boss. WALTER -LRB- quickly. -RRB- I know Ben. She opens the paper. JULIANNE `` Mike. We still have no answer to our E - mail of Wednesday. Which option do you select? I do n't mean to rush you, but Personnel needs to tie up the loose ends.'' He takes the paper. We see it now. Looks authentic. JULIANNE I think he's been fired. WALTER It does n't say th. JULIANNE He's said some things over the past few weeks. Look, this is why I came up with the idea of you offering him a job. He looks up. He's listening. Closely. JULIANNE And why I could n't say anything before in front of Kim. She bites her lip. Seems so earnest. JULIANNE I just think of how. desperate he must be feeling. He's marrying a rich man's daughter, and he's about to become destitute. You know the kind of job market he'll be facing? He does. WALTER And you think he's kept this to himself. JULIANNE He's too proud to beg for help. And if you wait till this comes out, your offer will be like charity. Completely humiliating. He's staring at her. But his mind is working behind his eyes. JULIANNE If you do it now, it's like he's helping you. He can accept with dignity. He taps the paper with the back of his knuckles. WALTER This fax could mean. any number of things. She nods. She knows that. WALTER -LRB- softly. -RRB- Maybe. I should call Ben. JULIANNE Then it could all come out, sooner or later. Nobody should be in on this. Just you and me. Or, more correctly, I. She takes the paper back. JULIANNE What if, what if I could find that E - mail? The long straight look. Maybe he's hooked. JULIANNE I never noticed. Kimmy has your eyes.", "INT.  LOBBY, RITZ CARLTON HOTEL - TWILIGHT Tall, gangly, young DESK CLERK. Lank hair, pimples. He looks up, beams to see. JULIANNE Hello, again. She's flirting her ass off. JULIANNE You still have n't straightened that tie. And she reaches across the desk with her lovely, slender hands. Does it for him. Her fingers brush his chest on the way back. We can assume a woody. JULIANNE You know, my friend, the one whose message I picked up? He does. His eyes flick toward his stately female SUPERVISOR, helping another guest across the way. JULIANNE Well, he's still with the wedding party. And he asked me to get something he needs real badly from his room? The boy swallows hard. JULIANNE He's in 1526. If you could just let me ha. BOY See that woman? Not only does Julianne see her. The woman is looking back, while she's talking to her customer. Not a pleasant look. BOY She said, if I ever pull a stunt like that again. JULIANNE You'll lose your job. BOY tear my pecker off. Is what she said.", "INT.  HOTEL CORRIDOR - TWILIGHT An elevator OPENS, revealing Julianne, carrying a gym bag. She looks down the long hallway, sees a maid's cart. Heads the other way, briskly, to. a small ALCOVE. Opens the gym bag, pulling out a bath towel. Begins to yank her top up OVER her head. ANGLE. the young MAID now pushing her cart down the hall, wheels SQUEAKING, and from nowhere. Julianne DARTS into her path, barely covered by the towel held tight across her, she is grinning, blushing. JULIANNE Help me! The maid can only blink. JULIANNE I locked myself out, 1526, please hurry! And looks frantically up the hall, mortified that any moment a stranger could happen upon her predicament. Her eyes dart back to the maid. PLEASE. The maid just stares. Stares. JULIANNE Uno - cinco - does - ses. Oh.", "INT.  MICHAEL'S ROOM - TWILIGHT Julianne alone in his room, looking around frantically. No worries about this guy making his bed every day, stuff, clothes, strewn everywhere, the bathroom looks like a cherry bomb just detonated. She's tramping through a bachelor's debris, wearing only her towel, looking, looking. There it is. The corner of his LAPTOP sticking out from beneath a discarded bedspread. She SNATCHES it up, OPENS it, sets it on the cluttered desk, and. stops. There are wallet - sized SNAPSHOTS of Kimmy. Some alone. Some as a little girl. Some with Michael. And next to them. the plastic fold - out wallet inset. That he has not yet quite rearranged. So she picks it up. Leafs through, until she finds what she was praying would be there. Julianne grinning. Michael's arm around her. On the deck of a boat. They have drinks in their hands. Happiness in their eyes. And she stares at it. Jesus, God, how long has he carried this around? She flips through further, all the rest have her in them. Maybe half a dozen. Her heart is throbbing. Her eyes are damp. Back to the one on the boat. She slips it from the plastic window. Holds it. Then, gently. puts it back where it belongs. PUNCHES up the goddamn laptop. This is it, girl! Do or die. JULIANNE -LRB- murmurs. -RRB- You would n't change your password, would you? You never change anything. Those words make her bite her lip. Damn, I'm becoming a senti - mental slob. TYPES in. JULIANNE -LRB- murmurs. -RRB- Shoeless. Joe. Yes! We're in! Punching keys. Letters flying across the screen. Okay, we're ready. Types. JULIANNE -LRB- reads as she types. -RRB- Mike. I hate this downsizing shit as much as you do. But I know this ca n't become as a complete surprise.", "INT.  BEACH CLUB CARD ROOM - EVENING Through the window, the wedding party barbecue has extended into night. Lanterns, music, lots more food, lots more drinks. In the distance, on the sand, Michael is slowdancing with Kimmy. Some - where nearby, the soft CLICKING of keys. We PULL BACK to see. a small clubby room. Books, leather, polished woods. Only two people here. Walter, looking on stony - faced, as a determined Julianne grimly `` struggles'' to `` find'' what she's looking for in Michael's laptop. And then. she stops typing. Looks at the text on the screen. Her eyes sharpen as she `` reads'' what Walter ca n't see. It's an Oscar performance for our desperate girl. She turns the screen around. WALTER -LRB- reads. -RRB- Mike. I hate this downsizing. He reads. Reads. Reads. All the air comes out of him. WALTER -LRB- softly. -RRB- And Kimmy does n't know. She shakes her head. Nope. No way. WALTER -LRB- signs. -RRB- I'll tell her I've reconsidered. She nods, gravely. Right. He looks in her eyes. WALTER You're a smart girl, Jules. She forces up a fleeting smile of gratitude. But Walter is n't smiling at all. WALTER Wish my daughter. Bad your guts.", "INT.  CHARLES TROTTER'S BAR - NIGHT The hot saloon in Chinatown. Upscale, downscale, jammed, Michael and Kimmy at a small table in a far corner. CLOSE on them. MICHAEL Sure you're okay? She looks really scared. Turns her drink in her hand. Looking down at it. MICHAEL It's not just a gag, huh? KIMMY No, it's, uh. a real big favor. He takes her hand, tenderly. MICHAEL I wish you'd just. come out with it. I mean why are we waiting for Jules? She smiles up at him. The best she can. KIMMY Moral support. She loves him so much, and she is sick with worry. KIMMY What's good of having a big sister, if she. Stops. Gestures with her eyes. Because her big sister has just entered. looking fabulous. Julianne wears a long sleek sarong, slightly see - through. Her hair is bound up with silver pins. As she moves through the room toward us, we can see that, for once, her make - up is flawless, understated. When she arrives at the table. Michael is beaming, admiringly. He stands up. MICHAEL -LRB- softly. -RRB- Wow and wow. You have a date, after this? JULIANNE Never can tell. He holds her chair. She exchanges an intimate smile with the anxious Kim. MICHAEL You make me think of that song, we used to. And he starts humming. The song is, `` The Way You Look Tonight.'' MICHAEL -LRB- singing. -RRB- Someday. When I'm awfully low. They sit. He looks from Julianne to his bride. MICHAEL Okay, kid. You're on. Kim's eyes flick to Julianne, who nods, supportively. The kid takes a breath. KIMMY It's really my father. Who needs the favor. His face sort of comes to a stop. Nothing she can read, yet. He nods, yeah? KIMMY He's. he's reorganizing some of the divisions of the company. His eyes flick to Julianne. She looks down. MICHAEL -LRB- quiet. -RRB- He never mentioned that. Neither did y. KIMMY -LRB- blurting. -RRB-. and public relations is a big problem area for him. She can see it now. In his eyes. She just ca n't tell how bad. KIMMY He needs someone incredible, someone really close, who he can trust. MICHAEL Like family, huh? So quiet. So cold. She is terrified. KIMMY It would only be, maybe, six months? Or three or four? It would mean so much to him. MICHAEL To him. She swallows. Straightens her spine. KIMMY And to m. MICHAEL -LRB- sharp, to Julianne. -RRB-. and you knew about this. Real quiet. Against the noise of this place. JULIANNE I think you ought to listen to her, Michael. This is her life, too. Just the thing. To bring that anger near the surface. He turns to Kim. MICHAEL Well, which is it? A demand. Sharp. Accusing. She does n't like that. MICHAEL You gon na tell me Daddy thought this one up? All of a sudden, I'm the only jerk alive who can help him deal with the press? She's trapped. Angry, scared. A deer in headlights. MICHAEL Why do n't you start being honest for one fucking sec. JULIANNE Michael! KIMMY -LRB- near tears. -RRB- I am honest! Silence. KIMMY All of a sudden, I'm supposed to drop out of school, forget my family, forget my career, forget all the plans I had for my life. MICHAEL Well, forgive me for screwing up your plans! He ca n't even believe he's hearing this. MICHAEL I'm sure glad I'm hearing all this now, before it's too late! KIMMY What is that sup. MICHAEL And what am I supposed to do with my life, huh? I am 28 years old! I work in a low - paying, low - status, zero - respect job which, unfortunately, I happen to fucking love. How inconvenient. Shrugs. MICHAEL No problem. A little bullshit about Daddy's `` needs,'' and presto, I'm a lap dog in high society. JULIANNE -LRB- softly. -RRB- Michael, it sounds like a wonderful opportun. MICHAEL -LRB- whips around. -RRB- Does it, really? How come you never took some sell - out establishment job? You had plenty of chances! Glares in her eyes. MICHAEL I'll tell you why. Because that is n't you. And it is n't me, either! We're the same person! Back to Kim. MICHAEL What a sweet little picture. Mommy and Daddy are n't losing a daughter, they're gaining a eunuch! KIMMY Well, if that's the way you f. MICHAEL Damn straight, it's how I feel! What's their wedding gift, a little gold collar that says `` Mikey - poo''? Or do I have to change my name to `` Binky''? She's crying now. Real tears on her face. MICHAEL Great! Tears! The big equalizer. You wait till two days before the wedding to drop this on me, and I'm just supposed to roll over and drool! She is sobbing now. She ca n't help herself. Which makes him totally crazy. He jumps up. MICHAEL Fine. I'm an insensitive, chauvinist asshole, and you're well rid of m. KIMMY MICHAEL! A wrenching cry from her heart. It stops him cold. And before Julianne's astonished eyes, Kimmy reaches out a trembling hand. KIMMY Michael, you are so. Choking back the sobs. KIMMY so right. And I am so very wrong. Michael blinks. Julianne blinks. For different reasons. KIMMY We ca n't go down two roads. And still be together. Her fingers stretch, beckoning. JULIANNE Uh, Kimmy? KIMMY -LRB- ignores her. -RRB- We settled this. And I reneged. That was n't fair. Please, please, take my hand. KIMMY You have to forgive me, and forget this ever happened. People are watching, staring. These two see only each other. KIMMY or I'll die. A frozen, forever moment. He steps to her. LIFTS her up in his arms. Into the deepest, most heartfelt KISS. And as she clings to him, people begins to APPLAUD, and whistle, and laugh. Julianne. In her pretty dress. Closes her eyes.", "INT.JULIANNE'S HOTEL ROOM - NIGHT Julianne in her nightshirt, her back to us, sobbing into her cellular as she paces the room. JULIANNE see that's what I never counted on! I never heard of a brilliant moron before! We CLOSE as she WHIPS around, startling us with her grotesque day - glo PURPLE face mask. The green was better. JULIANNE I mean, the little twerp GROVELED! Losing it. We know the drill. JULIANNE SHE IS SO WRONG FOR HIM! Clutching the phone. JULIANNE Michael and I are the same person! Self - absorbed and imperfect and vaguely loveable! We deserve each other! Tears are flowing. Which, over this mask, is not a pretty sight. JULIANNE I'm out of hope, I'm out of sneaky ideas, I'm at the end of my rapidly - fraying hysterical little rope! Help m. She TRIPS over an open suitcase, and DISAPPEARS from frame. The THUD is slightly alarming. JULIANNE -LRB- O.S. -RRB- God, I hate this hotel. HOLD. On nothing is particular. JULIANNE -LRB- O.S. -RRB- And I hate talking to your machine!", "INT. JULIANNE'S ROOM - EARLY MORNING REAR VIEW of Julianne asleep on the floor, sunlight streaming in. A soft knocking on a door, somewhere nearby. She barely stirs. The knock becomes a strong RAPPING, and she fights for conscious - ness. Her back still to us, she. rises, STUMBLES to the door, which is now pulsing with an insistent POUNDING, and THROWS it OPEN, as we SNAP to. REVERSE ANGLE. CLOSE on Julianne's face, still encased in a now - decomposing PURPLE MASK, her eyes SPRINGING wide, she SCREAMS in shock, and we SNAP BACK to. ORIGINAL ANGLE. Digger, watching impassively at the high - strung SHRIEK. In the silence that follows. DIGGER You stole my line. He touches his face, and she realizes! JULIANNE Oh, shit! Starts CLAWING at the overripe mask, but he grabs her wrists. DIGGER Chill. We do n't want your face coming off with it. JULIANNE Chill? Since when do you say ch. DIGGER When I'm talking to children. She looks in his eyes. Realizing at last. JULIANNE You flew all the way h. DIGGER I noticed. I'm on the noon back. We have this thing with George's family in the Hamptons. JULIANNE -LRB- soft. -RRB- You're butting in. He still holds her wrists. She brings one of his hands to her lips. Kisses his knuckles. JULIANNE -LRB- softer. -RRB- I really resent this.", "INT.  BATHROOM - MORNING Julianne seated at the sink, staring into the mirror, as Digger gently applies soup, cloth and water to easing away the mask. A paleontologist restoring a Bronze Age artifact. By the side of the half - filled sink, rests her plugged - in curling iron. JULIANNE What I mean, when I say annoyingly perfect, is that there is nothing annoying about her perfection. It is vulnerable and endearing. And that is annoying as shit. DIGGER You like her. JULIANNE If I did n't have to hate her, I'd adore her. She looks up at him and WINCES, as the movement makes him scrape her face. He's sorry. JULIANNE Last night, she was crying, these big, real tears, when she thought she'd lost him. It was like there was a knife in her heart. Looking in his eyes. Needs him to hear. JULIANNE and I put it there. I hated myself, I grieved for her, I could n't enjoy one second of it! And then, when it did n't work. Can you believe this? JULIANNE I was devastated. DIGGER -LRB- softly. -RRB- Go figure you. JULIANNE Because I realized. When I see him say `` I do,'' that knife will be in my heart. And it will be there every. She holds his wrists now. To stop him. To plead for understanding. Forgiveness. JULIANNE every time I think of him, forever, which could be a lot. She almost choked on that last part. So she composes herself. JULIANNE You watch a guy caress his girlfriend's butt. You see an Old Spice commercial. Sentimental moments are everywhere, when you're in the right frame of mind. She swallows hard. Fights for a grip on her determination. JULIANNE There are 18,250 nights in the next 50 years. DIGGER You've been working on this, huh? JULIANNE and having `` done the right thing'' will only really be comforting, oh, maybe, five, six times. She sets her jaw. JULIANNE This is my whole life's happiness. I have to be ruthless. DIGGER -LRB- quietly. -RRB- And you believe that. JULIANNE -LRB- unconvincing. -RRB- Sure. His eyes are gentle and merciless at once. No way she gets off this hook. JULIANNE He was in love with me every day for nine years. I can make him happier than she can. DIGGER It's not his happiness you're feeling guilty about. JULIANNE -LRB- proudly. -RRB- I do n't know the meaning of the word guilt! DIGGER Impressive. JULIANNE I am breaking her heart in the short run, but doing her a gigantic favor! She would be miserable tagging along after this insensitive doofus! DIGGER The man you love. JULIANNE Beyond reason. The feminist warrior will rise up in this kid, and she'll be standing over his sleeping form with a butcher knife, selecting from a short list of body parts! DIGGER Someday she'll thank you. JULIANNE Let's not get carried away. And the defenses drain from her clay - ravaged features. The real Julianne is glimpsed. JULIANNE I'd settle for. Someday, I'll forgive myself. For? JULIANNE For doing this terrible thing. Her eyes tear up. JULIANNE Which, by the way, I ca n't figure out how to do. As the tears fall, he wipes at them, discovering. DIGGER Jesus. You're supposed to take your make - up off before you apply the m. JULIANNE I KNOW THAT! I WAS DISTRACTED BY GRIEF! Oh. JULIANNE Guess what I brushed my teeth with last night? He thinks about this. Following her eyes to the toiletries kit, he browses for a moment. DIGGER Zit cream? JULIANNE I wish. DIGGER Neosporin? JULIANNE Try less appropriate. DIGGER Ben Gay. JULIANNE That was Thursday. He stops on that note. DIGGER Elmer's Glue? JULIANNE DO N'T BE RIDICULOUS, WE'RE HAVING A SERIOUS CONVERSATION! She's hysterical. DIGGER I give. JULIANNE I ca n't even say it. Now. He's curious. JULIANNE A hint. The first word is `` Preparation.'' Then comes a letter of the alphabet, perilously close to G. She reaches to test her curling iron, BURNS her finger, SHIT! KNOCKING the appliance into the half - filled sink. She LUNGES for it, and a terrified Digger GRASPS her arm. DIGGER Considering the circumstances, I'm not wholly against suicide. Huh? DIGGER Just not by electrocution in front of me! Oh. DIGGER I've got this noon flight. He reaches to pull the plug from the wall, and now she LUNGES to grab his arm, slipping, her face falling forward, stopping an inch above the sink. JULIANNE How do you know you can touch that plug? Are you a licensed contractor? DIGGER What do you suggest? She looks from the plug down the cord, to the submerged curling iron. And back. JULIANNE Maybe they just seal off this room. They have others. He's staring at her. Sweet, but intense. DIGGER I did n't mean about that. Oh. Again. JULIANNE If I hear the words `` tell the truth,'' or any paraphrase thereof, I dive into the sink and pull you with me. Looking at her. Looking at her. DIGGER Let's go meet Michael. I'll wait downstairs.", "INT.  ARMANI - MORNING Julianne has cleaned up pretty good. She sits with Digger on a fashion - fabric sofa. They are side - by - side, studying something with equal concentration. And slight concern. DIGGER I suppose it's too late to start over. JULIANNE It's too late to start over. PULL BACK to reveal Michael in his wedding tux, submitting to a final fitting from a stylish fitter. MICHAEL You guys are heartless, my bride picked this out. JULIANNE Like I said, dazzling. DIGGER Is she going to dress you every day? Michael smiles over. Digger smiles back. They live each other. MICHAEL Yeah, it's in the contract. DIGGER -LRB- softly. -RRB- Well, then, I'll take it up with her. Michael motions, okay, c'mon over. Digger rises, goes to Michael, the fitter steps back as Digger shows him. DIGGER The cut here, here. this line. Fingers lightly traveling over the lapel, the side - stitching, the cloth straight down the spine. DIGGER trouser width, this is all classic. Which means safe, something I'd wear. MICHAEL I should look different. DIGGER You should look like you dressed yourself. Yes? Michael's grin is back. Playful and friendly. MICHAEL And I'm supposed to respect your fashion tips, because you're what, a New Yorker? DIGGER -LRB- quiet smile. -RRB- Something like that. Julianne loves that the boy are getting on. MICHAEL -LRB- means this. -RRB- Long trip. Pretty nice of you to come. DIGGER Well, I'm close to her. I wanted to meet the one that got away. Said so naturally. That embarrasses Michael, who looks down, his smile suddenly awkward. DIGGER What? MICHAEL I'm just glad someone finally put this thing in its proper perspective. Steals a glance at Julianne. She rolls her eyes. What a goofball, my outrageous friend. MICHAEL -LRB- to Digger. -RRB- Stay, huh? DIGGER I honestly wish I could. MICHAEL I'll call George's parents. Tell them I need a best man who actually looks after me. Julianne comes over. JULIANNE -LRB- softly. -RRB- They'd say that's my job. She runs her hands over his jacket, smoothing it everywhere. With tenderness that approaches transparency. Glances back at Digger. JULIANNE I'll take it home from here. Pinches Michael's ear. Looks in his eyes. DIGGER Two words. JULIANNE Major. Dish. DIGGER Manicure. She looks down. Michael's nails are unclipped, with layers of impacted dirt. She touches his fingertips, a little more softly than she may have intended. DIGGER Fly. Everyone looks down. She ZIPS Michael up. MICHAEL -LRB- to Digger. -RRB- You do n't miss much. DIGGER Part of being a New Yorker.", "INT.  HAIR SALON - MORNING Cutting edge salon. Loud, PULSING MUSIC. Digger and Michael in adjacent chairs, heads back, each smoking impressive cigars as their hair is styled. Digger's stylist is a hot trashy female. Michael's is a tall, flamboyant male in a day - glo vest. Each man has one hand soaking, the other being worked on by a manicurist, so Julianne goes from one to the other, removing their cigars so they can exhale. A seraglio feel to the way she does this. Now she's arguing with Michael's stork - like stylist. We ca n't hear over the music, but she keeps tugging on Michael's hair, pretty passionate about her point of view. Suddenly, she GRABS the scissors to do it herself, and Michael. BOLTS out of the chair. WHOA!", "EXT.  O'HARA AIRPORT - DAY Skycaps, guests of impatient travelers, a bus offloading forty Japanese tourists. A taxi cuts off a van to reach the curb. Out jumps. Michael. Opening the door for Digger and Julianne. Digger says something, Michael gives him a strong HUG. Julianne raises one finger to Michael, back in a second. Leads Digger off by the hand. CLOSE on them now. Alone in the throng. JULIANNE Bye, handsome. Digger just stares at her. Those maddening judgemental eyes. JULIANNE You're going to say it, are n't you? DIGGER Tell him you love him. With all your heart. JULIANNE I'm taking my next book to Viking. DIGGER Tell him you've loved him for nine years, but you were afraid to realize it. JULIANNE I'm moving this book to Viking. DIGGER Tell him you're afraid of love. Afraid of needing. JULIANNE Needing. DIGGER To belong to someone. He touches her hair. DIGGER We all do, beautiful. I'm sorry about that. Staring in her eyes. Even Julianne has run out of words. DIGGER Tell him you know this is the worst, dumbest, cruelest moment to do this to him. But there it is, and he has to choose. JULIANNE And what will he do? Digger is n't smiling. His voice low, beneath the crowd. DIGGER He'll choose Kim. You'll stand by her at her wedding. You'll kiss him good - bye. And you'll go home. He holds up one finger. Almost touching her nose. DIGGER This is what you've come to do. Now do it. Wow. She looks frightened and moved, all at the same time. She kisses him on the lips. And walks away. He watches her go through the crowd. Take Michael's hand. Lead him back toward the taxi.", "EXT.  SKYLINE CRUISE BOAT - DAY The skyline of Chicago moves past us. Slowly. The NBC Tower, Cityfront Center. MICHAEL -LRB- O.S. -RRB- Big weddings are so strange. JULIANNE -LRB- O.S. -RRB- You keep saying that. Up ahead, the Wrigley Building draws closer. MICHAEL -LRB- O.S. -RRB- Kim has all this stuff to do, I hardly see her. JULIANNE -LRB- O.S. -RRB- Well, you've got the rest of your lives. REVERSE ANGLE. they lean on the rail of a cruise boat, easing down the Chicago River. Wind - blown. Close together. JULIANNE Getting your bed made. Every day. They smile at each other. Seem so comfortable together. JULIANNE You miss her, huh? MICHAEL No. I've got you. She nods. That you have. Staring in her eyes. MICHAEL Do n't you throw up on boat? JULIANNE If you like. And she LURCHES over the railing, emitting a BARRAGE of incredibly disgusting sounds, her feet FLAILING in mid - air. He laughs, as he pulls her back down to the deck. Of course, it was all a joke. He brushes back her hair. Sighs. Stares. MICHAEL I've been thinking a lot the last couple days. About us, actually. JULIANNE -LRB- casual. -RRB- Have you. He has. JULIANNE Well. There's a lot of memories to choose from. MICHAEL It's more than that. That tightens her throat pretty good. When she tries to speak, out comes a dry CROAK that makes him laugh again. Softer, this time. MICHAEL I mean, it's embarrassing to say it this way, but. He stops. Her eyes WIDEN in a burlesque of anticipation. So he smiles. She knows how to put him at ease. MICHAEL You've sort of been. y' know, the woman in my life. JULIANNE -LRB- straight back. -RRB- You've been the man in mine. Passing under the Michigan Avenue Bridge. No one knows quite what to say. MICHAEL And I was thinking this could be our last time. Alone. Together. You know? JULIANNE Except for the hot affairs we'll have twice a year. MICHAEL Except for that. She's smiling so easily. Who would guess her stomach is double - knotted. MICHAEL I can hardly wait for your wedding. JULIANNE Me either. She watches his surprise. MICHAEL Boy, I never thought I'd hear you say that. Can I come? She holds herself together. Real soft with. JULIANNE I could n't have it without you. He's glad to hear that. And then. MICHAEL It's normal to have. second thoughts, huh? To be scared. Is this a change of direction? Or is it the direction she's been praying for. JULIANNE I would n't know. I never had that many first thoughts. MICHAEL I mean, you commit to a wedding. And then it seems like. this. momentum, you know? You forget you. chose it. She nods. Understands. MICHAEL You and I. I mean, in all our relationships with other people. We did n't use the word `` love'' a lot, did we? We did n't. MICHAEL Kimmy says. When you love someone. You say it, you say it out loud. Right now. Or the moment. Long beat. MICHAEL passes you by, yeah. She's a smart girl. Off in distance, the Centennial Fountain SHOOTS an eight - foot JET of water across the river. For Michael and Julianne it goes unnoticed. MICHAEL We do n't have a song. Hmm? MICHAEL Kimmy and I. We do n't have a song. Is that a bad sign? All Julianne can do is shrug. Then. MICHAEL -LRB- sings, softly. -RRB- Someday, when I'm awfully low. And the world is cold. She does n't want to cry. So she puts all the strength she has into fighting it back. MICHAEL -LRB- sings. -RRB- I will feel a glow just Thinking of you. And the way you look. Tonight. He stops. Smiles that sweet, boyish smile. MICHAEL Dance card filled? JULIANNE I'll check. I have it on powerbook, these days. He holds up his arms. And she moves into them. He begins to dance with her, turning so slowly. And, yes, people are watching. MICHAEL -LRB- sings in her ear. -RRB- With each word, your tenderness grows, Tearing my fears apart. She holds him closer. Bites her lip. MICHAEL -LRB- sings. -RRB- And that laugh That wrinkles your nose, Touches my foolish heart. He stops. He looks at her. She's still in his arms. MICHAEL Where did we first hear th. JULIANNE -LRB- straight back. -RRB- The night we met. Right to his eyes. JULIANNE The night we fell in love. He does n't know what to do with that. MICHAEL So we heard it. like, right that. that first. JULIANNE We danced to it. Just like this. Just like this. A long beat. And he has to say. MICHAEL I wo n't lose you, will I? Her eyes close. Then open. Utterly lost in his. JULIANNE No. Because I wo n't let you.", "INT.  WALLACE ENTERPRISES - DAY Julianne in crisp chalk - stripe trousers and a buttoned - up dress shirt. Her coat slung over her shoulder, she wanders through the Saturday - deserted office space. Desks, cubicles, monitors, silent. A row of executive offices standing empty, waiting for the custodian. Turning a corner, we hear. life, at the end of the hallway. A grand conference room with a glass wall. Walter, in shirtsleeves, running a strategy meeting for five. DEIDRE, his personal secretary, clicking every word into her laptop at warp speed. Walter sees Julianne through the glass. A comic take of pleased surprise. He comes out to greet her. WALTER I thought Michael was picking me up. JULIANNE I told him, get the important stuff, Kim's ring. I'll collect the inconsequentials. Meaning, you. They smile at each other. Then. WALTER Kim said, when he turned down the job, there was no friction. Julianne thinks back. JULIANNE Friction. No. He smiles at her line reading. But his mind is always probing. WALTER I have n't caused. a problem, have I? JULIANNE Nobody has. So far. Her bright grin. His eyes linger on it. WALTER Well, you're a little early. JULIANNE I need to make some calls. Could I use. your office?", "INT.  WALTER'S OFFICE - DAY Julianne enters the spacious corner office, high above the city. Closes the door, quietly, behind her. So anxious, she is practically hyperventilating. She goes, slowly to the vacant cherrywood desk. Its computer and monitor standing silent. She is stalking it, like a deadly animal. And then. She is there. Talking to herself, her own desperate support network. JULIANNE -LRB- softly. -RRB- You can do this. Sacred, filled with doubt and conflict. Her hands clutch at each other. Then, one flicks out. And the computer goes ON. The screen GLOWS. Waits for her. Her mouth is sand, her stomach water. She pulls the paper from her pocket. looks at it. Looks to the monitor. And begins. To type. JULIANNE -LRB- mumbling to herself. -RRB- E - mail address. To Ben Isaacson, Senior Editor, Sports Illustrated, from. Walter Wallace. And stops. Her heart is thumping. JULIANNE See, you can do it. It's easy. Does n't look easy. Licks her lips. JULIANNE You do it fast, it's over. Like it never happened. She sits. And recites as she types. JULIANNE Ben. I need a favor. Here we go. This is it. Types. JULIANNE My daughter's every happiness. And my wife's. And, least of all, my own, are in your hands. Nods, okay. Breathing hard. Types. JULIANNE Knowing you value our friendship, and the. cooperative relationship between our companies. I am hopeful of your help. Touch, that. Thinks. It has to be. Types. JULIANNE I have offered Mike O'Neal, my new son - in - law, a great opportunity in my company. This would also enable my daughter to settle in Chicago, near us, and pursue her dreams and plans. Almost there. Almost. Types. JULIANNE To his own detriment, as well as ours, Michael will not accept our offer. While he works for you. She stands up. Stares at the screen. Walks away. Walks back. Still standing, types. JULIANNE My daughter joins me in this plea for your cooperation and discretion. Is there a SOUND? Outside the door. She HOVERS over the ESCAPE key. Waits. Waits. Silence. Types. JULIANNE With gratitude. For your understanding. Walter. She hits a KEY. The screen goes BLANK. The computer asks. DO YOU WISH TO SEND? She tells the computer. JULIANNE Are you crazy? Get him fired? Types NO. The computer asks HOLD FOR LATER? And she types YES. JULIANNE Just till tonight when I bring him back. To look for. She glances to her huge bag. Rummages through, pulling out a manila folder. Lays it by the blank computer. Fans out a few pages in a natural, disorderly way. Takes a step back. And stares. Struck to her gut. But when she has done.", "INT.  CONFERENCE ROOM - DAY Walter alone with Deidre now, signing a stack of documents, as she efficiently places one after another before him. When he glances up, he sees Julianne wandering the halls. Stands, tells his secretary. WALTER -LRB- going through stack. -RRB- Off to rehearsal. Send out this, and this, not this, this, and. that's it. Slips on his coat. Oh. and by the way. WALTER I'm holding four or five E - mails I wrote over lunch. On his way through the door. WALTER Send'em out.", "INT.  CHAPEL, UNIVERSITY OF CHICAGO - DAY Julianne and Walter enter the rear of a striking Gothic CHAPEL, pastel light slanting in through stained glass windows. We now see the full effect of her outfit, a man's - style chalk stripe SUIT, tailored to fit her body, set off by a bold silk tie. Solid dynamite. She hangs back, while Walter proceeds down the vaulted nave toward. Michael, Kimmy, Isabelle and Joe, who stand casually joking by the altar. Scattered around are assorted groomsmen, ushers, an obvious flowergirl. Coming toward us, up the aisle. the MINISTER, early 40s, lean and quite attractive. Mandy is HANGING on his arm, pressing her body against him as they walk, murmuring urgent murmurs close to his ear. He's a really good sport, and really uncomfortable. Sammy is walking backwards, right in front of them, DROPS her bag, and BENDS to retrieve it, as if oblivious to major cleavage on immediate display. Julianne is so lost in her own anxiety, she does n't even notice, until. MANDY Reverend Dyer, this is Kimberly's somewhat butch maid of honor. SAMMY Mr. Julianne Potter, prominent New York drag queen. Today, the girls' voices are charmingly musically Southern, with none of the extreme accents we heard at the shower. The minister extends his hand. MINISTER Billy Dyer, Julianne. And I love the suit. She shakes his hand, smiles graciously, but her eyes flick to Michael, now approaching up the aisle. The girls lead the minister away. Michael arrives. Looks her up and down. MICHAEL -LRB- softly. -RRB- Takes me back. JULIANNE Well. She smiles. One that glows a little. JULIANNE You sang the song. Least I could do was wear the outfit. He nods. MICHAEL Except now you're better - looking. Oh, yeah? Yes, ma'am. As she loses herself in his eyes. MICHAEL I got the ring. He pulls the box from his pocket. Somewhere, an ORGAN sounds. And as he is about to hand her the box. MANDY/SAMMY -LRB- sing. -RRB- Swi - i - ng low - ow - ow. Wee - ee - eet Char - i - ot. Such exquisite two - part harmony, Michael stops to watch. MANDY/SAMMY -LRB- sing. -RRB- Comin', to car - ryyy Me ho - o - o - me. It is amazing. Soulful vengeful sluts. He is enthralled. Julianne simply impatient. She wants his attention. JULIANNE No accents today. MICHAEL Yeah, Kim told me they were giving you their Dueling Scarlet's act. Actually, they're sophomores at Juilliard. She takes the box from his hand. Opens it, as the singing CONTINUES throughout. The ring is delicate hammered gold. One of a kind. MICHAEL Will she like it? JULIANNE -LRB- whisper. -RRB- Yes. She's staring at the ring. KIMMY -LRB- O.S. -RRB- My groom - person! Your family needs you! His master's voice. He gives Julianne a smile. And goes. She's left with the box. Gazes at the ring. Lifts it out. MANDY/SAMMY -LRB- O.S., singing. -RRB- Well, I look over yon - der, And what did I see - ee - ee? Slips it on her left hand. Ring finger. MANDY/SAMMY -LRB- O.S., singing. -RRB- Comin too car - ryyy. Me ho - o - ome. Touches it. Turns it on her finger. So many emotions. MANDY/SAMMY -LRB- O.S., singing. -RRB- It was a hand. Of a - a - angels. Coming' for me - e - ee. Tries to pull it off. MANDY/SAMMY -LRB- O.S., singing. -RRB- Comin' for to carry me home. It wo n't come. Not even close.", "INT.  CRAB HOUSE - NIGHT CLOSE on a bowl filled with squares of butter. HEAR the butt of conversation from a rowdy, friendly joint. Julianne's right hand REACHES to the bowl, fingers trace the rim innocently, then. SLIDE the bowl into Julianne's lap beneath the table. Her right hand MASSAGES all the butter into a gooey revolving mess. We can pick out familiar voices now, family in distance, the twins closer. As, hidden from view, Julianne brings. her left hand from her pocket. Yep. The ring is still there. The finger already red and swollen from pacicky efforts to pull it off. And as APPLAUSE surrounds us, Julianne. PLUNGES her ring finger into the morass of grease, frantically TEARING at the ring, butter SPLURGING on her pants, everywhere, as we PULL BACK to see. the long table covered with butcher paper, the family at the far end, the twins down here with us, a mug of beer for each place, as team of waiters with heaping platters of CRABS, which they. FLING across the butcher paper, as APPLAUSE continues from everyone but Julianne, who still struggles secretly. As the waiters set huge wooden MALLETS in front of each guest, Joe O'Neal rises, POUNDS the table with his mallet for attention. JOE Like to welcome ever ` body to our little rehearsal supper. He COUGHS, unaccustomed to public speaking. Walter and Isabelle clap and call out support. So Joe lifts his mallet. JOE Okay, everyone stand up! And everyone does. With one exception. Trapped. She JAMS her left hand in her coat pocket, SMEARS her right palm sort of clean on the underside of the table, GRABS her mallet and JUMPS UP. JOE To the bride, uh, goes the honor. of cracking the first crab! Everyone applauses by banging their mallets. Joe RAISES his high. Everybody imitates. KIMMY But first, a toast! And everybody SNATCHES up their beers with their left hands, as Julianne DROPS her mallet with a HORRIFIC CRASH, grabbing her beer, looking up to. JULIANNE -LRB- on the spot. -RRB- I'm right - handed. A hugely embarrassing half - second. Bailed out by. KIMMY To our host, my cuddly Papa Joe. All turns. KIMMY Who taught me to play `` Blue Hawaii.'' On my nose. With a look at Julianne, Kim sets down her mallet gently, and performs a nasal HUM of the tropical standard, strikingly her nostril repeatedly for vibrato. It is charming, and everybody watches.", "INT.  HOTEL BALLROOM - LATER CLOSE on an actual, living, if geriatric, LION. He blinks from his cage, bored as hell. HEAR the surrounding noise, chatter, LOUD Sinatra music, of a very large party. PULL BACK to see. and overdecorated BALLROOM, in dim and dramatic lighting, dripping with the trappings of ANCIENT ROME. The mingling guests are the neatly one hundred females of the wedding party, most of them older women. They are served by wandering well - built ATHLETES in Roman togas or gladiator costumes. PAN TO. Julianne, still in her suit, hiding by a table piled with a carload of grapes. Her left hand still buried in her pocket. The eyes of a hunted animal. From nowhere. MANDY/SAMMY -LRB- O.S. -RRB- Boo! She JUMPS a foot, both hands FLYING UP, left one awkwardly slamming back into its pocket. The girls have snuck up behind her. They have changed into hot gowns that are really only wide ribbons wrapped around their bodies. MANDY I know why you're scared of our party. It's too hip. Sinatra singing `` Stranger In The Night.'' Hugely - muscled, half - naked black and white studs, serving enchanted blue - haired ladies. SAMMY Kimberly wanted to tickle the grandmas, so we figured, give'em a cheap thrill. Walter supplied the decorative touches. SAMMY -LRB- points out the jokes. -RRB- Nose tackle from the Bears. power forward from the Bulls. defenseman from the Black Hawks. my personal favorite, the designated hitter. MANDY I'm partial to the tight end. SAMMY This is USDA Prime, largely available, beef. With no notice - able competition, present company excepted. Now they stare at her. With identical, really odd, smiles. SAMMY And yet here you are. All celibate and reclusive. MANDY With those big, dark, haunted eyes. As if you were harborin' some. unspeakably. guilty. secret. Oh. JULIANNE Well, I'm worried about something. Something. Their expressions are deliciously, identically expectant. JULIANNE Oh. I left this really important file in Walter's office. I have to send my editor some. Some. JULIANNE figures. On territorial sales. To close my book deal. Uh - huh. JULIANNE So Kim gave me the key. And Michael's on his way, to drive me down to Wal. SAMMY Oh. We thought it was the ring. Julianne blinks. Ring? MANDY The one you better get the fuck off your third finger left hand. Ah. That ring. JULIANNE Well. See. That was a. reflex to see if it would. MANDY -LRB- helpful. -RRB-. look good on Kimberly. JULIANNE Right. And then it did n't want to come off. Exactly. SAMMY Maybe it's happy there. MANDY Oh the way out of the crab house? We asked Michael if we could see the ring? SAMMY He said you told him. It'd be safer with you. MANDY An so it is. Julianne for once is speechless. To our amazement, the girls wear identical smiles of kindness and support. MANDY Shut up, sugar, he's on his way. Let's get to work.", "INT.  HOTEL KITCHEN - NIGHT Huge gleaming chaotic kitchen. Cooks, waiters, working at top speed. The three women RACE in, look around frantically, half the guys stop to ogle the twins. CUT TO. ANGLES. and industrial - sized jar of peanut butter. Julianne's hand PLUNGES in, halfway to the rolled - up sleeve at her elbow. SMOOCHES it around, real good. PULL BACK to reveal. she is surrounded by the twins and six guys, all SHOUTING conflicting instructions. Julianne FLINGS off the excess SLOP. Tugs for all she's worth. EIGHT PEOPLE TWIST IT! TWIST IT! Nada. It wo n't budge. A sous chef WIPES her hand with a towel, a janitor CRASHES a tool kit onto the counter. THROWS it open, pulls out. a spray can of WD - 40. Instantly, her hand is BLACK. The guy TUGS. No movement. He ca n't believe it. JANITOR It's mental, lady, you ai n't trying! Sammy is rummaging through her handbag, pulling out. SAMMY There is nothing so tight, this ca n't help it. a tube of jelly. The letter K - Y. Julianne just gives her a look. Mandy pushes through with a butcher's CLEAVER. MANDY I saw this on Hard Copy. People cut off body parts and the hospital sew'em back o. The look has turned toward her. JULIANNE -LRB- cold. -RRB- I saw the show. MANDY well, maybe it works on fingers, too. FLOWER GIRL -LRB- O.S. -RRB- Aunt Mandy? Everybody turns. The little girl in the doorway. Southern accent. FLOWER GIRL Mr. Michael's here. Everything gets real quiet. Mandy takes charge. She rolls down Julianne's left sleeve, RIPS the hem out of the cuff, so that it flaps down over her hand, covering the ring. Sammy wipes the black stuff from Julianne's fingers. MANDY Do n't worry, baby. You could pick your nose with that finger and Michael would never notice. He's a man. The twins lead her off. We're on their backs for. MANDY -LRB- O.S. -RRB- Personally, I think Mr. Michael's marrying the wrong girl. SAMMY -LRB- O.S. -RRB- You're much more his type.", "EXT.  DOWNTOWN STREET - NIGHT VIEW through a heavy glass door of the empty, dimly - lit lobby. PULL BACK to see Julianne, just as she. KICKS the shit out of the glass! Almost breaks her foot. JULIANNE I ca n't believe this! PULL BACK farther to see Michael still trying keys from a large key ring in the heavy lock. Sign over the door says WALLACE ENTERPRISES. Traffic hustles by, oblivious to her suffering. MICHAEL It's no big deal, she just gave you the wrong keys that's s. JULIANNE IS N'T THERE A GUARD? A JANITOR? A FUCKING CLEANING WOMAN? I'LL TAKE A BURGLAR! SOMEBODY'S GOT TA BE IN TH. And she SLAMS her whole BODY against the glass, making it rattle ominously. JULIANNE WHERE'S A BRICK? FIND ME A GODDAMN BRICK! She looks around wildly, hysterical. MICHAEL What is the big deal about getting this file tonight? A good question. She needs a good answer. JULIANNE I promised Digger I'd E - mail him those figures. From his face, that was n't it. JULIANNE They are very important figures. Apparently. He's just staring at her. JULIANNE I'm up against a deadline. MICHAEL Me, too. I'm getting married tomorrow. JULIANNE That's my point! Now. He really does n't get it. JULIANNE I mean, tomorrow. we'll all be busy with more important things. So. So? JULIANNE tonight's my last chance. He sighs. MICHAEL I forgot how cute you look. When you get impossible. JULIANNE It's just. up there. right in front of Walter's. y' know, computer. If memory serves. Helpless. JULIANNE We could use. his computer, to. just E - mail those suckers right ou. MICHAEL Tomorrow is Sunday. Nobody's doing business. Crack of dawn, Monday, Walter'll take you up there. Her eyes fill with tears. He is mystified. Smiles tenderly. MICHAEL -LRB- softly. -RRB- Give it up, kid. Touches her hair. MICHAEL You ca n't win'em all. And slowly, he takes her hand. Leads her way. She takes one backward glance at the locked door. Her last dream dies.", "INT.  LOBBY, RITZ CARLTON - NIGHT Michael and a disconsolate Julianne board the elevator. He presses 15, she pushes 11. Michael carries a handful of messages slips and an envelope. As the car starts up, she folds her arms across her chest, at the edge of tears. He does n't know what to do. MICHAEL -LRB- gently. -RRB- Listen up, huh? Even if you blow this deal, how big could it be? JULIANNE -LRB- voice nearly cracking. -RRB- You're right. Easy come, easy go. He's really concerned, ca n't bear to see her so upset. MICHAEL -LRB- softly. -RRB- Jules? She wo n't look at him. She wants to die. The bell RINGS, the doors open to her floor. She just walks out. And he follows. They stand now, she with her arms crossed, lip trembling. She ca n't believe how close she is to losing it. MICHAEL This thing means that much to y. JULIANNE It means a lot. He nods. Okay. MICHAEL I'll call the house, Walter's probably not even asleep. Her mouth drops. She ca n't believe this. MICHAEL I'll drive you out there, we'll get the key, we'll go back to the office. She THROWS her arms around his, HUGGING him so hard, so close. He laughs, she is so weird. She pulls back, beaming, glowing. MICHAEL Come on, we'll call from your room. She claps his hand. As they head down the hall. MICHAEL If I fall asleep on the altar tomorrow. He's trying to flip through the message slips in his free hand. MICHAEL you better be there to. funny, these are all from Ben. She's at her door, turning the key. He looks at the envelope. MICHAEL The fax is from Ben, too. Man, it's my wedding, and my boss ca n't leave me alone. JULIANNE -LRB- entering her room. -RRB-. maybe it's congratulations. He follows her in, opening the envelope. Stops. Reads. And his face suddenly. freezes. To stone. JULIANNE -LRB- turning to him. -RRB- Michael? What ha. MICHAEL -LRB- reading. -RRB- Mike. I ca n't believe I'm doing this to you on the night before your wedding. But I think you need and deserve to know. And he looks up to her. MICHAEL what you're marrying into. He hands it toward her. She takes it, hesitantly, and he walks past. Toward the phone. JULIANNE -LRB- reading. -RRB- I received the following E - mail this afternoon. `` Ben, I need a favor. My daughter's every happiness.'' Her eyes BUG OUT of her head. Holy shit! We can hear him DIALING the phone. She keeps reading, it's all there. How did this happen? MICHAEL -LRB- O.S. -RRB- Isabelle? I need to talk to Kim. JULIANNE -LRB- reading. -RRB- `` Mike, the funny thing is, he's offering you a gig you'd be stupid to turn down.'' MICHAEL -LRB- O.S. -RRB- I'm just tired. Please put her on? Thanks. JULIANNE -LRB- reading. -RRB- `` Maybe you should take the job. And dump the girl.'' And when she turns. MICHAEL Jules. Could you give me a minute? He looks more sick than angry. As if the heart has just been cut out of him. She does n't know what to say or do, so she just stands, staring dumbly. MICHAEL Please? She nods, stumbles out of her room, closing the door behind her. Now she's in the empty corridor, clutching her big jumbled bag, sinking down to sit on the carpet, her back against the door. She does n't look elated. She seems frightened, distraught, and most of all, confused. Because she ca n't understand why. She digs absently through her bag. Cigarettes. Box of matches. She lights up. Draws deeply. Somehow, she seems near tears, and laughs bitterly at that. Shakes her head at how fucked - up she finds herself. Squeaking wheels approach, but she is too lost to hear them. BELLMAN Miss, are you locked out, or something? She looks up. A small, wiry man of nearly 60, in a slightly faded but neatly - kept uniform. On his cart, a ton of bags. JULIANNE No, I just stepped out, because. it's a non - smoking room. And inhales deeply. Leans back against the door, to look up at him more comfortably. BELLMAN -LRB- politely. -RRB- Well, it's non - smoking floor, too. Maybe you could go to the. JULIANNE -LRB- seriously. -RRB- Why do n't you have me arrested? That was n't sarcastic. He does n't know what to say. JULIANNE I mean that. Arrested, convicted, put in solitary. Another puff. JULIANNE See, I'm a dangerous, criminal person. I do bad things to honest people. This, see, this smoking? Tip of the iceberg. Waves her hand. JULIANNE Make a citizen's arrest, I wo n't struggle. It'll be like getting Al Capone on tax evasion. Now she seems angry. But not at him. Her eyes fill with tears. BELLMAN Can I. Can I help you, miss? She squints at his nameplate. JULIANNE Do you smoke, Richard? BELLMAN Yes, ma'am, I do, but it's. JULIANNE a non - smoking floor, yeah. Well, you know what? And she takes the cigarette from her lips. Turns it around, holds it out to him. Go ahead. He does n't move. Please! And so. he reaches down, takes the cigarette from her hand. Staring in her eyes, he takes a deep drag. Savors an expert nostril - inhale of his exhaled smoke. Hands the cigarette back to her. BELLMAN My grandmother always said, `` This, too, shall pass.'' She swallows. Wipes at her eyes. Finds a smile. JULIANNE Thanks, Richard. If you were n't on duty, I'd buy you a drink. He just nods. She waves. He waves back, pushes his cart down the hall. As she watches him go, the door behind her suddenly OPENS, and she. FALLS through it, flat on her back at Michael's feet. Staring up at him, seeing that he looks as bad as she feels, she takes raw, deep drag. JULIANNE What happened? MICHAEL -LRB- softly. -RRB- It's over. And crouches down. Close beside her. The cigarette drops from her hand, unnoticed on the carpet. So he lifts it, crushes it on the heel of his shoe. MICHAEL I want you to quit this shit, it'll kill you. She just nods, obediently. Okay, I will. MICHAEL She denied it. Said I was crazy and paranoid. JULIANNE A bad combination. He tries to smile. It's really hard. MICHAEL There's this big brunch tomorrow morning? At her place. He lets the air out. Slow. So he wo n't cry. MICHAEL She said `` How can I call everything off, what do I tell everybody?'' Shakes his head. Can you imagine that? JULIANNE Michael. MICHAEL No, it's for the best, it really is. We were so wrong for each other. JULIANNE Maybe tomorrow, you'll feel dif. MICHAEL The job thing would have broken us up, eventually, anyway. She could n't have lived with it. I know that now. Julianne nods. Maybe that part is right. Maybe it would have ended anyway. Maybe she can pretend she's not a monster. MICHAEL And she's right, I'm crazy to fall for someone. I hardly knew. Looks deep in her eyes. He's so glad she's there. MICHAEL Hey. You still got that ring? She holds up her left hand, the flapping sleeve falls away. The ring is on a finger that is swollen and raw. JULIANNE I tried it on. But it wo n't come off. He smiles at that. A sad smile of friendship. Then takes her finger gently. into his mouth. It is something like a kiss. And when he removes her moistened finger. he pulls the ring OFF. Nothing to it. She blinks. JULIANNE It's mental, you know. He does n't understand that. JULIANNE Should we take a walk? Or maybe some food sent up, or something. MICHAEL I just want to be alone. Is that okay? She nods, sure. He kisses her cheek. Stands up. MICHAEL Maybe I'll go back to New York. Hang with you for awhile, huh? Ben'll understand. She nods again. Whatever you say. He steps into the open doorway. MICHAEL Or we'll go somewhere. If you have the time. JULIANNE If San Antonio sweeps Sacramento. They smiles at each other. For real. JULIANNE I've never been to Texas. Imagine that. The look holds. Just above a whisper. MICHAEL Thanks for coming to my wedding. And then he's gone. IN.JULIANNE'S BATHROOM - LATE NIGHT Julianne brushing out her hair in the bathroom mirror, eyeing her image with evident dissatisfaction, as she listens to the receiver RINGING. DIGGER -LRB- V.O. MACHINE. -RRB- Digger and George are with family in the Hamptons until Monday morning. Brevity is even more in order than usual. BEEP. JULIANNE Hey, handsome. Brevity this. Her eyes find the pack of cigarettes. Next to her toiletries kit. JULIANNE -LRB- softly. -RRB- I won. Her fingers touch the pack. As if an object of significance. Takes it up. JULIANNE Amazing, huh? I did n't do things quite your way. But. I got it down. Cradling the phone against her shoulder, she carefully tears the top of the pack completely open. JULIANNE And forty years and nine grand - children later, when I sit with Michael on some rustic porch, slogging through our sweet swamp of nostalgic memories. Reaches the pack toward the toilet. JULIANNE No one is going to sweet the details. Turns it upside down, emptying a dozen cigarettes into the john. JULIANNE Of one weekend in Chicago. Drops the lid with a CLATTER. Hits the FLUSH. JULIANNE Talk about celebration. She lifts a tube from her toiletries kit. Stares at it, real close. JULIANNE I'm gon na brush my teeth with actual toothpaste. Turns it over, reads all the writing. Yep. JULIANNE I guess I'm too exhausted to feel the elation I so richly undeserve. Squeezes some paste onto her brush. Carefully. JULIANNE So I'm gon na hold calls at the desk. while I get my. Start brushing. JULIANNE -LRB- around, her mouthful. -RRB- God, it is toothpaste, they should sell this stuff commercially! Anyway, a girl does need her. Squints at her image. Laughs, spewing a little foam. JULIANNE well, we're a bit past worrying about beauty sleep. Let's just settle for not frightening small animals. She SPITS. Tells Digger's machine. JULIANNE Anyway, I could n't have done it without you. Even though I did, if you follow that. Wipes her mouth. Stares off. The eyes a little dreamy. JULIANNE Three words : Happily. Ever. Well, you know.", "INT.  BEDROOM - MORNING Julianne sprawled all over the bed, mouth open like a carp, sleeping mask against the daylight. A sudden RAPPING at the door, and she. sits BOLT UPRIGHT. Utterly disoriented, until she pulls off the mask. Stumbles out of bed, walking toward the firm KNOCKING, when. it stops. A message slip SLIDES beneath her door. She lifts it, barely conscious. This wakes her up. In one. JULIANNE -LRB- to the slip. -RRB- You're going where?", "EXT.  WALLACE ESTATE - DAY Julianne climbs from her taxi. Only slightly in awe, she sets off past the reflecting pool, which fronts a mansion of graceful stone and timber. It's a hike today, because the circular drives is clogged deep with Bentleys, Mercedes, and waiting limos, vying for space with a score of delivery vehicles of all kinds, maintenance trucks, catering and florist and food vans.", "INT.  GREAT ROOM - DAY Julianne escorted into an enormous room, where brunch is in progress for more than a hundred. She looks from the vaulted ceilings, to the frescoed walls, the inlaid floors, the massive pipe organ above the stone staircase, the oil portraits of Scottish ancestors and their favorite dogs. Isabelle has risen from the main table, and comes to her. All smiles. Julianne is in the Twilight Zone. What are these people laughing about? Do they still think there's a wedding? ISABELLE Jules. We're so glad you slept in. Takes her arm graciously. This woman would make Anne Bancroft look coarse. As they walk. ISABELLE Now, you have a choice. The idea is bride and groom should n't see each other on the magic day. Julianne looking all around. Magic day it seems to be. Where the bell is a bride or a groom? ISABELLE So Michael stays put in the garden. Kimmy stays in here. Pointing. THERE she is, obscured by a cluster of the appropriately fawning. She has the same hunted eyes and false, slightly manic smile Julianne wore yesterday. This, at least, makes sense. ISABELLE -LRB- O.S. -RRB- and the guests go back and forth. Where will you start? CLOSE on Julianne. Watching the brave, frightened bride. JULIANNE She looks tense. ISABELLE -LRB- O.S., calmly. -RRB- Nerves. I would never have guessed.", "EXT.  ROSE GARDEN - DAAY A steward leads Julianne to the edge of an expansive rose garden, altogether elegant and comfortable with its long white picnic tables, where nearly a hundred guests casually dine, served by rolling carts. There, at the head table, Michael staring at us. He looks like a poor attempt to cover a hard night. She locks onto his eyes. What the hell is going on? He looks helpless, miserable. She gestures with her head, follow me. Stalks off.", "EXT.  SCULPTURE GARDEN - DAY Bronze abstract pieces, some quite large, face a huge set of children's swings, regulation playground size. Julianne sits in one, moving slightly back and forth. Trying to hold on to her temper and her sanity. In the distance, trucks are winding their way to and from the pond, where crews are setting up tents, lights, heaters for tonight. The circus has come to town. When she looks back. Michael approaches. Before he can draw a breath. JULIANNE I had the craziest dream last night? Walter and Kimmy had asked your boss to. MICHAEL Look, I came down here to face everybody. I did n't want to slink away like some coward. JULIANNE But the Scotch salmon was so fucking good, you decided to stay for brunch! MICHAEL She has n't told anybody, what am I supposed to do? JULIANNE Get married, apparently. She comes OFF the swing, PUSHES him back two feet. JULIANNE What the hell are you thinking of, the goddamn wedding is SIX O'CLOCK! He swallows hard. Trapped. MICHAEL This is her family and her fault. JULIANNE And your point? MICHAEL -LRB- ten years old. -RRB- Well. How come she did n't. JULIANNE BECAUSE SHE'S AS CHICKENSHIT AS YOU ARE, YOU MORONS ARE MADE FOR EACH OTHER. He just blinks. MICHAEL Hey. This is a serious matter. Thank you. She POKES his chest, punctuating. JULIANNE I'll be right back.", "INT.  KITCHEN - DAY A modern take on the Medieval castle kitchen, towering ceilings, dark wood, copper pots hanging, a series of walk - in coolers and freezers. The place is a madhouse of activity, as prep cooks slice, chop, sort, every kind of food imaginable, and delivery teams bring more. The girls walk through. Alone together in the eye of the hurricane. Kim choked with excess sentiment. KIMMY Look at all this beautiful food, so lovingly prepared. JULIANNE They'll eat it anyway, you ever been to a walk? Kimmy's lip trembles. This is not how she thought of her wedding. The din is so horrific, Kimmy leads them into a walk - in meat locker. Even here, two BUTCHERS are dressing Eastern - fresh corn - fed carcasses. JULIANNE You guys want to give us a minute? The men blink at each other. JULIANNE We'd like to be alone with our pork. On that basis. They leave. Kimmy sits on a stack of packaged frozen fowl parts. Stares up with big, sweet, wet eyes. KIMMY How's he doing? Julianne can not believe this. JULIANNE Who? The jerk who's running your life? KIMMY This must be. very, very, hard on him. JULIANNE What with the psychosis and all, yeah. Leans in. Listen. JULIANNE When are you gon na come clean with your folks? KIMMY Do n't you see. JULIANNE If you're waiting for `` Do you take this man?'', that's considered poor form. KIMMY that this is all my fault? Stops Julianne cold. Your fault. KIMMY Whatever delusions I drove him to, there is truth at the heart of it. I want him to work for my father. I want to stay in school. I want a life of my own! Harder and harder for Julianne to push. Her mouth is dry. JULIANNE Yeah, well, lots of couples are imcompat. KIMMY I love him. Fragile and strong at once. A plea. KIMMY Tell him it's my fault and that I love him. A long beat. JULIANNE I'll be right back.", "EXT.  TENNIS COURT - DAY The court has become a giant holding pen for tonight's BALLOONS. There are maybe a billion in assorted colors already blowing in all directions, under clear plastic sheeting which has ben spread across the top of the court's chain - link fence. Michael stands outside the court, clutching the chain link like a prisoner, as Julianne comes through the gate. From somewhere, we hear high, squeaky, alien voice - like SOUNDS. Incongruous against. MICHAEL How is she? Julianne absorbs this. As the bizarre SOUNDS continue, she WHIRLS around. JULIANNE KNOCK IT OFF! We now see three STONER COLLEGE GUYS, who have been filling the endless array of balloons from helium tanks at center court. Clearly, they've been inhaling their working materials. STONER KID -LRB- Minnie Mouse. -RRB- YES, SIR! A Nazi salute. When she turns back. MICHAEL I asked you. JULIANNE She admits it's her fault. He absorbs that. And then. MICHAEL Do you think she still loves me? We watch the struggle inside her. Her voice drops. JULIANNE Sure, she does. She's crazy about you. Now tears stand in both their eyes. The stoners are doing their Alvin and the Chipmuks impersonation festival in the B.G., singing in castrato harmony. But our two do n't notice. MICHAEL I keep asking, how can I explain what happened? And I keep getting that same answer all night long. Which is. MICHAEL I ca n't. And it does n't matter. I drove her to it, because I want things my way. And even if she did something tricky and unfair. she was blinded by love, okay? Julianne swallows. For obvious reasons. JULIANNE Does that make it right. MICHAEL Love does n't have to be right. It just has to be love. The stoner are now helium - crooning `` Bridge Over Troubled Waters.'' Actually, they're getting better. MICHAEL She's giving up half her life for me, and I'm bitching because it hurts her. STONERS -LRB- singing. -RRB- Sail on silver girl Sail on by. MICHAEL She's a saint! And I'm a worthless ingrate! STONERS -LRB- singing. -RRB- Your time has come to shine, All your dreams are on their way. MICHAEL Tell her. I'll marry her at six o'clock, if she'll still have me. The stoners blend on the high note. It's pretty moving. JULIANNE I'll be right back.", "INT.  ORGAN LOFT - DAY PAN along a gigantic serpentine stack of wedding presents. Nearly twelve feet high, the pile curves along the balcony, high above the diners in the Great Room, extending al the way to. an organ loft. Alone, above the noise of the party, Julianne and Kimmy have just reached the top of the staircase. Trapped between ten tons of lavish gifts and the keyboard of the mammoth organ. Dwarfed by their surroundings, Kimmy draws the hardest breath of her life. KIMMY -LRB- whispers. -RRB- So. What did he say? Julianne's eyes move over the young girl's face. JULIANNE He said. Marry me. Kimmy YELPS in her ecstasy, FLINGING herself against Julianne, and they go DOWN full length across the organ's pedals, BLASTING the room with a MONSTER CHORD of china - rattling volume and horrifying disharmony. As grown men and women SCREAM in spontaneous terror below, Kimmy begins to. LAUGH. And KISS and hug her new sister. And holds her tight.", "EXT.  WILLOW POND - DAY Julianne and Michael walk the gravel path beside a breathtaking POND, ringed with WILLOWS that dig heavy branches to the water's surface. He is relieved, reflective. Head down, he never notices that she is. dangerously freaked. Too petrified even to hyperventilate, we're lucky she's breathing at all. We watch her life unraveling before her glassy eyes. MICHAEL -LRB- never looks up. -RRB- Thank God you were here. JULIANNE -LRB- mumbles to herself. -RRB- Oh, yeah. MICHAEL I was so confused, so conflicted, so. unstable. JULIANNE Well, it happens. They pass an expanse of lawn which has become the event parking area. Family vehicles, delivery trucks, service vans. Everything that could n't fit on the circular front driveway. MICHAEL I might have thrown away. Searching for the right words. JULIANNE your one chance for true happiness? MICHAEL yeah, that. JULIANNE You never want to do that, see, that's always a. costly turnover. As they say in the sport biz. There's a vague Stepford Wife quality to her voice. He hears that now, and looks at her. Maybe he ca n't tell she's frightened. But he can tell she's something. MICHAEL -LRB- softly. -RRB- Are you okay? She stops walking. She ca n't look at him, so she looks around. Across the lawn crews are moving equipment into the brightly - colored tents, unfolding and setting up stacks of tables and chairs, raising the poles between which all those balloons will be strung. At the center of it all. a huge topiary White Sox batter, just completing a murderous swing. He's maybe fifteen feet tall. She points to it. JULIANNE The Big Hurt, huh? MICHAEL Nellie Fox. Walter likes the past. And he likes the little guys. So Julianne nods. Because she does too. Squints up at Michael. JULIANNE Got a minute? He nods, you bet. Worried for her. What is this? She looks in another direction, and we now see that we have nearly reached. a stage that's been set up for the band. Chairs, music stands, sound equipment. A gleaming dance floor, already in place over the lawn. Next to it, a shimmering white GAZEBO. Like the centerpiece of a wedding cake. JULIANNE Why is the dance floor by the gazebo? She takes his hand. They walk toward it. MICHAEL Kimmy's idea. She thought it would be such a romantic place. For our wedding dance. Looking down at her. MICHAEL What's up? JULIANNE Shhh. Up the white steps now. Together. The gazebo floor has been covered with hardwood. The perfect place. For a wedding dance. And Julianne. turns, suddenly. He almost runs into her. She is staring up at him, so strangely, their bodies only inches apart. He is caught, transfixed by the intensity in her eyes. JULIANNE I have to say this quick, okay, or I'll have this massive coronary and you'll never have to hear it. Which you need to. Does that make any sense at all? The coronary part does. We can feel her heart beating from here. MICHAEL Jules, what's wrong. JULIANNE This is the dumbest thing I will ever do. So dumb, in fact, that I ca n't. I do n't think. And then, she does. She puts her hands flat on his chest. Looks in his eyes. JULIANNE Michael, I love you. A heartbeat passes. JULIANNE I've loved you for nine years, but I was too arrogant and scared to realize it. Now I'm just scared. He stares at her, dumbstruck. She moves even closer. JULIANNE I know this comes at an inopportune time, but I have to ask this one really gigantic favor, okay? Holds her breath. And. JULIANNE Choose me. Marry me. Let me make you happy. And in a half beat of excruciating silence. JULIANNE I know. It sounds like three favors. His eyes are loving. They care for her. She swallows, lost in them. JULIANNE But when you think about it. Slides her arms around his neck, and raises her mouth. to his. The most beautiful kiss she will ever offer. All of her heart is in this, and as his hands touch her body. a SCREAM rips the world to pieces. They whirl to see. KIMMY, halfway up the path. Her hands across her mouth, as if to stem the horror that pours forth as she SHRIEKS from her soul, and. runs. Back Down the path. Michael BOLTING after her, SHOUTING her name. A frozen moment, and. Julianne TAKES OFF after him. All three running, SCREAMING their various emotions at the top of their lungs, as workmen stop to watch from neighboring countries. Kimmy, staring from halfway there, has an insurmountable lead. LEAPS into her convertible and PEELS OUT, just TEARING up the gravel as she ROCKETS out of sight. No way to catch her. Still. Michael is racing for the cars. Julianne, sprinting her guts out, losing ground with every stride. Michael JUMPS into a Cherokee. JULIANNE MICHAEL, DO N'T, YOU'LL NEVER CATCH HER! He GRINDS the gears. She keeps RUNNING. His engine FIRES. JULIANNE SHE HAS TOO BIG A LEAD AND SHE DRIVES LIKE A RABID ANIMAL! He BLASTS OFF. She keeps going. Gasping for air, clutching her side, she's dying here. Slams into a florist's truck, looks inside, shit! Next, a butcher's van, looks inside, Jesus! JULIANNE -LRB- to the world at large. -RRB- DOES N'T ANYBODY LEAVE KEYS ANYMORE? WHATEVER HAPPENED TO TRUST? Up ahead, Michael has STALLED the Cherokee. She still has a chance, DASHES to the next van. BORNSTEIN EXTERMINATION, a handsome rendering of a rat above the TOXIC MATERIALS warning FLINGS the door open. Stumbles in. Keys! JULIANNE -LRB- O.S. -RRB- THANK GOD, A SAMARITAN! Michael SPEEDS away. She KICKS the ratmobile in gear. LURCHES off.", "INT.  RATMOBILE, DOWNTOWN CHICAGO - DAY Julianne tearing through traffic, desperately struggling to keep Michael's Cherokee in view, while she shrieks into her cellular. JULIANNE IT IS NOT GOING WELL! Down the block, Michael WHIPS around a corner. We follow suit to see his destination dead ahead. Union Station. The DISPATCHER RADIO intrudes. DISPATCHER -LRB- O.S. -RRB- Uh, Unit Four Baker Charlie, how we cookin' on that Skokiie infestation? Now she's steering the car, tearing at the radio controls, and screaming into the phone cradled on her shoulder. JULIANNE THIS IS WHAT COMES OF TELLING THE TRUTH! FIELD MAN -LRB- O.S. -RRB- Copy, dispatcher. JULIANNE OR EVEN PART OF IT! FIELD MAN -LRB- O.S. -RRB- Uh, what happens if you got that methyl - ethyl shit on your hands? Michael RIPS into the train station's parking lot. We SWERVE around a taxi, CUT OFF Harley, CAREEN into the lot. JULIANNE GETTING WHAT YOU DESERVE IS NOT FAIR! DISPATCHER -LRB- O.S. -RRB- Uh, you got maybe thirty seconds before you're sterile. For God's sake do n't touch yourself, or anything. Up ahead, Michael is OUT of his jeep and running. JULIANNE AND I HATE TALKING TO YOUR MACHINE! She SLAMS on the brakes, THROWING herself against the wheel. YOUNGER FIELD MAN -LRB- O.S. -RRB- Uh, this is One Monkey Zebra. It was n't bees in the gal's wall, it was cats! She TEARS the door open. SCRAMBLE OUT. YOUNGER FIELD MAN -LRB- O.S. -RRB- She says gas'em, anyway, she'll pay cash. Uh. how do I pay this? WITH Julianne now, RACING through the lot, Michael vanishes INTO the Station, she PLUNGES in after him, BOUNCING off bystanders, apologizing, lunging on, gasping for breath, past exhaustion, threatening clumsily through the crowd like a staggering drunk, catching a lucky glimpse as he heads. DOWN a staircase to the TRACKS. My God, what's he doing? A second wind, fueled by panic, and she BOLTS after him, DANCING down the steep staircase somehow without killing herself, reaching the concourse to see him, running for. Track 29, a train already RUMBLING, ready to pull out, she SPRINTS after him. JULIANNE MICHAEL! He DISAPPEARS behind the train, she FALLS, skids, springs up, pushes through gaping onlookers, almost there, the train PULLS AWAY. JULIANNE NNNOOOO! But he's just standing there. His back to us. Watching it go. Her body nearly collapses with relief. She pushes herself on, but her legs are n't working right in their maxed - out fatigue, and she lopes and staggers until she comes up behind him. He's still lost in thought, staring after the train. She tries to speak, but there's no breath. So she puts her hands on her knees and just GASPS for air like a dog. Wheezing, panting, trying once more to speak, but she ca n't yet, and then he casually turns and. JUMPS out of his skin! A heart attack seeing her. JULIANNE -LRB- croaks. -RRB- Do n't speak! He just blinks at this sweaty, ripped - up, maniacal figure. MICHAEL Uh. I saw that moving. JULIANNE DO N'T SPEAK! FLINGING both her hands across his mouth. A frozen beat. He nods, okay. Cautiously, she takes her hands away. At least she has made him smile, in spite of everything. At least she's done that. JULIANNE I have to make a confession. Another confession. Besides that I love you. This is even worse. This. He's waiting to hear. JULIANNE The E - mail? You thought Walter sent your boss? I wrote that. You. WHAT?! Synapse overload. MICHAEL You're not saying you actually. you're saying that y. JULIANNE -LRB- stricken with remorse. -RRB-. wrote it, yeah. I'm the bad guy. MICHAEL ARE YOU CRAZY? She nods her head wildly, hair flopping. MICHAEL ARE YOU ABSOLUTELY INSANE? Bigger nodding. MICHAEL ARE YOU ON DRUGS? Shakes her head, like a two - year - old. MICHAEL -LRB- pacing in circles. -RRB- I mean, do you realize what you've. well, of course you realize, that's why you're confessing, I mean. I mean. how could you do that? JULIANNE I did n't know it would get sent. I just wanted you to. get mad at Kimmy. and. And watching. As this begins to sink in. JULIANNE I've done nothing but slimy, underhanded, despicable, not even terribly imaginative, things. Ever since I got here. Trying to. Staring in his eyes. Eyes she ca n't read at this point. JULIANNE to win you. To win you back. Tears in her own eyes now. Big ones. JULIANNE And I was blinded by love. Like you said. Shaking her head. JULIANNE But that does n't excuse any part of it. I am pond scum. No. JULIANNE Actually. Lower. I am the fungus that feeds on pond scum. Lower. The layer of mucous that cruds up the fung. MICHAEL Lower. JULIANNE -LRB- agreeing. -RRB- Lower. MICHAEL The pus that infects the mucous that cruds up the fungus. And to her amazement. The trace of a smile. MICHAEL -LRB- softly. -RRB- On the other hand, thank you. She blinks at that. Which squeezes out a tear. MICHAEL For loving me that much, that way. He shrugs. Just above a whisper. MICHEL It's pretty flattering. JULIANNE Except it makes me fungus. MICHAEL Well, that part I knew. She's never loved him more. JULIANNE So you have to marry Kim. Because she will actually make you happy. I, in contrast, am a shallow, neurotic psychopath, with relatively little to offer. Okay? JULIANNE Kim. Nod your head. Do as you're told. He nods his head, still smiling. Her tears are running now. Maybe she does n't notice. JULIANNE Just promise you'll never tell me who you would have chosen. If I had n't confessed. She chokes back a sob. JULIANNE Cos if you would have chosen me. Then I threw away a perfectly good life. Just to be a decent person. Which is a questionable trade - off. Right? He nods, slowly. Because he's supposed to. JULIANNE And if you would have chosen some 20 - year - old punk over me. I'd have to kill myself. Ah. His smile keeps getting smaller. More loving. More wonderful. MICHAEL -LRB- whispers. -RRB- I'll take it to my grave. Good. She looks around. JULIANNE I'm so glad you did n't jump on that train, before. MICHAEL I came here, looking for her. For her. The words leave a silence. JULIANNE Why would she come here. MICHAEL This is where I proposed. Stares deep in her eyes. She needs to hear this. MICHAEL I had to cover a game in Milwaukee. She saw me off. And when the train started to leave. I jumped up on the step, I help the handle, and without. He grins. Has to admit. MICHAEL without a thought in my head. I shouted, `` Marry me.'' I did. Now her eyes tear up again. And she does n't know why. MICHAEL And she gasped, and covered her mouth, and the train was pulling out, and suddenly she screamed YES! Just once. And blew me a kiss. What a girl. MICHAEL I never forgot that. JULIANNE It's two weeks. MICHAEL Almost three. JULIANNE That is so romantic. Which makes him reach and touch her hair. MICHAEL I just wonder if you know why. Do you? MICHAEL It's because romance is n't mystery, and tricks, and doubts, and halting, unspoken longings. That's not the real romance. Tears in his eyes now. First time. MICHAEL The real romance is saying yes. Does she know that now? He looks at his watch. MICHAEL -LRB- sighs. -RRB- Woulda been a nice wedding. Oh. That. JULIANNE -LRB- urgently. -RRB- You ca n't believe you've lost her! Sooner or later, you'll find her, and you'll look in each other's eyes, and you'll see all that love. JULIANNE Course, if it's later rather than sooner, I'd hate to be you at six o'clock. -LRB- beat. -RRB- You've got a lot of explaining to. MICHAEL I'm just thinking of how she's hurting. Lost. Alone. Like her life is over. JULIANNE That's little egotistical. He glares at her. JULIANNE But, undoubtedly accurate. She claps her hands, galvanized by the emergency. JULIANNE Okay, we'll split up. You go to every romantic place you guys have, I'll go. someplace brilliant, and the first one who. MICHAEL If you find her. Strange tone. A gentle warning. MICHAEL The kiss. May be hard. For you to explain. -LRB- beat. -RRB- Because the only fear she really has, is. JULIANNE me, yeah. And she likes Tommy Lasorda. Case closed. Looks at her own watch. Shit! MICHAEL But if you do get to her first. She looks up. MICHAEL There is something you are authorized to say.", "EXT.  TAXI STAND - DAY Julianne sits on the fender of this guy's taxi. The driver smokes, paces, while she waits for a connection on her cellular. Then. MANDY -LRB- V.O. -RRB- Wallace egregious residence, Mandy speaking. JULIANNE It's Jules, you guys have n't had a call from, say, Kimberly, have you? MANDY -LRB- V.O. -RRB- Oh, she's slipped out, the little monkey. Prob ` ly with Michael, doin' the nasty. A shallow laugh. MANDY -LRB- V.O. -RRB- Or crying in her nachos, down at Comskey Park. Julianne's face SNAPS to alert. JULIANNE Ex - cuse me? MANDY -LRB- V.O. -RRB- I had this crank call? From some guy who thinks he saw her? I said, what would a bride be doin', on her wedding. JULIANNE You are so right. What a nerve on that guy! Bring my dress to church, huh? Signals the driver, let's GO! JULIANNE I want to pick up a little something for the ceremony.", "INT.  LUXURY BOX, COMISKEY PARK - AFTERNOON Game in progress. Julianne and the bodyguard stand in the doorway of the deserted skybox. Everyone Walter knows is going to a wedding. The box is empty except for one cardboard container of nachos, extra cheese, sitting alone before a pulled - back chair. BODYGUARD She would n't confide in me, so I called the house. He sighs. Feels terrible about all this. BODYGUARD Luckily, I got her cousin. Julianne nods. Yeah, big break, there. JULIANNE Going to the john, she said? BODYGUARD Could be there awhile.", "INT.  WOMEN'S RESTROOM - AFTERNOON Julianne BURSTS into the enormous chaotic restroom. Looks around wildly, no sign of Kim. JULIANNE YO! IMMIGRATION! Everybody stops. Pays attention. JULIANNE I GOT A WARRANT FOR MS. KIMBERLY WALLACE! Silence. From the long line of stalls. KIMMY -LRB- O.S., sobbing. -RRB- In here, you bitch! Now everybody's really interested. Julianne ignores them, strides to the stall. KNOCKS, like it's a door. No answer. JULIANNE Let me in, baby, or I'll rip this damn thing off its non - code - compliant hinges. WOMAN -LRB- O.S. -RRB- GET THE FUCK OUTTA MY FACE OR I'M GON NA MESS YOUR SHIT UP! Some scattered APPLAUSE. From down the line. KIMMY -LRB- O.S., still sobbing. -RRB- Over here, nitwit! Oh. Scattered laughter. Julianne moves down the line. Stares at the door. We hear the soft, muted crying from within. Slowly, Julianne. drops to her knees. Bends her head low. PEERS under the door. What she sees, prompts a sad warning. JULIANNE Incoming. And she crawls UNDER the door, on her belly. We go WITH her to see. Kim fully dressed, perched on the closed toilet lid, her knees drawn up, her arms around them. JULIANNE Pitiful. And pulls herself up to her knees. Kimmy tries to glare, but it just is n't in her. KIMMY Have n't you done enough? The world gets real quiet. An entire bathroom is listening. Julianne cocks her head to one side. JULIANNE In one minute. You are going to feel so foolish. KIMMY WHY DO N'T YOU JUST DRIVE A STAKE THROUGH MY HEART? JULIANNE Have you ever heard of. Irony? Irony? Kimmy sniffles. JULIANNE I threw my arms around your husband. And kissed him with all my heart. Because I was so happy. For you. Nitwit. And leans close. As Kimmy flinches. JULIANNE -LRB- whispers. -RRB- He's going to take. -LRB- big grin. -RRB- The job! A stunned pole - axed moment. And Kimmy's eyes SPRING open. You mean? JULIANNE -LRB- beaming. -RRB- With your dad, yeah. Can you guess why? Bitch? Everything inside Kimmy BURSTS free in a torrent of tears. KIMMY HE LOVES ME! And DISSOLVES, sobbing, into Julianne's arms. A beat, for Julianne to reflect, and then she strokes her tenderly. JULIANNE Well, of course, he loves you. Kisses the top of Kimmy's head. JULIANNE -LRB- very soft. -RRB- Hell, even I love you. Kimmy holds her tight. From her heart. JULIANNE I never want to go through this again. KIMMY That's entirely understandable. ANGLES. outside the stall. Julianne's feet sticking out under the door. KIMMY -LRB- O.S. -RRB- Shit! THE TIME! The two BURST out of the stall, hand - in - hand, at a desperate DEAD RUN past us. HEAR them EXPLODE out the door, and. five stalls OPEN. Women exit, crying.", "EXT.  UNIVERSITY CHAPEL - TWILIGHT A taxi pulls up in front of an ivy - covered CHAPEL, fronted by nearly a hundred souls, milling about in attitude ranging from overstimulated curiosity to clinical hyperanxiety. Our girls JUMP out of the cab, and half the crowd starts running toward us, twins in the lead. SAMMY Whatever hap. JULIANNE -LRB- cutting this short. -RRB- We were bonding, we lost track, we're officially sorry, now let's put it behind us. Kim WAVES at her mom by the chapel entrance. And takes Julianne's hand for support. JULIANNE Believe me, we got a bride who's worth waiting for, yes? Everybody nods. JULIANNE Out of our way.", "EXT.  DRESSING ROOM - TWILIGHT White. Pure blinding white. Across FRAME floats more white, this gauzy and ethereal. It settles, its roots planting deeply in the bride's hair. TILTS UP to. the face of the woman who placed it there. Julianne's eyes, appraising this bride we can not see. And so softly. JULIANNE Do n't worry, sugar. Do n't worry. JULIANNE When he looks at you, it will be as if. The words stronger. Because there is no smile. JULIANNE he's never seen a woman before. PAN DOWN the white until we are. CLOSE on the bride's perfect slippers. HOLD. And.", "INT.  CHAPEL - EVENING Begins to slowly PAN BACK UP the length of an exquisite gown. We can tell from the organ, the nearby thrum of expectant voices, that we are nearing the moment. We reach. Kimmy's hand. Firmly clasping Walter's. Keep PANNING, the bodice, the lace, her throat, and finally, we are CLOSE on. the face of the bride. Now we understand the word radiant. We also understand scared senseless. Our perfect, unflappable Kimmy is in a trance of emotional overload where bliss and panic seamlessly blend. The organ's noddling stops. Kimmy's eyes alerted, like a small animal bearing a predator approach her thicket. Suddenly, the CHORD. The Wedding March from Wagner's Lohengrin. Here. Comes. The bride. And we SNAP TO. FULL ANGLE. Kim and Walter. This is it. WALTER -LRB- whispers. -RRB- Left foot. REVERSE ANGLE. Kim's POV, the chapel, every pew packed, every neck craning this way, the white satin carpet down the endless aisle to where. Michael waits. Also in a zone of pseudo - consciousness. From which he attempts a smile. Not comforting. Kim's POV WHIP PAN the groomsmen, the twins, LOCKING FOCUS on Julianne, standing strong and beautiful, a glow of her own in the daffodil dress. She sends her little sister a WINK across the trackless miles of aisle. You can do this, kid. So. Kimmy does. On her father's arm, she walks the gauntlet of the world's intrusive admiration. One step at a time. The most beautiful she will ever be. She is dazzling the crowd and managing to not throw up at the same time. And she's there. At his side. She glances back to her maid of honor, just to make sure she's not working without a net. So Julianne. CROSSES her eyes. Which lets the kid smile and finally take a breath. Have a little fun, huh? Kim nods, got it, turns to. The Minister. Who stands before them with a calming presence. Thank God someone has done this before. The crowd has hushed. The Minister's eyes are only for two. His words are for all. MINISTER Michael and Kimmy wrote these words. She asked me to confide, mostly Michael. A ripple of laughter. Gentle and fine. They are setting in. MINISTER So he gets to say them. A surprise. A pleasant one. The crowd adjust in its seats. As Michael begins. MICHAEL Why do people get married anymore? And on these words. We SNAP to Julianne. Share her interest in the bluntness, the simplicity, the unorthodoxy of this beginning. MICHAEL -LRB- O.S. -RRB- Why not live together amicably, with no sense of obligation beyond the moment? Her eyes. She's listening. MICHAEL -LRB- O.S. -RRB- As long as the sex is good. As long as no one more interesting has wandered into view. As long as the thousand conflicts of two individual wills remain comfortably compromised. PANNING now. Other faces. Isabelle. Proud to the bone. MICHAEL -LRB- O.S. -RRB- And when one feels the urge to move on, to explore the new. No guilt, no disgrace, no promise broken. Walter. His eyes damp. Against our expectation. MICHAEL -LRB- O.S. -RRB- No agony of having dishonored a time. When our hearts. And the world were different. Joe nods, as he hears. MICHAEL -LRB- O.S. -RRB- Marriage is a lot to put up with. Julianne once more. No breath. Rapt. MICHAEL -LRB- O.S. -RRB- The answer must be. That there is some need basic to the human heart. That embracing. the obligation of commitment. fulfills. Her eyes have clouded. As if Michael is talking to her. MICHAEL -LRB- O.S. -RRB- Some need to belong to one another in a way which rages against the notion. that all is impermanent. Against the notion of mortality. And suddenly, ALL the feeling rises in her throat. MICHAEL -LRB- O.S. -RRB- Our love is bigger. And longer. Than life itself. And the tears come. They come freely, unhidden, unnoticed. As if they were needed. Michael now. Looking at his bride. MICHAEL That's what we want. And marriage. Is what we do about it. Kimmy smiles at him. With love bigger than life itself. MICHAEL We are fools in this. Thank God Almighty. He is done. There is a silence. MINISTER Boy, that was good! People LAUGH. The Minister holds up a sheet of paper. For the crowd to see. Mostly paragraphs crossed out in red ink. MINISTER Michael and Kim also edited what they want me to say. More laughter. MINISTER The idea was, we're only marrying once. We have to remember it forever. Let's keep to the good stuff. -LRB- squints at the sheet. -RRB- You may kiss the bride. Bigger LAUGHTER. The Minister waves this off, his little joke. Turns to the best man, pantomimes the ring. As the hammered gold circle is handed to Michael, Julianne absently scratches her still - swollen finger. Mandy taps Julianne on the arm, and produces. a matching ring. Take it! Gives it to her. So Julianne steps forward. Places the second ring into Kimmy's waiting hand. Their eyes meet, and hold throughout. MINISTER -LRB- O.S. -RRB- If anyone here can show just cause why this man and woman should not be married, speak now. Or forever hold your peace. Julianne CLEARS her throat. Kimmy's heart flutters. In the silence. Julianne's wonderful smile. Just kidding. Michael reaches for Kim's hand, turns her gently to him. Places his ring on her finger. Holds her hands. MICHAEL Kimberly. I promise to love. And respect and comfort you. To hear your voice and your heart. Until we are parted by death. She swallows. Smiles a fleeting, beautiful smile. Fumbles slightly, putting the ring on his finger. KIMMY Michael. I promise to love and respect and comfort you. To hear your voice and your heart. Until we are parted by death. Staring in each other's eyes. A moment so fragile, the Minister waits an extra beat. MINISTER For the record, you each agree to marry the other? KIMMY -LRB- quickly. -RRB- I do! MICHAEL -LRB- smiling. -RRB- I do. The Minister joins their right hands. MINISTER We have n't said much about God this evening, I know. But He is here. And He is happy. To bless His wonderful children. CLOSE now on Julianne. For the inevitable moment. MINISTER -LRB- O.S. -RRB- In that Michael and Kimberly have given themselves to each other by solemn vows, and the exchanging of rings. Unnoticed by the world. Her eyes are close. MINISTER -LRB- O.S. -RRB- I pronounce them husband and wife. Those whom God has joined together, let no one put asunder. The eyes open. Wet, brave, ready for. MINISTER -LRB- O.S. -RRB- Now. Kiss the bride. Julianne watching. As Michael does.", "EXT.  WALLACE POND - NIGHT This is what all the preparation was for. Tables, lights, balloons, the guests dancing on the hardwood floor, at the base of the gazebo. The bride and groom among them, relaxed and happy. Two who are one. PAN TO. the stage, the band playing. Julianne conferring with the twins and the band leader, clear that she's giving the instructions. Then, she takes her glass of champagne to the microphone. KLUNKS it, for silence. The band stops. The dancers follow. All eyes are comfortably turned to the maid of honor. She looks to the couple. Just below her. Then, to the crowd. JULIANNE I'm a writer, too, not as good as Michael. But I do steal from quality. She raises her glass. Everyone at the table does the same. JULIANNE This is to my best friend. On the occasion of his wedding. Shouts of support, a few whistles. Silence. She tells Michael. JULIANNE If I have truly come to know your bride as my new sister. This is in her heart. She has to stop. Swallows. Because she will not let herself cry. JULIANNE `` Understand. I'll slip quietly away from the noisy crowd when I see the pale stars rising, blooming, over the oaks.'' Deep breath. Looks in his eyes. JULIANNE `` I'll pursue solitary pathways through the pale twilit meadows, with only this one dream : You come too.'' A hush. SHARP applause. From four hundred hands. But not from his. He is too moved. Too understanding of what he has heard. JULIANNE I do n't have a wedding gift. But this is on loan. Until you two find your song. And with that the band begins. The opening phrases of a song we have come to know. Michael seems overwhelmed. Julianne nods toward the gazebo. Michael takes his bride's hand, leads her up the stairs, into his arms, as the twins step to the microphone, and guests begin to applaud an unscheduled wedding dance. MANDY/SAMMY -LRB- singing. -RRB- Someday, when I'm awfully low, And the world is cold, I will feel a glow just thinking of you, And the way you look tonight. Soft two - part harmony. As perfect as the words. MANDY/SAMMY -LRB- singing. -RRB- You're lovely. With your smile so warm, And your cheeks so soft, There is nothing for me but to love you, Just the way you look tonight. Julianne can cry now. Because she's tied with half the place. MANDY/SAMMY -LRB- singing. -RRB- With each word, your tenderness grows, Tearing my fears apart. And the laugh that wrinkles your nose, Touches my foolish heart. Julianne begins to sing. Unheard. Unseen. Even by the man she's singing to. JULIANNE/MANDY/SAMMY -LRB- singing. -RRB- You're lovely, please do n't ever change, Keep that breathless charm, Darling, please arrange it, cos I love you. Just the way you look tonight. The band keeps playing. The dance goes on. Two people lost in each other. The way it's supposed to be.", "INT.  GREAT ROOM - LATE NIGHT Bedlam. Julianne caught in the middle of the throng. A young couple, dressed for travel, appear at the top of the staircase. The SHOUT are deafening. The bride has her bouquet. she spots Julianne far below. THROWS it her way, Julianne reflexively GOES FOR IT. not a fucking chance. The twins nearly TRAMPLE her in the stampede, Mandy WRESTING the prize from Sammy's grasp. Everyone CHEERS, and then the couple is. FLYING down the stairs, RACING through the crowd with a protective phalanx of groomsmen bodyguards, heading for the door, for freedom. Julianne, trapped in the crush, loses sight of the couple, struggles against the flow, suddenly panicked by the certainty that she will never see him before. And then, he's THERE. He has Julianne in his arms. Holding her so tight. An embrace so wonderful, so terrible, she could go mad from the confusion alone. Against the din, he murmurs in her ear. MICHAEL Wherever I go. However far. She sobs. Holds him. Deep, deep breath. JULIANNE You win a few, you lose a few. Some get rained out. And to her surprise. DIGGER -LRB- V.O., very softly. -RRB- You have a good time? To her greater surprise. There are a few tears left, after all. JULIANNE I did what I came to do. DIGGER -LRB- V.O., even softer. -RRB- Good girl. She just ca n't speak now. So she does n't. DIGGER -LRB- V.O. -RRB- I was thinking. Maybe you might visit us for awhile. We've got the room made up. This fucking guy. God, she loves him. JULIANNE I'll think about it. I'm okay. DIGGER -LRB- V.O. -RRB- Oh, you're more than okay. Just above a whisper. JULIANNE You, too. And with the last of her strength. JULIANNE If the sun comes up, I'll see you tomorrow, huh? A chuckle. At the other end. DIGGER -LRB- V.O. -RRB- I'll play those odds. You have sweet dreams. We hear the CLICK. She turns her back on the stars. Shoulders straight. Chin up. She walks from frame. FADE TO BLACK. HOLD END CREDITS."], "labels": [1.0, 1.0, 0.0, 1.0, 0.0, 1.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 0.0, 1.0, 1.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0, 1.0, 0.0, 0.0, 1.0, 1.0, 1.0], "summary": "Julianne Potter (Julia Roberts), a 27-year-old New York City restaurant critic, receives a call from her lifelong friend Michael O'Neal (Dermot Mulroney). In college, the two made an agreement that if neither of them were married by the time they turned 28, they would marry each other. Three weeks before her 28th birthday, Michael tells her that in four days, he will marry Kimmy Wallace (Cameron Diaz), a 20-year-old University of Chicago student from a wealthy family, and the daughter of the owner of the Chicago White Sox. Julianne is disappointed that Michael will marry someone whom she perceives as being so wrong for him, and someone he has known for such a short time. She realizes that she is in love with Michael, and heads to Chicago, intent on sabotaging his wedding. Soon after arriving she meets Kimmy, who asks her to be the maid of honor. This sets off a subplot in which Julianne must pretend to be the dutiful maid of honor while secretly scheming ways to prevent the wedding from happening. When trying on dresses, Michael walks in on Julianne in her underwear as he tells her that she looks great, leaving her to think that she still has a chance to get him back. She also engages in petty sabotage\u2014for example, taking Kimmy and Michael to a karaoke bar after discovering that Kimmy is a terrible singer. When these tactics fail, Julianne enlists the aid of her gay friend, George (Rupert Everett) to help her break Michael and Kimmy up. George flies to Chicago to meet Julianne and persuades her to do the obvious: tell Michael that she is in love with him. While at a tailor shop, George convinces Julianne to tell Michael her true feelings before it\u2019s too late. While she finally has the chance to tell him, she gets nervous and quickly tells him that she is engaged to George to get him jealous. Speechless, Michael is shocked about seeing Julianne with someone other than him. Since Julianne didn\u2019t tell the truth, George tries to get back at her by embarrassing her. On the taxi ride to the church, he snuggles up to Julianne to make her uncomfortable in front of Michael. At a big family lunch with all of Kimmy's family in attendance, he also decides to embarrass Julianne by telling everyone an exaggerated tale of how they met, and sings \u201cI Say a Little Prayer\u201d as the whole restaurant joins in. After George leaves to catch his flight back home, Julianne tells Michael the truth about her and George not being together, and Michael admits to being jealous, thinking they were really engaged. Since it will be their last opportunity to spend time together before his new life as a married man, Michael gets Julianne to go on a boat ride with him. He expresses some skepticism about marrying Kimmy, explaining that he and Kimmy don't share a special song like he and Julianne do. Michael discreetly gives Julianne the invitation to tell him she's in love with him, but she lets the opportunity pass. Michael starts singing their song, \u201cThe Way You Look Tonight\u201d in her ear as he grabs Julianne and holds her while they dance one last time. As the wedding date is approaching, Julianne becomes more desperate to win Michael. She uses Kimmy\u2019s father's email account to forge a fake message to Michael's boss, and chooses to save it for later instead of deleting it \u2014 that way it will give Kimmy the opportunity to continue on with school and cause Michael to want to leave Kimmy if he can\u2019t have his dream job. Realizing Kimmy\u2019s father had sent out all of his emails, including the fake one Julianne wrote, she forces Michael to go back to his job so she can get the letter before he finds it. Since the place was closed, Julianne and Michael make their way back to the hotel. Unfortunately, Michael already received the letter and becomes upset, calling off the wedding and leaving Julianne alone as he goes for a walk. The next morning, the day of the wedding, Julianne tries to sabotage the situation further; as Michael and Kimmy are not speaking to each other, they communicate through Julianne, not realizing she is trying to manipulate them into breaking up for good. In spite of this, Michael and Kimmy decide they do love each other and want to get married after all. Feeling vulnerable, Julianne then takes a walk with Michael, during which she finally confesses her love to him. She asks him to marry her, and passionately kisses him. Kimmy witnesses this, and runs off, but Michael chases her while Julianne chases Michael. As Julianne is chasing after Michael in a truck, she frantically calls George explaining the situation, and George makes it clear to her that Kimmy is the one Michael loves because he is chasing after her and not Julianne. Julianne finds Michael at Chicago Union Station, where he is looking for Kimmy, and confesses all to him. Despite his anger at her deception, Michael forgives Julianne, and they split up to look for Kimmy. Julianne then tracks down Kimmy in the bathroom of Comiskey Park (Kimmy's family has a private viewing box at the stadium). Kimmy, rightly furious with Julianne, confronts her, while the other women watch, immediately siding with Kimmy and are disgusted with Julianne's dirty tactics. Julianne, however, apologizes and explains to Kimmy that she kissed Michael unexpectedly, but he didn't kiss her back because he was in love with Kimmy. Julianne declares that Kimmy has won, and that she accepts Michael's decision. Kimmy and Julianne reconcile with each other while the witnesses applaud. After the wedding, at the reception, Julianne gives a speech as Kimmys maid of honor and  says that Michael and Kimmy can use Julianne and Michael's special song until they find one of their own, essentially acting like a true best friend. Julianne wishes them well, and she and Michael share their goodbyes, both of them finally moving on with their lives. Later, Julianne is surprised by George showing up at the wedding reception. The movie ends with the two of them happily sharing a dance together.", "name": "My_Best_Friends_Wedding"}
{"scenes": ["EXT. STREETS OF LONDON - NIGHT Autumnal streets seen through the sooty glass of a STREET LAMP. Shadows within shadows. Fog in the air. Full moon. WATSON -LRB- V.O. -RRB- The year was 1891. London was the capital of the world - the height of modernity, with the hiss of steam and smell of coal in the air. It was also the great cesspool into which all the sinners and criminals of the empire drained. Gas hisses audibly, the street lamp ignites, and casts a POOL OF LIGHT onto the street, silhouetting a MAN making his way through the fog and dark shadows with a lantern. WATSON -LRB- V.O. -RRB- I had come to London, ten years prior, to find a life after the Afghan war. I had hoped to start a medical practice and settle into a nice, steady existence. The life I found was anything but nice and steady. We can see that the MAN wears a cape. The distinctive silhouette of his deerstalker hat is unmistakable. A FURIOUS CLATTER OF HOOVES APPROACHES in the distance. The MAN tugs on a pipe and turns towards the growing stampede. WATSON -LRB- V.O. -RRB- And that had everything to do with one man. My friend, my partner, my burden. The MAN exhales a plume of smoke calmly, giving us the impression that he knows something that we do n't. WATSON -LRB- V.O. -RRB- Sherlock Holmes. WHAM! The MAN in the deerstalker hat is KNOCKED FLAT by A RUNNING MAN who has vaulted over a wall, sending him, his pipe, and hat flying across the cobbles. The RUNNING MAN leans down as if to assist, but instead just picks up the smoker's broken umbrella and studies it. The MAN in the deerstalker hat's eyes widen as he recognizes his famous assailant. MAN Sherlock Holmes?! SHERLOCK HOLMES offers the handle of the umbrella to the MAN, hauls him to his feet and hands back his broken umbrella. HOLMES My apologies. Send the bill to John Watson, 221B Baker Street. Sherlock Holmes sprints off down an alleyway. The MAN takes a step into the road to watch him go - - and is nearly flattened for good by the first of a number of POLICE CARRIAGES, hurtling by on a serious pursuit, Victorian - style.", "INT. CARRIAGE - CLOSEUP ON THE OFFICERS - NIGHT inside. Big, uniformed guys assemble their weaponry - a 19th century SWAT team. One man stands out as a leader, older than the rest, INSPECTOR LESTRADE. A man in plainclothes sits to one side of the officers : DR. JOHN WATSON, physically as tough as anyone else in the carriage, but with a more pensive air about him. A thinking man of action.", "EXT. STREETS OF LONDON - NIGHT Almost tipping over, the carriage turns onto the Embankment and hurtles through the writhing fog along the river. As the carriage banks, we see Holmes cut across the carriage path again, taking a line the horses can not follow. ANOTHER ANGLE Holmes bursts out of an alley, sprints round a corner and runs across a courtyard to a side door. WE PULL BACK to see the FACADE OF ST. PAUL'S CATHEDRAL.", "INT. CATHEDRAL CRYPTS - ENTRANCE - NIGHT Holmes enters through the door and stands at the top of a stairwell. He takes a moment to recover ; he's fit, but not as fit as he used to be. Holmes descends the stairwell to a door and a spiral staircase beyond it. He stops at the doorway and peers round the corner. A lantern glow ascends the spiral stairway towards Holmes. Holmes withdraws into the shadows behind the door. A BOWLER - HATTED MAN ascends the stairs, carrying the lantern and a gun. He peers behind the door and holds the lantern up to the shadows, but does not see Holmes, who has pulled his black jacket up to conceal his face. The man swings the lantern away again. He peers about, confused. We see Holmes' eyes from the shadows, as he lowers his jacket and thinks through his plan of attack. HOLMES -LRB- V.O. -RRB- Head cocked to the left, partial deafness in right ear. First point of attack. PRE - VISUALIZATION IN VARI - SPEED FOCUS ON the spot behind the man's right ear, just at the top of the jaw - the most vulnerable point. Holmes launches a hammer blow, and we ramp from 24 fps to 400 fps -LRB- ULTRA SLOW MOTION -RRB- as he makes contact. The man's head is thrown back as he spins round. HOLMES -LRB- V.O. -RRB- Then throat, paralyze vocal chords, stop screaming. BACK TO 24 fps. The man's mouth opens to cry out. We RAMP BACK UP TO 400 fps as his Adam's Apple is struck with a precision karate chop, strangling his scream. HOLMES -LRB- V.O. -RRB- Stink of alcohol, heavy drinker - knuckles to liver. BACK TO 24 fps, RAMPING TO 400 fps as a devastating knuckle - punch to the liver doubles up the bowler - hatted thug and crumples him to his knees. SECOND - TIME ACTION - SUPER FAST REPEAT OF ABOVE Holmes flashes out of the shadows, moving so fast that we can barely see what he's doing. THWACK! Hammer blow to ear. CRACK! Karate chop to throat. WHAP! Knuckle punch to liver. BACK TO NORMAL MOTION as the man crumples to the ground, Holmes takes his bowler hat from his head and flips it onto his own in one super fast move. Holmes drags the battered man into the shadows, lifts his lantern and proceeds down the spiral staircase. POV - BOTTOM OF THE SPIRAL STAIRCASE Another bowler - hatted THUG approaches the bottom of the staircase. He has seen the lantern light. He draws his gun and approaches. Holmes places the lantern on the post at the bottom of the bannister, ducks down into the shadows. THUG What's goin' on, John? When he gets no answer, the THUG points his gun to where we saw Holmes hide. But Holmes appears from the shadows behind the THUG, reaches around him, grabs his gun hand and pistol - whips him twice with his own gun, dropping him. Holmes extracts a cigar from the Thug's top pocket and sniffs it appreciatively. HOLMES Hhhmm, good cigar. Who do you work for? He jams the cigar in his own top pocket, picks up the man's bowler and proceeds on, further down into the crypts.", "INT. CATHEDRAL CRYPTS - BALCONY - NIGHT TWO HARD MEN in bowler hats stand guard. ANOTHER ANGLE Holmes surveys the scene AT A DISTANCE, out of sight. Eyes alive with intelligence, processing angles when - A HEAVY HAND falls on his shoulder. PULL BACK to reveal - -LRB- The following exchange in whispers. -RRB- HOLMES Watson. Perfect timing. WATSON Nice hat. HOLMES Just got it. Where's Lestrade? WATSON Getting his troops in formation. Is that your blood or theirs? HOLMES I do n't know. It's an old shirt. WATSON You left this behind. Watson hands him his pistol. Holmes looks at it with distaste, does n't take it. HOLMES Knew I'd forgotten something. Thought I'd left the stove on. WATSON You did. HOLMES Right. Shall we? This is what they do. This is what they like. ANOTHER ANGLE The two HARD MEN on guard turn fast and gather together as they hear footsteps approaching. MAN #1 Des? He can see the hat, but not the man underneath. WATSON Yeah, s ` me. Watson takes out the two men. He is more of a brawler, using headbutts, knees, and elbows. Less artful, but no less effective.", "INT. CATHEDRAL CRYPTS - BALCONY - NIGHT Thugs dispatched, Holmes and Watson look down and see a chilling sight. A WOMAN IN WHITE LIES INSIDE A CRUDELY - PAINTED PENTACLE -LRB- five - sided figure -RRB-, lit with candles at each corner. Her eyes roll back in her head, trance - like. A sword has been placed at her feet. A HOODED FIGURE KNEELS INSIDE A DOUBLE CIRCLE next to the pentacle. This is LORD BLACKWOOD. We do not yet see his face. ANOTHER HOODED FIGURE stands on the edge of the ceremony, shrouded in shadow. We do not see his face. Suddenly, the woman rises up like a broken puppet, as if pulled to her feet by invisible hands. Some kind of ritual is about to climax. Holmes and Watson head down, fast, not caring if they make a noise or not. Their footsteps echo.", "INT. CATHEDRAL CRYPTS The second hooded figure moves back and melts into the shadows. Still kneeling, still hooded, Blackwood chants softly, Latin incantation repeating and repeating. ON THE WOMAN as her lips start to move in time with the incantation. This is spooky, real, powerful stuff. Holmes and Watson leap from the stairs to Blackwood's level. Blackwood simply ignores them. The Latin incantation never stops. Holmes is closer to the girl, Watson closer to Blackwood. WATSON The girl. The girl bends with alarming and mechanical suddenness, picks up the sword and turns it on herself, ready to plunge the point into her heart. Holmes lunges, grabs the woman's arm, disarms her and pulls her out of the pentacle. She collapses. Simultaneously and eerily the candles extinguish and a rush of air departs the tunnel. Blackwood throws back his hood. We finally see his face. His eyes are intense, he is tapped into something dark and cruel. Holmes and Watson are shocked at his identity. WATSON Lord Blackwood?! Blackwood applauds softly, strangely. BLACKWOOD Well done, Holmes. And Watson as well. Watson raises his gun, trains it on Blackwood. WATSON Stay right there. Blackwood raises his hands in front of him, almost mockingly. BLACKWOOD Tell me, doctor, as a medical man, how did you like my work? -LRB- beat. -RRB- The fifth one was so scrawny, it was over before I'd finished the first incision. That's more than Watson can take. He moves in to pistol - whip Blackwood - - is stopped suddenly by Holmes' hand grabbing his collar. HOLMES No. Watson struggles forward against Holmes' grip. HOLMES Look. Holmes seems to be pointing at Blackwood. Watson looks, sees nothing. HOLMES Look. Watson looks, and sees it and his eyes flare wide. INCHES FROM WATSON'S RIGHT EYE is the needle - pointed end of a QUIVERING PIECE OF HIGH - TENSILE WIRE, almost invisible - - the other end held between Blackwood's hands. A really nasty concealed weapon. One more step and Watson gets impaled in the eye. BLACKWOOD What a shame. That would've been fun. We hear heavy boots on the balcony, as Lestrade and his men finally appear. POLICEMEN flood the area. HOLMES Impeccable timing, Lestrade. LESTRADE -LRB- vis Blackwood. -RRB- Is that -? WATSON It is. HOLMES -LRB- re : girl. -RRB- We've gone for the doctor. -LRB- re : Blackwood. -RRB- And one for the rope. LESTRADE You should've waited for my help. HOLMES If I had, you'd be cleaning up a corpse and chasing a rumor. Besides, the girl's parents hired me, not the Yard. -LRB- a wry smile. -RRB- I ca n't imagine why they thought you'd need any assistance. Lestrade turns, frustrated. He watches his men yank Blackwood out of his double circle, put chains on him, while others carry the girl away on a stretcher. She's still mouthing the incantation. Lestrade eyes the double circle, the pentacle, shakes his head, not understanding them. Grudgingly, reluctantly, hating himself for needing to, he turns to Holmes. LESTRADE What do you make of that? HOLMES Some kind of ceremony. Five girls killed beneath cathedrals at the height of the full moon. -LRB- indicating. -RRB- The double circle's for his own protection. LESTRADE London will breathe a sigh of relief - WATSON - at the excellent work of Scotland Yard. As usual. HOLMES Bravo, Lestrade. Have a cigar. Holmes sticks the villain's cigar in Lestrade's pocket and - - A POLICE PHOTOGRAPHER lifts his massive camera. FLASH! An explosion of light and sparks as a 19th century flashbulb pops. The SCENE is FROZEN bright for a split - second and then it FADES. CREDIT SEQUENCE BEGINS, MUSIC AND TITLES OVER -", "INT. LAB Dim light from a burner heats fluid in a jar, a bench strewn with scientific equipment. Gloved hands mix chemicals in a tray, a piece of photo paper on top.", "INT. NEWSPAPER LIBRARY Another pair of hands search urgently through a row of alphabetized files, coming to rest on the letter `` H.'' A bunch of `` H'' clippings hit the desk. The top one reads : STUDENT AND ARMY DOCTOR SOLVE LONDON MYSTERY! A photo of Holmes and Watson in their 20s at a crime scene. Their eyes are shut for the photo, unaccustomed to flashes.", "INT. LAB Chemicals are poured over the paper and spread across it.", "INT. NEWSPAPER LIBRARY Hands flip through more papers, more headlines : STUDENT AND DOCTOR BEAT COPS TO THE PUNCH AGAIN! ROOMMATES SOLVE BRIXTON MURDERS! Another picture of Holmes and Watson. This time, they look more confident, the article bigger. Another headline : HOLMES AND WATSON OPEN FOR BUSINESS. Holmes and Watson stand in front of 221 Baker Street.", "INT. LAB A negative is clipped over the paper. A sudden flash of light as it is exposed.", "INT. NEWSPAPER LIBRARY Another headline : DOCTOR AND DETECTIVE FOIL JEWELRY SCAM! A picture of Holmes and Watson, holding a goose by its feet and smiling. The men are front page news now. More headlines and photos come fast : LONDON DUO DO IT AGAIN! A shot of Holmes and Watson, older, shaking hands with a royal. HOLMES AND WATSON SOLVE SEVERED EAR MYSTERY. CELEBRATED DETECTIVE PROVES GUILTY MAN INNOCENT. More and more headlines, Holmes and Watson getting older, solving crimes, and. The files are moved to another desk where hands punch text on a vintage typewriter : `` CATACOMB KILLER IS INDUSTRIAL TYCOON LORD BLACKWOOD.''", "INT. LAB A faint image is forming on the paper.", "INT. NEWSPAPER LIBRARY A hand yanks the paper from the typewriter and onto a desk where a typesetter begins to assemble the story in blocks of lead type. Upside down and back to front we see the words `` SHERLOCK HOLMES,'' one metal letter at a time.", "INT. PRINTING PRESS A roller dripping with ink rolls over the story we have seen assembled along with an engraving of the image. The whole thing is fed into a printing press, a whirring mass of wheels and gears. Papers are bundled and tied, then distributed until one lands face - up outside the door of : 221 BAKER STREET, where we see the headline `` CATACOMB KILLER CAUGHT!'' The photo of Holmes and Watson sits above the fold, dominating the front page. TITLE SEQUENCE ENDS.", "EXT. 221 BAKER ST. - AFTERNOON Autumn has turned to winter. SUPERIMPOSE : THREE MONTHS LATER FROM A RAVEN'S POV We FOLLOW a lady, MRS. HUDSON, walking down the street with the day's shopping. She picks up a paper with the day's headline `` BLACKWOOD HANGS TOMORROW : CLAIMS PACK WITH THE DEVIL.'' She continues down the street until arriving at 221 Baker Street. A raven lands on the entry gate, she shoos it away, walks up the steps, and inside.", "INT. 221 BAKER ST. - WATSON'S APARTMENT Watson takes a blood pressure cuff off CAPTAIN PHILIPS, an OLDER GENTLEMAN who sports an array of medals. The room is a tribute to military and medical order - all is neat and tidy, everything in its place. WATSON 71 over 104. very good, Captain. CAPTAIN PHILIPS Me nerves are the best they been in years, thanks to you. Watson is pleased by that. CAPTAIN PHILIPS Tell me something - your new offices. There wo n't be so many stairs, I hope? WATSON No - ground floor. And there'll be a woman's touch, too. I think we can start to wean you off the medicine - BANG - BANG - BANG - BANG - BANG! A dozen GUNSHOTS O.S. Captain Philips hits the floor, terrified. Watson suppresses extreme irritation, writes a prescription on a piece of paper, then helps Captain Philips to his feet. WATSON Let's give it a little longer, just to be safe. -LRB- beat. -RRB- I'll be right back. He heads out, letting his aggravation show once his back is turned to his patient.", "INT. 221 BAKER ST. - HALL As Watson exits his apartment and moves down the hall, MRS. HUDSON, his landlady, shoots up the stairs with the paper. Her nerves are almost as bad as Captain Philips'. MRS. HUDSON -LRB- panting. -RRB- I wo n't go in there by myself, not while he's in this state. WATSON You're not going in at all. Which is a relief to Mrs. Hudson. MRS. HUDSON What will I do when you leave? He'll burn the house down around me. What will he do? Could n't you have a longer engagement? WATSON He just needs a new case, that's all. Captain Philips emerges from Watson's apartment, heads towards them. WATSON I smell burning. Mrs. Hudson's already - frayed nerves take a turn for the worse. Watson takes the newspaper from her. WATSON Why do n't you take Captain Philips and give him a nice cup of tea. MRS. HUDSON Come on, Captain, let's go down. It'll be quieter. WATSON -LRB- as they leave. -RRB- And perhaps some tea and bread up here when you can. Watson heads down the hallway to the last door. A tendril of smoke wafts out from under it. Urgent. Nonetheless, Watson stops, takes a deep breath, gathers himself. Something like this has happened before -LRB- is, in fact, Holmes' usual brand of chaos -RRB- the difference being, now, that Watson is sick to death of dealing with it. Which does n't mean he wo n't. Newspaper in hand, Watson opens the door, pokes his head in, cautiously. He sees -", "INT. 221 BAKER ST. - HOLMES' APARTMENTS Watson squeezes through the doorway to find that the obstruction is Holmes who is sitting in the dark on a chair, blocking the door, aiming a gun -LRB- with an odd contraption fastened on its barrel -RRB- at the wall. Unadulterated chaos. A series of FLAMING BULLET HOLES blasted into the wall in the -LRB- ragged -RRB- initials `` V.R.'' WATSON May I join you in the armory? HOLMES Please. Watson, I've been working on a device which will suppress the sound of a gunshot. Watson heads towards the conservatory. HOLMES Please. Do n't, do n't, do n't. Watson pulls open the curtains allowing the light to pour in. WATSON It needs work. May I see? Watson passes him heading to the other side of the room -LRB- possibly grabs the gun -RRB- picking up a pile of open letters from a table. HOLMES Gently, gently, Watson. Watson whips open more curtains and opens a window. Holmes crawls on his hands and knees over to a table where he finds his sunglasses and puts them on. Watson sits on a chair and begins to leaf though the letters. WATSON It's been three months since the last case. About time you found another one. HOLMES I ca n't but agree. My mind rebels at stagnation. Give me problems, give me work. The sooner the better. WATSON Paper? Watson hands Holmes the newspaper. WATSON Let's see, we have a letter here from Mrs. Ramsey in Queen's Park - her husband has gone missing. HOLMES He's in Belgium with the scullery maid. Is it December? WATSON Yes, Holmes. Lady Radford reports a missing emerald bracelet. HOLMES Insurance swindle. Lord Radford likes fast women and slow ponies. I see you're the attending physician at Blackwood's hanging. WATSON Yes, it's our last case together and I wanted to see it through to the end. Awkward pause. Cough. WATSON Mr. Lewis is seeking. Mrs. Hudson enters carrying a tray of bread and tea. She is steeling herself for this interaction. HOLMES -LRB- to Watson. -RRB- There is only one case that intrigues me at present. the curious case of Mrs. Hudson, the absentee landlady. I have been studying her comings and goings and they appear most sinister. MRS. HUDSON Tea, Mr. Holmes. Mrs. Hudson crosses to Holmes and puts the tray before him. HOLMES Is it poisoned, nanny? MRS. HUDSON There's enough of that in you already. She goes to remove an old tray from behind him. HOLMES Do n't touch that. Everything is in its proper place, as per usual. She ignores him and removes the tray then crosses back towards the door noticing a bulldog lying unconscious under the table. MRS. HUDSON He's killed the dog. again. Watson jumps up. His bulldog, GLADSTONE, lies on the floor in a drugged stupor. WATSON What have you done to Gladstone this time? HOLMES I was simply testing a new anesthetic. He does n't mind. WATSON Holmes! As your doctor. HOLMES He'll be right as a trivet in no time. Watson's finally had enough. WATSON and your friend, you've been in this room for two weeks. I insist you get out of here. HOLMES There's nothing of interest to me out there, on earth, at all. WATSON So, you have nothing to do? HOLMES Nothing. WATSON Then you're free this evening. HOLMES Absolutely. WATSON For dinner. HOLMES Wonderful. WATSON The Royale. HOLMES My favorite. WATSON Mary's coming. HOLMES Not available. WATSON You're meeting her, Holmes. HOLMES Have you proposed yet? WATSON I'm still looking for the right ring. A little smile from Holmes. HOLMES Then it's not official. WATSON It's happening, like it or not. Half past eight. The Royale. The dog wakes up and runs out. WATSON And wear a jacket. Watson exits, leaving Holmes alone in his own chaos. For the first time, we see a hint of fear in his eyes.", "INT. THE ROYALE - DINING ROOM Holmes sits in the center of a booth waiting for Watson to arrive. He is quite uncomfortable in this setting. WE SEE HIS OBSERVATIONS - he picks up little pieces of information from the other guests. He notices the details on a pair of gentleman's cufflinks, the name on a bottle of wine, a surreptitious argument between waiters. It all becomes quite overbearing. And then Watson and Mary arrive, talking, intent on each other - surprised when they realize Holmes is already there. WATSON Holmes! You're early. HOLMES Fashionably. WATSON May I present Miss Mary Morstan. Holmes looks at MARY MORSTAN - looks again. She's beautiful, 30s, and clearly a woman worth marrying. Holmes stands. She extends her hand. HOLMES My pleasure. For the life of me I do n't know why it's taken him so long to get us properly introduced. Holmes gestures politely, they sit, Mary and Watson on either side of him. There is a decanted bottle of wine on the table. MARY The pleasure's mine. It really is a thrill to meet you, Mr. Holmes. I've a whole stack of detective novels at home. Poe, Wilkie Collins. WATSON -LRB- proudly. -RRB- It's true. MARY They can seem a bit far - fetched sometimes, though. Making these grand assumptions out of tiny details. HOLMES -LRB- livening up. -RRB- Oh, no no. The little details are by far the most important. Take Watson. MARY I intend to. Watson likes that, Holmes less so - a forced chuckle. HOLMES see that walking - stick? A rare African snakewood hiding a blade of high - tensile steel. A few were awarded to veterans of the Afghan war, so I can assume he's a decorated soldier. Strong, brave, born to be a man of action. And neat, like all military men. Then I check his pockets. ah. A stub from a boxing match. Now I can infer he's a bit of a gambler. -LRB- a wink. -RRB- I'd keep an eye on that, by the way. WATSON Those days are behind me. HOLMES Yes, right behind you. -LRB- leaning in to Mary. -RRB- He's cost us the rent more than once. Mary laughs. MARY With all due respect, Mr. Holmes, you know him. But what about a perfect stranger? What can you tell about me? Holmes and Watson exchange a glance - not a good idea. WATSON I do n't think that's necessary - HOLMES Yes, I doubt - MARY No, it'd be wonderful. I insist. HOLMES You insist? -LRB- at Watson. -RRB- She insisted. -LRB- instantly. -RRB- You're a governess. MARY Well done. WATSON Yes, well done. So shall we - HOLMES Your student's a boy of 8. MARY Charlie's 7, actually. Watson's getting nervous, reaches for the wine. Holmes stops him. HOLMES It's breathing. -LRB- back to Mary. -RRB- Then he's tall for his age. Mary nods. HOLMES He flicked ink at you today. MARY Is there ink on my face? The WAITER appears. WATSON There's nothing wrong with your face. WAITER The gentleman has already ordered for himself. -LRB- to Watson. -RRB- What would madam care for this evening? Watson gives Holmes a hard look : that's a bit much. WATSON Give us a few minutes, please. He shakes his head, pours wine for all. HOLMES There are two drops on your ear. India blue's nearly impossible to wash off, anyway. A very impetuous act by the boy, but you're too experienced to react rashly - which is why the lady you work for lent you that necklace. It's from Asprey's, flawless, not the gems of a governess. -LRB- beat. -RRB- However, the jewels you're not wearing tell us rather more. WATSON Holmes. Both Watson and Mary scorch Holmes with their eyes. Holmes pauses. pauses, then : HOLMES You were engaged. Holmes' mind has gotten away from him. He begins talking faster, intensely focused, manic. HOLMES The ring is gone. But the lighter skin where it sat suggests you spent some time abroad wearing it proudly. As Holmes talks, Watson gets up, moves to help Mary to her feet. They're leaving. HOLMES Or at least until someone informed you of its true and rather modest worth, at which point you broke off the engagement and returned to England for better prospects. A doctor perhaps. Mary throws Watson's wine in Holmes' face. The restaurant goes silent. She turns to leave, turns back. MARY -LRB- low. -RRB- Right on all counts but one. I did n't leave my fiance. he died. Now she leaves - WATSON Well done, old man. - and Watson goes with her. Holmes lets the wine drip down over him. HOLMES She's lovely. Holmes is left at an empty table with wine running down his face. Their orders arrive - an array of plates piled high. The waiter puts them down, Holmes very carefully unfolds his napkin and places it into the top of his shirt, spaghetti style, takes his knife and fork and begins to cut the meat - then pauses, looks around. HOLMES' POV Happy couples eating, laughing, talking. Suddenly, Holmes hears no words. He just sees their mouths moving. The sound of silverware clinking and scraping on fine china rises to an ORCHESTRAL ROAR - - which becomes the ROAR of a BLOOD - THIRSTY MOB as a fist smashes into a face with a MEATY THUD.", "INT. PUNCH BOWL PUB - BARE-KNUCKLE BOXING FIGHT NIGHT Holmes staggers back from the blow. He tastes his own blood from a split lip. It interests him. He is stripped to the waist, all sinew and gristle. His opponent, McMURDO - huge but flabby - bangs his fists together and moves in. Bets rage back and forth through the pressing CROWD. HOLMES' POV The room and the fight are calm - the sounds muffled and indistinct - a complete sensory reversal of his experience in the restaurant. This is soothing to him, the ring is the only place where his mind stops racing. He's able to feel, not just think. He is utterly in the moment. Holmes' hawk - sharp gaze darts down from McMurdo's face to his muscles as they flex, giving him just enough warning to move his head so that a punch grazes him. BACK TO SCENE McMurdo throws a storm of punches, most of which Holmes ducks or blocks. He throws nothing in return, sometimes even drops his hands, just using his reflexes to protect himself. Once or twice, he reaches out and gently touches McMurdo's face or throat, when the big man leaves an obvious opening. But that's all. Holmes is completely in control - - until he notices a face at ringside. CLOSEUP ON A BEAUTIFUL WOMAN Early thirties, a look of pure intrigue in her eyes and a slight smile on her lips as she watches the detective. Holmes' POV returns to normal when he sees her, the sound floods back into the room. McMurdo senses his opponent's lapse in concentration and steps on Holmes' foot, tramping him and - He knocks Holmes down with a thunderous right. Holmes rolls over, stands, shakes his head to clear the cobwebs. He looks for the woman. She's gone. He turns back to McMurdo, smiles. HOLMES Well done. Thank you. Holmes begins walking away. McMURDO Oi! We ai n't done here. HOLMES -LRB- walking away. -RRB- Not done. Finished. And as I said, thank you, it was most pleasurable. Face twisted in disgust, McMurdo strides forward and SPITS CONTEMPTUOUSLY at Holmes, catching him on the back of the head. The crowd falls silent. Holmes stops. Feels the back of his head, smells his hand. HOLMES Hm. Plymouth gin. He turns. Steps back into the ring. The crowd applauds, working into a fever pitch, but from Holmes' POV, all is calm. His eyes tick slowly, scanning McMurdo, locking onto the big man's knee : A little scar - tissue, nearly invisible. As McMurdo braces for combat - Instantly Holmes unleashes a series of superfast moves, incorporating exotic martial arts. The blinding combination culminates with a spinning kick to the big man's knee, which buckles altogether wrong. McMurdo falls, over and out. Holmes is already turning away before the giant hits the canvas. He sees the crowd fall silent, they're not sure if they like it, there really is n't any sport. He does n't care. Passing fellow fighters and flirty barmaids, Holmes strides out of the bar, battered on the outside, soothed inside. He grabs a bottle in his hand. Taking a huge swig, he climbs the stairs towards the upstairs rooms.", "INT. PENTONVILLE PRISON - CORRIDOR - NIGHT A candle shivers, casting jagged shadows. A row of stone cells. The sound of prisoners SCREAMING in the dark. A full - scale riot is on. Five GUARDS charge down the corridor, banging on the doors to quiet the prisoners. The GUARD CAPTAIN approaches a young guard, CHARLIE, who is frozen on the spot. GUARD CAPTAIN Charlie, what the hell's going on down here? CHARLIE It's Jack, he tried to stop Blackwood from doing his spells. And now he's in some kind of fit. The Guard Captain continues around the corner. We see another guard, JACK, lies convulsing on the floor. GUARD CAPTAIN -LRB- to the prisoners in the cell next to Blackwood. -RRB- You lot shut it! -LRB- to the guards. -RRB- Charlie, get, down here and get him to the infirmary. The guards pick Charlie up and carry him away.", "INT. PENTONVILLE PRISON - BLACKWOOD'S CELL - NIGHT Blackwood sits dead center in the dark. Eyes closed, WHISPERING ungodly sounds. On the walls the scrawls of a madman : wild symbols, sketches of animals, a headless sphinx, an upside - down cross. A hint of some method to his madness. GUARD CAPTAIN All right, Blackwood, what's this all about? BLACKWOOD I've a request. GUARD CAPTAIN You do n't get nothin' ` til you stop this devil nonsense. That's a holy book - Blackwood closes his eyes again, resumes his soft murmur. GUARD CAPTAIN -LRB- louder. -RRB- - and you will respect it! Blackwood starts whispering FASTER. LOUDER. GUARD CAPTAIN Boy, you want me to muzzle you - Suddenly, the Captain starts COUGHING. He's confused. He coughs harder. Prisoners watch him stumble backwards. Blackwood keeps whispering. The Captain falls to one knee, keeps coughing. Finally the Captain COUGHS SOMETHING UP, spits it out onto the stone floor. He looks down, horrified : It's a small CATHOLIC CROSS on a chain. Prisoners start SHOUTING. The RAVEN at Blackwood's windowsill flutters away. Other guards run up, terrified. GUARD #2 Get him to the infirmary, now! Guards pull the Captain away. The remaining guard picks up the cross, stares at Blackwood, chilled. Blackwood's eyes snap open. BLACKWOOD I've a request.", "INT. PUNCH BOWL PUB - BARE-KNUCKLE BOXING RING - NIGHT The fighting is over and the pub is closing. Only a few people remain cleaning up, mopping the beer and blood. Watson enters fast, looks around, and moves upstairs.", "INT. PUNCH BOWL PUB - ATTIC Watson walks down a dingy hallway towards a door. With a look of resignation, he opens the door to see Holmes sitting alone in the sterile, barely furnished room. Holmes faces the corner, playing scales on his VIOLIN. On the table next to him, an upside down BEER STEIN and an assortment of prescription medicine bottles. Watson approaches, sees Holmes has bloodshot eyes from lack of sleep. Watson picks one of the medicine bottles which is open. WATSON You know this is for eye surgery? HOLMES I find that it lifts my spirits. WATSON It's a pathological amorbic process, it increases tissue change and weakness. And you know what a black reaction comes on you afterwards. No answer. More scales. Watson approaches, sees Holmes has bloodshot eyes from lack of sleep. The beer stein is full of FLIES all buzzing about. HOLMES Look at this. If you play a chromatic scale, they move clockwise. As soon as you switch to a pentatonic scale - Holmes plays a different scale, the flies all stop moving, stick to the glass. WATSON -LRB- faking interest. -RRB- Really? What about when you - oops - Watson picks up the glass, lets loose the flies. Holmes looks up ; Watson's already moving for the door, pissed. WATSON Let's go. Lestrade wants you at Pentonville Prison. HOLMES That's your job, not mine. WATSON You're Blackwood's last request. Says he has information he'll give only to you. But Watson's already out the door.", "EXT. LONDON - DAWN Watson and Holmes ride in a cab, passing familiar landmarks as the city comes to life. They sit in silence, tension hanging between them. Finally Holmes grabs Watson's bag, rummages around and pulls out a clean white shirt. Watson looks out the window, frustrated. He sees THE HALF - CONSTRUCTED MASS OF TOWER BRIDGE. Near ground level, workers take down a large BLACKWOOD STEEL sign. HOLMES Look at that structure. What has it been? Five years' work already? Are you aware that is the first combination of bascule and suspension bridge. Very innovative. No reply. As Holmes is taking off his jacket, he reaches into his pocket and pulls out a wad of money. HOLMES Oh, I have your cut from last night, by the way. You were n't there so I laid your customary bet - Silence. Holmes takes off his shirt. HOLMES You're right. I'll keep it with your check book, locked safely away in my drawer. Silence. Holmes pulls on the clean shirt. HOLMES The opera house is featuring Don Giovanni and I could easily procure two tickets if you had some cultural inclination this evening. Silence. HOLMES You have the grand gift of silence, Watson. It makes you quite invaluable as a companion. Watson punches him square in the face. WATSON And your grand gift is the uncanny ability to demoralize people. I was aware she'd been engaged. She told me. Holmes rubs his jaw. HOLMES So that's a ` no' to the opera then? Watson's steaming. Holmes puts on his vest. WATSON That's my waistcoat. HOLMES It's too small for you. WATSON Well, it's my property and I want it back. Holmes hands him the waistcoat which he promptly tosses out of the carriage window. Holmes frowns, looks out the opposite window.", "EXT. PENTONVILLE PRISON - EARLY MORNING Already a CROWD is gathering outside the jail, papers are for sale, Blackwood's death is the headline. Religious zealots and occultists swarm. Police keep them away from the entrance. Holmes heads inside, Watson stops. WATSON You go ahead. I've no business with him while he's alive.", "INT. PENTONVILLE PRISON - CORRIDOR - DAWN A pale, nervous GUARD leads Holmes down the shadowy corridor. All the cells are now EMPTY. HOLMES Where are all the other prisoners? GUARD We had to move ` em, sir, otherwise we were going to have a riot on our hands. There's something about him. it's like he can get inside your head. Holmes can see how spooked the Guard is. HOLMES I'm sure I can find my own way from here, if you have other duties to attend to. GUARD Much obliged, sir. Thank you, thank you. The Guard high - tails it out of there.", "INT. PENTONVILLE PRISON - BLACKWOOD'S CELL - DAY Holmes approaches Blackwood's cell, strolling insouciantly. No way this creep's getting to him. In the shadows he can barely make out Blackwood, who's reading aloud to himself. Holmes listens, getting closer. BLACKWOOD QUOTE from Revelations tbd. Blackwood pauses, turns, sees Holmes. They share a smile - two heavyweights sizing each other up. HOLMES Love what you've done with the place. BLACKWOOD Thank you for joining me. HOLMES A small point of concern. BLACKWOOD How can I help? HOLMES I'd already followed the murders with some interest and while my heart went out to the families of the victims, I could n't but notice a criminal mastery in the stroke of your brush - BLACKWOOD You're too kind. HOLMES However, by comparison, your work in the crypt was akin to a finger painting. Suddenly, Blackwood is right at the bars, close to Holmes. BLACKWOOD So now you're curious as to whether there's a larger game afoot, and that's why you're really here. HOLMES Actually, my friend will pronounce you dead shortly and I thought I might keep him company. BLACKWOOD Allow me to enlighten you. Your mistake is to imagine that anything earthly has led to this moment. Your error in judgement is to assume I've been holding the brush at all - I am merely the channel. Despite the bars between them, the men are close together. Holmes seems to be studying Blackwood's ear. HOLMES My only wish is that I'd caught you earlier. I might have spared five lives. BLACKWOOD Those lives were a necessity, a sacrifice. Five otherwise meaningless creatures called to serve a greater purpose. HOLMES I wonder if they'd let Watson and I dissect your brain - after you're hanged, of course. I'd wager there's some deformity that would be scientifically significant. Then you would serve a greater purpose, too. BLACKWOOD Mr. Holmes, you must widen your gaze. I'm concerned you underestimate the gravity of coming events. -LRB- beat. -RRB- For you and I are bound on a journey that will twist the very fabric of nature. -LRB- beat. -RRB- I sense fragility beneath your mask of logic, and it worries me. Steel your mind, Holmes, I need you. Holmes steps back, shakes his head. HOLMES I must say, you've come a long way down from the House of Lords. BLACKWOOD But I will rise again. HOLMES Bon voyage, Blackwood. As Holmes walks away, Blackwood calls after him. BLACKWOOD Pay attention! Three more shall die, and there is nothing you can do to save them. You must accept that this is beyond your control, or by the time you realize it was you that made it all possible it will be the last sane thought in your head.", "INT. PENTONVILLE PRISON - CORRIDOR - MORNING Holmes walks down the corridor, meets Lestrade and a PRIEST. The place is bustling with cops and officials. LESTRADE What did he want? HOLMES Nothing. Holmes looks at the priest. HOLMES Do n't think you're needed, Father. Not for this one.", "INT. PENTONVILLE PRISON - GALLOWS The room where the execution takes place is packed to the rafters with senior officials, members of the government and cops. We get a good look at some of the faces. Watson is there too. Blackwood walks up into the noose. A SHOT OF GATHERED WITNESSES AND OFFICIALS A SHOT OF THE EXECUTIONER A SHOT OF BLACKWOOD smiling malignly. His final words : BLACKWOOD Death is only the beginning. A SHOT OF THE HOOD going over Blackwood's head. A SHOT OF THE NOOSE slipping around Blackwood's neck. A SHOT OF THE PERSPIRING PRIEST clutching his Bible. A SHOT OF THE TRAP DOOR opening. Legs fall through and yank tight. A SHOT OF WATSON checking Blackwood's pulse. He pronounces Blackwood dead. The show is over.", "INT. 221 BAKER STREET - DAY Holmes is out cold, lying on his tiger skin rug. CRACK! His eyes fly open. CRACK! IRENE -LRB- O.S. -RRB- London's so bleak this time of year. REVEAL : Irene Adler sits on the stairs near Holmes' lab, cracking walnuts. She stands and Holmes watches her every move as she crosses to him. She leans down, putting the walnuts in front of him and flashes him a smile. IRENE Not that I'm pining for New Jersey. Irene gets up to cross the room. Only once her back is turned does Holmes lever himself upright, stunned by this intrusion. As soon as she clears he quickly moves over to a concealed safe. He tests the door to make sure it's still locked. IRENE I prefer to travel in the winter. As she passes a small table that has been outfitted with tea, dried fruit, olives, etc. IRENE I brought a few souvenirs. Dates from Jordan, tea from Ceylon and olives from Cyclades. I thought we'd have a little tea party to cheer us up. Irene grabs a file from Holmes' desk. IRENE I came across this as I was setting up. Irene opens the file, flips through newspaper clippings and police reports, her back to Holmes. IRENE Theft of Velasquez portrait from the King of Spain. Missing naval documents lead to resignation of Bulgarian Prime Minister. Scandalous affair ends engagement of Hapsburg Prince to Romanov Princess. Holmes stealthily turns down a photo of Irene, just before she turns back to face him. HOLMES Simply studying your methodology for when the authorities ask me to hunt you down. IRENE I do n't see my name anywhere. HOLMES But your signature is clear. Holmes reaches for Irene and pulls on a chain around her neck, revealing and enormous diamond. HOLMES Ah, the Maharajah's missing diamond. Another souvenir? IRENE He has a palace full of them. Let's not dwell on the past. They move to sit at the table. IRENE By the looks of things you're between cases at the moment. HOLMES And you, husbands. No ring? IRENE He snored. I'm Irene Adler again and I need your help to find someone. There's nobody more brilliant or who knows London better than you. Plus, it's a wonderful opportunity to see you again. TRACK INTO Irene's hypnotically beautiful eyes. Holmes almost melts. Then, Irene reaches for something inside her jacket and Holmes grabs her hand. IRENE Why are you so suspicious? HOLMES Should I answer chronologically or alphabetically? Irene pulls out an ENVELOPE. IRENE This is all the information you need. She hands him the envelope. HOLMES Who are you working for? Just for a brief moment, she ca n't hide the anxiety in her eyes. IRENE I'm my own man. She stands and pulls out a large bag of coins. HOLMES Keep your money. I did n't say I'd take the case. She ignores him. Holmes examines the envelope. On it is stamped the letterhead of the Grand Hotel. She pauses behind him as she exits. IRENE They gave me our old room. As she walks out she puts her photo back upright.", "INT. 221 BAKER ST. - STAIRS Irene descends the stairs just as Watson is coming in. He lifts his hat, waits for her to pass - IRENE Hello, John. - does a speechless double - take when he sees who it is. Irene keeps moving.", "EXT. LONDON STREET We PICK UP Irene crossing a street. She passes a DARK ALLEYWAY. Pauses. Looks. She turns into the alley. HOLD ON the alley for a long beat. Too dark to see much in there. IRENE emerges from the alley holding a lovely bunch of roses. She sniffs them appreciatively, walks on. IRENE approaches a waiting carriage, looks around her, gets in.", "INT. CARRIAGE Irene sits, turns to address a man - shaped shadow filling the opposite corner of the carriage. Before she can speak, a gesture from the shadow stills her. This is PROFESSOR MORIARTY. Irene is made to wait as Moriarty finishes writing a complex mathematical equation -LRB- in astronomy -RRB-, folds the paper to reveal that it is addressed to THE ROYAL ASTRONOMICAL SOCIETY, cracks open the carriage window and slides the folded paper partway out. Someone waiting outside takes the paper, and their footsteps clatter away. Moriarty closes the window, and the carriage starts moving. A full beat goes by before he turns to Irene, finally prepared to engage with her. MORIARTY I assume he'll do it? IRENE Not for money, but for me. I wager he'll find our man within twenty - four hours. MORIARTY You wager? IRENE I'm certain. MORIARTY A better word. I sincerely hope it's accurate. IRENE I - Suddenly, the coach comes to a halt, they lurch forward.", "EXT. LONDON STREET A rough - looking BEGGAR wearing an eye patch has fallen under a wheel of the coach. BEGGAR Ow, me leg! COACH DRIVER Get out of it! BEGGAR You run me over, sir, yes you did! COACH DRIVER You fell right into the carriage! The Beggar is up, limping toward the window where Moriarty and Irene sit. He has disgusting blackened teeth. BEGGAR A little charity would go a long way, yes it would, sir. He reaches toward the window. Within a nanosecond, Moriarty extends his hand into which a PISTOL appears, delivered by a concealed mechanism -LRB- Travis Bickle style -RRB-. The gun rests on the Beggar's forehead. The cold eyes of the man that holds the weapon bore into the skull of the Beggar, who backs off in fear. The carriage moves on.", "INT. 221 BAKER ST. - HOLMES' APARTMENT Holmes is washing his face in a basin on the other side of the room, completely transformed now, utterly alive. Watson approaches, very concerned, almost enraged. WATSON Look at you, I ca n't believe you ran after her like a schoolboy again. Leaping about, all aflutter. Are you a masochist? HOLMES Allow me to explain. WATSON Do n't you remember what she did to you? She turned you inside out, she made a proper idiot of you. I'm sorry, you were going to explain something. HOLMES Thank you, I - WATSON I know, instead of just being tricked into being a witness at her wedding like last time - HOLMES I do n't believe - WATSON You dress up as clergyman and actually perform the ceremony. She'd love that. HOLMES You've had your fun. This is a hopeless cause - Watson wo n't stop. WATSON What's she after, anyway? HOLMES Now it's time to press on. HOLMES Now it's time to press on. Holmes looks like he's had enough. WATSON Go on. I wo n't interrupt. HOLMES It does n't matter - WATSON What could she possibly need? An alibi, a beard, a human canoe. She can sit on your back and paddle you up the Thames. Holmes grabs the envelope back. HOLMES Regrettably, we've had our last case together. Those are my dates. WATSON I've already read it. Luke Reordon, four foot ten, red hair, missing two front teeth. Holmes picks up his violin. WATSON Case solved! You're just not her type, Holmes. She likes ginger dwarfs. HOLMES Midget! WATSON So you agree? HOLMES No, I do n't agree. It's more than a technicality. You're misrepresenting the dimensions of foreshortened people. WATSON I've upset you, I can tell. I've said too much. HOLMES No, I'm just saying, one has disproportionate limbs the other does not. WATSON Alright. What were you just doing? HOLMES Will you allow me to explain. WATSON That's what I've been trying to do. Holmes plucks his violin, the notes play over a FLASHBACK of the previous scene, all from HOLMES' POINT OF VIEW. FLASHBACK -", "INT. 221 BAKER ST. - HOLMES' APARTMENT We see Irene step out. IRENE Why do n't I see myself out. Once Irene leaves, he steps quickly to a window, and looks out to see her walking down Baker Street, turning down an alley. He bolts into -", "INT. 221 BAKER ST. - CORRIDOR He sees Watson coming up the stairs. Before Watson can speak, Holmes snatches his coat and runs down the other end of the corridor. He JUMPS out the window to -", "EXT. 221 BAKER ST. - REAR YARD Holmes flies from the window and lands neatly on a tin roof. The jump to the next level is a more taxing prospect. Holmes weighs the distance and hurls himself down with a determined look. He lands just right.", "EXT. COAL SHED Holmes jumps off the shed, heads for the street one block over from Baker Street.", "EXT. LONDON STREET He runs down the mews in great haste, stops at the same alley that Irene disappeared into - but at the other side. HOLMES' POV DOWN ALLEY from concealment : Irene walks towards a MAN HOLDING A BUNCH OF ROSES. MAN WITH ROSES Got some roses for you, sweetheart. Cut you a deal ` cos you're so pretty. IRENE Oh, how nice of you. Even without the man - who is scrofulous and sly - no woman in her right mind would go down this alley.", "INT. ALLEY The man with the roses beckons Irene forward. Another man steps in behind her, trapping her. He closes in to grab her - - and WHAP! WHAP! WHAP! Gets three cosh - strikes across the chin, dropping him immediately. Still holding the roses, the man finds himself smacked up against the bricks with Irene's hand over his mouth. Quick as a snake, she slices upwards with a razor - sharp knife, cutting his belt, then his clothes, all the way to his collar. The move ends with Irene's finger over her own mouth, signalling the mugger to be quiet. He obeys, eyes bulging. Irene frisks him expertly. She's mugging the mugger. There is excitement in her eyes ; this turns her on. IRENE Oh, look, a wallet. Does n't look like yours, does it? And - naughty boy - here's another one. I'll return them, shall I? She takes both wallets, takes the roses - IRENE These are lovely, thank you. - and leaves, stepping daintily over the crumpled man on the floor. On second thoughts, she turns back, takes his wallet too, then leaves. ANGLE ON HOLMES HOLMES Now, that's the Irene I know. He hurries after Irene down the alley.", "EXT. LONDON STREET Holmes exits the alley, catches a glimpse of Irene through a STREET FAIR, which is being assembled. Holmes picks up the pace. He snatches a HAT from a one - eyed old BEGGAR with his hand out. He drops a coin in his hand, then another coin and snatches the beggar's eye patch too. He runs past a coal cart, snags a lump of coal, rubs it on his face and hands, then pops it in his mouth, chews it to blacken his teeth. He pauses to singe the sleeve of Watson's coat on a fairground fire - breather's flames, runs on.", "EXT. LONDON STREET Holmes emerges as the beggar we saw previously. Again he stops the coach and again the gun comes out, but this time we can see that Holmes gets a view of the man on the other end of the weapon before the carriage pulls away.", "INT. 221 BAKER ST. - HOLMES' APARTMENTS (PRESENT) Holmes strums one more chord on his violin, thinking. Irene's bag of money still sits on the table. HOLMES This man intrigues me, Watson. He's got Adler on edge. WATSON Which is no mean feat. HOLMES She's intimidated, scared. WATSON And yet she works for him. That's bad money. It's nothing to do with me, but leave this case. Holmes motions to the bills. HOLMES Well, I may not have a choice. A man has to make a living. After all, I'll be paying the rent entirely on my own. WATSON You know what, I've had just about enough - HOLMES Clarky! VOICE -LRB- O.S. -RRB- Mister Holmes, sir? He turns to see. CONSTABLE CLARK standing at the door. Breathless, pale, scared. CONSTABLE CLARK Inspector Lestrade asks that you come with me, at once. HOLMES -LRB- mumbles. -RRB- What's he done now, lost his way to Scotland Yard? Watson, grab a compass. You means us. WATSON Us means you. CONSTABLE CLARK It's Lord Blackwood, sir. It appears he's come back from the dead. WATSON Well that's clever seeing as how I pronounced him dead myself. CONSTABLE CLARK A groundsman saw him walking through the graves, just this morning. WATSON I'll leave this one in your capable hands. I have tea with Mary and her parents this evening. Watson walks into his office. HOLMES It is not my reputation at stake here. WATSON Are you taking this seriously? HOLMES Like it or not, it's a matter of professional integrity. No girl wants to marry a doctor who ca n't tell if a man's dead or not. They all move to the exit. HOLMES Watson, you'd do well to hide your medical certificates in case they're revoked. Clarky laughs.", "EXT. THE BLACKWOOD ESTATE - ESTABLISHING - DAY Judging by the estate, Blackwood comes from old money, and lots of it. We FOLLOW the carriage hurrying Holmes and Watson forward.", "EXT. THE BLACKWOOD BURIAL PLOT - DAY Generations of wealth buried in moss - covered marble memorials. Not a place for a picnic, not even on a bright sunny day - and it's starting to rain. A COP stops the carriage, opens the door. Holmes and Watson exit, Watson carries a black leather FORENSICS KIT. They walk up the pathway towards the Blackwood Family Crypt. Watson barely lifts his head, scanning the ground while Holmes appears to have taken an interest in a clump of trees in the distance. WATSON Look at this mess. Nothing but standard - issue police bootprints. Any possible evidence there might have been has been trampled. HOLMES Scotland Yard at their finest, once again. Police lamps light one large marble CRYPT. The cops are in tight clusters, whispering to themselves, spooked. They'd rather be anywhere but here. As Holmes and Watson approach, they see the marble doors of the crypt have been BLASTED OPEN FROM THE INSIDE. Holmes and Watson share a quick glance - this is interesting. Lestrade emerges from the crypt. He is sweating, shaken. Holmes offers Lestrade his handkerchief, Lestrade waves it off. LESTRADE Look at those slabs of marble - they're half a ton each if they're a pound - smashed outward like they were nothing. On second thought, Lestrade does take Holmes' handkerchief. LESTRADE Explain it if you can, Holmes. Holmes inspects the door, checking the hinges. He notices the Blackwood CREST, and the image of a SPHINX. HOLMES And the coffin? LESTRADE We're digging it up now. The witness is over there. You can question him if you like - but you wo n't get much. The old GROUNDSKEEPER, pale and terrified, stands out of the rain under an ancient cypress tree. Watson heads for him. Holmes disappears in the opposite direction. As soon as their backs are turned, Lestrade marches over to a nervous knot of cops, grabs a fistful of blue in each hand, drags his boys in close. He does n't want Holmes or Watson to hear this. LESTRADE -LRB- low, angry. -RRB- If you lot do n't stop behaving like a bunch of superstitious milk maids, you're on double - time! You're an embarrassment! Also, you're forbidden to talk about this to anyone, not a word. Are we bloody clear on that? The cops nod, duly chastened. THE GROUNDSKEEPER mumbles the Lord's Prayer under his breath. Watson immediately goes into doctor mode checking his pulse, looking in his eyes. The Groundskeeper just keeps praying. Watson takes a boiled sweet from his pocket, pops it in the man's mouth and gently sits him down. Holmes walks over holding a small branch from a tree. WATSON He's in shock. We should give him a few moments. Lestrade stomps up. LESTRADE The witness stated that he saw Lord Blackwood rise from the grave. -LRB- at Watson, accusingly. -RRB- Well? You pronounced the man dead. WATSON -LRB- stung. -RRB- He had no pulse. HOLMES Inspector, do you know if this is a spruce or a sycamore? Lestrade shakes his head. It has n't been a good day for him, or the Yard. There's a clunk. They all turn to see the coffin has been extracted from the crypt. Four beefy, soil - stained cops emerge lugging the coffin. They place it on the ground, step back, crossing themselves, murmuring, plainly terrified. Holmes chuckles. LESTRADE OPEN IT! But no one moves. The cops pass a CROWBAR around as if it were red - hot. Watson's had enough. He marches forward - - snatches the crowbar away, jams it under the lid and levers it off with a slow, eerie groan. Holmes and Lestrade move forward, the cops move backward. The coffin is filled with EARTH, overflowing. They brush away a layer of dirt, to reveal. A DEAD BODY in the coffin. The body is a much smaller man than Blackwood, in everyday clothes, with red hair. LESTRADE That's not Blackwood. HOLMES Now that we have a firm grasp of the obvious. Watson opens his forensic kit, disturbed. Vials, silver tools. He takes a CALIPER, begins examining the body. WATSON Lividity is late stage. Diptera deposits are approximately -. -LRB- measuring. -RRB- - three quarters of an inch, putting the time of death at ten to twelve hours ago. HOLMES Inspector, may I see your pen? Lestrade hands over a nice fountain pen, still stunned. Holmes takes the pen and pries open the corpse's mouth, revealing : two missing teeth in the man's jaw. WATSON Missing two incisors in the upper jaw. -LRB- a look at Holmes. -RRB- Adler's midget. Holmes spots something glinting in the man's dirt - filled pocket. He uses the pen to fish out : a POCKET WATCH. HOLMES All yours, Inspector. Holmes hands the pen back to Lestrade. Lestrade looks at it with dismay, takes it in Holmes' handkerchief - a small measure of revenge. Holmes and Watson begin walking away from the crypt. Lestrade follows, anxious. Holmes shows him the dusty pocket watch. HOLMES Scratches around the keyhole where the watch is wound. Most drunks are the same, and pawnbrokers scratch the ticket number and their initials inside the lid. This one has five, so the owner - GROUNDSKEEPER -LRB- O.S. -RRB- He was walking. They all stop, suddenly. The old Groundskeeper stands in front of them, ready to unburden himself. GROUNDSKEEPER -LRB- quivering voice. -RRB- He was walking but his feet did n't touch the ground. And I'm not daft, I know what I saw and I know Lord Blackwood. He was as alive as you or me. It's not right. It's not natural. -LRB- turns, leaves. -RRB- Our Father Who art in heaven. -LRB- etc. -RRB- All three men watch the Groundskeeper go. A sudden gust of wind moans eerily. They all want to get the hell out of there. HOLMES Now the game is afoot, Watson.", "EXT. LONDON STREET - DAY Holmes stands in the middle of the street contentedly observing humanity. Watson ENTERS FRAME and hands Holmes a bundle wrapped in newspaper. WATSON I fail to see how these fish and chips are different from the three other places we passed along the way. HOLMES Trust me. WATSON Just eat. Holmes complies hungrily and they start to stroll along. Watson appears preoccupied. WATSON You know, I've seen things in war that I could n't explain. I once heard a man predict his death, down to the number and placement of the bullet holes that killed him. You have to admit that a supernatural explanation is at least theoretically possible. HOLMES -LRB- mouth full, near indecipherable. -RRB- Never theorize before you have data. Invariably, you end up twisting facts to suit theories, instead of theories to suit facts. Adler's midget is the key to this. Holmes pulls out a JEWELER'S LOUP, screws it into his eye, and flips Reordon's watch open. He examines the lid. HOLMES Hmm. scratches around the keyhole, what does that tell you? WATSON The owner was most likely a drunk. Each time he wound the watch his hand would slip, hence the scratches. HOLMES Very good, Watson! You've developed considerable powers of your own. Watson looks quite chuffed. HOLMES Let's see now, there are several sets of initials scored into the lid. WATSON Pawnbroker's marks. HOLMES Excellent. Watson looks extremely pleased with himself until they turn a corner into a street where EVERY SECOND SHOP IS A PAWN SHOP. His face falls. HOLMES The most recent is M.H. Watson shakes his head. WATSON Maddison and Haig. HOLMES Oh my Lord, here we are. They should give us an address. WE SEE MADDISON & HAIG, PAWNBROKERS, RESPECTABLE, DISCREET, ahead of them there on Bow Street. WATSON There's one thing you've missed. On the watch. HOLMES I think not. WATSON The time. Which leads me to deduce that I'm already late for my appointment with Mary. You remember, the one I was leaving for before you talked me into coming to dig up dead bodies with you. A GYPSY PALM READER approaches Watson as he turns to leave. PALM READER Reckon your future, sir? HOLMES Perhaps we do need a little help from the beyond. WATSON No, thank you. She grabs his hand anyway. PALM READER You need to hear what I have to tell you. Watson is so taken aback by the urgency and gravity of her tone that he does n't pull away. PALM READER I see two men, brothers. Not in blood but in bond. I see the letters S and an L, no. wait, a J. Holmes and Watson look at each other. She has their attention. PALM READER -LRB- wincing. -RRB- I see madness. A man driven out of his mind by a malign force. Watson looks at Holmes. PALM READER I see a letter. the letter M. another M. Mary? You will be married. I see. I see. -LRB- horrified. -RRB- Patterned table clothes, china figurines, lace doilies. Watson snatches his hand away. WATSON You think you are clever do n't you? Holmes feigns innocence. PALM READER She turns to fat. WATSON Enough. The Palm Reader looks at Holmes. HOLMES -LRB- to Watson. -RRB- Do you have any changes? Watson shakes his head as he pays the woman. WATSON This is a new low - even for you. HOLMES It's the most honest prediction old Flora has made in years. And you know it yourself, Watson. That is precisely the reason you ca n't find a suitable ring. You're terrified of a life without the thrill of the macabre, as well you should be. Holmes swallows the last of his cod and casts the wrapping aside, pleased with himself. WATSON Do you still have my cut from the fight? Holmes digs into a pocket, produces a wad of coins. HOLMES Why, do you - Watson snatches the money, storms into Madison and Haig. Holmes is confused until he spots a sign in the window : `` Large selection of engagement rings for every wallet.'' Holmes starts to look a bit nervous. As he follows Watson, he is intercepted by the Palm Reader who grabs his arm. PALM READER I seen something in his hand. Darkness and great pain. Mortal peril. Warn your friend, he's not safe. Even Holmes is taken aback by this.", "EXT. LONDON EAST END - MINUTES LATER Holmes and Watson move down the street, the pawnshop behind them. Now Watson is smiling, and Holmes is not. Watson is beaming at : an ENGAGEMENT RING in a box. WATSON Not bad, eh? Holmes turns away, looks down at the TICKET he got from the pawnshop : an ADDRESS. HOLMES Reordon's lodgings should be right around this bend. Here we are. He slows, looks up at a dark, dingy LODGING HOUSE. Some windows are boarded up. HOLMES Looks promising. And possibly dangerous. Oh, well, give my regards to Mary. Holmes heads for lodging house. Watson checks his watch.", "INT. LODGING HOUSE Holmes winds his way up a twisting flight of creaky stairs, finds a door with scratches on the keyhole. Holmes takes out his knife and goes to work on the lock. It is fiddly. It takes him a while. He kneels to get a better angle with the knife. CRACK! Watson's boot flashes past him as he KICKS the door off its hinges. Off Holmes' pleased reaction, he gestures them inside. WATSON I can spare ten minutes.", "INT. REORDON'S ROOMS - DAY The squalid doorway opens into a series of dark rooms. Watson lights a lamp which reveals details of an interior that stops them both in their tracks : From floor to ceiling, every available inch is covered in writing, biblical Latin and Hebrew. Scrawled - on paper and pages are tacked to walls and carved into the plaster, crucifixes punctuate the yards of text and collage, strange pagan charms hang from the ceiling. HOLMES He clearly felt something was coming to get him. WATSON Something did. They move further inside where there is a hallway and a basic bedroom. Holmes inspects it, moves through a door. HOLMES -LRB- O.S. -RRB- Watson, come take a look at this - Watson puts down what he was looking at, goes towards.", "INT. REORDON'S LAB Instantly, Watson covers his nose with a handkerchief. WATSON -LRB- reeling. -RRB- Bloody hell. The room is stacked with an alarming amount of scientific and biological paraphernalia. Some of it gives off a distinctly electrical hum. Ungodly fragments of limbs and matter float in jars. HOLMES -LRB- inhaling deeply, loving it. -RRB- Ammonium sulfate. In the center of the room, something ROTTING. An experiment generating a massive stench, a seething cloud of flies. Holmes and Watson step closer to see : DEAD FROGS. Eyes opened impossibly wide, their bodies frozen in strange contortions, as if mid - death - rattle. Holmes moves around the room, sniffing like a morbid perfumer. Watson does his best not to gag. HOLMES -LRB- mumbles. -RRB- Phosphorous. Formaldehyde. Hemlock. WATSON Appears he was attempting to follow occult formula with scientific practice. Watson moves to the stove, sees a sheaf of BURNT PAPERS. He digs through them, finds one piece not as burnt as the rest. A CREST stamped on it, impossible to read. Watson digs through his forensic bag, pulls out vials. WATSON Has he any hydrochloric acid? Holmes shuffles a few bottles, tosses one to Watson. Watson catches it, starts pouring the acid, another chemical on a clean sheet of paper. Holmes senses something, moves into the next room. He stops at an open window, smells the CURTAINS : HOLMES Irene was here. Watson presses the chemical - soaked paper onto the burnt paper. WATSON Why would she hire you to find him, if she planned to do the job herself? HOLMES Maybe it's not the man she's after, but something else. Something he was working on? WATSON Ferrocyanide. Sucks the iron right out of the ink. Long as it's not too burnt. Watson keeps rubbing the paper together, puts it by the lantern. Slowly, faint words APPEAR on the blank page. Ghostly chemistry. Watson sees the crest is Blackwood's. WATSON He worked for Blackwood. Holmes gets a whiff of something, raises an eyebrow. He starts walking back to the other room. HOLMES There's one odor I ca n't put my finger on. Sweet, almost like perfume. or sugar. -LRB- stops, sniffs. -RRB- Barley sugar.", "INT. REORDON'S ROOM BOOM! The door WHIPS open. TWO THUGS spill into the room. They are followed by DREDGER, a huge man, just shy of seven feet tall and pushing 400 pounds, slightly deformed, who follows them into the room. He sucks on a twisty stick of barley sugar -LRB- Victorian hard candy -RRB-. They stop, surprised to see Holmes and Watson. Holmes' eyes widen at the giant. HOLMES Hello, gentlemen. Dredger is deadpan. DREDGER Sherlock Holmes. HOLMES Let me guess - you're here to extinguish any connection between the man who lived here and the man you work for? Curious you'd still be running errands for a dead man. DREDGER -LRB- smiles. -RRB- You do like to talk. The two thugs step toward Holmes and Watson. HOLMES You take them, I'll handle Mr. Sweet tooth. WATSON Seems about fair. Watson meets the men in the middle of the room, swinging at them. As they dodge and swing back - Holmes grabs a standing lamp, sliding it into his hand as a weapon. He looks at Dredger, knows it wo n't make a dent. He keeps moving, swinging the lamp toward a CURTAIN. In the blink of an eye : He WRAPS UP the curtain, ripping it down, bringing the heavy STEEL ROD with it. He catches the rod, flipping it so the curtain - rings rain to the floor. He spins the rod expertly, SMASHING it into Dredger's face. It stuns the giant for a beat, but quickly - Dredger LUNGES forward, trapping the steel rod under his arm. He grabs the rod and HURLS Holmes through the air, sending him flying into -", "INT. REORDON'S LAB Holmes crash - lands on the table, scattering all the bottles and tools. He blinks, trying to gather his senses. He sees Dredger incoming, as - Watson tussles with the thugs, a bar - room brawler. Head butting one, kicking the other in the groin. The men whip out knives. Watson ducks and dodges, blades flashing on either side of him. One of the blades slices his shirt, ripping off his pocket, so - The ENGAGEMENT RING falls to the floor. One of the thugs accidentally KICKS it, sending it across the ground. As Watson follows the ring with his eyes, the first man HURLS his knife. Watson just barely ducks the blade, which SMACKS into the second thug, who falls. Watson fights the first thug, as he scrambles toward the ring.", "INT. REORDON'S LAB Dredger bears down on Holmes. Holmes reaches out for some kind of weapon, anything he can grab. He snatches a SHORT SHAFT. A truly pathetic weapon. Dredger lurches toward Holmes, who swings the metal shaft desperately, and. the shaft SPARKS. ZAP! A flash of light and crackle, and Dredger gets an ELECTRIC SHOCK that sends him flying back twenty feet -", "INT. REORDON'S ROOMS Watson finishes off his thug and plucks the engagement ring off the floor, just as - Dredger flies through the air, SLAMMING into Watson, knocking him off his feet, and knocking the ring away. Holmes looks at the lightning rod in his hand, stunned by the efficacy of the weapon. Dredger tries to recover, climbing off of Watson. Holmes cranks his weapon. The rod sparks and hums. Dredger pulls himself up with the help of a water pipe on the wall. Holmes thinks quickly, then touches the other end of the pipe with the rod, and ZZZAPPPP! The electrical current RUNS ALONG THE PIPE, and KNOCKS Dredger back twenty more feet. Watson spots the ring rolling towards the window, starts running for it, frantic as - Dredger rises, a clear change in his demeanor. He looks at the sparking rod and races for the window as well. Watson chases the engagement ring, bends down. just as he's about to grab it. THUD! Dredger's massive foot STOMPS DOWN ON THE RING. Dredger gives Watson a cruel smile, then leaps out the window, landing atop a heap of coal. Watson glares as - Holmes blasts past him, leaps out the window. Watson picks up the ring, sees : The stone was knocked out of the setting, lost in the floorboards, the rest of the ring mangled. Watson darkens, grips his ruined ring, and heads out -", "EXT. TOOLEY IRONWORKS - GATE Dredger runs down the street, knocking people out of his way. Holmes gives chase, darting around people, trailing Dredger through the gates of a huge commercial shipbuilders. Watson brings up the rear, as -", "INT. SLIPWAY - DAY Dredger runs towards a SLIPWAY, which holds the UNFINISHED HULL OF A LARGE SHIP. The vessel ca n't be far from completion ; it sits in a wheeled carriage designed to see it smoothly into water.", "EXT. UN-LAUNCHED SHIP - FIRST SLIPWAY For now though, big wooden chocks hold it in place, the whole thing is attached to a heavy chain that coils back around the shed that they just ran through. Holmes trails the hulking form of Dredger into this network of struts. They weave through the shadows. Holmes sees one of the cables shifting slightly. He takes an angle to cut off Dredger, and - ZAP! Holmes steps into Dredger's path, hitting him with the lightning - rod, knocking him back. ZAP! Holmes gives another jolt, but the shaft starts to LOSE POWER. Dredger knows there is n't much juice left. He reaches out, grabs the weapon and. smiles a terrifying smile. A moment of reckoning between Holmes and Dredger : The shaft slowly. sizzles. out. Dredger tosses the rod. And now, Holmes backs away, as - Dredger grabs a sledgehammer, and swings the hammer at Holmes, smashing some of the wooden supports, tearing others out of his way. The ship LURCHES forward.", "EXT. FABRICATION SHED - DAY Watson runs round the end of the building and sees Holmes scrambling under the half - built hull. Dredger in pursuit.", "EXT. UN-LAUNCHED SHIP - SLIPWAY A police WHISTLE echoes through the air. Dredger turns for a moment, just long enough for - Holmes to launch himself at Dredger. They tumble down onto the massive runners on the floor of the slipway. Holmes wrestles Dredger's head onto the runner and pins him down. Dredger kicks out viciously, splintering another chock. It's the last straw for the support mechanism, the whole thing starts to creak.", "EXT. FABRICATION SHED From his vantage point, Watson can see what's coming. WATSON Holmes!", "EXT. SECOND SLIPWAY - CONTINUOUS ACTION Grappling frantically on the runners, both Holmes and Dredger look up as the HUGE CHOCKS holding the ship EXPLODE BACKWARDS - - the PROPELLERS on the stern of the ship start sliding down towards them.", "EXT. SECOND SLIPWAY - CONTINUOUS ACTION Dredger looks up at the approach of the propellers - - Holmes charges into Dredger again, pulling him backwards across the runners. Dredger pulls Holmes down with him, Holmes' head hits the ground hard. Holmes lies semi - conscious, eyes rolled back into his head, as the leviathan roars down towards him. The ground beneath him shakes, knocks his head against the runner - once, twice - as he blinks back into consciousness, he sees the great shadow sweeping over him. He's doomed. And. The stern lurches to a STOP INCHES from his face. He opens one tentative eye, half expecting to find himself in the after - life, and sees black metal an inch from his nose. He realizes the ship has stopped, but he does n't know why. He tries to roll out of the way, as -", "EXT. SECOND SLIPWAY - CONTINUOUS ACTION We see the chain extended taut as a tight - rope behind the half - launched ship. The SHIP squeals and groans as its timber supports buckle and crack with the weight of the tethered ship. A beat where the whole business hangs in limbo and. The timber finally gives way. The ship is free again, falling through the air - Holmes rolls sideways as the propellers slice through the air above his head - the hull screams past him with a sound like the side of the world being torn off - - and then the ship's away, parting the Thames with a vast, frothy explosion of water. Holmes watches the ship drift gracefully out into the river - from vortex to serenity in a matter of seconds. A quiet beat. Holmes collapses back, great gulps of air disappearing into his lungs. He tries to pull himself to his feet, but Dredger's bone - shaking punches have taken it out of him and he sags back to the ground. Watson arrives, helps him to his feet. They stagger back to the slipway where Dredger was standing. And they find : Nothing. No blood or trace. The big man is gone. The police whistles get louder, officers swarm the scene. They see the wreckage, the ship adrift, and. Holmes and Watson. Watson looks at his watch and does a slow, deep burn.", "INT. LONDON JAIL - MORNING The next morning. A giant holding cell where every shade and aspect of Victorian villainy is corralled. Holmes wakes up on a bench after a peaceful night's sleep. Watson sits next to him, exhausted, bloodshot eyes. He's reading his notebook, making the odd change here and there. Holmes looks up and sees Watson staring at him, shaking his head. WATSON I have n't slept all night. I deserve this. I clearly deserve it. How could I ever be so deluded as to believe I could meet Mary's parents for tea once I let myself be talked into going with you. Now of course I'm in jail. Holmes tries to wiggle his fingers which causes him enough pain that he decides to bind them with Irene's handkerchief. HOLMES -LRB- theatrically indignant. -RRB- You're not implying that I am responsible for our current situation are you, Watson? We were set upon, man, it was self - defense. Watson shakes the notebook in Holmes' face. WATSON I've used the time to review my notes on our exploits of the last seven months. and I've come to the conclusion that I must be suffering from to some profound psychological aberration. WATSON -LRB- CONT'D. -RRB- Why else would I continually allow myself to be led into situations where you're deliberately withholding your intentions from me? HOLMES You've never complained about my methods before. WATSON I'm not complaining. I never complain. I never complain about your violin playing at three in the morning, your mess, your lack of hygiene, your stealing my clothes, your setting our home on fire! HOLMES That was an accident. Watson challenges him with a look. HOLMES The first time WAS an accident. BIG MAN -LRB- O.S. -RRB- Remember me, boys? Put me away for robbery a few years back? Holmes turns and comes face - to - face with a dangerous - looking man who has a few conspicuous WARTS on his face. HOLMES Ah, Mr. Brownlee. The fifteenth most dangerous man in London. Watson snaps at the man. WATSON Who could forget that face? I told you, a little nitrate of silver and the warts will be gone in two weeks. Now, if you'll excuse us! Brownlee takes a swing at Watson. Holmes checks him and drops Brownlee without missing a beat. WATSON -LRB- to Holmes. -RRB- Nor am I complaining about the fact that you terrorize my patients and perform outlandish experiments on my dog. HOLMES Gladstone's my dog as well. It's in the interest of science. WATSON What I do take issue with is your ruthless campaign to sabotage my relationship with Mary. HOLMES Watson, I completely understand now. You're overtired and feeling a bit sensitive. Watson now turns away, completely irritated at Holmes' lack of understanding. HOLMES What you need is a rest. You and I could go out to the countryside. My brother Mycroft has a small estate near Chichester. It has marvelous grounds and a beautiful folly. We could throw a lamb on the spit. Watson shakes his head in disbelief. WATSON If I were going to the country, I would be going with my future wife - HOLMES Certainly. We should have her along. Let's get Gladstone out of the house as well. WATSON No, Holmes. Not you. Me and her. You're not - HOLMES Invited? Now you're not making any sense, Watson. Why would I not be invited to my own brother's country home? WATSON You're not human. You do n't get it, do you? You are this. -LRB- touches his own head. -RRB-. without this. He touches his own heart. They hear a BILLYCLUB hit the bars. PRISON GUARD John Watson? You made bail. Watson steps up. Holmes looks confused. He steps forward. But the Guard shakes his head. PRISON GUARD Just Watson. As he slides open the bars, they see. MARY emerges from behind the Guard. Watson stands for a beat between Holmes and Mary. He must make a decision. And he does - - he leaves. Holmes watches him walk out, then locks eyes with Mary. She gives him a polite nod, turns, heads off with Watson. The bars slide shut. The mob surrounds Holmes. He's never looked more alone.", "INT. LONDON JAIL - CORRIDOR Lestrade heads toward the holding room, flanked by prison wardens. As the door is opened, the thug blasts out backwards, having just been battered through it by Holmes. HOLMES Lestrade - your usual impeccable timing. LESTRADE You know, in another life, you'd have made an excellent criminal. HOLMES And you, sir, an excellent policeman.", "EXT. LONDON JAIL - DAY Holmes and Lestrade march along. Lestrade holds out a copy of the newspaper. The headline reads : `` BLACKWOOD LIVES AND THE DEVIL WALKS WITH HIM! MURDERER RESURRECTED!'' LESTRADE Tell me you have answers. HOLMES All in good time. LESTRADE We do n't have time. I've an office full of policemen hanging crosses over their desks. A public that's working itself into a frenzy. Holmes sees a dark, strange carriage waiting, door open. HOLMES Who's this? LESTRADE Try to behave yourself. They just paid a small fortune to bail you out.", "INT. CARRIAGE Holmes enters. An ANONYMOUS MAN sits in the other seat. ANONYMOUS MAN I'm afraid you'll have to put this on. He holds a black hood. Holmes shrugs. CUT TO BLACK.", "INT. TEMPLE OF FOUR ORDERS HEADQUARTERS The hood is pulled off. Holmes takes in the scene, eyes flicking around the room. He's in a grand office where a man in his late 60s, SIR THOMAS, rises from a pile of papers. SIR THOMAS Mr. Holmes, apologies for summoning you like this. I'm sure it's quite a mystery as to where you are, and who I am. HOLMES As to where I am - I was, admittedly, lost for a moment between Charing Cross and Holborn. But I was saved by the bread shop on Saffron Hill, the only bakers to use a certain French glaze on their loaves. After that, the carriage forked left, then right, a bump over the Fleet conduit - need I go on? Somewhat stunned, Sir Thomas shakes his head. HOLMES As to who you are - that took every ounce of my not - inconsiderable experience and skill. the letters on your desk are addressed to Sir Thomas Rotheram, Lord Chief Justice. That would be your official title. Who you realy are is another matter entirely. Sir Thomas is not in the mood for this - but Holmes is on a roll. HOLMES Judging by the sacred Ox on your ring, you're also the secret head of the Temple of the Four Orders - in whose headquarters we now stand, on the northwest corner of St. James Square. -LRB- beat. -RRB- And as to the mystery - the mystery is why you bothered to blindfold me in the first place. SIR THOMAS Yes, well, it's standard procedure, I suppose. Holmes shakes his head ; what a massive lack of judgement on their part. STANDISH -LRB- O.S. -RRB- I think we have the right man. Holmes turns to see JOHN STANDISH and LORD COWARD standing behind him. Standish is an American in his sixties. Coward is a hard, ambitious man in his 30s. SIR THOMAS Sherlock Holmes, Ambassador Standish from America and Lord Coward, the Home Secretary. Holmes acknowledges them - barely - as they enter. He is n't impressed by rank. LORD COWARD I suppose you already have some notion as to the - practices of our Order? HOLMES Yes. They're almost interesting. SIR THOMAS Be as skeptical as you like - but our secret systems have steered the world towards the greater good for centuries. The danger is that they can also be exploited for more nefarious purposes. LORD COWARD What some call the dark arts, or practical magic. Holmes looks around the room, sees FLAGS on the walls with ancient symbols, variations of the SPHINX. STANDISH We know you're are a rationalist. We do n't ask you to share our faith, only our fears. HOLMES Fear is the more infectious condition. -LRB- at Sir Thomas. -RRB- In this case, fear of your own child. That shocks them rigid. HOLMES Blackwood is your son, yes? You have the same colored irises - a rare dark green, with diamond - shaped hazel flecks -. -LRB- pointing at Sir Thomas' ear. -RRB- - plus identical outer ears, or pinna, which only pass down through the direct bloodline, which would make you either brothers, or, more likely, father and son. Stunned, the men consult silently, come to some sort of conclusion. They turn back to Holmes. Sir Thomas seems especially shaken. SIR THOMAS Very few people are privy to that information, and we want to keep it that way. Sir Thomas opens a bureau, digs for something. SIR THOMAS He was conceived during one of our rituals. His mother was n't my wife, but she shared our beliefs. She was a powerful practitioner. Though not enough to survive giving birth to him. Holmes is appalled and shows it. SIR THOMAS We were young. It was before we fully understood the powers we were dealing with. HOLMES Evidently. SIR THOMAS Death followed him wherever he went, from his birth to arms he made and sold. What family he had tended to. not survive. No one could prove anything of course, but we all knew - Sir Thomas hands Holmes a TINTYPE. A photograph from the 1860s. It's chilling : a death scene, a BODY covered by a sheet. A man who's just fallen out a window. A TEN - YEAR - OLD BOY - young Lord Blackwood - looks on. SIR THOMAS The boy was a curse. I did n't have the courage either to take him in or to - STANDISH All this is history. The present and future are worse. SIR THOMAS We've done our best to stop him ourselves, but it's not enough. LORD COWARD His power grows daily and exponentially. His resurrection is evidence of that. What he does next will be far more dangerous - SIR THOMAS - he's going to raise a force that will alter the very course of our world. We need you to find him and stop him before he does. LORD COWARD We'll give you any assistance we can. As Home Secretary, I have considerable influence over the police. -LRB- beat. -RRB- Name your price. Holmes looks at Coward with scathing disdain. HOLMES One of the great benefits of my work is that I can pick and choose my clients. I'll get him, but not for you. Holmes stalks out - stops at the door, turns, fixes Sir Thomas with a very bleak gaze. HOLMES I have one last question, Sir Thomas. SIR THOMAS What is it? Holmes holds up the tintype. HOLMES If the rest of his family's dead, why are you still alive? Holmes tosses the tintype onto a table, leaves. OMITTED", "EXT. THE GRAND HOTEL Holmes comes out of a carriage, and scoots up the steps of the massive hotel that's bustling with people.", "INT. IRENE'S HOTEL ROOM - DAY Irene enters wearing a stunning evening dress. She pauses glancing briefly around the room before sitting at a mirrored dressing table. There's a decanter on the table next to her from which she pours herself a glass of wine. Then she begins removing an impressive assortment of WEAPONS hidden on her person : she pulls a stiletto from her garter, a Derringer from her waistband -LRB- which she puts down next to the wine glass -RRB-. She pulls long thin needles from her hair, lets her hair down. As she continues. PULL BACK TO REVEAL Holmes watching her from a shadowy corner. He looks on silently until : IRENE If you're going to watch me take my clothes off, Sherlock, the least you can do is help me with the buttons. IRENE To watch a lady undress without her permission is a criminal offense, Sherlock, and could get you into a lot of trouble. They both eye the Derringer on the table. IRENE So why do n't you come over here and help me instead. Holmes approaches her somewhat tentatively and reaches for the top button on the back of her dress. IRENE That's better. HOLMES You can stop looking for Reardon. IRENE I knew I could count on you. HOLMES He was buried in Blackwood's tomb. Irene is momentarily taken aback then recovers. IRENE Wonderful. Case closed then. Your services are no longer required. Unbuttoning done, Holmes steps out to confront Irene. HOLMES I ca n't help wondering if your employer will be as content with these results? You were uncharacteristically ill at ease in his presence. Your hand was trembling, your gaze was averted. I could n't see his face, but I spotted chalk on his lapel. A professor perhaps? Irene gets up, walks behind a DRESSING SCREEN. IRENE -LRB- behind screen. -RRB- The eye patch was a nice touch. HOLMES But I've never known a professor to carry a gun, and on such a clever contraption. IRENE -LRB- O.S. -RRB- Let's not argue. HOLMES We're not. Irene steps out, now wearing an array of Victorian undergarments. Unfairly gorgeous. The huge DIAMOND still around her neck. She moves back to the dressing table. Holmes wo n't look at her, refusing to get turned on. HOLMES Tell me who you're working for and what he's after. IRENE That's nobody's business but my own. HOLMES I disagree. IRENE You see, we are arguing. Holmes gets closer and closer to Irene as he presses his case vehemently. HOLMES When a man you ask me to find ends up dead in the coffin of the most notorious murderer since Jack the Ripper and that murderer manages to return from the dead, not only is it my business, it's the business of Scotland Yard and the highest levels of the British government. They will certainly consider your reticence to be an obstruction of justice. Which in relation to a crime of this magnitude would certainly mean prison time. IRENE This wine is excellent. You should really try some. Holmes notices her Derringer on the table next to the wine bottle. HOLMES So what's it to be? IRENE Do we really have to decide now? Irene reaches for the wine. HOLMES You're in over your head this time, Irene. Irene snatches up her gun. Holmes grabs her arm. BANG! A BULLET tears into his shoe, missing his toe. Holmes snatches away the smoking Derringer. Irene kisses him, hard and angry at first, becoming something else. Another of the weapons in her arsenal, and the one that disarms Holmes. The kiss leads them to the bed. IRENE That's better. Irene pulls him down to it. He does n't resist. CLICK! Holmes' eyes flare with surprise. CLICK! IRENE Much better. Irene has handcuffed him to the bed frame. IRENE This is the only way it could ever work between us, Sherlock - one in shackles, the other with the key. She gets off him. While he struggles on the bed, Irene walks casually across the room. She starts putting on MAN'S CLOTHING. She's in charge now. IRENE I've NEVER been in over my head. HOLMES How can you live like this - always a fugitive. She approaches, now dressed as a man, straddles him. IRENE But free. And on my own terms. Just like you - well, not you at this exact moment - She pulls at the front of his trousers, throws the handcuff keys down there. IRENE - but generally speaking. Holmes has no retort. Irene takes the scarf off his neck, moves to the doorway. IRENE If anyone asks, please let them know that Mr. O'Neil did n't have time to check out. -LRB- beat. -RRB- I hope you do n't mind settling the bill. IRENE What were you doing consorting with a married business traveller in his hotel room is something you'll have to explain for yourself. She picks up TWO SUITCASES waiting for her at the door -LRB- NEW PROP! -RRB- and, as she leaves : IRENE Where's Watson when you need him? OMITTED", "INT. SIR THOMAS' HOUSE - NIGHT Sir Thomas enters the hall from outside, he looks tired. His butler, PERIGRINE, stands there waiting for him. PERIGRINE Good evening, sir. Some figs and honey with a nice glass of port? I've prepared a tray. SIR THOMAS No thank you, Perigrine, I'm going to bed. -LRB- as he heads upstairs. -RRB- You wo n't let those figs go to waste, will you? PERIGRINE Nor the port, sir. Thomas smiles, goes up. Perigrine heads for the kitchen, licking his lips.", "INT. SIR THOMAS' BATHROOM Sir Thomas sinks into his bath. Relaxing. The CAMERA SLOWLY TRACKS IN, drip, drip, drip. The silence is broken all of a sudden when the tap is magically turned on. Sir Thomas opens his eyes in panic, as he hears an eerie WHISPER O.S., like the rushing of wind. Sir Thomas is overcome with panic, tries to sit up. Ca n't. Not all the way. BLACKWOOD -LRB- O.S. -RRB- Hello, Father. Thomas blinks and sees that BLACKWOOD now sits in the corner of the bathroom, lit in a sinister fashion. Sir Thomas' eyes widen, the muscles stand out in his neck as he fights paralysis. He slides back down, slowly. BLACKWOOD You ca n't fight it. It comes from a power greater than yours. You can only surrender. The water flows over Sir Thomas, as Blackwood steps closer and takes the sacred RING from his rigid finger. BLACKWOOD I've been imagining this moment for a long time. The water closes over his face. Sir Thomas stares up at Blackwood, who watches him drown, slowly and surely. BLACKWOOD I must admit, it's better than I thought it would be.", "INT. THE GRAND HOTEL - CORRIDOR - DAY Carrying an armful of laundry, a MAID slips a pass - key into a lock and opens the door. to be confronted by the snoring form of Holmes, still handcuffed to the bed. Clothes in total disarray. Her shriek wakes him. He looks down at himself and reacts with shock, then grim recognition sets in. HOLMES Do n't take this the wrong way, but might I borrow your hand?", "INT. POLICE CARRIAGE Holmes sits beside a COP, and opposite CONSTABLE CLARK. HOLMES Chambermaids were once such a liberal breed. Besides, she misinterpreted my intention entirely. This is why I find this modern religious fervor so troubling, there is no latitude for misunderstanding. He looks out the carriage window and sees signs of a spiritualist gathering. HOLMES Faith runs riot over reason. CONSTABLE CLARK Well, it's a good thing she was offended or we'd never have found you. The inspector's been over to Baker Street himself this morning. The coach stops.", "EXT. SIR THOMAS' HOUSE - DAY Holmes steps out of the coach, and is escorted inside by Constable Clark.", "INT. SIR THOMAS' BATHROOM Holmes is briefed by Constable Clark as they enter. As Constable Clark continues in, Holmes swivels away - CONSTABLE CLARK We've checked everything. No sign of a break - in. The Butler did n't hear anything. The body was in the tub, eyes wide open - - so that Const. Clark ends up talking to thin air. CONSTABLE CLARK -LRB- realizing Holmes is n't there. -RRB- - only his ring was missing. He turns, puzzled, looking for Holmes, finds him right back at the doorway, in full virtuoso detective mode. Right now, right here is where Holmes is at his very best - this is, in fact, why he exists. Holmes is satisfied by what he sees or finds, continues into the bathroom, where a POLICE OFFICER stands over the tub and Sir Thomas' body -LRB- covered with a blanket -RRB-. The tub has been drained. The kind of crime scene violation that Holmes can not get them to stop doing. HOLMES Why did you drain the water? POLICE OFFICER Out of common decency. HOLMES -LRB- incensed. -RRB- Crime is common, logic is rare. The decent thing to do is catch the killer, not provide comfort to the corpse. Neither the officer nor Clark have a response. Holmes swivels, sees a JAR OF BATH SALTS on the table next to the chair Blackwood sat in, leans over, scoops it up, opens it, sniffs it. HOLMES Hmm. Holmes thrusts the open jar under the Officer's nose. HOLMES What is that? POLICE OFFICER -LRB- smelling. -RRB- Uhhhh. jasmine? HOLMES Superb. I suspect this comes from a larger cannister. It'll either be in the pantry, high up where it's warm and dry, or in a linen closet with a vent. And, Constable, you could check the ground under the rear windows for any footprints not your own. Both cops hesitate - Holmes is not their boss. HOLMES Data, data, data! I can not make bricks without clay! The cops hurry away. Now Holmes can really get down to work. This may mean he gets on his belly for a floor's - eye - view, it may mean he looks down from a window sill. Sometimes he hums or sings to himself. Holmes is happy. He glances around the room, sees the chair where Blackwood was perched, sits in it himself. His eyes keep moving, noticing something on a wall. He steps toward it, runs his hand along a layer of dust. The dust has a line down it, as if the wall cracked open. Holmes steps to the sink, grabs a handful of TALCUM POWDER and tosses the powder against the wall, revealing : FINGERPRINTS on one of the panels. He pushes the panel, and the wall shifts, opening to reveal a SECRET ROOM. Holmes enters -", "INT. SIR THOMAS' SECRET ROOM Holmes finds a desk with a prayer table, and ancient texts, spellbooks, one book open to a picture of Alexander the Great at the Sphinx. He steps toward - An ALTAR below the image of the Sphinx. On the altar, four strange objects : a strand of human HAIR, a cow's BONE, a large sharp FANG, and a FEATHER. Holmes pockets the altar items and a couple pieces of paper, just as -", "INT. SIR THOMAS' BATHROOM - Const. Clark and the Officer return, the Officer proudly hugging a 5 LB. CANNISTER OF JASMINE BATH SALTS. They are startled by the secret room - - they are even more startled by the sight of Holmes kneeling at the altar and singing to himself. As soon as they arrive, Holmes springs to his feet and walks out. Maybe he continues singing between words. HOLMES -LRB- vis the secret room. -RRB- I have no idea what to make of that. -LRB- vis the bath salts. -RRB- Excellent work.", "INT. 221 BAKER ST. - HOLMES' APARTMENTS - DAY Holmes walks up the stairs and finds Watson's office door open. He is well into packing his things. The office is full of boxes, the walls and shelves are very sparse. HOLMES Do n't forget the wallpaper. WATSON There is n't any. HOLMES Figure of speech. Holmes steps into the room. HOLMES Since this room is no longer in use, do you mind if I employ it? WATSON Be my guest. HOLMES Bring him in, boys. Holmes steps aside. Two/three policemen enter carrying a large, heavy bag and unceremoniously dump it on Watson's desktop. They unzip the bag, revealing the dead body of the thug from Reordon's lodging. WATSON Who was he? HOLMES My new roommate. He's an inspiring conversationalist. -LRB- alt : He has more humor than you. -RRB- WATSON Really. HOLMES No, he's your friend from Reordon's. He did n't survive Dredger landing on him. Poor fellow. But there is some consolation in the knowledge that he can still be of service to his fellow men. Watson keeps packing. Holmes analyzes the body, starting, of all places, with the outer elbows and forearms of his coat. Holmes grabs various instruments and other items from Watson's newly - packed boxes. Frustrated, Watson snatches them back as quickly as Holmes takes them out. HOLMES Elbows and arms stained with blood, but older than his own injuries. Plenty of it, layer on layer. Holmes scrapes at the layers of blood with his knife, examines it. HOLMES Though none of it human. Watson slows down slightly. He keeps packing, trying to resist the mystery, but it's not easy. HOLMES A butcher perhaps? What else? Holmes cuts a lock of the man's hair, ignites it, studies the color of the flame carefully. Watson wrinkles his nose at the smell. HOLMES Hm - predominantly yellow flame, but with distinct green bursts. Sulfurous. He spent lots of time around industrial work and very little around a wash basin. Holmes uses a curved nail file to scrape dirt from under the man's fingernails, rubs the evidence between his fingers like a connoisseur. HOLMES Coal. river silt. Watson slows down further, struggling. HOLMES That plus the river silt and industrial slag on his trousers puts him squarely in. A hanging beat. And Watson finally cracks, blurting out : WATSON Nine Elms. HOLMES Well done. Now, you did n't happen to pack the Lord's Register of members' interests, did you? Watson pulls it out of a box. HOLMES See what Blackwood admits to owning. As Watson flips through it, Holmes plucks a few chords on his violin, thinking. Watson finds the page. WATSON It's endless, he's had a hand in just about everything that's not good for you. HOLMES Something brutal by the river. WATSON Woolwich Arsenal. Limehouse Chemical. Queenshithe Slaughterhouse, Nine Elms! HOLMES That's it, Watson! This should lead us right to Blackwood. Holmes leaps up and readies himself to leave. WATSON Not us, you. This gives Holmes pause. HOLMES Right. Well uh. best of luck with everything, then. WATSON Same to you. A brief nod, then Holmes is gone. A beat as Watson continues packing. He heaves a box up, moves for his suitcase. After a moment, he notices. Holmes' PISTOL. WATSON Not again. He picks it up. As he contemplates the weapon, he becomes more serious. Then angry. He mouths a curse to himself, and sees their DOG giving him a disapproving look. WATSON Yes, I know. Do n't give me that look, Gladstone. He pockets the gun, grabs his jacket and heads out.", "EXT. COURTYARD - NIGHT A figure moves across the dark, Gothic courtyard. It is AMBASSADOR STANDISH. As he cuts through the shadows. A few DROPS OF RAIN trickle down. He looks up, surprised by the rain. He raises his collar, and keeps moving. He hits the door to a building. It is locked. He bangs on the door, as the rain comes harder. The door finally opens. As he enters, we see the rain stops behind him, gone as fast as it came. A RAVEN flaps into the night.", "INT. TEMPLE OF FOUR ORDERS HEADQUARTERS - NIGHT Standish comes up the stairs, wiping the raindrops off his coat, trying to dry himself, as he enters -", "INT. TEMPLE OF FOUR ORDERS HEADQUARTERS - COUNCIL CHAMBER A five - sided room. A few dozen venerable - looking characters arrange themselves in seats. Lord Coward stands next to a central throne. He stays standing as they all sit - all except STANDISH. STANDISH What's the meaning of this? Why did you call us here? LORD COWARD Sir Thomas is dead. Effective immediately, I nominate Lord Blackwood as head of the Order. STANDISH Are you mad, Coward? Have you any idea what he's capable of? BLACKWOOD -LRB- O.S. -RRB- Of course he does. It's why he's here. Blackwood enters. He looks as if he's been to hell, and come back more powerful than ever. The crowd is stunned. Standish looks at Coward, betrayed, turns to the others - who are transfixed by the sight of Blackwood suddenly kneeling before them. BLACKWOOD I am humbled. I am honored. -LRB- beat. -RRB- My powers and my assets - munitions, shipping, industry - they were given to me for a purpose. A magnificent and simple purpose. A different future. a future ruled by us. Blackwood stands, prowls. BLACKWOOD You've made policy in secret for centuries. Now, you'll make it openly. The men are beginning to like what they hear. BLACKWOOD The first act is a necessary one, for without death there can be no rebirth. -LRB- beat. -RRB-. at noon tomorrow, we will take the first step towards a new chapter in history. -LRB- beat. -RRB- England will know our power. Then, the whole world will. Across the Atlantic lies a colony that was once ours, and will be again. Their civil war weakened them ; their government is as corrupt and ineffective as ours. We'll take it from them. -LRB- beat. -RRB- With their resources and our power, we'll remake the world, we'll create the future. -LRB- beat. -RRB- Are you with me? STANDISH No, sir, we are not! -LRB- turning to the others. -RRB- The powers he's playing with are beyond any man's control. BLACKWOOD They're limitless - even death holds no sway. STANDISH Help me stop him before it's too late. Nobody moves. Blackwood smiles - he's won. In desperation, Standish pulls a gun. But as he aims it at Blackwood - BLACKWOOD I would n't do that. - he IGNITES, combusting with an impossible BLAST OF BLINDING HOT FLAMES! The men in the room reel backwards, shocked, terrified. Flames consuming him, Standish flails, crashing through a window out to -", "EXT. LONDON STREET - NIGHT The fireball plummets through the sky, lighting city blocks. People look up, gape, and - WHOOMPF! Standish lands on the roof of a carriage. Horses and carriages SCREECH to a stop. The flames flicker blinding white, as his body contorts, melting away. People scream, gasp, faint, cross themselves, as they witness this unnatural act.", "INT. TEMPLE OF FOUR ORDERS HEADQUARTERS Blackwood turns away from the window, surveys them. They are terrified, but they are with him. Blackwood turns to Coward, nods. Coward produces a brimming silver chalice. BLACKWOOD Come, drink your allegiance here. The members line up to drink from a CHALICE. It does n't taste good, but it tastes like power. As they drink, Blackwood leans close to Coward : BLACKWOOD You control the police. Use them. Coward nods.", "EXT. QUEENSHITHE SLAUGHTERHOUSE - ESTABLISHING - NIGHT An industrial area on a bend of the Thames. Work does n't stop when the sun goes down. Wharves stretch out into the water. WE SEE a boat is being loaded. We PULL BACK FROM the scene and look ACROSS the water. Just above the thump of industry we can hear a distinctive and irregular CHUGGING sound. Slowly a decrepit and eccentric little steam launch chugs INTO VIEW. Holmes is on the deck along with a much older man in a sailor's hat - CAPTAIN TANNER. HOLMES Everything all right, Captain Tanner? Captain Tanner has few teeth and a large white beard. TANNER Just a little leak, nothing to worry about. Watson is busy with a bucket clearing the boat of a very serious leak. He's soaked, and furious. TANNER Not a great one for the water, are you, doctor? Army type, are n't you? You would n't have lasted long in the Navy. Watson glares. Holmes scans the banks with a telescope. He sees a jetty with a few shadows shifting on it. The engine shudders off, the boat drifts. Tanner whispers : TANNER That's as far as we can go. Holmes starts clambering over the side. Watson's pissed. WATSON There must be fifty yards of mud out there. Holmes' head is just visible before he drops over the prow. He whispers at Tanner. HOLMES Pull in at Vauxhall. Send for the police when you get there. Tanner nods. A soft `` splosh'' as Holmes disappears. Watson carefully leaves his valued possessions behind, watch, etc.. He lays down his wallet and looks at Tanner. WATSON I know precisely how much money is in there. TANNER -LRB- taking the piss. -RRB- I am sure you do, doctor. Watson glares, goes over the side, with his walking stick. OMITTED", "EXT. QUEENSHITHE SLAUGHTERHOUSE Holmes and Watson emerge out of the shallows, covered in mud. Holmes does n't seem bothered. Watson does. They look up and see a jetty that heads out into the river. Two shadowy THUGS guard the dock, while more THUGS are loading the boat with something. Holmes and Watson scuttle forward, towards the entrance, where two more THUGS patrol. Watson pulls out Holmes' GUN. HOLMES What are you doing with my gun? WATSON Oh, please. HOLMES It was an honest mistake - WATSON There was nothing honest about it. Holmes looks back at Watson, takes the gun, says nothing, the closest he'll come to a confession. Watson steps forward. WATSON Come on, let's get this over with. They look out at the thugs guarding the door. Holmes whispers, trying to figure out the best strategy. HOLMES The one on the left seems more attentive, might prove easily distracted. The big one's been drinking - whether for courage or from habit. Watson? Watson has already left. He simply walks up to the door and whacks the larger man in the face with the gun - before dispatching the other with a backhand pistol - whip. Holmes follows, notices that both men have hip flasks. He picks one up, takes a whiff, and pockets it as he follows Watson. He slows, sensing something behind him. He turns, looks at shadows. Nothing. And he enters - OMITTED", "INT. QUEENSHITHE SLAUGHTERHOUSE - TUNNEL Holmes walks towards Watson who stands in the doorway, stopped in his tracks, spooked. Holmes catches up, passing Watson into -", "INT. QUEENSHITHE SLAUGHTERHOUSE - ANTECHAMBER Shadows on shadows. Metal groans softly, like a plaintive wail. The twisted blades of slaughterhouse instruments glimmer in the darkness. A few RATS lay dead. A truly creepy scene. Holmes and Watson move through it. As they go, Holmes notices rows of empty tables. He runs his finger through a layer of dust, inspecting it. Quiet : HOLMES They cleared something out of here, not minutes ago. Holmes slows, picks up one of the dead rats. He inspects it, sees something on its skin, some kind of dark spore. WATSON -LRB- O.S. -RRB- Holmes. You need to see this. Holmes looks up, and sees Watson standing at a set of doors. Holmes pulls out a CIGAR - CUTTER, CLIPS off the rat's TAIL, slipping it into his pocket, as he joins Watson, stepping into -", "INT. QUEENSHITHE SLAUGHTERHOUSE - FACTORY FLOOR A massive space with a maze of machinery full of deadly gears and blades and saws, lifeless and silent for now. An automated butchery on a grand scale. This is the killing floor. Huge hooks hang from chain belts on an I - beam, the ceiling, swaying softly, whispering in the wind. On the high walls, a huge number has been scrawled : 118. WATSON One - eighteen. It's a date, a time? Holmes shakes his head, his eyes narrow, ticking. HOLMES It's chapter and verse. Revelation 1:18. ` I am He that liveth, and was dead.' Another voice completes the passage, echoing from above : BLACKWOOD -LRB- O.S. -RRB- ` And behold, I am alive forevermore, and have the keys of hell and of death. Amen.' Holmes and Watson follow the voice to see : BLACKWOOD in the rafters. Shadows hang heavy around him. Holmes and Watson react : this is the first time they've seen him in the flesh. BLACKWOOD I cautioned you to accept that this is beyond your control. Now you see the truth for yourself. The hooks in the ceiling are shivering softly, strangely. Holmes tightens. Blackwood continues, his voice echoes, as the hooks move through the air, gliding on a track. BLACKWOOD I want you to bear witness. At noon tomorrow, the world as you know it ends. Watson pulls his gun, draws a bead on Blackwood, pulls the trigger. Click. Misfire. BLACKWOOD And because I appreciate your help, Holmes, I have a gift for you. Holmes starts climbing up towards Blackwood. BLACKWOOD -LRB- voice moving away. -RRB- She followed you. You led your little lamb straight to slaughter. Suddenly the whole machine starts up. Industrial - strength loud, movement everywhere, empty hooks jerking towards the processing line. Blades and gears and grinders churn. Watson's eyes go from Blackwood to - A pig carcass as it comes swinging out of the killing area, towards the SCORCHER -LRB- which scorches the carcasses with live flame -RRB-. Then next carcass emerges - - not a carcass, Irene. She is alive, for now. She hangs from two hooks on a track - line, her wrists shackled above her, her mouth gagged. Her eyes show terror until she sees them, then immense relief for a moment, then determination. Holmes looks up to see Blackwood's shadow retreating. Decision time.", "INT. QUEENSHITHE SLAUGHTERHOUSE - ASSEMBLY LINE Holmes drops on to the machine and leaps from gear to gear like stepping - stones. He heaves himself up to the conveyor, where Irene is being pulled down the assembly line towards the flames. Watson sprints ahead, looking for a shut - off switch. Holmes unties Irene's gag. HOLMES It's your turn in shackles this time. Ahead of them, the pig carcass is scorched in an overwhelming burst of flame. Holmes and Irene are next. IRENE But this time no key, unfortunately. Holmes notes that Irene's hands are shackled to separate hooks. It's going to take two actions to free her. The flame machine gurgles ominously, gearing up for the next blast. Watson sees a LEVER -LRB- PLEASE NOTE, NEW PROP! -RRB- that looks promising, turns to head for it - then his eyes focus on a big canvas splatter cloth. HOLMES I've been meaning to ask you something - IRENE Well, I'm a captive audience. Watson rips down the splatter cloth, sprints to Holmes and Irene, tosses the cloth across the conveyor belt to Holmes - - who wraps them up in the thick cloth just before the flames hit them. The heat is excruciating - but the cloth protects them. Watson watches anxiously as the scorched cloth drops away, revealing that Holmes and Irene made it - just. Relieved, Watson heads for the lever until `` Oh Shit!'' he looks ahead - - sees the scorched pig carcass being dragged into a long, conveyor - belt - wide SCALDING TANK OF BOILING WATER. Decision time for Watson - help Holmes and Irene, or try the lever? He goes for the lever, reaches it, pushes it all the way over - - and the belt speeds up with a jerk. Watson hauls back on the lever, gets the belt back to the original speed, looks around for another possible off switch. Just as they reach the scalding tank, Holmes jumps off the belt -LRB- still opposite side to Watson -RRB-, grabs Irene's legs and pulls her horizontal just before she's dragged into the boiling water. She's suspended just above the boiling water, with Holmes moving sideways, keeping pace with her. IRENE -LRB- trying her best not to show the strain. -RRB- You had a question. Holmes keeps hold of Irene's feet as he maneuvers past various obstacles - HOLMES -LRB- same. -RRB- Ah. Yes. Do you still maintain you're not in over your head? IRENE -LRB- panting. -RRB- In some countries steam is considered excellent therapy for the skin. - then is gouged in the back by a whirling fan belt, jerks away, and Irene touches the water, SCREAMS. Watson hears the scream, turns - then sees something again. It pisses him off. Fuck this machine. When Holmes has Irene stable again : IRENE -LRB- weakly. -RRB- I have to say - it's overrated. Holmes has to admire her courage - until he hears Watson yelling at him. Up ahead a huge pipe spews boiling water into the tank - and impassable obstacle from Holmes' side of the conveyor belt. Watson points at the I - beam running above them. Holmes nods. Irene sees it, too. Holmes helps her reach one foot, then other up to the I - beam. She hooks her feet over it, and is suspended upside down by her shackles and her feet - - and still heading for the pipe spewing boiling water. Watson appears opposite Holmes, nods up at Irene. She swings off the I - beam, through the air - - and Watson catches her feet, pulls her horizontal, facing the other way just in time to avoid the gush of boiling water. As Watson holds Irene, he spots a small, but significant - looking SWITCH on the wall, painted red. -LRB- PLEASE NOTE, NEW PROP! -RRB- Watson helps Irene back onto the conveyor belt, leaves her for Holmes to deal with, sprints for the switch. Irene rides the belt upwards. Holmes clambers the equipment, following her. Up ahead, the scorched, scalded pig carcass precedes them. Holmes darts through a trimming station, with CLEAVERS HANGING FROM CHAINS, grabs one, jumps onto the belt, catches up to Irene - - just as they both see the pig carcass CUT IN HALF LENGTHWAYS BY A GIANT BANDSAW. Holmes wastes no time, swings the meat cleaver at the lock shackling Irene's left hand. Sparks fly as metal kisses metal, but that's all. She's still shackled. Then both of them see that Watson has reached the SWITCH. Whew! Watson looks at them with relief - close one - and pulls the switch down with a really satisfying CLUNK! A bank of lights goes out but the conveyor belt keeps moving towards the giant band saw. Shit a brick. IRENE Sherlock? Now, she's showing nerves. So is Sherlock. He braces himself on the belt, swings the cleaver with all his might - - smashes the shackle lock. Irene swings sideways violently, still shackled by her right hand. The bandsaw whines viciously. Irene swings aside, just misses it. Gets a free haircut. Then Holmes is under her, lifting her high so that she can free her right hand -LRB- a move not possible with both shackles -RRB-. Irene unhooks herself, falls forward, taking Holmes with her. They plummet downwards OUT OF FRAME. Watson sprints towards where they fell, looks down - - sees them lying on a carpet of scorched, boiled, cut - in - half pig carcasses. They're okay. Watson shakes his head, turns, heads for the door, looking for Blackwood. Irene gives Holmes a sweet, grateful smile - IRENE Thank you so much. I owe you. - pulls a knife, gets up, heads after Watson. Holmes grabs her, stops her. HOLMES You owe me information. -LRB- angry. -RRB- No more games, Irene. She hears Watson opening the door to the dock. She looks at Holmes, their eyes locking. Finally, the truth : IRENE Blackwood's manufactured large - scale weapons for years. Lately there've been rumors of something new. More powerful than anything else. And. magical. My job is to find out if the rumors are true. -LRB- beat. -RRB- I would say they are. And she's off, running toward the door. Holmes trails her, processing. They blast through the doors to -", "EXT. NINE ELMS JETTY Watson runs out of doors and towards the end of the dock. He sees : Blackwood and the boat are disappearing into the darkness. Holmes and Irene run out of the doors following Watson. Holmes slows, looking around the dock, seeing something on the planks : Steel drums are dripping. A chemical. Holmes recognizes it. HOLMES Watson! Watson continues down the dock, tripping a wire connected to the steel drums, he turns realizing he has set off a trap and turns back to warn the others - WATSON Holmes. A metallic conductor SPARKS. Time slows. BOOM! The drums of chemicals all EXPLODE! A blinding conflagration engulfing Watson. For a moment, it lights up all of London. HOLMES WAATTTSSSSSONNN! Holmes is pushed back by the explosion as the rest of the barrels that line the dock begin exploding arond them - it looks as it Watson has n't survived. BOOM! Irene is knocked to the ground by the blasts and flying debris. Holmes races towards her as more explosions, flames and debris fly all around him in slow motion, occasionally knocking him to the ground. He reaches Irene, picks her up and grabs part of an exploded barrel to shield the two as they run for cover - BOOM! The barrel splinters as a final blast knocks them down, but to safety. As he opens his eyes - We see Lestrade and his men swarming the scene, they spot Watson, alive, but unconscious. Irene has disappeared. Holmes sees this and heads toward his friend, but - - is intercepted by Constable Clark. CONSTABLE CLARK There's an order for your arrest all the way from the top, sir - so you'll have to hit me now. HOLMES From Lord Coward? CONSTABLE CLARK Yes, sir, so make it look good. HOLMES Thank you, Clarky. Holmes cracks Constable Clark in the sweet spot, helps him gently to his knees. Holmes turns away, makes his escape fast. Holmes turns back to look at the explosion.", "INT. HOSPITAL - CORRIDOR Two POLICEMEN half - heartedly guard the end of a corridor. One reads the paper. The headline : `` AMERICAN AMBASSADOR STANDISH BURNED ALIVE!'' Mary returns past them, having unsuccessfully washed away tear - stained makeup ; there is a smear on her cheek. The two coppers nod respectfully. Mary arrives at the windowed door of a private room, reaches for the handle, pauses. THROUGH THE GLASS, she sees a white - coated DOCTOR, studying Watson's chart. Mary stays at the door, unsure whether to enter or not.", "INT. HOSPITAL ROOM WE SEE a newspaper on the nightstand next to a hospital bed, the headline reads : `` AMERICAN AMBASSADOR STANDISH BURNED ALIVE!'' Watson is burned, cut, bruised, scraped, pock - marked with shrapnel. He mumbles inaudibly, his eyes still closed. He's delirious, sweating. -LRB- NOTE : Mary's detective novels and magazines, coat, handbag, etc. already in the room. -RRB- The doctor injects Watson in the arm. The shot wakes him. Watson tries to sit up, wincing with pain. WATSON What are you administering? DOCTOR Morphia. A sixth of a grain, for the pain. Watson looks at his wounded shoulder. DOCTOR There are four pieces of shrapnel. The surgeon should be along shortly. Watson tries to sit up again. This reveals that Mary has entered the room, stands back respectfully, letting the Doctor do his work. WATSON Are they subcutaneous, or deeper? DOCTOR They're near the carotid artery. WATSON Get a mirror, I'll extract them myself. DOCTOR I ca n't authorize that, Doctor. We must first manage the pain and combat the infection. WATSON I have n't time for that. My friend is in dire - DOCTOR Your friend? What kind of friend takes a retired soldier, who's served his country and deserves a peaceful, private life, and puts him so directly in harm's - Watson grabs the Doctor's arm angrily. WATSON The best and wisest man I've ever known. DOCTOR But evidently not wise enough to value your life over his misadventures. ON MARY As she takes a closer, sharper look at the Doctor. WATSON -LRB- succumbing to the morphine. -RRB- It was worth a wound, worth many wounds. Mary steps towards the Doctor, eyes flashing. MARY Excuse me - DOCTOR -LRB- leaving. -RRB- I have other. patients. MARY Do you really? Doctor. The Doctor turns just outside the door, to face her. She's suddenly very angry. MARY You have nothing more to say to me? DOCTOR Um. I'll check in on him again shortly. MARY Is that the best you can do? I'm disappointed, but not surprised. The Doctor has no words. MARY If anything happens to him, both our lives are lost. Do you understand that? Can you? - The Doctor ca n't face her anger any longer, turns, leaves fast. MARY - or are you so selfish that's just not possible.", "INT. HOSPITAL - CORRIDOR The doctor strides down the corridor past the policemen.", "EXT. LONDON - NIGHT ESTABLISHING SHOT of London, possibly the bustle of Fleet Street during the morning rush hour. A train crosses on an overhead railway. We PUSH IN UNDER the railway arch until we can make out a splash of white in the shadows - the Doctor from the hospital is slumped down against the wall. We PUSH IN ALL THE WAY, so that we CAN SEE that the Doctor is actually Holmes. There is something grotesque about his face, he has n't completely removed his disguise. Parts of it hang down, obscuring him - - but not obscuring the light of instability in his eyes. They begin to overflow with tears. He brushes them away then looks at his wet hand, horrified.", "INT. PUNCH BOWL PUB - ATTIC Holmes enters, disturbed, pained. Emotions swirling. He pulls out a newspaper with the story of Standish's death, the pages and strange sacrificial offerings -LRB- bone, hair, feather, fang -RRB- from Sir Thomas' house. Gathering himself, Holmes stands in the middle of the bare room and starts to lay out the clues he has on the floor. The Ox bone directly in front of him -LRB- at 12 o'clock -RRB-. The eagle feather to his right -LRB- at 3 o'clock -RRB-. The human hair behind him -LRB- at 6 o'clock -RRB- and the Lion's fang to his left -LRB- at 9 o'clock -RRB-. Then with a piece of charcoal Holmes draws a circle around each image and a circle directly in the center of the four other circles. He then draws lines which join the circles together in the shape of a cross. In the center circle he draws a pentagram -LRB- using wax from a burning candle? -RRB- . Then he pours a ring of salt around that circle. He lights four candles -LRB- one at each point of the cross -RRB- then stands in the center of the circle. He pulls a pocket knife from his coat, opens the blade, cuts his thumb and allows the drops of blood to drip onto the ground just outside the circle. Then he begins to chant. The words are eerily reminiscent of Blackwood's chanting. Suddenly one of the drops of blood bursts into flame in mid - air - as it hits the ground, the circle around Holmes ignites, followed by a larger circle beyond that. BLACKWOOD -LRB- O.S. -RRB- And now it dawns on you, you begin to recognize your part in his play. Holmes snaps around, Blackwood has appeared behind him within the outer circle of flame. BLACKWOOD You see the path he chose for you. Holmes sways, fuzzy. He struggles to focus on Blackwood. BLACKWOOD Did n't you wonder why it was so easy to catch me? I told you I needed five lives for my resurrection. Why would I take a sixth under St. Paul's? Holmes shakes his head, he can barely see straight. BLACKWOOD Unless I simply wanted to be caught by the great Sherlock Holmes. Blackwood raises a sacrificial sword and swings at Holmes' head. BLACKWOOD so I could die on the biggest stage of all. You made me what I am. We see - HOLMES' POV as Blackwood swings the sacrificial sword at Holmes' head. It looks as if Holmes has no time to react - WHOOSH - the sword WIPES the FRAME -", "INT. PUNCH BOWL PUB - ATTIC We see a SERIES OF QUICK CUTS, has Blackwood killed Holmes, or is he hallucinating, caught in the spell he conjured? A CLOSEUP OF HOLMES His face covered with earth - just as we saw Reordon in his coffin. Holmes' eyes snap open, he breathes in air - As he comes to life we see events of the recent past flash through his mind. BLACKWOOD'S TOMB. THE STUFF IN REORDON'S ROOM. THE DEAD RATS. A CLOSEUP OF HOLMES His face submerged in water inside a copper bath tub - just as we saw Sir Thomas. Holmes' eyes snap open, he breathes in air - THE OPENING CONFRONTATION IN THE CATACOMBS. THE OBJECTS IN SIR THOMAS' SECRET ROOM. THE PATTERNS HOLMES HAS DRAWN ON THE FLOOR OF THE PUNCH BOWL. A CLOSEUP OF HOLMES His face engulfed with flames - just as we saw Standish. STANDISH FALLING THROUGH THE AIR CRASHING INTO THE CARRIAGE. THE SPHINX. THE RAVEN FLAPPING ITS WINGS. HOLMES Writing and sweating on the bed in the attic. Holmes sees a hazy image of Irene. She leans over him smiling sweetly then wraps her hands around his neck and starts to strangle him. IRENE SAYING `` WHERE'S WATSON WHEN YOU NEED HIM?'' BLACKWOOD IN THE ROOM AGAIN WITHIN THE FLAME CIRCLE. We SEE WATSON turning to warn Holmes before EXPLODING - HOLMES! FADE OUT.", "INT. PUNCH BOWL PUB - ATTIC The sun is rising. Holmes' eyes open and we see : WATSON - or some deathly version of his old friend - is sitting in the chair where Blackwood appeared. HOLMES -LRB- confused. -RRB- Watson? Watson leans closer, into the light. A ghost or a man? He gestures towards the diagram on the floor. WATSON Interesting artwork. You look bloody awful. He writes something in his notebook. He is decidedly alive, but with burn flashes, cuts and bruises. His arm is in a sling. He's been through it. In the b.g. Irene is at the fire heating some coffee. HOLMES What about the shrapnel in your arm? Watson shows him a piece of shrapnel - WATSON Took it out myself. Mary said I had a lousy doctor. - then tosses it away. They both smile. United in agony. HOLMES -LRB- quietly, between them. -RRB- She brought you here? WATSON Yes, oddly, it seems she might understand the power of partnership. They both look back over to Irene who just finished loading her gun. The coffee seems ready so she pours a cup. HOLMES The fair sex was always your department, Watson. Irene walks over and hands Holmes the cup. HOLMES Thank you. You know, I dreamt that you were strangling me. IRENE I was. I had to get you to pass out to settle down. They smile at their unique, twisted understanding of one another. HOLMES What time is it? WATSON It's half past nine. Holmes takes a drink of coffee. HOLMES Excellent brew, but I believe my head requires something a bit stronger to clear the - WATSON I brought you this. HOLMES Exactly. He hands Holmes his VIOLIN. Holmes takes it.", "INT. PUNCH BOWL PUB Watson and Irene sit at a table, the SCREECH of a fiddle now comes from upstairs. The fiddler's owner - from the pub's band - is busy getting drunk with the money he has acquired. Irene arrives with two pints, puts one down in front of him, sits opposite him with the other. Watson looks from Irene to the pint with open suspicion. Could it be poisoned? He would n't put it past her. But then he decides that's absurd. He takes a sip. IRENE Oh, I poisoned that one. WATSON With your own venom no doubt. IRENE Better a snake than a lap dog. WATSON There's a new field in the treatment of abnormal personalities - it's called psychology. It appears you're what's considered a para - neurotic deviant with anti - social proclivities. Quite severe. And untreatable. IRENE No, doctor, I'm simply a woman. -LRB- beat. -RRB- Understand that, and you'll have a happy marriage. IRENE -LRB- alternate dialogue. -RRB- Not quite, doctor. Let me make it simple for you, with a lot fewer words - I'm what's called a woman. -LRB- beat. -RRB- Understand that, and you'll have a happy marriage.", "INT. PUNCH BOWL PUB - ATTIC - ON HOLMES as he plays the violin, but not with a bow. He plucks it, he strums it, he makes strange atonal sounds, as he STARES AT THE RITUAL PATTERN he's laid out on the floor. Flashes to various images of the sphinx that he's observed over the course of the investigation. He stands up and draws a sphinx in charcoal on the floor. Then he moves to the ox bone - a flash of Sir Thomas' ring with the Ox crest. He draws an ox in charcoal. Next to the ox bone Holmes writes - Sir Thomas - OX ring. Next, he moves to the feather - a flash to an Eagle in flight - he quickly sketches an eagle. Then to an American flag, then to Standish with his eagle - topped cane. Next to the feather he writes America. Then he moves to the hair. He draws a man's face. Flash to Reordon's red hair. Next to it Holmes writes Man. Then he moves to a Lion fang. He sketches out a lion - he thinks - BUT no flashes. Next to it he writes a big question mark. Where? Who? Holmes returns to his violin. Staring at the Lion fang as if willing the flashes to come.", "INT. PUNCH BOWL PUB The music stops. Irene and Watson notice the silence. They swap a glance. A beat. And Holmes emerges. HOLMES I need a map of London.", "INT. PUNCH BOWL PUB - ATTIC Holmes is excited, electric. HOLMES Now that you're sitting comfortably, I shall begin. My initial approach was far too narrow. When Blackwood invited me to Pentonville prison, he suggested I widen my gaze and, at minimum, I have done just that. In fact, I may well have reconciled thousands of years of theological disparity. But that's for another time. Blackwood's method is based on a ritualistic mystical system that has been employed by The Temple of the Four Orders for centuries. To fully understand this system, to get inside it, I re - enacted the ceremony we interrupted in the crypt. with a few enhancements of my own. WATSON At minimum. Watson and Irene shoot Holmes knowing looks. HOLMES My journey took me somewhat further down the rabbit hole than I had intended. IRENE Yes, your little white tail got rather dirty. HOLMES But I have emerged enlightened. The fraternity who silently control the Empire, share the belief with the Kings, Pharoahs, and Emperors of old that the Sphinx was a door to another dimension, a gateway to immeasurable power - He tosses Watson the pages from Sir Thomas. HOLMES It is made up of four parts : The Ox, the Lion, the Eagle, and Man - He points out the individual parts of the Sphinx, covering other parts with his hand. We see the Ox body, Lion paws, Eagle wings, Man's face. HOLMES In Sir Thomas' secret chamber I found the bone of an ox, the tooth of a lion, the feather of an eagle, the hair of a man. Map! Watson throws the map down on the floor, really flying now. HOLMES Now, it is a widely held belief that within the architecture of the great cities are coded references to this system. He runs his finger over the map tracing the shape of a cross. Then he picks up the charcoal and -LRB- following the map -RRB- draws a serpentine curve of the River Thames straight through the middle of the cross that he drew on the floor. HOLMES Since he rose from the grave, Blackwood has killed three men. Each murder was committed at a location that has a direct connection with the Temple, therefore the System. -LRB- beat. -RRB- Reordon, the ginger midget, represents Man. We found his body here. He points to a spot on the map south of the Thames. It corresponds to the point on the cross that Holmes drew that has the hair -LRB- 6 o'clock -RRB-. HOLMES Then Sir Thomas, Master of the Temple, wore the ox ring. he died here. Again the spot Holmes points is directly north of the river and corresponds to the point on the cross that has the ox bone -LRB- 12 o'clock -RRB-. HOLMES Standish was Ambassador to America, where the Eagle has been the national emblem for over a hundred years - and not by coincidence. Holmes points to the map. HOLMES The headquarters of Temple of the Four Orders where he died is here. He points to corresponding points on the map and on the cross. WATSON Man, Ox, Eagle. He connects the dots on the map. They form three points of a cross. WATSON And last on the list : the Lion. Holmes scribbles on a piece of paper. Watson and Irene step closer looking at the lion's fang and then the map. HOLMES Correspondingly, the map will tell us the location of Blackwood's final act. Right here. Their eyes widen as they realize what they're seeing. WATSON Parliament. IRENE What is the meaning of this circle? Irene indicates the fifth circle Holmes has drawn - the point at which the other four come together. They look to where it would correspond to on the map - right in the middle of the river. HOLMES It is the fifth element - the ethereal. That which ca n't yet be known. WATSON It's right in the middle of the River Thames. BOOM! They hear doors slamming outside, boots echoing. Irene looks out the window, sees POLICE OFFICERS flooding the pub. IRENE Police. Holmes folds up his piece of paper, hands it to Watson. He quickly moves to a hatch in the floor. Flings it open. HOLMES Ladies first. Irene jumps down. Watson is about to follow her down. HOLMES Follow these plans. Watson goes down. It looks as though Holmes is about to join them when Lestrade and his men burst into the room. Holmes kicks the hatch closed and steps towards Lestrade.", "INT. PUNCH BOWL PUB - HALL Holmes races down the hall toward the back door, but the door EXPLODES inward. Police fill the hall. Holmes looks back, where more police block his path. He simply raises his arms, and they drag him away.", "INT. POLICE CARRIAGE - MID-MORNING (LATER) Holmes sits battered, cuffed and bruised, though we can see from his face that his spirits are unaffected by his physical state. Tough - looking cops sit either side of him, Lestrade sits opposite, shaking his head - he ca n't believe it's come to this. He looks at Holmes.", "EXT. HOUSES OF PARLIAMENT PULL BACK FROM an image of a GOLDEN LION on a banner. We're at the Houses of Parliament. The carriage pulls up. Crowds are gathering outside, hawkers and tourists, plenty of flags and enthusiasm. Holmes sees the hands of BIG BEN, climbing toward noon.", "INT. HOUSES OF PARLIAMENT The place is a hive of activity, preparing for pomp and circumstance, at its ceremonial best. All of which is in stark contrast to the battered figure of Holmes, who is marched through a series of doors and checkpoints along the corridors of power by an angry - looking Lestrade. They come to a door. Lestrade knocks.", "INT. PARLIAMENT - LORD COWARD'S CHAMBERS The door is opened by Lord Coward, who's halfway through putting on his official robes, and caught off guard by the sight of Holmes cuffed -LRB- hands behind him -RRB- and flanked by Lestrade and men. LORD COWARD Lestrade? LESTRADE Begging your pardon, m ` lord, I know it's unorthodox, but Mr. Holmes has been making serious accusations about you and the order, sir. Lestrade pulls his lapel, revealing a temple of four orders pin. HOLMES Oh, that solves the great mystery as to how you became inspector. Lestrade punches Holmes. LORD COWARD I have five minutes before my next engagement, why do n't you regale me with your stories of conspiracies. Thank you, Lestrade, if you could wait outside. Lestrade leaves and shuts the door. HOLMES I'm curious, Coward, did you assist Blackwood in all the murders or just the one I prevented? Very distinctive those hand - made shoes of yours, but the price of quality is the unique imprint they leave. Coward walks towards his desk at one end of the room. Holmes goes to warm himself by the fire at the other end. HOLMES Nonetheless, I confess to being completely out - matched. I could deduce very little from my investigation. Coward turns away for a moment - Holmes subtly kicks a log from the fire, it starts to smolder and fill the room with smoke. HOLMES Fortunately, there is nothing more stimulating than a case where everything goes against you. How many members of parliament do you intend to murder at noon today? -LRB- beat. -RRB- Man, ox, eagle, lion - the lion is parliament, is n't it? Lord Coward slows, looks at Holmes in some astonishment. LORD COWARD Very clever. But it's not murder, Mr. Holmes. It's mercy. We are giving the weak masses a strong shepherd. Do n't you see it's for their own good? Smoke fills the room so that Holmes is concealed. Coward pulls a gun from the desk and moves to the window. He opens it to try and clear the smoke. HOLMES No, but I do n't care much what you think. I simply wanted to know the location of Blackwood's final ceremony, and now you have given it to me. LORD COWARD I have told you nothing. A pair of handcuffs, slide across the floor to Coward's feet. He looks up and Holmes is nowhere to be found. Coward quickly moves across the room to lock the door. HOLMES But your clothes say infinitely more than you ever hope. The mud smeared on your boots from where you've been walking. CLOSEUP ON COWARD'S CLOTHES That he's changed out of and discarded in the corner of the room. We see a - SERIES OF FLASHBACKS Coward's heel walking through mud. HOLMES -LRB- V.O. -RRB- A touch of red stock brick dust on your knee, from where you've been kneeling. Coward's knee dropping to the ground. HOLMES -LRB- V.O. -RRB- A small bandage on your thumb from where you've been vowing. Coward performing a ritual. HOLMES -LRB- V.O. -RRB- A faint aroma of excrement, from where you have been standing. Coward, Blackwood, and the Temple members perform a ritual around a pentagram in the SEWERS. The big ceremonial sword is prominent. LORD COWARD -LRB- V.O. -RRB- It's a shame you made an enemy out of Blackwood, Holmes, you would have made a valuable ally. The powers at our disposal are far greater than you can imagine. HOLMES -LRB- V.O. -RRB- You and Blackwood laid the final touches to your ceremony in the sewers beneath parliament less than an hour ago. Both Houses met today. The entire government will be present. LORD COWARD How terrible is wisdom, Holmes, when it brings no profit to the wise. -LRB- turning to Holmes. -RRB- We take power at noon. REVEAL Holmes sitting in a chair behind Coward. HOLMES Well there's no time to waste then, is there? Coward spins around and shoots at Holmes. He misses. Holmes runs towards the open window as Coward fires another shot. With a single bound, Holmes leaps out of the window Coward opened. Coward runs to the window and sees Holmes DIVING toward the river Thames, PLUMMETING down down down to -", "EXT. THAMES - OUTSIDE PARLIAMENT SPLASH! Holmes dives into the river handcuffed. He disappears for a moment then surfaces, looks about in the water. A moment of concern until we hear the familiar `` chug'' of a struggling engine. Holmes looks in the water and sees a rope trailing on the surface. He grabs it with his hands. And. it pulls him closer to the rickety boat of Captain Tanner. Watson stands on the rear deck, pulling Holmes in on the rope. Irene is also present. When Holmes is level, Watson leans over and clips off his cuffs using bolt cutters. Clearly the whole escape has been planned. Holmes is pulled up into the boat. TANNER -LRB- to Watson. -RRB- I told you he'd be coming out the top window, soldier boy. No way he'd be coming over the terrace. Watson hands over the change from the engagement ring. Tanner takes it happily. WATSON How was Lestrade? HOLMES Performed his role perfectly. A little too perfectly, come to think of it. Watson has the PAPER that Holmes gave him in the attic. WATSON Well, your instructions were fairly precise. about everything except the window. Tanner smiles, still pleased with himself. IRENE Where to, Sherlock? Holmes points to a dark recess in the embankment. HOLMES Port side, Captain Tanner, into the sewers. Tanner turns the boat. Irene looks out, her eyes narrow. HOLMES Watson, did you bring my clothes? Watson hands over a pile of clothes and Holmes' PISTOL. Holmes opens the drum, checks the load, grimaces, pockets it. He's never going to like guns. Then Holmes reaches inside a pocket of clothes he is still wearing, and pulls out the hip FLASK that he took from the men at the slaughterhouse. He takes a shot. IRENE Starting early, are n't we? He offers the flask to her. HOLMES Trust me, have a drink. She can see this is more than a social invitation, she takes a hit, pulls a face. Holmes nods towards Watson, Irene passes him the bottle. He drinks, grimaces, hands it on to Tanner, who swallows it without flinching, wipes his mouth, smiles. The boat is almost at the sewers. WATSON What are we doing in the sewers? HOLMES Patience, Doctor. I am about to show you. As they head toward the sewers, Holmes glances up toward Big Ben, the time moving toward noon.", "EXT. HOUSES OF PARLIAMENT - DAY Expensive carriages fill the courtyard. The entire government is here. We see familiar faces from the Temple of Four Orders, heading into this epic building.", "INT. SEWERS - BOAT Tanner's boat, unlit, floats at the opening to the tunnel, on the edge of the darkness. TANNER Far as I can go. Holmes and Watson leap off the boat into the mouth of the sewer. Irene follows. -LRB- Watson has his SWORD STICK and a GUN, Holmes has changed into the clothes Watson brought for him. -RRB- They move through the shadowy sewer tunnels, working their way around corners and through junctions back under the Houses of Parliament. Holmes ducks around a corner, stops. Irene and Watson flank him, standing in shadows. They look down a long tunnel to : The area where Coward and Blackwood were seen in the flashback ceremony with the sword. But now : Blackwood's THUGS patrol the area. In the center, the pentagram remains. But there is something sitting in it, a futuristic device : HOLMES Behold, Blackwood's magic. A black glass cylinder is housed in a metal cradle with electrodes on either side. It sits below a shattered ceiling, bricks dismantled, exposing a VENTILATION PIPE. Holmes looks back at Watson and Irene. Quiet : HOLMES A chemical weapon. The first of its kind. Cyanide, to be precise. WATSON You can tell that from here? HOLMES No. I can tell it from here. He pulls something out of his pocket : the RAT TAIL. HOLMES I snipped this off a rather recumbent rat at the slaughterhouse. Note the blue discoloration, the faint smell of bitter almonds. Tell - tale signs of cyanide. He points at the device and the exposed shaft over it. HOLMES That shaft leads directly to Parliament. When activated, those electrodes on either side will send a charge converting the cyanide powder into a gas. IRENE All of the people inside that building - WATSON Will be dead at the strike of noon. HOLMES As if by magic. There will be no one left to stop Blackwood and his followers from assuming control. The CAMERA MOVES THROUGH the shattered ceiling, UP a channel, DOWN a bend, all the way through a GRATE TO -", "INT. PARLIAMENT - DAY Air blows UP through the grate. The chamber is now full of Lords and senior Royals. As they start to take seats, Lord Coward steps up, checks the crowd. He sees a shadow up in the Lords' Gallery.", "INT. SEWERS - DAY Holmes checks his watch. HOLMES Seven minutes to twelve. They nod. Shoulder - to - shoulder, they move down the tunnel, faster and faster. Irene trails them closely. Watson slides his sword stick into a loop on his belt. It's there when he needs it, out of the way otherwise. They draw their guns. They burst into the area, completely surprising the three thugs. Watson pistol - whips the nearest. Holmes front - kicks the next. The third thug looks down the barrels of both their guns before he has a chance to fight or flee. HOLMES I would n't. He does n't. Irene comes in behind them and heads straight for the device. WATSON I'll keep these under wraps. HOLMES Take this. Holmes hands Watson his gun. Gun in each hand, Watson herds the three thugs away from the device. WATSON Over there. Sullen, but without much resistance, they move away -LRB- two dragging the pistol - whipped one, who is out -RRB-. Watson turns so that he can watch the action at the device - - which puts his back to another tunnel. Holmes joins Irene at the device. She grips her knife, looking for a way to detach the CYLINDER from the CRADLE -LRB- where electric coils and circuits pulse -RRB-. IRENE I've never seen anything like it. HOLMES There's never been anything like it. A totally wire - free weapon. He must have some kind of remote device sending a signal to the receiver. Really quite - She reaches out with her knife and. ZAP! Her blade hits a coil, sparks flashing. Electrocuted, she drops the knife, which falls into the cradle, surrounded by humming, sparking coils. Irene recoils, sees something past Holmes - RACK PAST HOLMES TO WATSON - Where DREDGER LOOMS OUT OF THE DARK BEHIND HIM, both hands held high to grab the guns and smash Watson. Before Irene can alert him, Watson's wrists are crushed from behind. Dredger jerks Watson's arms sideways, sending both guns spinning away - - Holmes's gun splashes into the sewer. Dredger spins Watson around, head - butts him with a teeth - rattling blow, flings Watson away like a discarded paper cup. Now unguarded, the two conscious thugs charge Holmes and Irene. Irene shoots one point blank with her Derringer, Holmes crushes the other's larynx. HOLMES -LRB- to Irene. -RRB- Keep at it. Holmes goes for Dredger.", "INT. PARLIAMENT - DAY Lords and Royals sit in this august hall, waiting for the session to begin. Coward looks up, and points, very emphatically. LORD COWARD Look. All eyes rise to see : BLACKWOOD, up in the Lords' Gallery. The hall goes silent, staring at a ghost. Blackwood is calm, commanding. Voices rise ; Blackwood's followers move to block the doors as - BONG! The first CHIME OF NOON from Big Ben.", "INT. SEWERS - DAY The chime echoes. Dredger charges towards the device and Irene. Holmes flies into him feet - first, deflecting him for a moment. It is now clear that Dredger's sole purpose is to protect the device. Irene sits at the device, trying to figure out how to defuse it. BONG! The second chime resounds. Dredger grabs Holmes, thrusts him upwards against the sewer roof, simultaneously strangling him and hammering him against the bricks hard enough to dislodge some. Holmes lashes out with his feet at Dredger - who does n't even bother to block anything. Holmes' kicks lose steam as he loses air. BONG! IRENE -LRB- without looking up. -RRB- Nine strokes left. Dredger grins - - until he is earholed from behind by two bricks, swung with full force by Watson. Dredger drops Holmes, staggers back holding his bleeding ears. Holmes heads back to Irene. Watson draws the sword from his sword stick. Deadly enough, but not very big. WATSON You owe me for the ring. Dredger backs off, as if scared of the sword - but only until he can reach up and pull Blackwood's ceremonial sword down off a brick ledge. This is going to be more uneven than usual. BONG! As Watson parries Dredger's massive slashes and thrusts all around them, only just keeping Dredger at bay - - Holmes sees that the cylinder is welded onto the cradle by two RODS. His eyes narrow, a plan forming. HOLMES Give me your gun. The bullets, I need the bullets. BONG! The clock is ticking down. Irene pops open her Derringer, slides the bullets into Holmes' hand. He chops open the bullet casings with his knife, pouring the gunpowder into - - the bowl of his pipe. BONG! Watson ducks a whooshing cut, lunges with his little sword, sticks it into the meat of Dredger's bicep. Dredger grunts angrily, flexes his bicep, rips the sword out of Watson's grasp with his muscle, then he pulls it out, snaps the blade against the wall like a twig, and moves in to cut Watson in two with the ceremonial sword from head to toe. Watson dives desperately, gets a haircut from the sword - - which shatters against the floor. While Watson is down, Dredger punts him into the sewer with a splash, then turns back to the device. BONG!", "INT. HOUSE OF LORDS Blackwood has lit four small red candles, placed them on the balustrade in front of him. He calmly intones a familiar chant. Lords are on their feet. Guards are banging outside the doors, but the doors are locked. Members of the Temple of Four Orders stand in front of anyone going to open them.", "INT. SEWER TUNNEL - DAY Holmes rips the stem off his pipe, places the open end of the bowl against the bolt holding the cylinders in place. Shaped charge, Victorian - style. HOLMES We need a light, a match - Irene's eyes narrow, seeing something in the cradle : her KNIFE. She rolls up a sleeve. IRENE Got it. Which is when a blood - maddened Dredger thunders into them both, arms wide, driving Holmes and Irene away from the device - - hammering them into the wall with a mighty thud. Then he braces his massive feet, angles his huge legs and pushes, squeezes them against the wall like a human vice. That's the extent of Dredger's plan, and it will work for long enough because - BONG! IRENE -LRB- breath crushing out of her. -RRB- Three. ON THE DEVICE AS IT GOES ACTIVE The batteries begin to fizz madly, cams turn, gears ratchet past each other. Bad news. WATSON -LRB- O.S. -RRB- Hey! Dredger turns his head so that he can see Watson, on his belly, crawled from the sewer - where he found HOLMES' GUN. BAM! BAM! BAM! BAM! Four white phosphorous tracers strobe through the sewer, stitch a line down Dredger's back -LRB- aimed so as not to hit Holmes or Irene on the through - and - through -RRB- - - and continue to burn inside Dredger. He lurches away, eyes bulging, mouth wide with a silent scream. BONG! IRENE Two! Holmes and Irene stagger for the device. Fizzling, boiling inside, the dying giant falls like a tree. Watson is face - down on the stones, still. The gun falls out of his limp hand. Irene swipes her hand down into the cradle, just barely avoiding the sparks and coils, snatching her blade, and. ZAP! A spark hits the blade, and she angles the blade, redirecting the spark toward - Holmes' pipe, which BLOWS WITH A VICIOUS CRACK! The shaped charge shears the steel rods. Holmes and Irene reach for the cylinders. BONG!", "INT. HOUSE OF LORDS - DAY Blackwood stands on balcony looking down at the assembled Lords. BLACKWOOD You seem surprised. Did you really take me for a man who could be dispatched like a truculent servant? I see before me a conspiracy of arrogant old men puffed up by the illusion of their own vainglory. In your hands this once great parliament has become nothing more than a drunken satyr, stumbling about the world's stage seeking nothing more than to satiate your own lust and gluttony ; your britches stained by the incontinence of your hypocrisy. I will not sit idly by and watch you violate the innocence of the public trust as you drag this great Empire into the quagmire that your pride has dug and filled with the excrement of your corruption. I am here to change all this. He raises his hand and traces a circle in the air. A circle of flame erupts on the opposite wall. BLACKWOOD I am the fourth horseman. He raises his hand and traces a triangle in the air. A triangle of flame erupts on the opposite wall. BLACKWOOD I am the pale rider. He raises his hand and traces a second triangle in the air. The second triangle of flame erupts on the opposite wall to complete the pentagram within the circle. BLACKWOOD And my name to you is death.", "INT. SEWER TUNNELS - DAY ZZZZP! The electrical charge zaps through the device, electrodes sizzle, sending blinding sparks through the cradle. Holmes and Irene RIP the cylinder out of the way just as. the sparks collide in a blinding flash and.", "EXT. BIG BEN - DAY BONG! The clock strikes twelve.", "INT. PARLIAMENT The men wait for something mythic, magical. And. Nothing happens. Nothing at all. They look around. Everyone is still standing. Coward looks confused, scared. Other Temple members eye him. Blackwood hits the remote again. But again, nothing happens. WE SEE something new in his eyes : fear. He ducks away fast, disappearing into the gallery.", "INT. SEWER JUNCTION - DAY Holmes and Irene look each other in the eye. For the first time, neither knows what to say. IRENE That was something new for us. HOLMES Yes. it was. She looks past Holmes. IRENE Watson - Holmes whips around - sees Watson, seemingly dead. He goes to him, drops to his knees next to Watson, feels for a pulse. With his face still pressed to the stones : WATSON I'm pretty sure I heard the last chime. Holmes looks down at his friend, relieved. HOLMES Yes, we made it. Just. Watson rolls over, sits up. He's done, had enough. HOLMES Come on, you've got to admit, you're going to miss this. WATSON Which part? The stench of the sewers or the broken bones? -LRB- beat. -RRB- My ankle's done. Watson looks around. WATSON Where's Irene? Holmes turns, looks. The cylinders are gone, and so is Irene. His face darkens. He misread her yet again. WATSON Holmes, I'm sorry. Holmes sees Irene's lithe shadow moving fast into a maze of tunnels. He motions to the disabled device. HOLMES Make sure Lestrade keeps it intact. Watson nods. He watches Holmes sprint into the darkness, face grim.", "INT. HOUSES OF PARLIAMENT - DAY Blackwood flashes downward through the ornate official understory of the Houses, heads for a staircase spiralling even further down.", "INT. SEWER TUNNELS - DAY Irene hears Holmes' angry footsteps behind her, turns, sees a flash of movement through the labyrinth of tunnels and columns. She picks up speed. ANGLE FROM THE SIDE Blackwood enters the maze of tunnels, hears, then sees Irene sprint across the maze, about 500 yards away. Then Holmes. Blackwood follows them. Sees something on the ground ahead - pauses. It's WATSON'S SWORD STICK, flung there from the previous action with Dredger. Blackwood scoops it up.", "INT. SINGLE SEWER TUNNEL - DAY Panting, Irene runs along a tunnel that steps lower - - and pinches tighter. A large - diameter water pipe angles down the tunnel wall, forcing Irene to turn sideways to continue. The sound of Holmes' footsteps drives her forward. And then the tunnel ends. The water pipe breaks off jaggedly in mid - air, next to Irene's head. The continuation of the pipe passes through solid brick at the end of the tunnel - a dark, claustrophobic gamble. Irene hesitates for a moment, then slithers into the pipe, into the unknown.", "INT. PIPE - DAY The pipe angles down, damp, horrible. For a long moment it is pitch black, pinched down. Irene's quick, anxious breath the only point of reference. This is as tight, subterranean, dark and nightmarishly claustrophobic as it gets. Then, almost imperceptibly, light. We can make out Irene's determined profile. Light increases, and so does Irene's rate of movement.", "INT. CELLAR - DAY The pipe emerges from the brick wall in what looks to be the cellar of a building. Stonework fairly new. Dim daylight from an unseen opening shows a fixed ladder heading upwards. Irene accelerates for it.", "INT. PIPE - DAY Holmes grimaces, enters the pipe, shimmies TOWARDS us. An even tighter fit for him.", "INT. CELLAR - ON THE LADDER - DAY Irene - climbing with one hand, cylinders in the other - reaches an iron grate, has to use all her strength to shoulder it aside. As fit and athletic as she is, this is a grind.", "INT. HOLLOW BUILDING - DAY Irene emerges at the base of a dark, hollow building full of construction equipment, and sees, yes - - more stairs, upward. The only ready way out. Gritting her teeth, chest heaving, Irene charges the stairs -", "INT. CELLAR - DAY - just as Holmes pops out of the pipe, vaults onto the fixed ladder and swarms up it. Anger lends him energy.", "INT. HOLLOW BUILDING - DAY IN A SERIES OF TIME JUMPS MARKED BY INCREASING Irene finally makes it to a floor in the building that is flooded with sky - bright daylight. She surges for light - a brick - framed window - and -", "EXT. TOWER BRIDGE - HELICOPTER SHOT - REVERSE ANGLE  DAY OF IRENE at the top of TOWER BRIDGE. She's climbed up the inside of the Tower. She's 250 feet above the Thames. We've gone straight from maximum claustrophobia to maximum knee - buckling exposure. PULL BACK and SWEEP INTO a massive, NEAR 360 - DEGREE HELICOPTER SHOT that starts with Irene at the -LRB- unfinished -RRB- window - - then shows the skeletal bridge spanned tenuously with scaffolding - - then the glory of London, the center of the world, laid out for us in breathtaking, spectacular beauty - - and returns to Irene as, recovered somewhat - she darts onto the walkway scaffolding that crosses above the Thames.", "EXT. TOWER BRIDGE - WALKWAY - DAY Irene works her way through the construction debris on the bridge. She makes it to the end, no further to go. SHERLOCK Woman! Sherlock appears behind her, winded. SHERLOCK It's bad manners to leave without at least saying ` goodbye.' Irene turns. IRENE Goodbye! He start to move towards her. She whips out her gun. IRENE You of all people know I will pull this trigger. They circle around each other. IRENE I'd tell you I'm sorry, that I wish things could be different but you would n't believe me anyway. HOLMES Why hurry off, give it a try. He moves in again. She shoots him in the arm. And in that split second - Blackwood drops down from behind Irene, HITS her with WATSON'S SWORD STICK. She drops, stunned. As she falls, Blackwood plucks the cylinder out of her hand, and kicks her gun away. Her gun goes flying off the side of the bridge. But Irene does n't pause : She swings her legs through the air, trying to take out Blackwood's knees. But he swipes her legs away, and KICKS DOWN and - IRENE FALLS OFF THE BRIDGE. BLACKWOOD You're better off without her, Holmes! High above : a RAVEN lands.", "EXT. TOWER BRIDGE - WALKWAY - DAY A look between them and then it's on. Holmes grabs a short section of wooden batten out of the railing. Flimsy, no match for the sword - - which is immediately apparent as Blackwood comes in, slashes, chops six inches off the batten. BLACKWOOD I planned to kill a handful of senile old men to make this empire strong. but now because of you thousands are going to die. Holmes is on the defensive throughout, but, as before, his target is the cylinder first, Blackwood second, self defense third. BLACKWOOD All I have to do is break this cylinder. The wind will do the rest. And you'll be the first. The two men continue their swordfight : Holmes grabs some rope hanging from the scaffolding above and swings off the bridge. Blackwood steps to the edge with his sword out, awaiting Holmes. Holmes swings towards the blade and then pushes off the bridge once again to avoid it. Holmes swings back onto the bridge a few feet away from Blackwood. He lands, whips off his scarf and twirls it around Blackwood's arm, binding them together. They continue to spar, now bound. Blackwood snarls, mounts a frenzied attack, which Holmes simply tries to survive. The two men finally part, with Holmes cast off towards the end of the bridge. Blackwood smiles. He grabs Holmes' gun -LRB- which Blackwood knocked from Irene's hand earlier -RRB-. Blackwood fires at Holmes. Holmes quickly ducks. The bullet misses him, but hits a bucket twirling above his head. A black liquid -LRB- tar -RRB- begins to pour out in a circle around him. Holmes turns, as if to flee -LRB- not that there's anywhere to go -RRB- - his eyes lock on to something. He looks back to Blackwood. - Holmes kicks a huge scaffolding plank, which falls - - whipping a coil of rope across the floor, hooking Blackwood around his ankle. Blackwood is DRAGGED down the walkway by the weight of the falling plank, pulled toward the edge. Holmes grabs the cylinders as Blackwood passes. Blackwood digs his fingers into a gap, screeching to a painful halt. His fingers are white from strain. Holmes remains cool. HOLMES There was never any magic. Only conjuring tricks. Above Holmes : the raven starts PECKING at a rope. HOLMES The simplest involved paying people off, like the prison guard. Holmes looks over the edge of the walkway. He sees the plank swinging dangerously in the storm. Blackwood strains desperately to hold on. As Holmes steps closer we INTERCUT with relevant FLASHBACKS. HOLMES -LRB- guard choking / payoff. -RRB- Who pretended to be possessed outside your cell. Your reputation and your jailers' fear did the rest. -LRB- burial ground / licking rocks. -RRB- Others required more elaborate preparation, like the sandstone slab that covered your tomb. You had it broken before your burial then put back together using a mild adhesive. An ancient Egyptian recipe I believe - a mixture of egg and honey. Designed to be washed away by the rain or eaten by animals. -LRB- bath/Reordon flashback. -RRB- Arranging for your father to drown in his own bathtub required more modern science. Very clever of Reordon to find a paralytic that was activated by the combination of copper and water and was therefore undetectable once the bath water was drained. That might have been quite challenging had he not also tested it on some unfortunate amphibians. -LRB- Standish in rain / pulling the trigger / wharf explosion. -RRB- The death of Standish was a real mystery, until you used the same compound to blow up the wharf. An odorless, tasteless, flammable liquid - yet it burned with an unusual pinkish hue. Did Standish mistake it for rain as he entered your Temple? All it took was a spark. A simple rigged bullet in his gun. Ingenious. -LRB- Parliament/flask / ceremony, dev ice. -RRB- Like all great performers you saved your piece de resistance for the end. Had it worked, your followers in Parliament would have watched unharmed as their colleagues were dying around them. They did n't know that you had given them the antidote - at one of your ceremonies I suspect. Instead, they would have believed it was magic and that you harnessed the ultimate power. END FLASHBACKS. Blackwood struggles to hold on, he loses his grip for a second and is dragged back toward the precipice. Wind whips harder. Holmes does n't notice : The Raven's rope SNAPS, starting a slow, subtle DOMINO EFFECT IN B.G. : a bucket drops, hits a row of standing timbers. The timbers start to topple. -LRB- NOTE : Each time one object strikes another, we hear a faint musical note moving up the same pentatonic scale that Holmes played earlier for his flies. -RRB- HOLMES You hated your father and the other members of the Temple of the Four Orders for what they did to you. How satisfying it must have been to use their own system against them. IN B.G. : We see the slow, inexorable dominoes continue to fall. The last timber falls over the edge, lands on a rope. The rope yanks down a crane, the crane swings, strikes another crane. BLACKWOOD Cut me loose, Holmes! Blackwood's eyes are full of fear. Holmes thoughtfully looks out at the angry storm, the atmosphere electric and dangerous. Holmes gives the slightest hint of a smile. HOLMES You better hope that it's nothing more than superstition as you performed all the rituals perfectly. Holmes looks around at the gathering storm. Blackwood can hold on no longer. He screams as he releases his grip and is torn down the walkway at breakneck speed. Quick as a snake, Holmes grabs a workman's ax placed on the side and hurls it at his feet, cutting the rope. Blackwood's imminent death is brought suddenly to a halt. The storm grows in ferocity. Holmes bends down, Blackwood is on his knees, cowed. HOLMES First, the world will see you for what you are. Then you will hang. properly this time. Blackwood looks up. CRACK! The crane dislodges a METAL GIRDER, which misses Holmes by inches as it crashes through the floorboards - Blackwood smirks. BLACKWOOD We'll see about that shall we. It's a long journey from here to the rope. CREAK. Holmes looks up. Blackwood looks up. HOLMES We'll see about that shall we. BANG! The top of the crane crashes down. The wooden infrastructure supporting Blackwood falls away. Sending Blackwood falling into a lattice of HANGING CHAINS below. Blackwood screams as the chains begin to snap off one by one. He falls farther. and farther. and finally - SNAP! The last chain CATCHES, TIGHTENS around Blackwood's neck, killing him instantly. Blackwood dangles on the rusty chain, hanged like a common man after all, with Tower Bridge as his gibbet. Holmes just stands there, stunned. He looks out to see : the RAVEN flying away, a silhouette against the stormy sky. The bird flaps its wings, disappearing into a cloud. His brow furrows. Perhaps there really are some things that can not be explained. Holmes looks over the side of the bridge, sees : IRENE is awkwardly splayed on the lower level. She appears to be dead, possibly a small trickle of blood is coming out of her mouth. Holmes moves down to her. He takes her hand. HOLMES Oh, Irene. His fingers move to take her pulse. Her eyes pop open. Irene makes a quick move : she tries to CUFF him. But this time, Holmes is ready for it : He reverses the move, cuffing her instead. He takes a seat next to her. They sit there for a beat, an odd lovers' moment looking out over the Thames. IRENE It looks like rain. HOLMES We've still got a moment. A bit of a smile and break. IRENE You were right, he is a professor. Moriarty. Key's in the watch pocket. Holmes reaches over to grab the key. Their faces close, near a kiss. Holmes drops the keys down the top of her shirt -LRB- just as she dropped them down his pants -RRB-. He snatches the DIAMOND from around her neck, turns and walks away. She smiles, calls out : IRENE You'll miss me, Sherlock. HOLMES Sadly, yes. Holmes walks away, pauses to pick up Watson's sword stick, keeps walking. At the end of the top of the stairs. Holmes hands the Cylinder to one of the policemen.", "EXT. TOWER BRIDGE - DUSK Rain falls softly. LESTRADE It'll be a hell of a trick if Blackwood comes back from this one. HOLMES Thank you, Lestrade. LESTRADE Now you're going to be even more arrogant and insufferable than ever. Then Lestrade cracks a smile. LESTRADE You're welcome, detective. -LRB- beat. -RRB- Is the woman up there? HOLMES She wo n't be by the time your boys get there. Holmes keeps moving into the night. The storm curls around him, the rain falling hard. And he sees. A shadow is waiting for him. We recognize the figure of WATSON. Holmes ca n't help but smile. He joins Watson, no words spoken. Holmes holds out Watson's sword stick. Watson takes it. The two of them stand looking out down the Thames.", "EXT. 221 BAKER ST. - DAYS LATER MOVING DAY. Mary and Watson walk towards 221B. A DRIVER loads Watson's boxes into a CARRIAGE that waits in front of the apartment. WATSON One moment. Watson takes a quick look in one of the boxes. WATSON Please make sure this one is put on the desk in the front room. MARY What's in all those notebooks? WATSON Nothing really. Just a few scribbles. cases we've worked on over the years. MARY All your adventures. I'd love to read them sometime. Watson laughs then pauses for a moment to consider this idea before they enter.", "INT. 221 BAKER ST. - STAIRCASE As Watson and Mary climb the stairs, it becomes clear that Mary now wears IRENE'S DIAMOND on her finger. Holmes had it made into an engagement ring. WATSON I still ca n't believe he's given us that ring. MARY Do you think he's finally come to terms with you leaving? WATSON Of course. No question about it -", "INT. 221 BAKER ST. Watson opens the door of Holmes' apartment revealing a horrific scene : Holmes is hanging from a rope, his back to them. He looks dead. WATSON Do n't panic, dear. Watson and Mary step in but do nothing to help Holmes. WATSON Suicide is not in his repetoire, he's far too fond of himself. Watson pokes him. Turns him around. HOLMES Good afternoon. I was trying to deduce the manner in which Blackwood survived his execution. Clearing your good name, as it were. But it had a surprisingly soporific effect and I was carried off in the arms of Morpheus, like a caterpillar in a cocoon. WATSON Get on with it, Holmes. HOLMES Cleverly concealed in the hangman's knot was a hook - I believe my legs have fallen asleep. I should probably come down. MARY Should n't you help him, John? WATSON I hate to stop when he's on a roll. Do carry on, Holmes. Watson and Mary walk by. HOLMES The executioner attached it to a harness, thus allowing the weight to be distributed around the waist and the neck to remain intact. My lord, I ca n't feel my cheeks. Might we continue this at ground level? WATSON How did you manage it, Holmes? HOLMES I managed it with braces, belts and a coat hook. Please, Watson, my tongue is going next. I'll be of no use to you at all. WATSON Worse things could happen. MARY John. Watson draws his sword. WATSON But none of this explains the lack of a pulse. He finally uses his sword stick and slices Holmes down. Holmes tumbles to the ground. HOLMES There is a toxin refined from the nectar of the rhododendron ponticum. It is quite infamous in the region of Turkey bordering the Black Sea for its ability to induce an apparently mortal paralysis. Enough to mislead a medical mind even as tenacious and well - trained as your own. It is known locally as - MARY What's wrong with Gladstone? HOLMES - mad honey disease. CLOSEUP OF WATSON'S DOG Stiff as a board. HOLMES He is demonstrating the very effect I've just described. He does n't mind. WATSON His heart should be ticking in no time. Watson feels for a pulse in his dog's neck - he shakes his head. They are interrupted by a knock on the door. Constable Clark enters. CONSTABLE CLARK Mr. Holmes. Inspector Lestrade asks that you come with me, right away. HOLMES What is it this time, Clarky? CONSTABLE CLARK It's one of our sergeants, sir. He went missing in the sewers, the day you stopped Lord Blackwood. Well, a maintenance man found his body this morning. We believe the sergeant was our first man on the scene. Shot in the head. HOLMES Were there powder burns on his eyebrows? Clarky nods. CONSTABLE CLARK Yes. WATSON Point blank range. HOLMES With small caliber bullet. CONSTABLE CLARK Indeed. HOLMES Moriarty. Holmes and Watson look at each other - complete change of demeanor - mind racing, looking concerned. The dog has regained its vital signs. MARY There's a brave boy. There, there, everything's going to be all right. WATSON Where is Blackwood's device now? CONSTABLE CLARK The secret service has it, sir. They've taken over the case. CLOSEUP ON HOLMES AND WATSON Piecing it together : HOLMES I'd wager there's a piece missing. Constable Clarke nods. Holmes pulls his coat on. WATSON So you're saying Moriarty was after a part of the machine and not the poison. Watson nods. HOLMES The wire - free invention was the game all along. Imagine being able to control any device simply by sending a command via radio waves. WATSON Adler was just a diversion. Mary looks at Watson who is clearly trying to curb his enthusiasm and interest. A KNOCK. The Driver pokes his head in. DRIVER -LRB- to Watson. -RRB- I've loaded the last of your boxes, sir. Watson nods, the Driver exits. Watson turns to Holmes. WATSON Well. HOLMES I'll leave with you. Clarky, case reopened. FLASHBACK -", "INT. SEWER JUNCTION We FOLLOW POLICEMEN heading into the sewer tunnel. They spread out to seal the crime scene, where Holmes had dismantled Blackwood's device. CONSTABLE CLARK -LRB- V.O. -RRB- We believe Sergeant Smith was the first officer there. SERGEANT SMITH sees a POLICEMAN leaning over the device. SERGEANT Oi, what you doing? The policeman looks up, and a GUN slides into his hand by means of the same device we saw in the carriage scene with Irene. We do n't see his face. CONSTABLE CLARK -LRB- V.O. -RRB- Shot in the head. BANG!", "INT. 221 BAKER ST. (PRESENT) HOLMES Were there powder burns on his eyebrows? Clarky nods. CONSTABLE CLARK He was shot at point - blank range. Holmes and Watson look at each other - complete change of demeanor - mind racing, looking concerned. The dog has regained its vital signs. WATSON There's a brave boy. There, there, everything's going to be all right. HOLMES Where is Blackwood's device now? CONSTABLE CLARK The secret service has it, sir. They've taken over the case. CLOSEUP ON HOLMES AND WATSON Piecing it together : WATSON I'd wager there's a piece missing. HOLMES Wager, Watson. I thought those days were behind you. Excellent deduction, however. FLASHBACK - THE POLICEMAN removes a small receiver - like object from Blackwood's device. BACK TO PRESENT Constable Clark nods. Holmes pulls his coat on. WATSON Moriarty was after the machine not the poison. Holmes nods. HOLMES Blackwood's wire - free invention was the game all along. It is undoubtedly the more dangerous and the more valuable of the two. -LRB- wistful. -RRB- Irene was just a diversion. Mary looks at Watson who is clearly trying to curb his enthusiasm and interest. A KNOCK. The MAN from the stairs pokes his head in. MAN -LRB- to Watson. -RRB- I've loaded the last of your boxes, sir. Watson nods, the Driver exits. Watson turns to Holmes. WATSON Well. HOLMES I'll walk out with you.", "EXT. 221 BAKER ST. - DAY Mary and Gladstone wait for Watson in the carriage. Holmes and Watson stand in the doorway. A stiff beat. Holmes extends an awkward hand. HOLMES An honor working with you, Doctor. Watson shakes Holmes' hand, puts a hand on his arm. A warm look, an understanding between the two men. WATSON Take care of yourself, Holmes. Watson moves to the open door of the carriage but Mary stops him. MARY Try not to be too late for dinner with my parents and. be careful. She waves to Holmes as the carriage pulls away. Watson looks relieved and excited. HOLMES Magnificent woman, Watson. Magnificent! They climb into Constable Clarke's black mariah which pulls away down Baker St. We PULL BACK FROM the carriage WIDE and UP like our opening on Baker Street - perhaps the POV of the raven. FADE OUT. THE END"], "labels": [1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0], "summary": "In 1890 London, private detective Sherlock Holmes and his partner Dr. John Watson prevent the ritualistic murder of a woman by Lord Henry Blackwood, who has killed five other young women similarly. Inspector Lestrade and the police arrest Blackwood. Three months later, Watson is engaged to Mary Morstan and moving out of 221B Baker Street; while he enjoys their adventures together, Watson looks forward to not having to deal with Holmes' eccentricities. Meanwhile, Blackwood has been sentenced to death and requests to see Holmes, whom he warns of three more unstoppable deaths that will cause great changes to the world. Blackwood is subsequently hanged. Holmes is visited by Irene Adler, a former adversary who asks him to find a missing man named Luke Reordan. After her departure, Holmes follows her as she meets with her secret employer, and only learns that the man is a professor and that he intimidates Adler. Meanwhile, sightings of a living Blackwood and the discovery of his destroyed tomb lead to belief that Blackwood has risen from the grave. Reordan is found dead inside Blackwood's coffin. Following a series of clues from the body, Holmes and Watson find Reordan's home and discover experiments attempting to merge science with magic. After they survive a battle with Blackwood's men who attempt to destroy the lab, Holmes is taken to the Temple of the Four Orders, a secret magical fraternity with considerable political influence. The leaders\u2014Lord Chief Justice Sir Thomas Rotheram, U.S. Ambassador Standish, and Home Secretary Lord Coward\u2014ask Holmes to stop Blackwood, a former member of the society and Sir Thomas's secret illegitimate son. That night, Sir Thomas drowns in his bath as Blackwood watches, and the next night Lord Coward calls a meeting of the Order. He nominates Blackwood to take command in place of Sir Thomas and Blackwood reveals himself to the group. Standish attempts to shoot Blackwood but bursts into flames when he pulls the trigger of his gun, and runs out a window to his death. Lord Coward issues an arrest warrant for Holmes, causing him to go into hiding. Holmes studies the rituals of the Order and recognizes their symbols in Blackwood's murders that were staged at specific locations; from this he deduces the targets of the final murder are the members of Parliament. With the aid of Lestrade, Holmes fakes his arrest and is taken to see Coward, where he uses evidence on Coward's clothes to deduce Blackwood has conducted a ceremony in the sewers beneath the Palace of Westminster. Holmes escapes and he, Watson, and Adler find Blackwood's men in the sewers guarding a device based on Reordan's experiments, designed to release cyanide gas into the Parliament chambers and kill all but Blackwood's supporters, whom he has secretly given an antidote. Blackwood comes before Parliament and announces their impending deaths, then attempts to activate the cyanide device by remote control, but it is disabled by Adler. Blackwood flees Parliament and sees Adler and Holmes in the sewers, and pursues them to the top of the incomplete Tower Bridge. Blackwood fights Holmes, as the latter deduces how all of Blackwood's supposed supernatural feats were the work of science and trickery. Blackwood plummets off the bridge and falls entangled in a noose of chains, killing him when the chain wrapped around his neck hangs him. Adler explains to Holmes that her employer is Professor Moriarty, and she warns that Moriarty is not to be underestimated, and  \"just as brilliant\" as Holmes and \"infinitely more devious.\" As Watson moves out of 221B, the police report to him and Holmes that a dead officer was found near Blackwood's device. Professor Moriarty used the confrontations with Adler and Blackwood as a diversion while he took a key component, based on the infant science of radio, from the machine. Holmes looks forward to the new case and new adversary.", "name": "Sherlock_Holmes_(2009_film)"}
{"scenes": ["INT.  HOSPITAL NURSERY - NIGHT BABIES in bassinets, isolettes, incubators. BABIES sleeping, BABIES blinking, BABIES cooing, BABIES chirping, BABIES squalling. It's the SQUALLING BABIES, the ones with pinched faces and tiny bunched fists, that seem to interest the TWO ANONYMOUS MEN in Military Uniforms. -LRB- Their anonymity is assured by the angles from which they are seen ; they are hands, they are feet, they are the backs of heads. -RRB- A lone NURSE watches them grimly as they make their `` selections,'' marking the cribs of the most active, noisy BABIES with X's.", "EXT.  VAN/HOSPITAL - NIGHT ANGLE ON VAN DOORS slamming shut on a dozen squalling BABIES in tiered red cribs. ANGLE ON THE VAN pulling away from the loading dock of the large hospital as a date is SUPERED over the scene. 1992.", "INT.  CAGE/BASEMENT ROOM - DAY OR NIGHT Vicious teeth, savage snarls, tearing flesh as three fierce fighting DOGS battle a single WOLVERINE in large steel cage. The cage is in the middle of a gloomy windowless room surrounded by twenty TWO - YEAR - OLDS seated on folding chairs and dressed in identical gray overalls. As the TWO - YEAR - OLDS watch the battle, amazement on their innocent faces, a date appears SUPERED over the scene. 1994. WE DISCOVER in the shadows more ANONYMOUS MEN -LRB- and WOMEN -RRB-, some of them in Military Uniforms, observing the children.", "INT.  A WINDOWLESS CEMENT ROOM - DAY OR NIGHT It's creepy : the same children two years older, milling about a bare cement room, apparently unsupervised. They ought to look cute, but somehow these joyless FOUR - YEAR - OLDS look slightly sinister, all of them wearing drab uniforms and military burr - cut hair. Again a date is SUPERED over the scene - 1996. - just as an AGGRESSIVE FOUR - YEAR - OLD approaches a PASSIVE FOUR YEAR - OLD seated on the floor and kicks him. It's a harmless child's kick. But then, as the DATE DISAPPEARS, he kicks the PASSIVE FOUR - YEAR - OLD again. And again. The servo - motor in a remote video camera mounted high on the wall WHINES slightly as the camera pans to the record the action.", "INT.  WINDOWLESS \"CLASSROOM\" - DAY OR NIGHT Puzzles. Fingers fit shapes into holes. The puzzles are n't fun puzzles ; they're obviously tests of intelligence or dexterity or both. SIX - YEAR - OLDS now, the boys perform in a grim room under fluorescent lights as more ANONYMOUS MEN and WOMEN in polished shoes and sharply creased military slacks cruise the aisles, observing. As a date appears SUPERED over this scene. 1998. WE NOTICE one of the SIX - YEAR - OLDS is becoming familiar to us. TODD. We NOTICE his intense eyes as he dexterously manipulates a puzzle.", "EXT.  FIELD - DAY Behind a cyclone fence topped with curlicues of razor wire, the boys, now TEN - YEAR - OLDS, are marching in formation under the supervision of a -LRB- faceless -RRB- DRILL SERGEANT. Again a date is SUPERED over the scene. 2002.", "INT.  GYMNASIUM - DAY Fourteen - year - old TODD is doing bench presses in shorts while all around him his FOURTEEN - YEAR - OLD COMRADES work out with weights in a very grim and spartan gym that resembles a sinister concentration camp more than the yuppie spas of the 20th Century. The date appears SUPERED over the scene. 2006.", "EXT.  OBSTACLE COURSE/MONTAGE - DAY The FOURTEEN - YEAR - OLDS, TODD among them, jump, roll, dive, crawl, swim, and rappel through a brutal course featuring : vertical wooden walls, fast moving rapids, tangles of barbed wire, steep rock faces, and finally a jungle of dangling chains with tiny circular `` platforms'' about eight inches in diameter every ten feet. FOURTEEN YEAR OLDS bloody each other with pugil sticks and padded cudgels while they swing twenty feet above the ground. One of them is knocked off, plummets downward. CRUNCH!", "EXT.  SNOW COVERED LANDSCAPE - DAY Long even strides, two inches of snow. Breathing hard, the SIXTEEN - YEAR - OLDS now lope through hills and woods in shorts and T - shirts, their breath coming in steamy blasts as the date is SUPERED over the scene. 2008. This a brutal cross country run under a grim sky in bitter cold weather, but the SIXTEEN - YEAR - OLDS are super - fit, their faces hard and without expression, their eyes as cold as snake eyes. Except for the STRAGGLER, a lone boy who's bringing up the rear, obviously in trouble, gasping for air, struggling, struggling, struggling to keep his feet. ANGLE ON A HILL where ANONYMOUS OBSERVERS, all in military dress, watch. ANGLE ON THE STRAGGLER, unable to keep his feet, going down, gasping. With fearful eyes, he looks toward the hill where he knows the OBSERVERS are. ANGLE ON THE PACK, sixteen SIXTEEN - YEAR - OLDS not looking back, even as a single SHOT rings out. TODD does n't even blink, just keeps running.", "EXT.  SHOOTING RANGE - DAY Suddenly, out of nowhere, a scary mechanized pop - up target, a MILITARY FIGURE, erupts from the long grass, weapon pointing. Before the weapon can flash a laser bean, AUTOMATIC FIRE ravages the target and it disappears back into the grass. The boys, EIGHTEEN - YEAR - OLDS now, are wearing combat gear and carrying automatic weapons as they advance through a sloping field of tall grass. Different sophisticated TARGETS pop up urgently, sometimes close, sometimes far, some MOVING rapidly on tracks. The EIGHTEEN - YEAR - OLDS expertly mow down menacing MILITARY FIGURES while holding their fire when ANIMAL TARGETS or UNARMED CIVILIANS and CHILDREN appear. The eighteen - year - old on point is RILEY, a muscular redhead. TODD is right behind him as a date is SUPERED over the scene. 2010. Suddenly multiple TARGETS appear, charging. BUDDA BUDDA BUDDA! First TARGET down! RILEY, panning for the next target, holds fire, passes over two MOTHERS HOLDING CHILDREN, pans for a nearby SOLDIER TARGET. But the SOLDIER TARGET zips behind the MOTHERS HOLDING CHILDREN, taking cover, weapon pointed at RILEY. For half a second RILEY hesitates! BUDDA BUDDA BUDDA! TODD blazes away, mercilessly blowing away the MOTHERS HOLDING CHILDREN TARGET and the SOLDIER TARGET. THE MAIN TITLE APPEARS as the ROAR OF GUNS gives way to MUSIC.", "INT.  PROCESSING ROOM - DAY Skillful hands operate a tattoo pen, stenciling an insignia and a number on the left side of RILEY'S face over the cheekbone. His cheek says RILEY, L.B., his face reveals nothing as. OPENING CREDITS BEGIN. The next face is TODD. The skillful hands with the tattoo pen go to work on his face, marking, stenciling the skin as. OPENING CREDITS CONTINUE. Then the tattoo artist's bands finish with TODD and move on to the next MAN, leaving TODD staring straight ahead, his cheek tattooed, his face like carved stone, his eyes as unfathomable as the eyes of a statue as THE OPENING CREDITS CONCLUDE.", "EXT.  JUNGLE - DAY Machinegun fire, SOLDIERS in cammies moving through lush tropical growth. A mortar explodes, a SOLDIER is engulfed in shrapnel. As the smoke clears, the SOLDIER screams mindlessly like a siren. This is real war, not training. A title and date appear on the screen, saying. 2011, THE BOLIVIAN WAR. As the title fades, we glimpse TODD advancing at a crouch through smoke and enemy fire, blazing away at the unseen enemy. Sweaty and smudged, his uniform torn and stained with blood, TODD reveals nothing on his stone face. But he's clearly unintimidated by the death of his screaming comrade as we.", "EXT.  PINE WOODS - DAY Automatic weapons CHATTER as TODD struggles through thick snowy woods, half - carrying a bloody comrade barely recognizable as RILEY. Bullets spatter bark and leaves as TODD and RILEY take cover behind a fallen log. A date and title appear, SUPERED over the action. 2012, THE MONTANA `` INCIDENT''. RILEY is nearly unconscious. TODD glances at his own wound, a savage opening in his side. He considers the torn flesh as dispassionately as a man checking a flea bite. Bullets whiz around the wounded man as we.", "EXT.  DESERT, VILLAGE - DAY Sunbaked landscape, a burning village, ENEMY CORPSES sprawled here and there, burned or horribly mutilated by artillery fire. SUPERED over the corpses, a date and title. 2014 - 2016, THE SAUDI CAMPAIGN. WE DISCOVER TODD, RILEY, and several OTHER SOLDIERS, exhausted, parched, in torn and bloodied uniforms, sharing a single canteen under the blazing sun. War is hard work!", "EXT.  LAUNCH PAD - DAY A fury of flames, the THUNDER of ignition as huge rocket engines lift a space vehicle off the launching pad and propel it skyward.", "EXT.  OUTER SPACE Profound SILENCE! The space vehicle that the rocket propelled is a weathered looking military spaceship gliding through the blackness of outer space like a huge shark. A date and title appear SUPERED over the scene. 2017, TANNHAUSER GATE. As the title fades away in the eerie silence, we.", "EXT.  ANOTHER PLANET - NIGHT A huge moon looms in the blackness above a barely visible landscape. 2020, THE ARGENTINE SECTOR. SIX SOLDIERS stagger through the rough terrain in pressure suits and plexi helmets, breathing from tanks. Sudden automatic fire staggers the lead SOLDIER. His helmet is pierced, air and blood erupt from the hole in his face plate. The SERGEANT, his futuristic `` chevrons'' on his helmet, signals the men to take cover, starts to return fire. As a flare illuminates the battlefield, we RECOGNIZE the sergeant through his visor. It's TODD.", "EXT.  EXTRATERRESTRIAL CITY - DAY Bombed out! Buildings turned to rubble, smoking ruins, rain. An extra - terrestrial city ravaged by war to such a degree that it bears an uncanny resemblance to Dresden/Earth in 1945 after the fire - bombing! The architecture, even in ruins, recalls old Europe, and the streets are narrow, as in before -LRB- or after -RRB- automobiles. Bursts of AUTOMATIC FIRE, occasional MORTAR BLASTS. A spooky battle between unseen SOLDIERS is taking place in seemingly deserted streets and alleyways. And SUPERED over the gloomy scene. THE THIRD DRESDEN MOON -LRB- 1.16 Earth atmos, acceptable oxygen -RRB-. CRACK! CRACK! CRACK! Shots! Suddenly a terrified MOTHER dashes along the street, a screaming BABY in her arms, looking for shelter. A CIVILIAN MAN pops out of a doorway, pulls her to safety. REVEAL TODD, watching from the shell of a once proud building. TODD'S POV of four ENEMY SOLDIERS running at a crouch among the rubble. ANGLE ON TODD watching them scurry into a cellar door. TODD turns and gives a hand signal. ANGLE ON RILEY twenty yards away, hidden behind exposed machinery, acknowledging the signal and, along with a THIRD SOLDIER, advancing toward the cellar.", "EXT.  CELLAR DOOR TODD, RILEY, and the THIRD SOLDIER converge stealthily, coordinating with hand signals. TODD pulls the pin on a grenade, and RILEY and the THIRD SOLDIER kick in the door. TODD tosses the grenade in as RILEY fires a withering barrage of automatic fire through the cellar door. BAHWHOOM! The grenade EXPLODES. Then, RILEY, TODD and the THIRD SOLDIER charge in.", "INT.  CELLAR HEAVY FIRE as TODD, RILEY and the THIRD SOLDIER spray the room. ANGLE ON TODD signaling cease fire. Sudden silence. Drifting smoke. Then. GROANS. Four ENEMY SOLDIERS are sprawled motionless, horribly eviscerated. A fifth ENEMY SOLDIER, horribly wounded, is groaning. ANGLE ON TODD surveying the scene, stone faced. TODD'S POV of the enemy dead, and several CIVILIANS equally dead, as well as the dead BODIES of several CHILDREN. BANG! RILEY shoots the groaning ENEMY SOLDIER. Silence again. CLOSE ON TODD, his stone face. What does he see? What does he feel? Anything? A mystery!", "INT.  BARRACKS - DAY A spartan room, bare bunk - beds. Rain POUNDS on a window that looks out into a stormy sky over the godforsaken ruins of the Third Dresden Moon. TODD is sitting on a bunk, shirtless. His new rank has been tattooed on his right cheek ; there's a scar under one eye and another scar that distorts his lip slightly. The names of various battles have been neatly stenciled down his left arm, an official record, not a decoration. TODD is silent, staring into space. The room is full of SOLDIERS in T - shirts, fatigues, sleepwear. WORDS APPEAR SUPERED OVER THE SCENE. The WORDS FADE AWAY, the silence continues, the rain BEATS on the barracks, no one says a word, they just stare into space or watch the rain beat on the windowpane. They look like robots. used robots, made individual only by their different scars.", "EXT.  BARRACKS - DAY Rain. Low buildings, boarded windows, slogans painted on the war - scarred walls, the makeshift barracks in one building, command quarters in the next. A lone figure, a MAN IN A PONCHO, hurries through the downpour, passing the barracks, heading for the command quarters.", "INT.  COMMAND QUARTERS Entering, the MAN shakes rain off his poncho. His name is RUBRICK, he's thirty - five, a lieutenant. He faces the two bored OFFICERS lounging in the cluttered office where outdated equipment is strung together by mazes of wire and the desktops are heaped with printout sheets and styrofoam coffee cups. The captain, CHURCH, has his feet on the desk. He's fifty years old, gray and fat and soft. The other officer, SLOAN, also a lieutenant, is a thirty - five year old woman, dark, moderately attractive, but not particularly happy. RUBRICK Colonel Mekum has his `` boys'' unpacked. I think he wants to show them off. CHURCH Hmmmmph. RUBRICK They look. impressive.", "INT.  \"STATION\" - DAY A NEW SOLDIER fills the frame, a perfect - looking man/boy of about twenty built like a linebacker, powerful looking with sculpted unscarred musculature. He looks straight ahead, unblinking, and so does the one next to him, and the next one. Twenty of them are standing in line in one corner of an enormous space that was once a station of some sort. They do n't seem to respond to the chill or to the occasional drops of rain from the skylights leaking sixty feet above them. Wearing dripping ponchos, CHURCH, SLOAN, and RUBRICK are looking the robot - like monsters over like so much meat, while a bright - eyed blond colonel about thirty, named MEKUM, stands proudly by, glowing with satisfaction. The vast interior is so large that in spite of clusters of stacked crates, part of a dismantled spaceship, a rusty earthmover, numerous large pieces of machinery, and a whole arrangement of exercise gear, the place has huge open spaces and a sense of emptiness to it. SLOAN walks close to the line of NEW SOLDIERS and studies one, her eyes drifting over their muscular bodies. She breaks the long silence. SLOAN Well, they're. pretty. CHURCH -LRB- to Mekum. -RRB- What's so hot about them? MEKUM -LRB- proudly. -RRB- Very much improved. In every way. RUBRICK This is Colonel Mekum from Q. He's their commanding officer. CHURCH -LRB- dubious. -RRB- Improved. how? MEKUM As I said, in every way. Physically and psychologically. More endurance, quicker responses, better hand - eye, improved technical training. Where the First Psychology gave you ninety - eight percent obedience, this bunch gives you 99.4. CHURCH -LRB- dubiously. -RRB- Mmmmmm. Weeell, you know my old daddy was in maintenance and he had a saying. RUBRICK and SLOAN exchange an eye - rolling private glance that means they've heard a lot of Daddy's sayings. CHURCH He used to say, `` If it ai n't broke, do n't fix it.'' MEKUM -LRB- patronizing. -RRB- I. see. I'm not sure I quite get your. point. CHURCH -LRB- indicating the Veterans. -RRB- Well, the soldiers we've got now, they've been through all kinds of heavy shit. and they've always got the job done. Now these new ones, these `` hot shots'' of yours. what kind of action have they seen? They are battle - tested, are n't they? MEKUM That's up to you field guys. H.Q. wants you to break'em in when you do the annual security sweep in January. CHURCH The sweep is just routine, not even police action. I'd like to see some sort of. meaningful evidence. MEKUM Such as? CHURCH Maybe we could run some tests. Kind of a comparison, the old and the new. RUBRICK and SLOAN exchange a startled glance, but MEKUM does n't seem fazed as we.", "INT.  \"STATION\" - DAY - LATER A WEAPON FIRING! BUDDA! BUDDA! BUDDA! The automatic weapon is being fired by the veteran soldier RILEY. He's blazing away at an elaborate electronic target a hundred yards away in the huge space. TODD is watching with the other VETERAN SOLDIERS. They're seated on the floor, wearing drab fatigues, directly across from the twenty NEW SOLDIERS. As TODD glances at them, the NEW SOLDIERS look back unblinkingly. -LRB- The VETERANS, in spite of their impassive expressions, look very human compared to the NEW SOLDIERS. Their battle scars mark them as individuals in sharp contrast to the perfectly - muscled young giants across from them. -RRB- The firing stops, and RILEY, his weapon empty, leaps to his feet and salutes RUBRICK, who's been watching the demonstration with the rest of the officers. RILEY Sir! RUBRICK Very nice, Riley. Fall away. RILEY -LRB- another salute. -RRB- Sir! As RILEY joins the VETERANS squatting motionlessly, RUBRICK glances at the shredded electronic target, glances at his stopwatch, then looks at Mekum. RUBRICK Thirty seconds, 90 percent hits. MEKUM smirks, picks up the weapon, disassembles it rapidly. MEKUM Let's make it more difficult. RUBRICK, CHURCH and SLOAN exchange glances of disbelief as MEKUM scatters the disassembled parts onto the concrete floor with a loud clatter. TODD watches, unblinking, as MEKUM looks to the NEW SOLDIERS. MEKUM Caine Six - Oh - Seven! A blond Nordic giant is suddenly on his feet among the NEW SOLDIERS. There is real dignity in his salute ; he's like a pro. CAINE 607 Sir! MEKUM Assemble the weapon, load, fire on the target from various evasive positions in a thirty - second period. OFFICERS look at each other again in disbelief. MEKUM Starting. now! MEKUM punches his watch as CAINE 607 gracefully begins to pick up pieces of weapon, doing it rapidly, yet without apparent haste. TODD is watching, revealing nothing. CLACK! KA SHACK! CLICK! CAINE 607 slaps the weapon together, loading a magazine with a final KA SHUCK, then he dives to the floor, firing a rapid burst at the electronic target which blinks wildly. OFFICERS watch, impressed. CAINE 607 is firing from another position. The target goes crazy. CAINE 607 is rolling and firing at the same time. The target goes wild. MEKUM's watch clicks off 27 seconds. 28. 29. The firing stops. TODD stares impassively as CAINE 607 salutes. Beside him, RILEY watches also. MEKUM -LRB- to Caine 607. -RRB- As you were, soldier. RUBRICK is looking at the electronic target, grudgingly impressed. RUBRICK Ninety - nine percent. MEKUM -LRB- smug. -RRB- While taking evasive action. RUBRICK -LRB- amazed. -RRB- That's. very good.", "INT.  WEIGHT AREA/\"STATION\" - DAY - A LITTLE LATER A NEW SOLDIER cleans an awesome weight with what looks like ease as RUBRICK, CHURCH, and SLOAN again exchange impressed glances and MEKUM watches smugly. They're still in the giant warehouse in the gym section among all sorts of ominous exercise devices. The NEW SOLDIERS and VETERANS are gathered in separate groups at attention, their faces like stone. TODD is watching the big man handle the weight easily. MEKUM See? Much stronger. CHURCH What about endurance?", "EXT.  RUINS - DAY TODD is loping through sheets of rain. The terrain around him features ghostly shells of buildings, shards of a city nearly invisible through the curtains of rain. His feet slash through flooding gutters and trash filled streets bordered by ruins as he runs smoothly, evenly, keeping a good pace, his breath rasping rhythmically, his eyes revealing nothing as we.", "INT.  OFFICER QUARTERS - DAY SLOAN accepts a cup of hot coffee from RUBRICK as she considers the plastic `` papers'' MEKUM has spread on the cluttered desk. Ponchos have been hung by the door. MEKUM is pointing to various numbers and paragraphs. CHURCH has been staring out the window into the pouring rain. He turns to MEKUM and interrupts. CHURCH Our man has been out there fifteen minutes now. Should n't you send one? MEKUM -LRB- smug grin, to Church. -RRB- In a minute. -LRB- turning back to Sloan. -RRB- Now, see this test? This shows what they do under sleep deprivation conditions. Forty - eight hours awake and they can.", "EXT.  TODD RUNNING/RUINS - DAY Rain slashes his face as TODD runs, his eyes staring vacantly into the blinding storm, his legs pumping evenly, his feet chopping through the thick mud in a wasteland of shelled apartment buildings where rat - like CREATURES scurry out of his way as we.", "INT.  \"STATION\" - DAY Separated by fifteen yards, the two groups of SOLDIERS, the NEW and the VETERAN, sit on the cold cement floor, staring vacantly into space as they await orders. Occasionally a VETERAN will rub his chin, another will scratch his nose, but nobody says anything, and when their eyes accidentally meet, they look away deliberately, expressionless. Nobody flinches when a big door opens and pale light streams in. MEKUM is standing there in a poncho. MEKUM Melton, Eight Five. Forward. MELTON, one of the husky new soldiers, climbs to his feet and steps toward MEKUM, saluting. MELTON Eight Five, sir. MEKUM Ten miles, Melton, on the run. MELTON's face shows no expression as MEKUM continues. MEKUM -LRB- O.S. -RRB- You've got sixty minutes. Go. MELTON Sir! MELTON heads out into the rain running smoothly and easily as we.", "EXT.  TODD/RUINS - DAY TODD's breath comes in even rasps as his feet splash over rough terrain, splash splash splash, hard work but nothing in his stone face indicates he's not equal to the task. Splash splash splash!", "INT.  OFFICER QUARTERS - DAY In the cluttered office, RUBRICK, CHURCH, and SLOAN look up from a conversation as MEKUM enters dripping wet and takes off his poncho, smiling smugly. MEKUM My man left exactly twenty minutes after yours. Make a note of that. RUBRICK What are we supposed to do with the old soldiers? MEKUM -LRB- a shrug and a grin. -RRB- Old soldiers never die.", "EXT.  TODD/RUINS - DAY Running. Splash splash splash! TODD makes a turn, heading back, his face like stone, as we.", "INT.  OFFICERS QUARTERS - DAY MEKUM is filling his coffee cup as he speaks. MEKUM They'll serve as a labor force. You can use them for physical stuff. loading, unloading, repairs, power lines, that kind of thing. -LRB- a glance around the office. -RRB- Even cleaning. sweeping., uh, tidying up.", "EXT.  TODD/RUINS - DAY Breathing steadily, raspily, TODD lopes through the rain. Something makes him glance back over his shoulder. Thirty yards back he sees a vague shape, obscured by rain. TODD looks ahead again, his face revealing nothing, his legs maintaining the same even pace, running, running, running. Then he looks back again. The vague shape is taking form, a GHOSTLY RUNNER getting closer. TODD continues at the same even place. He does n't look back again until he feels closeness. Then he looks. IT'S MELTON only a few yards behind him, running effortlessly, keeping a steady pace that's faster than TODD's. The bigger man moves even with TODD without even looking at him, as though TODD were n't there, and then he moves ahead like a big machine, inexorable. As TODD runs, eyes straight ahead, he can see MELTON becoming ghostly, disappearing in the curtains of rain ahead as we.", "INT.  \"STATION\" - DAY The huge doors are open to the rain as SLOAN, CHURCH, RUBRICK, and MEKUM watch for signs of TODD. Still dripping vet, the muscular MELTON is standing beside MEKUM, breathing heavily but not desperately. MEKUM Of course, age is a factor, but the real factor is the training program, especially the psychological. The mind controls the body after all, and we're doing wonderful things with the mind. A shape appears in the rain a hundred yards off, moves closer, takes the form of a runner running. It's TODD, still moving at the same pace, his face like stone. TODD lopes into the big warehouse and, breathing hard but evenly, comes to a halt in front of RUBRICK and salutes. TODD Sir. RUBRICK At ease, soldier. CHURCH has been thinking and now he speaks to MEKUM. CHURCH What's the price of all that speed? Is he tired? MEKUM Tired? CHURCH Todd here ran the pace he's been taught to run. He's still strong. Send him up the chain, Rube. RUBRICK -LRB- to Todd. -RRB- Soldier! Up the chain! TODD Sir. TODD salutes and lopes toward ten chains that dangle from the rafters sixty feet above, grabs one, and starts up it, hand over hand. MEKUM watches TODD climb, then looks at CHURCH who is looking at him expectantly. MEKUM grins at CHURCH. Then MEKUM looks back at TODD, not hurrying. TODD is thirty feet up and climbing, passing the eight inch circular `` platforms'' or footholds in the chain every ten feet. MEKUM -LRB- sharply. -RRB- Melton, on the double! Up a chain! MELTON -LRB- saluting. -RRB- Sir! MELTON takes a few easy strides, gracefully catches a chain mid - stride, and smarts up, climbing easily and twice as fast as TODD. CHURCH, SLOAN, and RUBRICK crane their necks as the two men struggle upward toward the rafters. Three quarters of the way up, MELTON comes even with TODD, then passes him. MEKUM, watching, smirks. CHURCH is watching too, and he's still not satisfied. His brow is knit, something's bothering him. ANGLE HIGH ABOVE, AMONG THE GIRDERS Stonefaced, MELTON is resting an a `` platform'' on the chain, sixty feet up, beneath the girders, swaying gently. His stony gaze is on the next chain where TODD is arriving at a `` platform'' on an adjacent chain. only three feet away. Their eyes meet, TODD and MELTON alone together sixty feet up, three feet apart. Neither man blinks, neither man flinches, neither man reveals anything at all. LOW ANGLE, LOOKING UP CHURCH considers the men high above, then to MEKUM. CHURCH What about. spirit? MEKUM -LRB- as in `` what's that?''. -RRB- Spirit? -LRB-. a grin. -RRB- Oh! You mean `` AQ''. `` aggressive qualities''? CHURCH Whatever the latest jargon is. MEKUM Much better, much higher. For example, where your old ones expressed ninety percent of their sexual energy in aggressive physicality, these new ones are ninety - nine percent without sexual inclination. It's all aggression. SLOAN -LRB- dryly. -RRB- Real men! CHURCH -LRB- sharply, to Sloan. -RRB- At ease, Lieutenant. -LRB- turning to Mekum, serious. -RRB- What if they fought? A sudden silence. SLOAN raises her eyebrows, gives RUBRICK a look. Frowning thoughtfully, MEKUM looks up. MEKUM You mean up there? CHURCH -LRB- to Rubrick. -RRB- Go ahead, Rube. Tell Todd to take him. MEKUM No! They all look at MEKUM. Is this the chink in the armor? The new soldiers ca n't fight? CHURCH `` No''? MEKUM Not fair. No contest. Send two more of your old ones up. Now CHURCH, RUBRICK, and SLOAN are stunned. They exchange a glance. MEKUM Go ahead. RUBRICK shrugs, turns to the VETERANS still sitting stoically in a group on the cement floor. RUBRICK Romero, A. - Goines, D.L. - up the chains. Two of the veterans, ROMERO and GOINES, leap immediately to their feet and climb rapidly. SLOAN, CHURCH, and RUBRICK exchange a look as MEKUM smirks confidently. ANGLE ON TODD AND MELTON ABOVE. They're still facing each other across the sixty foot drop. MELTON glances down. without losing sight of TODD. ROMERO and GOINES are coming up the chains fast, hand over hand. They're within ten feet, their impassive faces look dangerous. Nothing shows on MELTON's machine - face, but he starts a slight motion in his chain so that he spins slowly. That way, as the veterans surround him, he keeps a continual eye an all three. TODD, his face impassive, eyes MELTON vigilantly. ANGLE ON RUBRICK BELOW For a long moment, RUBRICK looks up at the three men dangling around the new soldier, then he shouts loudly at them. RUBRICK Get him, men! ANGLE ON TODD as SMASH! TODD is hit hard in the face even as he starts to swing. WHAM! MELTON hits him again and TODD loses his grip on the chain, starts to fall, grabs at the chain, clutches, slides. ANGLE ON MELTON, CRUNCH! , hit as he swings at MELTON. WHAM! MELTON hits him again, hard. GOINES swings against MELTON from behind, smashing at him with his free hand and with both feet. MELTON ignores the blows from behind as he grabs ROMERO by the face with one hand, yanks the face close to his own, and squeezes mercilessly. ANGLE ON TODD, TWENTY FEET BELOW. He's managed to get a foothold on one of the mini - platforms. His face horribly bloody, he looks up at the action twenty feet above him and sees MELTON suddenly hurl ROMERO downward. ROMERO rockets down past TODD. ANGLE ON THE FLOOR as SMASH! ROMERO's body crunches against the cement not far from RUBRICK, SLOAN, and CHURCH, splattering them with blood. Their eyes are wide with disbelief and horror as they look up again. ANGLE ON MELTON in the girders as he turns to face the man who's been clubbing him from behind. GOINES! GOINES swings his chain wide and MELTON, eyes merciless, deadly, swings after him. ANGLE ON TODD, bloody, struggling up the chain hand over hand. His eyes follow MELTON above as the new soldier swings and swings, trying to get a blow at GOINES. Just then, GOINES lunges at MELTON, SMACK, SMASH, he hits him hard, and WHAM! MELTON hits him back. ANGLE ON TODD who has climbed to a `` platform'' foothold on his chain five feet above the swinging fighters. TODD looks down on MELTON's back as the big man swings close, watching, tensing, then. TODD dives off his chain and lands on MELTON's back, crooking one arm around the new soldier's neck and pounding him with one free hand and strangling him with the other arm. MELTON gurgles while GOINES hits him in the face. ANGLE ON MEKUM WATCHING BELOW. For the first time a frown of concern wrinkles his brow. ANGLE ON MELTON AND TODD on chains just below the girders. MELTON slams an elbow back into TODD's ribs hard and TODD gasps for air, but. GOINES uses the moment to slam a knee into MELTON's balls and. MELTON gasps, then grabs GOINES by the neck with one hand, rips him from the chain, and sends him plunging violently downward even as. TODD goes for face with his free hand. SLAM! MELTON smashes TODD in the ribs with an elbow. TODD savagely gouges out one of MELTON's eyes. ANGLE ON MEKUM, sixty feet below, enraged at the sight of MELTON's injury. ANGLE ON THE VETERANS watching the brutal fight with blank impassive faces, RILEY among them. ANGLE ON THE NEW SOLDIERS watching, robot - like. ANGLE ON THE STRUGGLE OVERHEAD. SMASH! SMASH! SMASH! MELTON's elbows drive back into TODD's ribs. The breath knocked out of him, TODD gasps for air, pain contorting his face. MELTON manages to get TODD's forearm into his mouth and bites furiously, drawing blood. TODD grits his teeth in pain. WHAM! Another blow to the ribs from MELTON's elbow. TODD is losing his grip. RILEY watches below, his face a mask. MELTON bites and elbows furiously. TODD loses his grip and grabs at MELTON, rakes flesh as he begins to fall and then. Plunging downward, TODD grabs wildly at the chain and catches it. but he keeps falling, the chain ripping flesh from his hand for twenty feet until. He ca n't hold on any longer! TODD plunges the last thirty feet to the floor, landing with a terrible crunch right on top of ROMERO's broken body below. Sudden silence! ANGLE ON THE VETERANS watching impassively as TODD lies motionless, sprawled on ROMERO's body. ANGLE ON THE NEW SOLDIERS revealing no feelings. ANGLE ON CHURCH, SLOAN, and RUBRICK looking stunned and shaken. It's MEKUM who breaks the silence, SCREAMING furiously at the one - eyed MELTON who's still sixty feet up. MEKUM GET DOWN HERE! GET DOWN HERE ON THE DOUBLE, GET YOUR ASS DOWN HERE, YOU MISERABLE PISS ANT STINKING SHIT FOR BRAINS! CHURCH, SLOAN, and RUBRICK lift their stunned faces from TODD to MEKUM who's continuing to rant at MELTON as MELTON comes down the chain fast. MELTON COME ON, DOUBLE IT UP, DOWN, DOWN, DOWN, YOU MISERABLE THIRD RATE SHITHEAD INCOMPETENT CLOWN! MELTON lets go of the chain and drops the last fifteen feet, landing gracefully on his feet in front of MEKUM and salutes. MELTON Sir! MEKUM LOOK AT YOU, YOU BIG DUMB SHIT, YOU'VE LOST AN EYE. WHAT THE HELL GOOD IS A GODDAMN ONE - EYED SOLDIER? DO YOU KNOW WHAT IT COST TO BREED YOU, YOU BIG MORON? TO TRAIN YOU, FEED YOU? As MEKUM turns, including all the NEW SOLDIERS in his continuing tirade, CHURCH, SLOAN, and RUBRICK confer in low voices. RUBRICK They're. fantastic! CHURCH -LRB- reluctant agreement. -RRB- Mmmmmmm. SLOAN -LRB- worried. -RRB- We could have a problem here, could n't we? I mean, we just lost three men. CHURCH Oh, I would n't worry about that. `` Training accident.'' Paperwork. SLOAN What about the bodies? CHURCH -LRB- turning away. -RRB- Incinerator. Turning his back on SLOAN and RUBRICK, CHURCH approaches MEKUM who's still raging, indicating MELTON to the blank - faced NEW SOLDIERS. MEKUM WHAT GOOD IS THIS MAN NOW? WITH ONE GOOD EYE! HE'S GOT NO DEPTH PERCEPTION! HE'S CANNON FODDER. ALL HE CAN DO IS WALK POINT AND TAKE THE FIRST HIT. CHURCH -LRB- interrupting. -RRB- They're very. impressive. MEKUM -LRB- fuming. -RRB- Yeah, well, the big moron should n't have lost an eye. CHURCH glances at TODD's corpse dumped over ROMERO's broken body, tries to assuage him. CHURCH It was our best man who got his eye. Todd, a real tough one. Survived police action in Montana, fought in the Argentine Sector, and in the Saudi Campaign to say nothing of - MEKUM Old news! They're nothing at all! Wait until you get these new fellas into some real action. I guarantee you'll be awed. I guarantee it. The NEW SOLDIERS sit impassively, the bleeding MELTON among them, staring right at the VETERANS. Not far away three dead bodies lie motionless as we.", "INT.  FURNACES/FURNACE ROOM - NIGHT A rage of flame! The mouth of a huge furnace leers with yellow fury, eight feet high. Two men, BURNERS, in asbestos fire suits and helmets, appear, laboriously dragging a tattered sofa leaking stuffing. With effort they shove it into the blazing furnace where it is quickly consumed. Slowly the BURNERS turn and trudge back for another load as we REVEAL A REFUSE BIN, seven feet high, looming in the shadows not far from the flickering light of the furnace. It's overflowing with junk, barely distinguishable in the gloom. The BURNERS grab blindly and haul out the next object. It's ROMERO's dead body. They haul it out of the bin and let it flop limply to the floor where ROMERO stares sightlessly at nothing. The BURNERS stare at the body, exchange a blank look through their visors, shrug and start to drag the heavy carcass toward the flames.", "INT.  REFUSE BIN/FURNACE ROOM/CLOSE BY In the near darkness, the faintest flickering light reveals two tangled BODIES, motionless in the confusion of refuse. But not quite motionless! A hand opens and closes! A bloody hand! Fingers twitch.", "INT.  FURNACE ROOM ROARING FLAMES as ROMERO's body is tossed unceremoniously into the fire where the flames begin to consume it. For half a second the BURNERS watch ROMERO melt into fire, then they turn their backs and head back for another load.", "INT.  REFUSE BIN/FURNACE ROOM BURNERS' hands reach in and haul out another corpse, GOINES, dragging the body right over TODD's body. As GOINES' shoe drags over TODD's face, TODD's eyes flicker stupidly. Then GOINES' corpse is pulled over the edge of the bin. TODD blinks, fighting for consciousness. Where is he? He moves his head.", "INT.  FURNACE ROOM The BURNERS, silhouetted by flames, feed GOINES' body to the furnace. CLOSE ON THE FLAMES as GOINES' body is consumed by raging flames. ANGLE ON THE BURNERS trudging to the bin. They reach in blindly for whatever's next. Tugging with effort, they struggle the clumsy object over the rim, and let it fall to the floor. It's a mattress! Communicating with a look, the FIRST BURNER drags the mattress toward the fire while the SECOND BURNER reaches again into the bin. The SECOND BURNER frowns through the visor, struggles with something, frowns, wrestles with it. Finally, with great effort, he pulls out a big carton that immediately spills old magazines on him. Disgusted, he pulls the partially full carton across the refuse - littered floor toward the furnaces. ANGLE ON HIS FEET, as the SECOND BURNER struggles toward the fire, stepping over a trail of blood which is hardly noticeable in the flickering firelight. He passes another big corrugated bin with a sign an it. The sign says NONFLAMMABLE WASTE DISPOSAL. and the trail of blood leads to that bin!", "EXT.  OUTER SPACE - \"DAY\" Silence! A vast darkness with only a few tiny lights in the infinite depths. A battered rusty spaceship glides slowly and silently into view. This is a GARBAGE SHIP and it looks it. Awkward and slow and totally unglamorous, it moves through space like a great clumsy church made of steel as we.", "INT.  HOLD/GARBAGE SHIP - \"DAY\" As the massive doors on the underside of the ship open, light spills in and there is a huge ROAR as tons of debris, including massive pieces of machinery, huge statues, old vehicles, and numerous containers, spill out through the open bays and tumble downward. The one that says `` Nonflammable Waste'' on the side careens against the bulkhead with a THUNDEROUS sound, then hurtles downward.", "EXT.  JUNK MOUNTAINS/LANDSCAPE As debris from the ship tumbles down onto one of several huge mountains of junk that loom 800 hundred feet above a windswept terrain dimly lit by four pale suns, the bays close, and the rusty GARBAGE SHIP glides away. Still the cascade of machines and other bulky junk THUNDERS down the steep slopes, shattering, breaking into parts, tumbling and tumbling, settling here and there, while a SCREAMING WIND, very powerful, picks off the lighter pieces and carries them off like snow blowing off a mountain. The familiar - looking container somersaults halfway down the slope where it bursts open, spilling a confusion of junk. Above the container, a huge drum smashes into a hunk of machinery and splits, oozing an awful looking liquid that spills down onto the contents of the container, sizzling and smoking on steel, eating it like acid. Not far from a smoking piece of steel, WE FIND TODD'S foot protruding from the junk heap! It's motionless! Acid drips and hisses. ANGLE ON TODD, sprawled `` inside'' the mountain of junk, grimacing in pain as acid hits his exposed foot. Trapped in the debris, battered and bloody and weak, he struggles to rise, fights the heavy objects pinning him, fights to avoid the dripping acid. As the wind SCREAMS furiously, he continues to struggle against the junk that pins him as we.", "EXT.  \"INSIDE\" AND OUTSIDE THE MOUNTAIN - DAY - A LITTLE LATER TODD's head, caked with blood, appears from the junk like a man looking out of a cave. Wind seizes at his hair furiously. He looks up, sees four pale suns in the sky. just as a huge steel lathe comes somersaulting down from above like a loose boulder, and TODD has to duck hastily to avoid certain death. As the heavy steel tumbles down the slope below him, wind plucks a twelve - foot I - beam from the slope next to him and whips it off in a frenzy. Holding on for dear life, TODD looks down at the ground four hundred feet below and sees a bleak wasteland strewn with junk shifting and skittering in the wind. He notices something and reacts. Far down on the floor there is a strange pattern of lines. and moving along one of the lines are four tiny FIGURES. they could be humans. but maybe not! For a moment TODD watches them. Then he starts to climb downward through the labyrinth of junk `` inside'' the mountain, and we.", "EXT.  LOWER ON \"JUNK MOUNTAIN\" - DAY - MINUTES LATER Far down the slope, perhaps forty feet from the foot of the massive mountain, TODD's head pokes out of the confusion of junk and he looks down at the FIGURES below. Seen more closely, the FIGURES are more distinct, but no less mysterious. Heavy outer garments like huge parkas and hoods blur their individual shapes as they inch across the landscape, apparently clutching one of several crisscrossing wires that stretch tautly for miles across the bleak terrain like `` roads'' through the wind. TODD watches as one of the FIGURES moves off the `` road.'' He's trailing rope that attaches him to the others as he struggles through the wind, walking almost on all fours like an ape. TODD watches the FIGURE moving among bits of junk until he locates something he wants, picks it up, and starts to struggle back toward the others, dragging his burden after him. TODD is watching what would seem to be some sort of scavenging process by these strange unearthly FIGURES as we.", "EXT.  FADING SUNS - DUSK - LATER The four suns are changing color, dimming in the sky, as we.", "EXT.  LANDSCAPE AND \"JUNK MOUNTAIN\" - DUSK Tiny in the distance, the four FIGURES are moving together along a cable, headed away from the junk mountain. At ground level now, TODD is watching them, crouched behind a massive transformer that teeters slightly in the wind in spite of its great bulk. Peeking around the sheltering transformer, he spots one of the taut cables lashed to an enormous piece of junk near the foot of `` his'' mountain. The cable is twenty yards away in a `` canyon'' of junk and he'll have to move across open space partially exposed to the wind in order to get to it. He starts out from behind the transformer. WHOOOOOO! Screaming wind lifts him and hurls him thirty feet, his arms flailing. He comes down even further from the cable, struggling to keep on his feet. Gritting his teeth, he fights the wind, struggles toward the cable. Suddenly a chunk of steel whips at him and he ducks just in time as it whistles close to his head. TODD drops to the ground and starts to crawl `` under the wind,'' toward the taut cable, and we.", "EXT.  \"STEEL HENGE\" - DUSK - LATER Seen by TODD, the four tiny FIGURES are far ahead, disappearing in the distance and the dusk. Following them on a taut wire, TODD is passing through a barren landscape punctuated by strange ruins, great shapes of steel thrusting out of the ground and looming over and around him, vaguely recognizable as the wreckage of a space vehicle that must have crashed long ago. The mountains of junk squat a mile behind him. He's come a long way, it's almost dark, he's weak. He hangs onto the wire, walking with effort. He can no longer see the creatures ahead of him on the wire. He notices something thirty yards off the wire to the right. Steel crosses. Maybe a hundred of them. A cemetery. Just then, the wind catches TODD, yanks him, but he hangs onto the wire, holding on desperately, as the wind pulls at him and makes him flap like a pennant in the breeze. Then the wind dies enough for him to get both hands on the wire and get weakly to his feet. For a moment he looks like he might collapse, but he does n't, and we.", "EXT.  LANDSCAPE - NIGHT At night the four suns glow darkly like night lights. TODD is alone on the planet, punished by the savage wind, struggling along the wire, shivering. Every stop is an effort, but the eyes stare into the dark and they reveal no emotion, not even when he suddenly tenses, seeing something ahead. In the distance a faint light glows. TODD considers it as we.", "EXT.  WINDOW/SKYLIGHT - NIGHT - MOMENTS LATER The window is detached plexi from some kind of vehicle, embedded in a low mound of `` earth'' like a skylight. Whatever is making the light comes from below in a sort of hut that slopes only inches above the ground. TODD is hanging onto the cable only ten yards from the strange window. He can see more of them glowing all around him, as well as silhouetted pipes issuing smoke to the wind. TODD drops to his belly to keep under the wind. He crawls ten yards to the window and pears through it. TODD'S POV of a fantastic confusion of color and movement seen through the thick scratched plexiglass window. The wild blurs of activity make no sense to him whatsoever, nor do the very FAINT SQUEALS of sound barely audible over the deafening ROAR of the wind. -LRB- What he's seeing in the room below is a violent pillow fight between eight BOYS and GIRLS ranging from four to ten years old. Wearing cotton shifts dyed red, blue, or yellow they're smacking each other violently with rag pillows and laughing happily in a dormitory - style full of stacked bunks. -RRB- ANGLE ON TODD, prone on the `` roof,'' mystified. He's never seen anything like it. His grease - covered face barely reveals his puzzlement when he is suddenly distracted by a change in the wind. The ROARING WIND that has dominated the environment since he first arrived has diminished to a strong breeze. TODD tries sitting up. The breeze does n't overpower him. He looks around. The meaningless SHRIEKS of the pillow fight, though still muffled by heavy plexiglass, are LOUDER now, but TODD's attention is on the other window/skylight that glows from this strange `` roof'' and on the strange sound that's coming to him, borne on the breeze. a MUSICAL sound. Struggling weakly to his feet, TODD staggers toward the next window. The MUSIC is LOUDER as he approaches - it's waltz music played on an accordion. TODD drops to his knees and peers through the next window. TODD'S POV through the second `` window,'' another mysterious vision! The color and movement are more subdued, but TODD is just as puzzled. What he's seeing indistinctly through the thick plexiglass is an OVERHEAD VIEW of a man and a woman gliding across the floor, moving as one, first this way, then that, in time to a WALTZ. In the corner, another person is making a strange movement that seems to initiate the music. ANGLE ON TODD, flat on the roof. Now that the weak breeze has given way to a deathly stillness, the mysterious -LRB- to him -RRB- MUSIC is clearly audible as TODD peers through the plexiglass at the warm scene below, as puzzled by the waltzing couple as by the pillow fights. Then he gets to his feet again and in the stillness makes his way past a smoking chimney toward the next window. Halfway there he freezes. listening! A strange haunting WHISTLING sound is coming from somewhere. TODD looks around at the blackness beyond the roof windows. There's nothing visible. The mysterious sound is louder now, drowning out the music ominously, drowning out everything, everything, everything. Suddenly TODD understands, but he's too late. ROOOOOOOOOOAAR! It's the WIND, back with renewed fury, more powerful than ever! TODD is hurtled into the air, tossed head over heels by the wind, struggling, clutching at empty air in vain, buffeted, slammed to the ground, lifted again before he can flatten himself, tossed violently, somersaulted helplessly.", "EXT.  INSIDE A TRENCH WHAM! TODD is slammed face first to the ground. For a long moment he's motionless, untouched by the HOWLING WIND for reasons that are n't clear. Finally he rolls over weakly and looks up. In the weak light he can just make out the steep earthen walls of a narrow trench looming eight feet straight up, protecting him from the wind howling overhead. TODD tries to get up. but the fall has injured his leg and he slumps to the floor of the three - foot - wide trench, too weak and injured even to crawl. Lying there, barely conscious, gasping for breath, he suddenly sees something. Shoes! Less than a foot from his bloody face. He manages to lift his head a little and look up. Silhouetted by the light spilling from an open door in the trench wall are four children. ELLEN, ten, WILL, six, TOMMY, five, and JOHNNY, eight. Barely conscious, TODD can just make out the astonishment on their blurred shadowy faces as they look down at him in amazement. Then they go OUT OF FOCUS altogether as TODD slumps unconscious and everything goes BLACK BLACK BLACK, and we.", "INT.  MEETING ROOM - NIGHT VOICES, CONFUSION. About fifty people are jammed into the low - ceilinged meeting room, all of them talking at once. They are PIONEERS, men and women of all ages and many races, a hardy, weathered - looking group dressed in plain clothes of muted color. Their faces seem to have been etched by the wind with deep lines, the skin burnished, and even the younger ones have crow's feet around the eyes from squinting. As they chatter excitedly, asking each other what happened, who found him, where, and so on, a sharp - faced fifty - ish woman, HAWKINS, is standing behind a table in the front of the room, calling for order. HAWKINS Please! Quiet, please! Just as the hubbub finally dies down, a grizzled pioneer named SLADE bellows loudly at her. SLADE Just tell me one thing! How many of them are there and are they armed? HAWKINS stares SLADE down, refusing to speak until she has real silence. When she finally speaks, her voice is calm and controlled. HAWKINS There in a man. one man. He was found in the trench by several children. A sudden murmur dies away quickly under HAWKINS' hard stare. HAWKINS This man was not armed. A murmur goes through the crowded room, then a woman named ELISE speaks over the hum of voices. ELISE How could there only be one? How could he get here? HAWKINS glances toward MACE, a muscular, bearded man, about thirty. MACE He was unconscious. We could n't ask him anything. He - A commotion in the back room causes MACE to break off as JIMMY PIG, a clean - shaven burly - looking pioneer in his thirties, pushes his way in, followed by four more PIONEERS. All five of then are wearing their huge hooded parkas, strange Eskimo - type wind goggles, and carrying weapons. JIMMY PIG Nothin' out there. We could n't see nobody, could n't see no ship, no vehicles, nothin'. plus the wind's up again real strong. An excited hubbub. HAWKINS is trying to restore order when SLADE shouts over the commotion. SLADE They're hiding, I bet. HAWKINS ignores him as she speaks with firm authority. HAWKINS Let's everybody calm down right now! -LRB- beat ; silence ; then. -RRB- We have an injured man among us. One man. A traveler. Unarmed. -LRB- another pause ; then. -RRB- We all want to do the decent thing. The decent thing is to help him. Mace's wife, Sandra, is looking after him now. Now, I'd like a vote of support on this course of action from all of you. The way she says it, you know she's used to getting her way, and, in fact, PIONEERS are exchanging glances and nodding when SLADE shouts again. SLADE You keep an eye on him, Mace! You watch him!", "INT.  BEDROOM - NIGHT TODD is on his back in a bed in a tiny earth - walled bedroom. He stares stupidly at the woman bending over him. She is SANDRA, a woman of twenty - five who is attractive, but not in a glamorous way. It's a very natural beauty worn with intelligence and dignity. She's wiping away blood and grease from TODD's face. TODD's eyes flick around the room even as he lies motionless. He sees a window high on one wall. He sees old - fashioned magazine pictures and bits of patterned material hung here and there for decoration. Clothing hangs from pegs on the walls. He does n't see the look in SANDRA's eyes as she discovers the savage scar on his forehead or the sergeant's tattoo on his cheek. Eyeing these telltale marks, SANDRA pours liquid into a spoon and holds it to his lips. SANDRA Want to try some more of this? TODD swallows weakly. SANDRA smiles, stands up, moves toward the door. SANDRA You rest now. I'll give you more later. TODD watches her exit. He hears her VOICE in the next room. a low murmur. He's looking around again when a NOISE makes him look back toward the door. A two - year - old is crawling into the room on hands and knees. The baby boy, NATHAN, stops just inside, seeing TODD in the bed. NATHAN looks into TODD's eyes with childlike interest and wonder. TODD meets the look with those blank soldier's eyes.", "INT.  \"LIVING ROOM\" A second tiny room next to the bedroom is the rest of the Mace/Sandra/Nathan living quarters. MACE and SANDRA are deep in conversation. MACE What do you mean he's survived worse? Did he say something? SANDRA No, but he's covered with old wounds, all sorts of scars. Knife scars, bullet scars, burns. MACE -LRB- worried. -RRB- A soldier! SANDRA There are words on his shoulder. Tannhauser Gate, the Argentine Sector, Montana, Bolivia, Shanghai 2012. MACE The Tannhauser Gate was a battle. MACE and SANDRA look into each other's eyes, very worried. Then. SANDRA We'll have to sleep on the floor. MACE -LRB- suddenly alarmed. -RRB- Where's Nathan? MACE is looking around. He spots the open door to the bedroom, hurries to it, and disappears. SANDRA starts after him, looking worried. but before she gets to the door, MACE reappears with NATHAN safely in his arms. MACE If there's any danger to Nathan - SANDRA -LRB- interrupting grimly. -RRB- I wo n't permit danger to Nathan. MACE and SANDRA lock eyes in firm understanding as we.", "INT.  WAR SHIP - \"DAY\" EXPLOSION! SCREAMS! SMOKE! A SIREN! We're in some kind of war ship in outer space during a battle. The interior is a lot like the interior of a submarine, cramped even in the best conditions and right now the conditions are awful as SOLDIERS in bulky space suits stumble through thick smoke while a SIREN WHOOPS urgently and wounded SOLDIERS scream in agony. WHOOOOM! Another EXPLOSION! SCREAMING METAL! Part of the bulkhead is shot away and the suction is like wind, ripping SOLDIERS out of the hole into space. We FOCUS ON a soldier in a space suit who's wedged himself behind a cannon. As we look closely at his visor, we recognize TODD who's firing back at the enemy while all around him SOLDIERS are screaming and dying as we.", "INT.  BEDROOM - MORNING SUDDEN SILENCE! TODD blinks awake. He looks around. It's the same bedroom, but morning light is streaming in the high window. He can hear SOUNDS. LAUGHTER. coming from beyond the door.", "INT.  OTHER ROOM NATHAN is wobbling forward with wide eyes as MACE holds one of his hands and SANDRA holds the other. They're teaching the child to walk, encouraging each step. But when they let go, NATHAN totters forward only one step before landing flat on his ass. MACE and SANDRA laugh, making the whole thing a game, and NATHAN, after a moment of confusion, joins in the laughter. It's a warm moment until SANDRA, sensing a presence, turns toward the bedroom, suddenly serious. MACE follows her look. TODD is standing in the doorway, supporting himself on the door frame. his soldier's eyes full of unspoken menace. one leg heavily bandaged. SANDRA -LRB- nervous. -RRB- You must be. you must be feeling better. TODD says nothing. His eyes flick to NATHAN. MACE is watching TODD sharply. MACE We're teaching the boy to walk. SANDRA -LRB- nervously filling silence. -RRB- He's late learning. He was sick for a long time. TODD says nothing. His eyes follow MACE who's gone to the corner where he's seizing a heavy metal rod that might be a weapon. TODD tenses. Ready. Dangerous. As MACE turns toward him, MACE does n't notice the danger in TODD'S eyes. MACE I got something for you. He innocently approaches with the metal rod. Super alert, TODD watches MACE hold the rod out to him. MACE Here. TODD looks mistrustful. MACE Like this. MACE demonstrates, using the rod like a cane. MACE See? Expressionless, watches MACE use the cane. MACE Practice with it. In a day or two maybe you'll be strong enough to go out to the garden with Sandra. MACE never even realizes how much danger he was in.", "INT.  OTHER ROOM - DAY - A LITTLE LATER TODD's heavy boots come close to NATHAN, the cane clumps down, just missing him. NATHAN looks up with open - mouthed innocence and childlike wonder at TODD who looms past him, walking very cautiously with the help of a cane. TODD looks down at NATHAN. Their eyes meet for a moment. TODD is wearing one of the heavy parkas the pioneers wear. SANDRA answers a KNOCK at the door, opens it, revealing ELLEN, the ten - year - old, in the doorway. Behind her are JOHNNY and WILL, as well as several other CHILDREN of various ages. ELLEN I came for Nathan. But ELLEN's eyes are on TODD and so are the others crowding behind her to peep over her shoulder. They all want to get a look at TODD, but when he looks in their direction, they retreat shyly. SANDRA is wearing a parka too. She picks up NATHAN from where he's sitting near TODD's feet and carries him to the door, giving him a kiss, then handing him to ELLEN. NATHAN starts to cry and holds his arms out to his mother as ELLEN hugs him and comforts him. TODD watches the drama as ELLEN and SANDRA comfort the child and soothe his fears at being separated from his mother. Nothing shows in TODD's eyes. but affection seems to fascinate him. As ELLEN and her cohorts hurry off with NATHAN, they sneak over - the - shoulder glances at the strange monster, TODD. Just then MACE, dressed in a heavy parka also, comes out of the bedroom and heads for the door. MACE Let's go. Come on, Sergeant. MACE is heading out the door as we.", "EXT.  INSIDE THE TRENCH - NIGHT - MINUTES LATER Single - file, a dozen PIONEERS move along a trench as the wind SCREAMS overhead. We DISCOVER the cane and boots of TODD among them. The MAN in front of TODD glances back at him occasionally, curious, while MACE and SANDRA walk behind him. As they pass huts, there are windows high in one sloping wall of the trench. TODD does n't notice the distorted faces of the CHILDREN peering out at him, their noses pressed against the plexiglass, full of curiosity as we.", "EXT.  A JUNCTION OF TRENCHES - DAY Three trenches meet. Some of the PIONEERS move off to the left, some to the right. MACE is going left, but SANDRA guides TODD toward the right with her. SANDRA This way. MACE gives her a wave. He waves at TODD too. TODD looks confused at the wave, then he salutes. MACE is startled by that. He sort of grins as we.", "EXT.  GARDEN - DAY - LATER A nasty little snake, a ten - inch VIPER, slithers through the dirt among the neat rows of seedlings growing there until. SQUASH! One neat blow from the sharp edge of a trowel decapitates the VIPER. SANDRA flips the still wriggling thing aside and wipes her trowel clean in the dirt as TODD watches with those blank snake eyes of his. They're on all fours in a garden. The garden is simply a much wider trench covered by a trellis so the light can be regulated. There are already neat rows of vegetables are growing. Behind them, kneeling PIONEERS are planting new seedlings and weeding around more mature plants. SANDRA turns back to place a seedling in the dirt with only an offhand glance at the dead VIPER. SANDRA You have to watch out for them. They probably would n't kill someone your size, not if you were healthy anyway. But they'd make you pretty sick. Someone smaller. like me, or a child. Her meaning clear, SANDRA continues to demonstrate to TODD how to plant the seedling in the earth. SANDRA In a month this one will be as big as those. TODD follows her look to the other side of the trench where the plants are already eighteen inches high. Other PIONEERS, working on their hands and knees also, are sneaking glances as TODD, among them, a middle - aged woman named JUDITH and an older woman, EMMA. SANDRA frowns one of their looks away protectively as she selects another seedling from a tray and hands it to TODD. SANDRA Here. You try one. TODD looks at it. He does n't exactly look scared, but he handles it gingerly, seemingly intimidated by the delicate seedling. He starts to plant it carefully as we.", "INT.  DINING COMMONS - EVENING Jabbering VOICES, the click of utensils. Heaping plates of food are being passed the length of long tables set up in communal style. JOHNNY is kicking ELLEN under the table, WILL flips a piece of food at TOMMY when his mother, ILONA, is n't looking, and the outspoken SLADE is lecturing a pioneer named CHESTER. SLADE You ca n't talk to a soldier no more than you can talk to a. a. bomb! Or a bullet! They're trained, they're killing machines. They got an objective and they go after that objective and nothing stops them but killing them. CHESTER -LRB- a glance over his shoulder. -RRB- Just one? To kill us all? The conversation gets the attention of JOHNNY and WILL who stop food - fighting to listen to the adults talk. SLADE First off, if there's one, there's more. That's how it is, soldiers travel in bunches. Second, they do n't waste soldiers on folks like us, that's for police! Training soldiers to kill weaklings like us is not what they call `` cost effective.'' CHESTER Then who do they fight? SLADE Other soldiers! There's a saying, `` Soldiers deserve soldiers.'' ANGLE ON ILONA noticing WILL and TOMMY listening. ILONA Slade, hush up. ANGLE ON TOMMY and WILL glancing toward the next table. ANGLE ON THE NEXT TABLE where TODD, wedged between SANDRA and MACE, is eating like a machine, looking neither right nor left as people jabber all around him. ANGLE ON JUDITH whispering to EMMA at a nearby table as she watches TODD eat. JUDITH You see how much he's eating? ANGLE ON SLADE who turns now and boldly addresses TODD across the gap between the tables. SLADE I do n't see how you can not remember how you got here, Sergeant. There's a sudden hush in the noisy room, broken only by a few urgent whispers and a cough. TODD looks up from his food and meets SLADE'S look. SANDRA scowls at SLADE as SLADE persists. SLADE You're not a deserter, are you. Sergeant? The silence is even more charged than before. SANDRA looks alarmed. Someone coughs. The tension is unbearable. TODD No, sir. A sigh of relief from everybody! But SLADE presses on. SLADE Then how come you're not with your unit? JIMMY PIG Oh, come on, Slade, let the man eat. SLADE It's not an unreasonable question. -LRB- to Todd. -RRB- How about it, Sergeant? ON TODD, actually struggling with the question. remembering. Suddenly he blurts. TODD I was. replaced. MACE Replaced? TODD hesitates for half a second before answering. TODD By a better soldier, sir. There are looks exchanged among the PIONEERS as we.", "EXT.  GARDEN - DAY A little seedling is fitted into the earth gently. TODD's strong hands pat the earth around it. TODD reaches for another seedling. He's one of a group of ten PIONEERS, all on their hands and knees, all working intently, silently. They seem to have accepted him. Nobody stares. TODD is carefully patting the next seedling in the ground when something causes him to look up. Five ENEMY SOLDIERS in torn and dirty uniforms are looming over him, weapons pointed at him. All around them is a desert of sand stretching forever under a baking sun. One of the soldiers kicks TODD. ANGLE ON EMMA, JUDITH, and several other PIONEER WOMEN exchanging nervous glances as they look back to where TODD's kneeling. There are no soldiers. but somehow, he's trampled several rows of seedlings. TODD looks toward them, confused, disoriented by his `` memory.'' The women look away quickly, frightened, and we.", "INT.  OTHER ROOM - NIGHT SANDRA is changing NATHAN's diaper as she chatters, her back to TODD. SANDRA And it got worse and worse. My father had n't had any work in three months and. also. there were other things. violence. political feelings. My father said he'd heard it was better in the Trinity moons. A lot of other people must have had the same idea because the ship was jammed with people. mostly families. That's probably why it broke down. overloaded. Across the room, TODD, wearing a T - shirt and baggy pants is sitting on a stool, his face impassive as ever. As SANDRA talks, her back to him, TODD's eyes are on the contours of her body against the shift she's wearing. It's very. erotic. SANDRA Even after they made the repairs, it barely got off the ground, it was an old converted mining transport, a piece of junk to start with. It just. dropped. Maybe you saw what's left of it. out there in the wind. A lot of people died. And we could n't make any radio contact. So we were stuck here. Nobody was happy about it. A few years later, when the dumpers started coming over and dropping stuff, people tried to get their attention with explosions and fires. But it did n't work. They must be unmanned. or they just do n't care. Maybe they think we're garbage too! TODD'S face is as impassive as ever while his eyes caress the shape of her body. and she, unaware, continues to reminisce. SANDRA So there really was n't any choice. People had to pull together and make the best of it. We became a. community. As SANDRA maneuvers NATHAN, TODD catches glimpses of her breasts pushing against the material of the shift. She continues, still not noticing where his attention is. SANDRA One good thing. nobody bothers us. Who'd want to fight over a godforsaken place like this? A wry laugh. She turns to put NATHAN down on the floor and catches TODD's eyes just as he shifts them quickly from her breasts. For a moment it's awkward. she looks at him. then she recovers. SANDRA I guess that's what you like! The fighting, I mean. The wars. -LRB- unsure, a question really. -RRB- You must. you're a soldier. TODD does n't answer as we.", "INT.  CORRIDOR (AND MEETING ROOM) - DAY The CHILDREN are peeking around a doorway, watching something in the meeting room. HAWKINS, coming along the dirt - walled corridor, spots the CHILDREN ahead. HAWKINS You children are supposed to be doing lessons. The CHILDREN barely acknowledge her as she comes even with them. She looks at what they're looking at. What they're seeing through the doorway is TODD, shirtless, doing an eerie sequence of tai chi exercises. His muscular body ripples, revealing an incredible map of scar tissue that speaks eloquently of the life he's led. gash marks, long zippers of stitches, the puckered patches of burns. HAWKINS watches for a long moment, her eyes worried. In the midst of a slow graceful movement, TODD suddenly whirls and delivers a lightning blow to an unseen enemy with amazing speed and fury, the terrible force contained in the movement all too obvious. Even as HAWKINS and the CHILDREN gasp silently, TODD returns to the graceful, almost balletic movement, even spookier now, that preceded the deadly thrust. The CHILDREN's eyes are like saucers, their jaws agape. HAWKINS shudders. and breaks the hypnotic spell, speaking aloud to the children. HAWKINS Lessons.", "EXT.  INSIDE TRENCH - NIGHT It's dark, the wind's HOWLING just above the trench walls as TODD peers into a faintly lighted window in the wall of the trench. TODD'S POV THROUGH THE BEDROOM WINDOW reveals a tender moment between MACE and SANDRA as they enter the bedroom and kiss. A flickering candle on a low table, the only light, exaggerates their shadows. ANGLE ON TODD, his face revealing no feelings as he turns away. Light spills from other windows, some more brightly lit, as TODD begins to jog along the trench, gradually picking up speed, until he's running hard through intermittent pools of light in the maze of dark trenches.", "EXT.  BARREN WASTE - DAY Stillness! No wind! Everything is quiet. Bits of junk are strewn across the landscape under the four suns. MACE'S VOICE -LRB- O.S. -RRB- She's down now, but she'll come up again. Always does.", "EXT.  INSIDE A TRENCH As MACE continues talking to TODD, he loads the pockets of his heavy parka with miscellaneous hunks of metal. MACE -LRB- continuing. -RRB- That's why we're weighing down. And that's why we're always on the wire even when the wind's down, like now. You do n't get much warning. Here, load up, you'll want the weight, I promise. MACE hands heavy hunks of metal to TODD who's wearing a parka like MACE'S. He pockets the metal obediently. Behind them a small crowd of PIONEERS are doing the same : JIMMY PIG, SLADE, CHESTER, RED, a woman named SALLY and several OTHERS. In addition to the parkas, they wear eskimo - style eye - protectors and carry canteens, tools, and coils of rope attached to various parts of their outfits. ANGLE ON MACE noticing TODD eyeing the rifle JIMMY PIG is carrying. MACE Oh, we're not going to shoot anything. That's not what we mean by `` hunting.'' -LRB- then, laughing, to Jimmy Pig. -RRB- Jimmy Pig, you're not going to shoot anything, are you? JIMMY PIG -LRB- laughing. -RRB- What could I hit? MACE -LRB- to Todd. -RRB- It's how we call for help. Two shots. There'll be someone on duty, listening in case we get off the wire and get lost or something. We have flares too. Come on. Other are already climbing the ladder out of the trench to the surface above as MACE urges TODD to follow.", "EXT.  \"STEEL HENGE\" - DAY It's very still, no wind. The little group of PIONEERS is moving along a wire that passes close to the towering ruins of the wrecked spaceship. They are tiny figures in the vast landscape. CLOSER ON TODD AND MACE as they plod along in the line of PIONEERS. MACE indicates the wreck off to the right. MACE Sandra said she told you how we wound up here. Our parents and so on. -LRB- turning left, indicating. -RRB- Over here, we call these `` catcher trenches.'' TODD follows his look to a long open trench leading, apparently, nowhere. MACE -LRB- continuing. -RRB- Smaller stuff that blows across the ground, it falls in these trenches, it works sort of like a filter. We go through the trenches sometimes and get some good stuff. As they pass close along the trench, TODD looks in and observes the trench is knee deep in muddy water with rusty machine parts and assorted junk protruding. MACE chuckles at the sight. MACE We try to work'em when they're dry. It's lousy going in there when they're flooded. You can see. A sudden SHOUT, `` HEYYUP! YO!'' distracts them. TODD looks forward, sees RED pointing to a chunk of steel a hundred yards off the wire. ANGLE ON JIMMY PIG, already fastening his safety rope and a second rope to the wire, then heading off toward the piece of steel, trailing the two ropes. ANGLE ON MACE, explaining the procedure to TODD. MACE Whatever looks useful, if we can get a rope to it, we'll go for it. But you ca n't ever go further than your safety line because it'll come up on you with sometimes maybe ten seconds or even less. TODD is watching JIMMY PIG as he approaches the piece of steel and starts to attach his rope to it. MACE Like right now. You hear that? TODD listens. Nothing at first. then a very faint WHISTLING. The sound he heard that first night when he was on the settlement `` roof.'' MACE It's close when you hear that. TODD can see JIMMY PIG. He's attached the rope to the steel and he gives a signal. As PIONEERS start to haul on the line, pulling the steel toward them, MACE shouts at JIMMY PIG. MACE SHE'S GON NA BLOW, JIMMY. JIMMY waves, starts back toward them. MACE indicates for TODD to help haul the steel and the two of them are just joining in the effort when. WHOOOOOOOOOO! THE WIND IS SUDDEN AND FEROCIOUS! IT STAGGERS THEM! MACE GRAB ON, SERGEANT! TODD follows MACE'S example and, like the others, grabs the wire and hangs on as the wind SCREAMS and tears at them. One of the pioneers, CHESTER, shouts, points. They all see JIMMY PIG being blown faster than he can run, his legs churning desperately to keep up with his wind - propelled body. To no avail! He's suddenly airborne, his legs still churning like cartoon legs as he flaps helplessly at the end of his safety tether like a kite, fifty feet in the air. An eighty - pound steel barrel blows past, tumbling in the wind. Bits of junk zip dangerously around like missiles. ANGLE ON THE PIONEERS, crouched low on their knees against the wind, clutching the wire with one hand while they pull on JIMMY PIG'S safety line. But the wind is too strong. until suddenly TODD is pulling, and TODD'S strength makes the difference. slowly JIMMY PIG is pulled toward them. and Pioneers exchange amazed glances at TODD'S strength. As he pulls, TODD notices what the others do n't. ANGLE ON THE RIFLE dropped by JIMMY PIG, ten yards away. ANGLE ON JIMMY PIG as he's hauled safely in to the group of PIONEERS who clap him on the back and hug him. CHESTER is laughing so hard he can barely stand up as he tries to describe and mimic JIMMY'S desperate effort to outrun the force of the wind. CHESTER -LRB- shouting, guffawing. -RRB- JIMMY. RUNNING. CA N'T. HA HA CA N'T. KEEP UP WITH HIMSELF. HA HA HA. CHESTER breaks off, suddenly sober, staring off, and the others turn to see what he's looking at. Everybody stops laughing. ANGLE ON TODD, carefully moving away from the wire to retrieve the rifle! The WIND is dropping off some, enough to stand. ANGLE ON MACE and the other PIONEERS reacting with alarm at the sight of TODD picking up the rifle. ANGLE ON TODD as he turns, rifle in hand. TODD'S POV of the PIONEERS staring at him, the WIND diminishing further. ANGLE ON TODD looking toward them. Nothing shows on his face. ANGLE ON SLADE looking sour. Trouble! Just what he expected. ANGLE ON MACE, taking a deep breath, smiling as he moves toward TODD, holding out his free hand for the rifle. MACE Uh, thanks, Sergeant. Thanks a lot. But MACE breaks off, realizing that TODD'S attention is elsewhere. TODD is beyond MACE toward the landscape. MACE -LRB- and the other PIONEERS -RRB- turn to see what TODD'S looking at. ANGLE ON THE `` JUNK MOUNTAINS'' in the distance, several miles off, where, hovering high above the junk mountains, an ancient DUMPER SHIP issues a steady stream of metal and concrete debris onto the junk heaps far below. The faint THUNDER of the refuse tumbling onto the steep slopes is just audible over the SOUND of the wind. CLOSE ON TODD, as realizes how he got here. ANGLE ON MACE, reacting to TODD'S intense interest. MACE Dumpers. They come every twenty or thirty days. As TODD turns and looks at MACE, MACE puts out his hand again for the gun. TODD seems to notice the weapon in his hand for the first time. Unhesitatingly, he hands the rifle to MACE. As MACE casually takes the weapon, the PIONEERS breathe a sigh of relief, grinning again as the tension eases. TODD has turned his gaze back to the DUMPER SHIP, fascinated. So that's what they did to him! Just then, JIMMY PIG claps TODD heartily on the shoulder. JIMMY PIG Thanks, partner. These no - goods woulda just let me blow away. TODD, reacting to the smack on his shoulder, looks at JIMMY PIG like what was that? Are you hitting me? But all the PIONEERS are gathering around TODD in such a jovial manner that the puzzled soldier sort of understands this is n't an attack.", "INT.  OFFICE (OTHER WORLD) - NIGHT A CHRISTMAS TREE! The corny little tree with plastic needles, blinking lights, and topped with a super cute angel is only a foot high. It's sitting on CHURCH's cluttered desk next to framed photographs of CHURCH's wife and children. We can hear MEKUM's voice badly transmitted. MEKUM -LRB- V.O. -RRB- Sorry to disturb the tranquillity of outer space on Christmas Eve, but I'm off to the Caribbean in a few hours, and I wanted to make sure you'd got the transmission on the security sweep. Glowering at the monitor where MEKUM's badly transmitted VIDEO IMAGE is quivering and distorting, CHURCH waves the print - out map he's holding in his hand, a map showing hundreds of little dots against a vast field, stars and moons in the vast sea of space. RUBRICK and SLOAN watch as CHURCH addresses MEKUM's image indignantly. CHURCH We got it all right. This is an outpost here, not the Third Army! You've got us securing thirty - four locations and erecting monitor units in one month and - MEKUM -LRB- interrupting. -RRB- Piece of cake, guys! These are totally remote, totally uninhabited territories. All you do is set down, send out a patrol purely as a formality, then have those veterans of yours put up an A - Type unmanned monitoring unit. You should be on about number twenty - five by the time I get back from my vacation. CHURCH What if we do run into people. say squatters or refugees? MEKUM -LRB- a frown. -RRB- Well, you sure as hell do n't want to get involved in evacuating people and that sort of thing. -LRB- then, meaningfully. -RRB- My advice would be to. `` avoid paperwork.'' CHURCH Eliminate them, you mean. MEKUM Well, no one's out there, but officially these are `` hostile zones.'' Therefore you'd be within your rights to classify anyone as `` hostile,'' I think. But I repeat, you should be worried about boredom, not action. Any other questions before I go? CHURCH hesitates. SLOAN and RUBRICK look at him. Then CHURCH blurts a question, his voice breaking. CHURCH Down there. is it snowing? MEKUM -LRB- a smirk. -RRB- Not in the Caribbean. Have a good Christmas, guys. See you when I get back. MEKUM'S IMAGE disappears and the video screen goes blank, leaving a glum silence broken only by the DRUMMING of the rain on the roof. CHURCH moodily strolls toward his desk, and his eyes go to the photographs. His wife and children smile back at him from the pictures. Just then SLOAN taps him, and be turns to see her handing him a cup full of amber liquid. SLOAN Merry Christmas, Captain. RUBRICK is pouring another glass from a bottle of Scotch as the little tree winks on and off, and we.", "INT.  BARRACKS - NIGHT Silence. Darkness. Dim shapes in the darkness, hard to distinguish. Rain BEATS on the roof monotonously, relentlessly. The room is alive with BREATHING. Then we hear a MUFFLED WHOOP from outside. The darkness is tense, the BREATHING changes rhythm. The RATTLE of the door breaks the quiet. The door swings open, a flashlight stabs the dark. A woman GIGGLES : SLOAN! The flashlight beams and wavers in the darkness, catching brief glimpses of the faces of the NEW SOLDIERS. Their eyes glitter in the lurching beam, their faces are ghostly like vampires. RUBRICK switches on a dim overhead lamp as he and SLOAN -LRB- holding the flashlight -RRB- and CHURCH stagger drunkenly into the bunkhouse, carrying a couple of half - empty bottles. SLOAN Hi, fellas. At ease! RUBRICK Merry Christmas, everybody. Eyes riveted on the THREE OFFICERS, the NEW SOLDIERS are unresponsive to Christmas cheer. In fact, they look almost angry, like big dangerous animals, as the three OFFICERS stagger stupidly down the row of bunks, every eye following them. CHURCH We brought you a little Christmas tree. CHURCH almost falls over as he places the tree on the floor As stone faces watch him without expression, RUBRICK waves a couple of bottles. RUBRICK And some good cheer. SLOAN, giggling, does a provocative bump and grind. SLOAN How about some Christmas pussy, guys? Anybody for a quick piece? The NEW SOLDIERS do n't react. Stone faces. RUBRICK -LRB- smirking. -RRB- That's `` conduct unbecoming,'' Sloan. SLOAN It's Christmas! Have n't you heard of piece on earth? `` Piece on earth,'' get it? CHURCH -LRB- suddenly serious, sober. -RRB- Christ, I wish we were on Earth. RUBRICK sets three bottles down and indicates them to the NEW SOLDIERS. RUBRICK Eat, drink, and be merry, men. For tomorrow you go on patrol in the `` hostile zone.'' RUBRICK burps stupidly as the NEW SOLDIERS stare back at him from their bunks, muscles bulging, eyes glittering, nothing but danger in their stone faces as we.", "INT.  PIONEER MEETING ROOM - NIGHT `` JINGLE BELLS, JINGLE BELLS, JINGLE ALL THE WAY.'' In sharp contrast to the gloom of the soldier Christmas, the PIONEERS, MEN, WOMEN and CHILDREN, are SINGING and celebrating. There's a six - foot carved wooden tree festooned with makeshift decorations and ringed with heaps of presents in crude wrapping. There's an appetizing looking buffet and a punchbowl. ANGLE ON TODD seated against a wall not far from the door. He stares uncomprehendingly at the merriment all around him. What on earth is going on? What are they doing? JIMMY PIG is marching around in a Santa Claus costume, doling out presents to ELLEN, WILL, TOMMY, JOHNNY and OTHER CHILDREN. JIMMY PIG HO HO HO! HO HO HO! Passing TODD, JIMMY PIG acknowledges him with a wink and a special `` HO HO HO.'' TODD'S eyes give away his confusion. What the fuck is this? JIMMY PIG in a fake beard and a fake stomach? This is the craziest shit TODD has ever encountered. ANGLE ON NATHAN, a wrapped present in hand. He has n't a clue what it is or what he should do with it. Laughing, MACE and SANDRA hover over him, showing him how to pull the wrapping off. Great idea! NATHAN likes pulling wrapping off! That's fun. SANDRA and MACE watch joyfully as NATHAN tears at the wrapping enthusiastically. ANGLE ON TODD getting to his feet. ANGLE ON NATHAN pulling away the last of the wrapping to expose a pull toy, a METAL BIRD on crude wheels made of wire and junk. MACE takes the toy, demonstrates pulling it. The wings flap as the wheels turn! NATHAN reacts with delight and amazement! Then grabs it! A SUDDEN SCREECH. ANGLE ON TODD looking alarmed. He's on his way to the door, but EMMA is charging at him, SHRIEKING! Not sure whether this is an attack or not, TODD watches the older woman scramble onto a stool next to him, still SHRIEKING giddily. As TODD eyes her -LRB- and everybody else -RRB- warily, she gives him a peck on the cheek and points over head. TODD looks up, sees a strange cloth decoration with a sign on it that says `` MISTLETOE.'' Means nothing to TODD. There's a burst of applause as EMMA scrambles off the stool. Somebody starts to sing `` GOD REST YE MERRY GENTLEMEN.'' A MONTAGE OF FACES : JIMMY `` SANTA'' PIG, MACE, SANDRA, RED, CHESTER, SALLY, ELLEN, HAWKINS, even SLADE, SINGING. ANGLE ON THE DOOR. No sign of TODD! Gone!", "EXT.  \"ROOF\" - NIGHT - MINUTES LATER A low wind MOANS and mingles with strains of `` OH, HOLY NIGHT'' as TODD bellies up to the `` skylight'' and peers down at the scene below in the Meeting Room. TODD'S POV THROUGH THE SKYLIGHT. The merriment has evolved into a more spiritual mood as the PIONEERS join in the solemn hymn. But TODD spots NATHAN trying to pull his pull toy along so the wings flap. NATHAN is pretty wobbly and he goes down hard and starts to cry. Immediately SANDRA disengages from the adults and rushes to the sobbing NATHAN and clutches him to her breast, soothing him. and MACE joins her, hovering over his son. ANGLE ON TODD, watching. After a moment, TODD scrambles off the roof and drops into the adjoining trench while `` OH, HOLY NIGHT'' continues to blend with the soughing WIND.", "EXT.  INSIDE THE TRENCH Lit by spill from a window in the wall of the trench, TODD starts doing push - ups. One - two - three - four - five - six - fast - fast - fast - fast.", "INT.  CORRIDOR AND MEETING ROOM/SETTLEMENT - (ANOTHER) DAY HAWKINS is walking along the corridor outside the meeting room when she hears strange SOUNDS. She approaches the door and looks in. ELLEN and other CHILDREN -LRB- including NATHAN -RRB- are playing children's games on the floor, paying no attention to the source of the strange noises. JOHNNY and WILL. JOHNNY and WILL are doing exercises, obviously inspired by TODD's martial calisthenics, and including the sudden violent movements. As the two boys make their ritual grunting noises, HAWKlNS frowns a worried frown, and we.", "EXT.  TRENCH GARDEN - DAY The seedlings have grown to twelve - inch stalks. SANDRA is pulling some from the ground as TODD imitates her. She shows him the fat edible root. SANDRA We'll eat these. Other PIONEERS are also harvesting, with occasional glances at TODD as we.", "INT.  OTHER ROOM - DAY Cleaning vegetables, SANDRA is separating the roots, shaking the dirt off, cutting away the excess. TODD is carefully following her example, cutting the stalks away with the knife. NATHAN is tottering across the floor an a beginner's wobbly legs. SANDRA It seemed like he was never going to walk. Then all of a sudden. he's an expert. Whump! NATHAN falls on his ass. SANDRA -LRB- a laugh. -RRB- Well, not quite an expert. TODD watches SANDRA go to NATHAN and hug him affectionately. Turning back to the vegetables, stone faced, TODD cuts his finger. Blood flows. He ignores it, continues working. But SANDRA, returning to the vegetables, notices TODD's cut finger and immediately grabs a rag and takes his hand. TODD looks startled is she takes his finger. Then, staunching the blood with the rag, she looks him in the eye, curious. SANDRA Sergeant Todd. what's it like. what's it like being a soldier? What's it like? TODD stares at her, trying to process the question. Seeing his difficulty SANDRA tries to help. SANDRA What do you think about? No answer, a stare. SANDRA Do you think about food? Or women? You must think about something. TODD gulps. His blank stare could pass for stupidity. SANDRA What about feelings then? You must have feelings. You must feel something. TODD wets his lips. He seems about to answer. and yet it's difficult for him. He could kill a person easier. On the floor NATHAN GOOS happily, oblivious. TODD -LRB- at last. -RRB- Fear. SANDRA -LRB- startled. -RRB- Fear! You mean. you feel afraid? -LRB- as he nods. -RRB- That's when you're in battle. What about other times? Now, for example? TODD Fear. SANDRA -LRB- amazed. -RRB- Now? TODD Always. A stunned silence. Finally SANDRA speaks. SANDRA You do n't. look afraid. You look fearless. TODD looks at her. This is incredibly difficult for him, like physical labor. He wets his lips and take a breath. TODD Fear and. discipline. SANDRA -LRB- growing horror. -RRB- Oh, my God. But there's nothing to be afraid of here. I ca n't hurt you. I would n't. TODD Always. It makes us. alert. SANDRA is overwhelmed. She reaches for him, hugs him to her breast like a little baby, holding him. But TODD is as tense in her arms as steel. He ca n't relax. He's even trembling. NATHAN, on the floor, looks up, smiles innocently. SANDRA lets go of TODD and steps back, looking at him, her face troubled, as we.", "INT.  MEETING ROOM - DAY ELLEN is supervising block building -LRB- babysitting -RRB- with several of the younger children -LRB- OMAR, BUCKY, ANGIE and JANICE -RRB- while WILL and TOMMY play their own separate games close by. Then WILL looks up and sees something disturbing. WILL You're not supposed to do that anymore. He's speaking to JOHNNY who is doing martial exercises. JOHNNY So what? I'm a soldier. WILL They're gon na kick him out. ELLEN looks up from the blocks. ELLEN They ca n't kick him out. WILL They're gon na. My father - ELLEN -LRB- interrupting strongly. -RRB- My mother says when someone's sick or hurt, you have to help them. You do n't have a choice. JOHNNY -LRB- getting interested. -RRB- Yeah, but what if the hurt person is. evil? ELLEN You still have to help them. because if you do n't, you're evil! WILL -LRB- importantly. -RRB- My father says. uh. he says, `` Soldiers deserve soldiers.'' TOM Yeah. That's what my father said too. ELLEN My father's making Sergeant Todd a scarf because he saved his life one time. He's knitting it. WILL That's dumb. Your father's dumb. WILL is smirking with satisfaction at having settled that when out of nowhere ELLEN's little fist hits him hard on the nose. WILL looks stunned. Blood oozes from his nose. He starts to cry. ELLEN looks horrified at what she's done as we.", "INT.  OTHER ROOM - DAY The scarf! It's been knitted with an elaborate and colorful design. JIMMY PIG'S WIFE -LRB- O.S. -RRB- Jimmy knitted it himself. He worked on it for two months. SANDRA is examining the knitted scarf as JIMMY PIG and his WIFE stand in the doorway. SANDRA It's beautiful, Jimmy. He'll love it. JIMMY PIG looks very embarrassed. He shrugs. JIMMY PIG He saved my life out there. I guess Mace told you. SANDRA -LRB- nods. -RRB- You should give it to him yourself. I think he's in the meeting room. doing. exercises. JIMMY PIG nods, takes the knitted scarf back from SANDRA as we.", "EXT.  ALLEY/CITY - NIGHT Frantic CIVILIANS, mostly women and children, are illuminated by FLASHES from rocket fire overhead as they scramble for cover amidst heavy CROSSFIRE from automatic weapons. A terrified LITTLE GIRL, separated from her family, seeks shelter in a doorway when suddenly she's confronted by THREE SOLDIERS IN RED UNIFORMS looming over her. Looking up in abject horror, she sees a RED SOLDIER casually pan his assault rifle, pointing the muzzle right at her from only a foot away, unmistakably flexing to fire. BLAM! Suddenly the RED SOLDIER is blown backwards violently, shot in the chest. ANGLE ON TODD, visored, in a torn black uniform, firing again. BLAM! A SECOND RED SOLDIER goes down. CLICK! TODD's weapon jams. As the LITTLE GIRL, amazed to be alive, watches open mouthed, TODD swings his weapon like a club, attacking the THIRD RED SOLDIER before he can aim. Then she runs, leaving TODD savagely beating the THIRD RED SOLDIER to death. TODD is delivering a final savage blow to the prone body when a movement or shadow catches the corner of his eye and he whirls savagely to defend himself from behind -", "INT.  MEETING ROOM - DAY WHUMP! JIMMY PIG is slammed up against the wall of the meeting room, TODD's big hand around his neck. Gurgling desperately, his eyes popping out of his head, JIMMY PIG stares helplessly into TODD's merciless soldier eyes and his stone face only inches away. TODD blinks. He sees he's got a terrified JIMMY PIG pinned to the wall, his feet dangling two feet off the floor. Slowly he lowers JIMMY PIG to the floor. All JIMMY PIG can do is squeak desperately and point to the floor. JIMMY PIG Scarf! Scarf! TODD looks down. He sees a knit scarf lying on the floor. He does n't understand. He looks up. He sees JIMMY PIG'S WIFE, HAWKINS, SLADE, and several other PIONEERS standing in the doorway of the meeting room, their stunned expressions indicating they just saw something horrifying. TODD stands there, isolated, bare - chested, his huge muscles glistening with sweat, decorated with terrible scars and mysterious tattoos, as we.", "INT.  OTHER LIVING QUARTERS - NIGHT EVA, Johnny's mother, is reacting, horrified. EVA What? What. are. those? Chester! CHESTER! CHESTER, Johnny's father, rushes in to see what the commotion's about. ANGLE ON JOHNNY in the tin cauldron that serves as a bath tub. JOHNNY'S bare chest and shoulders are covered with crude imitations of TODD's tattoos. JOHNNY -LRB- sullen. -RRB- Those are my war marks. From the battles I fought. CHESTER and EVA exchange a look.", "INT.  BEDROOM - NIGHT MACE and SANDRA are lying awake in the bed in darkness. For a long moment they're both silent with the silence that comes in a heavy moment in a conversation. Then MACE speaks, his eyes on the ceiling. MACE There's going to be a meeting. People are upset about him. SANDRA He's not fully recovered. MACE That's what scares people. He gets stronger every day. They're both silent for a long moment. MACE has something weighing on his mind that he hesitates to say. but finally he says it. MACE I've caught him. sneaking looks at you. At your body. SANDRA I know. A heavy silence, then. SANDRA Are you afraid of him, Mace? MACE stares at the ceiling and speaks with difficult honesty. MACE Yes. -LRB- pauses, then. -RRB- God knows where he's been. or what he's done. Another pause before. MACE I've never been afraid of anyone before. not this way. I feel he could break me in half. with no real effort and no real. feeling. SANDRA He told me he's afraid. MACE Maybe he is. It does n't matter. MACE is staring grimly at the ceiling as we.", "INT.  WINDOWLESS CEMENT ROOM - DAY OR NIGHT (FLASHBACK) Silent and surreal, the events of 1986 continue with the PASSIVE FOUR - YEAR - OLD sitting on the floor while the AGGRESSIVE FOUR - YEAR - OLD looks down at him, and other FOUR - YEAR - OLDS gather ominously. It's only now, as he gets to his feet, suddenly trading vicious blows with the AGGRESSIVE FOUR - YEAR - OLD that we realize that this passive boy is FOUR - YEAR - OLD TODD. The boys do n't fight like children ; they do n't quit or cry as the blood flows. Highly - polished shoes, sharply creased trousers, and eyes glittering from the shadows are all that is visible of the faceless OBSERVERS who make no move to interrupt the violence. FOUR - YEAR - OLD TODD, his nose pouring blood, exchanges savage hurtful blows with his opponent, bloodying him viciously, as we.", "INT.  OTHER ROOM - DAY (PRESENT) Eyes! The adult TODD blinks away the memory, stares straight ahead. into NATHAN'S face, only six inches from his own. They're all alone in the room. It's very quiet. NATHAN smiles a tentative smile, raises a hand, reaches out to touch TODD'S face affectionately, curiously, testing their friendship. ANGLE ON TODD, his eyes. Dangerous. He draws his face back enough to avoid being touched. NATHAN looks unsure. He's used to affection. Then he realizes. it must be a game! He reaches out again. Again TODD avoids the touch. and as he does so, something catches his eye. TODD sees a VIPER sliding across the floor toward NATHAN. NATHAN does n't see it ; he's still trying to figure out this game. TODD pulls off his boot and hands it to NATHAN. NATHAN accepts it, thinks it's a gift. He's pleased. It's that kind of game! He gives TODD a friendly `` thanks for the boot'' smile. TODD points to the VIPER which is close to NATHAN now. NATHAN looks at the VIPER. He does n't understand what he's supposed to do. TODD makes a hitting motion with his hand. The VIPER is close to NATHAN, coiling. NATHAN looks from the VIPER to TODD. TODD indicates the VIPER with his eyes. His look is intense, a message in his eyes. The VIPER is like a spring, it strikes. TODD's hand is like a blur, almost invisible as he catches the snake and flips it a couple of feet. NATHAN stares. The angry VIPER SPITS and HISSES and coils to strike again. NATHAN looks at TODD. TODD eyes the boot, then indicates the VIPER with his eyes. NATHAN frowns ; he's getting the idea. The VIPER is about to strike again. SQUASH! A heavy boot comes down on the snake, crushing it. TODD looks up to see MACE standing on the snake, reaching down for NATHAN. As MACE hugs the boy protectively to his chest, he glares down at TODD with eyes blazing with fury. TODD meets the look without blinking. He never blinks. SANDRA -LRB- O.S. -RRB- What happened? TODD turns to see SANDRA standing in the bedroom door, her eyes almost as hard as TODD's as we.", "INT.  MEETING ROOM - NIGHT TODD stares impassively as HAWKINS addresses him. HAWKINS No one here has any animosity toward you, Sergeant. None of us here is your enemy. TODD is standing in front of the room full of grim - faced PIONEERS, all looking at him. It's like a court. HAWKINS is flanked by MACE and SANDRA. HAWKINS Moreover, we respect your qualities. We have no doubt that you are a very, very good soldier. As she speaks, TODD's blank stare considers the weathered faces of the PIONEERS facing him. He sees CHESTER, EVA, RED with his WIFE, JIMMY PIG and his WIFE, SLADE and MRS. SLADE, JUDITH, EMMA, SALLY. As HAWKINS continues, TODD's sharp eyes pick out details. He sees JIMMY PIG opening and closing his hands nervously, he sees SLADE fingering a barely noticeable rifle barrel. CHESTER has a weapon too. HAWKINS -LRB- O.S. -RRB- But, because of your training, I do n't think you'll ever be able to function in a group like this, a community of vulnerable people, of families, of children, where the ability to fight is not the sole purpose of existence. The PIONEERS are nervous, ready for trouble, afraid TODD might take this badly and fly off the handle. As TODD's huge hand opens. and closes, their eyes are on it. He could pick up the table and hurl it at them, break men in half with his bare hands. His face is like stone, his eyes like diamond chips as he glances toward SANDRA. TODD sees SANDRA is moved, trying to suppress her emotions, biting her lip, as HAWKINS goes on. HAWKINS You're different from us, Sergeant. We do n't hate you for that, but we have agreed that to try to include you would pose an intolerable risk to the community itself. MACE We'll give you any tools you need, warm clothing, a good knife, boots. SANDRA -LRB- emotionally. -RRB- And if you're ever sick. or you get hurt. MACE You're a friend, Sergeant. It's just. MACE does n't finish. TODD's eyes glance again at the PIONEERS. They too seem moved, not so ready to shoot. TODD blinks. Once. And we.", "EXT.  INSIDE THE TRENCH - MORNING (WIND) TODD is wrapped in a heavy parka, his mouth wrapped with the scarf JIMMY PIG knit, his eyes covered with eye protectors as MACE hands him another sack in addition to the one already over his shoulder. MACE If you need us. you can ask us for help. TODD glances at the knot of PIONEERS gathered in the trench, all eyes on him. SANDRA is among then with NATHAN in her arms. For just a second TODD's eyes go to the cheerful face of NATHAN ; then he turns to MACE. MACE is startled to see TODD pull the scarf from his mouth to speak. He's never spoken before unless spoken to. TODD It's not true. -LRB- then, with great effort. -RRB- I'm not a good soldier. Then TODD replaces the scarf over his mouth and starts to climb out of the trench into the wind as we.", "EXT.  LANDSCAPE (AND \"STEEL HENGE\") - DAY - LATER Four suns glare down from the sky onto the vast, windswept wasteland. TODD is a tiny dot in the vastness, traveling like a bug along one of the long cables that stretches for miles and miles. He's out by the skeleton of the old ship as we.", "EXT.  ANOTHER PLANET - DAY A low slung armored vehicle on caterpillar treads RUMBLES over a steep rocky terrain faintly backlit by a cold sun that looms enormously on the horizon while giving off only a faint glow. Hanging on to the outside of the insect - like scouting vehicle -LRB- called a `` CRAWLER'' -RRB- are two nasty - looking NEW SOLDIERS in space suits designed for battle, their heavy rocket rifles cradled and ready, their visors blank and ominous.", "INT.  CRAWLER The husky sergeant, CAINE 607, steers the vehicle and speaks into a radio mike at the same time. CAINE 607 Crawler, Crawler to Daddy. No hostiles! The GUNNER beside him and the NEW SOLDIERS in the back seat stare stoically out the windows as CAINE 607 replaces the mike.", "INT.  COCKPIT/\"DADDY\" RUBRICK is sitting at a console cluttered with coffee cups and half - finished cheeseburgers, responding to the radio. RUBRICK All right, Crawler, Crawler, we got you. This is Daddy. Continue per, over. RUBRICK turns to CHURCH who's standing in the cramped cockpit, staring out a window at the gloomy planet outside, watching the CRAWLER creep over the terrain. RUBRICK We're clear. We can send a crew out. CHURCH -LRB- bored. -RRB- Sloan's already on it.", "INT.  CREW QUARTERS/\"DADDY\" - DAY An oval hatch door swings open and SLOAN enters. VETERANS in coveralls, slumped or sprawled on steel - tiered bunks, scramble obediently to their feet, eyes on SLOAM. SLOAN Suit up, fellas. Time to go build another play house. As VETERANS start to pull space suits from under the bunks, SLOAN turns her back on them. but hesitates before exiting as though expecting something. Sure enough, veteran RILEY speaks up. RILEY Sir. SLOAN Yes, Riley, what is it? SLOAN says it even before she's turned. She knew who it would be. RILEY We have n't been issued weapons, sir. SLOAN -LRB- as to a child. -RRB- You wo n't need weapons, Riley. You're not soldiers anymore. RILEY -LRB- saluting. -RRB- Yes, sir. SLOAN You do n't even have to salute anymore. A simple `` Yes, sir'' will do. RILEY swallows hard and with effort keeps his hand from saluting as he speaks. RILEY Y - yes. sir. SLOAN turns her back and exits. As the door closes, RILEY, unable to restrain himself any longer, salutes hastily as we.", "INT./EXT.  COCKPIT - DAY - LATER Through the cockpit window in the bluish glare of a work - light, VETERANS, dressed in space suits, can be seem erecting a prefab hut on the harsh moonscape. SLOAN is watching them through the window while behind her RUBRICK lounges with his feet on the console and reads a current magazine on a VDT. CHURCH is partially visible in the background, poring over charts in the navigator's cubicle. It's very quiet until SLOAN speaks, almost to herself. SLOAN Every time it's time to send them out, Riley asks about weapons. And every time I tell him they do n't need weapons anymore, they're not soldiers anymore. RUBRICK -LRB- eyes on VDT. -RRB- Jesus! It says here Macy's is going out of business. Can you imagine that? New York without Macy's? Silence. SLOAN watches the VETERANS outside through the window. They're working like a team of ants in space suits, erecting the hut. CHURCH gets up noisily from the navigation cubicle and joins them, shaking his head. CHURCH Next one's going to be a real pain in the ass. RUBRICK -LRB- reading, not interested. -RRB- Yeah? What flavor pain in the ass? Gravity pain in the ass? Atmosphere pain in the ass? CHURCH How about a `` gaseous currents'' and `` urgent convections'' pain in the ass. SLOAN I think you're trying to say a `` wind pain in the ass.'' RUBRICK Wind!", "INT.  PIPE - DAY WIND! As the wind RAGES outside, TODD, wearing his parka, crouches over a tiny fire inside a huge open - ended pipe twelve feet in diameter. He stares at the bleak, windy landscape outside his shelter. He looks primitive, like a caveman, and very very alone as we.", "EXT.  PIPE - DUSK The fat section of pipe is twenty feet long squatting in the blowing litter on the grim landscape in the shadow of the junk mountains. Somehow that inanimate pipe also looks lonely in the vastness as the four suns overhead darken toward evening.", "EXT.  STARS - NIGHT Stars glitter behind the dimmed suns as the wind HOWLS and we.", "INT.  PIPE - DAY The fire is nothing but coals. TODD sits stoically over the embers, more alone than ever, chewing on a piece of dried food, part of his spartan meal. As he chews, he stares blankly at nothing until. A single tear crawls down one cheek. Then another. TODD looks like a stone statue oozing tears. He reaches up and touches the strange water with his finger, then studies the finger, as though a tear were the most remarkable thing he's ever seen. He can not remember anything like this ; he can not remember ever having cried. And suddenly, without warning, he's convulsed with tears, heaving with sobs, alone in the big pipe with the pitiful little fire, bawling like a baby as we.", "INT.  BEDROOM - DAY A VIPER writhes across the floor through the patterns of light streaming through the window, a sinister presence, full of menace and evil designs. The VIPER winds its way toward an object that will prove in a moment to be a corner of the bad. SMACK! The VIPER does n't make it! SMACK! Another blow from MACE's heavy boot being swung by hand. The VIPER coils and HISSES angrily, wounded and dangerous. SMACK! The boot again! NATHAN wields it awkwardly, hitting bravely at the HISSING VIPER! SMACK! NATHAN hits again and. MACE rolls over in the bed. SMACK! MACE comes awake, looks around. MACE lunges from the bed. SMACK! Just as NATHAN gives the damaged VIPER another blow, MACE snatches the boy in his arms and yanks him away. SANDRA sits up in bad, looking around, alarmed. MACE is holding NATHAN, staring down at the VIPER. The VIPER has up the ghost, lying on the floor. MACE hugs NATHAN to him and looks toward SANDRA. They both look at the boot. And at the dead VIPER. Their eyes meet and, for a long moment, they just look at each other.", "INT.  OTHER ROOM - DAY - A LITTLE LATER MACE is wearing his parka, pulling on his eye protectors hurriedly as he opens the door to the corridor. SANDRA's voice makes him stop and turn to her. SANDRA Mace! What about the vote? Everybody voted. Mace glares at her for a moment, knowing she's right. Then he turns away and starts out defiantly. MACE We voted wrong! SANDRA looks relieved and worried at the same time and we.", "EXT.  LANDSCAPE - DAY This time MACE is the tiny figure struggling along the wire in the wind, alone on the vast landscape under four suns.", "EXT.  OUTER SPACE/\"DADDY\" - \"DAY\" The military ship called `` DADDY'' -LRB- Defend And Attack Deployment Entity -RRB- is a big ugly insect gliding through a black silent void. On the grimy bulwark of the ship are the letters NAF followed by serial numbers and the logo of the North American Forces.", "INT.  COCKPIT - DAY CLOSE ON space charts. CHURCH's finger is indicating a tiny dot on the chart surrounded by a vast sea of space. CHURCH It's a dump. Literally. SLOAN and RUBRICK are looking over CHURCH's shoulder while a NEW SOLDIER sits stonefaced at the control console flying the ship. SLOAN No shit! We're gon na set up a monitor on a garbage dump! So we can monitor garbage rusting? RUBRICK Will the wind affect the patrol? CHURCH The Crawlers are low enough and heavy enough, they wo n't blow. The men should wear armored vests and carry double weapons and ammo for the weight. They may have to use lines too, like mountain climbers. RUBRICK shakes his head, snorts disgustedly.", "EXT.  OUTER SPACE/\"DADDY\" - \"DAY\" As the grimy skin of the ugly military ship looms across our vision, a tiny orb is visible off the bow in the distance, a remote world, destination of `` DADDY'' as we.", "EXT.  CABLE/LANDSCAPE - DAY Alone, MACE is pulling himself along the cable as the wind buffets him. Ahead the cable stretches past the skeleton of the ship and the `` catcher trenches'' toward the mountains of junk towering over the flat landscape several miles off. A heavy barrel blows by, then an old refrigerator tumbles past. MACE squints into the wind. Off to the right about a quarter mile away he can see a big piece of pipe. and a trail of smoke blowing out of the pipe and disappearing in the wind. MACE struggles the cable past flooded `` catcher trenches'' as we.", "EXT.  PIPE/LANDSCAPE - DAY - MINUTES LATER The pipe lies fifty yards off the cable to the right. As MACE pulls even with it, he can see right inside. TODD is standing just inside the mouth of the pipe, looking straight out at MACE. but the light is behind him and MACE ca n't see TODD's face as he SHOUTS at him. MACE TODD! TODD! -LRB- pauses, then. -RRB- TODD! WE WANT YOU TO COME BACK! WE MADE A MISTAKE! MACE starts toward him, letting go of the wire, struggling in the wind. TODD watches him come. MACE stumbles on, dances a few feet, recovers, struggles toward TODD, SHOUTING. MACE TODD! WE'RE SORRY! WE WERE WRONG! Just then, a sharp gust staggers MACE, driving him several yards toward a `` catcher trench.'' He's teetering on the lip of the flooded trench, about to fall in, when TODD'S strong arms grab him. They look like a strange four - footed beast as TODD drags him through the wind in an awkward `` embrace'' toward the cable. Once MACE has the cable in his hands, he laughs and gasps. MACE Damn! Thank you, Todd. God damn! I almost took a. a. swim there! MACE breaks off. Todd is n't listening ; he's looking off toward the horizon. MACE follows his look. Five miles away he can see an ugly insect - shaped spacecraft descending from about ten thousand feet. MACE My. God! Someone's landing. TODD does n't answer. He's staring at the descending ship with soldier eyes and a stone face as we.", "INT.  CORRIDORS/SETTLEMENT - DAY Excitement, confusion. PIONEERS and CHILDREN are clogging the narrow, earthen corridors, shouting excitedly, hurrying outside. SANDRA opens her door into the corridor, concerned. SANDRA What's going on? JUDITH Someone's landing! Jimmy Pig spotted a ship! SANDRA stands there stunned as excited PIONEERS mill past her, jamming the corridor, and we.", "EXT.  CABLE - DAY TODD is on the cable with MACE, his eyes on the squat beetle - like object crawling slowly toward then through the junk half a mile away. MACE Look at that. It's some kind of vehicle. A landing party. HEY! MACE raises his arm to wave. Without taking his eyes off the approaching CRAWLER, TODD grabs MACE's arm and pulls it down. MACE looks at TODD, sees the grim expression on TODD's stone face, and suddenly MACE is worried too.", "INT.  CRAWLER Peering through binoculars, a soldier in the front passenger seat, the GUNNER, nudges the DRIVER and indicates something to the right. Two tiny FIGURES in the distance on a long cable. The driver is the beady - eyed giant, CAINE 607. Reacting to what he see, he adjusts the vehicle to the right.", "EXT.  CRAWLER/LANDSCAPE Two ominous NEW SOLDIERS wearing plexi - goggles and bulky armor under their uniforms hang on the outside of the CRAWLER in the wind, their waists dangling with weapons and equipment, big rocket rifles across their chests. They're looking ahead toward the long cable, as their nasty - looking vehicle grinds slowly forward through the litter, an evil vision.", "EXT.  LANDSCAPE TODD and MACE are running, TODD in the lead, buffeted by wind, struggling through a clutter of old machinery, diesel engines, turbines, scattered haphazardly on the flat desert floor. MACE is running too, not as well, and TODD has to reach back and grab him, pull him along. MACE -LRB- gasp. -RRB-. maybe. they're. -LRB- gasp. -RRB-. friendly.", "INT.  CRAWLER The GUNNER works a servomotor, aiming a cannon, as he peers through a scope. Through the scope, surrounded by digital readouts, we see two tiny running FIGURES.", "EXT.  CRAWLER BALAAM! BALAAM! The CRAWLER cannon FIRES.", "EXT.  LANDSCAPE MACE screams, he's hurled wildly mid - stride, tossed ten yards. TODD looks back, sees him lying on the sand, screaming in pain. TODD turns back, sprinting, low, weaving, tossed by the wind. WHOOOM! Another SHOT. If the wind had n't hit him, TODD would have been hit. MACE is screaming. His right leg is gone. TODD gets him, drags him, stumbles. WHOOM! Another SHOT, another miss. TODD struggles for cover, staggering in the wind with MACE on his back.", "INT.  CRAWLER Through his scope, the GUNNER sees TODD and MACE dive behind a big turbine. Unhurriedly the GUNNER flicks a switch on the dash. CAINE 607 nods approval. The GUNNER works the servo, bringing the cannon to bear on the turbine.", "EXT.  TURBINES TODD is dragging MACE along behind the cover of the turbine, glancing back for what he knows will occur. BAWHOOM! The area where they disappeared EXPLODES, chunks of steel fly. TODD keeps pulling MACE, who looks half dead as. BAWHOOM! The TURBINE is hit again!", "INT.  CRAWLER Through the scope, the GUNNER aims again and watches another chunk of turbine disintegrate. The GUNNER glances at the robot - faced driver. Their eyes meet. CAINE 607 nods. Obviously, they've killed the two men. The GUNNER points to the cable. CAINE 607 follows the look, nods, and alters the course of the vehicle in toward the cable as he reaches for the radio mike.", "EXT.  ABANDONED ENGINES/TERRAIN TODD is crouched over MACE inside an abandoned diesel engine not far from the disintegrated turbine. He's making a tourniquet to stop the bleeding from the stump of MACE's leg. MACE looks awful, pale, in shock. He speaks weakly. MACE Oh, shit, Todd. I'm. dead. are n't I? I'm not going to make it. TODD meets his look but does n't answer. He finishes the tourniquet and turns his back on MACE to peer out through a gap in the engine at the CRAWLER. TODD sees the CRAWLER approach the cable, watches it veer left and start to travel along the cable. straight toward the colony! TODD turns and looks into MACE's face. MACE's eyes are clouded with horror. MACE Why? Why? No answer. MACE I'm not. a soldier. -LRB- then. -RRB- A. mistake? Was it. a mistake? TODD shakes his head no. MACE's eyes fill with new horror. MACE Oh, my God. They wo n't. they wo n't? Not Sandra! Not. not. Nathan! TODD turns away from MACE and peers through the machinery. He can see the CRAWLER is a hundred yards away now, traveling along the cable toward the colony. He can see the faces of the NEW SOLDIERS hanging on the outside of the CRAWLER, hard faces, goggled and ominous. When TODD turns back to MACE, he finds MACE eyeing him with pure hatred. MACE sneers weakly. MACE Soldiers! Soldiers. -LRB- gasp. -RRB-. deserve. soldiers! His eyes roll back. He's dead. TODD peers out again at the NEW SOLDIERS. They look invincible as we.", "EXT.  \"DADDY\"/LANDSCAPE - DAY The spaceship is squatting on the barren ground a mile from the junk towers like an ugly insect.", "INT.  MESS/\"DADDY\" RUBRICK sticks his head in the door of the cramped officers mess. RUBRICK People. They've spotted people! Both CHURCH and SLOAN look up in astonishment from the card game they're playing on a tiny fold - out table. CHURCH `` People''! `` People''? What do you mean `` people''? RUBRICK Two civilians. Unarmed. They've killed both of them. They've spotted smoke from some kind of camp and they're going to check it out. SLOAN A camp! Jesus Christ! CHURCH Damn! -LRB- worried. -RRB- Did they ask for assistance? RUBRICK Not yet. CHURCH frowns, considers, then frets. CHURCH Like my daddy used to say, `` Nothing's ever as simple as it's supposed to be. except shit.'' SLOAN -LRB- rolling her eyes. -RRB- Thank you, `` Daddy.'' RUBRICK Who do you think they are? SLOAN The civilians? -LRB- a shrug. -RRB- Squatters. refugees. I do n't think we want to know, do we? CHURCH Good point.", "EXT. GARDEN TRENCH - DAY - A LITTLE LATER HAWKINS, JIMMY PIG, RED, and other PIONEERS are peering over the lip of the trench just beneath the trellis. A half mile off they can see the CRAWLER creeping in their general direction. The garden is full of excited PIONEERS with their CHILDREN, everybody trying not to trample the plants, but trampling them anyway, as HAWKINS addresses them. HAWKINS I'm going to go out and talk to them. More than likely they're friendly. If not. -LRB- indicating Jimmy Pig, others. -RRB-. those of you with weapons will be ready to defend us. The rest of you go back. HAWKINS turns abruptly and looks over the rim. The CRAWLER is closer now, only a quarter mile away, angling to the left along the wire. HAWKINS starts to climb out of the trench, boosted by JIMMY PIG and CHESTER. She's waving her arms, shouting. HAWKINS HERE! OVER HERE! SANDRA looks worried.", "INT.  CRAWLER CAINE 607 and the GUNNER both see the tiny figure waving at them a quarter mile away, trying to get their attention. As CAINE 607 adjusts their course to the left, the GUNNER's servomotor WHINES as he aims, peering through the scope at the helpless figure of HAWKINS.", "EXT.  SETTLEMENT/LANDSCAPE ANGLE ON HAWKINS suddenly reacting to the sight of the vicious - looking CRAWLER coming straight toward her, now only five hundred yards away. They do n't look too friendly! Frightened, she's lowering her arms and turning when. BLAAAAM! The cannon flashes, HAWKINS flies backwards!", "EXT.  INSIDE GARDEN TRENCH HAWKINS' body flies back onto the PIONEERS in the trench. Panic erupts as. CHESTER raises his light rifle and starts FIRING over the lip of the trench. BAWHOOM! The whole edge of the trench explodes, dirt flies, and CHESTER is hurled backwards, dead. PIONEERS are screaming and running wildly down the trenches. JIMMY PIG bravely aims his rifle over the lip of the trench. He sees the CRAWLER is lumbering right at him. PING! PING! His shots are pitiful. The CRAWLER keeps coming. ANGLE ON JIMMY PIG. No choice but to retreat. He turns and hurries down the trench after the others as we.", "INT.  OFFICERS MESS/\"DADDY\" CHURCH and SLOAN look up from their card game again as RUBRICK sticks his head in the door to report the latest. RUBRICK Report from Crawler One. Everything under control. No need for assistance. CHURCH There's resistance? RUBRICK Ineffectual. About fifty disorganized people with almost no fire power. Three men are going in to clean them out ; one man's staying with the Crawler. CHURCH Humph. Sounds reckless, three against fifty. The old ones, the veterans, they would have called for support. just in case. Again RUBRICK and SLOAN exchange a glance and an eye - roll at the fretting old fuddy - duddy. Then SLOAN changes the subject brightly. SLOAN Speaking of Riley and his old soldiers. why do n't we let them start putting up the unit? It's gon na take forever in this wind.", "INT.  CREW QUARTERS/\"DADDY\" - MOMENTS LATER RILEY is standing rigidly in front of his bunk in crew quarters, flanked by the rest of the VETERANS in similar positions, facing SLOAN. RILEY Will we be issued weapons, sir? SLOAN -LRB- a sneering smile. -RRB- No, Riley. no weapons. You're not a soldier, Riley.", "EXT.  INSIDE THE TRENCHES - DAY The NEW SOLDIER comes straight, like some inexorable death machine, lumbering awkwardly with his burden of weapons, goggled and blank faced. A PIONEER is backing away ten yards in front of him, firing wildly. POW! POW! POW! The NEW SOLDIER looks at one of his armor - gloved hands, opening the palm in front of his face. His hand's been hit. He shakes it, annoyed, like it was a bee sting, then he aims at the PIONEER. WHOOOOSH! A tongue of fire from the NEW SOLDIER's flame thrower engulfs the helpless PIONEER as we.", "INT.  MEETING ROOM - DAY PIONEERS are crouching in the room when the door bursts open, and a tongue of flame turns the room into a firestorm and we.", "INT.  CORRIDOR - DAY SANDRA has NATHAN screaming in her arms as she calmly herds frightened CHILDREN through a corridor, JOHNNY, WILL, and ELLEN among them. SANDRA Keep going, children, do n't panic, do n't panic. But if her demeanor does n't reveal her fear, her eyes do.", "EXT.  INSIDE ANOTHER TRENCH - DAY Two Pioneers, SALLY and RED, lunge from a doorway into the trench and fire a rifle and a pistol at a THIRD SOLDIER who's advancing along the trench. BANG! BANG! PING! SPLAT! SALLY and RED dive back in the doorway for cover where a pioneer named SINGH is crouched, watching with alarm the THIRD SOLDIER advancing unfazed. ANGLE ON THE THIRD SOLDIER coming toward them. ANGLE ON THE PIONEERS huddled in the doorway. RED They got armored vests. You got to aim for exposed parts like the face. SINGH Here goes. RED and SALLY watch SINGH step out directly in front of the advancing THIRD SOLDIER and FIRE five shots rapidly. PING! PIZG! PING! PING! PING! WHOOOOSH! RED and SALLY see SINGH incinerated before their eyes. Exchanging a horrified glance, they turn to retreat down the interior corridor, but before they get two steps, they freeze. A SOLDIER is in the corridor, not looking at them, but breaking down a door. They ca n't go that way! Trapped, they turn to see the THIRD SOLDIER almost to the doorway, his flame thrower aimed, his finger on the trigger, and. A blur! Something lands on the THIRD SOLDIER from above the trench, and the THIRD SOLDIER falls over backwards, slamming hard to the floor of the trench. But he's a super soldier, so that almost at the same time he hits the ground he's already lunging upward to regain his feet and fight except. A knife blade rips across his throat, opening it wide in one swift movement, and. The THIRD SOLDIER's head sags back because not even superman can fight with no neck and the last thing he sees through his plexi goggles is. TODD looming over him with a bloody knife, a face like stone, and fierce soldier's eyes. ANGLE ON THE DOORWAY, where RED, SALLY, and another PIONEER peer around the corner, eyes wide with amazement at the sight of TODD kneeling over his victim. ANGLE ON TODD, slipping the utility belt off the dead THIRD SOLDIER, yanking grenades and ammo from the bulky body, stuffing a heavy pistol in his own waistband. RED approaches timidly. RED You want help, partner? TODD glances up at him, and RED sees TODD'S eyes and RED backs away quickly because. TODD looks badder even than the new soldiers! Turning back to the dead man, TODD goes for the last item. the goggles. Ripping them off he reveals. A one - eyed soldier. The dead man staring up at him is MELTON. For just a moment TODD stares into the dead face, revealing nothing of how he feels, as we.", "INT.  OTHER ROOM - DAY NATHAN is SCREAMING in terror on the floor, ignored as SANDRA and CHILDREN haul the bed from the bedroom to add to the heap of obstacles they've placed in front of the door already. The stove, everything is wedged against the door to the corridor. As they heave the bed against the mountain of furniture and other belongings, the door quivers, the heap of furniture shifts.", "INT.  CORRIDOR The FIRST SOLDIER, as big as an offensive tackle, shoulders the door again, and it gives.", "INT.  ROOM CHILDREN SCREAM as the mountain of furniture heaves backwards, and the door opens part way, revealing the FIRST SOLDIER. SANDRA grabs NATHAN and hands him to one of the children. SANDRA Into the bedroom, all of you. SANDRA picks up a stool to defend herself.", "INT.  BEDROOM Dashing into the bedroom, the children are greeted with a terrifying sight! SMASH! Soldier boots are kicking out the little window high in the wall, SMASH, SMASH, SMASH, and the window collapses, a boot sticks through the opening.", "INT.  OTHER ROOM Unhurriedly, the giant FIRST SOLDIER bulls through the furniture, tossing the bed and table aside like sticks. SANDRA smashes at him with the stool, hitting him twice, hurling it in his face. The FIRST SOLDIER shakes off the blow as if he'd been hit by a feather. But she's got his attention. He turns his goggles at her, starts to raise his weapon as. SANDRA turns and disappears into the bedroom.", "INT.  BEDROOM As SANDRA dashes into the bedroom in blind retreat she runs smack into the chest of another soldier! Helpless and horrified, she looks right into a cruel stone face and goggled eyes, and she gasps. SANDRA Sergeant Todd! TODD never takes his eyes off the door as he brushes her roughly aside with one hand, while his other arm aims the heavy rocket gun right at the door and. The FIRST SOLDIER comes into the doorway with his flame thrower raised to torch women and children and what he sees is TODD looking right at him, aiming the rocket gun, and BAWHOOM, the FIRST SOLDIER is blown clear back across the other room with a shot right in the chest. ANGLE ON SANDRA, still on the floor where he knocked her, watching TODD exit the room, weapon raised, his utility belt dangling bandolier style across his chest. He looks like. one of them! A soldier!", "INT.  OTHER ROOM Crossing the next room, TODD moves quickly to the door, flattens, and peers into the corridor. He sees the SECOND SOLDIER heading toward him. BLAM! BLAM! TODD fires twice around the door and sees. The SECOND SOLDIER staggering back, hit, a pistol from his hip. Dirt explodes around the door frame as TODD ducks back. Quick as a wink, he yanks a grenade from his utility belt, triggers it, and flips it around the corner as CRACK! a shot rips at his arm. BAWHOOM, the grenade goes off and, bleeding from his arm, TODD swings into the corridor and follows the grenade with three quick rocket shots.", "INT.  CORRIDOR Keeping low, TODD charges, his weapon pointed at the fallen SECOND SOLDIER. The SECOND SOLDIER is sprawled bloodily in the corridor, the walkie - talkie on his chest squawking urgently. WALKIE-TALKIE -LRB- V.O. -RRB- Crawler One calling Double Mike. Give me an `` okay,'' Double Mike. TODD seizes the walkie - talkie, presses the transmit button, and snarls a throaty animal growl into the mike.", "INT.  CRAWLER/LANDSCAPE CAINE 607 is sitting at the wheel of the motionless vehicle parked near the trench garden, radio mike in hand, when he hears the low ANIMAL SNARL come across his speaker. CAINE 607's robot face reveals nothing as he listens to ANOTHER GROWL. WIND HOWLS outside. Then he flicks a switch on the dash and puts the mike to his mouth, his face expressionless. CAINE 607 Crawler to Daddy, Crawler to Daddy. Come in, Daddy! PORTHOLE VIEW/EXT. / INT. OFFICERS' MESS / `` DADDY'' Seen through the thick plexi - porthole, heavily - clothed VETERANS are struggling with a wall, trying to erect the pre - fab unit while the wind, inaudible inside the ship, rages around them, staggering them this way and that. What we hear in the quiet interior of the mess is CHURCH voicing his disbelief. CHURCH -LRB- O.S. -RRB- A `` growl''! He heard a growl? RUBRICK, looking uneasy, is facing CHURCH who's looking up at him from a game of solitaire at the little table. SLOAN is biting her fingernails in the b.g. RUBRICK Well, he did n't say the word `` growl.'' He said a `` throat - noise,'' but I asked him to imitate it and it sounded like a growl to me. CHURCH My God! Who are we fighting here! RUBRICK -LRB- nervous. -RRB- I think. I think we have to assume the missing men are. down. CHURCH -LRB- getting up, pacing. -RRB- I knew Mekum's hotshots were green. No reinforcements, then they walk right into an enemy stronghold. RUBRICK We could send reinforcements now. CHURCH -LRB- sharply. -RRB- Absolutely not. Those bastards are just waiting in there for us. No more of this fancy super - soldier shit. We do it with the hammer. RUBRICK and SLOAN exchange a nervous glance as CHURCH paces agitatedly. RUBRICK Uh, what does that mean, `` the hammer''? CHURCH -LRB- suddenly smug. -RRB- My daddy always said, `` When you want to insert a nail in a piece of wood, you do n't do nothing fancy or glamorous, you do n't finesse or play the hero, you just pick up your damn hammer and hit that sumbitch till it's in.'' SLOAN -LRB- under her breath. -RRB- Christ! Now Daddy's a carpenter! RUBRICK -LRB- to Church. -RRB- I. do n't. quite. follow. sir. CHURCH -LRB- decisive, sharp. -RRB- Take the whole unit, both Crawlers, and tell'em to pound that place with rockets, cannons, mortars, everything we got. from a safe distance. RUBRICK -LRB- brightening. -RRB- Raw firepower! CHURCH It may not be heroic, and we may waste some ammo, but by God we'll get the job done.", "EXT.  LANDSCAPE - DUSK The four suns are dimming noticeably, dusk is falling. The wind HOWLS, junk drifts and shifts. A corpse turns over in the wind. It's HAWKINS' BODY, ravaged by the turbulent air, as we.", "INT.  EARTHEN CORRIDOR/SETTLEMENT - NIGHT Someone is dragging a CORPSE down the smoky, lamplit corridor as little NATHAN watches SANDRA tending to the bloody wounds of a PIONEER lying on the floor. As the CORPSE is dragged past NATHAN, the lifeless, vacant eyes stare right at the uncomprehending little boy. NATHAN sees the pioneer's seven year old daughter, ANGIE, sobbing uncontrollably at the sight of her father's wounds. SANDRA is trying to help with the bandages and console ANGIE at the same time while all round her in the hellish atmosphere people GROAN and children CRY OUT. NATHAN does n't understand it, it's confusing. MEN and WOMEN loom past him. He wobbles off down the corridor, toddling away from the sounds of pain. SHUK! KA - SHUK! Strange SOUNDS come from a doorway ahead, the doorway to the meeting room. CHAK! KLAK! SHIK CHIK KA CHIK! The sound of metal and metal, metal parts CLICKING and SLIDING. Alone in the corridor, NATHAN toddles innocently forward, toward the SOUNDS.", "INT.  MEETING ROOM NATHAN wobbles into the meeting room doorway and stops there, staring. The burnt furniture has been heaped in one corner of the room, leaving a large open space where TODD, bare - chested, a tourniquet on one arm, is squatting on the floor, skillfully reassembling a stripped rifle. Surrounding him on the floor in neat piles are the rocket rifles, pistols, ammo clips, utility belts, goggles, torn armor vests, boots, grenades, knives, and flashlights he salvaged from the dead soldiers. TODD looks up at NATHAN and their eyes meet. NATHAN recognizes his `` friend,'' tries a tentative little smile. But TODD just stares at him, and the unformed smile fades from NATHAN's face. For a long moment they just look each other in the eyes very seriously. SANDRA enters, her dress covered with the wounded man's blood. Not noticing TODD, she rushes to NATHAN, grabs him. SANDRA Nathan, thank God, there you. Suddenly seeing TODD she breaks off, stares at him. Squatting on the floor, surrounded by weapons, TODD'S eyes meet hers for a long moment. then he looks away, goes back to assembling the weapons with quick sure movements, almost as if he wanted to avoid her eyes. SANDRA wets her lips to speak, hesitates, then finally blurts out what she can hardly bear to ask. SANDRA Did he find you? No answer. TODD finishes with the weapon, starts checking the next one. SANDRA My husband. Mace. he went out to look for you. He. found you, did n't he? TODD looks up at her and nods. Their eyes lock. SANDRA They. killed him. did n't they? TODD nods, turns back to his arsenal. SANDRA stands there, hugging NATHAN to her chest, holding her tears in, her lids quivering, fighting to conquer her emotion. After a long, difficult moment, she wins the battle with herself. She looks numb, stunned, but she's not crying. TODD has begun to dress. He straps a sheath knife to one ankle, pulls on boots. Then he pulls a jersey over his muscular torso, covering all the old scars, the tattooed names of battles, and the tourniquet on his arm. Staring at him with glazed eyes, SANDRA notices a blotch of blood form on the jersey, leaking through the tourniquet. She speaks numbly. SANDRA Your wound. it's still bleeding. Stuffing his pockets with ammo and other items, TODD glances at her with eyes that glitter dangerously. TODD I like to bleed, sir. SANDRA stares at him stupidly as he continues to dress, pulling on a heavy armored vest. SANDRA It does n't. hurt? TODD pulls on a second armored vast, one that already has a ragged hole in it from a rocket. TODD Not enough, sir. SANDRA watches him go to the heap of charred furniture in the corner and take a blackened stick from it, watches him smear charcoal under his eyes. SANDRA How do you know they'll come back? TODD looks at her, a savage with blackened eyes. TODD They're soldiers, sir. Like me. SANDRA What. what do they want? TODD Nothing. SANDRA Nothing? TODD They are obeying orders, sir. It's their duty. For a moment SANDRA is silent, then. SANDRA You know who they are, do n't you? Do you know how many there'll be? TODD crosses two utility belts across his armored chest like bandoliers. TODD Seventeen more, sir. SANDRA Seventeen! My God! -LRB- suddenly energized. -RRB- You ca n't fight seventeen yourself! You have to organize the rest of us, show us what to do. We do n't have your. your skills. but we're not cowards. We'll do what you tell us, we'll - TODD -LRB- interrupting, softly. -RRB- No. His voice is soft as silk but hard as steel. She looks into his eyes. Does she detect a hint of approval, of respect, in those flat expressionless snake eyes? SANDRA Why not? TODD turns to go, laden with weapons, a flamethrower on his back, a rocket rifle on his shoulder, another in one hand. TODD Soldiers deserve soldiers, sir. SANDRA But. one soldier against seventeen! He looks back at her, right into her eyes this time. TODD I am going to kill them all, sir.", "INT.  CREW QUARTERS - NIGHT The NEW SOLDIERS are putting on their heavy gear in ominous silence, covering their muscular torsos with armored vests and utility belts while SLOAN watches from the hatchway. SLOAN Double belts, double ammo, double everything! You've got to be heavy there or you'll blow away, fellas. and we would n't want that, would we? They continue dressing obediently, their eyes the sullen eyes of robots. But CAINE 607 speaks up, at once respectful and dignified. CAINE 607 It's dark now, sir. SLOAN You're afraid of the dark, Sergeant Caine? CAINE 607 No, sir. But the manual says - SLOAN That's what nightscopes are for, soldier. For the dark. CAINE 607 Yes, sir. But the sixth rule is `` never give the enemy an advantage unnecessarily.'' If they're expecting us - SLOAN -LRB- erupting. -RRB- Listen, Sergeant, this may come as news to you, but you're not a real hot thinker! Your pitiful efforts at tactics have cost us three men already. So turn it off, that little pea brain of yours! -LRB- turning to the others. -RRB- That goes for all the rest of you mental giants too. All you have to do is go boom - boom. Understand? Boom - boom! Kill kill! Say it. Kill. kill. kill. Draped in battle gear the seventeen NEW SOLDIERS obediently repeat the words after her, their eyes blank and sullen. `` Kill kill kill.'' They look like somber death machines as we.", "EXT.  \"CONSTRUCTION\" SITE - NIGHT In the harsh blue glare of work - lights RILEY and the crew of VETERANS, dressed in heavy parkas, are struggling in the wind to erect the second side of a small hut. RILEY sees something, reacts. He sees seventeen NEW SOLDIERS exiting the ship in the fringe of the work - lights, ominous death machines in their heavy gear and goggles, partly lost in shadows like some vision from hell. RILEY stares at them, at the men who carry the weapons he used to carry, his face like stone, his eyes a mystery as we.", "INT.  CORRIDOR - NIGHT SALLY and RED are guarding a door to the trench when a CLANKING noise in the corridor behind them makes them turn and look. Their jaws go slack with amazement. Clanking toward them is TODD, so armored and laden with fighting gear he looks almost like a medieval knight! He says nothing as he looms closer to then, heading for the door. The two of then shrink hastily out of his way.", "EXT.  INSIDE TRENCH Stepping into the trench, TODD hears the wind SCREAM overhead. He approaches crude steps dug in the side of the trench and begins to pull himself up into the wind. As he climbs, the SCREAMING wind changes pitch radically, and by the time he bellies over the lip of the trench, the wind is only a breeze. Getting to his feet and finds even the breeze is dying, replaced by a terrible stillness. As TODD looks off into the darkness, a voice calls to him from the trench behind biz. SANDRA -LRB- O.S. -RRB- Sergeant! Sergeant Todd! TODD turns back, looking down into the trench, and sees SANDRA looking up at him. SANDRA Sergeant. these soldiers. the ones you're going to fight. Are these the `` better ones''. the ones who replaced you? TODD looks at her for a long moment, his face a mask, before he nods almost imperceptibly. Her eyes are full of tears. SANDRA Sergeant Todd. I think they. I think. someone made a serious. mistake. TODD looks into her eyes. It is impossible to tell if he knows that she cares about him and that she is blessing him. After a moment he turns away and lumbers off into the darkness, the CLANKING of his equipment the only sound in the spooky stillness.", "EXT.  JUNK/TERRAIN - NIGHT Two CRAWLERS cut through the night fifty yards apart. Four of the NEW SOLDIERS cling to the outside of one CRAWLER, five on the other, two on each CRAWLER operating spotlights that pan the darkness to the sides while the headlights illuminate the skeleton of the crashed ship and shadowy chunks of machinery littered across the terrain ahead of them. It is very still. No wind.", "INT.  CRAWLER ONE A DRIVER is at the wheel, a GUNNER beside him, studying the night through an infrared scope. Behind them, two more NEW SOLDIERS sit lost in shadows in the back seat, staring impassively out the window at the spooky spotlights combing the eerie junkyard.", "EXT.  CRAWLER ONE The LEFT FRONT SOLDIER sits on the fender seat of CRAWLER ONE, peering along the beam of his spotlight, scrutinizing the sinister shapes in the darkness, when. BLAM! He's shot in the face, slammed back into the windshield of CRAWLER ONE.", "INT.  CRAWLER ONE Vision blocked, the DRIVER is fighting for control of the vehicle as the GUNNER to his right screams into the radio mike. GUNNER CRAWLER ONE, WE ARE RED! RED! WE ARE RED! By veering sharply, the DRIVER is able to shake off the body that was blocking his vision, clearing his shattered windshield.", "EXT.  JUNK TERRAIN Seven of the NEW SOLDIERS - the three hanging on CRAWLER ONE and the four from CRAWLER TWO - drop off into the stillness. One checks the LEFT FRONT SOLDIER's body while the others, barely visible in the weak light, fan out, keeping low, taking cover in the random junk strewn all around them. ANGLE ON NEW SOLDIER ONE, a corporal, crouched behind a huge piece of discarded agriculture machinery. He yanks a flare from his waist band and fires it. The FLARE bursts overhead, exposing the ghostly terrain to a bright green light. ANGLE ON THE JUNK AND THE SKELETON SHIP : a ghostly graveyard. No wind. Nothing moves. No sign of TODD.", "INT.  CRAWLER ONE Maneuvering across the junk - strewn landscape, the DRIVER peers through the cracked windshield at the green terrain, looking for TODD as the RADIO crackles. RADIO Crawler Two to Crawler One. Do you have a sitrep? THE GUNNER and the DRIVER exchange a glance. The GUNNER takes the mike and speaks into it. GUNNER Crawler Two, we are one down, responding to sniper activity.", "INT.  CRAWLER TWO CAINE 607 is at the wheel, speaking into his mike. CAINE 607 Crawler One, do you require assistance? RADIO That is negative. We will eliminate the sniper and rendezvous at target. CAINE 607 Roger, One. We are proceeding to target. CAINE 607 accelerates the CRAWLER.", "EXT.  JUNK TERRAIN The flare fades and the near darkness returns. ANGLE ON NEW SOLDIER ONE peering out into the stillness, then signaling NEW SOLDIER TWO who's hiding nearby. As the two NEW SOLDIERS step out from their sheltered positions, they're joined by NEW SOLDIER THREE. Exchanging hand signals, the three of them advance, spreading out cautiously. NEW SOLDIER THREE has moved about thirty yards away when suddenly he `` disappears.''", "EXT.  INSIDE A \"CATCM TRENCH\" SPLASH! SOLDIER THREE has tumbled into a flooded trench. He struggles to his feet, ca n't figure out where he is. He pulls a flashlight from his waist and shines it down the trench in both directions. The flashlight beam reveals a steep - walled trench knee - deep in water and littered with rusting junk. NEW SOLDIER THREE splashes along the trench, looking for a way out. His light reveals a piece of a derrick mast leaning against the trench, a perfect ladder. He's slogging toward it when he whirls suddenly and splays his beam down the trench behind him. NEW SOLDIER THREE'S POV of the flooded trench. Junk and water. ANGLE ON NEW SOLDIER THREE, turning back and approaching the ladder. Just as he reaches the ladder he whirls again. Again his light illuminates the spooky trench. Again, nothing but water and junk. Relieved, he's just about to switch off his light when. TODD rises out of the water only five feet away like a demon. Before NEW SOLDIER THREE can cry out, TODO lunges at him.", "EXT.  JUNK TERRAIN As he creeps cautiously through the gloom, NEW SOLDIER ONE stiffens. Was that a stifled CRY? Or not? NEW SOLDIER ONE signals NEW SOLDIER TWO and the two of them turn and move cautiously toward where NEW SOLDIER THREE was.", "EXT.  INSIDE THE TRENCH TODD'S light reveals NEW SOLDIER THREE slumped in the water, his head askew, neck broken, eyes vacant. TODD is hastily rummaging through the soldier's equipment, looking for something. He finds it.", "EXT.  JUNK TERRAIN NEW SOLDIERS ONE and TWO are approaching the trench when suddenly a flare bursts above them. The NEW SOLDIERS react with amazement as the flare exposes them in a brightly illuminated landscape. Before they can take cover. BUDDA BUDDA BUDDA. Flashes of fire from the lip of the trench. NEW SOLDIER ONE drops dead, NEW SOLDIER TWO is down and writhing on the ground, SCREAMING. ANGLE ON CRAWLER ONE veering sharply toward the trench, accelerating, FIRING ROCKETS, CANONS, MACHINE GUNS. ANGLE ON THE OTHER NEW SOLDIERS, prone, firing toward the trench.", "EXT.  INSIDE THE TRENCH Tracers whizzing over the top of the trench illuminate TODD as he races down the trench, running for his life.", "EXT.  JUNK TERRAIN Still firing, CRAWLER ONE grinds up to the lip of the trench. ANGLE ON NEW SOLDIERS charging toward the trench behind the CRAWLER. CLOSE ON CRAWLER ONE'S HOOD where a small trap opens and a nozzle pops out like a little penis and. SQUIRTS a stream of liquid! The liquid stream arcs fifty yards along the trench and diminishes backward like a man pissing.", "INT.  INSIDE THE TRENCH TODD looks back just before be rounds a corner in the trench, sees the liquid hitting the water in the trench. Sheltered from their view by the turn in the trench, TODD tries to scale the steep wall of the trench. WHOOOOOOOOOSH! The surface of the water - filled trench bursts into flame. A fiery river of flammable liquid. ANGLE ON NEW SOLDIERS reacting to something! NEW SOLDIERS' POV of TODD, visible in the firelight as he rolls over the lip of the trench fifty yards from them. ANGLE ON THE NEW SOLDIERS firing as they move toward TODD. They've got him now! ANGLE ON TODD bellying toward a rusting turbine, disappearing from view. ANGLE ON CRAWLER ONE, separated from TODD'S hideout by the trench, pouring heavy FIRE on the spot where TODD disappeared. ANGLE ON NEW SOLDIERS communicating by hand signals as they move to surround TODD.", "EXT.  BEHIND THE TURBINE As rockets and canon shells SLAM into the turbine, TODD hastily attends to a nasty wound in the flesh his thigh, bandaging it skillfully, quickly.", "EXT.  JUNK TERRAIN While CRAWLER ONE keeps TODD pinned down, NEW SOLDIERS move to outflank him.", "EXT.  BEHIND THE TURBINE As TODD completes dressing his thigh, the CRAWLER stops firing. Silence. TODD peers out, assessing the situation. TODD'S POV of the terrain. Vague glimpses of NEW SOLDIERS slipping from cover to cover, never exposing themselves enough for a shot. ANGLE ON TODD. He seems to know he's in a tight spot. He's preparing to fight off an attack, laying out weapons, grenades, when. he freezes. Listens. Behind the stillness he can hear the faint WHISTLE that precedes the wind. Hastily TODD yanks his belt off.", "EXT.  TERRAIN NEW SOLDIER FOUR sticks his head up from behind an old boiler and signals NEW SOLDIER FIVE. ANGLE ON NEW SOLDIER FIVE acknowledging from the mouth of an old storage tank where he's positioned. ANGLE ON NEW SOLDIER SIX bellying toward TODD'S position.", "EXT.  BEHIND THE TURBINE Using his belt and a carabiner as a safety line, TODD attaches himself to the heavy turbine. and gathers up his weapons. He can HEAR the very low WHISTLING building ever so slightly.", "EXT.  TERRAIN The WIND SIGHS and a faint breeze stirs. Then a tin can skitters by in a puff of wind as the NEW SOLDIERS take turns moving closer to TODD, flanking him from safe vantage points. NEW SOLDIER FOUR stands to wave the next man forward when. WHOOOOOOOOOOOOOSH! THE WIND ERUPTS, ROARS, BELLOWS. NEW SOLDIER FOUR is lifted into the air and carried away. NEW SOLDIER FIVE is trying to stay on his feet, as the wind SLAMS him into one piece of junk after another.", "INT./EXT.  CRAWLER As the wind HOWLS and shakes the CRAWLER, the DRIVER and the GUNNER stare with amazement as NEW SOLDIER FIVE slams into their windshield, neck broken, and stares at them with lifeless eyes. They see NEW SOLDIERS SIX and SEVEN tumble and somersault past. As NEW SOLDIER SIX disappears, blown off into the night, NEW SOLDIER SEVEN manages to grab hold of the walking wire. Gripping the wire for his life, he turns just in time to be decapitated by a piece of aluminum housing flying through the air.", "EXT.  TERRAIN NEW SOLDIER FOUR, badly battered, is down on his belly trying to stay `` under the wind'' when he sees something terrible! HIS POV of a massive lathe blowing right toward him along the ground, tumbling, crashing, slamming into things. It looms over him, unavoidable, the end! ANGLE ON NEW SOLDIER FOUR reacting to the huge lathe about to crush him.", "EXT.  BEHIND THE TURBINE Held by his safety belt and protected by the turbine, TODD peers out, and watches the wind destroy the footsoldiers. TODD'S POV OF NEW SOLDIER FIVE's lifeless body being blown along the ground like a leaf. ANGLE ON TODD, reacting. He's seen something important. TODD'S POV of CRAWLER ONE moving again, rounding the far end of the trench and, no longer separated by the trench, turning toward TODD'S position.", "INT.  CRAWLER ONE As the DRIVER steers, the GUNNER peers through his scope. GUNNER'S INFRARED POV of TODD darting behind an overturned vat. GUNNER There! The DRIVER steers toward where TODD disappeared.", "EXT.  JUNK TERRAIN Windborne junk CLATTERS against CRAWLER ONE'S armor plating, debris flies through the bright swaths of the headlights, as the vehicle grinds toward the overturned vat. ANGLE ON CRAWLER ONE coming around the vat, headlights glaring.", "INT.  CRAWLER ONE The GUNNER is peering intently through his scope. GUNNER'S POV through his scope : The infrared view with crosshairs is especially spooky because of the debris blowing eerily across the landscape as the gun whips back and forth, looking vainly for TODD. Suddenly the sight is yanked hard, sweeping violently over to pin a moving object. False alarm! Just another piece of blowing junk. No sign of TODD.", "EXT.  CRAWLER/JUNK TERRAIN The CRAWLER grinds slowly past a huge overturned boiler, its cannon panning right, then left, then right.", "INT.  CRAWLER ONE Peering through the scope as he sweeps the terrain, the GUNNER suddenly stiffens and back - pans to find something. GUNNER Tentative at One. The DRIVER angles right, aiming for one o'clock. GUNNER That's negative, no target. The DRIVER swings the wheel back and they continue slowly through the darkness. In the back seat, two NEW SOLDIERS peer into the night with blank faces. One of them is watching a huge plastic sign cartwheel past in the wind when - - he reacts! - as TODD'S face appears is only inches from his, right against the plexi! BAM! Before the NEW SOLDIER can do more than look startled, TODD shoots out the window with a pistol and shoves a live grenade through the hole. NEW SOLDIER RED! RED! RE - BAWHOOOM! The grenade EXPLODES and. The DRIVER fights for control of the wheel. The GUNNER screams and screams and screams like a machine running at high speed while the two NEW SOLDIERS lie open - eyed with death in the back seat.", "EXT.  CRAWLER No sign of TODD. Disappeared again. As the wind ROARS furiously, the damaged CRAWLER limps along.", "INT.  CRAWLER ONE The dying GUNNER is making awful noises while the DRIVER, eyes glazed, his face streaming with blood, maneuvers the vehicle slowly and cautiously, looking for the enemy. But all he sees through the cracked windshield is a shadowy world of wind - tossed debris.", "EXT.  JUNK TERRAIN Protected by a hunk of pipe, TODD crouches and watches the CRAWLER, his eyes glittering, his weapon ready. It's clear now that the tables are turned and he is the hunter as we.", "INT.  CORRIDORS - NIGHT EXPLOSIONS! SCREAMS! BAWHOOM! Another shell hits, beams splinter, dirt walls collapse. Eight - year old JOHNNY, alone and terrified, comes in to view around a corner. He's been separated from the others. JOHNNY DAD! DAAAAAAD! No answer. JOHNNY does n't know which way to go. The world's falling apart! WHUMP! The little warren of earthen corridors is shaken by another BLAST. Desperate, JOHNNY makes a left, away from the last blast and hurries down a collapsing corridor past doorways that reveal rooms with no ceilings where the wind HOWLS. It's obvious the shelling has been going on for a while. JOHNNY DAAAAAAAD! Just then, JIMMY PIG pops out of a doorway in front of him and and rushes toward him. JIMMY PIG GOTCHA! BA - WHOOM! Another shell collapses the corridor behind JOHNNY as JIMMY PIG grabs him and hauls him toward the door he emerged from, the Dining Commons.", "INT.  DINING COMMONS EMMA is ushering CHILDREN through a trap door in the floor into the root cellar as JIMMY PIG ushers JOHNNY into the room. JOHNNY Where's my father? Where's my father? JOHNNY looks around urgently. SANDRA is bandaging TOMMY'S arm while ELLEN, NATHAN, and WILL are huddling under a table in the most protected corner of the room. JIMMY PIG and JUDITH exchange a pained look as JIMMY PIG pushes JOHNNY toward SANDRA and the table. JIMMY PIG Johnny, get over under that table with Miss Sandra and Ellen and the others. Miss Judith, you better go on down the root cellar with Emma and help with the ones down there. JOHNNY Where's my mother? BAH - DOOOM! Another fierce CONCUSSION twenty yards away shakes dirt from the ceiling. ELLEN beckons from under the table. ELLEN Come on, Johnny.", "EXT.  SETTLEMENT - NIGHT MUZZLE FLASH! FFFWHOOOMP! CRAWLER TWO fires another round. The vehicle is squatting not thirty yards from the trench garden, pouring round after round into the colony, lighting the night with bright - colored flowery blasts. Crouched in the wind not far from the vehicle, the two NEW SOLDIERS from the back seat have set up a mortar, and they too are firing away.", "INT.  CRAWLER TWO/STATlONARY The GUNNER is looking through his scope, methodically aiming and firing as CAINE 607 at the wheel watches impassively. KA - FOOMP! Another shot, the vehicle rocks, and, five hundred yards away, fire and dirt fountain thirty feet into the air. BEEP! BEEP! A light on the dash blinks on. CAINE 607 switches on a radarscope, spots a blip. The GUNNER takes his eyes off the scope, looks at the blip. CAINE 607 is already manipulating a spotlight, looking across the GUNNER out the right window. The spotlight stabs the darkness, finds a moving vehicle a half mile of moving toward them. It's CRAWLER ONE with its lights out. As CAINE 607 flicks off the spotlight, the GUNNER turns back to the scope and resumes his deadly barrage. CAINE 607 speaks into the radio mike. CAINE 607 Crawler Two to Crawler One. Come in, One. RADIO One. CAINE 607 Two to one, take your port to our nine o'clock and commence firing. RADIO Copy, Two. Port to your nine and commence firing. FOOOMP! The GUNNER fires again, rocking the vehicle. CAINE 607 looks at the SCOPE. The blip continues on directly on its course. CAINE 607 picks up the mike again. CAINE 607 Crawler Two to Crawler One. Again ; proceed to port nine. RADIO Affirmative, Two. FOOOMP! The GUNNER fires again as CAINE 607 looks at the screen. The blip on the screen keeps on straight, does n't alter course! CAINE 607 -LRB- into the mike. -RRB- Two to One. You are still on twelve o'clock. Correct to nine. RADIO Roger. But the blip continues straight, directly at them. And suddenly CAINE realizes! Dropping the mike he snaps at his GUNNER urgently. CAINE 607 Gunner, hard to port, target hard to port! As the startled GUNNER starts to obey both of them are bathed in sudden, blinding white light as CRAWLER ONE suddenly switches on all lights and. KA - BLAM! KA - BLAM! MUZZLES FLASHES from CRAWLER ONE. WHUMP! WHUMP! CRAWLER TWO shudders, taking two direct hits. The GUNNER SCREAMS in pain.", "INT.  CRAWLER ONE TODD is at the wheel, speaking into the radio as wind whips at him through the shattered windshield. TODD Roger, Two. Affirmative. BLAM! BLAM! TODD fires as he drives straight ahead toward CRAWLER TWO and the two NEW SOLDIERS pinned in his headlight.", "EXT.  CRAWLER TWO As shells slam into CRAWLER TWO, the two NEW SOLDIERS outside try to get clear of the explosions, staggering off into the wind.", "INT.  CRAWLER ONE TODD sets his sights on one of the NEW SOLDIERS, cutting him down with rocket fire, then he glances toward the SECOND NEW SOLDIER on the right. The SECOND NEW SOLDIER, ten yards ahead, stops, turns to fire. TODD yanks the wheel, swerving toward him.", "EXT.  CRAWLERS CRAWLER ONE plows into the NEW SOLDIER, crushing him under the wheels, and continuing to grind toward the crippled CRAWLER TWO. WHAM! CRAWLER ONE rams CRAWLER TWO and drives it sideways, pushing it ten yards. twenty yards. thirty yards. until suddenly it sprawls into the mouth of the trench garden, splintering the trellis and wedging itself at a sharply canted angle over the garden, and we.", "INT.  CAPTAIN'S CABIN/\"DADDY\" - NIGHT Silence. CHURCH is dozing fully clothed on his bunk in a tiny stateroom. BZZZZT. BZZZZT! A buzzer sounds and a light flashes. CHURCH opens his eyes, sees the light flashing. Siting up in the bunk, he grabs the receiver of a phone and puts it to his ear. As he listens, his eyes widen with incredulity. then they get wider as he hears more. CHURCH Whaaaaat?", "INT.  CORRIDORS/SETTLEMENT - NIGHT Thick smoke clogs the narrow corridors as RED winds through the maze of corridors, coughing desperately. He can hear VOICES ahead.", "INT.  DINING COMMONS/SETTLEMENT RED charges into the commons, shouting excitedly. RED THEY STOPPED SHOOTING! THEY STOPPED SHOOTING! He stops abruptly, seeing. a blazing fire, whipped by wind from a shel hole in the ceiling, consuming tables in the far half of the commons. while JIMMY PIG, SLADE and SANDRA struggle with one end of a huge beam that's fallen at an angle on top of a trap door in the floor, the root cellar. ELLEN, with NATHAN in her arms, TOMMY, WILL, JOHNNY and OTHER CHILDREN hover behind her, staring at. a six inch opening between the floor and the trap door where EMMA, JUDITH and OTHER CHILDREN, unable to squeeze through the six inch gap, peer out with frightened eyes, trapped. RED -LRB- dampened. -RRB- They stopped shooting! JIMMY PIG -LRB- to Red. -RRB- Give us a hand, dammit! As RED joins the effort. SLADE snaps at him sarcastically as he strains against the heavy beam. SLADE You think. -LRB- grunt. -RRB- that's good they stopped? It means. -LRB- grunt. -RRB- they're comin' for us! To. -LRB- grunt. -RRB- kill us! That's good news, you think? SANDRA -LRB- looking for hope. -RRB- Sergeant Todd. -LRB- grunt, cough. -RRB- said. SLADE That he's gon na. -LRB- grunt. -RRB- stomp a whole army? Could n't if he wanted. The smoke is getting thicker. EMMA and JUDITH are coughing, looking scared. SANDRA He. -LRB- grunt. -RRB- knew them! He said - SLADE He's dead! If he is n't. -LRB- grunt. -RRB- dead, he joined'em. He do n't. -LRB- grunt. -RRB- care about us, he's a soldier. Besides, we threw him out, remember? SANDRA pushes at the beam with all her strength, fighting back tears of despair. SANDRA He's not dead! The massive beam wo n't budge! Eyes wide with terror, EMMA and RUTH peer out of their trap.", "INT.  COCKPIT/\"DADDY\" - NIGHT CHURCH is in the cockpit now, hovering behind RUBRICK who's speaking urging into the radio mike. RUBRICK This is Daddy, come in, Number Two. Daddy calling Number Two. CHURCH What about Number One? Try Number. RUBRICK I tried One. I ca n't get either one of them. SLOAN is pacing, looks sick to her stomach with fear. SLOAN There was. some kind of. guerilla action. RUBRICK Then we lost them. Now CHURCH is pacing back and forth, panicky, ranting. CHURCH You should have waked me sooner! This is bad, very bad. I never should have let that clown Mekum test his wonder boy army on me. `` If it ai n't broke, do n't fix it.'' Shit! We do n't even know what we're up against. How many? SLOAN We could n't get any figures on enemy troop strength. RUBRICK Not even estimates. CHURCH We're sitting ducks here! There could be a couple of divisions! More! We do n't even have the weapons to arm the old soldiers. RUBRICK -LRB- into the mike, desperately. -RRB- Hello. Hello, One. This is Daddy.", "EXT.  ABOVE THE TRENCH GARDEN The radio in CRAWLER TWO is still SQUAWKING urgently with RUBRICK'S VOICE as the crippled vehicle lies sprawled at a violent angle over the trench garden. RADIO -LRB- V.O. -RRB- This is Daddy! Come in, Crawler Two, come in. Nearby, A VOICE is crying out in pain in the night. Limping, TODD keeps his weapon ready as he searches out the sound. ANGLE ON THE INJURED SOLDIER, the one TODD crushed under the treads of the CRAWLER. He's screaming in pain. Looks up. TODD looms over the INJURED SOLDIER, weapon pointed. Their eyes meet. In agony, the SOLDIER looks into TODD'S eyes, nods ever so slightly. BLAM! BLAM! TODD fires point blank. Now the only sound is the ROARING of the WIND and the pathetic sound of RUBRICK continuing his desperate RADIO BABBLE.", "EXT.  INSIDE THE TRENCH GARDEN As the RADIO CHATTERS, burning debris from the CRAWLER canted over the garden illuminates the garden. and a BODY sprawled there, fallen from the CRAWLER above. BAM! KABAM! ROCKET FIRE!", "EXT.  ABOVE THE TRENCH TODD FIRES rockets into the damaged CRAWLER. until the RADIO CHATTER stops abruptly. RADIO killed dead.", "INT.  DINING COMMONS/SETTLEMENT - NIGHT The gap between the floor and the trap door has increased to ten inches, enough for EMMA and RUTH to squeeze an INFANT through to SANDRA'S reaching arms. Soaked with sweat, gasping and coughing in the thickening smoke, JIMMY PIG, SLADE and RED continue to strain at the beam. and it moves. Another inch! The fire is raging. The INFANT SQUALLS in SANDRA'S arms. SLADE snaps at her as he pushes on the beam. SLADE Get them kids. -LRB- grunt. -RRB- hid somewhere! There's soldiers coming. ELLEN and the CHILDREN look alarmed as SANDRA gathers them and ushers them toward the exit, glancing back toward the trap door as she's leaving. EMMA and RUTH meet her look with frightened eyes. Noticing SANDRA'S hesitation, JIMMY PIG reassures her. JIMMY PIG Do n't worry. Couple more inches and they're out. SANDRA and the CHILDREN exit. And suddenly! The beam slips back five inches, almost closing the opening. EMMA and JUDITH SCREAM! JIMMY PIG, RED and SLADE look alarmed, defeated.", "EXT.  ABOVE THE TRENCH GARDEN TODD walks away from the smoking bulk of the CRAWLER canted over the garden and drops into a traveling trench.", "EXT.  INSIDE A PASSAGE TRENCH Limping slightly, laden with weapons and still wearing his helmet, TODD starts along the trench in the direction of the settlement.", "EXT.  INSIDE THE TRENCH GARDEN In the shadows six feet below the overturned and smoldering CRAWLER TWO, the BODY stirs on the floor of the garden, barely visible in the flickering half light from the flames above. It's CAINE 607. He groans and stirs again. He's not dead! In fact, he's rolling over, struggling to his knees.", "INT.  DINING COMMONS The frightened eyes of EMMA, RUTH and CHILDREN peer from the four inch crack. Whipped by wind from the hole in the ceiling, the fire is spreading, the smoke is thick. JIMMY PIG, SLADE and RED are gasping with effort and coughing. SLADE gasps to RED. SLADE You know where Thomas keeps those two axes? Go get the axes. RED takes off at a run. JIMMY PIG -LRB- so Emma and Ruth ca n't hear. -RRB- We ca n't. -LRB- cough. -RRB- chop'em out. We do n't have time. SLADE Just as good. -LRB- gasp. -RRB- to die chopping as fighting.", "INT.  CORRIDOR RED rushes through a smoky corridor. Wherever shells have punctured the roof, the WIND whips debris about.", "EXT.  INSIDE THE GARDEN TRENCH Sitting up now, using a flashlight, CAINE 607 is examining a terrible gash in his thigh that reveals tissue and tendon. The right side of his face is also badly injured, flesh torn, swollen and distorted. He pulls the first aid kit from his utility belt, opens it, focuses the light on the contents. Selects a couple of pills. Swallows them. Considers. Takes two more. Pulls out a hypodermic needle, injects his leg. Takes another needle, stabs his bloody cheek. His eyes glitter as he feels the rush from the drug. He looks dangerous again in spite of his condition.", "EXT.  INSIDE THE PASSAGE TRENCH TODD reaches the settlement, enters a half collapsed doorway.", "INT.  SUPPLY ROOM RED is urgently rummaging through crowbars, coils of rope, sledge hammers. At last he finds two axes, grabs them and exits.", "INT.  CORRIDOR/SETTLEMENT TODD picks his way among collapsed walls, fallen timbers. He peers through doorways, sees CORPSES. Moves on. Searching.", "EXT.  INSIDE THE PASSAGE TRENCH Dragging a freshly bandaged leg, CAINE 607 makes his way along the trench toward the settlement. He's using the wall for support. but he seems to be getting stronger rather than weaker. His face is hideous.", "INT.  JUNCTION OF CORRIDORS Carrying two axes RED zips around a corner and freezes. RED'S POV of : A SOLDIER, seen from behind, moving down a smoky corridor, helmeted, heavily armed, dangerous looking, unidentifiable. ANGLE ON RED, terrified, waiting till the SOLDIER -LRB- TODD -RRB- has disappeared in the smoke. Then RED hurries on down another damaged corridor, axes in hand.", "INT.  OTHER DAMAGED CORRIDOR RED scoots around another corner and. stops short. an armored torso a foot in front of his face. Looking up, RED looks right into the distorted face of CAINE 607. Before RED can react, CAINE 607'S hand shoots out and snatches one of the axes. Astonished, RED backs up a step, and raises the other axe to defend himself. RED'S POV OF CAINE 607 looming toward him, axe in hand. ANGLE ON RED, turning and running. ANGLE ON CAINE 607 limping along, dragging his leg as RED disappears around a corner. CAINE 607 rounds the corner in pursuit. and see only smoke, no sign of RED.", "INT.  DINING COMMONS EMMA and JUDITH peer out from under the heavy metal trap door as JIMMY PIG and SLADE desperately try to move the beam using a piece of metal as a lever. SLADE This. -LRB- grunt, cough. -RRB- ai n't gon na work. Where's them axes? He musta run into soldiers and got killed. JIMMY PIG How do you know there's soldiers coming? SLADE'Cause soldiers. -LRB- gasp. -RRB- finish what they start - unless you stop'em. And we're what. -LRB- gasp. -RRB- they started, and we did n't stop'em! -LRB- shouts to Emma. -RRB- WE'RE GON NA GET YOU OUTTA THERE SOMEHOW! I SWEAR IT! Just then RED bursts into the room with a single axe, shouting. RED SOLDIERS! SOLDIERS! SLADE -LRB- grabbing the axe. -RRB- Only one axe? RED They took the other one! SLADE -LRB- chopping furiously. -RRB- Toldja. JIMMY PIG -LRB- to Red. -RRB- How many? RED I. I could n't. I could n't. count'em. Four, I think. Maybe five. SLADE -LRB- chopping. -RRB- More! Trust me! JIMMY PIG -LRB- grabbing the axe. -RRB- Turns. JIMMY PIG starts chopping furiously. SLADE picks up a rifle, hands it to RED. SLADE Do what you can. As RED looks at the rifle, alarmed, SLADE `` comforts'' him. SLADE They're gon na kill us anyhow. No point in surrendering. -LRB- grabbing the axe. -RRB- Turn! JIMMY PIG gasps for air as SLADE takes over chopping again. RED exits, worried.", "INT.  THE MEETING ROOM Huddled in a makeshift shelter of overturned furniture, with NATHAN asleep on her lap, SANDRA is reciting to ELLEN, WILL, TOMMY, JOHNNY, ANGIE, eight year old RAMON. SANDRA - sailed an a river of crystal light into a sea of dew. Where are you going and what do you wish the old moon asked the three. ` We've come to fish for herring fish.''' TOMMY What's a `` moon?'' JOHNNY I know what a moon is! It's. SANDRA -LRB- suddenly, urgently. -RRB- SHHHHHHH! SANDRA is reacting to vague movement in the shadows beyond the door. and sounds. She puts her hand over the mouth of a whimpering CHILD, hushes another. A timber falls outside the door and SANDRA sees a shadowy shape enter the meeting room, looming in the darkness. Frightened CHILDREN hold their breath, peer out fearfully. CRACK! SMASH! The huge shape hurls aside the debris in his way, switches on a flashlight, probes the darkness. The light wipes the damaged room. Suddenly, SANDRA gasps. SANDRA Oh, my God! It's. it's you! TODD maneuvers the flashlight beam, sees the frightened CHILDREN. SANDRA Are you. all right? TODD We should go, sir. SANDRA Go?", "INT.  CORRIDOR Peering into the smoke, RED reacts. RED'S POV of CAINE 607, obscured by smoke, crossing the corridor ahead, not seeing RED. ANGLE ON RED, summoning all his courage, raising his rifle, aiming. BANG! ANGLE ON CAINE 607 reacting, looking toward RED. ANGLE ON RED scared to death, firing again! And again! ANGLE ON CAINE 607 wrenching a heavy door from its hinges and holding it in front of him, shielding himself from RED's continuous shooting, advancing. ANGLE ON RED, firing again and again. and backing up. ANGLE ON CAINE 607 holding the door/shield as he advances on RED. Backing, RED trips, goes down flat on his back. CAINE 607, only six feet away, hurls the door at him. RED shoves the door aside, aims his gun up at CAINE 607, as the huge soldier looms over him. Before RED can pull the trigger, CAINE 607 snatches the rifle barrel and yanks the weapon out of RED'S hands. RED rolls, scrambles to his feet. And CAINE 607 clubs him to the ground with the butt of the rifle, crushes his skull with three brutal blows.", "INT.  ROOM TODD'S impassive face somehow reveals the alarm and awkwardness he feels at what's happening to him. TOMMY is seated on his shoulders, he's got NATHAN in one arm and JOHNNY is nervously looking up at him as he clutches at TODD'S huge free hand, and now a little girl, SARAH, clutches at his combat pants as SANDRA instructs her. SANDRA Sarah, you hang on to Sergeant Todd. No matter what happens! Clutching TODD's combat pants fiercely, SARAH looks up timidly at the big stonefaced man as SANDRA turns to ELLEN. SANDRA Ellen, go to the Commons. Tell Jimmy Pig and Mr. Slade that Sergeant Todd says we have to leave as soon as they get everybody out of the root - cellar. Can you do that? ELLEN -LRB- scared. -RRB- Uh, yes, ma'am. SANDRA It's all right. The soldiers are gone for now. But be careful where you walk. And if it's too smoky, just come back. SARAH -LRB- on her way out. -RRB- Yes, ma'am. SANDRA -LRB- calling after her. -RRB- Tell them to bring all the food and clothing they can carry. -LRB- turning to the children. -RRB- Do you all understand that Sergeant Todd here is going to help us, and whatever he says to do you must do immediately, as if he was your father or your mother. SARAH -LRB- tears. -RRB- He's not my father! ANGLE ON TODD'S stone face. Unfamiliar territory. SANDRA No. but he's our friend. Our good friend. Do you understand? Frightened faces look to the awkward `` killing machine.'' TODD looks like a statue decorated with CHILDREN. JOHNNY is sobbing as he hangs onto TODD's giant hand obediently. JOHNNY I want my father and my mother! Can he find where my father is? I want him to find my father! SANDRA No. No, he ca n't do that, but - A SCREAM! From the corridor! SANDRA freezes. TODD is alert, tense. and covered with CHILDREN. SANDRA turns and runs for the door as TODD starts to put the CHILDREN down. But he's awkward, slow, not his usual graceful self, trying to be gentle like a clumsy man handling breakables.", "INT.  CORRIDOR Bursting into the corridor, SANDRA sees ELLEN racing toward her, weaving through broken beams, SCREAMING as CAINE 607 lumbers after her out of the shadows. CAINE 607 does n't bother to avoid obstacles, shoving beams aside like twigs, dragging his bad leg. SANDRA Sergeant Todd! ELLEN dives into SANDRA's arms and SANDRA turns, only three steps ahead of CAINE 607, and rushes into the meeting room.", "INT.  MEETING ROOM TODD is just putting NATHAN gently on the floor when he sees CAINE 607 arrive in the doorway. For halt a second their eyes meet, then - CAINE 607 advances on TODD. Still encumbered by CHILDREN clutching at him, TODD sees his weapons, but ca n't get to them. Then it's too late! The terrified CHILDREN watch as the giant CAINE 607 clubs TODD mercilessly with the rifle butt, then hurls him backwards like a rag doll. Horrified, SANDRA sees TODD slam into a wall, slump to the floor. Dismissing TODD, CAINE 607 turns, looms toward the CHILDREN. SANDRA THEY'RE JUST CHILDREN! CAINE 607 ignores her, heads for ELLEN, dragging his bad leg. Spotting TODD'S weapons, SANDRA snatches a heavy rocket rifle, brings it up awkwardly, points it, FIRES! And the kick from the heavy gun sends SANDRA sprawling back, the weapon trembling from her hands. But the WHIZZING ROCKET, a near miss, gets CAINE 607's attention. He turns away from ELLEN, toward SANDRA. ANGLE ON TODD rising to his knees, blinking stupidly, trying to focus as blood pours into his eyes from a gash in his forehead. TODD'S POV, a vague, unfocused image of SANDRA, snatching a bayonet from TODD'S gear on the floor and lunging courageously at CAINE 607. Vaguely, TODD sees CAINE 607 parry her thrust effortlessly and grab her. As she beats at CAINE 607 bravely with her fists, the big man slams her into a wall brutally. As she crumples, he hits her again. ANGLE ON TODD struggling to his feet, staggering as he shakes his head to clear it. His eyes go to SANDRA, slumped against the wall, bloody. Terrified CHILDREN look up at CAINE 607 as he towers over them. Suddenly. SHTUNK! A knife blade suddenly sticks in CAINE 607's neck. CAINE 607 only flinches. and, as he YANKS the knife from his neck by the handle, he turns to see who threw the blade. WHAM! TODD slams into him, tackling him, driving his big shoulder deep into the new soldier's waist, slamming the big man hard into a wall. Air goes out of CAINE 607, the knife drops from his hand. But that's it for TODD's victory. Six - five, two - sixty, CAINE 607 is bigger and stronger than TODD. His powerful arms rip TODD off him like he's taking off a Band - Aid. Terrified, wide - eyed CHILDREN watch TODD hurled back across the room. TODD scrambles to his feet, shakes his head clear. Here comes CAINE 607, dragging his bad leg. TODD attacks! Combining a martial arts feint and lunge with a vicious kick! But 607 counters expertly, brushing aside the attack! TODD lunges again employing yet another skilled move. SMACK! CAINE 607 outmaneuvers TODD again, punishing him brutally. WHACK! WHAM! SMASH! CRUNCH! This time TODD jolts the bigger man with a terrible combination of moves, smashing him in the Adam's apple, kicking him in the knee, driving an elbow into the jaw. This time it's CAINE 607 who has to back away to recover. And now he seems to re - consider TODD, revealing for the first time a genuine respect. As their eyes meet, CAINE 607 seems to be saying `` All right then, you're serious, let's do it, fella.'' TODD lunges. SMASH! CAINE 607 creams him. TODD twists, slams CAINE 607 back. BASH! A fist to the face! UMMMMMPH! A knee in a groin! SLAM! A head against a wall! VIDEO SCREEN/COCKPIT / `` DADDY'' - NIGHT His face tanned from his Caribbean vacation, his image blurred and distorted by transmission, MEKUM'S VIDEO IMAGE stares incredulously from the snowy video monitor in the cockpit. MEKUM/VIDEO SCREEN You ca n't be serious! This is some kind of a joke. in poor taste. As SLOAN and RUBRICK look on uneasily, an indignant CHURCH addresses the image on the screen. CHURCH Not only are we apparently out twenty of your fancy new soldiers, your supermen, we're out both crawlers and all the weapons. so we ca n't arm the old soldiers, the ones you `` improved'' on, to defend ourselves. SLOAN -LRB- panicky, blurting at the screen. -RRB- We've got to get out of here, Colonel Mekum! CHURCH flashes a scowl at SLOAN as, on the screen, MEKUM erupts excitedly. MEKUM/VIDEO IMAGE Abort? You want to lose twenty top soldiers to a phantom army and then abort the mission? Do you know what that would look like on my record? Or yours? We'd be explaining it for the next fifty years from some goddam assignment in God knows where, we'd - CHURCH -LRB- interrupting sharply. -RRB- Well, how's it gon na look when we lose the ship too? How's that gon na look on the old record?'Cause that's what's gon na happen if we do n't get our ass outta here. We ca n't defend ourselves with no weapons and - MEKUM/VIDEO IMAGE -LRB- fighting his own panic. -RRB- Hold on, hold on there, Captain! At ease! Let's calm down and remember. remember we're soldiers. CHURCH -LRB- sarcastic. -RRB- Good plan, Colonel. MEKUM/VIDEO IMAGE -LRB- moving on, improvising. -RRB- Now we ca n't just get the shit kicked out of us by an unknown guerilla army. But maybe we could. alter. our objective. CHURCH Meaning? MEKUM/VIDEO IMAGE Nuke the joint. and get out! Delighted with his own genius, MEKUM smiles triumphantly from the video screen as RUBRICK, SLOAN, and CHURCH exchange stunned looks and we.", "INT.  MEETING ROOM - NIGHT WHUMP! TODD's bloodied head is slammed on the floor. His eyes are almost swollen shut as he looks up at CAINE 607 kneeling on top of him. Both men are bloody and exhausted their breath coming in gasps, but it's CAINE 607 who's on top, beating the last bit of resistance out of TODD who struggles desperately one more time. before he slumps unconscious. Horrified, NATHAN sees CAINE 607 smash the unconscious TODD with the last of his strength, `` finishing him off.'' NATHAN ca n't stand it. He toddles toward CAINE 607, who's still on all fours, and attacks, his tiny fists raining blows on the amazed monster's bloody face. The frightened CHILDREN see CAINE 607 ignore NATHAN's ineffectual blows and struggle with enormous effort to his feet. Once standing, he looks down at NATHAN beating at his knees. For a moment he's confused. What's this? Then he sees the frightened CHILDREN and orients himself. When he looks down at NATHAN again, tiny NATHAN is an enemy as good as dead. One blow and. But just then big hands close around CAINE 607's ankles, tackling him. As the giant topples, TODD lets go of the ankles and crawls on top of the fallen man. As CAINE 607 looks up into TODD's fierce face, the fight goes out of his eyes. He knows he's beaten, he knows TODD will never quit. He's helpless as TODD grips him in a terrible hold and as TODD puts the pressure on, CAINE 607 whispers. CAINE 607 It hurts! TODD -LRB- sympathetic. -RRB- I know. SNAP! TODD breaks CAINE 607's neck and watches the life go out of him. In the sudden silence as TODD, panting, stares at his defeated enemy, he hears a VOICE. her VOICE. very weak. SANDRA Sergeant. TODD turns and sees SANDRA slumped against the wall where Caine 607 threw her. There's a trickle of blood coming from a nostril, more blood in her hair. Her eyes do n't look right. SANDRA Nathan! TODD sees NATHAN looking at his mother with fear in his eyes. Struggling to his feet, TODD picks up NATHAN and puts the boy down close to his mother. SANDRA reaches out and takes NATHAN's hand. She holds NATHAN's hand toward TODD. TODD looks confused. There are tears in SANDRA's eyes as she pushes NATHAN's little hand into TODD's huge left paw. TODD looks down at the joined hands, then he looks into SANDRA's flooded eyes. Does TODD understand her gesture? His face is impassive. Maybe he does n't. Just then a hand touches his shoulder. TODD turns to see JOHNNY face him, trembling but valiant, to ask the question the others are fearful of asking. JOHNNY S - sir. sir, are you our friend? -LRB- indicating Sandra. -RRB- Sh - she said you were our friend. TODD sees all the CHILDREN looking at him, their eyes big with hope and fear as we.", "INT.  DINING COMMONS Blackened with soot, JIMMY PIG still has the axe in his hand as SLADE manages, with a supreme effort, to hold the door of the root cellar up enough to allow EMMA and JUDITH to push the FOUR CHILDREN out of the cellar and then to scramble after them. Exhausted, SLADE lets the door fall back, picks up his rifle and turns toward the exit. And freezes. Dumbfounded. Standing in the doorway is TODD, laden with CHILDREN, on his shoulders, in his arms, surrounding him, clutching at his garments. SLADE You! JIMMY PIG Thank God!", "INT.  CORRIDOR/\"DADDY\" - NIGHT CRUDE LETTERS scrawled on the metal skin of the bomb say `` LOVE FROM DADDY.'' The heavy bomb is lugged along a long narrow corridor. SLOAN -LRB- O.S. -RRB- Well, Riley, you wanted a weapon, right? Now you got one! A real biggee! We see that RILEY and three other VETERANS - GREEN, CHESLEY, and MOORE - are struggling to maneuver the heavy bomb along the narrow corridor and down a ladder hatch as SLOAN follows on their heels and CHURCH and RUBRICK, fretting, follow her. RUBRICK What good'll it do just setting it outside? We do n't know where the enemy is. CHURCH Does n't matter. For once Mekum's on the ball. This is a very dirty bomb! That wind will churn the radioactivity around like soap in a washing machine. This is gon na be one clean place in a very short time.", "INT.  BOWELS OF THE SHIP - NIGHT THE TIMER on the bomb CLICKS into action, ticking off seconds and blurring off the tenths. ANGLE ON SLOAN, punching a code into the device as she addresses the four VETERANS. SLOAN Okay, fellas, take it about a hundred yards, then get back on the double. unless you wan na fry. RILEY, his face impassive, opens a hatch, revealing the darkness outside where the wind SCREAMS. As RUBRICK and CHURCH watch, the four VETS stagger into the darkness with the bomb, RUBRICK has to shout to CHURCH to be heard over the wind outside. RUBRICK THIRTY MINUTES IS AWFUL TIGHT! WE HAVE TO LAUNCH AND GET CLEAR OF THE ATMOSPHERE. CHURCH IT'S ENOUGH. IF WE LEAVE MORE THAN ENOUGH, THE ENEMY MAY GET CLEAR SOMEHOW AS WELL. As SLOAN shuts the hatch, she checks her watch.", "EXT.  SPACESHIP/\"DADDY\" Carrying the heavy bomb in a sling, RILEY, CHESLEY, MOORE, and GREEN stagger past the work - lights into the darkness while the wind rages around them. Holding the sling one - handed, GREEN is illuminating the ground ahead with a flashlight.", "INT.  COCKPIT/\"DADDY\" Flick! Flick! Flick! Flick! SLOAN is flicking switches as RUBRICK reads off a check list and she responds to each item on the list with `` Roger.'' CHURCH is punching buttons on the control console, causing lights to light up reading `` Port Power Cluster,'' `` Starboard Power Cluster,'' `` Vertical Stabilizer Unit,'' and so on.", "EXT.  TERRAIN Darkness! Buffeted by the wind, RILEY and his COMPANIONS lower the bomb to the ground and release it gently. They're just turning to go back, fighting the wind, when RILEY senses something. He takes the light from GREEN and points it. The four VETERANS axe astonished at what they see. CRAWLER ONE, battered and motionless, is abandoned only ten yards away. The flashlight beam probes the blown out windshield, the scarred chassis, pans across the back seat. and pans back urgently, glimpsing tiny EYES. The EYES disappear behind the back seat. RILEY, CHESLEY, GREEN and MOORE exchange glances. The light probes again, this time revealing the frightened faces of CHILDREN cowering in the back seat, hiding from the wind. Suddenly RILEY whirls. Out of the darkness beside him, TODD looms. RILEY looks into the face of a man he saw killed! TODD has a CHILD in each arm and another hanging on to his leg for dear life. He's wearing the scarf Jimmy Pig gave him. In the shadows behind TODD, JIMMY PIG, SLADE, EMMA, JUDITH and more CHILDREN are watching anxiously. RILEY's stone face comes as close to expression as it ever will. astonishment! The other VETERANS stare too, amazed. Suddenly RILEY gives TODD a smart military salute. ANGLE ON JIMMY PIG and SLADE exchanging a look of wonder. What's going on here? They have n't a clue! And we.", "INT.  COCKPIT/\"DADDY\" - NIGHT The countdown clock is TICKING away, showing ten minutes, as CHURCH, RUBRICK, and SLOAN complete their pre - launch prep. CHURCH Right horizontal? RUBRICK Roger. Right horizontal checks green. CHURCH relaxes, looks up at the clock, satisfied. CHURCH All right we're `` go.'' I'm allowing us three minutes to clear the atmosphere and get out of range. That means we can wait seven more minutes. SLOAN Fuck'em! Let's just go! RUBRICK She's right! Four more casualties are n't gon na mean anything to anybody, especially when they're already obsolete. CHURCH considers for a moment, then shrugs. CHURCH I guess they would n't want to get old anyway. -LRB- to Sloan. -RRB- Go ahead, lock the hatch. -LRB- to Rubrick. -RRB- Rube, punch up the port power cluster and - SLOAN -LRB- interrupting urgently. -RRB- What was that? CHURCH Huh? What was what? SLOAN Sssshhhh! Listen! SLOAN is listening intensely. All they hear is the HUM of the air system and miscellaneous WHITE NOISE. CHURCH and RUBRICK exchange a glance and are about to speak when they all hear it. A sound like a CHILD CRYING somewhere in the ship! All three of them stare at each other in utter amazement. RUBRICK It sounds. SLOAN Like a kid! Just then they hear it again, closer. CHURCH frowns. What the fuck?", "INT.  BUNKS/\"DADDY\" - NIGHT - MOMENTS LATER EMMA, JUDITH, SLADE and JIMMY PIG are settling most of the CHILDREN in the cramped crew quarters, pulling off hats and coats, when a COMMOTION causes them to look toward the open door to the corridor in time to see. a glimpse of RUBRICK being shoved roughly along the corridor by MOORE, his loud protests clearly audible. RUBRICK Are you crazy? You ca n't do this, soldier! You're going to be in trouble. Then, as RUBRICK is pushed out of view, CHURCH appears, indignant and panicky, as CHESLEY hustles him past. CHURCH I'm your superior officer, do n't you understand that? ANGLE ON THE PIONEERS, exchanging glances.", "INT.  CORRIDOR/\"DADDY\" As CHESLEY shoves him along, CHURCH continues to protest. CHURCH Do n't you realize you're violating the chain of command? I'm giving you a direct order to. to. to. CHURCH breaks off, suddenly speechless at the sight ahead of him. Here comes TODD, laden with more CHILDREN, the tattoo on his cheek clearly visible. His eyes meet CHURCH'S. CHURCH S - sergeant? S - sergeant T - todd? It. You! How? How? Weak at the knees, CHURCH is still stammering as CHESLEY shoves him ahead. And then SLOAN, in the grip of GREEN, is hustled by. She looks wide - eyed at TODD and the CHILDREN. SLOAN Sergeant Todd!", "INT.  BOWELS OF THE SHIP - NIGHT - SECONDS LATER RUBRICK, CHURCH, and SLOAN are still protesting as the VETERANS hustle them down the ladder toward the main hatch. RUBRICK Listen, you do n't understand! That bomb is triggered! It's on a timer! CHURCH We have to get out of here! All of us! You need us! You need us to operate the ship. SLOAN YOU'RE FUCKING MORONS! CA N'T YOU DIMWITS GRASP THAT YOU'RE KILLING US ALL! YOU'RE KILLING YOURSELVES! THERE'S ONLY A FEW MINUTES LEFT! RUBRICK NO! NO! NO! RUBRICK is shoved out the door into the night!", "EXT.  SPACESHIP/\"DADDY\" - NIGHT RUBRICK desperately clutches at the hatch entrance as the savage wind tears at him. but he ca n't hold on. As SLOAN and CHURCH are shoved out the hatch, they see RUBRICK blown off into the night, screaming. CHURCH DOWN! LIE DOWN! FLAT! And CHURCH dives for the ground as the wind tumbles him. SLOAN does the same thing as the hatch door slams behind them, shutting them out of the ship. SLOAN NO! NO! NO! PLEASE! NO!", "INT.  COCKPIT/\"DADDY\" - NIGHT The countdown clock shows four minutes and twenty seconds as it CLICKS off the seconds. Their soldier faces inscrutable, TODD and RUBRICK consider the various lights winking on the control panel. RILEY points to a row of switches and looks at TODD. Their eyes meet. TODD considers the switches, then nods. RILEY throws the switches. A row of red lights goes on and the ship seems to hum with life. Still communicating wordlessly, TODD points to another switch, RILEY throws it!", "EXT.  SPACESHIP/\"DADDY\" BLAST OFF! Big engines belch fire, illuminating the bleak landscape as the ship rises into the night. Brightly lit by the ignition, SLOAN, still on her belly, sees the ship taking off. SLOAN OH, MY GOD! OH, MY GOD! CHURCH THERE IT IS! I SEE IT! The bomb is clearly visible ten yards away in the dying glow of the takeoff. CHURCH bumps madly along the ground on his belly.", "EXT.  SPACESHIP/\"DADDY\" The NAF ship `` Daddy'' climbs off into space, getting smaller and smaller, the light from the takeoff diminishing.", "EXT.  THE BOMB/TERRAIN The countdown timer on the bomb is faintly visible in the dying light. It reads twenty seconds. CHURCH -LRB- V.O. -RRB- Twenty seconds. Hurry. CHURCH and SLOAN are hunched desperately over the bomb in near darkness, the wind tearing at them. SLOAN tries to punch a code into the keys. SLOAN Oh, my God, I ca n't remember if it's six - seven or seven - six. CHURCH Try one! Try it! SLOAN punches the keyboard blindly. SLOAN There! I did it! Did it stop? Did it -? BAHWHOOOOOOOOOOOOOOOOM! Everything is dazzling, blinding light!", "INT.  COCKPIT/\"DADDY\" White light from the blast briefly floods the cockpit as TODD and RILEY stare at the video monitor where MEKUM'S VIDEO IMAGE is babbling frantically. MEKUM/VIDEO IMAGE I need a report, Captain. It's not just my ass, it's yours too! You've got to stand by me on this. I want you to come in right now. right now! Do you understand me? Right now! RILEY turns to TODD, looking a question at him. TODD meets his look and no words are necessary. RILEY reaches for the control switch as MEKUM continues babbling. MEKUM/VIDEO IMAGE This is important for all of us, for our careers. There's going to be a Board of Inquiry and - MEKUM'S IMAGE cuts out mid - babble. SLADE'S VOICE -LRB- O.S. -RRB- That was the boss, huh? TODD and RILEY turn to see SLADE in the entrance to the cockpit addressing TODD and the VETERANS collectively. SLADE Well then, I guess you fellas are all right. I guess I misjudged you some. Where I said you were `` a buncha no good killer robots,'' I mighta just overspoke myself. As of now, till it goes otherwise, you got my sincere approval and support. With that, SLADE turns and exits. TODD looks at RILEY, RILEY looks at TODD. What the fuck was that?", "INT.  CORRIDOR/\"DADDY\" - NIGHT NATHAN wobbles along an empty corridor, stumbles, catches himself on a wall, keeps going. He passes a doorway, peers in, sees two SOLDIERS working at a console like robots. They do n't look up. NATHAN keeps going, toddling toward a hatchway.", "INT.  COCKPIT/\"DADDY\" Entering, NATHAN moves among the legs of big men, VETERANS. NATHAN keeps going. Then, backing against a wall, he looks up and VETERANS loom past him with blank faces. He is alone again. NATHAN totters onward. CLOSE ANGLE ON CHARTS, the same ones Church had on Christmas Eve, showing tiny dots in a vast sea of space. TODD and RILEY are poring over them, their eyes considering dot after dot. Finally, TODD points to a dot and looks a question at RILEY. RILEY considers the dot for a long moment. then he looks TODD in the eye. RILEY Cold. TODD looks back at the dot, considers it, looks back at RILEY. TODD Air? RILEY nods a yes. TODD is thoughtful. finally asks the next question. TODD Safe? RILEY -LRB- nodding yes. -RRB- But very cold. TODD considers the dot on the map again, then looks at RILEY. TODD That one. RILEY Aye, aye, sir. RILEY turns toward a console, but something makes him look down toward his feat. Then he looks back at TODD. TODD follows the look. Tiny NATHAN is looking up at TODD who's towering over him. TODD looks down without expression, the scarf from Jimmy Pig still wrapped around his neck. NATHAN puts his arms out to be picked up. TODD considers the outstretched arms. RILEY looks from TODD to NATHAN and back to TODD. What's this? TODD hesitates a half second more, then leans down and picks NATHAN up in his arms, lifting the boy to his chest. RILEY looks on. Never seen anything like it. NATHAN is close to TODD's face, looking right into it, trying a little smile, a nervous one, looking for a response. TODD hesitates, takes a breath, moves the muscles of his face. All he can produce is an awkward grimace, the distortion of a smile, almost comical. NATHAN reads the intention successfully. His face collapses into a huge friendly grin. TODD tries again, making a clumsy sort of rubbery wince. RILEY watches. Totally amazed. TODD turns, takes NATHAN to a porthole, puts his face up to it. NATHAN stares out at the darkness punctuated by a billion stars, a sky full of hope. As NATHAN looks out, TODD works his face again, trying for a smile the way a weak man might try to lift a heavy weight. NATHAN looks at the stars outside, TODD looks with him and suddenly TODD's face relaxes into an awkward grin, almost by accident. RILEY watches the two of them for a moment, confounded by what he's seeing. Then he turns to the console and. THE CLOSING CREDITS ROLL. THE END"], "labels": [1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 1.0, 0.0, 1.0, 0.0, 1.0, 0.0, 1.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 0.0, 1.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 1.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0, 1.0, 0.0, 1.0], "summary": "In 1996, as part of a new military training program, orphaned infants are selected at birth and raised as highly disciplined soldiers dedicated to a wholly military routine. They are trained to be ruthless obedient killers without any moral code of conduct, and any deemed physically or mentally unworthy are executed. Survivors of the training program are turned into impassive, dedicated fighting machines with no exposure to or understanding of the outside world. In 2036, at the age of 40, Sgt. Todd 3465 is a battle-hardened veteran and the best soldier of the original 1996 infants. Colonel Mekum, the leader of the original project, introduces a new group of genetically engineered soldiers, designed with superior physical attributes and a complete lack of emotion except unparalleled aggression. Captain Church, the commander of Todd's unit, insists on testing the abilities of the new soldiers against those of his proven older ones. The new soldiers outperform the old soldiers in every way. In a combat exercise held at the top of climbing chains, a new soldier, Caine 607, easily defeats two of the original soldiers before Todd gouges out Caine's eye. Caine knocks Todd from the top of the chains; though he is presumed dead, the body of another dead soldier actually cushioned his fall and he is simply stunned and knocked unconscious. Mekum classifies it as a training exercise gone wrong and orders their bodies disposed of like garbage. Declared obsolete by Mekum, the remaining older soldiers are removed from combat duty and demoted to menial unarmed support roles. Dumped on Arcadia 234, a waste disposal planet, an injured Todd limps toward a colony whose residents crash-landed there years earlier; as they were believed dead, no rescue missions have been attempted. Todd is found and sheltered by Mace, and he and his wife Sandra help nurse Todd back to health. Rarely speaking himself, Todd develops a silent rapport with their mute son, Nathan, who had been traumatized by a snakebite as an infant. He looks upon the happy, loving family with yearning in his eyes; having never considered sexuality before, he also has confusion concerning an attraction to Sandra. Though they try to make him feel welcome, Todd has difficulty adapting to the community and their conflict-free lives due to his extremely rigid conditioning. When Nathan silently looks to him for defense against a coiled snake, Todd attempts to show Nathan how to protect himself. Nathan's parents intervene and disapprove of the lesson, unsure of how to deal with the silent soldier. Todd's increasing disorientation by exposure to peaceful civilian life manifests into flashbacks of his time battling other enemy soldiers - and killing civilians who were in the way. With Todd's mind deep inside one of his more violent memories, one of the colonists surprises Todd, who nearly kills him. Fearful, the colonists expel Todd from the community. Having been rejected by every society he has known - the military and the refugee civilians - Todd shows strong emotion for the first time; overcome by the loss, he quietly cries. A short time later, Mace and Sandra are almost bitten by a snake while they sleep, but Nathan uses Todd's defensive technique and saves them. Now understanding the value of Todd's lesson, Mace leaves to bring him back, regardless of the opposition of the colonists who fear him. Mekum and the new soldiers arrive on the garbage planet to garner them combat experience. Since the world is legally listed as 'uninhabited', Mekum declares the colonists as 'hostiles', to be used as the targets, much to the disapproval of Captain Church. Just after Mace finds Todd and apologizes, the soldiers spot them and open fire. Todd survives but Mace dies from the attack. Though out-manned and outgunned, Todd's years of battle experience and superior knowledge of the planet allow him to return to the colony and kill the advance squad. Nervous that an unknown enemy force may be confronting them, Colonel Mekum orders the soldiers to withdraw and return with heavy artillery. Using guerrilla tactics, Todd outmaneuvers and kills all the remaining soldiers. Caine 607 is wounded and uses painkillers and performance enhancing stimulants to attack Todd in vicious hand-to-hand combat, but he is ultimately defeated by Todd's experience and clever tactics rather than mere physical prowess. Todd confronts Mekum over the radio, declaring his new soldiers obsolete. Panicking, Mekum orders Todd's old squad to set up and activate a portable nuclear device powerful enough to destroy the planet before commanding the ship to lift off and leave the squad behind. When Captain Church objects to the abandonment of the old soldiers, Mekum shoots him in cold blood. Todd finds his old squad and they silently side with him over the army that has discarded them. They take over the ship, evacuate the remaining colonists and leave Mekum and Church's aides on the planet. In an attempt to disarm the nuclear device, Mekum accidentally sets it off, killing himself and the aides. The ship escapes the shockwave and sets course for the Trinity Moons, the colonists' original destination. When Nathan enters the control room and reaches for Todd, he picks up Nathan and points to their new destination while looking out upon the galaxy.", "name": "Soldier_(1998_American_film)"}
{"scenes": ["INT. GRUBBY HOTEL CORRIDOR - DAY (DIMLY LIT) A woman's face BACKS INTO SHOT, her head resting against grimy wallpaper. She is tense, sweaty, wide - eyed with concentration. This is CLARICE STARLING, mid - 20's, trim, very pretty. She wears Kevlar body armor over a navy windbreaker, khaki pants. Her thick hair is piled under a navy baseball cap. A revolver, clutched in her right hand, hovers by her ear. She raises a speedloader, in her left hand, locks it into her cylinder, twists and reloads. CLOSE ON A guest room door, with a small, wired pack attached to its knob. Suddenly, wish a sharp CRACK! , the knob explodes, and the door bursts open. WITH CLARICE - MOVING SHOT as she runs around a corner, through a cloud of smoke. She shoulders aside the shattered door and rushes inside, gun at the ready in both hands.", "INT. HOTEL ROOM - DAY CLARICE'S POV - MOVING - as she first sees, sitting on the edge of a bed - a FEMALE HOSTAGE. Black, late 20's, gagged, hands behind her back. Then, SWIVELLING. she sees a startled MALE SUSPECT, white, mid - 20's, standing by a window with a rifle in his hands. He is turning towards her. Clarice drops into a combat crouch, gun extended, and shouts. CLARICE Freeze! FBI! CLARICE'S POV - SLOW MOTION all natural SOUND suspended - as the Suspect faces her with a strange, pleading expression. The rifle is rising in his hands, but oddly enough, it is held across his chest, not pointing. Then another puzzling detail registers. THE SUSPECT'S HANDS are taped to his gun, away from the trigger ; he could n't use it even if he tried. Suddenly we hear a metallic CLICK, which registers with unnatural amplification, as - Clarice reacts, drops to the floor, rolling sideways, and - THE `` HOSTAGE'' pulls a revolver out from behind her back, still in SLOW MOTION, raising it in her untied hands. She fires repeatedly, flames leaping from the muzzle ; the SOUND is an echoing roar in these close quarters, but - Clarice has come up on one knee, beside an armchair, and is already firing back herself, two quick SHOTS, which send - THE `` HOSTAGE'' pitching over the bed, backwards, to shudder and lie still in a haze of gunsmoke. Clarice rushes to her, clamping one knee down on her gun hand, still keeping her covered in case of movement. HOLD for a few beats. then we hear the shrill blast of a WHISTLE from somewhere, off screen, as normal ACTION and SOUND are restored. BRIGHAM -LRB- O.S. -RRB- Okay, people, good exercise. Clarice relaxes, lowering her gun. The lights brighten. PULLING BACK we see that we're in some sort of auditorium, with the `` hotel room'' and its `` corridor'' built as a training set. JOHN BRIGHAM walks onto this set, thumbing a stopwatch. Mid - 40's, ex - Marine. His T - shirt's lettering says `` Firearms Instructor / FBI Academy.'' BRIGHAM Starling's reaction time was excellent. Let's break. Critique in five. A class of about forty young FBI trainees, of both sexes, begins to rise from their seats, mingling and chatting. Clarice nods amiably to the `` Suspect'', then gives her `` Hostage'' a hand up. It's ARDELIA MAPP, her roommate. Her broad, clever face breaks into a big smile, as they both remove ear plugs. Clarice's voice has just a soft trace of southern accent. ARDELIA Damn, Clarice, how'd you make me? CLARICE -LRB- indicating her gun. -RRB- Never cock. Just squeeze. ARDELIA -LRB- grins. -RRB- I love it when you talk dirty. As Brigham joins them, Clarice ca n't resist a star pupil's little smile of pride. He frowns good - naturedly. BRIGHAM What're you laughin' at, Junior G - Man? She got off four rounds to your two. He takes out a steel - coiled grip flexer, drops it onto her palm. BRIGHAM -LRB- continuing. -RRB- One hundred reps, each hand, every day. Now tidy up, the Section Chief wants to see you. He nods a direction, then moves off. Clarice, with her smile finally fading, looks out into the auditorium. SPECIAL AGENT JACK CRAWFORD sits on the top step of the aisle, looking down at her. He is 53, strongly built. He rises impassively, exits through the back door. He carries a think manila envelope under one arm. Ardelia who is helping Clarice unbuckle her bullet - proof vest, follows her worried gaze. CLARICE What'd I do? ARDELIA Stay cool. Just remember to call him `` God.''", "EXT. FBI ACADEMY GROUNDS, QUANTICO, VIRGINIA - DAY Crawford is watching a group of trainees on the firing range, as Clarice joins him. He looks tired, haunted. Between master and student, we sense a subtle, muted tug of sexuality. CRAWFORD Starling, Clarice M., good morning. CLARICE Good morning, Mr. Crawford. CRAWFORD Your instructors tell me you're doing well. Top quarter of the class. CLARICE I hope so. They have n't posted anything. CRAWFORD A job's come up and I thought about you. Not really a job, more of - an interesting errand. Walk me to my car, Starling. They begin to cross the academy grounds. A group of trainees jogs by, in matching sweats, following a p.e. coach. CRAWFORD We're trying to interview all of the serial killers now in custody, for a psychobehavioral profile. Could be a big help in unsolved cases. Most of them have been happy to talk to us. They have a compulsion to boast, these people. Do you spook easily, Starling? CLARICE Not yet. CRAWFORD You see, the one we want most refuses to cooperate. I want you to go after him again today, in the asylum. CLARICE Who's the subject? CRAWFORD The psychiatrist - Dr. Hannibal Lecter. Clarice stops walking, goes very still. A beat. CLARICE The cannibal. Crawford does n't respond, except to study her face. CLARICE Yes, well. Okay, right. I'm glad for the chance, sir, but - why me? CRAWFORD You're qualified and available. And frankly, I ca n't spare a real agent right now. He walks on again, at a faster clip. She hurried to keep up. CRAWFORD I do n't expect him to talk to you, but I have to be able to say we tried. Lecter was a brilliant psychiatrist, and he knows all the dodges. -LRB- hands her the manila envelope. -RRB- Dossier on him, copy of our questionnaire, special ID for you. If he wo n't talk, then I want straight reporting. How's he look, how's his cell look, what's he writing? The Director himself will see your report, over your own signature - if I decide it's good enough. I want that by 0800 Wednesday, and keep this to yourself. They're reached his car. His driver stamps on a cigarette, climbs in behind the wheel. BURROUGHS, his assistant, says something into a walkie - talkie, then opens the back door. But Crawford pulls her aside, a hand on her shoulder. His intensity is scary. CRAWFORD Now. I want your full attention, Starling. Are you listening to me? CLARICE Yes sir. CRAWFORD Be very careful with Hannibal Lecter. Dr. Chilton at the asylum will go over the physical procedures used with him. Do not deviate from them, for any reason. You tell him nothing personal, Starling. Believe me, you do n't want Hannibal Lecter inside your head. Just do your job, but never forget what he is. CLARICE -LRB- a bit unnerved. -RRB- And what is that, sir? CHILTON -LRB- V.O. -RRB- Oh, he's a monster. A pure psychopath.", "INT. CHILTON'S OFFICE - BALTIMORE STATE HOSPITAL FOR THE CRIMINALLY INSANE - DAY CLOSE ON an ID card held in a male hand. Clarice's photo, official - looking graphics. It calls her a `` Federal Investigator.'' CHILTON -LRB- O.S. -RRB- It's so rare to capture one alive. From a research point of view, Dr. Lecter is our most prized asset. DR. FREDERICK CHILTON looks up from her card. A smarmy little peacock, behind a vast desk ; he's conceived an instant, hopeless letch for Clarice. He smiles, stroking her card with his beloved gold pen. CHILTON You know, we get a lot of detectives here, but I must say, I ca n't ever remember one so attractive. NEW ANGLE - REVEALS CLARICE now wearing a more feminine skirt suit. Hair neatly coiled, elegant shoulder bag, briefcase. He has rudely left her standing. CHILTON Will you be in Baltimore overnight? Because this can be quite a fun town, if you have the right guide. Clarice tries, unsuccessfully, to hide her distaste for him. CLARICE I'm sure it's a great town, Dr. Chilton, but my instructions are to talk to Lecter and report back this afternoon. CHILTON -LRB- pause, sourly. -RRB- I see. -LRB- beat. -RRB- Let's make this quick, then. I'm busy.", "INT. ASYLUM CORRIDOR - UPPER FLOOR - DAY Clarice flinches as a heavy steel gate CLANGS shut behind her, the bolt shooting home. Chilton walks ahead of her. CHILTON Lecter carved up nine people - that we're sure of - and cooked his favorite bits. We've tried to study him, of course - but he's much too sophisticated for the standard tests. And my, does he hate us! Thinks I'm his nemesis. Crawford's very clever, is n't he? Using you. CLARICE How do you mean, Dr. Chilton? CHILTON A pretty young woman, to turn him on? I do n't believe Lecter's ever seen a woman in eight years. And oh, are you ever his `` taste'' - so to speak. CLARICE I graduated magna from UVA, Doctor. It's not a charm school. CHILTON Good. Then you should be able to remember the rules.", "INT. DIFFERENT CORRIDOR - LOWER FLOOR - DAY A darker, even grimmer area. Heavy grids over the lights. Distant SLAMMINGS and faint, hoarse SHOUTS. They walk briskly. CHILTON Do not reach through the bars, do not touch the bars. You pass him nothing but soft paper - no pens or pencils. No staples or paperclips in his paper. Use the sliding food carrier, no exceptions. Do not accept anything he attempts to hold out to you. Do you understand me? CLARICE I understand. CHILTON I'm going to show you why we insist on such precautions. On the afternoon of July 8, 1981, he complained of chest pains and was taken to the dispensary. His mouthpiece and restraints were removed for an EKG. When the nurse bent over him, he did this to her. He hands Clarice a small, dog - eared photo. Looking at it, she is stopped in her tracks. This pleases Chilton. CHILTON The doctors managed to re - set her jaw, more or less, and save one of her eyes. His pulse never got over eighty - five, even when he ate her tongue. -LRB- pauses, he smiles. -RRB- I keep him in here. He turns, pushes a button. A steel door BUZZES slowly open, and BARNEY - a big, impassive orderly - awaits them in an anteroom. On its walls : restraints, mouthpieces, Mace, tranquilizer guns. CLARICE -LRB- quickly blocking him. -RRB- Dr. Chilton - if Lecter feels you're his enemy - as you've said - then maybe I'll have more luck by myself. What do you think? CHILTON -LRB- annoyed. -RRB- You might have suggested that in my office, and saved me the time. CLARICE But then I would've missed the pleasure of your company. She holds out the photo. A beat. He grabs it, jaw twitching. CHILTON When she's finished, bring her out. He turns on his heel, goes. Barney smiles reassuringly. BARNEY Hi, I'm Barney. He told you, do n't get near the bars? CLARICE -LRB- shaking his hand. -RRB- Clarice Starling. Yes, he did. BARNEY Okay. Past the others, it's the last cell. Stay to the middle. I put out a chair for you. Sensing her tension, he indicates a nearby security monitor. BARNEY I'm watching. You'll do fine. Clarice nods gratefully. She looks down the long corridor, takes a deep breath, walks into it. He watches her go.", "INT. DR. LECTER'S CORRIDOR - DAY MOVING SHOT - with Clarice, as her footsteps ECHO. High to her right, surveillance cameras. On her left, cells. Some are padded, with narrow observation slits, others are normal, barred. Shadowy occupants pacing, MUTTERING. Suddenly a dark figure in the next - to - last cell hurtles towards her, his face mashing grotesquely against his bars as he hisses. DARK FIGURE I c - can sssmell your cunt! Clarice flinches momentarily, but then walks on. DR. LECTER'S CELL is coming slowly INTO VIEW. Behind its barred front wall is a second barrier of stout nylon net. Sparse, bolted - down furniture, many softcover books and papers. On the walls, extraordinarily detailed, skillful drawings, mostly European cityscapes, in charcoal or crayon. Clarice stops, at a polite distance from his bars, clears her throat. CLARICE Dr. Lecter. My name is Clarice Starling. May I talk with you? Dr. Hannibal Lecter is lounging on his bunk, in white pajamas, reading an Italian Vogue. He turns, considers her. A face so long out of the sun, it seems almost leached - except for the glittering eyes, and the wet red mouth. He rises smoothly, crossing to stand before her ; the gracious host. His voice is cultured, soft. DR. LECTER Good morning. CUTTING BETWEEN THEM as Clarice comes a measured distance closer. CLARICE Doctor, we have a hard problem in psychological profiling. I want to ask for your help with a questionnaire. DR. LECTER `` We'' being the Behavioral Science Unit, at Quantico. You're one of Jack Crawford's, I expect. CLARICE I am, yes. DR. LECTER May I see your credentials? Clarice is surprised, but fishes her ID card from her bag, holds it up for his inspection. He smiles, soothingly. DR. LECTER Closer, please. Clo - ser. She complies each time, trying to hide her fear. Dr. Lecter's nostrils lift, as he gently, like an animal, tests the air. Then he smiles, glancing at her card. DR. LECTER -LRB- continuing. -RRB- That expires in one week. You're not real FBI, are you? CLARICE I'm - still in training at the Academy. DR. LECTER Jack Crawford sent a trainee to me? CLARICE We're talking about psychology, Doctor, not the Bureau. Can you decide for yourself whether or not I'm qualified? DR. LECTER Mmmmm. That's rather slippery of you, Officer Starling. Sit. Please. She sits in the folding metal desk - chair. He waits politely till she's settled, then sits down himself, faces her happily. DR. LECTER Now then. What did Miggs say to you? -LRB- she is puzzled. -RRB- `` Multiple Miggs,'' in the next cell. He hissed at you. What did he say? CLARICE He said - `` I can smell your cunt.'' DR. LECTER I see. I myself can not. You use Evyan skin cream, and sometimes you wear L'Air du Temps, but not today. You brought your best bag, though, did n't you? CLARICE -LRB- beat. -RRB- Yes. DR. LECTER It's much better than your shoes. CLARICE Maybe they'll catch up. DR. LECTER I have no doubt of it. CLARICE -LRB- shifting uncomfortably. -RRB- Did you do those drawings, Doctor? DR. LECTER Yes. That's the Duomo, seen from the Belvedere. Do you know Florence? CLARICE All that detail, just from memory? DR. LECTER Memory, Officer Starling, is what I have instead of view. A pause, then Clarice takes the questionnaire from her case. CLARICE Dr. Lecter, if you'd please consider - DR. LECTER No, no, no. You were doing fine, you'd been courteous and receptive to courtesy, you'd established trust with the embarrassing truth about Miggs, and now this ham - handed segue into your questionnaire. It wo n't do. It's stupid and boring. CLARICE I'm only asking you to look at this, Doctor. Either you will or you wo n't. DR. LECTER Jack Crawford must be very busy indeed if he's recruiting help from the student body. Busy hunting that new one, Buffalo Bill. Such a naughty boy! Did Crawford send you to ask for my advice on him? CLARICE No, I came because we need - DR. LECTER How many women has he used, our Bill? CLARICE Five. so far. DR. LECTER All flayed? CLARICE Partially, yes. But Doctor, that's an active case, I'm not involved. If - DR. LECTER Do you know why he's called Buffalo Bill? Tell me. The newspapers wo n't say. CLARICE I'll tell you if you'll look at this form. -LRB- he considers, then nods. -RRB- It started as a bad joke in Kansas City Homicide. They said. this one likes to skin his humps. DR. LECTER Witless and misleading. Why do you think he takes their skins, Officer Starling? Thrill me with your wisdom. CLARICE It excites him. Most serial killers keep some sort of trophies. DR. LECTER I did n't. CLARICE No. You ate yours. A tense beat, then a smile from him, at this small boldness. DR. LECTER Send that through. She rolls him the questionnaire, in his sliding food tray. He rises, glances at it, turning a page or two disdainfully. DR. LECTER Oh, Officer Starling. do you think you can dissect me with this blunt little tool? CLARICE No. I only hoped that your knowledge - Suddenly he whips the tray back at her, with a metallic CLANG that makes her start. His voice remains a pleasant purr. DR. LECTER You're sooo ambitious, are n't you? You know what you look like to me, with your good bag and your cheap shoes? You look like a rube. A well - scrubbed, hustling rube with a little, taste. Good nutrition has given you some length of bone, but you're not more than one generation from poor white trash, are you Officer Starling? That accent you're trying so desperately to shed - pure West Virginia. What was your father, dear? Was he a coal miner? Did he stink of the lamp? And oh, how quickly the boys found you! All those tedious, sticky fumblings, in the back seats of cars, while you could only dream of getting out. Getting anywhere - yes? Getting all the way - to the F. B. I. His every word has struck her like a tiny, precise dart. But she squares her jaw and wo n't give ground. CLARICE You see a lot, Dr. Lecter. But are you strong enough to point that high - powered perception at yourself? How about it? Look at yourself and write down the truth. -LRB- she slams the tray back at him. -RRB- Or maybe you're afraid to. DR. LECTER You're a tough one, are n't you? CLARICE Reasonably so. Yes. DR. LECTER And you'd hate to think you were common. My, would n't that sting! Well you're far from common, Officer Starling. All you have is the fear of it. -LRB- beat. -RRB- Now please excuse me. Good day. CLARICE And the questionnaire? DR. LECTER A census taker once tried to test me. I ate his liver with some fava beans and a nice chianti. Fly back to school, little Starling. He steps backwards, then returns to his cot, becoming as still and remote as a statue. Frustrated, Clarice hesitates, then finally shoulders her bag and goes, leaving the questionnaire in his tray. But after just a few steps, as she passes - MIGG'S CELL She sees that creature at his bars again, hissing at her. MIGGS I b - bit my wrist so I c - can diiiieeee! S - ee how it bleeeeeeeeds? The dark figure suddenly flings his palm towards her, and - CLARICE is spattered on the face and neck - not with blood, but with pale droplets of semen. She gives a little cry, touching her fingers to the wetness. Stunned, near tears, she forces herself to straighten up and walk on, fumbling for a tissue. From behind her, Dr. Lecter calls out, very agitated. DR. LECTER -LRB- O.S. -RRB- Officer Starling. Officer Starling! Clarice slows, stops. She shudders, but makes the very difficult choice to turn, walk back, stand again in front of - DR. LECTER Who's shivering with rage. For an instant his face opens, and we catch a glimpse into hell itself. Then he's composed again. DR. LECTER I would not have had that happen to you. Discourtesy is - unspeakably ugly to me. CLARICE Then please - do this test for me. DR. LECTER No. But I will make you happy. I'll give you a chance for what you love most, Clarice Starling. CLARICE What's that, Dr. Lecter? DR. LECTER Advancement, of course. -LRB- beat. -RRB- Go to Split City. See Miss Mofet, an old patient of mine. M - O - F - E - T. Now go. Go. -LRB- a smile. -RRB- I do n't think Miggs could manage again so soon, even if he is crazy - do you?", "EXT. THE HOSPITAL - PARKING LOT - DAY The grim gothic pile of the asylum looms overhead as Clarice rushes out the front doors. She is badly shaken, almost stumbling, as she rubs at her face. She looks around for, and finally, with some relief, spots - HER CAR an old Pinto, parked nearby. This image begins to BLUR. CLOSE ON her face, fighting tears, as the CAMERA begins to WHIRL AROUND her, almost dizzily. She is seeing, in her mind's eye - IN FLASHBACK a screen door banging open, on a wooden porch, and a 10 - year old girl - the young Clarice - rushing outside, down the front steps, and running joyfully across her front yard to - MOVING ANGLE - THE GIRL'S POV a car - late 60's vintage - parked in the dirt road. A MAN, Clarice's father, is just climbing out. He's tall, handsome, and has a marshal's badge pinned on his dark suit. He grins, seeing her, and spreads his arms wide as. THE YOUNG CLARICE rushes into them, and he sweeps her up in a hug, spinning her around, the CAMERA SPINNING with them, and capturing both their laughing faces, before we abruptly return to - THE ADULT CLARICE alone in the parking lot, sagging against her car. Her face is buried in her arms, she shoulders shaking. SOUND UPCUT - a steady, rapid series of GUNSHOTS, as we", "INT. FBI ACADEMY FIRING RANGE - DAY Clarice, in a combat stance, and wearing a sound - muffling headset, is squeezing off ROUND after ROUND at A MOVING TARGET The silhouette of a man, approaching along a track. Her shots, tightly grouped, are all finding the center chest. The target stops, quite close to her, still swaying. Clarice stares at it, deftly working her speedloader. Then she puts a final, emphatic shot right through THE FIGURE'S FOREHEAD.", "INT. FBI ACADEMY LIBRARY - NIGHT CLOSE ON a microfilm monitor - a grainy newsphoto of Dr. Lecter, scrawling past, with an accompanying story -LRB- `` New Horrors in Cannibal Trial'' -RRB-, dated 1980. Clarice is punching keys on the terminal. Other trainees study at nearby tables. She pauses, jotting a note on her pad, as Ardelia comes by, carrying an armful of books. ARDELIA Phone call, Clarice. It's God. CLARICE Thanks, Ardelia. MOVING ANGLE as Clarice rises, grabbing her notebook, and follows Ardelia past high metal bookstacks. ARDELIA You missed Fourth Amendment law. Unlawful seizure, real juicy stuff. Where were you all afternoon? CLARICE Pleading with a crazy man, with come all over my face. Ardelia stares at her, figures it's a put - on, laughs. ARDELIA Damn. Wish I had time for a social life. Clarice grins, as Ardelia indicates a phone receiver resting on the check - out desk, then moves on. Clarice picks it up. CLARICE -LRB- on phone. -RRB- Mr. Crawford?", "INT. CRAWFORD'S HOUSE - STUDY - NIGHT Crawford, in a cardigan, sits in a wing chair in the book - lined study of his suburban home. He turns the pages of Clarice's memo as they talk. His tone is sharp. CRAWFORD I've read your interim memo on Lecter. You sure you've left nothing out? INTERCUTTING CLARICE It's all there, sir, practically verbatim. CRAWFORD Every word, Starling? Every gesture? CLARICE -LRB- a bit heatedly. -RRB- Right down to the kleenex I used. -LRB- he is silent. -RRB- Sir, why? Is something wrong? CRAWFORD He mentioned a name, at the very end. `` Mofet.'' Any followup on her? CLARICE I spent all evening on the mainframe. Lecter altered or destroyed most of his patient histories, prior to capture. No record of anyone named Mofet. But `` Split City'' sounded like it might have have something to do with divorce. I tracked it down in the library's catalogue of national yellow pages. -LRB- glancing at her notes. -RRB- It's a mini - storage facility outside Baltimore, where Lecter had his practice. She pauses, expecting some soft of approval for her cleverness. CRAWFORD Well? Why are n't you there right now? CLARICE Sir, that's a field job. It's outside the scope of my assignment. And I've got a test tomorrow on - CRAWFORD Do you recall my instructions to you, Starling? What were they? CLARICE To complete and file my report by 0800 Wednesday. But sir - CRAWFORD Then do that, Starling. Do just exactly that. CLARICE Sir, what is it? There's something you're not telling me. CRAWFORD -LRB- beat. -RRB- Miggs has been murdered. CLARICE -LRB- startled, upset. -RRB- Murdered? How? CRAWFORD The orderly heard Lecter whispering to him, all afternoon, and Miggs crying. They found him at bed check. He'd swallowed his own tongue. Chilton is scared stiff the family will file a civil rights lawsuit, and he's trying to blame it on you. I told the little prick your conduct was flawless. -LRB- beat. -RRB- Starling? CLARICE I'm here, sir, I just - I do n't know how to feel about it. CRAWFORD You do n't have to feel any way about it. Lecter did it to amuse himself. Why not, what can they do? Take away his books for awhile, and no jello. -LRB- a bit softer. -RRB- I know it got ugly today. But this is your report, Starling - take it as far as you can. On your own time, outside of class. Now carry on. ANGLE ON CLARICE as we hear the loud CLICK of Crawford hanging up. She stares at her receiver, stung by his abruptness. CLARICE Well God damn it! You old creep. Creepo son of a bitch. Let Miggs squirt you and see how you like it. She slams her receiver into its cradle. ANGLE ON CRAWFORD as he flips aside her memo, then rises, wearily. He leaves his study, flicking off the lamp, and pads away in his slippers.", "INT. CRAWFORD'S BEDROOM - NIGHT A private nurse, in white, stands marking a clipboard chart, as Crawford enters his tidy bedroom. CRAWFORD I'll take over, Patricia. You get some rest. The nurse nods, hands him the chart, and goes. He glances at it, then sets it aside. He crosses to - BELLA CRAWFORD who lies in an elevated hospital bed. Nearby are an oxygen tank and mask, floral arrangements. Her breathing is shallow, very labored. Crawford looks down at his comatose wife for a long moment, tenderly brushes a strand of her hair back into place, then bends over to kiss her forehead. SOUND UPCUT - THUNDER and RAIN.", "EXT. \"SPLIT CITY MINI-STORAGE\" - DUSK (RAINING) An orange neon sign, streaked with rain, identifies out location. It looms over a hurricane fence, topped with barbed wire. Inside, row on row of garage - sized, cinderblock sheds. MR. YOW -LRB- V.O. -RRB- Unit 31 was leased for ten years. Pre - paid in full. The contract is in the name of `` Miss Hester Mofet.''", "EXT. STORAGE UNIT NUMBER 31 - DUSK Clarice, kneeling before a closed, roll - up metal door, takes a FLASH photo of its sealed padlock. EVERETT YOW, a fat, 60ish Chinaman, holds an umbrella over them both. He looks unhappy. CLARICE So no one's been in here since - 1980? She opens the padlock, using a fat ring of tagged keys, then sets aside both keys and lock. MR. YOW Not to my knowledge. Privacy is a great concern to my customers. But, if you say this is an FBI matter. CLARICE I wo n't disturb anything, Mr. Yow, I promise. Be gone before you know it. Slinging her camera over a shoulder, she tugs at the handle, but the door wo n't budge. Another tug, harder - no good. Mr. Yow stoops to help, puffing hard, but it's firmly stuck. He sighs. MR. YOW We could return tomorrow, with my son. Or perhaps some workmen? Clarice crosses to her Pinto, which faces the shed, reaches in to turn on her headlights. Mr. Yow blinks in the sudden brightness. Then she opens her truck, rummaging inside, and returns with a bumper jack, a flashlight, and a rubber floor mat. CLARICE Would you hold these, please? She gives him her flashlight and camera, drops the mat on the ground, then sets the bumper jack in place, under the center of the door. She pumps on the jack handle as the door SQUEALS slowly up, but it wo n't go higher than about 18 inches, despite all her exertions. She spreads out the rubber mat on the cement, takes the flashlight from Mr. Yow, then lies on the mat.", "INT. THE STORAGE SHED - DUSK (VERY DARK) Clarice, backlit, peers under the door. She reaches in, makes a sweep with her flashlight. We catch shadowy outlines - boxes, then the flattened tires of a car. SOUND of rain on the tin roof, and other noises, too - small RUSTLINGS. Mr. Yow's chubby face appears down beside Clarice's. MR. YOW It smells like mice. I think I hear them, too - do n't you? Clarice turns onto her back, starts squirming under the door. MR. YOW You're going in there?", "EXT. STORAGE UNIT NUMBER 31 - DUSK Clarice pulls her head back out again, reaching to take her camera from him. She hands him a card, trying to appear nonchalant. CLARICE Mr. Yow, if this door should fall down - ha ha! - or anything else - would you be kind enough to call this number? It's our Baltimore field office. They know you're here with me. Do you understand? MR. YOW Might I suggest tucking your pants into your socks? To prevent mouse intrusion. CLARICE -LRB- beat. -RRB- Good idea.", "INT. STORAGE SHED - DUSK (VERY DARK) Clarice squirms, on her back, through the narrow opening. As she squeezes all the way in, she snags one thigh on the metal edge of the door. She curses softly, shining her flashlight on her ripped khakis - there's a small streak of blood. MR. YOW -LRB- O.S. -RRB- Okay, Miss Starling? CLARICE Okay, Mr. Yow. She shines her light around. In its narrow beam, we see - CLARICE'S POV - UPWARD, SHIFTING spiderwebs, everywhere. high stacks of cardboard boxes. a few dusty pieces of furniture. the big car, oddly long and tall, covered with a tarp. Suddenly there's a scurrying of loud MUSICAL NOTES. Clarice turns, scared, her beam capturing. an old upright piano. MR. YOW -LRB- O.S. -RRB- You're playing a piano, Miss Starling? CLARICE That was n't me. MR. YOW -LRB- O.S. -RRB- Oh. Clarice crawls a bit further. There's hardly room to stand, but she finally manages to wriggle upright, clawing away cobwebs, next to the car. Holding her light under one arm, she takes several FLASH photos of the shed's interior, ending with the car. Then, slinging her camera over the shoulder, she folds back the tarp, resting it on the roof. The resulting clouds of dust make her cough. THE CAR is an antique beauty, a 1931 Packard. It's very dusty, despite the tarp. Curtains close off the back passenger compartment, but there's a narrow gap in them. More mousy RUSTLINGS. CLARICE peers in through the gap, aiming her flashlight. HER POV - SHIFTING as the thin flashlight beam picks out : the broad back seat. as open album of lacy, old - fashioned Valentines. a crumpled lap rug, on the floor. and then a pair of women's shiny, high - heeled pumps. Above these, the hem of a fancy satin evening gown - and a pair of pale, stockinged legs. Clarice recoils, alarmed, then steadies herself. CLARICE Mr. Yow? Oh Mr. Yow? It looks like somebody is sitting in this car. MR. YOW -LRB- O.S. -RRB- Oh my! Oh my. Maybe you better come out now, Miss Starling. CLARICE Not yet! - just wait for me. -LRB- under the breath. -RRB- Maybe in about two seconds. She leans down with her camera, takes a FLASH through the gap, then tries the door handle. Locked. So is the front door. She looks around, aiming her light, and locates a tangle of coat - hangers, sticking out of a carton of bric - a - brac. She pulls out one of these, straightens it quickly, bends the tip into a hook. CLOSE ANGLE as she jams this tool inside the join at the top of the back passenger window, then fishes around till she can snag the inside door latch, pulling up. A satisfying CLICK. Clarice opens the door - it hits stacked boxes, and wo n't open far - then very cautiously leans inside, aiming her flashlight. HER POV - MOVING LIGHT BEAM revealing more of the evening gown. a pair of hands, in white, elbow - length gloves - one rests on the lap, the other atop a large, beaded, drawstring evening bag. thick strands of costume pearls over the breasts. and finally the white neck stub of a female mannequin. No face or head. CLARICE sighs with relief. She takes a couple more FLASHES, then very carefully lifts out the Valentine album, holding it by the corners, and setting it atop the car. Then she eases herself inside, onto the back seat, as the springs SQUEAK loudly. ONE GLOVED HAND slides off the lap, brushing Clarice's thigh. Clarice starts a bit, then pokes at the gloved arm, hard. She peels back a bit of glove, revealing the white, synthetic elbow. She smiles, shaking her head at her own jumpiness, as she reaches over the mannequin's lap to loosen the evening bag's drawstring. A SEVERED HUMAN HEAD stares back at her, as the beaded material slides away. Clarice lurches back, gasping loudly, and several long, heart - pounding moments pass before she can make herself look more closely. The head bobs gently in a pool of alcohol, in a laboratory specimen jar. It is a man's head, but grotesquely transformed, by the addition of heavy makeup, earrings, and a sodden wig, into a woman's face. Over the years the makeup has smeared badly, and the pupils have gone almost milky white. CLARICE staring at this terrible thing, is pleased to find herself quickly regaining control. She murmurs to herself. CLARICE Well, Toto, we're not in Kansas anymore.", "EXT. QUINN'S HOSPITAL - PARKING LOT - NIGHT (RAINING) A loud clap of THUNDER, as a flash of LIGHTNING illuminates the eerie towers and barred windows of the asylum. MOVING ANGLE on Clarice as she climbs from her car, runs through heavy rain towards the main entrance, where a guard admits her.", "INT. DR. LECTER'S CELL AND CORRIDOR - NIGHT (DIM LIGHT) On a noiseless TV screen, an evangelist rants, waving his arms. Behind him, a swaying choir in gaudy robes. CLARICE -LRB- O.S. -RRB- It's an anagram, is n't it, Doctor? PAN TO Clarice, with her wet hair plastered flat, sitting on the corridor floor to one side of this TV, which has been stationed so that Dr. Lecter can not avoid seeing it. CLARICE Hester Mofet. `` The rest of me.'' Miss The - Rest - of - Me. Meaning, you rented that place. HER POV he's lost in shadows ; we ca n't see him. He does n't respond. CUTTING BETWEEN THEM Clarice and the darkened call - as she tries again. CLARICE You put those - things in there. Paid for it in advance, ten years ago. Why, Dr. Lecter? The food carrier suddenly SWISHES out of the cell, making her jump up. In its tray is a clean, folded white towel. She hesitates, then crosses, takes this. CLARICE Thank you. She sits again, rubbing her wet hair. When he finally speaks, he's on the floor, too - a deeper, hunching darkness in the shadows, occasionally striped by the flickering TV light. DR. LECTER Your bleeding has stopped. CLARICE How did -. -LRB- she stops herself. -RRB- It's nothing. A scratch. DR. LECTER Why do n't you ask me about Buffalo Bill? CLARICE -LRB- surprised, a beat. -RRB- Why? Do you know something about him? DR. LECTER I might if I saw the case file. You could get that for me. CLARICE Why do n't you tell me about `` Miss Mofet?'' You wanted me to find him. Or do I have to wait for the lab? DR. LECTER -LRB- sighs. -RRB- His real name is Benjamin Raspail. A former patient of mine, whose romantic attachments ran to, shall we say, the exotic? I did n't kill him, merely tucked him away. Very much as I found him, in that ridiculous car, in his own garage, after he's missed three appointments. You'd have him under `` Missing Person'' - which, in poor Raspail's case, could hardly be more true. CLARICE If you did n't kill him, then who did? DR. LECTER Who can say? Best thing for him, really. His therapy was going nowhere. CLARICE Would n't it have been easier to just leave him for the police to find? DR. LECTER And have them clomping about in my life? Oh dear, no. At that time I still had certain private amusements of my own. -LRB- beat. -RRB- How did you feel when you saw him, Clarice? May I call you Clarice? CLARICE Scared, at first. Then - exhilarated. DR. LECTER Ahhh. Why? CLARICE Because you were n't wasting my time. DR. LECTER Do you have something you use, when you need to get up your courage? Memories, tableaux. scenes from your early life? CLARICE I do n't know. Next time I'll have to check. DR. LECTER Jack Crawford is helping your career, is n't he? Apparently he likes you. And you like him, too. CLARICE I never thought about it. DR. LECTER Your first lie to me, Clarice. How sad. Tell me - do you think Crawford wants you, sexually? True, he's much older, but - do you think he visualizes. scenarios, exchanges? Fucking you? CLARICE That does n't interest me, Doctor. And it's the sort of thing Miggs would ask. DR. LECTER Not anymore. -LRB- beat. -RRB- Surely the odd confluence of events has n't escaped you, Clarice. Crawford dangles you before me. Then I give you a bit of help. Do you think it's because I like to look at you, and imagine how good you would taste? CLARICE I do n't know. Is it? DR. LECTER Or does n't this all begin to suggest to you a kind of. negotiation? There's something Crawford can give me, and I want to trade for it. I even wrote to him, offering my help. But he hates me, so he wo n't deal directly. Dr. Lecter slowly turns up the rheostat in his cell. As his lights rise, we see that the cell's been stripped bare. Gone are his books, drawings, mattress - even his toilet seat. She stands, too, startled. They face each other. DR. LECTER Punishment, you see. For Miggs. Just like that gospel program. When you leave, they'll turn the volume way up. Chilton does enjoy his petty torments. CLARICE Who killed Raspail, Doctor? You know, do n't you? DR. LECTER I've been in this room for eight years, Clarice. I know they will never, ever let me out while I'm alive. What I want is a view. I want a window where I can see a tree, or even water. I want to be in a federal institution, away from Chilton - and I want a view. I'll give good value for it. Crawford could do that for me, but he wo n't. You persuade him. CLARICE -LRB- almost a whisper. -RRB- Who killed your patient? DR. LECTER Oh, a very naughty boy. Someone you and Jack Crawford are most anxious to meet. CLARICE Buffalo Bill? -LRB- incredulous. -RRB- Bill killed him, all those years ago? That's impossible. But Dr. Lecter only smiles, enigmatically. DR. LECTER Who is he stalking right now, Clarice? I wonder, do n't you? How many more young women will have to die, before you trade with me? As Clarice stares at him, unsure how to respond -", "INT. CATHERINE MARTIN'S APARTMENT - MEMPHIS, TENNESSEE  NIGHT CATHERINE MARTIN takes a long toke from a bong pipe. She is 21, a tall, big - boned, rather fleshy girl with long brown fair. Her head is on the lap of her boyfriend, CODY ; they're sprawled on a couch in the den of her well - furnished apartment. The TV in on, with low SOUND. CATHERINE This stuff's givin' me the munchies. Where's that bag of popcorn? CODY Shit. Left the groceries in the car. He starts to rise, but she pushes him back. CATHERINE'S okay, I'll go. She rises, goes out the front door.", "EXT. PARKING LOT - THE APARTMENT COMPLEX - NIGHT Catherine straightens, with her bag of groceries, shutting her car's back door. She sees, a short distance away - A MAN standing at the open rear door of a brown panel truck. His right forearm is in a cast and sling ; he is struggling, unsuccessfully, to hoist an armchair into the truck. Parked nearby, other cars, RVs, a boat on a trailer. A thin, breast - high fog fills the lot ; arc lights make yellow pools. Catherine hesitates, then crosses towards the man. CATHERINE Help you with that? MAN Would you? Thanks. His voice is odd, strained, very soft. A fog lamp, set on end on the ground, distorts his features from below. We ca n't get a good glimpse of his face, but his body is plump, above average height ; he's in his mid 30's. She sets down the bag, then together they easily lift the chair into the truck. MAN -LRB- O.S. -RRB- Let's slide it up, you mind?", "INT. THE PANEL TRUCK - NIGHT He climbs inside the truck, ducking under a small hand winch, and grabs the chair. She hesitates again, but climbs in after him ; together they slide the chair forward, behind the seats. MAN Are you about a size 14? CATHERINE -LRB- surprised. -RRB- What? Suddenly, in the shadowy dark, he clubs her over the back of her head with his cast. She moans, slumps unconscious, sliding off the armchair to lie on her stomach. He pulls off his cast and sling, tosses them aside, then hops out of the truck, grabs his lamp, climbs back inside, and pulls the door shut. He bends over her face with the lamp. We hear her shallow BREATHING. MAN Good. He peels back the collar of her blouse, reading the size tag. MAN Good. He carefully slits her blouse up the back, with a pair of bandage scissors, peeling apart the two halves. There's no bra strap. He strokes her bare skin delicately, very happily. MAN Gooood.", "EXT. THE PARKING LOT - NIGHT LOW ANGLE - CLOSE - on Catherine's grocery bag, as her blouse is tossed out beside it. SOUND of the truck's motor starting. The truck backs up, one rear wheel knocking over the bag, partly squashing it. Then is drives away, taillights shrinking, as a lone orange rolls slowly away from the bag.", "INT. FBI ACADEMY CLASSROOM - QUANTICO - DAY CLOSE ON a large video screen, where a BLURRY image gradually sharpens, resolving into two separate pieces of fabric. INSTRUCTOR -LRB- O.S. -RRB- Electron microscopy reveals fiber `` signatures'' that are nearly as distinct as fingerprints. Clarice sits at a long table, with other trainees. Ardelia is beside her. Other tables and students in the background. Each trainee has his own microscope. Clarice is tired, but straightens, hearing - INSTRUCTOR -LRB- O.S. -RRB- Both of these blouses were worn by victims of Buffalo Bill. They were found in two different states, and four months apart. He always slits them up the back, like a funeral suit. ON THE SCREEN successively CLOSER VIEWS of the cut fabric edges, until we are seeing individual threads, big as tree limbs. The cuts match. INSTRUCTOR -LRB- O.S. -RRB- The bunching you see - this compression - is characteristic of scissor cuts, rather than a single blade. And, as you see - Bill always uses the same pair. ANGLE ON THE DOOR as John Brigham, the gunnery instructor, sticks his head in. BRIGHAM Clarice Starling! Are you in here?", "INT. HALLWAY - CLASSROOM BUILDING - DAY Clarice and Brigham walk briskly down the hall, passing other trainees. He carries a small canvas bag. BRIGHAM Get your field gear, take stuff for overnight. You're goin' with Crawford. CLARICE Where? BRIGHAM Some fishermen in West Virginia found an unidentified girl's body. It's a Buffalo Bill - type situation. Been in the water about a week, and Jack needs somebody that can print a floater. Think you can handle it? CLARICE -LRB- thinking quickly. -RRB- I'll need the big fingerprint kit. and the one - to - one Polaroid, the CU - 5, with film packs and batteries.", "INT. BRIGHAM'S JEEP CHEROKEE - DAY (DRIVING) Brigham steers as they pass hangars, parked planes, an airstrip. Clarice holds a big fingerprint kit and a weekend bag. BRIGHAM Jack's pretty tough on you, is n't he? Impatient. CLARICE Sometimes. BRIGHAM He's got a lot on his mind besides Buffalo Bill. His wife, Bella, is real sick. Comatose. I'm tellin' you about it now,'cause he may never. Clarice absorbs this in silence as they stop near an ancient, rather dilapidated Beechcraft. Its door is open, the twin props and beacons already turning. Brigham turns to her, holding out his small canvas bag. BRIGHAM You're goin' in the field, so you got ta have full kit. Take this - it's my own. Clarice opens the bag, stares at the big blue gun nestled in its shoulder holster. She looks up at him, touched. BRIGHAM Wear it, do n't ever leave it in your purse. Dry fire it whenever you get the chance. And do your exercises. CLARICE I will. I promise. BRIGHAM Listen, I hope you never need a thing I've taught you. But you've got something. Jack sees it, I do too. If you ever need to, you can shoot. She nods, climbs out. Then she looks back in at him. They're both moved by this rite of passage, but a little embarrassed. BRIGHAM Bless you, Starling.", "INT. BEECHCRAFT PLANE - DAY (FLYING) CLARICE'S POV - Out the plane's window, at the landscape far below. Wisps of cloud, a quilt of farms. Clarice turns from the window, looks at a think folder in her lap. The cover reads `` Case File : / BUFFALO BILL.'' Clarice is moody, distracted. She hesitates, then opens the file, begins to scan. INSERTS - HER POV Police forms, some handwritten. Typed lab reports ; we catch words, phrases : `` Autopsy Protocols'', `` Histamine Analysis''. Grainy enlargements of bullet slugs, showing matched grooves. And then a stack of victim photos. The first one, taken from a good distance away, shows a nude female body, face down on a pebbly riverbank, surrounded by bits of litter. Clarice hesitates again, then flips this photo to look at the next. It makes her flinch, just slightly. Quickly she turns through several more photographs, trying hard to concentrate. CRAWFORD -LRB- O.S. -RRB- He keeps them alive for three days. NEW ANGLE shows Crawford standing over her, swaying with the plane's motion. Behind him, the open cockpit door, the pilot's back. Crawford sits, removing sunglasses. He rubs his eyes. CRAWFORD Why, we do n't yet know. There's no evidence of rape or physical abuse prior to death. All the mutilation you see there is post - mortem. -LRB- a beat ; he glances at her. -RRB- I'm hot, are you hot? Bobby, it's too damned hot back here. The pilot adjusts a valve. Crawford turns to her again. CRAWFORD So. Three days. Then he shoots them, skins them - usually just the torsos - and dumps them. Each body in a different river, in a different state, downstream from an interstate highway. The water leaves us no fingerprints, fibers, DNA fluids - no trace evidence at all. That's Fredrica Bimmel, the first one. A COLOR PHOTO - IN CLARICE'S HANDS shows a pretty, plump - cheeked brunette, in her high school graduation cap and gown. She smiles at us with touching optimism. CRAWFORD -LRB- O.S. -RRB- A big girl, like all the rest. Went about 160. Her corpse was the only one he took the trouble to weight down, so actually, she was the third girl found. After her, he got lazy. NEW ANGLE as Clarice stares at the girl's face, moved. Crawford pulls a map from the file, spreads it out. It shows the central and eastern U.S., with widely - spaced, hand - drawn markings. CRAWFORD Blue square for Belvedere, Ohio, where the Bimmel girl was abducted. Blue triangle where her body was found - down here in Missouri. Same marks for the other four girls, in different colors. This new one, today. washed up here. -LRB- he marks with a Flair pen. -RRB- Elk River, in West Virginia, about six miles below U.S. 79. Real boonies. CLARICE There's no correlation at all between where they're kidnapped and where they're found? -LRB- he shakes his head. -RRB- What if - what if you trace the heaviest - traffic routes backwards from the dump sites? Do they converge at all? CRAWFORD Good idea, but he thought of it, too. We've run simulations, using different vectors and the best dates we can assign. You put it all in the computer, and smoke comes out. No, this one is different. This one has seen us coming.", "INT. RENTAL CAR - DAY (DRIVING) Crawford steers, following a highway patrol car along a winding mountain road. Clarice has the file open on her lap. He glances at her, inscrutable behind his sunglasses. CRAWFORD Talk about him, Starling. Tell me what you see. CLARICE -LRB- choosing her words carefully. -RRB- He's a white male. Serial killers tend to hunt within their own ethnic group. And he's not a drifter - he's got his own house, somewhere. Not an apartment. CRAWFORD Why? CLARICE What he does with them - takes privacy. Time, tools. He's in his 30's or 40's - he's got real physical strength, but combined with an older man's self - control. He's cautious, precise, never impulsive. This wo n't end in suicide, like they often do. CRAWFORD Why not? CLARICE He's got a real taste for it now. And he's getting better at his work. CRAWFORD -LRB- a beat ; impressed. -RRB- Maybe you've got a knack for this. I guess we're about to find out. CLARICE -LRB- quietly, evenly. -RRB- Like I have a `` knack'' for Dr. Lecter? He studies her a few moments, measuring her anger. CRAWFORD Okay, Starling. Let's have it. CLARICE You have n't said a word today about that garage. Or what I found there. CRAWFORD What should I say? You did fine work. We'll wait on the lab. CLARICE You knew. You knew from the start that Lecter held the key to this. But you were n't up front with me. You sent me in to him naked. CRAWFORD -LRB- beat. -RRB- Are you finished? CLARICE He starts this - buzzing in me, in my head. He makes me feel violated. You used me, Mr. Crawford. A shadow of regret passes over his face, but he answers sternly. CRAWFORD Number One. Maybe there's a connection, maybe not. Lying and breathing are the same thing to Lecter. Number Two. If I'd sent you in there with something to hide from him, he'd have known it, instantly. He'd never have trusted you. She starts to answer, then is silent. He is right. By now the two cars are entering a tidy little town - tree - lined streets, wooden houses, one - story shops, mountains in the background. They slow, turn. CRAWFORD Number Three, I did n't bring you along today just because you can do first - rate forensics. If Lecter is becoming part of this case, you've got the most current read on him. And Number Four - you do n't have to like me, or the way I do things. But you do have to keep a cool head. Especially now. Because from here on out, you'll know everything I do. Are we straight on that? Clarice nods, silently ; it's as close to an apology as she's likely to get. She stares out the windshield. JUST AHEAD OF THEM the highway patrol cruiser noses into a curb, next to other police cars, facing a big white frame house. Its sign reads `` Potter Funeral Home.'' Two troopers climb from the car. Crawford parks too, then kills the engine. He turns to her, removing his sunglasses, gestures to the case file. CRAWFORD -LRB- softly. -RRB- You think about him long enough, you get a feel for him. Then, if you're lucky, out of all the stuff you know, one little part of it tugs at you, tries to get your attention. You let me know when that happens, Starling. Live right behind your eyes, today. Do n't try to impose any patterns on this guy. Just stay open and let him show you. One of the troopers, impassive in his sunglasses and hat, peers in through Crawford's window. Crawford nods to him, then turns back to Clarice. CRAWFORD School's out, Starling.", "EXT. SIDEWALK OF THE FUNERAL HOME - POTTER, WEST VA. - DAY SOUND of organ music, as Clarice, carrying her fingerprint kit, mounts some steps to the sidewalk. She stops, seeing - COUNTRY PEOPLE in their somber best, filing into the mortuary for a service. The music - `` Shall We Gather At The River?'' - is issuing from the open double doors. Several of the mourners glance over at her curiously. ANGLE ON CLARICE staring back at the mourners, hearing the music, as a sense memory is triggered in her. IN FLASHBACK - LOW ANGLE, MOVING as we approach, down the aisle of a country chapel, an open wooden coffin. Sad country faces turn, looking at us from the flanking pews. The b.g. organ hymn is `` Shall We Gather?'' THE SAD, 10 YEAR - OLD CLARICE in her best dress, is reluctantly approaching the casket. Her hands are held by the plump hands of unseen matrons. CHILD'S POV on the looming coffin. closer and closer. until finally she can see, lying inside it. her dead father, arms folded, his marshal's badge still pinned to his lapel. CRAWFORD -LRB- V.O. -RRB- Starling? NEW ANGLE -LRB- PRESENT DAY -RRB- as the grownup Clarice turns towards the impatient Crawford. Like her, he carries a large case. CRAWFORD We're around back.", "INT. FUNERAL HOME - BACK CORRIDOR - DAY A young deputy, several state troopers, and a SHERIFF are all waiting, as Crawford and Clarice enter. The dim, cluttered corridor doubles as storage space - there's a treadle sewing machine, a soft - drink machine, a tricycle. The MUSIC is closer. Crawford shakes hands with the sheriff. CRAWFORD Sheriff Perkins? Jack Crawford, FBI. This is Officer Starling. We appreciate your phoning us. SHERIFF -LRB- grim, unsociable. -RRB- I did n't call you. That was somebody from the state attorney's office. ` For you do a thing else, I'm gon' find out if this girl's local. It could just be somethin' that outside elements has dumped on us. He casts a sidelong, unhappy glance at Clarice. CRAWFORD Well sir, that's where we can help. If - SHERIFF I do n't even know you, Mister. Now we'll extend you ever courtesy, just soon as we can, but for right now - CRAWFORD Sheriff, this, ah - this type of sex crime has some aspects I'd rather discuss just between the two of us. Know what I mean? He indicates Clarice with his eyes. The sheriff hesitates, nods, then lets Crawford guide him into a small office, closing the door behind them. Muffled WORDS from there. CLARICE burning at this slight, is left alone with the troopers, who peek at her with shy curiosity. She pulls her blazer a bit tighter, self - conscious about her bulging shoulder holster. ANGLE ON THE OFFICE DOOR as, after a few more moments, the sheriff and Crawford emerge. The sheriff, still not very happy, addresses his deputy. SHERIFF Oscar, run fetch Dr. Akin from the chapel. And tell Lamar to come on when he's done playin' that music.", "INT. EMBALMING ROOM - DAY Crawford, in one corner of the room, has set up a Litton Policefax fingerprint transmitter. SOUND of many men's low voices, in background. He is on the phone, and has to speak loudly. CRAWFORD I need a six - way linkup! Chicago, Detroit, Cleveland, St. Louis, Atlanta, and Dallas. What? Can you hear me? He looks around, frustrated by the noisy circus atmosphere. CLARICE is pulling on a pair of surgical gloves. She raises her voice, turning up her natural accent by several notches. CLARICE Gentlemen. You officers and gentlemen! Listen here a minute, please. There's things I need to do for her. WIDER ANGLE as we see that the small room is very crowded with deputies and troopers. They gradually fall silent, looking at her. CLARICE -LRB- O.S. -RRB- Y' all brought her this far, and I know her folks would thank you if they could. Now please - go on out and let me take care of her. Go on, now. The men look at one another, a little bashfully, then begin to to file out, whispering among themselves. As they go, a bright green body bag is REVEALED, tightly zipped, lying on a porcelain embalming table. It is almost the only modern object in this Victorian room, with its glass - paned cabinets and faded wallpaper, decorated with cabbage roses. FAVORING CRAWFORD as he looks at Clarice with a new degree of respect. Men brush by him, till finally only two are left : DR. AKIN, a family g.p., and LAMAR, a lean, whiskey - reddened mortician. SOUND of the door closing. Lamar dabs around his nostrils with Vicks VapoRub. CRAWFORD -LRB- on phone. -RRB- We're starting. Tell everybody to stand by for fingerprint transmission. CLARICE at a side counter, has turned back to her open fingerprint kit. She is lifting out a camera when she hears the ZIPPER of the body bag being slowly opened, behind her. One gloved hand flies to her mouth as she reacts, involuntarily, to the sudden smell. She blinks at her reflection in the cabinet glass, then steels herself to turn, look at the corpse. CLARICE -LRB- pause ; softly. -RRB- Bill. She steadies herself by raising her camera, takes a FLASH photo. LOW ANGLE - LOOKING UP, FROM BENEATH TABLE as Dr. Akin gently lifts aside one of the dead girl's arms. A piece of fishing line, with multiple hooks, is still snagged around it, dangling. Crawford leans in for a closer look. DR. AKIN Wrongful death. She'll have to go to the state pathologist at Claxton when you're done. -LRB- Crawford nods. -RRB- I better - get on back for the rest of that service. Lamar'll help you. -LRB- shaken. -RRB- Lord almighty. He leaves, and Clarice leans INTO SHOT, taking another photo. CRAWFORD What do you see, Starling? CLARICE Well, she's not local. Her ears are pierced three times each, and she's wearing green glitter nail polish. Looks like town to me. CLOSE ANGLE on the calf of one of the girl's legs, as Clarice trails the inside of her bare wrist along the skin. CLARICE -LRB- O.S. -RRB- She waxed her legs, I think. A big girl, just like the others - but she was careful about her appearance. UPWARD ANGLE AGAIN as Lamar joins them for a closer look. CLARICE Two of the fingernails are broken off, and there's - dirt or grit under the others. She tried to claw her way through something. I'll scrape out samples after I've printed her. She takes another FLASH, then quickly reloads film. LAMAR Them fishhooks are set too close together. No wonder the Franklin boys was scared to say they found her. CLARICE Think they were runnin' a trotline? Crawford and Lamar both look at her curiously. CLARICE -LRB- to Crawford. -RRB- It's a Fish and Game violation. Like poaching. There's a big fine. LAMAR Right. Are you from around here? CLARICE They do it lots of places. CRAWFORD Get photos of her teeth. Then we'll fax her fingerprints to Washington, try to trace her through Missing Persons. SIDE ANGLE - CLOSE ON THE DEAD GIRL'S FACE staring blue eyes, short reddish hair. Clarice sets the Polaroid, with its special attachments, against the face, while Lamar gently retracts the lips. Each time the camera FLASHES, there's a bright glow inside the cheeks. NEW ANGLE - CHEST HIGH as Clarice examines a developing print. CLARICE She's got something in her throat. She hands the print to Crawford ; he and Lamar look at it, as she searches in her kit. LAMAR When a body comes out of the water, alots of times there's like, leaves and things in the mouth. Clarice holds up a pair of forceps. She glances at Crawford, who nods. She bends over, partially OUT OF SHOT, and after a few moments reappears, holding up a small, brown cylindrical object. She turns this in the air, as they all stare. CRAWFORD What is it - some kind of seed pod? LAMAR Nawsir, that's a bug cocoon. But how come that to get way down in there? ` Less somebody shoved it in. Clarice and Crawford exchange a glance. CRAWFORD She'll be easier to print if we turn her over. Lamar, will you give me a hand? LAMAR Yessir, I will. Clarice takes a jar from her kit, carefully drops the cocoon inside. SOUND of the men's heavy efforts as they turn over the body, off screen. She seals the jar, staring into it at the cocoon. CRAWFORD -LRB- O.S. -RRB- Starling - what do you make of these? She turns to look. HER POV low on the corpse's back, over the shoulders, two neat, triangular patches of skin are missing. NEW ANGLE - TWO SHOT as Clarice looks at Crawford. CLARICE I do n't know. I did n't see those on any of the other girls. CRAWFORD They were n't there. Get close - ups. Clarice raises her camera, leans in for another FLASH.", "EXT. BACK STEPS OF THE FUNERAL HOME - DAY Clarice sits outside, with her head on her knees, drained. She looks up wanly as Lamar appears, offers her a can of Coke. CLARICE Thanks, I'm not thirsty. LAMAR No, hold it under your chin, there, and on your temples. Cold'll make you feel better. It does me. She smiles, touched, and takes the can. When Lamar sees Crawford coming outside, he tactfully departs. Crawford sits beside her ; there's a brief silence. She soothes herself with the can. CRAWFORD When I told that sheriff we should n't talk in front of a woman, that really burned you, did n't it? -LRB- she is silent. -RRB- That was just smoke, Starling, I had to get rid of him. You did well in there. CLARICE It matters, Mr. Crawford. Other cops know who you are. They look at you to see how to act. It matters. CRAWFORD -LRB- beat. -RRB- Point taken. She looks at him a moment, then offers the can. He opens it. CRAWFORD When we get back, I want you to run that bug by the Smithsonian, see if they can identify it. Maybe it's got some limited range, or it only breeds at certain times of year. You found it, Starling, you deserve the credit. CLARICE I'm wondering if he's done that before - placed a cocoon, or an insect. It would be easy to miss in an autopsy, especially with a floater. Can we check back on that? CRAWFORD -LRB- shakes his head. -RRB- The other girls are in the ground. Exhumations are upsetting for the families. I'll do it if I have to, but - CLARICE Then have the lab check Raspail's head. -LRB- he looks at her. -RRB- Dr. Lecter's patient - have them probe his soft - palette tissues. They'll find another cocoon. CRAWFORD You seem pretty sure of that. CLARICE Raspail was killed by the same man who's killing these girls. And Lecter knows him. Maybe even treated him. You think so, too, do n't you? Or you'd never have sent me to that asylum. He looks at her for a moment, then sips again. CRAWFORD Before we caught him, Lecter had a big psychiatric practice in Baltimore. But he traveled all over the country - teaching, consulting. Christ, even testifying in murder trials. Who knows how many potential psychos he turned loose, just for the fun of it?", "INT. MR. GUMB'S CELLAR - DAY (DIM LIGHT) A shadowy male figure looks down at us, leaning over the edge of a deep hole. He holds a little white poodle in his arms, stroking it. This is MR. GUMB, aka `` Buffalo Bill.'' MR. GUMB -LRB- softly. -RRB- Rub the cream on your skin. Rub it in gooood. CATHERINE MARTIN looks up at him. She is standing on the cement bottom of the pit, or oubliette, about 15 feet below floor level. The pit is bare, except for a futon and a plastic toilet bucket, from which a thin string rises up to the basement. She's soaking wet, in an orange jumpsuit, and holds a squeeze bottle of skin lotion. She struggles to sound calm. CATHERINE Mister. my family will pay cash. Whatever ransom you're askin' for, they - REVERSE ANGLE - UP TOWARDS MR. GUMB MR. GUMB Rub it in! Or you'll get the hose again. The little dog squirms in his arms, BARKING excitedly. MR. GUMB Yes, it will, Precious, wo n't it? It will get the hose! SIDE ANGLE - AT PIT BOTTOM as Catherine kneels, turning slightly away from him. CATHERINE -LRB- under her breath. -RRB- Oh God. oh God. She unzips her jumpsuit, part - way, then squeezes some of the lotion onto a palm. She reaches inside her suit, rubs it on. CATHERINE Mister, if you let me go, I wo n't press charges, I promise. You've only had me here a couple days, and - MR. GUMB -LRB- O.S. -RRB- No. Just one day. CATHERINE Is that all? See - see, my mom is a real important woman. Well, I guess you already know that. She'll pay you, no questions asked. Whatever cause you represent - Iran, Palestine - she'll see that - A sudden blinding glare of light silences her. She looks up, shielding her eyes. HER POV a floodlamp is descending, attached to a small basket. MR. GUMB Put the bottle in the basket. No funny business, or you'll be sorry. NEW ANGLE - CATHERINE as the basket stops, and she steadies it. But as she slips the bottle in, she sees something, O.S., just at the fringe of the light. She hesitates, looks closer. then begins to scream, hysterically, again and again. Her outflung hand hits the lamp, and in its swaying glare, we see - high on the concrete walls, all around her - BLOODY FINGER TRACKS dried now, brownish - left by many pairs of frenzied hands.", "INT.CLARICE'S DORM ROOM - FBI ACADEMY - DAWN Clarice is at her desk, exercising her right hand with the grip flexer, while simultaneously studying a thick law book. Ardelia sticks her head in the door, excited. ARDELIA You better come see this.", "INT. RECREATION ROOM - FBI ACADEMY - DAWN CLOSE ON a TV screen, filled with a photo of Catherine Martin. TV ANCHOR -LRB- V.O. -RRB- was listed at first simply as a missing person, but is now believed to have been kidnapped by the serial killer known only as `` Buffalo Bill.'' The photo disappears, replaced by the TV ANCHOR himself. TV ANCHOR Memphis Police sources indicate that the missing girl's blouse has been identified, sliced up the back, in what has become a kind of grim calling card. Young Catherine Martin, as we've said, is the only daughter of U.S. Senator Ruth Martin - CLARICE looks at Ardelia, surprised. Other trainees are drifting into the rec room, some whispering among themselves. Clarice stares back at the TV intently. TV ANCHOR -LRB- O.S. -RRB- the Republican junior senator from Tennessee. And while her kidnapping is not at this point considered to be politically motivated, nevertheless it has stirred the government - BACK ON THE TV ANCHOR TV ANCHOR to its highest levels, the president himself being said to be, and I quote, `` intensely concerned.'' Just moments ago, Senator Martin made this dramatic personal plea. SENATOR MARTIN -LRB- TV FOOTAGE -RRB- fills the screen, in a halo of lens flare, as she speaks to a jostling crowd of reporters on the front steps of her Georgetown home. A tall woman, late 40's, with a strong, taut face. SEN. MARTIN I'm speaking now to the person who is holding my daughter. Her name is Catherine. You have the power to let Catherine go, unharmed. She's very gentle and kind - talk to her and you'll see. Her name is Catherine. Clarice is moved by what she sees. Other trainees are all around her. CLARICE -LRB- whispers. -RRB- Boy, is that smart. ARDELIA Why does she keep repeating the name? CLARICE Somebody's coaching her. They're trying to make him see Catherine as a person - not just an object. ON THE TV AGAIN SEN. MARTIN You have a chance to show the whole world that you can be merciful, as well as strong. Please - I beg you - release my Catherine. NEW FOOTAGE as we see -LRB- NIGHT, TELEPHOTO -RRB- - a taped - off section of Catherine's parking lot. Technicians, with instruments, are kneeling by the crushed grocery bag. 2ND TV ANCHOR -LRB- V.O. -RRB- Meanwhile. in Memphis, the investigation continued throughout the night, as state and local authorities were joined at the kidnap scene by agents of the FBI. MOVING ANGLE -LRB- STILL TV FOOTAGE -RRB- as Jack Crawford is seen striding towards the front door of Catherine's apartment, followed by Burroughs and other agents. One of them moves quickly towards the CAMERA, waving it back. REC ROOM ANGLE - FAVORING ARDELIA as the other trainees send up a brief, ironic cheer. But Ardelia turns sympathetically towards the troubled Clarice. ARDELIA I do n't know whether to say `` I'm sorry,'' or `` Congratulations.'' But girl? - you just went prime time.", "EXT. SMITHSONIAN - MUSEUM OF NATURAL HISTORY - DAY The massive Victorian building looms over Constitution Avenue. Clarice quickly mounts the steps, carrying a small plastic box. CRAWFORD I do n't think he knew that she's a Senator's child. She's a big girl, Starling, like all the rest. We're going on the theory she was randomly targeted by size.", "INT. MUSEUM CORRIDOR - DAY Clarice, now accompanied by a museum guard, walks through an eerie landscape of dinosaur bones - crouching skeletons with blank eye sockets, gaping fangs. CRAWFORD -LRB- V.O. -RRB- By now, Bill's had her for 36 hours. That leaves us just 36 more, before he kills her. But maybe, just maybe, Starling, we caught a real break this time - thanks to you. -LRB- beat. -RRB- We found another bug, in Raspail's head.", "INT. MUSEUM OFFICE - DAY CLOSE ON an live, enormous, rhinoceros beetle, as it weaves its clumsy way among the men on a chessboard, before finally stepping off the edge, onto a lettuce leaf. RODEN -LRB- V.O. -RRB- Time, Pilch! My move. PILCHER -LRB- V.O. -RRB- No fair! You lured him with produce. WIDER ANGLE shows two entomologists, both 30ish, hunched over the board. RODEN is a pudgy redhead ; PILCHER is lean, quite handsome. RODEN Tough noogies! It's still my turn. CLARICE -LRB- O.S. -RRB- If the beetle moves one of your men, does that count? They look up, delighted to see Clarice in the doorway. Both men are hopelessly smitten by her. RODEN Of course it counts. How do you play? PILCHER -LRB- grins. -RRB- Officer Starling. Welcome back.", "INT. ENTOMOLOGY CORRIDOR - DAY MOVING ANGLE as Clarice and the two men go briskly down a hall lined with mounted insects, in all shapes and sizes. Roden peers at Clarice's new cocoon, in its box. RODEN Where the hell did this one come from? It's practically mush. CLARICE You really do n't want to know. PILCHER Your West Virginia specimen gave us quite a bit of trouble, but I finally managed to narrow his species through chaetaxy - studying the skin. RODEN I'm the one who found his perforating proboscis! Are you wearing a gun, right now? -LRB- Clarice nods. -RRB- Ooh, cool! Can I see it? Can I? PILCHER Just ignore him. He's not a Ph.D..", "INT. LABORATORY - DAY VERY CLOSE -LRB- MAGNIFICATION -RRB- on the sliced cocoon, as Roden uses tweezers and a dental probe to ease out the sodden chrysalis. RODEN -LRB- O.S. -RRB- The whole trick is to remove the chrysalis without destroying it. The wings are just like wet tissue paper. THE TWO MEN are hunched over a formica table, peering through square magnifiers into stainless trays. Clarice watches curiously. Of their two specimens, Pilcher's moth is in much better condition - a big brown creature, its wings outspread on towel paper. PILCHER -LRB- without looking up. -RRB- What do you do when you're not detecting, Officer Starling? CLARICE I try to be a student, Dr. Pilcher. PILCHER Ever get out for cheeseburgers and beer? The amusing house wine? CLARICE -LRB- smiles. -RRB- Not lately. But maybe someday. He looks up at her, shyly. A little moment passes between them, before Roden straightens, exultant. RODEN Positive match! CLARICE You're sure? RODEN -LRB- points with his dental probe. -RRB- West Virginia. Baltimore. Officer Starling, meet Mister Acherontia Styx. He moves aside for Clarice to get a closer look at Pilcher's specimen. She leans forward, intently. HER POV -LRB- MAGNIFICATION -RRB- the wide, furry, brown back of the moth. And there, right between the wing bases - wonderful and terrible to see - is nature's perfect reproduction of a ghostly human skull. RODEN -LRB- O.S. -RRB- Better known to his friends as the Death's - head Moth. PILCHER -LRB- O.S. -RRB- The Latin name comes from two rivers in Hell. Your man - he drops these girls into rivers, every time. Did n't I read that? FAVORING CLARICE as she looks up at him, awed, excited, almost trembling. CLARICE And there's no way - no natural way - these could've wound up in the bodies? PILCHER -LRB- shakes his head. -RRB- They live in Malaysia. In this country, they'd have to be specially raised, from imported eggs. CLARICE -LRB- pause, then softly. -RRB- Dr. Lecter. As the two men stare at her, puzzled, we hear a SOUND UPCUT - the wail of police SIRENS - and.", "EXT. U.S. ROUTE 95 - DAY (AERIAL SHOT) An awesome armada of police vehicles swings through an intersection, while normal traffic is held back by highway patrol cruisers. The lead cars turn off, hit the entrance ramp to the freeway - SIRENS going, tires SQUEALING, red flashers. CLOSER ANGLE on a speeding surveillance van, with long antennas and a small satellite dish, near the head of the motorcade. CRAWFORD -LRB- V.O. -RRB- Maybe we can trace how he buys the bugs, starting with U.S. Customs.", "INT. THE SURVEILLANCE VAN - DAY (DRIVING) The van is crammed with an impressive array of hi - tech equipment, all CLICKING and HUMMING. Burroughs is talking quietly on a scrambler phone, while another agent works a computer. CRAWFORD -LRB- O.S. -RRB- Maybe we can locate some of Raspail's old lovers. Maybe, someday. CLARICE AND CRAWFORD sit in swivel seats at the rear, by a big window. Clarice ca n't resit an occasional peak at the trailing motorcade, awed and a bit thrilled to be the center of so much attention. CRAWFORD But for Catherine Martin, it all comes down to you and Lecter. You're the one he talks to. CLARICE He's already offered to help. What would happen if we just showed our cards - asked him for Bill? CRAWFORD He offered to help, Starling, not to snitch. That would n't give him enough chance to show off. Remember, Lecter looks mainly for fun. Never forget fun. CLARICE But if he knew we have so little time - CRAWFORD If we act too anxious, he'll make us wait. He'll let the Senator keep hoping, day after day, until Catherine finally washes up. That'd be the most fun of all. CLARICE I think he means it, this time. I think he'll deal. CRAWFORD What would it take? CLARICE Transfer to a new prison. With a view of trees, he said, or even water. Can we swing that? CRAWFORD -LRB- shakes his head. -RRB- State to federal jurisdiction. We can do it - eventually - but we'll never get all the clearances in time. Can you convince him a deal's already in place? CLARICE You'll back me up with some paperwork? -LRB- he nods. -RRB- Then I'll try. But would n't this have more weight coming from the Senator herself? CRAWFORD -LRB- hesitates. -RRB- She does n't know what we're up to. And we ca n't afford to let her find out. Clarice looks at him, surprised. CRAWFORD She's the mother, Starling. She ca n't possibly comprehend what Lecter is. She'd make the mistake of pleading with him. Begging him. He'd feast on her pain till the last second of that girl's life.", "INT. BALTIMORE STATE HOSP. FOR THE CRIMINALLY INSANE - DAY Chilton approaches, walking briskly down a corridor in the administration wing. He looks quite agitated. CRAWFORD -LRB- V.O. -RRB- We ca n't trust Frederick Chilton, either. He's greedy and ambitious. If he knew about Lecter's link to Bill, he's go straight to the newspapers. Chilton falls into step beside Clarice, who has her briefcase. He points his gold pen at her accusingly. CHILTON What you're doing, Miss Starling, is coming into my hospital to conduct an interview, and refusing to share information with me. For the third time! CLARICE Dr. Chilton, I told you - this is just routine follow - up on the Raspail case. CHILTON He's my patient! I have rights! -LRB- grabs her arm, stopping her. -RRB- I'm not just some turnkey, Miss Starling. I should n't even be here this afternoon. I had a ticket to Holiday on Ice. She stares at him, with pity and distaste, till he lets go. CLARICE I'm acting on instruction, Dr. Chilton. -LRB- handing him a card. -RRB- This is the U.S. Attorney's number. Now please - either discuss this with him, or let me do my job. She walks away, leaving him speechless with frustration and hostility. He clicks his pen, watching her go.", "INT. DR. LECTER'S CELL AND CORRIDOR - DAY Dr. Lecter sits at his table, languidly sketching with charcoal on butcher paper. He uses his own hand and forearm as a model. His other drawings, books, and bedding have been restored. DR. LECTER Would n't you say, Clarice, that for a United States Senator, you're an odd choice of messenger? Clarice, sitting again at the desk - chair, is taking papers from her briefcase. CLARICE I was your choice, Dr. Lecter. You chose to speak to me. Would you prefer someone else now? Or perhaps you do n't think you can help us. DR. LECTER That is both impudent and untrue. Tell me, how did you feel when you viewed our Billy's latest effort? -LRB- beat ; he smiles. -RRB- Or should I say, his `` next - to - latest''? CLARICE By the book, he's a sadist. DR. LECTER Life's too slippery for books, Clarice. Typhoid and swans came from the same God. -LRB- beat. -RRB- Tell me, Miss West Virginia - was she a large girl? CLARICE Yes. DR. LECTER Big through the hips. Roomy. CLARICE They all were. DR. LECTER Mmm. And what else? CLARICE She had an insect deliberately inserted in her throat. That has n't been made public yet. We do n't know what is means. DR. LECTER Was it a butterfly? CLARICE -LRB- pause ; staring at him. -RRB- A moth. How did you predict that? DR. LECTER I'm waiting for your offer, Clarice. Enchant me. Clarice looks down at her papers, taking a moment to collect her thoughts. She looks up at him again, evenly. CLARICE If you help us find Buffalo Bill in time to save Catherine Martin, the Senator promises you a transfer to the V.A. hospital at Oneida Park, New York, with a view of the woods nearby. Maximum security still applies, but you'd have reasonable access to books. He is silent. She rises, moves closer, carrying papers. CLARICE Best of all, though - one week a year you'd get to leave the hospital and go here. -LRB- points to a map. -RRB- Plum Island. Every afternoon of that week you can walk on the beach or swim in the ocean for up to one hour. Under SWAT team surveillance, of course. His face remains neutral. She puts the papers in his food tray. CLARICE Copy of the Buffalo Bill case file, copy of Senator Martin's terms. Her offer is final and non - negotiable. If Catherine dies -. -LRB- she slides his tray through. -RRB- You get nothing. A measured beat, before he rises smoothly, crosses, and looks down at the papers, without touching them. DR. LECTER `` Plum Island Animal Disease Research Center.'' Sounds charming. CLARICE That's just part of the island. It has a very nice beach. Terns nest there. DR. LECTER Terns. If I help you, Clarice, it will be `` turns'' with us, too. Quid pro quo. I tell you things, you tell me things. Not about this case, though - about yourself. Yes or no? -LRB- she is silent. -RRB- Yes or no, Clarice. Catherine is waiting. Tick - tock, tick - tock. She looks at him. A beat. They are standing uncomfortably close. CLARICE Go, Doctor. DR. LECTER What's your worst memory of childhood? -LRB- she hesitates. -RRB- Quicker than that. I'm not interested in your worst invention. CLARICE The death of my father. DR. LECTER Tell me. Do n't lie, or I'll know. Clarice can not bear the feverish excitement in his eyes. She looks past him, hesitating again. CLARICE He was a town marshal. one night he surprised two burglars, coming out the back of a drugstore. They shot him. DR. LECTER Killed outright? CLARICE No. He was strong, he lasted almost a month. My mother - died when I was very young, so my father had become - the whole world to me. After he left me, I had nobody. I was ten years old. DR. LECTER You're very frank, Clarice. I think - it would be quite something to know you in private life. CLARICE Quid pro quo, Doctor. DR. LECTER The significance of the moth is change. Caterpillar into cocoon into beauty. Billy wants to change, too, Clarice. But there's the problem of his size, you see. Even if he were a woman, he'd have to be a big one. CLARICE -LRB- puzzled. -RRB- Dr. Lecter, there's no correlation in the literature between transsexualism and violence. Transsexuals are very passive. DR. LECTER Clever girl. You're so close to the way you're going to catch him - do you realize that? CLARICE No. Tell me why. DR. LECTER After your father's death, you were orphaned. What happened next? -LRB- Clarice drops her gaze. -RRB- I do n't imagine the answer's on those second - rate shoes, Clarice. CLARICE I went to live with my mother's cousin and her husband in Montana. They had a ranch. DR. LECTER A cattle ranch? CLARICE Horses - and sheep. DR. LECTER How long did you live there? CLARICE Two months. DR. LECTER Why so briefly? CLARICE I - ran away. DR. LECTER Why, Clarice? Did the rancher fuck you? CLARICE -LRB- angrily. -RRB- No. DR. LECTER Did he try to? CLARICE No! Quid pro quo, Doctor. DR. LECTER Billy's not a real transsexual, but he thinks he is. He tries to be. He's tried to be a lot of things, I expect. CLARICE You said - I was very close to the way we'd catch him. DR. LECTER There are three major centers for transsexual surgery : Johns Hopkins, the University of Minnesota, and Columbus Medical center. I would n't be surprised if Billy has applied for sex reassignment at one or all of them, and been rejected. CLARICE On what basis would they reject him? DR. LECTER The personality inventories would trip him up. Rorschach, Wechsler, House - Tree - Person. He would n't test like a real transsexual. CLARICE How would he test? Suddenly Dr. Lecter snarls, loudly, stretching. Clarice take a sharp step backwards before he smiles, turning his movement into an elaborate yawn. He gathers the papers from his tray. DR. LECTER That's enough, I think. Happy hunting. Oh, and Clarice - next time you will tell me why you ran away. Shall I summarize? CLARICE -LRB- shaken. -RRB- Yes, Doctor. Please.", "INT. MR. GUMB'S CELLAR - DAY VERY CLOSE ON a cocoon, split along its back, as a living Death's - head Moth wriggles torturously free. Trembling and damp, the new creature clings to a sprig of nightshade. DR. LECTER -LRB- V.O. -RRB- You should try to obtain a list of males rejected from all three gender reassignment centers. PULLING BACK we see a big wire cage, holding several of the moths. They crawl over the humus floor or feed at honeycombs, wings pumping lazily. In the distant background, the incongruous SOUND of show music. DR. LECTER -LRB- V.O. -RRB- Check first the ones rejected for lying about criminal records. CONTINUOUS MOVING ANGLE at about knee level, as we leave the cage, and begin to TRAVEL through this eerie, dimly - lit warren of a cellar. As we go - occasionally TURNING corners, or skirting the dark openings of unexplored passages - various objects loom briefly INTO VIEW, overhead - a stainless - steel work table. a big sink. jars of chemicals. neat racks of gleaming knives. DR. LECTER -LRB- V.O. -RRB- Among those who tried to conceal their past, look for severe childhood disturbances, associated with violence. Possibly you'll find a childhood incarceration. Then go to their personality tests. We pass a row of female mannequins, some nude, some wearing colorful leather jackets, designer knockoffs, in various stages of completion. then a huge maroon armoire, in Chinese lacquer ; its double doors are slightly ajar. The jaunty background. MUSIC is growing even louder : Fats Waller singing `` Bye Bye Baby.'' And now we hear something else, too - the rapid CLICKING of a sewing machine. DR. LECTER -LRB- V.O. -RRB- Study their drawings, especially. Billy's house drawings will show no happy future. No baby carriage, out in the yard. No pets, no toys, no flowers, no sun. We TURN another corner, and there is Mr. Gumb himself. As we APPROACH, his wide back is to us ; he's hunched over an old - fashioned sewing machine, humming cheerfully, and working a piece of material that we mercifully can not see. A female wig rests near him on a head form. He wears a hairnet and a beautiful kimono, and pumps the treadle with his bare feet. DR. LECTER -LRB- V.O. -RRB- His females will be more crudely sketched than him males - but he'll compensate by adding exaggerated adornments. jewelry, big breasts. And his tree drawings - oh, his trees will be frightful. Next to Mr. Gumb is an antique phonograph - source of the MUSIC. His little dog, Precious, perches by his plump ankles. As we PASS Mr. Gumb, Precious scurries away from him, panting happily, and we FOLLOW the little dog down another corridor, the music starting to fade behind us. DR. LECTER -LRB- V.O. -RRB- Billy hates his own identity, he always has - and he thinks that makes him a transsexual. But his pathology is a thousand times more savage. He wants to be reborn, Clarice. He will be reborn. At the end of this final corridor, the cellar widens into a low - ceilinged chamber, with two additional doorways, and in the center of this is the gaping circle of the oubliette. Precious sniffs her way over to the edge - excited, tail wagging - than BARKS happily as we hear a hoarse, ghostly moan from below. CATHERINE -LRB- O.S. -RRB- Pleeeeeeeease!", "INT. DR. LECTER'S CORRIDOR - DAY MOVING ANGLE - CLOSE ON Dr. Lecter's slippered feet, which rest on the shelf of a rolling hand truck. RISING along his tilted form, we see that his ankles are linked by steel restraints. his legs, waist, upper torso, and arms are bound by heavy canvas webbing. beneath the webbing is a strait - jacket. and over his face is a hockey mask. CHILTON -LRB- V.O. -RRB- Bad news, Hannibal. WIDER ANGLE shows that Dr. Lecter, on the handtruck, is being pushed down his corridor by Barney, and back into his open cell. CHILTON -LRB- V.O. -RRB- Gourmet magazine has rejected your recipe for braised kidneys.", "INT. DR. LECTER'S CELL - DAY Chilton lounges on Dr. Lecter's cot, casually reading his large stack of private correspondence, and making notations with his gold pen on a little pad. Another orderly mops the floor. CHILTON Perhaps you should have been less specific about what kind. -LRB- to Barney. -RRB- Stand him by the toilet. Then leave us. Barney props the hand truck into position, then both orderlies go. Chilton finishes another letter, sighs happily. CHILTON Such a lot of correspondence! I can hardly wait to analyze it in more detail. But first things first. Tossing letters onto the cot, he rises, crosses out into the corridor, and bends to remove a small tape recorder from underneath Clarice's desk. He waggles it triumphantly at Dr. Lecter. CHILTON I thought she might be looking for a civil rights violation in Migg's death, so I bugged you. Not a word to me in all these years, Hannibal. Then Crawford sends his bit of fluff over here, and you just turn to jelly. It's too pathetic. SIDE ANGLE - TWO SHOT as Chilton, back in the cell, leans tauntingly close to the front of Dr. Lecter's mask. CHILTON You still think you're going to walk on some beach, and see the birdies? I do n't think so, Hannibal. I called Senator Ruth Martin, and she never heard of any deal with you. She never heard of Clarice Starling, either. They scammed you, Hannibal. CLOSE ON Dr. Lecter's glittering eyes, behind their slits. CHILTON When Crawford gets through milking you, he's giving you to Baltimore Homicide for the Raspail murder. And they're preparing some special surprises for you right now, in my electroshock room. DR. LECTER'S POV -LRB- FRAMED BY EYE - SLITS -RRB- first looking at Chilton's moving lips. then LOWERING to his soft, white, inviting throat. CHILTON The Starling bitch wants you to rot here, in this little box, till your teeth fall out and you're soiling diapers. You've seen the old ones, Hannibal. They weep when their stewed peaches get cold. That'll be you, too. Unless - you trade with me. FAVORING CHILTON as he sits chummily on the table. CHILTON There never was a deal with Senator Martin - but there is now. I've been on the phone for hours, Hannibal, on your behalf. Here's what you get : if you identify Buffalo Bill, and the girl is found in time, Senator Martin will have you transferred to Brushy Mountain State Prison, in Tennessee. CLOSE AGAIN ON DR. LECTER'S EYES as they shift restlessly, away from Chilton - then suddenly lock onto something. They widen with interest. CHILTON -LRB- O.S. -RRB- The Governor has already agreed. You get books, a view of the woods, and plenty of exercise time. DR. LECTER'S POV - EXTREME CLOSEUP On the cot, carelessly left there, lying half - hidden under the letters and the rumpled sheet. is Chilton's gold pen. CHILTON -LRB- O.S. -RRB- And best of all, you'd be out of Jack Crawford's reach, forever. The Senator will verify these terms on the phone, and guarantee them in writing. BACK ON DR. LECTER as he stares a moment longer at the pen, then shifts his eyes towards Chilton. We can almost hear his brain clicking. CHILTON -LRB- O.S. -RRB- In exchange, I get your full cooperation in publishing a professional account of this - my successful interviews with you. You publish nothing. And I get exclusive access to any material from Catherine Martin. So. Do you accept my demands? -LRB- pause. -RRB- Answer me, Hannibal. A beat. Dr. Lecter is silent. Chilton sticks his face INTO SHOT, almost intimately close to the mask. He is agitated. CHILTON You'll answer me now, or by God, you'll answer to Baltimore Homicide. Who is Buffalo Bill? DR. LECTER -LRB- pause ; then softly. -RRB- I'll tell the Senator herself. But only in Tennessee.", "INT. JOHNS HOPKINS - GENDER IDENTITY CLINIC - DAY MOVING ANGLE - as the very impatient Crawford, clutching a folder, strides down a hall beside DR. DANIELSON - early 50's, severe, in a lab coat. Nurses, doctors, glance as they pass. DR. DANIELSON I'm not having a witch hunt here, Mr. Crawford! Our patients are decent, non - violent people with a real problem. CRAWFORD Dr. Danielson, the man we want was never your patient. It would be someone you refused because he tries to conceal a record of criminal violence. Please, Doctor - time is eating us up. Just show me the ones you've turned away. Danielson enters a cramped, stainless steel nurse's gallery, with Crawford following, and pours himself a cup of coffee. DR. DANIELSON -LRB- adamantly. -RRB- Examination and interview materials are confidential. We've never violated an applicant's trust, and we never will. CRAWFORD You want to see a violation? This is a violation. He takes a black & white photo from his folder, slaps it down in front of Danielson. From our angle, we ca n't see it clearly. CRAWFORD Her name is Kimberly Jane Emberg, she was just ID'd. I met her on a slab in West Virginia. And sometime tomorrow, or tomorrow night, he's going to do the same thing to Catherine Martin. DR. DANIELSON That's a childish, bullying stunt, Mr. Crawford. I was a battlefield surgeon, so you can put away your picture. Burroughs sticks his head in, looking for Crawford. BURROUGHS Phone, Jack. Director Burke. CRAWFORD -LRB- snaps. -RRB- In a minute! Burroughs hurriedly retreats. Crawford strains for patience. CRAWFORD Look. search your own records, if you prefer. You can do it a lot faster than us, anyway. If we find Buffalo Bill through your information, I'll suppress it. Nobody has to know this hospital cooperated. DR. DANIELSON I doubt very much that the FBI or any other government agency can keep a secret, Mr. Crawford. Truth will out. And then what? Will you give Johns Hopkins a new identity? Put a big pair of sunglasses on this building, and a funny nose? CRAWFORD Oh, that's clever, Dr. Danielson. Very humorous. You like the truth? Try this. -LRB- right in his face, enraged. -RRB- He kidnaps young women and kills them and rips their skin off. We do n't want him to do that anymore. If you do n't help me, just as fast as you can, then the Justice Department is going to ask publicly for a court order, We'll ask twice a day, just in time for the morning and evening news. And each one of our press conferences will focus on Dr. Danielson, over at Johns Hopkins, and how we're still hoping for his cooperation. And every time there's any news on the case - when Catherine Martin floats, when the next one floats, and the next one - why, we'll just issue another press release about good ol' Dr. Danielson, over at Johns Hopkins - complete with all his humorous fucking remarks. DR. DANIELSON -LRB- pause ; stiffly. -RRB- It may be that - I could confer with my colleagues on this. And get back to you. CRAWFORD Would you, Doctor? That would be so kind.", "INT. THE SURVEILLANCE VAN - DAY Crawford is on the scrambler phone. Burroughs watches silently. CRAWFORD -LRB- on phone ; stunned. -RRB- Transferred?", "INT. FBI BUILDING - OFFICE OF THE DIRECTOR - DAY HAYDEN BURKE, the FBI Director, swivels in his big chair. Lean, late 40's, very distinguished. His desk is flanked by flags. DIRECTOR BURKE -LRB- on phone. -RRB- Already airborne for Memphis. Senator Martin's meeting him at the airport. -LRB- uneasily. -RRB- Jack - did you make some sort of promise to Lecter, in the Senator's name? Listening to the answer, he looks uncomfortably across his desk at PAUL KRENDLER, the Deputy Attorney General - 40, very tanned, modish haircut. Krendler is irritable, impatient. DIRECTOR BURKE -LRB- on phone. -RRB- We're going to have to talk about this, Jack. The Senator's mad as hell. Paul Krendler's over here from Justice, she's asking him to take charge in Memphis. I know that. But you're still in command of the task force, and Lecter's plane can still be ordered back. It's your call, Jack - but I want it now.", "INT. THE SURVEILLANCE VAN - DAY Burroughs starts to make an objection, but Crawford stills him with a hand motion. He is taut, frustrated. Long pause. CRAWFORD -LRB- into phone. -RRB- Let him land.", "INT.CLARICE'S DORM ROOM - DOORWAY - DAY Clarice opens her door, stares out at Crawford. She's just slipping on her blazer, over her shoulder holster. She's furious. CLARICE Chilton has killed her, has n't he? That slimy little bastard! We were so close with Lecter - and now her last chance is gone. CRAWFORD Let's get some coffee and talk.", "EXT. FBI ACADEMY GROUNDS - QUANTICO - DAY MOVING ANGLE on Clarice and Crawford, as they walk along a sidewalk, sipping from paper cups. The surveillance van trails them slowly, radios CRACKLING. CLARICE Are you in trouble over this, Mr. Crawford? Can Senator Martin do something to you? CRAWFORD I'm 53, Starling. If I found Jimmy Hoffa on national TV, I'd still have to retire in two years. It's not a consideration. But you are. -LRB- beat. -RRB- You've done enough. If I keep you out of school any longer, you'll be recycled. Cost you six months, at least. I can guarantee you readmission here, but that's about it. -LRB- he stops, looks at her. -RRB- Now's your chance, Starling. Go back to class. Leave Bill to me. CLARICE If you did n't want me chasing him, you should n't have taken me to that funeral home. He looks at her steadily, then nods. They walk on. CLARICE Lecter is still the key, I know he is. Whatever he told me about Bill is just as good now as it was before. CRAWFORD Or just as worthless. But I want you in Memphis, close to him. Maybe when he gets tired of toying with Senator Martin, he'll talk to you again. There's a plane waiting for you now at the airstrip. She smiles at this acknowledgment ; he never thought she's quit. CLARICE I lied to Lecter. I'll need some kind of peace offering. Can I get the drawings from his cell? CRAWFORD Good idea. Meantime, try to get a feel for Catherine Martin. Her apartment, her friends. how he might've stalked her. I'm going to the other two clinics, Minnesota and Ohio. -LRB- he crumples his cup, tosses it. -RRB- Now's the hardest part, Starling. Use your anger, do n't let it keep you from thinking. Just keep your eyes on Catherine. We've got less than 30 hours. CLARICE -LRB- hesitates. -RRB- Mr. Crawford. can those cops down there handle Dr. Lecter? CRAWFORD -LRB- grimly. -RRB- They'll use their best men. But they better be paying attention.", "INT. AIR NATIONAL GUARD HANGER - MEMPHIS, TENNESSEE - DAY CLOSE ON Dr. Lecter. Behind his mask, the alert, searching eyes. CRAWFORD -LRB- V.O. -RRB- He will. OFFICERS PEMBRY AND BOYLE two sturdy, well - armed, veteran prison guards - are checking Dr. Lecter's restraints with clever, careful fingers. BOYLE Welcome to Memphis, Dr. Lecter. I'm Officer Boyle, this is Officer Pembry. We aim to treat you just as nice as you treat us. Act like a gentlemen, you'll get three hots and a cot. PEMBRY But we ai n't pussy - footin' with you, buddy ruff. You get cute, try to bite somebody? - we'll tie your asshole in a knot. You savvy? DR. LECTER Oh yes, Officer Pembry. I certainly do. The officers turn away, Boyle signing a clipboarded form. PEMBRY -LRB- under his breath. -RRB- Shit, he's just an ol' broke - dick. Wo n't be no trouble as all if he do n't flip out. BOYLE Dr. Chilton? NEW ANGLE - WIDER as we see that we're in a vast, dusty hangar. Parked to one side : an EMS ambulance and four highway patrol cruisers ; a dozen troopers stand quietly chatting and smoking over there. Prentiss is pacing impatiently, casting anxious glances towards the open hanger doorway. BOYLE If you'll please sign right here, sir, we'll have us a legal transfer. Chilton instinctively pats his shirt pocket for his gold pen ; it's gone. He searches other pockets, with growing unhappiness. BOYLE Use mine. PEMBRY Here they come. TWO BLACK STRETCH LIMOUSINES glide smoothly into the hangar, stop. Secret Service agents pour out of the lead car, form a cordon. A driver opens the rear door of the second car, and Krendler steps out, followed by the Senator's assistant, with a briefcase, followed, as last, by the Senator herself. Barely glancing around, she strides towards Lecter. NEW ANGLE - DR. LECTER AND SEN. MARTIN as she stops, struck by the bizarre spectacle of his restraints. The others instinctively keep a distance, but Chilton, with theatrical relish, unstraps and removes Dr. Lecter's mask. CHILTON Senator Martin, meet Dr. Hannibal Lecter. They stare at one another for a long moment : the Senator tense, almost haggard, the madman with his unearthly poise. SEN. MARTIN Dr. Lecter, I've brought an affidavit guaranteeing your new rights. You'll want to read it before I sign. He assistant unsnaps his briefcase, reaches for the form. DR. LECTER I wo n't waste your time and Catherine's time bargaining for petty privileges. Clarice Starling and that awful Jack Crawford have wasted far too much already. I only pray they have n't doomed the poor girl. Let me help you now, and I'll trust you when it's all over. SEN. MARTIN You have my word. Paul? Krendler raises a pad, poised to take notes. DR. LECTER Buffalo Bill's real name is William Rubin. I met him just once. He was referred to me in April or May, 1980, by my patient Benjamin Raspail. They were lovers, but Raspail had become very frightened. Apparently Rubin had murdered a transient, and - done things with the skin. He thought if I could cure Billy, then Billy'd be safe from the police, and he's be safe from Billy. Obviously, he was wrong. KRENDLER We need his address, a physical descr - DR. LECTER Did you nurse Catherine? SEN. MARTIN -LRB- pause ; startled. -RRB- What? DR. LECTER Did you breast - feed her? He flicks his tongue obscenely. KRENDLER You son - of - a - The Senator stills him with a hand. She is trembling. SEN. MARTIN Yes. I did. DR. LECTER Toughened your nipples, did n't it? -LRB- a beat ; then rapidly, bored. -RRB- Six foot one, strongly built, about 190 pounds. Hair brown, eyes pale blue. He'd be about 35 now. He said he lived in Philadelphia, but may have lied. That's really all I can remember, Senator - but if I think of any more, I'll let you know. SEN. MARTIN -LRB- to the others. -RRB- Let's go with it. They start towards the car, but he calls out, stopping her. DR. LECTER Senator Martin! You ca n't trust Jack Crawford or Clarice Starling. It's such a game with these people. They're determined to get the arrest for themselves. The `` collar,'' I think they say. SEN. MARTIN Thank you, Doctor. I'll keep it in mind. DR. LECTER Oh, and Senator? Love you suit.", "INT. MR. GUMB'S BASEMENT - DAY (DIMLY LIT) CLOSE ON scraps of food - peas, chicken bones - lying on the cement floor of the pit, near the foil tray of a TV dinner. CATHERINE -LRB- O.S. -RRB- -LRB- muttering, feisty. -RRB- Close enough to fuck is close enough to fight. CATHERINE is hunched over in concentration. The plastic toilet bucket is on her lap, and she has yanked down its cotton string. CATHERINE Get my legs round your neck, you goddamn creep, I'll send you home to Jesus. HER FINGERS are tying a chicken bone to the bucket's handle, where it meets the string. The other end of the string is tied to her wrist. SHE STANDS gathers the coiled string in one hand, and swings the bucket by its handle, calculating this distance up to the basement floor. CATHERINE Okay, Precious. Time for a treat. She hurls the bucket upwards. AT THE LIP OF THE OUBLIETTE the bucket sails out, bounces LOUDLY, then falls back inside. ANGLE ON THE DOG, PRECIOUS who is elsewhere in the basement, worrying a toy. She cocks an ear, making a low GROWL, then sets off to investigate. DOWN IN THE PIT Catherine swings the bucket again, trying another cast. THE BUCKET LANDS two feet beyond the pit's edge, rolls a bit, stops. PRECIOUS TROTS UP then pauses, staring curiously towards. VERY LOW ANGLE -LRB- DOG'S POV -RRB- the enticing chicken bone, six feet away. It twitches as Catherine tugs on the string, edging the bucket back towards the pit. Precious with her tail wagging, BARKS - greedy but suspicious. CATHERINE staring upwards, pulls again, even so gently, at the string. CATHERINE -LRB- softly. -RRB- Preeeeecious! C'mon, boy, nice yummy bone. c'mon, you little shit. PRECIOUS edges reluctantly closer. then suddenly rushes in, seizing the bone in her teeth. She tries to run away with it, but Catherine is pulling her towards the hole, working her like a hooked fish. Her toenails scrabble as she tries to stop. CATHERINE stares desperately, unable to see how she's doing. CATHERINE Hang on, boy. hang on. PRECIOUS still fights for the bone, GROWLING, as the bucket rocks precariously on the edge of the pit. A long, seesaw battle. until finally, when one of her forelegs slips momentarily into the hole, she panics and lets go. The bucket flops over the edge. CATHERINE crouches, covering her head as the bucket bounces off her. CATHERINE Nooooo! THE LITTLE DOG furious, BARKS down at her, then trots away in disgust. CLOSE ON CATHERINE as she sinks to the cold cement. She slaps aside the foil tray, the scraps of food, sobbing in utter despair.", "INT. CATHERINE MARTIN'S APARTMENT - LIVING ROOM - DAY CLOSE ON a framed photo of Sen. Martin and Catherine, held in Clarice's cotton - gloved hands. Powdered fingerprints on the glass. Clarice glances up from the photo, smiles disarmingly at - A young STATE TROOPER sitting in Catherine's easy chair. He smiles back at her, then relaxes, returns to his newspaper. He also wears gloves.", "INT. KITCHEN Clarice closes the refrigerator door, glances around. A big REEL - TO - REEL TAPE RECORDER has been set up on the breakfast counter, attached to Catherine's phone. Two new red phones are hooked up as well.", "INT. BATHROOM Clarice slides open the medicine cabinet's mirror, looks inside. She reaches in, pokes carefully amongst the lotions.", "INT. ATTIC CRAWL-SPACE A ceiling hatch bangs open, sending up dust clouds. Clarice, lit from underneath, pokes her head through, looking around.", "INT. BEDROOM Flat on her back, Clarice wriggles out from under Catherine's bed. She sits up, brushing dust from her face and hair.", "INT. BEDROOM CLOSE ON an open, multi - tiered jewelry box, resting atop a bureau, as Clarice's fingers pick through costume jewelry. Clarice closes the box, and is just turning away when a figure suddenly looms INTO SHOT, giving her a bad start ; she cries out softly. Senator Martin is revealed, staring at her suspiciously. SEN. MARTIN Who are you, please? I thought the police were through in here. CLARICE I'm Clarice Starling, Senator. FBI. SEN. MARTIN -LRB- softly, very angry. -RRB- Clarice Starling. -LRB- calls out. -RRB- Paul? Would you come in here, please? Krendler enters from the hallway, looks at Clarice. SEN. MARTIN Miss Starling, you may know the Deputy Attorney General, Mr. Krendler. Paul, this is the trainee that Jack Crawford sent to Lecter. She lied to him, pretending to have my authority, and thus jeopardized this entire investigation. Now she has the further gall to invade my daughter's privacy, again without permission. If her little games have killed my baby. Overcome, she hurries from the room. Krendler shuts the door behind her, points sternly at Clarice. KRENDLER You're out of line, Starling, and you're off this case. Back to Quantico. CLARICE Sir, Mr. Crawford instructed me - KRENDLER Your instructions are what I'm giving you now. Jack Crawford answers to the Director, and the Director answers to me. My God, Crawford's losing it! He should n't even be on this, with his wife sick as she is. How the hell did you get in here, anyway? He gave you - what? Some kind of special ID? Let's have it. CLARICE -LRB- stubbornly. -RRB- I need the ID to fly with my gun. The gun belongs in Quantico. KRENDLER Gun. Jesus. Turn in the ID as soon as you get back. The gun, too. Be on the next plane, Starling, there's one in 90 minutes. Clarice, burning, starts for the door, then turns back. CLARICE Mr. Krendler. Dr. Lecter trusts me. Or at least, he used to. If I could just - KRENDLER Lecter has already named Buffalo Bill. Clarice reacts, surprised. Krendler takes a folded computer sheet from his pocket, shoves it at her. She takes it, reads. KRENDLER He gave us a perfectly good description, and we're on it now, so we wo n't be needing your little novelty act any longer - or his, either. He's under close guard at the courthouse, pending a prison transfer. The next plane, Officer. CLARICE Sir, does n't this `` William Rubin'' strike you as - I do n't know - kind of vague? Krendler moves in very close to her, pale with anger. KRENDLER Do you need a police escort, Starling? Or do you think you can find the airport by yourself? CLARICE Yes sir. I can find it by myself.", "EXT. SHELBY COUNTY COURTHOUSE - DAY The old courthouse is a massive Gothic stronghold, with an armada of police cruisers parked at the curb. Clarice climbs from her rented car, SLAMMING the door angrily. Holding a rolled - up pile of papers - Dr. Lecter's drawings - she starts determinedly up the steps. A nearby commotion makes her pause. Dr. Frederick Chilton in a sea of interviewers and mini - cams, is preening grandly. Clarice carefully avoiding his gaze, slips up the steps and inside.", "INT. COURTHOUSE - GROUND FLOOR - DAY SGT. TATE, a Memphis policeman, is studying Clarice's ID. He looks up at her from his command desk, a bit doubtfully. SGT. TATE Are you with Mr. Krendler's people? CLARICE I just left him. SGT. TATE Access to Lecter is strictly limited. We've been getting death threats. -LRB- hesitates again. -RRB- Log in, and check your weapon. He picks up a phone, murmurs into it. As he does so, Clarice glances around this main ground floor lobby. HER POV The building looks like an armed fort. Cops with shotguns guard the front door, both ends of the hall, the foot of the stairs, the single elevator. More of them are coming and going. MURRAY -LRB- V.O. -RRB- Shoot, we have n't had this kinda security since the President came through town.", "INT. ELEVATOR - MOVING Clarice and OFFICER MURRAY, a young patrolman, ride up in an old - fashioned, CREAKING, metal - cage elevator. He is excited. MURRAY Every cop in Tennessee wants a look at this guy. ` Sit true what they're sayin' - he's some kinda vampire? CLARICE -LRB- beat. -RRB- I do n't have a name for what he is.", "INT. HISTORICAL SOCIETY ROOM - 5TH FLOOR Pembry, at a desk by the door, looks up from examining the unrolled pile of Dr. Lecter's drawings. PEMBRY You know the rules, ma'am? CLARICE Yes, Officer Pembry. I've questioned him before. He waves her on her way, but retains the drawings for now. MOVING ANGLE - WITH CLARICE as she crosses the big, spare, white octagonal room. A massive, temporary iron cage has been installed ; Officer Boyle sits facing its barred door. He rises, nods, moving away to allow her privacy. INSIDE THE CAGE a cot and a small table, each bolted to the floor, and a flimsy paper screen, hiding a toilet. Dr. Lecter sits at the table, his back to her, studying the Buffalo Bill case file. He now wears a green prison jumpsuit. A small cassette player is chained to the steel table. DR. LECTER -LRB- without turning. -RRB- Good afternoon, Clarice. She stops at a striped police barricade, before his bars. CLARICE I thought you might want your drawings back. Just until you get your view. DR. LECTER How very thoughtful. Or did Crawford send you here for one last wheedle - before you're both booted off the case? CLARICE Nobody sent me. I came on my own. He spins in his swivel chair, stops neatly. A coy smile. DR. LECTER People will say we're in love. -LRB- beat. -RRB- Pity you tried to fool me, is n't it? Pity for poor Catherine. Tick - tock. He spins again in his chair, playfully. MOVING ANGLE - FAVORING CLARICE as she circles the cage, trying to keep his face in sight. CLARICE Dr. Lecter, you find out everything. You could n't have talked with this `` William Rubin'', even once, and come out knowing so little about him. You made him up, did n't you? DR. LECTER Clarice. you're hardly in a position to accuse me of lying. CLARICE I think you were telling me the truth in Baltimore - or starting to. Tell me the rest now. DR. LECTER I've studied the case file, have you? Everything you need to find him is right in these pages. Whatever his name is. CLARICE Then tell me how. DR. LECTER First principles, Clarice. Simplicity. Read Marcus Aurelius. Of each particular thing, ask : What is it, in itself, what is its nature? What does he do, this man you seek? CLARICE He kills w - DR. LECTER -LRB- sharply, as he stops. -RRB- No! That's incidental. CLOSE ANGLE - TWO SHOT as he rises, pained by her ignorance, and crosses to the bars. DR. LECTER What is the first and principal thing he does, what need does he serve by killing? CLARICE Anger, social resentment, sexual frus - DR. LECTER No, he covets. That's his nature. And how do we begin to covet, Clarice? Do we seek out things to covet? Make an effort to answer. CLARICE No. We just - DR. LECTER No. Precisely. We begin by coveting what we see every day. Do n't you feel eyes moving over your body, Clarice? I hardly see how you could n't. And do n't your eyes move over the things you want? CLARICE All right, then tell me how - DR. LECTER No. It's your turn to tell me, Clarice. You do n't have any more vacations to sell, on Anthrax Island. Why did you run away from that ranch? CLARICE Dr. Lecter, when there's time I'll - DR. LECTER We do n't reckon time the same way, Clarice. This is all the time you'll ever have. CLARICE Later, listen, I'll - DR. LECTER I'll listen now. After your father's murder, you were orphaned. You were ten years old. You went to live with cousins, on a sheep and horse ranch in Montana. And -? CLARICE And - one morning I just - ran away. She turns from him. He presses closer, gripping the bars. DR. LECTER Not `` just,'' Clarice. What set you off? You started what time? CLARICE Early. Still dark. DR. LECTER Then something woke you. What? Did you dream? What was it? IN FLASHBACK The 10 - year old Clarice sits up abruptly in her bed, frightened. She is in a Montana ranch house ; it almost dawn. Strange, fearful shadows on her ceiling and walls. a window, partly fogged by the cold ; eerie brightness outside. CLARICE -LRB- V.O. -RRB- I heard a strange sound. DR. LECTER -LRB- V.O. -RRB- What was it? THE CHILD RISES crosses to the window in her nightgown, rubs the glass. CLARICE -LRB- V.O. -RRB- I did n't know. I went to look. HIGH ANGLES -LRB- 2ND STORY -RRB- - THE CHILD'S POV Shadowy men, ranch hands, are moving in and out of a nearby barn, carrying mysterious bundles. The mens' breath is steaming. A refrigerated truck idles nearby, its engine adding more steam. A strange, almost surrealistic scene. CLARICE -LRB- V.O. -RRB- Screaming! Some kind of - screaming. Like a child's voice. THE LITTLE GIRL is terrified ; she covers her ears. DR. LECTER -LRB- V.O. -RRB- What did you do? CLARICE -LRB- V.O. -RRB- Got dressed without turning on the light. I went downstairs. outside. THE LITTLE GIRL in her winter coat, slips noiselessly towards the open barn door. She ducks into the shadows to avoid a ranch hand, who passes her with a squirming bundle of some kind. He goes into the barn, and she edges after him reluctantly. CLARICE -LRB- V.O. -RRB- I crept up to the barn. I was so scared to look inside - but I had to. THE LITTLE GIRL'S POV as the open doorway LOOMS CLOSER. Bright lights inside, straw bales, the edges of stalls, then moving figures. DR. LECTER -LRB- V.O. -RRB- And what did you see, Clarice? A SQUIRMING LAMB is held down on a table by two ranch hands. CLARICE -LRB- V.O. -RRB- Lambs. The lambs were screaming. A third cowboy stretches out the lamb's neck, raises a bloody knife. Just as he's about to slice its throat - BACK TO THE ADULT CLARICE staring into the distance, shaken, still trembling from the child's shock. We see Dr. Lecter, over her shoulder, studying her intently. DR. LECTER They were slaughtering the spring lambs? CLARICE Yes! They were screaming. DR. LECTER So you ran away. CLARICE No. First I tried to free them. I opened the gate of their pen - but they would n't run. They just stood there, confused. They would n't run. DR. LECTER But you could. You did. CLARICE I took one lamb. And I ran away, as fast as I could. IN FLASHBACK a vast Montana plain, and crossing this, a tiny figure - the little Clarice, holding a lamb in her arms. DR. LECTER -LRB- V.O. -RRB- Where were you going? CLARICE -LRB- V.O. -RRB- I do n't know. I had no food or water. It was very cold. I thought - if I can even save just one. but he got so heavy. So heavy. The tiny figure stops, and after a few moments sinks to the ground, hunched over in dispair. CLARICE -LRB- V.O. -RRB- I did n't get more than a few miles before the sheriff's car found me. The rancher was so angry he sent me to live at the Lutheran orphanage in Bozeman. I never saw the ranch again. DR. LECTER -LRB- V.O. -RRB- But what became of your lamb? -LRB- no response. -RRB- Clarice? BACK TO SCENE as the adult Clarice turns, staring into his feverish eyes. She shakes her head, unwilling - or unable - to say more. DR. LECTER You still wake up sometimes, do n't you? Wake up in the dark, with the lambs screaming? CLARICE Yes. DR. LECTER Do you think if you saved Catherine, you could make them stop? Do you think, if Catherine lives, you wo n't wake up in the dark, ever again, to the screaming of the lambs? Do you? CLARICE Yes! I do n't know! I do n't know. DR. LECTER -LRB- a pause ; then, oddly at peace. -RRB- Thank you, Clarice. CLARICE -LRB- a whisper. -RRB- Tell me his name, Dr. Lecter. DR. LECTER Dr. Chilton. I believe you know each other? NEW ANGLE as Clarice turns, startled, and the fuming Chilton seizes her elbow. Pembry and Boyle are beside him, looking grim. CHILTON Out. Let's go. PEMBRY Sorry, ma'a m - we've got orders to have you put on a place. Clarice struggles, pulling free of them for a moment. DR. LECTER Brave Clarice. Will you let me know if ever the lambs stop screaming? CLARICE -LRB- moving closer to the bars. -RRB- Yes. I'll tell you. DR. LECTER Promise? -LRB- she nods. He smiles. -RRB- Then why not take your case file? I wo n't be needing it anymore. He holds out the file, arm extended between the bars. She hesitates, then reaches to take it. VERY CLOSE ANGLE - SLOW MOTION as the exchange is made, his index finger touches her hand, and lingers there, just for a moment. DR. LECTER'S EYES widen, crackling at this touch, like sparks in a cave. DR. LECTER Good - bye, Clarice. CLARICE hugging the case file to her chest, stares back at him as the men crowd in on her, pushing her away. HER POV - MOVING as Dr. Lecter, head cocked in a smile, slowly recedes.", "INT. GARMENT SWEATSHOP - DAY MOVING ANGLE - MR. GUMB'S POV as he pushes a rolling rack of completed leather garments, each wrapped in plastic, down as aisle. SOUND of many sewing machines, all clattering at once, as he passes row on row of work tables. The seamstresses, mostly black or Hispanic, glance up as he passes, then quickly avert their eyes, his presence disturbing them in some nameless way. A thin FOREMAN in a flowery shirt, sees him approaching. He rises from his desk and comes over cheerfully, as the rack rolls to a stop. FOREMAN Hello, dear! Punctual as always. And what have you brought us today? He seizes one of the dangling jackets, pulling up the plastic wrapper. He examines it, stroking the sleeve. FOREMAN Oh, marvelous. You know, I always say you're the Leonardo of leather. MR. GUMB -LRB- O.S. -RRB- -LRB- a harsh whisper. -RRB- Oil. FOREMAN Pardon? MR. GUMB -LRB- O.S. -RRB- You're leaving oil on the skin. The foreman quickly releases the jacket. FOREMAN Of course. You'll be wanting your - Mr. Gumb's hand reaches INTO SHOT, snatching an envelope from him. The foreman is watching him walk away, as a seamstress comes over to take the rack of garments. The foreman is vaguely troubled, but shakes it off. He strokes the jacket again, admiringly. FOREMAN -LRB- to seamstress. -RRB- I wish we had a dozen like him. SOUND UPCUT - Glenn Gould playing Bach's Goldberg Variations.", "INT. MEMPHIS INTERNATIONAL AIRPORT - LOUNGE AREA - DUSK Clarice, in a line of other passengers, is moving slowly towards a departure ramp. Through a huge plate glass window, we can see her plane. She glances back over her shoulder at A pair of UNIFORMED COPS brawny and impassive, their arms folded, waiting to make sure she board the flight. Clarice sighs, turning wearily back towards the jetway. The BACH CONTINUES, as we.", "INT. SHELBY CO. COURTHOUSE - HISTORICAL SOCIETY ROOM  NIGHT CLOSE ON a steaming, rather elegant dinner tray, being carried by Pembry, as he approaches Dr. Lecter's cell. PEMBRY -LRB- shouts. -RRB- Ready when you are, Doc! IN THE CELL the BACH is issuing from the cassette player. Beside it, on the table, the pile of Dr. Lecter's drawings. The top one is an accurate, sensitive portrait, from memory, of Clarice. Beyond the table, we see Lecter's shadowy form, seated behind the paper screen. He calls out from there. DR. LECTER -LRB- O.S. -RRB- Just another minute, please! Pembry grunts, sets the tray down. Boyle joins him, handing him a riot baton and a Mace cannister, which Pembry fastens to belt clips. Boyle is similarly armed, and carries a ring of keys. PEMBRY Sumbitch demanded lamb chops for dinner, extra rare. BOYLE -LRB- laughs. -RRB- What you reckon he'll want for breakfast - some fuckin' thing from the zoo? INSIDE THE SCREEN Dr. Lecter sits fully clothed on the toilet - swaying slightly, eyes closed, lost in the music, tongue working in his cheek. Suddenly, like magic, a little shiny piece of metal protrudes from his lips. He plucks it out, opens his eyes. IN EXTREME CLOSEUP he is holding the pocket clip from Prentice's disassembled pen - a straight, thin strip of metal, with a circular collar at one end, a square edge at the other. DR. LECTER lines up his thumbnail just shy of the square edge, then braces it against the stainless steel toilet rim. He pushes down, hard, using both hands for leverage. After a moment he smiles, holding up the result, and twirling it before his eyes. IN EXTREME CLOSEUP the straight end of the clip now forms a tiny right angle, and the circular end anchors nicely between his fingers. OUTSIDE THE CELL Pembry and Boyle turn as the toilet FLUSHES, and Dr. Lecter reappears, looking jaunty. PEMBRY Okay, Doc, grab some floor. Same drill as lunchtime. Dr. Lecter sits on the floor, legs straight, then wriggles backwards. He stretches his arms behind him, hands and wrists through the bars, with two bars between them, and clasps his hands. DR. LECTER I'm ready when you are, Officer Pembry. Pembry comes around the cell to squat behind Dr. Lecter. He tugs his hands farther out, rather roughly, handcuffs his wrists. He shakes the cuffs, making sure of them, then nods to Boyle. NEW ANGLE - AT CELL DOOR as Boyle picks up the dinner tray, and Pembry crosses around. Pembry takes the keys from Boyle, unlocks the cell door, and pushes it inward. Boyle goes inside with the tray. DR. LECTER watches as Boyle approaches the table, above five feet from him. Boyle has to set his tray down on the floor to clear off some of the mess of drawings. The MUSIC plays on. VERY CLOSE ON. Dr. Lecter's hands, outside the bars, as the makeshift key, held between the tips of his right index and middle fingers, searches for the keyhole of the cuffs. And finds it. NEW ANGLE - FAVORING BOYLE as he finishes clearing the drawings, then turns back towards Dr. Lecter, stooping to pick up the tray. BOYLE'S RIGHT HAND is just inches from the tray when Dr. Lecter's hand darts INTO SHOT, snapping a handcuff onto his wrist. BOYLE looks up, astonished, to find himself right in the grinning face of Dr. Lecter - who just as quickly rolls sideways, and snaps - THE OTHER CUFF around the bolted leg of the table. And suddenly all natural SOUND and MOTION are suspended, as the MUSIC soars much louder, each separate note of it now echoing distinctly, and we see. VARIOUS ANGLES - EACH BLURRING INTO STOP - ACTION Pembry starting into the cell, reaching for his riot baton. Dr. Lecter smashing against the cell door, driving it into Pembry, pinning him across the chest, against the door frame. Boyle, on one knee on the floor, digging desperately in his pants pocket for his handcuff key. Pembry's hand, mashed against his body by the door, as he strains frantically to reach the baton at his waist. Pembry's eyes, widening in horror as he stares at. Dr. Lecter's bared teeth, flashing towards him. Dr. Lecter gripping Pembry's face in his jaws, shaking it like a dog shakes a rat. Boyle finding his key, but in his terror dropping it. Dr. Lecter yanking the mace can and riot baton from the dazed Pembry's belt, spraying him in his bloody face, then clubbing him to his knees. Boyle, mouth open in a silent scream, finding his key again, unlocking the handcuff, but then, as he starts to rise, seeing. Dr. Lecter standing over him, with the riot baton raised high ; he swings it viciously down, again and again and again. Then normal SOUND and MOTION are restored as we go to - CLOSE ANGLE ON the cassette player, and the portrait of Clarice, both now flecked with blood. In addition to the Bach, we now hear soft PANTING, close by, and whimpering SOBS in the background. ANGLE ON DR. LECTER eyes closed, lost in a favorite passage of the music. His bloody fingers drift airily with the notes, as his breathing slows to normal. He opens his eyes, sighs contentedly, looks down. HIS POV By the sprawled legs of Boyle lie various objects that spilled from his pants pocket - coins, a comb, a big pocketknife. DR. LECTER picks up the pocketknife, examines it happily. About a four - inch blade. He becomes aware of the WHIMPERING, off screen, turns. LOW ANGLE ON PEMBRY as he crawls, with torturous slowness, towards the command desk, and the phone. He is crying, but frantically determined. PEMBRY'S POV - PARTIALLY BLURRED, THEN CLEARING Above the desk, hanging from pegs, are his and Boyle's holstered revolvers.", "INT. COURTHOUSE - GROUND FLOOR LOBBY - NIGHT The bronze arrow above the elevator swings towards `` 5,'' then indicates a stop there, at the top floor. FAVORING SGT. TATE at his command desk, as he stares at the indicator. Another cop, JACOBS, sits on the desk's edge, flipping through a magazine ; many more cops can be seen beyond them, idling in the lobby. SGT. TATE What is this shit? Did somebody go up to five? -LRB- Jacobs shakes his head. -RRB- Call Pembry, ask him what - A GUNSHOT, and then, moments later, TWO MORE quick ones, echo down the nearby stairwell. Sgt. Tate jumps to his feet, grabs a radio mike, as the other cops stir, confused and noisy. SGT. TATE -LRB- into mike. -RRB- CP, shots fired on five! Repeat, shots fires on five! Outside posts look sharp, we've got a. Ho - ly shit. THE BRONZE ARROW has begun to descend. Down to 4, then past 4. BACK ON SGT. TATE as he reacts. The other cops, behind him, are now in a full uproar, shouting, pulling out guns. SGT. TATE -LRB- to the others. -RRB- SHUT UP! Guard mount, double up on your outside posts. Bobby, get the vests. Rainey, Howard, cover that fucking elevator if it comes all the way to - A COP -LRB- O.S. -RRB- It stopped! THE BRONZE ARROW has, indeed, frozen at 3. Sgt. Tate lifts the microphone again. SGT. TATE -LRB- into mike. -RRB- Seal off a ten - block radius. Get me the SWAT team and an ambulance, double quick. We're going up.", "INT. STAIRWELL - NIGHT (DIMLY LIT) HIGH ANGLE on Sgt. Tate as he leads a five - man squad, all in bulletproof vests, up the stone stairs. They move fast but carefully, covering each other from landing to landing with drawn revolvers, shotguns. The distant Back MUSIC makes a ghostly echo in here.", "INT. THIRD FLOOR CORRIDOR - NIGHT (DIMLY LIT) A thin rectangle of light on the floor from the open elevator door. We ca n't see inside. The MUSIC sounds closer. SGT. TATE approaches very cautiously, gun aimed. The other cops, behind him, fan out silently to set up angles of fire, checking the various office doors - all locked - as they creep up. MOVING ANGLE - OVER TATE'S SHOULDER as he reaches the side of the elevator, hesitates, then spins to point his gun inside. It's empty. He backs away. SGT. TATE -LRB- shouts at ceiling. -RRB- Pembry? Boyle?", "INT. HISTORICAL SOCIETY ROOM - NIGHT (BRIGHTLY LIT) ANGLE on the door, from inside, its lettering reversed on the frosted glass. The Bach is VERY LOUD. After a moment the door is shouldered open, hard enough for the glass to shatter, Tate following his gun inside, moving low, then other cops appearing behind him in the doorframe. They all freeze, staring in utter horror. SGT. TATE Oh no. no. THEIR POV is a brief snapshot from hell. The two uniformed bodies, one sprawled on its back near the door, the other still in the cell, have been savaged by a knife. Blood and gore everywhere. The faces are unrecognizable. SGT. TATE struggles for control, as the other cops move grimly around him, into the room. He pulls his walkie - talkie from his belt. SGT. TATE -LRB- into mike. -RRB- Command post. Two offi -. -LRB- a beat ; clears his throat. -RRB- Two officers down. Prisoner is missing. Repeat, Lecter is missing. He's stripped the bed, might be making a rope, check all windows. Where the fuck is my ambulance? IN THE CELL a cop angrily punches OFF the music. Jacobs kneels with his fingers on Boyle's neck. JACOBS Boyle is dead, Sarge. His gun's gone. AT THE OTHER BODY a cop gently removes a revolver from the bloody fist. Murray, the young patrolman, brings his ear reluctantly close to the gory face. A bloody bubble appears there ; the wreckage GROANS, very softly. MURRAY This one's alive! Tate crosses, kneels to see for himself. Murray looks green. SGT. TATE Take ahold of him where he can feel your hands, son. Talk to him. MURRAY What's his name, Sarge? SGT. TATE It's Pembry, now talk to him, God dammit. -LRB- into radio, looking around. -RRB- Boyle's dead, Pembry's read bad. Lecter is missing and armed - he took Boyle's gun. The other cop, checking the cylinder of Pembry's gun, holds up one finger to Tate. SGT. TATE -LRB- into radio. -RRB- Pembry got off one round - there's a chance Lecter was hit. We heard a total of three shots fired, so he's got four left. He's got a knife, too.", "EXT. STREET IN FRONT OF COURTHOUSE - NIGHT VARIOUS ANGLES on a floodlit scene of barely controlled pandemonium. Flashing red lights, men shouting commands, SIRENS in the distance. SWAT members, in full gear, leap from a black van. fan out. swarm up the steps. EMS orderlies unload a gurney from an ambulance. Cops kneel for cover behind cars, aiming guns and rifles up at the windows.", "INT. HISTORICAL SOCIETY ROOM - NIGHT A trio of EMS orderlies work fast over the body, already strapped on its gurney. They bandage a big plastic airway into place, over the butchered face, checking for a pulse at the neck. Young Murray crouches, sickened, gripping a bloody fist. MURRAY You're just fine, Pembry, lookin' good, buddy, you're gon na make it. One orderly massages the heart. Another is popping a plasma bag, ready to insert the needle, when the body starts convulsing. ORDERLY Downstairs - let's go! Quickly the gurney is elevated, wheeled out of the room, with cops rushing forward to open the doors, help push, SWAT men are running by in the hall, automatic rifles at the ready.", "INT. THE ELEVATOR - DESCENDING - NIGHT Sgt. Tate, riding down with Jacobs, has his radio out. SGT. TATE -LRB- into mike. -RRB- Ten - four, Lieutenant. I'm on the elevator, bringing it down. Pembry and Boyle are both cleared, top three floors secured, main stairwell secured. He's somewhere on - A spot of blood falls on his cheek. He and Jacobs stare at each other. Another spot hits his shoulder. They look up. THEIR POV Blood is dripping slowly from the corner of the service hatch. Sgt. Tate motions for silence, as both men draw their guns. SGT. TATE -LRB- into mike. -RRB- Uh, we're pretty sure he's somewhere on two, sir. That's all for now, over.", "INT. GROUND FLOOR LOBBY - NIGHT The elevator doors open, and Tate and Jacobs hurry out, stepping quickly to the side. Tate reaches back in and - CLOSE ANGLE Locks the elevator into position, with its doors open. OTHER COPS are rushing up to them, curious, as Tate frantically pushes them aside, gesturing for silence. SGT. TATE -LRB- whispers. -RRB- He's on the roof of the elevator!", "INT. THIRD FLOOR CORRIDOR - NIGHT Two SWAT officers, PETERSON and KUBELL, turn a key, unlocking and opening this floor's elevator doorway. The shaft is dark. Lying prone, they inch up to the edge, Peterson extends a mirror, on a long pole, out into the shaft. IN THE MIRROR -LRB- DISTORTED BY THE ANGLE -RRB- Is a distant figure, in a green prison jumpsuit, lying on his stomach, atop the elevator. A shiny revolver is near one hand. PETERSON whispers into a radio, as Kubell carefully tips an assault rifle, with a flashlight taped to its barrel, over the edge. PETERSON I see him. There's a weapon by his hand. He's not moving. RADIO VOICE Can you get the drop? PETERSON We got the drop. RADIO VOICE One warning. Then take him out. Peterson nods to Kubell, who switches ON the flashlight, as Peterson shouts down the shaft. PETERSON Quinn! put your hands on your head! IN THE MIRROR the green figure shows no movement. ANGLE ON THE COPS AGAIN as Peterson mutters to Kubell. PETERSON Put one in his leg. VERY CLOSE ON The figure below, as Kubell's gunshot ROARS, echoing hugely in the shaft, and a slug rips through the jumpsuited leg. The figure does n't stir. PETERSON staring down the shaft, raises his mike again. PETERSON No movement. RADIO VOICE Okay, Johnny, hold your fire.", "INT. GROUND FLOOR LOBBY - NIGHT A small army of cops is now covering the elevator doorway, from both sides. Tate crouches next to the SWAT COMMANDER. SWAT COMMANDER -LRB- into radio mike. -RRB- We're coming into the car, we're opening the hatch. Watch his hands. Any fire will come from us. Affirm? PETERSON'S VOICE Got it. The SWAT commander hands his radio to another cop, then looks at Tate. A long, tense moment. Then he waves a signal. MOVING ANGLE as we follow a picked team of four SWAT cops, in full body armor, rushing into the elevator car. Two men move to the corners, aim assault rifles at the ceiling. A third man sets a stepladder in place, and the fourth man, armed with a big Colt, hurries up the ladder and unclips the hatch. CLOSE ON. the service hatch, as the hinged cover drops open, and a body tumbles through, dangling head first, until it's caught at the waist. We see the back of the head. SGT. TATE shoulders through the SWAT cops for a closer look. He turns towards the SWAT commander, astonished. SGT. TATE That's Pembry!", "INT. EMS AMBULANCE - MOVING In the rear chamber, a young EMS ATTENDANT is braced against the vehicle's sway. Behind him, the stretchered form of his patient, and, through a curtained opening, the driver. SOUND of the siren. ATTENDANT -LRB- into radio mike. -RRB- He's comatose, but his vital signs are good. Pressure's 130 over 90. Yeah, 90! Pulse 85. Behind him, in slightly BLURRED FOCUS, the bloody figure sits slowly upright. ATTENDANT His convulsions have stopped, but he's got so much loose skin on his face, it's hard to tell if - Suddenly he stops, becoming aware of a strange HISSING. He turns, puzzled. THE POCKETKNIFE BLADE in Lecter's fist, flashes high in the air.", "EXT. SIX-LANE FREEWAY - NIGHT (ARC LIGHTS) MOVING ANGLE on the EMS ambulance, as it races along normally, its SIREN blazing, the heavy flow of traffic parting to make way for it. Then suddenly it begins to weave erratically, changing lanes, before drifting dangerously to a full stop, almost side - ways. Cars swerve to avoid hitting it, HONKING angrily. CLOSER ANGLE on the stopped ambulance. After a long, still moment, the wind - shield wipes come on, incongruously, then stop. Then the SIREN is shut OFF, and the flashers. The ambulance starts rolling again - at first jerkingly, then with increasing speed. We follow it for several more moments, until is passes - and we LINGER on. BIG GREEN INTERSTATE SIGN. that reads `` Memphis International Airport / 2 miles.'' CLOSE ANGLE - THROUGH AMBULANCE WINDSHIELD Dr. Lecter's face is slowly REVEALED, as he wipes across it with a fistful of gauze, tossing it aside.", "EXT. MONTANA PLAIN - DUSK - (IN FLASHBACK) MOVING ANGLE, rushing with dizzy swiftness over the prairie, over waving grasses. a long passage. before we come at last to the girl Clarice, sitting with her lamb, hunched in despair. She rises, her face tear - stained, and turns from us. Holding the lamb, she starts back the way she came.", "EXT. COUNTRY DIRT ROAD - NIGHT - BRIGHT MOONLIGHT MOVING ANGLE, very rapid, down this road. coming at last to a stopped highway patrol car. Clarice, with her lamb, is standing in the car's headlights. She starts wearily towards the sheriff.", "EXT. RANCH BARNYARD - NEAR DAWN CRANE ANGLE - sweeping rapidly DOWN into the barnyard towards the arriving highway patrol car, as it stops. RUSHING to the little girl as she steps from the car, holding the lamb. The dark figure of the rancher ENTERS FRAME. As he roughly takes the lamb from her, we HOLD on a CLOSEUP of her face - stunned, blank. She EXITS FRAME.", "EXT. BARN - NIGHT MOVING ANGLE - CLARICE'S POV as she walks towards the open barn doorway. It looms CLOSER. The rancher is revealed, a shadowy figure, pinning the lamb on the killing table. His knife hand sweeps up high, then holds. He turns TO CAMERA, his face breaking into the light - and it is the face of Dr. Lecter. He smiles his terrible smile at the young Clarice.", "INT. FBI DORM - PAY PHONE IN HALLWAY - NIGHT MOVING ANGLE - coming in very CLOSE on the adult Clarice's face - shocked, devastated - as she stands alone by the dangling receiver.", "INT. SHOWER STALL - FBI DORM - NIGHT CLOSE ON a shower head, as water suddenly blasts out. Clarice moves INTO SHOT, as she scrubs her face and hair compulsively, almost desperately, unable to get clean. ARDELIA -LRB- V.O. -RRB- They found the ambulance.", "INT. CLARICE'S DORM ROOM - NIGHT Clarice is hunched on her cot, in a bathrobe, her hair wet. The Buffalo Bill case file, a thick bundle, rests by her feet. Ardelia hovers anxiously nearby. ARDELIA In the parking garage at Memphis airport. The crew was dead. He killed a tourist, too. Got his clothes, cash. By now he could be anywhere. Clarice looks up. Her eyes are red - rimmed with exhaustion, and something close to despair. She reads Ardelia's thought. CLARICE No. He wo n't come after me. ARDELIA Why not? CLARICE -LRB- bitterly. -RRB- It would be rude. And he would n't get to ask any more questions. Ardelia sits beside her, touches her arm. ARDELIA Clarice - you did the best anybody could have for Catherine Martin. You stuck your neck out for her and you got your butt kicked for her and you tried. It's not your fault it ended this way. CLARICE The worst part - the thing that's making me crazy - is that Bill is right in front of me. Only I ca n't see him. -LRB- touching the case file. -RRB- Lecter said, everything I need to catch him is right here, in these pages. ARDELIA Lecter said a lot of things. CLARICE -LRB- shakes her head. -RRB- He's here, Ardelia. Ardelia stares back at her. SOUND UPCUT - the low throb of a washing machine.", "INT. LAUNDRY ROOM - ACADEMY DORM - NIGHT (VERY LATE) Clarice has spread out the case file across two washing machines. Ardelia, cross - legged on a dryer, studies another pile of forms. Nearby is their laundry basket, detergent box. ARDELIA -LRB- surprised. -RRB- Hey, is this Lecter's handwriting? She holds up the map, with its location markings for the kidnapping and body dump sites. Clarice takes it, looks. INSERT - THE MAP with newly inked words in Dr. Lecter's precise, elegant hand. DR. LECTER -LRB- V.O. -RRB- Clarice, does n't this random scattering of sites seem overdone to you? Does n't it seem desperately random - like the elaborations of a bad liar? Ta. Hannibal Lecter. NEW ANGLE - TWO SHOT as Clarice looks up at Ardelia, puzzled but excited. CLARICE `` Desperately random.'' What does he mean? ARDELIA Not random at all, maybe. Like there's some pattern here? CLARICE But there is no pattern. There's no connection at all among these places, or the computers would've nailed it! They're even found in random order. ARDELIA Well, except for the one girl. CLARICE -LRB- beat. -RRB- What girl? ARDELIA The one that was weighted down. Where is she? Fred something. They search among the inserts. Clarice finds the graduation photo. CLARICE Fredrica Bimmel, from Belvedere, Ohio. The first girl taken, but the third body found. Why? ARDELIA'Cause she did n't drift. He weighted her down. CLARICE But why? He did n't weight the others. Clarice moves, on fire, unable to keep still. CLARICE The first, what the hell did Lecter say about. `` First principles,'' he said. Simplicity. What does this guy do, he `` covets.'' How do we first start to covet? `` We covet what we see -'' She stops, turns. She grabs the photo of Fredrica from Ardelia, stares at it. She looks up, trembling. CLARICE - every day.'' ARDELIA -LRB- softly. -RRB- Hot damn, Clarice. CLARICE -LRB- V.O. -RRB- He knew her!", "INT. FBI BUILDING - OFFICE OF THE DIRECTOR - DAY Clarice and Crawford are seated in front of Director Burke, who's at his desk. Another chair is empty, because Krendler is pacing. All four are nearing their boiling points. CLARICE Maybe he lives in this, this Belvedere, Ohio, too! Maybe he saw her every day, and killed her sort of spontaneously. Maybe he just meant to. give her a 7 - Up and talk about the choir. But then - KRENDLER Starling - CLARICE But then he had to cover up, make her seem just like all the rest of them. That's what Lecter was hinting! KRENDLER The market in Lecter hints is way down, today, okay? I've got two good men dead in Memphis, and three civilians. I've got - CRAWFORD Who the hell's fault is - KRENDLER - a U.S. Senator who's half out of her head because her daughter's going to be murdered today! And all because of your mind games with fucking Lecter! CRAWFORD If you had n't interfered, he'd still be in custody in Baltimore! BURKE Jack - KRENDLER You sent in a green recruit, with a phony goddamn offer - CRAWFORD You're just trying to cover your ass for letting him escape! BURKE THAT'S ENOUGH! All of you. A long silence, as they all struggle to regain composure. Crawford, who was at the point of striking Krendler, finally retakes his seat. Burke looks sadly at Crawford and Clarice. BURKE -LRB- very reluctantly. -RRB- Starling, I'm afraid I have no choice. You're suspended from the Academy. -LRB- Crawford starts to interrupt. -RRB- Not another word! -LRB- to Clarice. -RRB- This is pending a reevaluation of your fitness for the service. I promise you'll get a fair hearing. -LRB- pause. -RRB- Jack. you're ordered to take compassionate leave. You'll spend the rest of the day briefing the AG's office, then transfer command of the task force, effective by 1800 hours. -LRB- beat. -RRB- I'm sorry, Jack. Go home. Take care of Bella. Clarice and Crawford stare back at him, drained. A long and very painful silence. Not even Krendler looks happy.", "EXT. SIDEWALK OUTSIDE FBI BUILDING - DAY Clarice and Crawford walk out slowly, stand there a moment, not knowing what to say, not wanting to face each other. CLARICE All his victims are women. His obsession is women, he lives to hunt women. But not one women is hunting him - except me. I can walk in a woman's room and know three times as much about her as a man would. -LRB- beat. -RRB- I have to go to Belvedere. CRAWFORD You heard them. I do n't have that authority anymore. CLARICE You do until six p.m. He stares at her sadly. He looks, for the first time, defeated, old beyond his years. CRAWFORD Ohio is cold ground. Picked over, ten months ago. Our people worked it, so did the locals. CLARICE But not from this angle. Not thinking he knew her. You've got to send me! CRAWFORD I'm Bureau for 28 years, Starling. I wo n't disobey orders, not even now. CLARICE But I just became a private citizen. I can go anywhere I want to. CRAWFORD With ID and a gun? Impersonating a federal agent is a felony. CLARICE He's going to kill her, Mr. Crawford. This morning, or maybe at noon, but today, and Belvedere's our last chance. I'm flying there, right now, unless you stop me. You want my ID? Here - take it. He stares at her, a long moment. Catherine's life. Clarice's passion, and future. His loyalty to the Bureau. Call it. CRAWFORD -LRB- pulls out his wallet. -RRB- There's about $ 300 here. And a hotline code number. They'll patch you through to me, wherever I am. She raises her hand to him. She wants to touch him face, or his neck, but ca n't. Finally she takes his money and card. CLARICE Thank you. He watches, frightened for both of them, as she backs away, smiles, then turns, racing towards the surveillance van. SOUND UPCUT - the scratchy recording of Fats Waller SINGING, as we.", "INT. MR. GUMB'S CELLAR - DAY (DIM LIGHT) CLOSE ON the needle of the Victrola, on the spinning record, as Mr. Gumb's fingers lift away. MUSIC continues in background. MR. GUMB -LRB- O.S. -RRB- -LRB- calling out. -RRB- Preeeeecious! CLOSE ON the moth cage, as Mr. Gumb's fingers search through the humus, and find a plump new cocoon, lifting it out. The door of the cage is left open, and one or two of the adult moths flutter out. MR. GUMB -LRB- O.S. -RRB- Precious, come on Precious! Busy busy day today. CLOSE ON a clean towel, beside the sink. The cocoon is gently placed in readiness alongside four shiny skinning knives. MR. GUMB -LRB- O.S. -RRB- Momma's gon na be sooo beautiful! CLOSE ON a stainless steel Colt Python, with a six - inch barrel, as the cylinder is spun, and the hammer gets a practice cock. The metallic CLICK is deep and loud. A note of alarm has entered Mr. Gumb's voice. MR. GUMB -LRB- O.S. -RRB- You come here this minute, you little scamp! LOW ANGLE on Mr. Gumb, wearing the kimono, as he walks through his sewing workroom. His back is to us ; he is looking anxiously under the furniture. He stops, straightens. Genuinely scared. MR. GUMB Precious? LOW ANGLE - OVER THE PIT OPENING Towards Mr. Gumb, as he stops at one of the doorways of the oubliette chamber. He stares inside ; his face in shadows. MR. GUMB Sweetheart? From the distant bottom of the pit, we hear Catherine's voice. CATHERINE -LRB- O.S. -RRB- She'd down here you sack of shit. Mr. Gumb's fist flies to his mouth, and he sags against the doorframe. A little groan escaped him ; the dog answers with a series of YIPS. UPWARD ANGLE, FROM THE PIT BOTTOM as Mr. Gumb's dark shape leans cautiously over the edge. MR. GUMB Precious, are you all right? REVERSE ANGLE ON CATHERINE crouched to one side, clutching the dog to her chest. Seeing Mr. Gumb, the dog squirms frantically, BARKING. CATHERINE Get me a telephone. Lower it down to me. Do it now, mister! I do n't want to have to hurt this little dog. UPWARD ANGLE on Mr. Gumb, as, with a cry of fury, he whips the Colt from inside his kimono. The muzzle gleams as he takes aim. Catherine yanks the dog up, into his line of fire, screaming at him. CATHERINE You shoot motherfucker you better kill me quick or I'll break her fucking neck, I swear to God! MR. GUMB -LRB- O.S. -RRB- -LRB- wails. -RRB- Nooooooo! Tucking the dog under one arm, she grabs its muzzle, twisting the head. The dog WHINES piteously. CATHERINE Back off, you son of a bitch! Back off! UPWARD ANGLE as Mr. Gumb cries out again - a terrible, inarticulate scream of rage and anguish. But then he slowly lowers his gun. REVERSE ANGLE On Catherine, as she maintains her grip. CATHERINE That's better. Now get me a live telephone. Get a long extension and lower is down here. And you better do it fast, too,'cause I think her leg's broken. She's in pain, mister, she needs a vet. MR. GUMB stares down at her, a long beat, breathing heavily. MR. GUMB You think she's in pain? You do n't know what pain is. But you're going to find out. And abruptly he vanishes. SOUND of his footsteps, rushing off. CATHERINE begins shaking, hands and arms twitching uncontrollably. She hugs the little dog tight to her chest, buries her face in its fur, sobbing.", "EXT. RESIDENTIAL STREET - BELVEDERE, OHIO - DAY HIGH ANGLE as a rented sedan pulls up to the curb, stops. After a moment Clarice climbs out, a bit stiffly. Double - checking this address, she glances up from a folded street map to - AN OLD, THREE - STORY WOODEN HOUSE in a row of similarly shabby homes, all backing onto a narrow river. A path of boards, laid over mud, leads back along this house towards the brown water. SOUND of hammering from there.", "EXT. BIMMEL HOUSE - BACK YARD - DAY An awesome huddle of pigeon coops sprawls by the brackish water. The birds' COOING mixes with the HAMMERING. A tall, gaunt man in a knit cap is obsessively pounding nails into a new coop. CLARICE approaches him, and the man lowers his hammer. He has red - rimmed eyes of watery blue. His face is deeply seamed. CLARICE Mr. Bimmel? He stares back at her, warily.", "INT. BIMMEL HOUSE - STAIRCASE - DAY HIGH ANGLE - LOOKING DOWN as Mr. Bimmel leads Clarice up a steep flight of steps. The bannister is worn, sags a bit. MR. BIMMEL I do n't know nothin' new to tell ya. The police been back here so many times already. Fredrica went into Columbus on the bus to see about a job. She left the interview OK. She never come home. Clarice pauses, at the landing, to look at a framed photo : the familiar graduation portrait. Others pictures show Fredrica as a young girl, toddler, infant - plump and hopeful at each age. MR. BIMMEL Her room's how she left it. Just shut the door when you're done.", "INT. FREDRICA'S BEDROOM - DAY CLARICE'S POV - MOVING SLOWLY as she takes in flowery chintz curtains. posters of Madonna and Blondie. a twin bed, with worn, stuffed animals on the pillow. a big sewing machine in the corner. CLARICE turns, absorbing nuances. There is loneliness here, an echo of desperation under this steeply pitches ceiling. A shrill MEOW, and she looks down. BIG TORTOISESHELL CAT is rubbing against her ankles. CLARICE picks up the cat, scratches behind his ears. She glances up. IN A FULL - LENGTH MIRROR she and the cat stares back at their own reflection. CLARICE sitting at the desk, turns the pages of a high school yearbook. The cat is curled on her lap. CLARICE kneeling by the old Decca record player, flips through LPs and singles. The cat has wandered off. CLARICE pulling a string to light up the closet. She is surprised and intrigued to see an extensive wardrobe, groaning from the rod. A shelf above the rod is stacked high with sewing supplies, in clear plexiboxes. She flips through the hanging clothes, pulls out one dress, on its hanger, for a closer look. THE DRESS is very big, to fit Fredrica, but beautifully cut. Some of the seams still look unfinished. She turns it around, sees a blue tissue dressmaker's pattern still pinned to the back. FAVORING THE SEWING MACHINE as Clarice turns, looks towards it. She hangs the dress on the closet door knob, crosses to sit at the machine. She takes off its dust cover. She runs one hand over the cool metal, as a taunting memory forms in her mind. DR. LECTER -LRB- V.O. -RRB- Billy wants to change, too, Clarice. But there's the problem of his size, you see. She turns, looks again at the unfinished dress. Suddenly she straightens, her attention riveted by something. CLARICE'S POV On the printed pattern, down at the lower back of the outlined dress, are two bold black triangles. We RUSH CLOSER to there shapes, before jumping back to - CLARICE who stares at them, starting to tremble. DR. LECTER -LRB- V.O. -RRB- Even if he were a woman, he'd have to be a big one. IN FLASHBACK those missing triangles of skin on the dead girl's back, in the funeral home in West Virginia. CLOSE ON CLARICE as she jumps to her feet, with a fierce joy. CLARICE Sewing darts. You bastard.", "INT. BIMMEL PARLOR - DOWNSTAIRS - DAY Clarice paces, in an exuberant rush, amidst the worn furniture. CLARICE -LRB- into phone. -RRB- He's making himself a `` woman suit,'' Mr. Crawford - out of real women! And he can sew, this guy, he's really skilled. A dressmaker, or a tailor - CRAWFORD -LRB- V.O. -RRB- Starling - CLARICE That's why they're all so big - because he needs a lot of skin! He keeps them alive to starve them awhile - to loosen their skin, so that - CRAWFORD -LRB- V.O. -RRB- Starling, we know who he is! And where he is. We're on our way now. CLARICE -LRB- pause ; surprised. -RRB- Where?", "INT. FBI TURBOJET - FLYING - DAY Crawford sits at a communications console, with Burroughs, in headphones, by his side. This forward section of the cabin is crammed with hi - tech equipment, all lit up and WHIRRING. Through a window we see clouds, part of the jet's wing. CRAWFORD -LRB- into speaker phone. -RRB- Calumet City, edge of Chicago. I'll be on the ground in 45 minutes with the Hostage Rescue Team. I'm back in charge, Starling. He's mine. INTERCUTTING as Clarice reacts ; her happiness for Crawford is tinged with disappointment at being so suddenly out of the hunt. CLARICE -LRB- on phone. -RRB- Sir, that's great news. But how - CRAWFORD Johns Hopkins finally came up with a name for us. We fed him into Known Offenders, and he came up cherries. -LRB- takes a paper from Burroughs. -RRB- Subject's name is `` Jamie Gumb,'' AKA `` John Grant.'' Lecter's description was accurate, he just lied about the name. INSIDE THE JET - MOVING ANGLE from the rear of the cabin forward, as we slowly PASS the twelve - man HRT. They're seated in full gear, hardshell armor, quietly checking and rechecking their bulging cases of weapons - silencer automatics, shotguns, stun grenades. CRAWFORD -LRB- O.S. -RRB- This Gumb's a real beauty. Slaughtered both his grandparents when he was twelve, and did nine years in juvenile psychiatric. Where, Starling, he took vocational rehab, and learned a useful trade. INTERCUTTING CLARICE Sewing. CRAWFORD Take a bow. Customs had some paper on his alias. They stopped a carton two years ago at LAX - live caterpillars from Surinam. The addressee was `` John Grant.'' Calumet Power & Light's given us two possible residences under that alias. We're hitting one, Chicago SWAT's taking the other. CLARICE -LRB- eagerly. -RRB- Chicago's only about 400 miles from here. I could be there in - CRAWFORD No, Starling, there is n't time. And you've still got crucial work to do in Ohio. We want him for murder, not kidnapping. I'm counting on you to link him to the Bimmel girl, before he's indicted. Clarice tries hard to swallow her disappointment. CLARICE Yes sir. I'll do my best. CRAWFORD -LRB- pause ; gently. -RRB- Starling - you've earned back your place in the Academy. We never would've found him without you, and nobody's ever going to forget that. Least of all me. CLARICE Yes sir. Thank you, sir. CRAWFORD switches off, feeling bad for her. On the console near him, the fax machine starts to CHATTER. He turns, looks. BURROUGHS -LRB- O.S. -RRB- Here he comes, Jack. CLOSE ON an emerging sheet, as Gumb's face is printed out. We see just his hair, then the top of his forehead, before we.", "EXT. BIMMEL BACK YARD - DAY Clarice walks slowly across the yard, absorbing all this news, before suddenly leaping into the air and pumping her fist in triumph, with a happy yelp. Then she sees - MR. BIMMEL staring at her in surprise. He sits by his coops, smoking. CLARICE somewhat embarrassed, crosses over to him. CLARICE Mr. Bimmel. did Fredrica ever mention a man named Jamie Gumb, from Calumet City? Or John Grant? -LRB- he shakes his head. -RRB- Did she know any men that sew? MR. BIMMEL She sewed for everybody. Stores, ladies, whatever. I do n't know about men. CLARICE Who was her best friend, Mr. Bimmel? Who'd she hang out with?", "EXT. AN ISOLATED RUNWAY - O'HARE AIRPORT - DAY The FBI turbojet is parked, its gangway down. Crawford, Burroughs, and the HRT squad, carrying their bags of weapons, CLATTER rapidly down the metal steps. STACY -LRB- V.O. -RRB- Freaked me out. Get your skin peeled off, is that a bummer?", "INT. SAVING & LOAN - BELVEDERE - DAY STACY HUBKA - short, perky, early 20's - sits nervously at her desk, talking to Clarice, who jots in her notebook. In the background. beyond them, bank tellers, lines of waiting customers, MUZAK. STACY They said she was just rags, like somebody - CLARICE Stacy, did Fredrica ever mention a man named Jamie Gumb? Or John Grant? -LRB- Stacy shakes her head. -RRB- Do you think she could've had a friend you did n't know about? STACY No way. She had a guy, I ` da known, believe me. Sewing was her life, she was really great at it. Poor Freddie. CLARICE Did you ever work with her? STACY Oh sure, me'n Pam Malavesi used to help her do alterations for old Mrs. Lippman. Lots of people worked for her, she had the business from all these retail stores? But she was like, totally old, it was more'n she could handle. CLARICE Where does Mrs. Lippman live? I'd like to talk to her. STACY She died. She went to Florida to retire, like two years ago? She dies own there. Clarice reacts, disappointed at the ending of this trail. STACY -LRB- beat ; shyly. -RRB- Is that a pretty good job, FBI agent? CLARICE I think so. STACY You get to travel around and stuff? I mean, better places then this? CLARICE Sometimes you do. STACY Freddie was so happy for me when I got this job. This - toaster giveaways, and Barry Manilow on the speakers all day - she thought this was really hot shit. What did she know, big dummy. Suddenly she's fighting tears. Clarice reaches to hug her.", "EXT. RESIDENTIAL STREET - CALUMET CITY, ILLINOIS - DAY WIDE ANGLE on what appears to be, at first, a calm, ordinary neighborhood of working class two - and three - story houses. But the street is strangely quiet, deserted. After a few moments, we become aware of movement - armed, dark - clad figures creeping swiftly and in silence from shrubs to garage corners, from parked cars to porches, appearing and then disappearing.", "INT. MR. GUMB'S CELLAR - DAY (DIM LIGHT) CLOSE ON Mr. Gumb, as he settles a big pair of infra - red night - vision goggles over his eyes. Moths flutter past his face. His mouth is set in a grim line.", "EXT. STREET IN CALUMET CITY - FRONT YARD - DAY An HRT cop, prone beneath a hedge, is joined by a 2nd HRT Cop, who throws himself to the grass beside him. They both take aim with their scoped rifles at - TELEPHOTO ANGLE -LRB- WITH RIFLE CROSSHAIRS -RRB- The front door of a big, nearby, split - level house.", "INT. MR. GUMB'S CELLAR - DAY (DIM LIGHT) CLOSE ON a fuse box, as Mr. Gumb reaches in, flips a switch. The lights go out. SOUND of a second switch, and the cellar is bathed in a green glow.", "EXT. STREET IN CALUMET CITY - NEIGHBOR'S HOUSE - DAY A little boy, riding his tricycle in his driveway, is suddenly startled to find himself staring into the grim face of - A MEMBER OF THE HRT crouched by his garage, armed to the teeth. As the little boy starts to cry, the cop pulls him into the shadows, covering his mouth.", "INT. MR. GUMB'S CELLAR - DAY (GREEN LIGHT) Mr. Gumb, in his kimono and goggles, creeps silently through his workrooms - knees bent, painted toes places ever so delicately, the Colt held aloft - as more moths flutter past him in the eerie light.", "EXT. STREET IN CALUMENT CITY - DAY A florist's van turns the corner, comes slowly down the street and stops at the curb in front of the split - level. The driver, in a gray deliveryman's uniform and cap, climbs out of the cab, walks briskly to the panel door, on the street side of the van, and slides it open. He leans in, comes out with a long, thin red - ribboned floral box, starts calmly towards the house.", "INT. MR. GUMB'S CELLAR - DAY (GREEN LIGHT) MR. GUMB'S POV - MOVING ANGLE on the top of the oubliette, a glowing green circle in the dark, as it draws closer and closer. and then Catherine comes INTO VIEW, at the bottom of the pit. She is crouched, exhausted, staring straight up at him - but she ca n't see him in this infra - red darkness. Precious is curled into her stomach, asleep. The futon is up to Catherine's waist, but there's a clear shot at her head and neck. MR. GUMB Looking down at her, smiles.", "EXT. STREET IN CALUMET CITY - SUSPECT'S HOUSE - DAY MOVING ANGLE on the `` deliveryman,'' seen from behind, as he mounts three steps to the split - level's front porch. Tucked into the small of his back if a 9 mm. automatic. CRAWFORD AND BURROUGHS have slipped out of the van, and are crouched behind it now, with drawn guns, watching tensely as - THE `` DELIVERYMAN'' settles the floral box in the crook of his left arm, reaches out with his right hand towards the buzzer.", "INT. MR. GUMB'S CELLAR - DAY (GREEN LIGHT) Slowly, savoring the moment, Mr. Gumb aims the big Colt, which is already cocked, using both hands. He is just about to squeeze the trigger, when we hear his DOOR BUZZER, surprisingly loud and close by. He turns, startled, and sees - DUSTY BLACK METAL BOX the extension buzzer, mounted high on the wall, which is making the hideous, grating JANGLE. It finally stops, but not before waking Precious, who starts frantically BARKING, off screen, as - MR. GUMB raises his gun again, spinning back towards - HIS POV - THE PIT BOTTOM where Catherine, hearing but still not seeing him, quickly yanks the futon over both herself and the dog. Instantly the two of them become one squirming, indistinguishable mass. MR. GUMB bites his lip, his aim wavering, as he ca n't decide where to safely place his shot. The maddening BUZZER sounds again, even more insistently, and he cries out with frustration and fury. But as the BUZZER continues, he reluctantly uncocks his gun, looking up angrily towards his front door.", "INT. MR. GUMB'S FRONT DOOR - DAY The door opens, on a chain, and Clarice peers in, smiling. CLARICE Good afternoon. I wonder if you could help me. I'm looking for Mrs. Lippman's family? Mr. Gumb frowns out at Clarice. For the first time ever, we get a well - lit view of his bland, pale - eyed moon of a face. MR. GUMB They do n't live here anymore.", "EXT. FRONT DOOR OF SUSPECT'S HOUSE - CALUMET CITY The `` deliveryman'' yanks a 12 lb. sledgehammer from the floral box, swings it with all his might against the door knob, blowing it through as - MOVING ANGLE Crawford and Burroughs race towards the door, guns up.", "EXT. MR. GUMB'S FRONT DOOR - DAY Mr. Gumb starts to close the door, only to have Clarice push back against it, politely but firmly. She holds up her ID. CLARICE Excuse me, but I really do need to talk to you. This was Mrs. Lippman's house. Did you know her? MR. GUMB -LRB- beat. -RRB- Just briefly. What's the problem, Officer?", "INT. SUSPECT'S HOUSE - CALUMENT CITY - DAY A bedroom window disintegrates as a flash grenade is shot through it, EXPLODING on the floor. An instant later, a black - clad HRT cop dives through the shattered glass, rolls across the floor, comes up on one knee swiveling his sawed - off shotgun.", "EXT. MR. GUMB'S FRONT DOOR - DAY Clarice and Mr. Gumb, still eyeing each other through the door crack. CLARICE I'm investigating the death of Fredrica Bimmel. Who are you, please? MR. GUMB Jack Gordon. CLARICE Mr. Gordon, did you know Fredrica when she worked for Mrs. Lippman? MR. GUMB No. Wait. Was she a great, fat person? I may have seen her, I'm not sure.", "INT. SUSPECT'S HOUSE - CALUMET CITY - DAY MOVING ANGLE as Burroughs moves quickly down a hallway and enters the living room, where Crawford is standing, with his gun held down by his side, surrounded by several other cops. Burroughs shakes his head : Nothing here.", "INT. MR. GUMB'S FRONT HALLWAY - DAY Mr. Gumb glances briefly over his shoulder, towards his kitchen, then turns back to Clarice with a smile. MR. GUMB Mrs. Lippman had a son, maybe he could help you. I have his card somewhere. Do you mind stepping inside, while I looks for it? CLARICE Thanks. ANGLE FAVORING THE COLT PYTHON which rests on a counter, just inside the open kitchen doorway. THROUGH this doorway, we watch as Mr. Gumb, at the end of his front hall, slips the chain. Clarice enters, closing the door behind her.", "EXT. FRONT YARD OF SUSPECT'S HOUSE - CALUMET CITY - DAY MOVING ANGLE - towards the front door, as frustrated HRT cops file out of the empty house, rifles slung across their shoulders. WE PICK OUT CRAWFORD walking across the grass towards the van, when all at once he stops in his tracks, shaken by a sudden flash of intuition. CAMERA RUSHES VERY CLOSE on his stricken face. CRAWFORD Clarice.", "INT. MR. GUMB'S PARLOR - DAY Clarice, pulling her notebook from her shoulder bag, glances around the musty - looking room. MR. GUMB -LRB- O.S. -RRB- That horrible business, I shiver every time I think about it. Overstuffed furniture, porcelain figurines. One archway onto the front hall, another onto a dining alcove, and through there, the kitchen. Mr. Gumb is crossing to a rolling desk, raising the top. He bends over, begins poking through cubby holes. His tone is casual, neutral. MR. GUMB Are they close to catching somebody, do you think? CLARICE I think we may be, yes. Mr. Gumb stiffens, almost imperceptibly. His back is to her, as he continues opening drawers, rustling papers. CLARICE Mr. Gordon, did you take over this place after Mrs. Lippman died? MR. GUMB Yes. I bought the house from her, two years ago. CLARICE Did she leave any records here? Tax or business records? Maybe a list of employees? CLOSE ON MR. GUMB'S BACK as he continues his rummaging. MR. GUMB No, nothing at all. Has the FBI learned something? Because the police here do n't seem to have the first clue. Out of the folds of his kimono crawls a Death's - head Moth. It creeps slowly to the center of his back, raising its wings. MR. GUMB Do you have his description yet, or some fingerprints? CLARICE unaware, is still glancing around the room. For several agonizing moments, we think she wo n't see the moth - but then she turns, does see it, and her eyes freeze. A beat of pure fear. A tremendous struggle to keep her voice calm. CLARICE No. no, we do n't. Very carefully, she drops her notebook back into her bag, lowers the bag to the floor. With her fingertips she brushes back the edge of her blazer, loosening its drape. MR. GUMB turns back towards her cheerfully, holding out a business card. MR. GUMB Ahhh. Here's that number. CLARICE keeps her distance. They are about ten feet apart. CLARICE Good, thank you. Mr. Gordon, do you have a phone I can use? MR. GUMB is about to reply when the moth suddenly flies up from behind him, flutters past his face. He turns, looking at it. He looks back at Clarice, his mouth still open. HER EYES are unmoving, locked on his. HIS EYES stare back at her, widen. And they know each other. MR. GUMB -LRB- softly. -RRB- In the kitchen. I'll show you. CLARICE whips her gun out, gripping it in both shaking hands. CLARICE Freeze! MR. GUMB slowly tilts his head to one side, smiles at her. CLARICE tries to force more authority into her voice. CLARICE Okay. Okay, Mr. Gumb, you're under arrest. Down on the floor, hands and legs spread, move it. MR. GUMB turns, then all at once, in two quick steps, he is gone, disappearing into his dining alcove, then kitchen. CLARICE hesitates, just a split second, to shoot him in the back - and then it's too late. CLARICE Shit!", "INT. MR. GUMB'S KITCHEN - DAY Clarice hurries inside, moving low, swivelling her gun. HER POV - MOVING The kitchen is empty. To one side, a door still shuddering on its hinges. CLARICE rushes to this - pauses - then elbows the door aside, aiming her gun down - AN EMPTY STAIRWELL brightly lit, leading to the cellar. Two doors facing the bottom, both open. No sign of Mr. Gumb. CLARICE hates this, hates this, which door, it's a trap, what to do : she is very scared, but suddenly hears - The distant SCREAM of Catherine Martin, somewhere down there in that killing maze. CLARICE rushes through the doorway, and down the stairs. BEHIND HER, ON THE KITCHEN COUNTER there's an empty space ; the Colt Python is gone.", "INT. MR. GUMB'S CELLAR - DAY MOVING ANGLE - WITH CLARICE - hurrying down the steps. More SCREAMS ; they seem to be coming from the left door. Clarice goes that way, entering a brick - walled passage - pipes over - head, naked bulbs. The lighting, though dim, is incandescent ; Mr. Gumb has switched off his infra - red system. Clarice comes to a T - shaped intersection, stops. Another SCREAM, again to her left, and the BARKING of a dog. CLARICE follows her gun around the corner, looking right. EMPTY PASSAGEWAY but doors opening off it - he could be lurking behind any of them. She looks left. sees an opening onto some kind of chamber. The noises are LOUDER, coming from there. CLARICE moves cautiously towards this chamber.", "INT. OUBLIETTE CHAMBER - DAY (DIMLY LIT) Clarice moves in, hugging the wall, gun swivelling. HER POV - MOVING the open top of the pit. beyond it, the other two doorways, opening onto this room - Jesus, he could come through either one of them, or come up behind her. She moves to the pit, looks down, very briefly, sees Catherine SCREAMING, hysterical, and a little white dog BARKING. CLARICE kneels, staring up from one door to another, she ca n't cover them all, she's totally exposed - and what's a dog doing there? CLARICE FBI, Catherine, you're safe. CATHERINE Safe, SHIT, he's got a gun! Getmeout. GET ME OUT! CLARICE You're all right! Where is he? CATHERINE Get me out! CLARICE I'll get you out! Just be quiet so I can hear. Shut that dog up. -LRB- still swivelling. -RRB- Is there a ladder? Is there a rope? CATHERINE I do n't know! Get me out! CLARICE Catherine. Listen to me. I have to find a rope. I have to leave this room, just for a minute, but - CATHERINE NOOOOO! You fucking bitch do n't you LEAVE ME down here, DO N'T YOU - YOU CLARICE Shut UP! -LRB- then, louder. -RRB- The other officers will be here any minute! you're perfectly safe now! Ignoring Catherine, whose shouts turn to sobs, she backs away, turns, picks one of the other doorways, moves into it quickly.", "INT. NEW PASSAGEWAY - DAY (DIMLY LIT) CLARICE'S POV - MOVING down this passageway, towards a new room. pausing at the doorway, straining to hear. no sound except Catherine's CRYING, not in the background, and Clarice's own RAPID BREATHING. Then she crouches - LOWER ANGLE - bursts forward, through the doorframe, sidestepping.", "INT. WORKROOM - DAY (DIMLY LIT) Clarice weaves back and forth, half - crouched, gun out, back to the wall. Her face glistens with sweat, as she takes in. HER POV - MOVING NERVOUSLY Mr. Gumb's sewing machine. his swivel chair. the old Victrola. Big moths are crashing into the light bulbs, overhead ; they're everywhere. Suddenly, from just behind her, a CLICK and a HUM, and - CLARICE spins, almost shoots, before seeing - A SMALL REFRIGERATOR with its thermostat just switching ON. CLARICE gasps for breath, fighting for calm. She turns again, slashing her free hand at the moths, moving quickly on.", "INT. SKINNING ROOM - DAY (DIMLY LIT) Clarice moves past the mannequins, all of them naked now. then quickly past the huge Chinese armoire, ready to shoot into it. Its doors yawn open ; it is empty except for several padded hangers. She moves on, past the big sink, with its DRIPPING faucet. the counter, with its gleaming knives. the rows of chemical jars. At the end of this room is A CLOSED DOOR Clarice starts to open it, then hesitates. Looking around, she seizes a wooden chair, wedges it under the door know, sealing off this section of the cellar. With her back thus defended, she turns, softly retracing her steps.", "INT. WORKROOM - DAY (DIMLY LIT) Passing again through the workroom, Clarice pauses, seeing a half - curtained door, to one side, that she had previously skirted. She crosses to the door, listens and hears no sound inside, takes a deep breath and reaches for the knob. She twists it, and, as it turns, shoves hard and follows her gun inside, all in one quick move.", "INT. BATHROOM - DAY (BRIGHTLY LIT) An old - fashioned bathroom : tiled floor, sink, toilet - and a big, free - standing tub. An opaque shower curtain, suspended from an oval ring, hides whatever might be inside. CLARICE centers her gun on the curtain, at chest height, and yanks it aside with her left hand. No one standing there. Something lower down catches her eye. She leans in, stares more closely, not understanding, at first, that she's seeing - FEMALE HAND AND WRIST sticking up from the tub, which is filled with hard red - purple plaster. The hand is dark and shriveled, with pink nail polish and a dainty wristwatch. As - CLARICE is reacting with horror to this sight, the lights go out, to be replaced, a split - second later, by the eerie green glow of Mr. Gumb's infra - red system. Clarice cries out, turns blindly, reaching for the door, ca n't find it, free hand clawing desperately into what is, for her, utter darkness. SOUND of Catherine KEENING again, in the far distance. Clarice stumbles, goes to her knees, rights herself, finally clutches the door frame.", "INT. MR. GUMB'S WORKROOM - DAY (GREEN LIGHT) Clarice emerges from the bathroom in a half - crouch, arms out, both hands on the gun, extended just below the level of her unseeing eyes. She stops, listens. In her raw - nerved darkness, every SOUND is unnaturally magnified - the HUM of the refrigerator. the TRICKLE of water. her own terrified BREATHING, and Catherine's faraway, echoing SOBS. Moths smack against her face and arms. She eases forward, then stops again, listens. She eases forward again, following her gun, and creeps directly in front of, and then past - MR. GUMB who has flattened himself against a wall, arms spread like a high priest, Colt in one hand. He wears his goggles and kimono, and under that - draping down over his naked arms, like some hideous mantle - his terrifying, half - completed suit of human skins. This is an exquisite moment for him - a ritual of supreme exaltation. He smiles at Clarice as, completely unaware, she moves beyond him, exposing her back. Very slowly and quietly he steps out behind her, taking his gun in both hands, aiming. CLOSE ON the Colt Python as - in SLOW MOTION - his thumbs cock the hammer, the SOUND registering as a LOUD METALLIC CLICK, and - CLARICE spins, still in SLOW MOTION, flame already leaping from her gun muzzle, as we see - THE TWO FIGURES almost at point - black range, guns ROARING hugely, one FLASH from Mr. Gumb, and one two three four FLASHES from Clarice, overlapping his, and then, as the ECHOES crash deafeningly. CLOSE ON CLARICE - LOW ANGLE - with NORMAL SPEED RESTORED, as the side of her face hits the floor, and she is gasping, stunned by the noise and flames ; there is blood on her check, and an ugly powder burn, but she ignores them, twisting to yank her speedloader from her jacket pocket, locking it blindly onto her gun's cylinder, reloading, right in front of her face, then rolling onto her stomach, aiming her gun upward again, blinking her dazzled eyes, straining to locate him in the darkness. Where is he, where? Then, as the ECHOES finally fade, she hears something else - a tortured, sucking, WHISTLE from perhaps eight feet away. MOVING ANGLE - WITH CLARICE as she crawls forward, on her elbows, following her gun, until it bumps against Mr. Gumb's shoulder. He is lying on his back, chest a bloody mess. She slides her muzzle against his head, hard, but he does n't move ; another shot is n't needed. He stares upwards, through his goggles, bloody lips working. He tries to speak, but can not. One hand reaches slowly upwards, the fingers twitching, as if to seize something, overhead. Then a final, ghastly groan, his hand drops, he is dead. Clarice feels for a pulse at his neck, making sure. Then, and only then, does she permit herself to roll over, collapsing onto her back beside him. OVERHEAD ANGLE down at the two faces - intimately close together, like lovers on their pillow. Then, as we PULL SLOWLY AWAY, we see that her staring eyes, and his dead gaze, are both locked onto - A DEATH'S - HEAD MOTH - perched on an infra - red bulb, overhead, its wings pumping slowly. SOUND UPCUT - wailing SIRENS, many excited VOICES, as we.", "EXT. MR. GUMB'S HOUSE - DUSK The front porch of the tall Victorian house is bathed in a glare of TV lights, police and ambulance flashers. Cars and vans and even a firetruck choke the street ; cops, reporters, EMS workers and curious civilians swarm around the ineffective barricades. The BUZZ of their voices goes even higher as CLARICE dazed, her face bandaged - comes out of the house, walking protectively beside Catherine, who is wheeled on a gurney. They are followed out by uniformed cops, then two firemen with an extension ladder. Catherine, blinking in confusion, is still clutching the little dog, and refuses to give her up even as she's trundled into an ambulance. Clarice sways with exhaustion ; everyone seems to be shouting at her at once, pulling her sleeve. She tries to fight free of them, desperate for a familiar face. AN OHIO HIGHWAY PATROL CAR pulls up, stops, and Crawford climbs out of the back seat. He makes his way anxiously through the press of bodies, stopping when he sees Clarice. THEY LOOK AT ONE ANOTHER for a long moment, Crawford choked with pride for her, with sorrow for her ordeal, with love, but unable to find any words. And then he does. CRAWFORD Starling. your father sees you. And then all at once she is sobbing, her knees giving way, but he is there to catch her, he is hugging her fiercely. HOLD ON them for a long beat. DIRECTOR BURKE -LRB- V.O. -RRB- -LRB- over loudspeaker. -RRB- Congratulations! You are now officers of the Federal Bureau of Investigation.", "EXT. GROUNDS OF THE FBI ACADEMY - WEEKS LATER - DAY The forty members of Clarice's class, resplendent in their best dark suits and dresses, rise, cheering themselves, then turn happily to wave to their audience, as APPLAUSE mounts. Beyond them, on a gaily tented platform, the Director stands behind his podium. CLARICE AND ARDELIA look at one another solemnly. Ardelia holds up both fists, in a power shake, and Clarice taps them with her own. She is radiantly beautiful in a navy dress and pearls, the thin scar on her cheek almost healed. Ardelia turns, waving towards the crowd, the Clarice's thoughts are elsewhere. She turns, searching among the dignitaries on the platform, till she locates CRAWFORD who smiles back at her with quiet pride, and offers a little salute. CLARICE grins - more happy than we've ever seen her - then turns to wave towards the crowd with the others. MOVING ANGLE over the admiring sea of spectators, several hundred of them, still rising from their folding chairs, APPLAUDING in celebration of these special young people, this perfect, sunlit day. SOUND UPCUT - rock music, laughter - as we.", "INT. ACADEMY DORM - REC ROOM - THAT NIGHT A LOUD party is underway - food, beer, dancing - as the new grads celebrate ferociously. Ardelia weaves her way through the crowded room, reaches Clarice, who is flanked by her special guests - Pilcher and Roden, the two ardent scientists. Ardelia has to shout at Clarice over the din. ARDELIA Agent Starling! Telephone! CLARICE -LRB- surprised. -RRB- Agent Mapp! Thank you! She nods to Pilcher, leaves them. Roden, who is quite happily drunk, grabs the startled Ardelia around the waist. RODEN Hel - lo, gorgeous! Let's get down. Ardelia looks at Pilcher, confused. PILCHER Just ignore him. He's not a Ph.D..", "INT. DORM HALLWAY - NIGHT Clarice picks up the dangling pay phone, speaks happily. CLARICE Starling. DR. LECTER -LRB- V.O. -RRB- Well, Clarice, have the lambs stopped screaming? She freezes, stunned by the familiar voice. Then she turns, waving frantically towards ARDELIA who is just inside the rec room door, at the end of the hall, lost in conversation with Pilcher and Roden. Ardelia glances at her briefly but misunderstands, waves cheerfully back. DR. LECTER -LRB- V.O. -RRB- Do n't bother with a trace, I wo n't be on long enough. CLARICE turns back, gripping the phone more tightly. CLARICE Where are you, Dr. Lecter?", "EXT. A CLEAR NIGHT SKY Very beautiful, glittering with countless stars. DR. LECTER -LRB- O.S. -RRB- Where I have a view, Clarice. MOVING DOWN we see a rolling lawn, a curving bay. Boats ride at anchor, lights shimmering. DR. LECTER -LRB- O.S. -RRB- Orion is looking splendid tonight, and Arcturus, the Herdsman, with his flock. DR. LECTER smiles into his mobile phone. He is stretched out on a lounger, on a tiled patio, languidly paring an orange with a penknife. His appearance is quite altered - a beard, glasses, lighter hair. He's has some cosmetic surgery, as well. DR. LECTER -LRB- into phone. -RRB- Your lambs are still for now, Clarice, but not forever. You'll have to earn it again and again, this blessed silence. Because it's the plight that drives you, and the plight will never end. CLARICE Dr. Lecter - DR. LECTER I have no plans to call on you, Clarice, the world being more interesting with you in it. Be sure you extend me the same courtesy. CLARICE -LRB- V.O. -RRB- You know I ca n't make that promise. DR. LECTER Goodbye, Clarice. -LRB- and then, softly. -RRB- You looked - so very lovely today, in your blue suit.", "INT. DORM HALLWAY - NIGHT As Clarice reacts, the fill weight of his words sinking in. CLARICE Dr. Lecter. Dr. Lecter! But only a DIAL TONE comes from the phone. She is still staring at her receiver, in shock, as we -", "EXT. THE MOONLIT PATIO Dr. Lecter sighs, sets his phone down, then rises. Popping an orange section into his mouth, he turns towards the brightly lit house. Stepping delicately over the sprawled body of a uniformed security guard, he walks in through open french doors.", "INT. A BOOKLINED STUDY In a swivel chair, amidst the wreckage of his papers and books, is the writhing figure of Dr. Frederick Chilton. The extreme intricacy of his bindings recalls Dr. Lecter's own former restraints. His screams are muffled by the tape over his mouth ; he stares at Dr. Lecter like a rabbit trapped in headlights. DR. LECTER Considers him for a genial moment, then raises the little pen - knife. His eyes are twinkling. DR. LECTER Well, Dr. Chilton. Shall we begin? FADE OUT THE END"], "labels": [0.0, 1.0, 1.0, 1.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 1.0, 0.0, 1.0, 0.0, 1.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0], "summary": "FBI trainee Clarice Starling is pulled from her training at the FBI Academy at Quantico, Virginia by Jack Crawford of the Bureau's Behavioral Science Unit. He assigns her to interview Hannibal Lecter, a former psychiatrist and incarcerated cannibalistic serial killer, whose insight might prove useful in the pursuit of a  psychopath serial killer nicknamed \"Buffalo Bill\", who kills young women and then removes the skin from their bodies. Starling travels to the Baltimore State Hospital for the Criminally Insane, where she is led by Frederick Chilton to Lecter's solitary quarters. Although initially pleasant and courteous, Lecter grows impatient with Starling's attempts at \"dissecting\" him and rebuffs her. As she is leaving, one of the prisoners flicks semen at her. Lecter, who considers this act \"unspeakably ugly\", calls Starling back and tells her to seek out an old patient of his. This leads her to a storage shed, where she discovers a man's severed head with a sphinx moth lodged in its throat. She returns to Lecter, who tells her that the man is linked to Buffalo Bill. He offers to profile Buffalo Bill on the condition that he may be transferred away from Chilton, whom he detests. Buffalo Bill abducts a Senator's daughter, Catherine Martin. Crawford authorizes Starling to offer Lecter a fake deal, promising a prison transfer if he provides information that helps them find Buffalo Bill and rescue Catherine. Instead, Lecter demands a quid pro quo from Starling, offering clues about Buffalo Bill in exchange for personal information. Starling tells Lecter about the murder of her father when she was ten years old. Chilton secretly records the conversation and reveals Starling's deceit before offering Lecter a deal of Chilton's own making. Lecter agrees and is flown to Memphis, where he verbally torments Senator Ruth Martin, and gives her misleading information on Buffalo Bill, including the name \"Louis Friend\". Starling notices that \"Louis Friend\" is an anagram of \"iron sulfide\"\u2013fool's gold. She visits Lecter, who is now being held in a cage-like cell in a Tennessee courthouse, and asks for the truth. Lecter tells her that all the information she needs is contained in the case file. Rather than give her the real name, he insists that they continue their quid pro quo and she recounts a traumatic childhood incident where she was awakened by the sound of spring lambs being slaughtered on a relative's farm in Montana. Starling admits that she still sometimes wakes thinking she can hear lambs screaming, and Lecter speculates that she is motivated to save Catherine in the hope that it will end the nightmares. Lecter gives her back the case files on Buffalo Bill after their conversation is interrupted by Chilton and the police, who escort her from the building. Later that evening, Lecter kills his guards, escapes from his cell, and disappears. Starling analyzes Lecter's annotations to the case files and realizes that Buffalo Bill knew his first victim personally. Starling travels to the victim's hometown and discovers that Buffalo Bill was a tailor, with dresses and dress patterns identical to the patches of skin removed from each of his victims. She telephones Crawford to inform him that Buffalo Bill is trying to form a \"woman suit\" out of real skin, but Crawford is already en route to make an arrest, having cross-referenced Lecter's notes with hospital archives and finding an autogynephilic man named Jame Gumb, who once applied unsuccessfully for a sex-change operation, believing himself to be a transgender woman. Starling continues interviewing friends of Buffalo Bill's first victim in Ohio, while Crawford leads an FBI HRT team to Gumb's address in Illinois. The house in Illinois is empty, and Starling is led to the house of \"Jack Gordon\", whom she realizes is actually Jame Gumb, again by finding a sphinx moth. She pursues him into his multi-room basement, where she discovers that Catherine is still alive, but trapped in a dry well. After turning off the basement lights, Gumb stalks Starling in the dark with night-vision goggles, but gives his position away when he cocks his revolver. Starling reacts just in time and fires all of her rounds, killing Gumb. Sometime later, at the FBI Academy graduation party, Starling receives a phone call from Lecter, who is at an airport in Bimini. He assures her that he does not plan to pursue her and asks her to return the favor, which she says she cannot do. Lecter then hangs up the phone, saying that he is \"having an old friend for dinner\", and starts following a newly arrived Chilton before disappearing into the crowd.", "name": "The_Silence_of_the_Lambs_(film)"}
{"scenes": ["EXT. SMITH STREET STATION -- BROOKLYN -- NIGHT It's very late. It's quiet. Just the sounds of The City LINDA SANTANA CRAIG, an attractive Hispanic woman in her thirties, waits at the ELEVATED STATION for the F train. Linda looks great. She's dressed festively but tastefully. Next to her is her eleven year old DAUGHTER, ALICIA. She is twirling about the platform, still jazzed from the birthday party they attended in The City. Alicia wears a black dress with a pink cardigan and has a pink handbag. We notice a CHARM BRACELET with four - leaf clovers on her right wrist. The mother and daughter wait alone at one end of the station platform. TWO TEENAGE BOYS wait at the other end. They speak soft, SLURRED SPANISH to each other. Linda gives the boys a glance and evaluates. She watches them as Alicia spits a wad of gum into her mom's open hand. The Boys approach. Linda tenses. At the last second the boys make a hard left turn and disappear down the stairwell. It's quiet again. Linda relaxes, smiles at her daughter. The F TRAIN is rounding the final bend into the station. Their focus is on this train. It's getting closer, louder. And so they do n't see, do n't hear the Boys coming back up the stairwell behind them. Not until the boys have the mother and daughter boxed in and the one who can hardly grow a mustache is showing them his gun. Linda puts her arm around her daughter. Alicia looks terrified. The train roars INTO THE STATION as Linda quickly hands over her purse, her watch. She hands over her engagement ring and her wedding band. One of the boys yanks Alicia's little purse away from her. The other boy fumbles the wedding band. The ring CLANGS to the ground and rolls to a stop a few feet away. We hear MEN'S VOICES echoing up the stairwell. Now the Boys are boxed in. And starting to panic. - THE TRAIN DOORS SLIDE OPEN -. The Boys see their way out and step into the last empty rail car, leaving the mother and daughter alone on the platform. Through the window on the train, Linda stares at the boy holding her daughter's purse, her face hardening into a MASK OF CONTEMPT. The boy clocks it. Who does she think she is? - THE TRAIN DOORS BEGIN TO CLOSE - When a HAND WITH TATTOOED KNUCKLES reaches out and stops the car doors from closing. A forearm and gun extend out of that last subway car. There's a muzzle flash. a distant POP. a cloud of smoke. a mist of blood. and Linda's body collapses on itself. Alicia's face, shock, terror and blood.", "EXT. SMITH STREET STATION -- LATER THAT NIGHT --   M.O.S A WORKING CRIME SCENE, lots of uniforms and light, a white sheet draped over Linda's body where it fell. BLUE AND RED LIGHT dances against the stairwell wall where a man is taking the stairs two at a time. Late thirties, big, plain clothes, he is SERGEANT JAMES CRAIG. When he reaches the platform, he stops. Craig kneels before the white sheet. Peels it back. We stay on him. We do n't see what he sees. We just see how he sees it. Then he turns. THE WEDDING BAND. It's been tagged and numbered as evidence. Craig picks it right out of the chalk outline and slips it into his pocket. Alicia, wrapped in a blanket, standing next to a round police MATRON. The Matron is tenderly trying to clean Alicia's face. Alicia locks eyes with Craig and stumbles towards him, her legs not quite working. Craig saves her from the stumble and envelops her, lifting her as the blanket falls to the ground. Alicia makes little gasping noises. Trying to speak but ca n't. Craig walking back now, carrying his entire world. He reaches the stairwell and suddenly falls to one knee. Alicia gasps. The closest UNIFORM puts a hand on his arm. A moment. Composure. A deep breath. Then as quickly as he went down, he's back up. Craig looks back now, taking it all in. Is it real? Sees all the cops looking at him, then begins down the stairs. WE DRIFT UP above the station until we find ourselves with a clear view of the southern tip of Manhattan, where the TWIN TOWERS STAND TALL.", "INT. LOWER EAST SIDE RAILROAD FLAT -- BEDROOM -- MORNING SUBTITLE : `` Eight Years Later'' Tiny kitchen, clutter, a MESSENGER BIKE hanging from hooks on the wall, a lot of books. There is a PHONE RINGING under the bed. TYLER ROTH, early twenties, handsome, looking haggard. He is sitting on the floor, shirtless, bed head, wrapped in a blanket. A GUITAR is on his lap. Tyler has propped some well worn, hand written pages of MUSIC against a box of off - brand laundry detergent and is squinting at the notes, frustration etched in his face. A forgettable BLONDE lies sleeping on the bed. Tyler, not a born musician, is trying to teach himself one of the PHRASES OF MUSIC in front of him. He is completely lost in the moment, with DEEP GROOVES in his fingers. By the ASHTRAY next to him, we can tell he's been at this a couple of hours. The Blonde in the bed re : the ringing phone. BLONDE -LRB- out of it. -RRB- Hello? Tyler gropes around the floor with one hand until he finds the phone, simultaneously glancing at the digital clock. His eyes widen in alarm. TYLER Yeah. -LRB- listens. -RRB- Of course. I'm on my way. I know. I know. I know. I know. Tyler climbs out of his blanket and yanks on a pair of dark suit pants. Before he pulls on his white undershirt we observe a TATTOO that simply says `` Michael'' over his heart. He searches through a beat - up chest of drawers, seeking a reasonably clean button down shirt. TYLER -LRB- V.O. -RRB- Gandhi said that whatever you do in life will be insignificant but it is very important that you do it. And scrubs at a mysterious stain on the shoulder of an expensive but worn to hell suit jacket with a dishwasher brush. TYLER -LRB- V.O. -RRB- I tend to agree with the first part.", "EXT. GREEN WOOD CEMETERY --BROOKLYN -- LATER A cluster of MOURNERS stand before a tombstone in the distance. They are not in funeral dress, as this is not a funeral. It's a memorial. A beat up GYPSY CAB with a WEST INDIAN DRIVER pulls to a stop. From the trees and the sky we know its LATE SPRING/EARLY SUMMER. A gorgeous day. Tyler gets out of the cab, holding the rim of his empty coffee cup in his teeth. He sorts a rumpled wad of singles and hands some to the driver, who screeches into reverse. Time is money. Tyler crushes the coffee cup flat and slips it in his jacket pocket then lights up a smoke. He takes one long drag then extinguishes it and slips the butt into his pocket. He begins towards the mourners. His mother. DIANE HOFFMAN, a beauty. Past burdens etched in the lines on her face. Dressed tastefully in expensive bohemian. She smiles like someone who's been crying but does n't want anyone to know she has. TYLER -LRB- sweetly. -RRB- Hello, your majesty. How are you? DIANE I'm fine. you look good. He kisses his mother's hand and he's moving to greet his stepfather. LES HOFFMAN, Unruly curls streaked in gray, tweed jacket and tie. They exchange a firm handshake and muttered hellos. The weight of Tyler's gaze falls to CAROLINE ROTH, his diminutive bespectacled, eleven year old sister. She's holding a little paper bag. She flashes him a look. He kneels besides her and whispers. TYLER Thanks for organizing everybody. Caroline makes a face. Turns her nose away from him. CAROLINE You smell like Listerine and beer. He snorts and kisses her cheek. Caroline reaches into her bag and takes out a handful of smooth white stones, on which she has painted the names : `` Mom'' `` Tyler'' `` Les'', `` Dad'', `` Caroline''. She begins to arrange them in a little circle on the grave. Tyler's father. CHARLES ROTH, late fifties, breathes power, precisely dressed, two hundred dollar haircut. A predator. CHARLES -LRB- aside, to Tyler. -RRB- You could n't wear a tie? Tyler holds his father's eye. TYLER Could have. Beat. Charles adjusts his own collar like it's an explosive. POV : The Tombstone. The four adult family members stand side - by - side. They look like strangers on the subway as Caroline sits on the ground, arranging the stones.", "INT. JUNIOR'S RESTAURANT-- BROOKLYN -- AFTER The family sits together in a booth. Tyler rolls a Bic lighter over his knuckles. Caroline draws a funny portrait of Tyler on her napkin. He is smoking nine cigarettes at once. Diane gives the menu a ridiculous amount of attention. Les is eyeing the Cheesecake. Charles subtly aligns his silverware. DIANE This is nice. I think it's nice that we still do this. CAROLINE -LRB- gently. -RRB- Mom. DIANE I forgot. I'm trying to purge `` nice'' from my vocabulary. Michael would like that we still do this. Tyler takes out a cigarette. Lights it. Without saying a word his mother takes it and snubs it out in an empty water glass. DIANE -LRB- to Caroline. -RRB- Did you tell Tyler what your art teacher said about your portrait? Caroline, as bemused as an eleven year old can be, looks at her mother, then at her brother. She adopts a very motherly tone. CAROLINE Tyler, did I tell you what my art teacher said about my portrait? TYLER Why no, Caroline. What did your art teacher say about your portrait? DIANE -LRB- smiling. -RRB- You two. I quit. She flickers a glance at her ex husband and squeezes Les' hand. CAROLINE She was very impressed. She said I captured a moment like a young James Whistler. The WAITRESS brings platefuls of extravagant cheesecake to the table. Les dives in. Charles is having toast. He sips a glass of water and takes a surreptitious glance at his Patek Phillippe. TYLER Young Whistler. good.'cause Whistler really fell off late in his career. He's the Michael Jackson of European art history. DIANE She suggested your sister take Pratt's Summer Art Intensive and that's hugely prestigious. Caroline looks a bit sheepish, Tyler high fives Caroline. Diane, again, flickers a glance at Charles. CAROLINE I would be the youngest one, ever, practically. CHARLES Tyler, would you please pass the butter? Beat. DIANE Caroline was speaking. TYLER -LRB- to Charles. -RRB- Are you really this clueless? Are you really dismissing her like this? Diane touches Caroline's hair. CHARLES Caroline is perfectly capable of speaking up if she is feeling dismissed. Caroline, are you feeling dismissed? CAROLINE I'm okay. CHARLES -LRB- solicitous, to Caroline. -RRB- I did n't mean to change the subject. TYLER What was the subject? CHARLES Excuse me? TYLER The subject we were discussing. What was it? Beat. CHARLES Now's not the time for your heroics Tyler TYLER No. It's the perfect time. Charles makes a minute adjustment to his collar. Father and son lock eyes until. TYLER -LRB- whispering, to Caroline. -RRB- Do you need me to take you anywhere? Caroline shakes her head. CAROLINE I'll stay with mom. Diane glares at her ex - husband. Tyler rises and kisses his sister's forehead. TYLER Then I'll see you after school. CAROLINE Kay. He exits as Caroline sips her lemonade, avoiding everybody's eyes.", "INT. SUBWAY CAR -- JUST AFTER Tyler standing although there are a few seats available. The car window strobes behind him. He takes off his jacket and button down and ties them both around his waist.", "INT. WALL STREET COFFEE SHOP -- AFTER Tyler in his pants and white tee shirt looks completely out of place amidst all the business types. He sits in the last booth facing the street. His tattered JOURNAL lies open in front of him, a BINDER CLIP holds his page as he works quietly crafting an entry. The HOSTESS, tired, in her 60's, slides a piece of baklava on the table as she shuffles past. HOSTESS Eat something. Tyler gives her a huge grin. TYLER Yes, ma'am.", "EXT. 4TH STREET -- JUST AFTER Tyler and his roommate, AIDAN BREWER, 22, energetic, inappropriate, walking west towards N.Y.U. Young people in easy, summery dress. Tyler smokes. Aidan does n't. Aidan remembers something, smirks. AIDAN I sold your girlfriend a toothbrush. TYLER You sold my who? What? AIDAN That voluptuous, delightfully oblivious little blonde you left in your bed this morning. I sold her a toothbrush. Got three bucks. TYLER Congratulations? AIDAN Are in order, yes. Because that sale inspired our newest business venture : `` The S.L.U.T.'' TYLER I was unaware we had a previous business venture. AIDAN The ` Single Lady's Universal Tote'. It's the one - night - stand travel pack for women. We throw in some make - up, toiletries, cell phone charger, cab numbers. Retail it at S19.95, maybe do an infomercial. TYLER And you think women would buy this? With money? AIDAN Hey one - night - stands happen. It's a part of life. like stubbing your toe. Sometimes you misjudge a corner and bend back your pinky toe, other times you wake up in a freshman dorm wearing a field hockey tee shirt wondering why your balls smell like cinnamon. TYLER -LRB- nodding sagely. -RRB- Of course. Yes. AIDAN Do n't underestimate the novelty gift market. Think about it. instead of giving that token slutty friend a ten - inch purple dildo for her birthday, you hook her up with `` The SLUT.'' Everyone has a laugh and the implication that she'll probably use it someday remains. What do you say? Are you down? TYLER I'm down with getting you on some sort of medication. AIDAN OK. fine. be cynical. just remember at some point in history two people had a conversation just like this about the light bulb. One of them went on to fame and fortune and the other one probably went to work at Mickey D's or something. TYLER Or Denny's. Denny's was big in the 19th century.", "EXT. COBBLE HILL -- MORNING A TINTED TOWN CAR stops in - front of a funky corner brownstone where Caroline waits in a plaid jumper on the front steps. THE DRIVER opens the back door of the car.", "INT. TOWN CAR. (DRIVING) -- LATER Caroline in the cavernous backseat alone. Her pink knapsack her only company. The Town Car stops at a crosswalk for a GROUP OF CHILDREN in jeans and tee - shirts on their way to a local Public School. Caroline sees them through the tinted glass. They could n't see her even if they wanted to. PROFESSOR -LRB- O.S. -RRB- It's an unfortunate reality but a reality nonetheless.", "INT. LECTURE HALL -- NYU --DAY TYLER sits in the back of the room. Their PROFESSOR addresses the few students paying attention. PROFESSOR in the wake of terrorist attacks these insurance company actuaries are provided a unique opportunity to raise premiums and profits to protect against events that will likely never occur again. One girl, a focused brunette with beautiful eyes, takes notes relentlessly. She is present, absorbing the material. She raises her hand. GIRL Is n't that also an ethical question? Tyler shoots her a glance. He takes in her lovely face, her casual dress, and the CHARM BRACELET with its four leaf clovers. WE REALIZE this is Alicia `` Ally'' Craig, now 19. Tyler grimaces at the question and its implications of hope.", "EXT. CENTRAL PARK -- AFTERNOON At the Alice in Wonderland statue where KIDS climb all over the faded bronze mushroom caps and characters. The statue is warm, the bronze absorbing the late spring sun. Tyler is perched on the Mad Hatter, his face turned towards the sun while Caroline hides with the dormouse. Tyler lights a cigarette. AN UPTIGHT MOMMY glares at him. UPTIGHT MOMMY Why do n't we make this a non - smoking statue? CAROLINE -LRB- emerging. -RRB- Yeah, Tyler. Why do n't we make this a non - smoking statue? He makes a face. CAROLINE You promised you'd quit. TYLER I know. CAROLINE You're gon na get emphysema and then you're gon na have to drag an oxygen tank with you everywhere. TYLER You think that would be the worst part about having emphysema? CAROLINE Everywhere you go, Tyler. Even the bathroom. Tyler takes a final drag. Tosses it on the ground. CAROLINE Why do you think Dad does n't wan na. like, listen to me? TYLER Dad loves you. Caroline gives him a look. CAROLINE So? You can love someone and not want to spend any time with them. Caroline is climbing around Alice. Her hands on Alice's hair. TYLER You've got that right. CAROLINE Mom loves Aunt Sara. But at Christmas, last year, she would n't let Les leave them in a room together'cause she said there would be a `` yule tide homicide.'' TYLER That's because Aunt Sara drinks. You do n't drink, right? CAROLINE Duh. TYLER So why would anyone wan na avoid you? Caroline shrugs, not convinced. A silent moment passes. CAROLINE Michael used to drink. TYLER Yeah. He did. But Michael was 21. All 21 year olds drink because it's new and exciting. Aunt Sara drinks because she wishes she was 21. A shared smile. CAROLINE You're 21. Tyler's smile fades.", "INT. THE STRAND BOOKSTORE -- DAY Tyler on a rolling ladder, shuffling books around. Aidan on the floor, eating two pieces of pizza, folded down the middle, at the same time. AIDAN What about Atlantic City for your birthday this year? Get a suite. Couple of ladies. You could call Toothbrush Girl, what do you think? TYLER I think I'd rather be sodomized. AIDAN Hey, it's your day. He gestures to the shelves. AIDAN What's the point? How do you know where anything is in this place, anyway? There's like. AIDAN/TYLER `` Eight Miles of Books!'' TYLER I do n't expect you to appreciate this, but the schematic for this particular shelf is authors who were sleeping together. AIDAN No shit? TYLER And ended up dead or in prison. Beat. AIDAN This is why chicks dig you. Tyler laughs. AIDAN Seriously. They like this freaky poetic crap. I ran into Megan yesterday. She's bartending at Don Hill's tonight. She wants us to stop by. She practically begged me. TYLER Eh. Aidan, visibly frustrated with Tyler's reluctance, grabs the rolling ladder and pushes Tyler into the Romance novels. TYLER Hey! AIDAN Hey nothing. You've been a ghost the past couple weeks. You never wan na go out. I'm feeling unappreciated here. I ca n't deal with this brooding introvert shit anymore man. I'm ready to set up an intervention. A silent moment passes. TYLER You realize interventions typically discourage binge drinking? AIDAN One drink. Come out for one drink. TYLER When's the last time you had one drink?", "INT. DON HILL'S -- THAT NIGHT A hip venue on Greenwich Street. Deejay. Music pumping. Aidan and Tyler make their way through the crowd to a congested bar where the CUTE BARTENDER is swamped. AIDAN Hey, Megan! She ignores him. AIDAN You look great! Can I get two Heinekens? MEGAN Do. Not. Speak. Tyler snorts with laughter. AIDAN -LRB- genuine. -RRB- Is she mad at me or something? TYLER No no. Girls are like that when they're way into you. AIDAN Oh. Two nubile young GIRLS approach Aidan. Tap his shoulder. GIRL #1 Excuse me? Aidan flashes a winning smile. AIDAN Well, hello. GIRL #1 Could you take a picture for us? She holds out her camera. Aidan hesitates, then smiles. AIDAN My pleasure. The girls pose. Aidan takes the camera. Turns it around. Extends it. Smiles. And promptly SNAPS A PICTURE OF HIMSELF. He casually returns the camera to the confused young woman. Megan returns and practically flings the beers at Aidan. AIDAN Thanks. You've met my roommate. MEGAN I hope you die. Tyler laughs his ass off. TYLER She's all over you. Cheers. They clink bottles.", "EXT. GREENWICH STREET -- LATE NIGHT Tyler and Aidan stand with the girls from Aidan's photo opportunity. All are thoroughly intoxicated. There is a knot of CLUB GOERS halfway down the block, drinking and having a fine time. AIDAN I love this street. I love this city. Where are you guys from, again? AIDAN'S GIRL Miami. AIDAN Miami. Miami, Barcelona, Rio. New York is it, man. God broke the mold when he made this city. TYLER You ever actually been to any of those places? AIDAN What's your point? There's a gust of wind. Aidan's girl shivers. She's wearing a tiny dress. AIDAN'S GIRL What are we doing? I'm freezing. AIDAN Shoulda worn a jacket. Like me. O/S WE HEAR : a beer bottle crashing on the ground, and from far away a ghostly, plaintive girl's voice disappearing into the night. VOICE O/S Michael. Mi - i - chael! Tyler turns towards the sound. It's as if he's trying to spot a train in the distance. His hand goes to his pocket and fishes out his pack of cigarettes. AIDAN'S GIRL -LRB- to Aidan. -RRB- Asshole. She walks away, looking back at her friend, annoyed. AIDAN'S GIRL Are you coming? Tyler's Girl looks at Tyler, who is still preoccupied. TYLER'S GIRL -LRB- to her friend. -RRB- Hold on, Lauren. The girls step away. Tyler's Girl appears to be trying to convince her friend to stay. Aidan watches them, hopefully. Tyler is n't watching them. He's watching two cool looking MUSICIANS, crossing the street with the LIGHT, carrying SOUND EQUIPMENT. A quartet of NEANDERTHALS pulls up at the light in front of them in a car, aggressive music playing. The Neanderthal at the wheel has the brilliant idea to rev his engine and lurch the car forward, startling the musicians, toying with them. MUSICIAN # 1 glares, but gives no further response, he just wants to get across the street. The Neanderthal revs and lurches again. MUSICIAN # 2 slams his hand on the hood of the car. MUSICIAN#2 What's your problem? NEANDERTHAL DRIVER My problem? Keep your hands off my car, asshole. MUSICIAN#2 Blow it out your ass, Guido. MUSICIAN#1 Go back to Long Island. The car's four doors open, and the Neanderthals lope to the front of the car. The driver is holding a mini baseball bat at his side. NEANDERTHAL DRIVER I'm from Queens, faggot A Neanderthal shoves one of the musicians, and the driver starts wailing on the other with the bat. Tyler watches as the Neanderthals overpower them. The altercation has turned into a full on assault. The Musicians are getting stomped into the pavement. TYLER'S GIRL So we were thinking we could go. Tyler walks right past the girl without even looking at her. AIDAN -LRB- under his breath. -RRB- God damn it. Aidan runs off after Tyler. Tyler jumps fully into the thick of it, swinging, grabbing beefiest Neanderthal in a choke hold and pounding guy's face. He fights like a pit bull. Not feeling, not stopping. Aidan gets punched in the face. Tyler elbows the nose of the guy who punched Aidan and it spurts blood. Then someone hits Tyler in the gut, and he doubles over and takes a knee to the chin. The musicians get back to their feet and fight back. It's a brawl. Aidan's girl is screaming for the cops. Tyler's girl, following the instincts of the inebriated, has teetered near enough to the brawl to imperil herself. A Neanderthal swings at Aidan and misses, grazing the girl. She jerks away in her high heels and crashes to the pavement, splitting her lip on impact. Tyler head butts the guy.", "EXT. SIDE STREET -- LATER An AMBULANCE and TWO E.M.T.'S are on site. THE COMBATANTS from the brawl are lined up on the curb. SERGEANT JAMES CRAIG, a little older and heavier than when we first met him at the train station, is standing with the Girl, who is a mess. Her nose bloody, her dress torn. Craig shields the Girl with his body, listening carefully to her and her friend as the two girls GESTURE ANGRILY at the Neanderthals. Craig's eyes flicker in the same direction. Craig's PARTNER, LEO, AFRICAN AMERICAN, a few years younger, is on the radio to Dispatch. Craig snaps his fingers at one of the E.M.T.'s and receives a blanket, which he carefully wraps around the girl. Then, to his partner, indicating Tyler and Aidan. CRAIG Cut those two loose. Leo puts down the handset and uncuffs the guys. LEO -LRB- quiet. -RRB- Take a walk. Tyler takes a beat, looking at the lineup. Aidan, rubbing his wrists, gestures `` Let's go''. Tyler looks at the bloodied Girl and. Craig, going through the pockets of Neanderthal # 1. CRAIG Anything in here that's going to stab me, Einstein? Craig finds a packet, or a vial. CRAIG Nice. You like to get high and hit women? Aidan gives Tyler's elbow a gentle tug. Tyler's caught up in the action. NEANDERTHAL#1 I do n't even know the bitch. Rage flickers across Craig's face. Craig moves down the line to one of the musicians, going through their pockets. CRAIG How about you two? Tyler, compelled, drawing closer to the action. MUSICIAN#1 It was n't us, man! NEANDERTHAL#1 That cocksucker kicked my car! CRAIG Shut up, genius. MUSICIAN#1 -LRB- to Neanderthal. -RRB- Eat shit, pencil dick. CRAIG Alright. That's it. Everybody goes downtown. Tyler steps forward, interrupting. TYLER It was n't them. Aidan, who has been edging away, jerks around to his friend. AIDAN -LRB- sotto. -RRB- Tyler. LEO -LRB- quietly, to the guys. -RRB- Take a walk, I said. TYLER Hey! Craig, big angry Irish cop, turns to Tyler. TYLER They did n't do anything. They did n't start this. Those assholes did. Why do these guys have to go downtown? CRAIG What are you still doing here? TYLER This is bullshit. It was those gorillas who started this. Craig moves slowly toward Tyler and starts going through Tyler's pockets, roughly. He finds his wallet. Starts rifling through. CRAIG Well, Mr. Roth. What makes you think I give a shit? TYLER You're a police officer. You're supposed to. What the hell? Craig looks from the guy he was frisking to Tyler's girl, wrapped in a blanket. She spits blood. He turns a bit to Tyler. CRAIG It's a great relief to me, Mr. Roth, to know that you're on top of the situation. Now go the fuck home. He turns back to work. Tyler looks briefly at Aidan. Aidan looks desperate `` Please! Let's get out of here!'' Tyler TOUCHES CRAIG'S ELBOW. Aidan's jaw drops. Leo takes several silent steps in. Craig looks at his own elbow then looks at Tyler. The kid must be out of his mind. TYLER How about you do your job? SLAM. Craig takes Tyler's legs out, driving his face into the pavement, a GASH opens above Tyler's LEFT EYE. Tyler lies there dazed and disoriented as Craig, with one knee on Tyler's neck, crushes his face into the ground. He slaps the cuffs on.", "INT. PEARL STREET LOCKUP -- AFTER Who knows what time it is. A lovely ASSORTMENT OF PERPETRATORS, Tyler and the musicians are in lockup. Everybody looks like shit. Tyler sits on a bench in the holding cell, looking quite relaxed. The lock up door slides open and Aidan is returned to the perch. The ESCORTING OFFICER shouts across the din to Tyler. ESCORTING OFFICER You can have your call now. TYLER I'm good. The door slides shut behind Aidan. AIDAN You're good? Thank God you're good. Beat. AIDAN What are you trying to do? What did you want from that cop guy? TYLER That was a messed up situation. Those guys. He cups his hands to make a megaphone. TYLER Are pussies! From Off Screen a chorus of : NEANDERTHAL#1 O/S Faggot! NEANDERTHAL#2 O/S Candy - ass faggot! NEANDERTHAL#3 O/S Fag! TYLER There was no justice in that situation. AIDAN No justice. Okay, Green Hornet. Lantern. Asshole. You may not be actually matriculating in school, you may be having a nice time by yourself lurking in the stacks of your book store, but I actually plan on graduating, and having a career and a wife and a girlfriend and a divorce and a mid - life stalking episode and erectile dysfunction, and I will thank you to keep your complexes and nihilistic bullshit. TYLER Did you just say `` nihilistic''? AIDAN Yeah. I got it off a cereal box. Tyler smiles. The Escorting Officer returns with a white male LAWYER wearing a two thousand dollar suit. ESCORTING OFFICER Roth, Brewer. Tyler glares at Aidan. AIDAN Yeah, I called your dad's office. Sue me.", "INT. FAR ROCKAWAY - CRAIG FAMILY HOME - KITCHEN -- MORNING Ally, with a cup of coffee, is on the house phone. ALLY So when would that be available? No, that's sooner than I'd thought. And is there any kind of deposit? Okay. Craig comes in through the kitchen door, takes off his jacket and starts washing his hands at the sink. ALLY I'll call you back. Thanks. Ally hangs up. Makes a quick appraisal of her dad. He has a little blood on his cuff. He splashes his face with water. On automatic pilot, Ally flips on the toaster, pours some hot coffee into a Sesame Street Mug, pours in a measured dose of brown sugar from the dispenser, then flips open a bottle of Aspirin and deposits two of the tablets into the mug. She packs up her back pack with school stuff as Craig gulps his coffee. ALLY What did you tell me you were going to do when things got tight? The toaster dings. She extracts an English muffin and squeezes honey from a bottle shaped like a bear. CRAIG Breathe. ALLY Did you? CRAIG I did. I'm breathing right now. Who was that? ALLY The lady from student housing. We talked about it. Remember? Beat. CRAIG Sure. Ally grabs her sweatshirt. ALLY Mrs. Lippman is going to drive me. CRAIG I'll drive you. She flounces out the door, holding her own cup of coffee and the English Muffin. Craig dries his hands, grabs his jacket and a set of keys from the counter.", "EXT. DRIVEWAY. Outside their red - brick row house at the end of a block of red - brick row houses. Ally has her mug on the roof of the car and is searching through her bag. Craig comes around the driver's side and slides Ally her keys across the roof. She drops them in her bag. ALLY Mrs. Lippman said she'd do it. Craig is in the driver's seat, waiting. Ally grabs her coffee mug and gets into the passenger seat. She hands him his English muffin, which he holds in his mouth as he starts the car. She flips down the visor and checks her very light eye makeup. ALLY You're exhausted. When you have a stroke I'm going to abandon you on a park bench. They start to back out. ALLY This drive is too long.", "INT. EXECUTIVE FLOOR -- RECEPTION -- DAY Tyler and his messed up face on his feet in the waiting area. English Club chairs, green baize on the walls. A RECEPTIONIST types away across the room. Tyler takes out a cigarette. Lights it. Draws the ire of. THE RECEPTIONIST You know you ca n't smoke in here. Tyler looks down at a heavy crystal ash tray on the coffee table in front of him. It's clearly never been used. TYLER So what's with the ash tray? THE RECEPTIONIST It completes the room. Tyler takes a long drag, grinding out the ember on the pristine surface. He smiles a charming smile at the aggravated woman. TYLER Tease. JANINE O/S Tyler. JANINE, Charles' long time assistant, late forties, kind eyes, watches Tyler from the hallway. JANINE He's ready for you.", "INT. EXECUTIVE FLOOR -- HALLWAY -- AFTER Tyler follows Janine down the corridor. She looks him up and down, does n't like what she sees. JANINE You're too skinny. And you smell like french fries and cigarettes. TYLER Nice to see you too. JANINE You want me to lie? Tyler smiles, he likes that she does n't lie. Janine scrolls through a Palm Pilot as she walks. They approach the double doors to Charles' office. JANINE Try not to give him a heart attack. TYLER Okay. Tyler bangs through the doors. Janine grimaces.", "INT. CAVERNOUS EXECUTIVE OFFICE -- LATER A row of floor - to - ceiling windows blocked by vertical blinds. Sunlight glows behind them. There's a lot of leather, brass and rich wood, breathing power. There's a flat screen computer, but no personal effects anywhere. Charles sits at his massive desk. As Tyler enters, Charles registers his injuries. A flicker of something over Charles' face. Tyler stands. TYLER I came to see how much it costs, because I'm giving you the money back. CHARLES How much what costs? TYLER That lawyer. Beat. CHARLES Ah. That lawyer, Tyler, costs 450 dollars an hour. In spite of himself. TYLER Christ. CHARLES Tell me about it. TYLER I wanted to make sure you understood it was n't me who called you. CHARLES I understand. You could do worse than have a father who bails you out of jail TYLER I do n't want to be bailed out of anything. Charles looks at his son. TYLER I'll get an invoice from Janine. Tyler leaves, slamming the door behind him.", "INT. HALLWAY. Tyler stops, catching himself, realizing the emptiness of the gesture. He looks up and sees Janine looking at him.", "INT. WALL STREET COFFEE SHOP -- AFTER. Tyler in the same booth, surrounded by a commotion of businessmen and women. He's writing in his Journal, his foot tapping fast. We see the very act of writing eases him, loosening his strangled grip on the pen, slowing down the manic rhythm of his foot.", "EXT. PRIVATE SCHOOL. JUST AFTER. It's just after three, Caroline emerges from school in a CLUSTER OF 6TH GRADE GIRLS. One of them dips her head towards Caroline's ear, as if to share a secret. Whatever she says makes Caroline's face crumble, almost to tears, and the girls snicker. Tyler hops from his perch on a parked car. His bike leans on a fire hydrant. TYLER -LRB- to Caroline. -RRB- Hey. He looks at the girls, sizing them up, and flicks his cigarette to the sidewalk, cool as hell. The girls have a group swoon. He takes Caroline by the elbow. TYLER Excuse us, we're due in surgery. He gets his bike and leads her down the block, towards Fifth Avenue. CAROLINE What happened to your face? TYLER Horrible threshing accident. CAROLINE You're so retarded. TYLER Do n't mock the afflicted. Here, I brought you something. He hands her the book of Myths. TYLER This was my favorite book ever. Michael had it and he hit me over the head with it until I read it. Its about all these God and Goddesses who spend all of their time being jealous and petty and otherwise acting like human beings. The illustrations are amazing. Caroline opens the book carefully and has a peek. She smiles. CAROLINE Ooh. These are cool. Thanks! Where are we meeting mom? TYLER Guggenheim. What's up with those girls? CAROLINE I just. they think I'm weird. Sometimes I sort of space out. TYLER When you're drawing? CAROLINE Yeah. Other times too. Madamoiselle Fleischman had to snap her fingers at me a lot today. And everybody laughed and they all think I'm a freak of nature. Caroline takes a brief glance over her shoulder, towards the school. TYLER Je m ` appelle `` Freak of Nature.'' Caroline smirks. TYLER Mon dieu, mon soeurette! Je m ` appelle `` Freak of Nature''. Sacre Bleu. French Toast. CAROLINE What are you going to tell mom about your face? TYLER I finally found something I'm good at?", "EXT. NYU -- FRONT STEPS BELOW THE FLAGS -- DAY Aidan appears to have cornered a PROFESSOR on her way in or out of the building. The woman looks tired, annoyed, like she just wants to go. Aidan talks fast, even faster than usual. AIDAN I know by every numerical measurement I did n't pass but what I was hoping was that maybe you give me a grade on my trying to pass. My commitment to effort. My commitment to commitment. Since the semester is nearly at it's terminus. Craig's car rolls to a stop just in front of the flags. Ally gives him a kiss on the cheek. She gets out, and walks up the stairs, right past Aidan. AIDAN -LRB- distracted. -RRB- I mean. uh. life's only about what we put into it. It's about people. And what they put into it. And I'm - ah, screw it. Aidan runs off leaving the befuddled professor on the steps.", "INT. RAILROAD FLAT-- LIVING ROOM -- DAY Tyler, again with the guitar. Aidan enters, excited. AIDAN He's got a daughter. TYLER Who? AIDAN The cop. The cop who busted your face all up. He's got a daughter. And she's hot! I smell revenge! TYLER Revenge. What do you want me to do, kidnap her? AIDAN You introduce yourself. go on a few dates. be your charming, gentlemanly self. And then, flip the script. TYLER What does that mean? AIDAN Screw her brains out and make her call you daddy. Steal her underwear and sell it on ebay. Put her in Clown Shoes, take lewd photos and post them on her high school's home page. I do n't know. Be creative. TYLER You should be incarcerated on general principle. AIDAN Hey. What happened to you was very emasculating. Tell me you do n't want to get that asshole and I'll drop it. TYLER I do n't want to get that asshole. AIDAN Just meet her. TYLER I do n't want to meet her. AIDAN She's cute. TYLER I do n't care. AIDAN You're meeting her. TYLER I'm not meeting her.", "INT. COFFEE SHOP. WASHINGTON SQUARE PARK.- DAY A Student Hangout. The place is bustling. Numerous NYU STUDENTS move, sit, eat, lounge. Aidan scans the crowd. Tyler stands beside him looking far less enthusiastic. TYLER This is one of those moments I'm already regretting. AIDAN She was here yesterday. TYLER What am I supposed to say to this girl? `` Hey doll face, your dad trampled all over my civil liberties, wan na make out?'' AIDAN Well do n't call her doll face. Ally enters. She wears a big sweatshirt. Aidan spots her. AIDAN There. The brunette. Tyler watches her settle into a couch with a big cup of coffee. TYLER I know her. I mean, I do n't know her, but, I've seen her. She's in my global politics class. AIDAN There you go! Something to open with. Now get over there. Tyler sighs, begins toward Ally. AIDAN Shazam! Tyler glares. Aidan gives a big thumbs up. TYLER Excuse me? Ally briefly looks up from her book. TYLER My name's Tyler Roth. I was wondering if I could bother you for a minute? He gives her a charming smile. ALLY You're already bothering me. Beat. The smile usually works. TYLER Um, I'm doing kind of a sociological experiment. I was hoping you could help me out. Ally looks at him, a little wearily, holding her place in the book. ALLY What are you, kidding me? Tyler is genuinely taken aback. TYLER No, I. may I ask your name? ALLY Anonymous. It's Greek. It means `` you do n't have a shot''. A surprised laugh escapes from Tyler. TYLER Okay, Anonymous, do you see the guy across the room, pretending to read a text book, looking in this general direction? Aidan holds a MATH TEXTBOOK at an awkward angle to mask his obvious interest in Ally and Tyler's conversation. ALLY Subtle. TYLER I have this theory that an objective third - party, having no prior contact, would be able to determine how much of an asshole he is just by looking at him. ALLY Ah. TYLER He's my roommate. And I've witnessed so many glaring examples of assaholic behavior that I'm biased as a subject, but I'm convinced that he has an aura, that people can actually perceive. So, just take a good long look. And tell me what you think? She looks at Aidan, briefly, who shifts to avoid her gaze. Then she takes a peek at Tyler's profile. ALLY Who else do you plan on asking? TYLER No one here. The parameters called only to sample attractive women in their early twenties. ALLY I'm nineteen. TYLER In their late teens. -LRB- beat. -RRB- Well, look, you typically get something for participating in these things and I've run out of those big foam fingers, so I was thinking maybe I could take you out some night? She looks at him. TYLER Or you could just go out with me on the off chance we'd have an interesting conversation. ALLY I do n't date sociology majors. they're a rowdy bunch. TYLER Indeed they are. Lucky for you, I'm undecided. ALLY About what? TYLER Everything. Tyler smiles. Ally tries to hide a smile. She closes her book and extends her hand. ALLY I'm Ally.", "INT. PRIVATE SCHOOL -- ART STUDIO -- DAY Caroline in art class amongst a sea of green plaid. The girls work in relative silence, drawing, painting. THE ART TEACHER walks amongst them looking over their shoulders, sees a lot of amateur art work, then she comes upon Caroline and stops. The teacher finds herself captivated by. A COMIC PORTRAIT of Diane and Les kissing in the doorway of their brownstone. Diane has a bit of a manic smile and Les is half her size. Caroline notices her teacher staring. She does n't like it and shifts to block her view. The teacher gently eases her back. Smiles softly. Caroline smiles back as her teacher moves across the room. Caroline has just put her pencil back to paper when. The BITCHY GIRLS we've seen before start whispering and smirking. One of them mouths. CHUBBY GIRL Kiss ass freak. Caroline's smile shrinks away and she goes back to work.", "INT. CRAIG FAMILY HOME ALLY'S BEDROOM-- NEXT EVENING Ally in sweat pants, an ancient tee - shirt, her hair in a Scrunchie, eating Mallomars from the bag and reading. Craig yells from the bottom of the stairs. He carries a bag from a video store. CRAIG Do n't be mad. ALLY Dad, we've seen freaking Erin Brockovich twice already. You always cry. CRAIG O/S I do not. ALLY It's embarrassing. Her cell phone rings. ALLY Hello?", "EXT. FIRE ESCAPE. RAILROAD FLAT. TYLER Hey. It's Tyler. Ally winces. ALLY Hi. TYLER You're going to stand me up. I can feel it in my bones. I'll be devastated. ALLY No. I. I was just. TYLER You were just sitting around in your pajamas watching T.V. ALLY No. I'm not watching T.V. I'm just. getting dressed. She wipes her hands on her sweats, smearing them with chocolate. ALLY And I'm going to meet you at the place at. what time again? TYLER Eight. ALLY Right. yes. Eight. okay. She hangs up. ALLY Shit. She whips the Scrunchie out of her hair and heads for the bathroom.", "INT.CRAIG HOUSE. KITCHEN. Ally comes down the stairs, putting on her earrings. Craig looks at Ally, confused. ALLY I'm going out. CRAIG I can see that. ALLY Well, you're a trained investigator. She is moving quickly, grabbing her bag, her wallet. Craig tosses her keys. CRAIG Who are you going with? ALLY A boy from school. Beat. CRAIG Okay. ALLY I was n't asking for permission. CRAIG -LRB- sharply. -RRB- I know. -LRB- more gently. -RRB- Have a good time. Here's cab fare. He peels off a couple of twenties. ALLY Thanks. CRAIG Should I wait up? ALLY Dad. Craig puts his hands in the air in surrender.", "INT. LEMONGRASS GRILL -- NIGHT A hole in the wall Lower East Side Thai restaurant. Tyler and Ally sit together perusing menus. A WAITER approaches. ALLY -LRB- to the waiter. -RRB- What desserts do you have? WAITER Dessert special fried bananas a la mode. ALLY Great, I'll have that. A glass of skim milk. Then the mussels, please. Tyler and the Waiter share a look. TYLER Pad Thai and a Sapporo. Thanks. The Waiter takes the menus. ALLY I have my dessert first. TYLER Is this a political statement? A medical condition? ALLY I just do n't see the point in waiting for something I know I want and am going to have. What if I die eating my mussels? TYLER Is that probable? ALLY It's possible. If an embolism burst or an asteroid hit the restaurant, I'd die without having eaten the thing I wanted most. TYLER But the odds are, I mean. ALLY Fine. I'll tell you what, you guarantee me. Swear to me on your eternal soul that I'll make it through my entr\u00e9e. And I'll wait. Tyler goes to answer. Ally holds up a hand. ALLY Before you answer, keep in mind, if I die, you'll have to live the rest of your life knowing that you not only lied to me, but denied me my last indulgence. My last wish. Are you prepared to shoulder that kind of responsibility to prove a point? Tyler thinks about it. Smiles. ALLY Do n't worry. I'll share.", "EXT. LEMONGRASS GRILL-- NIGHT Tyler and Ally exit out onto the street. Tyler immediately takes out his cigarettes, his lighter, then he notices. Ally looking at him disappointed. ALLY Really? Tyler takes the cue puts the packet and lighter away. A beat. ALLY I had a nice time. TYLER You had a nice time or you're having a nice time? Ally considers. TYLER Because if you're having one, why rush to end it?", "EXT. STREET FESTIVAL (A LA SAN GENNARO) -- GREENWICH VILLAGE -- AFTER They approach a CARNIVAL GAME, one those ubiquitous basketball tosses. THE ATTENDANT badgers passersby to test their luck. GIANT STUFFED ANIMALS hang all around it. Tyler pays the Attendant, gets the basketballs. Tosses one, two, the third, then nothing. Game over. TYLER Did I tell you I'm Caucasian? ALLY Apparently. Tyler pays again, wipes out again. Game over. Tyler pays again. Loses again. He's visibly frustrated now. ALLY Ca n't we just stroll while I feed you ice cream with fireworks in the background? TYLER No. If I stop, he wins. ALLY Who, the attendant? TYLER No, the frigging Giant Panda. Tyler hands the ATTENDANT another dollar.", "EXT. SIDEWALK -- LATER Ally carries a GIANT PANDA under her arm. Tyler walking beside her with a self - satisfied smile. ALLY I do n't know what you're smiling about. TYLER I won. ALLY Paying off the attendant is not winning. It's cheating. TYLER I just paid a premium to cut out the middle man. That's innovation. That's free market enterprising. That's what made America great. ALLY Aha. By the way, what happened to your eye? Tyler touches the bandage. TYLER Oh, it's nothing, just a bar fight. ALLY How butch. TYLER I know. I'm practically a pirate. ALLY Okay, Captain Morgan. TYLER -LRB- laughing. -RRB- You've got some serious timing. ALL It's getting late. TYLER I'll walk you to the train. ALLY I'll take a cab.", "EXT. SIDEWALK -- JUST AFTER Tyler is just hailing her a taxi. He stands there holding the door open. ALLY Thanks. Beat. Tyler leans in to kiss her. Ally turns away. ALLY Not tonight. Not never. just. not tonight. CAB DRIVER We goin' or what? ALLY Hey! Turn on the meter. Tyler respectfully leans back. TYLER So dessert before dinner for fear of death by rogue asteroid. yes. Kissing guy you're obviously attracted to before driving off into the unknown New York night. no. Ally considers. She gives him a quick but tender kiss. ALLY You're really weird. She gets in the cab. ALLY -LRB- to the driver. -RRB- I'm going to Queens and I do n't wan na hear about it. Off she goes in the taxi. Tyler watches her go.", "EXT. PRIVATE SCHOOL. THE LAST DAY OF SCHOOL. Caroline exiting with the crowd. One of the Bitchy girls shoulder checks her from behind as she passes. Tyler, waiting on his perch, catches it, walks up to her. TYLER Happy end of sixth grade! CAROLINE Finally.", "EXT. CENTRAL PARK -- ALICE IN WONDERLAND STATUE -- AFTERNOON CHILDREN climbing all over the bronze statue. Caroline among them. She sits on a mushroom cap, letting her legs dangle. Tyler watches her from their usual bench, his bike leaning next to him. CAROLINE They have me in this art program summer thing at Pratt. TYLER I heard. CAROLINE It's very prestigious due to my artistic greatness. TYLER Do n't pretend. I know you're proud. You should be. Caroline allows herself a tiny grin. CAROLINE There's, like, a thing. TYLER A thing? CAROLINE -LRB- sheepish. -RRB- A show where you show what you've done and stuff. Will you come? TYLER Let me check my book. Abso - freaking - lutely. I'm camping out. I'm sleeping there the night before. Caroline is secretly thrilled. CAROLINE You're so retarded. Mom's been hyperventilating with joy. TYLER Good. I'm sure Les was. TYLER/CAROLINE `` Really supportive''! CAROLINE Your school's over, right? TYLER Yes, it's over. Did Mom and Les get the beach house again? CAROLINE Yup. What are we going to do for your birthday? TYLER Nothing. CAROLINE Can we have a party? TYLER No. CAROLINE A little one? At Mom's? With Aidan. I'll make Mom behave. No crying. TYLER Like that's possible. Caroline smiles.", "INT. RAILROAD FLAT-- NIGHT -- DEEPER INTO SUMMER Ally explores Tyler's living room with a tumbler of wine. It's in a state of medium disarray. He clocks her looking. TYLER I know. But we have coasters. ALLY I do n't do coasters till the third date. She looks over his posters, pictures, etc.. Tyler scans a stack of CDs, he selects Radiohead's KID A, puts it in. The hypnotic first track fills the room. Ally comes across a FRAMED PHOTO of a band on stage. The lead guitarist looks like Tyler with long hair. ALLY Is that you? TYLER That's Michael. My brother. ALLY He looks like you. or you look like him. Does he play around here? TYLER Not any more. Ally notices the old guitar in the corner. ALLY Do you play? TYLER It depends who you ask. ALLY If I asked anybody? TYLER They'd say no. I try but it turns out you need talent. ALLY So what talents do you actually have? TYLER Falconry. I come from a long line of falconers. ALLY There's a lot of money in that. Tyler smiles. He's actually a hair nervous. TYLER Well there is one thing. Tyler walks to the kitchen counter where a cleaned and polished COVERED CAKE STAND sits. ALLY What's that? TYLER Our appetizer. Tyler lifts off the cover to reveal a GERMAN CHOCOLATE CAKE. He's written a message in the icing : `` In Case Of Ast - and then a piece has been crudely cut out. Ally's surprised. TYLER It used to say `` In Case Of Asteroid'' but I took a shower and Aidan got high.", "INT. KITCHEN -- LATER THAT NIGHT Ally and Tyler stand in front of a sink full of dirty dishes, up to their elbows in soapy water. ALLY So what kind of grade did you end up with from Vogelstein? TYLER I do n't actually get grades. Beat. TYLER I'm not technically enrolled. I worked out an auditing thing. ALLY Oh. And The Strand is not a significant career choice. TYLER I like the books. He indicates the dishes. TYLER You do n't have to help me, you know. ALLY At the rate you're going, dish washing is going to be your life's vocation. I can say I knew you when. He flicks a bit of water on her shirt. Ally takes a beat. ALLY This is the playful, you get me all wet part? Right? TYLER -LRB- horsing around. -RRB- You make it sound so cheap. Ally's not having it. ALLY It is cheap. I've seen this scene a hundred times. Tyler's a little confused. TYLER I'm sorry. I did n't. ALLY You know what never happens in this scene, Tyler - who - does n't - really - go - to - school? Tyler - who - does n't - really care - about - his - job? Tyler blinks helplessly. ALLY This. An entire enormous pot of pasta water up ended on the host. Bits of spaghetti cling to him, tiny tomatoes and zucchini on his shoulders like little barnacles. He sputters and gasps and blinks. ALLY No, that usually never happens. She calmly goes back to washing dishes. Beat. Spaghetti guy stares at her. She gives it right back to him, 100 % New York City. Beat. In one move Tyler slings Ally over his shoulder. She grunts, unglamorously.", "INT. BATHROOM -- SECONDS LATER Tyler bursts through the bathroom door. Ally over his shoulder. Never one to waste a moment, she uses the opportunity to check out what's in his wallet. He turns on the shower. She has his drivers licence. TYLER Apologize. ALLY Never. Your middle name is Keats? Your parents are pretentious as hell. Tyler turns on the shower and tosses Ally into the water. She dances to avoid the stream. Ally grabs the portable shower head and turns it at him. Tyler jumps into the tub to avoid the spray. They wrestle for the shower head. TYLER Apologize. ALLY I'd rather eat monkeys. This cracks Tyler up. He stops struggling for the shower and gasps a little with laughter, putting up his hands in surrender. Ally stands there, holding the shower head, giggling. They lock eyes for a moment. The air is charged. Ally spritzes him in the face. TYLER I surrender! Oh my God, you're relentless. He slides down the wall until he's sitting in the tub, Ally follows. ALLY Victory at all costs.", "INT. BATH TUB -- LATER Tyler and Ally lie side - by - side, drenched. Their feet hang over the edge of the tub. Tyler reaches into his pocket and removes a dripping cigarette packet. He squeezes out water. TYLER Now. I'm furious. He tosses them in a waste basket. ALLY You should quit anyway. TYLER Really? Why? Are cigarettes like bad for you or something? Ally playfully slaps him. She notices the tip of Tyler's TATTOO peeking out of his undershirt. ALLY Is that a tattoo? Let me see. TYLER It's not really. ALLY Please. It's very bad ass. All that ritualistic scarring. Tyler peels the soaked garment off his back as Ally offers polite applause. Michael's name becomes clear. Ally takes a long look. She sees Tyler's not smiling anymore. She gets it. ALLY I'm sorry. I did n't. I did n't realize. She looks at him. Asking with out asking. TYLER He killed himself. Beat. ALLY When? TYLER When he was 21. He had just started working for my father. Ally is gently picking spaghetti and tomatoes off Tyler. ALLY I thought he was a musician. TYLER He was. But he was n't making a living doing music and my father's a very compelling guy. ALLY Mine too. Ally looks away for a moment. Tucks a curl behind her ear. Then they look at each other. Ally opens her mouth to speak. Aidan bursts in. He's drunk, loud, wearing an Irish Flag like a cape. He carries a bottle of whiskey and a can of Guinness. AIDAN Damn, you're not naked. TYLER You're not Irish. AIDAN T, What happened in the kitchen? It looks like somebody's water broke. -LRB- notices Ally. -RRB- Hi. TYLER Ally, Aidan. Aidan, Ally. Aidan takes Ally's hand. Kisses it. AIDAN Do n't feel bad that you're more attracted to me than you are to him it happens to all of them. Ally looks at Aidan closely, trying to figure out where she knows him from, it dawns on her. ALLY Oh! You're the assaholic! AIDAN Well, I -. -LRB- realizes what she said. -RRB- Wait. What? Tyler and Ally laugh. Aidan's too drunk to care. AIDAN Alright, you two. Up. Dressed. Let's go. `` Around The World'' party on the third floor. a lot of ugly but a lot more alcohol. Let's go. ALLY I ca n't, I would, I'd love to, but I've got ta get home, my dad's waiting up. AIDAN Ally. Ally. Listen to me, young lady. One drink. From any country. I'll even put France on the table. One drink. Your choice. And we're gone. ALLY -LRB- to Tyler. -RRB- One drink? TYLER -LRB- to Aidan. -RRB- One drink? AIDAN -LRB- innocent shrug. -RRB- One drink.", "INT. BATHROOM -- LATER Ally VOMITS in their toilet. Tyler holds her hair back. Aidan appears in the doorway still wearing that flag. AIDAN Hey, how we doin'? Ally tries to speak, all we hear is a series of groans. Then she dry heaves again. Tyler shoots Aidan a look. AIDAN What? What do you want me to say? That I'm sorry? You want me to say I `` m sorry? You want me to apologize for showing a nice girl a good time? Is that it? Tyler just looks at him. Aidan considers. AIDAN I'm sorry. ALLY Tyler. Tyler kneels down. Ally pushes her purse at him, she looks like she's about to pass out. ALLY I, need, you. to call. my dad. Tyler and Aidan share a look. Aidan shrugs. TYLER Oh. OK. Sure. Tyler pulls out her cellphone - the battery is dead. TYLER Your phone's dead. Just tell me the number and I'll call him. Tyler turns around to find Ally passed out on the floor. He tries to gently nudge her awake. TYLER Ally? Ally? SERGEANT CRAIG -LRB- O.S. -RRB- I know Ally's a good kid, Leo.", "INT. CRAIG FAMILY HOME -- ALLY'S BEDROOM -- LATE NIGHT The bedside clock reads 3:47. Craig is on the phone while searching through Ally's desk drawers. For anything. He finds a note book with a red cover and starts flipping through it. CRAIG She was supposed to be back. She's not back. call Ted Proferes. and what's his face in the 9th. and call me back. Just do it, Leo! Craig hangs up the phone. Beat. He picks it up again and starts dialing, still flipping through the notebook.", "INT TYLER'S BEDROOM -- NEXT MORNING Ally wakes up alone in Tyler's bed, hung over, confused, trying to put the pieces together, then she sees the clock. And a wave of panic washes over her as she jumps out of bed. ALLY oh God oh God oh God oh God.", "INT. LIVING ROOM -- LATER Tyler sleeps on the couch using Aidan's Irish Flag as a blanket. Ally comes in pulling on her shoes. Tyler stirs in time to see her run out the door.", "INT. CRAIG FAMILY HOME -- LATER Craig sits at the table, dialing someone, anyone. Ally enters, drops her keys on the counter. Her father does n't look at her as she pours herself a coffee. ALLY I'm sorry. I fell asleep. Craig squeezes honey into his coffee, practically strangling the Bear. Not looking at her. Ally notices the red notebook on the kitchen table next to the phone. CRAIG You turned your phone off. ALLY I forgot to charge it. It dawns on her. ALLY That's mine. From my desk. Craig says nothing. Just stirs his coffee. Ally is furious. ALLY How could you? CRAIG You were gone all night. I was trying to get some information. ALLY How could you go through my stuff like I'm a suspect? CRAIG Then stop acting like one. ALLY What is the matter with you, Dad? You have no respect for me and the way I'm feeling, my privacy. We talked about this! You're totally paranoid. CRAIG You watch your mouth! ALLY You do n't do anything. You do n't go anywhere except work. You have no life. CRAIG My life is right here! In this house. The same place as yours. But you're spitting all over it. ALLY Jesus Christ, Dad! I went on a date! CRAIG I smell alcohol. Right back at him. ALLY So do I. Beat. ALLY Dad. CRAIG THIS IS MY HOUSE! ALLY YOU WAN NA BURY ME IN IT? CRACK! He hits her, hard, open hand, from across the width of his body. Ally is knocked off balance and hits her head on the cabinets. CRAIG Ally! His face is contorted with panic and shame. Ally's disoriented. Her ears are ringing. Her lip is split. A knot is starting to form where she hit her head. She straightens herself up and stares at her dad like she has no idea who he is. Beat. Craig tries to envelop her. With a guttural snarl she pushes him away, getting a little bit of blood on his shirt. She scrambles up the stairs.", "EXT. RAILROAD FLAT-- ROOFTOP -- DAY Sunshine beats down on a little make - shift rooftop hideaway, a few old beach chairs, a stereo, a weight bench. Aidan works out with an old set of dumb bells. Tyler sits on a beach chair, trying again with the guitar. AIDAN So? She just left? No good bye? Tyler nods, strumming like he's wearing boxing gloves. Aidan finishes up a set. AIDAN Maybe she heard you play the guitar. TYLER You were the one dumping Jello shots down her throat. You almost killed her. Aidan lies down to do the bench press. there's a lot of weight on the bar. AIDAN There are sins of omission and sins of commission, my friend. I've dealt with mine and I've forgiven myself. you should do the same. Aidan lifts. It's too heavy and falls to his chest. Tyler forgoes his spotting duty, lets him struggle. Aidan strains. AIDAN little help, T. little help, little help, lotta help. TYLER?! Tyler blows three perfect smoke rings. Finally he puts down the guitar and helps get the bar up. Aidan panting, rubbing his chest. AIDAN What the hell was that? TYLER Penance. I have to get to work.", "INT. RAILROAD FLAT-- LIVING ROOM -- DAY Tyler and Aidan come into their apartment, Aidan still rubbing his chest. Ally is standing there in the middle of the living area. A packed bag at her feet, her face a mess. ALLY I did n't know where else to go.", "INT. LIVING ROOM -- SUNSET Aidan sits on the couch still in his gym clothes drinking a protein shake out of a blender. Tyler comes out of his bedroom gently closing the door behind him. AIDAN How's she doin'? TYLER She's pretty shaken up. Tyler takes a seat beside him. Takes out a cigarette. TYLER We've really got to fix that dead bolt. AIDAN My bad. Sorry. TYLER Do n't be. You think she'll sleep? AIDAN You realize if she had had the S.L.U.T If looks could kill. AIDAN Too soon? A silent moment passes. TYLER I told her she could stay here. Are you alright with that? AIDAN As long as she needs.", "INT. LIVING ROOM -- LATER THAT NIGHT Tyler has just finished making up the ratty sofa as a bed. Ally appears from the bedroom, framed by the open door. She has slept in one of Tyler's button down shirts. TYLER You're up. Beat. TYLER Can I get you anything? She nods. TYLER I'll be out here if you need me. Beat. Ally takes off the shirt and lets it fall. She stands there.", "INT. TYLER'S BEDROOM -- LATER We interrupt Ally and Tyler in the throes of passion. Tyler sits on the edge of the bed. Ally is on top. She kisses his neck. Suddenly, Tyler throws her to the bed. He takes control. Ally's momentarily taken aback, but does n't stop him. There's noticeable aggression to their love - making. In the midst of everything, the pair slow almost to stopping, a caesura. They stare into each other in a moment of surprise and recognition. Then again. Young, hungry, aggressive. TIME LAPSE They lie, eyes closed, almost asleep, entwined with each other. Tyler gives a little sound of contentment. Ally, in her own haze, reaches for him, her hair all over the place. Eyes still closed they fumble for each other, starting, in this dream state, to make love all over again.", "INT. BEDROOM -- BEFORE SUNRISE The sheets have been torn loose from the mattress. Ally lies asleep, curled in the comforter. Tyler lies awake beside her, he smokes a cigarette and watches the sky just starting to brighten. Tyler gets out of bed. Grabs his journal. A NOTE propped up next to the bed : `` Please do n't leave. I'll be back.''", "EXT. SIDEWALK -- LATER Tyler locking his bike outside the coffee shop.", "INT. WALL STREET COFFEE SHOP -- SUNRISE The place is empty. A few early RISERS get coffee to go. He sits in the same booth, his journal held open by the binder clip. He writes, a bag of Bialys next to him. Janine enters. Orders two coffees. She sees Tyler, smiles. She picks up her coffees and approaches him. JANINE I ca n't believe you still come down here. Tyler looks up, grins, nods to her coffees. TYLER It's not so far. I ca n't believe you still get his coffee. three sugars, no milk? JANINE -LRB- shrugs. -RRB- Old habits. You're not writing anything bad about me, are you? TYLER Not today. JANINE I got ta run. Early meetings. Janine turns to go, remembers something, turns back. JANINE I probably wo n't see you before Saturday so. happy birthday. Tyler nods, tries to smile. Janine glances back as she goes. JANINE I'll be sure to tell your father that you said hello. Tyler nods sheepishly.", "INT. RAILROAD FLAT -- LIVING ROOM -- LATER Tyler returns with breakfast. From Aidan's room, a pathetic croak. AIDAN O/S Bialy. Tyler tosses him a Bialy like he's tossing fish to a seal. Ally lies on the couch. Curled in a blanket. A cup of hot tea in hand. She sips it. It stings her lip a little. TYLER Hey. ALLY Hey. Tyler sits. She shifts and curls next to him. ALLY Where did you go? TYLER Downtown. ALLY Why? Tyler pulls his JOURNAL from his pocket. Hands it to her. TYLER There's a coffee shop. I brought you a Bialy. ALLY New York is full of coffee shops. TYLER This one was our place. Michael's and mine. We had breakfast there all the time. Maybe not as many times as I think we did. But enough times. Anyway we ate there that morning. It was the last place I saw him. ALLY Oh. So you go there to write? To him? TYLER Maybe. Sometimes. I do n't know. But I guess I wanted to tell him about you. Ally is moved, you can see it in her eyes, but she chooses not to overdo it. She flips through the journal. She hands it back to him. Then out of nowhere. ALLY My mom was murdered eight years ago. The same year your brother died. Tyler is stunned. ALLY You do n't need to say anything, I know you're sorry. Everyone's always sorry, you know? He does. ALLY It's just, I need you to know that, my dad, he's not an evil guy. I do n't want you to think that because I'm here he's some kind of belligerent psychotic, he's not. I do n't know, it's just recently, he seems really. She looks at Tyler's face. His eyes are so patient. Ally tears up. ALLY Wounded? Our house is like the recovery room, or the critical care unit or something. Tyler strokes her hair. ALLY I do n't feel like that, though. I feel like I'm getting stronger and like I'm leaving him behind to swim in it all by himself. She is weeping. Tyler pulls her to him doing the best he can. Holding her and kissing her hair.", "INT. SIXTH PRECINCT -- 2 DAYS LATER. Sergeant Craig standing with a ROOKIE OFFICER, berating. CRAIG Tell me something, Matthews, do you like paperwork? MATTHEWS No, sir. Craig is working up a head of steam. CRAIG Me neither. Nobody likes paperwork. But paperwork keeps our ship afloat. Paperwork makes it possible for me to keep track of all the scumbags. But I ca n't do that if newbies like you are incapable of remembering standard filing. Leo interrupts. LEO Jim. Craig snaps his head around. CRAIG What? Leo gestures to speak privately. LEO Ally called Sharon. CRAIG What? LEO She said to tell you, she's with friends, and she's fine. CRAIG What friends? LES She did n't say. CRAIG That's all? His partner nods. Craig looks away. LEO I'm sorry, Jim. Listen, why do n't you come over this weekend? We'll get the grill going. Sharon wants to see you. We can have some people, nice people. You can circulate a little. CRAIG No. LEO Jim. CRAIG Leo, no. Stop. Craig goes back to his desk. Leo looks after him.", "INT. RAILROAD FLAT -- LIVING ROOM -- DAY Aidan sits in the living room, trying to assemble an IKEA television stand. A joint smolders in the ashtray. The BUZZER rings. Aidan goes to answer it. AIDAN Hello? DIANE Aidan, it's Diane. He blinks. AIDAN Oh, hey Diane. He throws down the keys, then yells towards the roof. AIDAN T! It's your mom. With Diane's knock the door swings open. AIDAN Hey Diane. He gives her a kiss on the cheek. DIANE You really have to fix that door. I'm so sorry to just show up. I called but your phone was busy. Aidan looks and realizes that the phone is indeed off the hook, as just the handset, wrapped in duct tape, is visible on top of the sofa. AIDAN No problem. Come on in. Tyler and Ally enter the apartment through the fire escape TYLER Hey mom. DIANE Hey. I'm so sorry honey. I tried to call but. TYLER. says. It's okay. Mom, this is Ally. Ally, this is my mom, Diane. ALLY Hi. Nice to meet you. Diane is thrilled. She has a huge mom grin. DIANE Ally. It's lovely to met you. Just lovely. Diane is pumping Ally's hand like she's drilling for oil. TYLER Sit down, Mom. Can I get you something? She navigates the IKEA carnage and sits on the sofa, the joint smoldering in the ashtray in front of her. Aidan ever the gent, removes the ashtray to the window ledge. DIANE Yes. Aidan, would you bring back that spliff, please? Beat. AIDAN Uh. okay. Tyler looks completely befuddled. Aidan passes Diane the joint. She takes a deep hit. DIANE Thank you. AIDAN How's work, Diane? DIANE Well. -LRB- BIG exhale. -RRB- I just found housing for a family that had been in shelters for three weeks. So that's good. On the other hand, I have six other families. The women measure each other. DIANE But Tyler, I wanted to talk to you. ALLY Come on, Aidan. AIDAN What? ALLY Nice to meet you, Diane. She starts to drag Aidan out the window, back up the fire escape, but he makes a brief detour. AIDAN Do n't freaking bogart that joint, Diane. DIANE Sorry. She hands it back to him and Aidan and Ally climb away. Tyler sits next to his mom and lights a cigarette. DIANE Well, first, your sister is all excited about your birthday at the house. I wish you'd told me. TYLER I wish she'd told me. It was a unilateral Caroline decision. Will you make sausage and peppers? DIANE Of course. Tyler, Your father is driving me crazy. I should n't even be discussing this with you. I ca n't get him to say he'll come to your sister's exhibit. Her art exhibit. He says he's in the middle of an IPO. Tyler rubs his eyes. DIANE Les says I should n't broker. I should let them be on whatever road they're on. Beat. TYLER I'll get him there. DIANE She cares about this, even though she's pretending she does n't. TYLER I'll get him there, mom. DIANE You will? TYLER Yes. She looks relieved. DIANE Thank you. Thank you. She kisses his cheek, and rises to go. He takes her to the door. DIANE Why do n't you bring that lovely girl to your birthday? TYLER -LRB- a warning. -RRB- Diane. DIANE Sorry. Sorry. I love you, darling, but this place reeks of marijuana. She goes, shutting the door behind her.", "EXT. ROOFTOP -- AFTER. Aidan and Ally on the roof, they've arranged themselves in the deck chairs. ALLY That was weird. I assume most moms do n't smoke weed in front of their son's. um AIDAN Piece of ass? ALLY You know, you're a poet. AIDAN Hey. I know one thing. I know that in the time I've lived with Tyler, he has never introduced a girl. woman. female. to his mom before. ALLY It's not like he had a choice. She ambushed us. AIDAN Yeah, but he would've shoved you in a closet or something. Or literally pretended you were a hallucination. ALLY Ha ha. AIDAN I mean it. It's the first time. Ever. ALLY Did it ever occur to you that that's kind of weird? AIDAN No. Ally throws up her hands.", "INT.   BATHROOM. AFTER. Tyler, having pulled the decrepit house phone into the bathroom, is leaning against the sink, girding himself to call Charles. He looks in the mirror and makes a face.", "INT. CHARLES' OFFICE. JUST AFTER Janine pokes her head into Charles' office. Charles is swamped with work and surrounded by UNDERLINGS. JANINE Charles, it's your son. Charles is surprised. CHARLES What? JANINE On the phone. CHARLES Okay. He punches a button. CHARLES Tyler, you're on speakerphone. IN. BATHROOM. AFTER. TYLER It's about Caroline's show. Are you planning on attending? CHARLES O/S What? There are people here. You'll have to speak up. Tyler holds the phone away from his face and screams at it, silently. TYLER Caroline's show. CHARLES O/S What about it? TYLER -LRB- ready to kill him. -RRB- You are coming, right? CHARLES O/S Fine. Yes. I'm coming. We'll go to dinner first. Alright? -LRB- to Janine. -RRB- Janine? TYLER Dinner? That's not. CHARLES I'll make a reservation and have Janine call you. He hangs up. Tyler stares at the phone a sec, then hits his head, once, against the bathroom door.", "INT. DIANE'S HOUSE -- DINING ROOM -- NIGHT -- A WEEK LATER Tyler is sitting at the table in the darkened room with Ally standing behind him with her hands over his eyes. Caroline enters from the kitchen carrying Tyler's BIRTHDAY CAKE. She has obviously decorated it herself. She has drawn -LRB- as best as she could, given the medium -RRB- the characters from the ALICE statue in frosting. It reads `` A VERY MERRY UNBIRTHDAY TO YOU'', and has `` 22'' in numerical candles and'' + 1 TO UNGROW ON'' written next to that. She's singing. Aidan, Ally, Diane are all singing. There's a flash from a camera off screen. It's Les. Caroline puts the cake down in front of her brother and Ally takes her hands away just as they finish the song. Tyler's face in the candlelight as he sees Caroline's efforts. He takes a huge breath. CAROLINE Make a wish. He looks at her and blows out the candles. Everybody applauds, Diane longer than anyone else. Her eyes are shining.", "INT. DINING ROOM --LATER The cake totally devoured. Les is obsessively eating frosting. Caroline is trying to teach Aidan how to waltz in the living room. He is. CAROLINE Retarded. Tyler? Tyler rises from the sofa and takes over as Caroline's partner. She puts her feet on top of his feet and they waltz. TYLER/CAROLINE `` One, two. three. One, two, three'' Ally and Diane are washing dishes in silence. Beat. ALLY You're the second member of this family I've washed dishes with. Beat. DIANE He was doing it to impress you. He's never washed a dish in his life.", "INT. CAROLINE'S ROOM. Caroline at her desk, sketching. Her door is ajar. Ally enters, mouth agape as she lays eyes on Caroline's collection of artwork on the walls. ALLY Wow. Caroline's working on a PORTRAIT OF TYLER ON A PARK BENCH, cigarette dangling from his bottom lip. A perfect rendering of a fleeting moment. ALLY May I? Caroline shrugs. Ally looks over Caroline's shoulder. ALLY That's exactly him. It's like the cigarette is the last Coca Cola in the desert. Caroline smiles. ALLY I ca n't believe he smokes in front of you. CAROLINE Do n't worry, I'm not that impressionable. Ally smiles. Caroline goes back to work. Ally looks around at all the portraits papering her walls. It stirs a memory. ALLY You know when I was younger, we did n't have air conditioning in the house, so during the summer my mom and I would go to museums to cool down. she loved them all but The Met was always her favorite. CAROLINE Mine too. The Met is one of my favorite places in the world. ALLY So. I heard you've got an art exhibit coming up. CAROLINE -LRB- skeptical. -RRB- You wan na come? ALLY Was it that obvious? But only if you're OK with it. I do n't want to impose and I'll completely understand if you do n't want some random girl there. Caroline considers this. CAROLINE You're not random. you're Tyler's girlfriend. Ally has never heard anyone say it so plainly. She seems a bit perplexed, then grins. It's okay with her.", "INT. RAILROAD FLAT-- LIVING ROOM -- NIGHT OF CAROLINE'S SHOW Tyler wearing the suit we met him in, it's been dry - cleaned. Ally emerges from the bathroom, looking gorgeous in a vintage black cocktail dress and carrying a pink wrap. ALLY You like? TYLER Let's just skip dinner and I'll tell you how great you look in like eighteen different languages. ALLY You just want to skip dinner. I got you a tie. She hands him a simple blue tie that matches his eyes. Beat. TYLER I was going to make a joke about how I'm not prepared for the commitment of exchanging accessories and how neck wear especially is a slippery slope, but I should probably shut up and say thank you. ALLY You're learning. Tyler puts on his tie in the mirror. He scowls.", "INT. FOUR SEASONS RESTAURANT -- AFTER. Tyler and Ally sip cocktails at the nicest table in the place. There's an empty seat. Tyler's eyes flicker towards the door. Twice. He touches his tie. TYLER Have you ever been here? Ally tries to lighten his mood. ALLY -LRB- joking. -RRB- Yeah. Every Tuesday with my pop. This goes right past Tyler whose eyes flicker towards the door again. TYLER He's allowed to stand me up. But he's not allowed to stand you up. Or my sister. Tyler finishes his drink, signals a WAITER who glides to the table. TYLER I'll have a whiskey. CHARLES Get me one too. Like a stealth bomber. At least this moment rescued the men from actually having to greet each other. WAITER Yes. For the lady? ALLY I'm fine, thank you. The waiter goes. TYLER This is Alicia Craig. Ally, my father, Charles Roth. Charles gives a courtly nod and takes her hand. CHARLES A pleasure.", "INT. RESTAURANT -- LATER An empty wine bottle. Charles cuts into a one - hundred dollar steak. CHARLES You're going to be a social worker? ALLY Yes. But with an area of focused responsibility. It's easier to find a job that way. CHARLES What will your area be? ALLY Criminal Justice. CHARLES Tough area. ALLY When I was little I wanted to play first base for the Mets. I do n't think it's any harder than that. CHARLES The Mets, huh. ALLY -LRB- arching an eyebrow. -RRB- I'm from Rockaway. TYLER Dad's a Yankee fan. It has something to do with the payroll. CHARLES It has to do with significant ball playing. You were a Yankees fan when you were little. You were Lou Piniella for Halloween. TYLER Blind familial allegiance. I did n't know what overpriced, overfed, fat bastards they were. CHARLES -LRB- serious as a heart attack. -RRB- Who's fat? What Yankee is fat? Tell me. TYLER -LRB- right back at him. -RRB- It's a metaphor. Charles adjusts his tie and goes back to his steak. TYLER Roger Clemens. Charles looks at his son. Puts his fork down. Silence at the table. Back to the steak. Beat. ALLY Shane Spencer. Charles looks up, taken aback. ALLY Nick Johnson. Tyler tries to get a word in. CHARLES -LRB- his mouth full of steak. -RRB- He's big boned! Charles and Ally burst out laughing. Tyler rolls his eyes - TIME CUT Dessert. Ally is working on an enormous profiterole. Tyler, another whiskey. CHARLES How long has your dad been a cop? ALLY Twenty - two years. His cell phone lights up. Charles gently puts his hand on hers. CHARLES Would you excuse me please. I'm so sorry. ALLY It's OK. Charles gets up from the table. Tyler, not able to help himself, shoots him a glance. Ally clocks it. ALLY It's just a call. He held out'til dessert. Charles returns. CHARLES I'm sorry. And your mother? ALLY She passed away when I was eleven. CHARLES Ah. ALLY She was murdered. I was there. Charles and Tyler are stunned to silence. ALLY -LRB- to Tyler. -RRB- I never told you that part. TYLER Why are you saying this now? ALLY I do n't know. The men look at her. She's a hero. CHARLES And, here you are. ALLY Yup. Here I am.", "INT. CRAIG FAMILY HOME. KITCHEN. There is an empty Lean Cuisine box, and two empty Beer Cans on the counter. Craig stands by the microwave as it counts down. 4,3,2,1. BEEP. He removes an Eggplant Parmigiana and slides it carefully on to a waiting plate. He takes it, along with a fresh beer, to the living room. He sits heavily on the sofa and hits a remote, unpausing ERIN BROCKOVICH.", "EXT. IN FRONT OF THE FOUR SEASONS-- LATER Tyler and Ally wait in front of the restaurant as Charles takes another call. A TOWN CAR and DRIVER wait as well. ALLY I think he's lovely. Tyler puts his head in his hands. TYLER God. Charles returns. His face blank. TYLER Do n't say it. CHARLES I have to go to the office. TYLER You have somewhere else to be, Dad. Charles adjusts his tie. Tyler loosens his. Ally is unsure where to look. CHARLES The exhibit runs til nine. You guys take the car. I'll meet you. TYLER I do n't believe you. CHARLES That's all there is, Tyler. TYLER It's not good enough. CHARLES I do n't have to justify anything to you. Take the car. I'll get a cab. I'll meet you. He steps into the street to hail a cab. Tyler watches his dad get into a taxi, then holds the car door for Ally.", "INT. CAROLINE'S ART EXHIBIT-- PRATT AUDITORIUM -- LATER Amateur artwork and picked over catering. The rest of the exhibitors are high school age, even a college freshman or two. They mill with their friends and families. Animated. Ally and Aidan stand before a COLLECTION OF FAMILIAR PORTRAITS -LRB- Charles reading the paper at breakfast, Les and Diane kissing, Tyler on the park bench -RRB-. Caroline sits on a catering table, Tyler next to her. She looks miserable, he looks furious. Diane bustles over with a plate of cupcakes and a big stupid grin. DIANE I brought you every flavor. Caroline looks once at her mom then. CAROLINE -LRB- to Tyler. -RRB- I'm ready to go home now. Tyler nods, takes her hand. Calls to. TYLER Ally? Les, eating a cupcake, and Ally, stand under a portrait of Charles. Ally picks up her purse. Diane standing there with her cupcakes.", "INT. RAILROAD FLAT. RIGHT AFTER Tyler, visibly agitated, is letting Ally in the front door to the apartment. He grabs his bike off the wall. ALLY Where are you going? TYLER I have something I've got to do. ALLY Now? Ally reaches for his elbow. He yanks his arm away. TYLER Are you capable of taking care of yourself for an hour? Do you need me here every minute, or what? He slams out. Ally looks like she's been slapped.", "INT. CHARLES'OFFICE -- RIGHT AFTER Charles in a meeting with several SUBORDINATES. Everyone is in late night disarray. They are obviously on their way to pulling an all - nighter. The door to the office flies open. Tyler barges in. Janine trailing. JANINE Tyler? Tyler? You ca n't just. CHARLES It's fine Janine. There is space between the two men. Tyler extends a rolled up piece of paper to his father. TYLER She drew you a picture. CHARLES Put it on the table. Beat. Tyler holds on to the portrait. TYLER You have a daughter who sincerely believes you do n't like her. CHARLES If I have any questions about what my daughter may believe, I'll let you know. Tyler gestures with the portrait TYLER Do n't you at least want to know her? She's telling you something, Dad. She's communicating. Why are n't you riveted? Why is n't this the most important thing? At least for one night of your life? CHARLES I've heard this song before, Tyler. SUBORDINATE#1 We can come back. The subordinates rise. CHARLES It's fine, Khaleel. They sit. There is still distance between the two men. Beat. CHARLES Who is this display for? TYLER You, Mr. Roth. Beat. CHARLES She knows I will take care of her. TYLER And? The subordinates rise again. SUBORDINATE#1 We really can come back another. CHARLES Sit the fuck down. They sit. CHARLES And that I love her. I love her. Good God, you toss that word around like currency. You have no idea what it means. TYLER Maybe not. Maybe Caroline does n't either. Where would she have learned it? CHARLES I have provided her world. And yours. TYLER That does not mean you're allowed to shatter it whenever there's something better to do. CHARLES Who the hell do you think you're talking to? You pedaled down here on your bike for Christ's sake. You have to take care of nothing. You are responsible for no one. You're a kid. You think you're the first one to lose anything? Do you think that there is anything you feel that I have n't already felt? TYLER You did n't find him. I found him. And you're so tragically blind, the rest of your children are going to hang themselves on your watch. Charles goes, snarling, for his son, and Tyler is more than willing. Janine and one of the Subordinates get between them. JANINE Stop! Stop! The men are pulled apart. Tyler is white and trembling with rage. Charles' face is completely dark and closed. JANINE Get out of here Tyler. Tyler runs for the door. Stumbling over furniture, Caroline's portrait crushed under his feet.", "INT. RAILROAD FLAT -- RIGHT AFTER. Ally, still in her dress, trying to excavate an ice tray frozen in the ancient freezer. There's got to be six inches of frost in there. She starts stabbing it with a wooden spoon. As she hears the door, she turns and puts on her most blistering attitude like an overcoat. As Tyler walks into the light - his face white with anger, practically crying - her eyes widen. ALLY Oh my God. She runs to him, he falls into her. He's a mess. He wo n't let her see his face. She pushes at his hair, trying to see and understand. He kisses her, so she wo n't see. Tyler is completely lost in the storm and Alicia Santana Craig is going to get him through. ALLY Okay. She yanks his head up. ALLY It's okay. They kiss. She brings his hands up into her hair, around her face. They kiss. He kisses her like he's starved for her. TYLER'S BEDROOM - LATER Tyler and Ally, wrapped around each other, both deeply asleep.", "INT. CRAIG FAMILY HOME -- CRAIG'S OFFICE -- AFTERNOON Craig, home from work. He hits the button on the answering machine. There's just one message. ALLY O/S -LRB- on the machine. -RRB- Dad, it's me. I've been invited. I'm going away to the beach for Labor Day. They're nice people. If there's any problem I'll call. Or they will. Okay. Bye. As he takes off his jacket, Craig hits rewind and plays the message again. ALLY O/S -LRB- on the machine. -RRB- Dad, it's me.", "INT. DIANE'S MONTAUK BEACH HOUSE -- NIGHT -- SUMMER'S END Raucous laughter. Caroline, Tyler, Les, Ally and Aidan are in the living room playing charades. Everyone is a little sunburnt, the adults are a little drunk. Ally is wrapped up in Tyler, Caroline is on her mom's lap on the floor, Les next to them, lying on his stomach. Aidan is up and God only knows what he's doing LES -LRB- totally flabbergasted. -RRB- I genuinely have no idea. are you having a seizure? CAROLINE Time. AIDAN Berlin Alexanderplatz! More raucous laughter. AIDAN You people are culturally bankrupt. TYLER Whose was that anyway? CAROLINE Mine. Whoops of laughter heretofore unheard in Montauk. DIANE Okay, you. Bed. LES. says. Me? Yeah, baby. CAROLINE Gross. Gross. Gross me out the door. She rises and flees into the kitchen. Les rolls over and ends up with his head in Diane's lap. He looks at her for a moment. LES You're just the prettiest girl. Diane beams at him. Tyler smiles at his mom and Les, then at Ally. Diane takes a deep look at her son. Her eyes shining. AIDAN Holy crap. What's with all the smiling? Caroline travels through the living room with a popsicle. She is headed for her bedroom. CAROLINE A child could do Berlin Alexanderplatz, you spaz. Les snorts with laughter. Diane rises, dumping him to the floor. LES Hey! DIANE I want five minutes with my child before she ceases to be a child and decides I'm ruining her life. On her way out, Diane pauses and gently pushes one of Ally's stray curls behind her ear. Smiles down at her. DIANE Are n't you a treasure. Ally stares up at Diane for a beat, her eyes shining.", "INT. AMTRACK -- PASSENGER CAR (MOVING) -- DAY Tanned and rejuvenated, Ally, Tyler, and Aidan sit together on the train back to the city. Ally and Tyler kiss. Aidan watches them. AIDAN I want a girlfriend. TYLER What? AIDAN Dinners out, movies. Regular sex. That could be all right. For like, a summer. ALLY You're such a romantic. AIDAN And I've had all the races. ALLY Excuse me? AIDAN I've had all the races. I've been with girls from every. race. Ally laughs. TYLER That is the stupidest thing you've ever said, including that time with the bong in the emergency room. ALLY White girl. AIDAN Please. Like falling off a log. As a matter of fact. ALLY Shut up. Black girl. AIDAN But of course. ALLY Asian. AIDAN Twice. ALLY Latina. AIDAN Oui! ALLY A Latin girl actually slept with you? What's her name? She's out of the club. Tyler is laughing. Ally thinks for a moment. ALLY Eskimo. Aidan gives a satisfied smile. TYLER/ALLY No way! AIDAN Monica Ipellie. She works at the Public Library on 96th street. ALLY You slept with an Eskimo? TYLER You went to the library? The car doors open and a MAN ushers his family through. It's Craig's partner Leo, in plain clothes. AIDAN Inuit. In - u - it, Ally. Try not to show your ignorance. ALLY I do n't believe you. AIDAN Fine. Nice girl. While we were doing it, I could n't get this little, like, song out of my head. He begins to bob his head to a rhythm. AIDAN `` Inuit, bum buh bum, I'm banging an Inuit, bum buh bum buh bum.'' Ally and Tyler collapse in laughter as Craig's Partner passes He notices Ally immediately. She does n't see him. He takes a long look at Tyler as he follows his wife and kids into the next car. ALLY Prove it. Ten bucks. The train makes a stop at Patchogue. Leo and family disembark. AIDAN You wan na go to the library? ALLY The minute we get off this train. AIDAN Fine. ALLY Tyler, are you coming? TYLER I'll skip this particular bloodbath, thank you.", "INT. TYLER'S APARTMENT BUILDING -- HALLWAY -- LATER Tyler, his bag on his shoulder, returning home, fishing in his pocket for his keys. He sings the Inuit song to himself. TYLER bum buh bum bum buh bum buh bum. His front door is unlocked. Tyler freezes. Takes a beat. Scans the room, silently dropping his bag. He reaches behind him for the aluminium bat against the door. Wielding it, he takes two steps into the apartment. Craig, in plain clothes, sitting on Tyler's bed, amidst the carnage of Tyler's stuff. He has been rifling through everything. The guitar is propped haphazardly against the wall. Craig looks up. The men lock eyes. Craig's eyes go to the bat. Tyler leans it slowly against the wall. Beat. CRAIG Where is she? TYLER What are you doing in my house? Craig's eyes flash. CRAIG Where's my daughter? TYLER She's not here now. She's at the library. Craig's face says it : `` Bullshit''. CRAIG Does she know? Cops never ask a question they do n't know the answer to. TYLER No. CRAIG I did n't think so. I figured you'd probably leave that up to me when you're done with her. Craig's face, like his wife's so many years ago, is pure contempt. With his body at this angle, Tyler can now see his gun. TYLER I'm not going anywhere. CRAIG That's true, Tyler Roth, son of Charles and Diane. Brother of Caroline and Michael, deceased, suicide by hanging. You're kinda lost, are n't you? Taking a little vacation in coach before finding your way back to first class? TYLER I'm the one she came to when you used her face as a punching bag. Craig closes the distance. From Tyler's P.O.V he looks like a freight train. In a flash, he gets Tyler in a choke hold, flips him on his back on the bed and puts his hands around Tyler's throat. Silence, except for exertion. Tyler's hands are on Craig's wrists. He is holding Craig's eye. His face is starting to turn colors. Beat. Beat. TYLER She needs you. It travels between the two men. Craig grappling with it, although he still has his hands at Tyler's throat. Craig drops his hands, pushes himself off Tyler Tyler rolls to one side, coughing and gagging. Craig leans against the wall for support. He is trying, before our eyes, to pull the shards of himself together. His gun visible at his waistband. Tyler's coughing, his face still red, his eyes travel briefly to the bat, then to Craig. Craig closes his eyes, very briefly, then rises. Not looking at Tyler. Beat. Looking at Tyler. Beat. Craig goes to the front door. CRAIG Get a fucking dead bolt. Slam. And then he's gone. The door bounces in its frame. And then it's just Tyler trying to remember how to breathe.", "INT. RAILROAD FLAT-- LATER. Tyler smoking, standing at the window, waiting for Ally. He sees her walking up to the front door. He grinds his cigarette out. Ally is running up the stairs ALLY O/S Tyler Keats Roth! She arrives at the door. ALLY He banged an Inuit! She's really nice. And smart. I do n't get it. Beat. ALLY What's going on? TYLER Your dad was here. ALLY -LRB- panicking. -RRB- What? TYLER When I got home. Beat. ALLY I hate him! She lunges for the phone. Tyler stops her hand. TYLER There's more. She looks like she's starting to panic. TYLER He knows me. Before I met you. He arrested me and Aidan. He gave me that gash over my eye. ALLY I do n't understand. TYLER I mouthed off to him. He. responded. Then Aidan saw you guys together at school. She is n't quite getting it. TYLER Aidan suggested. I. introduced myself to you. She's got it. Beat. TYLER Ally. ALLY I'm going to be sick. She bolts from the chair to the sink and dry heaves. Tyler reaches out to comfort her. TYLER Hey. She reels around and cracks him across the face. Not like a chick. Like her dad. The sound hangs in the air. Ally goes to the bedroom and starts throwing her stuff in her bag. Tyler follows her. TYLER Do n't do that. What are you doing? ALLY Do you realize what you've done? TYLER Yeah. He does n't. ALLY Did you think I would never find out? I mean, think about it. I had to find out eventually. You set it up that way. TYLER But it does n't mean anything. I did n't mean to hurt you, ALLY No. That's exactly what you meant to do. She pushes past him and out the door.", "INT. TYLER'S APARTMENT BUILDING -- STAIRWELL - Ally heads down. Aidan heads up. He smiles wide. AIDAN Hey. Ally pushes past him. ALLY Prick.", "INT. RAILROAD FLAT-- LATER THAT NIGHT Tyler sitting on the ratty couch. Aidan eats old Chinese food from the container. He offers some to Tyler. They sit in silence. Tyler swelling. Aidan eating. AIDAN You had to tell her eventually. This is no comfort. AIDAN Glass half full. you just saved yourself an awkward Thanksgiving. Sincere now. AIDAN She'll be back, T. Tyler heads into his bedroom and shuts the door.", "INT. CRAIG FAMILY HOME -- KITCHEN -- NIGHT Sergeant Craig working on a sink full of dirty dishes. He scrubs at a filthy pan with a piece of steel wool. He's manic but there's not a beer can in sight. ALLY O/S You know you're not supposed to use that on non - stick pans. Craig turns, finds her there in the doorway, bag at her feet. ALLY It takes off the teflon. They stare at each other for a moment. ALLY You should let it soak. SERGEANT CRAIG Okay. They look at each other. Craig tries a smile. Ally's cool with him. Moving towards him, past him. ALLY I'm going upstairs.", "EXT. EAST SIDE MANHATTAN APARTMENT BUILDING -- EVENING Caroline and Diane walk up to the DOORMAN. Caroline carries a gift, a sleeping bag. Diane smiles at her daughter. CAROLINE Stop smiling. You look insane. Diane ca n't help it try as she might. DIANE I'm sorry, honey. I just. it's nice. Like an end of the summer send off. Caroline rolls her eyes. DIANE Have fun. Caroline goes into the lobby. Diane heads back to her car.", "INT. EAST SIDE    APARTMENT--   FOYER Caroline gives her gift to THE BIRTHDAY GIRL who smiles. She follows her into the next room where the other PARTY GUESTS watch a movie. They all turn and look at Caroline. Caroline smiles sheepishly. Some of the MEAN GIRLS are there, One of them gives her a perfunctory smile.", "INT. LANDMARK SUNSHINE MOVIE THEATER -- HOUSTON STREET - NIGHT. Jackie Chan's foot slamming through a wall. Tyler and Aidan are watching RUSH HOUR 2. Aidan slurps from a super mega sized soda, laughing, enjoying himself. He turns to his friend. Tyler sits, completely drained, looking like the loneliest guy on the planet. Aidan gives him a nudge. Tyler looks at the screen for a sec and half smiles, then slips away again. Aidan is genuinely concerned.", "INT. EAST SIDE APARTMNT-- KITCHEN -- NEXT MORNING The party girl's MOM is in a bathrobe. She looks horrified, she has one hand covering her mouth and is whispering into a cell phone. Caroline is on the kitchen phone. Her long hair has been CUT TO PIECES while she slept. She is crying. CAROLINE -LRB- into the phone. -RRB- Mom?", "INT. CRAIG FAMILY HOME -- LATER THAT MORNING Ally and her father cook breakfast together. There's a knock.", "EXT. DOORSTEP. Aidan paces nervously. Craig appears in an apron. Aidan smiles. AIDAN Hi. Beat. AIDAN Is this the, uh, that is, does, uh, Alicia Craig. Does she live here? Craig nods. AIDAN Oh great. I'm. CRAIG You think I do n't remember you? AIDAN No, sir. ALLY Who is it Dad? Ally sees Aidan. She touches her father's forearm. ALLY It's OK. Craig steps back into the house. Six inches. ALLY Really. He backs into the hall. Aidan and Ally are alone. ALLY What do you want? AIDAN Look, I'm a prick. ALLY And. Craig popping back like an eel from a wreck. He's got the mangled Honey Bear. ALLY Dad. He goes again. Pfft. Aidan's visibly relieved. AIDAN Tyler's not. She starts to close the door. AIDAN Wait. Shit. This is n't really my thing. ALLY He lied to me. AIDAN He's in love with you. ALLY He'd like to think he is. Aidan does n't get it. AIDAN I do n't know what that means. I've seen him look at one other girl the way he looks at you. She's a lot shorter and shares his DNA. Ally looks away. AIDAN You do n't have to forgive him today. just forgive him. Craig reappears from the deep. CRAIG Thanks for stopping by. Father and daughter go back into the house. Aidan exhales.", "INT. HOFFMAN FAMILY HOME -- CAROLINE'S BEDROOM -- LATER Diane is on the house phone, preparing a tray of tea and cinnamon toast for Caroline as she talks. DIANE Are you telling me, Ms. Spencer, that you intend to let those girls stay in your school? Of course they're all sticking to the same story and that story is a load of crap! She slams a cabinet closed as Les picks up the tray and WE TRACK HIM down the hall to CAROLINE'S ROOM. Les is speaking on his cell phone. LES -LRB- sotto, into the phone. -RRB- She's pretty traumatized. I wanted to pull some names together in case we all decide she should talk to someone.", "INT. CAROLINE'S BEDROOM. Caroline and Tyler are lying on Caroline's bed. Her head is nestled on his shoulder. She looks even tinier than usual. Tyler is reading to her, softly, from The Book of Greek Myths, his other hand stroking her butchered hair. She looks pale, wasted. Her eyes are sunken and she's fighting sleep. A losing battle, she's exhausted. Her lids finally shutter to the sound of her brother's voice. Les, at the door, places the tray on Caroline's desk. LES -LRB- on the phone. -RRB- There's no witnesses and it did n't happen on school property. The school wo n't do anything. They'll probably get away with it. Tyler's eyes, registering anger and shock, jump from the page as he hears this.", "INT. FOYER. Diane opening the front door for Aidan and Ally. Aidan wraps his arms around Diane and gives her a hug. Ally hangs back a bit, unsure, then embraces Diane. Tyler emerges from the hallway. TYLER -LRB- to Diane. -RRB- She's asleep. He sees Aidan and Ally. Stops short.", "EXT. FRONT STEPS -- LATER Tyler alone on the top stair, taking long pulls from a cigarette. Ally comes out the front door, softly closes it behind her. TYLER Last one ever. I swear. ALLY I do n't care. Beat. TYLER I know you're not here for me but, thank you for being here. A silent moment passes. TYLER For what it's worth, I think you're amazing. ALLY It's not worth much. You made everything between us a lie. TYLER I'm sorry. ALLY Okay. Now what? I'm supposed to just forgive you? A BMW 7 Series speeds around the corner. Stops in front of the house. Charles gets out of the car, sees his son. CHARLES How is she? TYLER She's sleeping. Diane emerges from the house. Charles strides quickly towards her.", "INT. BEDROOM -- LATER Caroline asleep in her bed. Charles stands in the doorway watching her sleep, we get the feeling he has n't seen her asleep in some time. Diane appears at his side. CHARLES How long do you think she'll sleep? DIANE I think she'll be out for a while. Would you like to wait? CHARLES Thank you. I ca n't. I'll call her later. DIANE I'll tell her. Diane looks at Charles. He's still watching his daughter.", "INT. PRIVATE SCHOOL -- CLASSROOM -- MORNING Caroline's TEACHER prepares her lesson plan. She starts to write the date on the board when The door opens. Caroline and Tyler enter. The entire class is watching. It's dead quiet. Caroline puts her trembling hands in her pockets. Tyler looks at a few of the girls. They look back, unconcerned, almost amused. Tyler walks his sister to her desk. TYLER -LRB- to Caroline, whispering. -RRB- You okay? Caroline nods, although her eyes are brimming. As she slips out of her jacket, the contents of her pockets clatter noisily to the floor. Tyler immediately bends to help her. MEAN GIRL Have you done something different with your hair? I love it! SNICKERING LAUGHTER. Caroline looks like a deer in headlights. TEACHER Okay, okay. Enough. Tyler moves towards an EMPTY DESK. Some girls keep snickering. Suddenly, Tyler grabs the desk. THROWS it through the air.", "INT. HALLWAY -- SIMULTANEOUS A JANITOR pushes a flat broom down the empty corridor when the glass from one of the classroom doors explodes as the desk makes impact. He stops pushing the broom and stares.", "INT. CLASSROOM -- LATER Pin - drop silence. The students sit paralyzed. Tyler stares at the Mean Girl. Her arrogance completely gone. Caroline stares up at her brother, awestruck.", "INT. HOLDING CELL -- LATER TYLER locked up among CRACK HEADS and PETTY CROOKS on a dirty bench with his hands behind his head and a bemused smirk. A BAILIFF approaches the holding cell. Looks at Tyler. BAILIFF You posted.", "INT. NYPD PRECINCT -- LATER Charles standing in the waiting area. Tyler is led out by the bailiff rubbing his wrists. He sees his father, his face registering surprise. Beat. The men walk together towards the exit in silence. Neither looking at the other. CHARLES Destruction of private property and felony trespassing. TYLER I did n't call you. CHARLES I know you did n't. Charles stops. CHARLES I have unleashed a raging shitstorm of epic proportions on the board of trustees of that pissant school that will not abate until those girls seek enrollment elsewhere. I give them a week. Beat. CHARLES I know you think I'm a prick, but I have my uses. Guess so. CHARLES Can you come by the office to talk to the lawyers? Beat. Tyler deciding. Tyler nods. Charles appraises his son. CHARLES Try not to vandalize any more schools in the meantime. Charles walks ahead, pulling out his cell phone. Tyler calls after him. TYLER Thank you for bailing me out. Charles, without turning around, CHARLES No problem.", "EXT. NYU -- FRONT STEPS -- BEAUTIFUL SEPTEMBER MORNING Tyler leaning against the bike rack, waiting. He sees Ally running up the steps and watches her as she blends into the crowd.", "EXT. WASHINGTON SQUARE PARK -- JUST AFTER. No mimes, just dealers. Ally with a girlfriend, walking towards the East Side. Tyler catches up to her. Shakes the friend's hand. After a beat, Ally agrees to walk with him. He reaches for her hand. She pulls it away, but walks next to him.", "EXT. CENTRAL PARK -- ALICE STATUE -- JUST AFTER. Tyler has convinced Ally to come uptown and meet Caroline with him. Tyler and Caroline climb all over the Alice, while Ally watches from a bench. As befitting a seventh grader, Caroline turns her face to the sun and arranges herself to take advantage of the early September tanning possibilities. Tyler walks over to Ally's bench, sits next to her. Beat. ALLY Using the little sister is dirty pool. TYLER -LRB- carefully. -RRB- Is it working? Beat. ALLY Maybe. Tyler has a smile the size of New York City. Ally smiles back.", "INT. TYLER'S BEDROOM -- THE NEXT MORNING Bright sun pouring through the window. Ally lying asleep. Tyler is up and dressed now, he grabs his journal off his desk, kneels beside Ally. He is bathed in the pool of light streaming in. TYLER -LRB- nuzzling. -RRB- Hey. Hey. ALLY Hmmm. TYLER I'll be back in an hour. I have to stop by my dad's office. ALLY -LRB- sleepily. -RRB- Do you want french toast or pancakes for breakfast? TYLER Whichever tastes better a la mode. Ally smiles. ALLY Say hi to your dad for me. Tyler watches her lying there. TYLER If I said I love you. what would you say? ALLY -LRB- laughing. -RRB- I love you. TYLER I love you too. Tyler kisses her. Then heads out into the.", "INT. LIVING ROOM -- MOMENTS LATER Aidan passed out on the couch still wearing the clothes he went out in the night before. Tyler watches him sleep. AIDAN -LRB- without opening his eyes. -RRB- French toast. Tyler smiles as he takes his journal and exits.", "EXT. HOFFMAN FAMILY HOME -- PORCH -- MORNING Charles waiting on the doorstep, his Town Car waiting on the curb. Diane answers the door expecting to find Caroline's driver, she's confused to find. DIANE Charles? CHARLES Good morning Diane. DIANE What are you doing here? CHARLES Tyler's coming by the office, but I thought I'd ride to school with Caroline first. Diane is speechless. This is a first. DIANE Um. OK. sure. yeah. great. She's not ready though, she's going to need at least twenty minutes. Charles hates waiting. CHARLES -LRB- adjusting his tie. -RRB- All right.", "EXT. SIDEWALK -- LATER Tyler chaining up his bike. His cellphone rings. He checks it. Knows what it's regarding before he answers. TYLER Are you canceling all together or are you just running late?", "INT. CHARLES' TOWN CAR-- MORNING Charles and Caroline in the back seat. She's on one side, with her pink back pack, he's on the other. CHARLES -LRB- on the phone. -RRB- Are you already on your way?", "EXT. OPEN PLAZA. Tyler rounding a corner. TYLER I'm already here. CHARLES I'm taking Caroline to school. He looks at his daughter. She looks back at him, then looks out the window. Tyler considers. TYLER Take your time. I'll just wait in your office. CHARLES It may be a while. TYLER That's okay. Tyler hangs up and joins the herds of suits heading down the street.", "INT. ELEVATOR -- LATER Tyler riding in a handsome marble and oak elevator with a half - dozen EXECUTIVE types. Tyler steps on and presses the number 92. The doors close.", "INT. EXECUTIVE FLOOR -- RECEPTION -- LATER Tyler walks, approaches the Receptionist from the ashtray incident. He smiles pleasantly. She does n't. TYLER Janine in? THE RECEPTIONIST -LRB- cold. -RRB- She went for coffee. TYLER She getting me any? Just kidding. Tyler heads down the hall. The Receptionist rolls her eyes.", "INT. CHARLES ROTH'S OFFICE -- LATER Tyler steps into his father's empty office. It's dark, quiet. He opens the blinds. Sunlight fills the room. Tyler walks around the office. Picking things up, putting them back. Tyler sits at his father's desk in his executive chair. He leans back. Puts his feet up and his hands behind his head. Tyler notices the COMPUTER. He turns on the monitor and puts his hand on the mouse - but does n't move it. His hand just stops and stays perfectly still. Tyler stares at the monitor where his dad's SCREEN SAVER is scrolling through PHOTOS. These photos are all of his FAMILY. `` Michael's first Christmas, Tyler's eighth birthday, Diane in the hospital with Caroline in a pink blanket, Charles and his kids build a sand castle at the shore''. they just keep going. Tyler finds himself watching a slide show of his life.", "EXT. PRIVATE SCHOOL -- LATER That line of luxury cars dropping their daughters off. Charles' Town car rolls to a stop. Caroline gives him a kiss on the cheek. It registers, sort of. She gets out. Charles watches her all the way into the school. His DRIVER sees him watching Caroline in the rear view mirror. Charles gives the Driver a look `` you're waiting for an invite?'' The Driver peels out.", "INT. TYLER'S APARTMENT -- KITCHEN -- LATER Ally has made a mess making french toast. Aidan is yakking on his phone.", "INT. TOWN CAR -- LATER Charles in traffic. All around him DRIVERS curse, honk, hate each other. Charles rides, not letting it bug him.", "INT. PRIVATE SCHOOL -- CLASSROOM -- LATER Caroline drawing at her desk as her Teacher comes in and gets ready to start the day.", "INT. CHARLES ROTH'S OFFICE -- LATER Tyler is still watching the screen saver when Janine enters. JANINE Good Morning, Mister Roth. TYLER Did you know about this? Janine walks around the desk in time to see a photo of Tyler and Michael naked in the tub pop up. She smiles. JANINE Who do you think scanned all the pictures? Tyler smiles. Janine smiles, Then a photo of Michael comes up. Those smiles fade. Silence. JANINE How old would he be? TYLER Twenty - nine last May. Tyler stands and looks out one of the floor - to - ceiling windows separated by columns. He stares out at mid town and a perfect blue sky. Janine looks befuddled. JANINE It's really been that long? I could've sworn it was. TYLER May 18, 1993. A silent moment passes. Janine reflecting. JANINE I should be able to remember that. I'm sorry. Tyler looks at her, his face easy. TYLER It's okay.", "INT. PRIVATE SCHOOL -- CLASSROOM -- LATER Caroline's Teacher writes the date on the board as Caroline sits quietly doodling. The teacher looks her way. TEACHER Caroline? Hello? WIDE SHOT of the blackboard. It's unmistakable : SEPTEMBER 11, 2001", "EXT. CHARLES ROTH'S OFFICE -- LATER We're now looking at Tyler from just outside Charles' office window and we're PULLING BACK. Until we see Tyler framed in the window surrounded by eerily familiar grey metal siding. Until we see can barely see Tyler and the base of a giant white antenna. Until we can no longer see Tyler as he's disappeared into the composite of the building and we've pulled back far enough to reveal that Tyler is standing in a window on the. 92nd Floor of The North Tower of the World Trade Center. A moment of still perfect silence. The Towers. The blue sky. Then we hear the faint sound of AA Flight 11's ENGINES as it closes in on the North Tower. CUT TO BLACK. Silence. Darkness. We wait in it. TYLER -LRB- V.O. -RRB- Whatever you do in life will be insignificant but it is very important that you do it because.", "EXT. LOWER MANHATTAN -- THAT MORNING Charles Roth steps out of his car. His gaze fixed skyward. All around him the other DRIVERS mimic his behavior. TYLER -LRB- V.O. -RRB- It's a good bet.", "EXT. DIANE'S BROWNSTONE STOOP-- LATER Diane sweeping cigarette butts off the stoop. TYLER -LRB- V.O. -RRB- Nobody else will. Diane joins a group of ONLOOKERS staring up from a street corner in Brooklyn where the black smoke stains the blue sky. One of them has a radio to his ear. TYLER -LRB- V.O. -RRB- Michael. Diane staring at it. TYLER -LRB- V.O. -RRB- Someone's been trying to tell me something.", "EXT. WORLD TRADE CENTER /OR OUTSIDE THE PRECINCT?- Craig, through a LONG LENS standing by his car with the door open. He is, crystal clear, barking orders, while waves of blue and slashes of orange float around him. TYLER -LRB- V.O. -RRB- Maybe it's you.", "EXT. TYLER'S APARTMENT-- ROOF --LATER Aidan and Ally absolutely frantic on the roof. Holding hands. Craning to see. Ash begins to float down on them. It gets caught in Ally's hair. TYLER -LRB- V.O. -RRB- This girl! Ally! Her life, even the nightmare parts seeped into me and I swear to God I can hear you better.", "INT. PRIVATE SCHOOL -- HALLWAY -- LATER A door flies open. Caroline runs out into the empty hall, to the exit. TYLER -LRB- V.O. -RRB- What's that about? I've always been the worst listener.", "EXT. LOWER MANHATTAN -- STREETS THE PAPER, so much of it, all of it singed, smoke - stained, falling like snow flakes coating the streets and the sidewalks. Amongst the memos and faxes that will now never be sent and never received we find. TYLER'S JOURNAL. TYLER -LRB- V.O. -RRB- Someone comes into your life.", "EXT. CEMETERY -- A GREY MORNING A light rain falls. Two TOMBSTONES stand side - by - side. MICHAEL ROTH May 20, 1969 May 18, 1993 TYLER ROTH June 17, 1978 September 11, 2001 Charles, Caroline, Diane and Les approach the tombstones. A family mourning. Diane slips her hand through Charles' elbow. The gesture seems quite natural, easy.", "INT. NYU DORM-- DAY We find Ally, with a ROOMMATE, putting up lively, Indian Print curtains in their NYU dorm.", "EXT. LINCOLN CENTER. WHERE: Caroline literally dragging Charles into the ROSE BUILDING AT LINCOLN CENTER, while he yells into his cell phone. TYLER -LRB- V.O. -RRB- And half of you says `` Danger! Stay in your cave! You're nowhere near ready!'' Caroline has come to the end of her rope with her dad. She grabs his phone and throws it into the fountain, spins on her heel and marches into the auditorium. Charles is completely thunderstruck. TYLER -LRB- V.O. -RRB- And the other half - and this is the part I think is you - He is torn between his phone and his daughter for a sec, chooses Caroline and takes off after her. then comes running out by himself to rescue his phone.", "INT.   JAPANESE RESTAURANT -- DINNER Craig is wearing a jacket and tie. He's on a date with a pretty WOMAN. In his confusion over the menu, he knocks over a glass of water. TYLER -LRB- V.O. -RRB- Says `` Go get her! Immediately! Make her yours forever!''", "INT. DIANE'S OFFICE-- DAY A chaotic place, filled with folk who need help. Diane at a desk, organizing families. TYLER -LRB- V.O. -RRB- I'm working on the forever part.", "INT. NYU - Aidan actually awake in class. He has a tattoo on his forearm. `` Tyler''. TYLER -LRB- V.O. -RRB- I'm going to have to step up my game. But I'm glad I listened.", "EXT. SMITH STREET STATION -- BROOKLYN -- NIGHT Ally, we find her as we first found her mother, silhouetted against the Lower Manhattan skyline where two beams of purple light reach up forever where the Towers once stood. TYLER -LRB- V.O. -RRB- I love you. Her train pulls into the station. Ally boards with a few other commuters. She takes a seat by herself across from. A MOM and A TODDLER, a little girl. The baby is squirming impossibly, the mom looks exhausted. Ally watches them, remembers him, as the faintest hint of a smile crosses her lips the subway lights flicker and we. CUT TO BLACK. TYLER -LRB- V.O. -RRB- Do n't be a stranger."], "labels": [1.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0, 1.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 0.0, 1.0, 1.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 1.0, 1.0], "summary": "In New York City in 1991, Alyssa \"Ally\" Craig is waiting with her mother for the subway, when they are mugged by two young men, who shoot her mother after boarding the train. Ten years later, Ally is a student at New York University (NYU), and lives with her father, Neil, a New York Police Department detective. Tyler Hawkins audits classes at NYU and works at the university bookstore. He has a strained relationship with his workaholic businessman father, Charles, because his older brother, Michael, died by suicide years before. Charles ignores his youngest child, Caroline, of whom Tyler is protective. One night, with his roommate, Aidan, Tyler gets involved in somebody else's fight, and is arrested by Neil. Aidan calls Charles to bail Tyler out, but he does not stick around to have a conversation with his father. Aidan sees Neil dropping Ally off, realizing that she is his daughter. He approaches Tyler with the idea to get back at the detective by persuading him to sleep with and dump Ally. Tyler and Ally go to dinner, kiss at the end of the night, and continue seeing one another. While at Tyler's apartment, Aidan convinces the pair to go to a party, after which Ally is very drunk, and ends up throwing up. She passes out before Tyler can get her to tell him Neil's phone number. The following day, she and her father argue. Neil slaps her, and Ally flees back to Tyler's apartment. Caroline, a budding artist, is featured in an art show, and Tyler asks his father to attend the show. When he fails to show up, Tyler confronts him in a board room filled with people, which causes his father's frustration to boil over. Neil's partner recognizes Tyler with Ally on a train, so Neil breaks into Tyler's apartment, and confronts him. Tyler provokes Neil by confessing to Aidan's plan and his initial reason for meeting Ally, which forces Tyler to confess to Ally. She leaves and returns home. Aidan visits Ally at her father's home to explain that he is to blame, and Tyler is genuinely in love with her. Caroline is bullied by classmates at a birthday party where they cut a chunk of her hair off. Ally and Aidan visit Tyler's mother's apartment, where Caroline is sobbing. Tyler accompanies his sister back to school, and when her classmates tease her for her new haircut, Tyler turns violent, and ends up in jail. Charles is impressed that Tyler stood up for his sister, and they connect. Charles asks Tyler to meet with the lawyers at his office. Tyler spends the night with Ally, and they reveal they love each other after making love. Charles takes Caroline to school. He calls Tyler to let him know this, and explains that he will be late. Tyler is happy that his father is spending time with Caroline. He tells Charles that he will wait in his office. He looks on Charles's computer, featuring a slideshow of pictures with Tyler, Michael, and Caroline when they were younger. After Charles drops Caroline off at school, she sits in her classroom, where the teacher writes the date on the blackboard as September 11, 2001. Tyler looks out the window of his father's office, which is revealed to be located on the 101st floor of the North Tower of the World Trade Center. Once the terrorist attacks begin, the rest of the family, Aidan and Ally, look at the towers before the camera pans over the rubble, showing Tyler's diary. In a voice-over of his diary, Tyler reveals to Michael that he loves him, and he forgives him for killing himself. Tyler is buried next to Michael. Some time later, Caroline and Charles seem to have a healthy father-daughter relationship. Aidan, who has since gotten a tattoo of Tyler's name on his arm, is working hard in school, and Ally gets on the subway at the same spot where her mother was killed.", "name": "Remember_Me_(2010_film)"}
{"scenes": ["`` You are the music while the music lasts.'' T. S. Eliot `` I was born one dark gray morn, with music coming in my ears...'' Paul Simon Every scene in this film is driven by music. EXT. PARKING LOT - EARLY MORNING A strip mall in the San Fernando Valley. A front wheel of a car pulls slowly into view. A curb reads \u2018 Short Stay. 5 Mins Only. \u2019", "INT. CAR - CONTINUOUS Play is pressed on an iPod Classic. A rock track starts up. It \u2019 s very loud. It \u2019 s awesome. \u2018 Bellbottoms \u2019 by the Jon Spencer Blues Explosion. On high strings and a guitar stab we see the driver. Young, baby faced. Short cropped hair. He wears mostly black. Sports cheap gas station shades. This is BABY. We can \u2019 t see his eyes, but his blank expression seems pretty stoic. He listens to the track, stares out the windshield. On a 2nd guitar stab we see a beefy ( 30s ) tough guy in shotgun. This is GRIFF. He too wears shades, black business clothes. On a 3rd stab we see another black clad gentleman. ( 40s ) He \u2019 s handsome, but looks like he parties too hard. This is BUDDY. On a final stab we see the last shades wearing black clad passenger, a younger lady ( 20s ) with her hair up. This is DARLING. There \u2019 s a hint of trash beneath her business clothes. The high strings crescendo. Griff flings his door wide open.", "INT./EXT. CAR/PARKING LOT - CONTINUOUS The track kicks in. We see the car is a shiny red Honda Civic and note the door chimes are in time with the song. Choppy strings play against guitar riffs as GRIFF gets out. We see a shotgun partially concealed in his trench coat. BUDDY and DARLING get out. We glimpse they are also armed. He pops the trunk. Grabs two duffels. Hands one to Darling. We see they all wear sneakers as they walk away from the car in sync with the track. Again. It \u2019 s awesome. But we stay with- BABY : our young driver. Hands fixed on the wheel. Ten to two. Watching his colleagues disappearing inside a \u2018 CHASE \u2019 bank. The song pauses for two bars. When it kicks back in, our driver suddenly drops the strong, silent tough guy act and comes to glorious, joyous life. Nodding his head. Swaying in his seat. Mouthing the vocals. A slave to the rhythm. He doesn \u2019 t miss a beat. It \u2019 s cool, but- He \u2019 s also like a big kid in front of his bedroom mirror. As he drums on the dash, we see shoppers pass, other cars cruise by. Baby is so immersed in the track, he flicks on the wipers. They swipe across the dry glass in perfect sync. A mother with a stroller passes. The infant inside notices Baby rocking out in his car. Baby waves. The infant smiles. Then he instinctively looks in his rear view. A BLACK & WHITE POLICE CRUISER, sirens blaring, races up the street behind. Baby turns to watch the police car drive up and past. A pause in the music. The police car doesn \u2019 t return. An urgent bass line. Baby looks to the bank. His goofy chair dance is over. He \u2019 s stone faced and all business again. Over distorted guitars, our driver watches through partially frosted windows. Sees his colleagues ordering staff to hit the floor. Glimpses scared faces, the brandishing of weapons. The song reaches an interlude ; a vocal comes in and Baby lip syncs every word as his eyes stay fixed on the bank. JON SPENCER -LRB- IN SONG -RRB- \u201c Thank you very much, ladies and gentlemen. \u201d A snare hits. An ALARM sounds. Baby steels himself. Military snares build like staccato machine gun fire. His colleagues explode out of the bank, two bags full. Baby revs in time with the snares as his colleagues get in. Our driver glances at the bank sign. \u2018 CHASE \u2019. He pops the car into reverse. Stomps the gas, hard. Snare drums crescendo. The car screams back through the tight spaces between parked cars, makes a tight Rockford to face forward. Baby drops into drive. Swerves wide onto -", "EXT. THE STREETS OF LA - CONTINUOUS JON SPENCER \u201c I \u2019 m gon na daaaaance. \u201d Baby \u2019 s car sails into busy traffic, the track blasting on the car stereo, building in speed and energy. Despite the velocity of the getaway, our driver is calm at the wheel, weaving through traffic like an android. The other gang members lay low in their seats, shrug out of their business attire. They trade looks as Baby swerves. WOOP WOOP. One BLACK & WHITE cruiser screams the opposite way. It zooms past, then makes a 180 behind them. Baby sees the Black & White BEHIND. A light turns red AHEAD. He FLOORS it through the stop light. Other drivers break hard around him. Cars crash, rear end in time with kick drum hits. The Black & White flies through the intersection, gaining. Baby nears 70 mph, the track building with cracking snares. The lone Black & White still dogs behind. Sirens wailing. Baby HITS 70 mph. Then 80. Comes up to an intersection. Eases off. Makes a hard right at the last second into - A side street. Loses the Black & White. Baby TEARS down the narrow street, dodges dumpsters. On the adjacent artery, the Black & White can be seen in parallel. Baby floors it to the next cross street and SWERVES a hard left, directly into the path of the Black & White pursuing. Baby plows through this intersection, forcing the Black & White and all other traffic to brake VIOLENTLY HARD. The Honda Civic leaves the Black & White in the dust and tears down another straight with less traffic. Baby holds the gas down. Sees something before we do - JON SPENCER -LRB- CONT \u2019 D -RRB- \u201c I \u2019 m gon na break, I \u2019 m gon na break! \u201d Baby brakes, pulls hard on the wheel, accelerates through a 180 skid, roars in back the other direction with - THREE BLACK & WHITES now on his tail. Red and Blues. Sirens. Facing the original cruiser, Baby crosses the double line, tears past oncoming traffic and DISAPPEARS up a freeway ramp. No one saw that turn coming but Baby.", "EXT. THE 405 FREEWAY - CONTINUOUS The Black & Whites are left behind as Baby revs past the green light and into aggressive morning traffic. 85... 90. Highly distorted guitar signals the arrival of a POLICE HELICOPTER. It dogs above, but has to play find-the-lady with at least three red Honda Civics currently southbound. Baby weaves from lane to lane. As he disappears under a bridge, he crosses to the shoulder and barrels along it at a crazy speed. Tears down the off ramp. And he \u2019 s back onto -", "EXT. THE STREETS OF LA - CONTINUOUS MASS HONKS as Baby blows through a intersection. Disappears down an alley, weaving these back routes like a savant. As sirens and choppers \u2019 blades ebb away a little, we see Baby ease it down, a rising bass riff signals a sneaking approach. He slows to see if any cruisers cross by ahead. One police cruiser glides by, sirens off. Baby waits on the bass riff again. Then floors it when the coast \u2019 s clear. And suddenly - They pull into a covered parking lot underneath a quiet shopping complex and pull up next to a green Toyota Corolla. And like that, the gang leap out of the Civic and into the switch car, money and guns covered up. The gang swap places. Buddy and Griff in the back. Baby shotgun, Darling drives. Lets her hair down. Pulls on a colorful sweater. Baby closes his eyes, pretends to be asleep as Darling roars into the white of morning and the Blues Explosion echoes out. And the first musical number is over. That was something.", "EXT. DOWNTOWN BUSINESS DISTRICT - LATER OVER CREDITS : \u2018 Harlem Shuffle \u2019 by Bob & Earl. Our hero, Baby, appears from a door in the mirrored exterior of a non-descript business address in Bunker Hill. Baby has his iPod earphones firmly in, his shades on and his bubble of sound around him. Again, he \u2019 s clearly a big kid when away from the gang, lost in his music. He strolls down the street listening to \u2018 Harlem Shuffle \u2019. The song is as funky as the business district is not. Office workers stride to work, while Baby STRUTS along like Tony Manero. Baby walks against the traffic, the world syncing around him : a chorus of car honks, cell phones and barking canines. Baby uses a crosswalk, the bleeps and his steps all in time. He reaches the other side of the street and breezes into -", "INT. STARBUCKS - CONTINUOUS Baby takes one ear out, orders from an unseen MALE BARISTA. BARISTA -LRB- O.S. -RRB- Can I get your order sir? BABY -LRB- counts out four fingers -RRB- One black coffee. One black coffee. One black coffee. And one coffee, black. BARISTA -LRB- O.S. -RRB- So, four black coffees? BABY Uh. Yeah. BARISTA -LRB- O.S. -RRB- Size? BABY Middle one. BARISTA -LRB- O.S. -RRB- Four grande black coffees. Name? BABY Baby. BARISTA -LRB- O.S. -RRB- Your name is \u201c Baby \u201d? BABY B-A-B-Y. Baby. Baby puts his second ear back in as the coffee machine screams into life and Bob ( or Earl ) wails over the middle 8. Baby looks around the Starbucks, sees other young people of his age, smiling and chatting, enjoying their carefree lives. Their actions are magically in time with his personal soundtrack. Baby looks out through the window, sees A PRETTY GIRL walking past. She too is wearing earphones and lost in her own music. For a beautiful moment this girl and the whole damn city is alive and all in step with the music in his head. All except - A BEAT COP. Ironically, the only person not walking on beat. The middle 8 ends. The GIRL disappears. The BEAT COP lingers. Baby grabs his coffee tray. Splits.", "EXT. DOWNTOWN BUSINESS DISTRICT - CONTINUOUS Baby passes the Beat Cop, only doing a subtle strut in time. His swagger returns as he approaches the building from where he came. We see POLICE CARS reflected in the glass of the building. Baby hears their sirens and watches as they pass. As the song fades, Baby opens the door with his elbow, stops it with his foot, all while switching the coffee tray from one hand to the other. He then pirouettes into the open door. He is- The Gene Kelly of the coffee run.", "INT. UNDECORATED LOFT - DAY \u2018 Egyptian Reggae \u2019 by Jonathan Richman & The Modern Lovers. Coffee is drunk. Cash split. The gang are in a garment warehouse space with some vintage sewing desks. On a large table in the middle. DOC, an older ( 60s ), silver- haired, very well-dressed man, counts out the day \u2019 s haul. Darling, fixes herself up ( down? ), now looking trashier than before. Buddy, sits next to her and sips his coffee quietly. Baby sits at the back of class, earphones in and shades still on. The goofy kid has disappeared, the stoic, poker faced Baby has returned. The beefy guy, Griff, glowers at him. GRIFF What \u2019 s his deal? DOC Baby? Full cut. Same as everyone. Doc is brusque, seems irritated at answering any questions. GRIFF No I mean, is he retarded? DOC Retarded means slow. Was he slow? GRIFF No... DOC Then he don \u2019 t sound retarded to me. Doc smiles for a second. Then resumes counting. GRIFF I don \u2019 t know. There \u2019 s something wrong with him not saying anything. DOC There \u2019 s nothing wrong with some quiet. GRIFF I \u2019 m just saying it weirds me - DOC -LRB- makes a zip-it motion -RRB- Hey! I \u2019 m going to lose count. Griff swaggers over to Baby, who taps his fingers on the table to \u2018 Egyptian Reggae \u2019 on his iPod. Griff observes for a while, then holds down his tapping hand. Baby slowly takes his hand away. Now his feet tap in time. GRIFF What you listening to? No answer. Griff takes out one of Baby \u2019 s earphones. GRIFF -LRB- CONT \u2019 D -RRB- What are you listening to Baby? No answer. Griff looks at Baby \u2019 s iPod. Drops it with a scoff. GRIFF -LRB- CONT \u2019 D -RRB- You think you \u2019 re pretty smart acting dumb, that it? BUDDY Leave the kid alone Griff. GRIFF I just wan na know what \u2019 s going in his head. Aside from \u2018 Egyptian Reggae \u2019. DARLING -LRB- half listening -RRB- Love reggae. BUDDY What does it matter to you? GRIFF I think he thinks he \u2019 s better than us, Buddy. Wants to keep his white shirt clean while we plays dirty. Griff snatches off Baby \u2019 s shades. We see Baby \u2019 s baby blues for the first time. He looks so fresh faced, so young. GRIFF -LRB- CONT \u2019 D -RRB- It don \u2019 t work like that. Someday you \u2019 ll get blood on your hands and find out it don \u2019 t wash off in the fucking sink. DARLING Griff. GRIFF Hey Darling, he wants to hang with the older kids, he \u2019 s going to hear some grown up words. Like \u2018 fuck \u2019. Griff does a boo scare on Baby. He doesn \u2019 t flinch. DOC Will you cut it out! BUDDY Yeah, he did his job, let him be. GRIFF Hey, I ain \u2019 t saying he \u2019 s not great. Boy \u2019 s a star, right? Doc puts Baby \u2019 s cut in a holdall and brings it over to his desk. DOC Would I vouch for him if he wasn \u2019 t? Doc leaves to go to the bathroom. Griff shouts after. GRIFF Hey I \u2019 m just checking he \u2019 s gon na be okay out in the world. You know, since he \u2019 s the only one in here not packing. Smiling, Griff takes out his revolver, puts it on the desk. Baby looks at the revolver, but doesn \u2019 t show any emotion. GRIFF -LRB- CONT \u2019 D -RRB- Take it. There \u2019 s bad people around. BUDDY Speak for yourself. GRIFF Don \u2019 t want it? Say I took your share, walked out? How you gon na stop me? I wan na see you stop me. Darling and Buddy exchange glances as Griff playfully swipes Baby \u2019 s holdall and walks slowly away towards the door. GRIFF -LRB- CONT \u2019 D -RRB- C \u2019 mon. Don \u2019 t let me get away. Baby looks at Griff, then the revolver. Griff laughs. GRIFF -LRB- CONT \u2019 D -RRB- Do it Baby. I \u2019 m a real bad guy. Baby looks up at the ceiling. Griff is insulted. GRIFF -LRB- CONT \u2019 D -RRB- Okay. Enough games. Griff huffs, reluctantly puts the money back in the holdall. Baby quietly puts his shades back on again, retreats. BUDDY I figured out why you call him Baby. Still waiting for his first words.", "INT. FREIGHT ELEVATOR - LATER \u2018 Secondo Intermezzo Pop \u2019 by Ennio Morricone. Baby travels with Griff, Darling, Buddy and Doc in a packed elevator. All five of them clutch HOLDALLS. Darling is all over Buddy. Smooching and laughing. ( The 20 year age gap between them is a little much. ) DARLING Well isn \u2019 t this quite the squeeze? BUDDY I think you \u2019 re quite the squeeze. Griff again eyeballs Baby who has shades back on, phones in. GRIFF You still mad-dogging me boy? Doc snaps, Darling and Buddy sigh, tired of this shit. DOC Jesus. You \u2019 re mad dogging him. BUDDY Yeah, where do you get off? GRIFF Kid \u2019 s got ta grow up sometime. BUDDY Seriously. Where do you get off? PING. The lift hits P1. GRIFF Right here. Griff makes a move, looking to Doc. GRIFF -LRB- CONT \u2019 D -RRB- Okay folks, if you don \u2019 t hear from me. It \u2019 s because I \u2019 m dead. Griff exits the frame and the movie. He \u2019 s never seen again. The doors close and Darling laughs at the release of tension. The lift descends. Buddy and Darling kiss again. DARLING Hey, what \u2019 s that song? -LRB- sings -RRB- \u201c Love in an elevator \u201d BUDDY That would be \u2018 Love In An Elevator \u2019. DARLING Riiight. PING. The elevator hits P2. Buddy salutes Doc. BUDDY Sir, I will call you as soon as the nose bag is empty. Buddy punches Baby \u2019 s arm playfully. BUDDY -LRB- CONT \u2019 D -RRB- And you? You did great. You aced it. You \u2019 re one of the good guys. They exit. Buddy shouts back to Baby as the doors close. BUDDY -LRB- CONT \u2019 D -RRB- He calls you again, don \u2019 t pick up. And with that, the elevator descends. Doc smiles tersely. DOC Don \u2019 t listen to him. Baby then speaks his first words to any of \u2018 the gang \u2019. BABY Okay.", "INT. UNDERGROUND PARKING P3 - CONTINUOUS PING. Baby and Doc exit into a cavernous parking lot. They walk over to Doc \u2019 s shiny Black Merc. Doc opens the trunk. DOC Now you know I don \u2019 t like taking candy from Baby, but... Doc holds out his hand. Baby gives him his holdall. Doc takes out one stack of bills and throws both bags in the trunk. DOC -LRB- CONT \u2019 D -RRB- Didn \u2019 t want to embarrass you in front of the gang. When we \u2019 re square we \u2019 ll work out a new deal. Deal? BABY Uh. Yeah. Doc gives Baby the one stack of bills. Gets into his car. DOC Don \u2019 t go crazy with that. I want you back behind the wheel and soon. I \u2019 ll call you. Doc pulls out. Leaves Baby all alone.", "EXT. APARTMENT BLOCK - DUSK \u2018 Nutrocker \u2019 by B. Bumble And The Stingers. A piano bangs out a funereal intro. We see a dilapidated red brick apartment building complete with a rusty fire escape. It \u2019 s a stone \u2019 s throw from a park. Judging by some of the boarded up windows, literally a stone \u2019 s throw.", "INT. BARE APARTMENT - DUSK The song becomes a rendition of March Of The Wooden Soldiers, we see Baby flick the stack of cash in time with the piano. Without his shades, Baby again looks less the badass, more the big kid. Young, of indeterminate age. Handsome, but cute. As the track vamps, Baby puts the money away, under a missing floorboard where an amount of dollar bills are stashed. Baby replaces the board and we get a wider view of his quarters. Pretty basic. Tiny kitchenette. Small bathroom and bedroom. In the center, a dining table and single chair. As \u2018 Nutrocker \u2019 blossoms into a jazzy version of Tchaikovsky, Baby mimes the keyboards on the table. Pounding out the tune with his fingers. Playing at playing like Jerry Lee Lewis. There are iPods on the counter, table and floor. There must be close to 70 devices from different years, different colors, different models, seemingly from different owners. There isn \u2019 t a computer in the room. Just the odd charger. Battered travel speakers. A cassette deck. Audio tapes. A vinyl player. LPs. CD players, Walkmans. Dictaphones and many other recorders. A treasure trove of music systems and physical media. While there is a tremendous amount of equipment, it \u2019 s ordered in a way that makes sense to Baby. Very precisely laid out. Baby is now jiving around the room to \u2018 Nutrocker \u2019. He even pops some pills to the tune. ( Sharp eyes will notice it \u2019 s anticonvulsant medication for tinnitus and epilepsy. ) It \u2019 s clear music is an obsession as Baby dances like no-one \u2019 s watching. As he moves to the other side of the room we see - An ELDERLY MAN ( African American, 80s ) in pajamas and robe, sitting in a wheelchair. He \u2019 s half-asleep, watching TV. Baby sees a KTLA 5 report on a \u2018 Valley Bank Robbe - \u2019. CLICK. Baby switches it off. He wakes the Elderly Man and communicates the following in sign language. No subtitles. BABY You okay? ELDERLY MAN I \u2019 m hungry. BABY You want the same? ELDERLY MAN Yes please. As drums shuffle and the piano starts a descending octave, Baby makes a sliced white bread and peanut butter sandwich. He makes sure to spread the butter to the edges and cuts it into four smaller slices. Every action has a flourish to it. The song ends as it began, with jolly ceremony. Baby serves the sandwich on bended knee, as if it were a royal platter. The Elderly Man beams with his remaining teeth. In the corner sits one of those deaf friendly phones where a red light flashes when a call is incoming. It is not flashing.", "INT. BARE APARTMENT - EVENING15 15 Baby sits alone. The Elderly Man is asleep in his chair. Baby absent mindedly flicks through kids \u2019 TV CHANNELS. Flip to Alfala from \u2018 The Little Rascals \u2019 singing - ALFALFA \u201c You are so beautiful. \u201d Flip to Donkey and several baby donkeys in \u2018 Shrek The 3rd \u2019 - DONKEY They grow up so fast. Flip to Sully and Mike in \u2018 Monsters Inc \u2019 - MIKE WAZOWSKI You and I are a team. Nothing is more important than our friendship.", "INT. BARE APARTMENT - LATER THAT NIGHT16 16 Baby still sits alone. The Elderly Man now can not be seen. He holds an outmoded Sony handheld cassette recorder. He plays back the audio for the opening chase. We hear a badly recorded \u2018 Bellbottoms \u2019 and all the sounds of the car. The phone sits in the corner. Still nothing.", "INT. BARE APARTMENT - DAWN Baby. Alone. Still playing the tape. We hear this dialogue. DOC -LRB- TAPE -RRB- Was he slow? GRIFF -LRB- TAPE -RRB- No. VEEEEEP. Baby rewinds this. Listens again.", "INT. BARE APARTMENT - EARLY MORNING \u2018 Call Me \u2019 by Siriusmo. Baby hasn \u2019 t slept. Stares at the phone. In time with a track made up of dial tones, he pretends to play it like a theremin. He mimes out this Chaplin-esque routine where he wills the phone to ring with grand choreographed gestures. But no call. Bored, Baby looks into the bedroom. Sees the Elderly Man asleep under blankets. Sunlight streaming in. Slowly Baby starts to fall asleep. But as soon as his eyes close- FLASHBACK : A HIGH PITCHED WHINE ON SOUNDTRACK - A YOUNG 7 YEAR OLD Baby, not wearing headphones, sitting in the same apartment, same table. The furnishings are different. - Young Baby has bruises and visible stitches. He looks up to see the Elderly Man ( about 10 years younger ) offer him a peanut butter sandwich and mouth \u2018 you okay? \u2019. Baby closes his eyes. - See Young Baby, unbruised, in the back seat of a car, headphones firmly on. The camera pans around to see - - A crying woman driving. - A man in the passenger seat shouting furiously at her. - The pick up truck they are about to rear end. - The WHINE reaches a peak. Baby closes his eyes. FLASHBACK ENDS. Baby opens his eyes. Gets out of his chair. He looks at one white iPod on the table. The original model from 2001. It is cracked and broken. Beyond repair.", "INT. BARE APARTMENT - EARLY MORNING19 19 \u2018 Intro \u2019 by The Herbaliser. Baby \u2019 s back in his bubble. Jacket on. Phones in. Stands by the front door in a hallway with mirrors on both sides. THE HERBALISER \u201c He \u2019 s rough, he \u2019 s rugged, he \u2019 s red blooded, he \u2019 s romantic. He's full of shit. \u201d Baby takes his shades on and off, throwing looks into the mirrors, acting out tough expressions and badass poses. It \u2019 s clear Baby will not leave until the beat kicks in. Baby throws open the door and exits...", "INT./EXT. APARTMENT BLOCK - CONTINUOUS To a funky groove, Baby struts down the stairwell, passing a rising exposed elevator on the way up. He doesn \u2019 t acknowledge the neighbor going up as he continues his tough act, sauntering down to the front door and on beat - He struts into the street, as if he owns it. Baby jumps into a Blue Chevy Malibu. As the song ends, he rolls away.", "INT. EMPTY DINER - EARLY MORNING \u2018 Let \u2019 s Go Away For Awhile \u2019 by The Beach Boys. Baby. Shades on. Phones in. Looking ahead. Listening to music. He sits in a pleasant, but not very busy, old school diner. The decor is 50s retro and auto centric. Classic convertibles with happy smiling couples inside are painted everywhere. Baby sees the LA Times on the table. He flips it over so he doesn \u2019 t have to see the headline featuring \u2018 Robbery \u2019. Baby looks out to see a COUPLE in a car at the lights. They seem happy living the life Baby does not. They pull away revealing- The PRETTY GIRL from earlier. She \u2019 s outside the diner, wearing grey sweats, and still wearing earphones too. She appears to be singing as she - Walks into the diner and right into the kitchen. Baby peers through the round glass of the kitchen doors as the girl gets changed out of her sweats. Still singing. Baby takes out one ear of his earphones to hear what she \u2019 s singing. But he can only hear the diner music and a little snatch of her voice when the kitchen doors swing open. For a brief moment, the planets align and Baby \u2019 s music, the diner muzak and her singing make glorious union. THE GIRL B-A-B-Y, Baby. Baby takes off his shades to look more clearly at this angel, but she disappears from view to finish getting changed. Baby stares at the empty space where she just was. Then - FEMALE VOICE What can I get you this fine morning? Baby looks up in a daze. It \u2019 s her. She \u2019 s a waitress. BABY Uh. THE WAITRESS Don \u2019 t worry if you need a minute. I got all the time in the world. She gestures to the empty diner. One man at the counter and a second bored waitress. Baby stares at photos on the menu. THE WAITRESS -LRB- CONT \u2019 D -RRB- Y \u2019 know that \u2019 s the kids \u2019 menu right? BABY Uh. Yeah. He embarrassedly flips the menu to the other side. THE WAITRESS Hey don \u2019 t worry. I get it. It \u2019 s early. You need Joe to jump start your head? BABY Joe? THE WAITRESS Coffee. BABY Uh. No thank you. THE WAITRESS Did you just get off? BABY Get off? THE WAITRESS You just starting your day or did you just get off? BABY I guess. The Waitress smirks at his non-answers. Hearing Baby talk more, we note his speech patterns are half schoolkid and half stoner. THE WAITRESS What do you do? BABY I \u2019 m a driver. THE WAITRESS Like a show-fer? BABY A what? THE WAITRESS You drive around important people? BABY I guess I do. THE WAITRESS That \u2019 s pretty cool. Is it exciting? BABY Yeah. THE WAITRESS Anyone I \u2019 d know? BABY I hope not. THE WAITRESS Well, aren \u2019 t you mysterious? BABY... I don \u2019 t know. THE WAITRESS You don \u2019 t know? Ha! Do you ever hit the road just for fun? BABY Not so much anymore. THE WAITRESS Me neither. Sometimes I \u2019 d like to just take off. Put some tunes on. Not know where I was going. BABY Yeah? THE WAITRESS Yeah. A long pause. They drift off, lose themselves in the idea. THE WAITRESS -LRB- CONT \u2019 D -RRB- Have you decided on anything yet? BABY Yeah... -LRB- blurts -RRB- You are so beautiful. THE WAITRESS Oh you just decided that? Well thank you but I \u2019 m sure you don \u2019 t mean it. BABY I do mean it. -LRB- looks at her name tag -RRB- Jonathan? THE WAITRESS Oh sorry. This isn \u2019 t my badge. I only just started here as a... -LRB- gestures at her uniform -RRB- BABY Jonathan? THE WAITRESS Yeah, as a \u2018 Jonathan \u2019. She smiles. Charmed at his odd manner. She walks off. THE WAITRESS -LRB- CONT \u2019 D -RRB- Well, if you have any questions, holler. Baby stares as she walks off, tapping the backs of diner stools in time with the music as she goes. She sings a snatch of the song she was singing earlier in time with the muzak. THE WAITRESS -LRB- CONT \u2019 D -RRB- B-A-B-Y, Baby. Baby takes in this image of The Waitress framed within the couples in convertible illustrations that adorn the walls. BABY I have a question. THE WAITRESS Uh huh. BABY What song are you singing?", "INT. DISCOUNT RECORD STORE - LATER22 22 \u2018 The Plot \u2019 by Lalo Schifrin. Baby marches into a discount music store, the final resting place of physical media. Zeroes in on the right section. He \u2019 s never looked so serious. He flips through jewel cases. Finds. BABY Car-lah Tom-ass. We see the CD cover. \u2018 Gee Whiz : The Best Of Carla Thomas \u2019. He flips to the back cover. Track listings. \u2018 13. B-A-B-Y \u2019. Pays with a crisp new 50 dollar bill. And he \u2019 s out.", "INT. BARE APARTMENT - DUSK \u2018 B-A-B-Y \u2019 by Carla Thomas plays at full volume. Baby stands in the middle of the room. Lost in the track. The Elderly Man sits in the corner again, watching TV. We see a red light flashing on the phone. Baby doesn \u2019 t see it at first. He mouths along with the song - CARLA THOMAS \u201c And I can \u2019 t stop loving you. \u201d Baby has started a slow, solo dance around the room. The phone light flashes in time with the track. CARLA THOMAS -LRB- CONT \u2019 D -RRB- \u201c And I won \u2019 t stop calling you. \u201d The Elderly Man waves to Baby, alerts him to the phone. Baby presses pause on his music and picks up. DOC -LRB- O.S. -RRB- You didn \u2019 t answer. What \u2019 s up? Baby briefly glances at the ceiling, puzzled. BABY What \u2019 s up? DOC -LRB- O.S. -RRB- Baby, I don \u2019 t actually need to know. Here \u2019 s what \u2019 s up.", "INT. DISCOUNT CLOTHING - EVENING \u2018 Supervillain Theme \u2019 by Madvillain. DOC -LRB- O.S. -RRB- I need you to drive me to an appointment and I need you to look smart. Over the phone conversation, we see Baby in a cavernous discount menswear store in Santee Alley, garment district. It appears that we \u2019 re in the store after hours and that Doc is very much in charge. He may be the owner as he has several same age lackeys helping Baby try out some smarter clothes. DOC -LRB- O.S. -RRB- -LRB- CONT \u2019 D -RRB- You got what it takes to be a chauffeur? BABY -LRB- O.S. -RRB- I think so. DOC -LRB- O.S. -RRB- You know what a chauffeur does? BABY -LRB- O.S. -RRB- Drives around important people. DOC -LRB- O.S. -RRB- You learn fast kid. I like it. Baby admires his new suit. Doc gives it the nod too.", "EXT./INT. FANCY RESTAURANT/FANCY CAR - NIGHT \u2018 Marca A La Turca \u2019 by La Tia Leonor Y Sus Sobrinos. Baby drives Doc \u2019 s Merc up to an equally smart restaurant. It \u2019 s a final sitting for dinner, not too busy. Baby sees a booth full of SERIOUS LOOKING GUYS through the window. He wears his new black suit, shirt, tie, smart sunglasses and driver gloves. Only one earphone is in. Doc sits in the back. Baby pulls into a spot. A town car is parked alongside. A valet opens the door. Doc leans over to Baby and whispers - DOC I won \u2019 t be long. In case of fire, there \u2019 s something in the glove. Doc gets out, leaving Baby staring at his gloves, intrigued. There \u2019 s a hidden weapon in his gloves? Like in \u2018 Iron Man \u2019? Baby then realizes Doc meant the glove compartment. He opens that to sees a PISTOL inside. He closes the glove again. He looks over to the restaurant. Three WELL DRESSED TOUGHS sit in a booth with their backs to the wall. They greet Doc with cordial hugs. They look like gangsters. Or ex-cops. As they talk we only see the back of Doc \u2019 s head. Their conversation can not be heard but it syncs perfectly with the music in Baby \u2019 s ears : a wonky sixties cover of Mozart \u2019 s Piano Sonata in A Major. The four men discuss something important. Through Baby \u2019 s eyes their hushed talk is scored by the piano music. A 4 bar melody represents one guy talking, the next 4 bars in a higher octave represent a second guy. The meeting continues in time with descending piano scales. A piece of paper is passed to Doc across the table, Baby starts to mouth along with what he imagines the conversation to be, mimicking the facial expressions of the three toughs. As he fully commits to this silly charade the window of the ADJACENT CAR winds down and a POKER FACED CHAUFFEUR looks across at Baby, acting like a goof. Baby stops. The chaffeur then winds his window back up. Then, in perfect sync with a celebratory end to the track Doc walks out of the front door of the restaurant. Doc jumps in, slams the door on the closing note of the song. DOC -LRB- CONT \u2019 D -RRB- So I got us a job. You in? BABY Am I in? DOC It was a rhetorical question Baby. You \u2019 re in.", "INT. UNDECORATED WAREHOUSE - DAY26 26 \u2018 Kashmere \u2019 by The Kashmere Stage Band. Baby walks in with Doc. We see what he sees. Three new colleagues. Three hardened criminals. Meet EDDIE, J.D. and BATS. DOC Meet the new cast. All 30s, all formidable male specimens. Eddie is a slab of white muscle with a discolored band-aid on his nose. J.D. is a long haired, dopey faced Korean, covered in tattoos. DOC -LRB- CONT \u2019 D -RRB- This is Eddie No Nose. Formerly Eddie The Nose. BATS -LRB- O.S. -RRB- Why, what happened? EDDIE Come on. Don \u2019 t ask me that. That \u2019 s a No-Nose \u2019 no-one. Page one. DOC And that \u2019 s J.D. He put the Asian in home invasion. And Bats there- Bats is an intense dude, mixed race, wiry with piercing eyes and permanent grin. He wears a leather glove on one hand. BATS No need for the intro Doc, everyone \u2019 s heard of the \u2018 One Glove Bandit \u2019. Bats and Co. treat their new member with curiosity and malicious glee ; their jazzy patter overlapping like Altman. They talk around him, at him, project onto him. J.D. This is him Doc? This is the mute? EDDIE All I hear is talk about this mute. J.D, Eddie and Bats are up in Baby \u2019 s face like wild dogs as Doc busies himself writing on a freestanding chalkboard. BATS That right? Are you the mute? BABY... No. J.D. This is the kid, the one who listens to music all the time. BATS If he \u2019 s got phones in all the time how \u2019 s he \u2019 s concentrate on the job? DOC He doesn \u2019 t phone it in. J.D. Phones don \u2019 t phone it in, huh? BATS Driver \u2019 s supposed to be the eyes and ears. Not just the eyes. DOC He won \u2019 t disappoint. EDDIE You don \u2019 t disappoint in this biz, you just end up dead. DOC I \u2019 d put money on any of you fucking up, before Baby puts a step wrong. J.D. Baby steps, right? EDDIE Why \u2019 s he listen to music all the time, he got mental problems or something? BATS Hey. I got the mental problems on this crew. Position taken, you hear? DOC He \u2019 s got tinnitus. EDDIE What \u2019 s that? DOC Had an accident when he was a kid. Something went pop in his ear. -LRB- MORE -RRB- DOC -LRB- CONT'D -RRB- Still got a hum in the drum. Plays music round the clock to drown it out. J.D. Hum-drum, huh? Baby doesn \u2019 t react to them talking about the accident. He \u2019 s distracted by one of J.D \u2019 s tattoos that reads \u2018 Hat \u2019. BABY \u2018 Hat \u2019? J.D. Uh? BABY Your tattoo says \u2018 Hat \u2019. J.D. Yeah it used to say \u2018 hate \u2019, but to appease my parole officer and increase my chances of employment, I got the \u2018 e \u2019 removed. BATS -LRB- O.S. -RRB- Oh how \u2019 s that working out for you? J.D. Who doesn \u2019 t like hats? DOC So. Let \u2019 s talk shop. -LRB- clicks fingers at Baby -RRB- Baby, you with us? Again, Baby doesn \u2019 t directly answer. We CUT TO-", "INT. UNDECORATED WAREHOUSE - LATER \u2018 Unsquare Dance \u2019 by Dave Brubeck. Over a strong bass line, hand claps and snare drums - Doc relates a plan to the four strong team. Some of it is illustrated on the chalkboard. We see everyone, except Baby, listen as Doc relays details of masks, timings, routes etc. Baby sits at the back again. The music in his ears fully drowns out any dialogue. But he watches their lips. There is a TOY CAR on the table next to some floorplans. Baby absent mindedly plays with it as he taps his foot. DOC -LRB- CONT'D -RRB- The song finishes. Doc finishes. Bats \u2019 hand shoots up. BATS I got a question. Tell me why I should believe Phones over there listened to a damn word you just said? You go through the whole play and he ain \u2019 t listening. DOC Baby? BABY You \u2019 re going to hit an armored truck at Banco Popular in El Monte at 10am sharp. You have the details of the route because someone at the depot has a nasal problem. The bank itself is right by the 10 so we should be able to hit a ramp within 60 seconds of getting out. We also have a diversion crew, who are going to blow up a bread truck a ways away, keep the fuzz busy. Dress code is Michael Myers Halloween masks, but you can \u2019 t all buy the masks at the same time, looks suspicious. You guys have the switch car all set up, but you want me to go out to the long stay parking structure at a Metrolink and get a ride that stays colder for longer. Boost a commuter car, a family car. Something that will blend into the morning traffic. -LRB- beat -RRB- I think something on the heavy side, case we need to ram the police off the road. An Escalade, a Yukon, an Avalanche. Whatever it is, it needs to be ready for an 8.30 start. In the ayem. Wowed silence. DOC That \u2019 s my Baby.", "INT. NORTH CORONA METROLINK PARKING STRUCTURE - EARLY MORNING \u2018 Bongolia \u2019 by The Incredible Bongo Band. On a bongo roll, we see a windshield POV, as we pull into a concrete parking structure and park up in a long stay spot. Shades on, ears in ; Baby sits in a 1989 white Toyota Camry. And waits for something better. Drums kick in. Tempo shifts up. The lot gets busy. On every second beat we hear a loud vibraslap and each time Baby sizes up another car. Office workers slamming car doors and beeping keys in perfect sync with his music. We see a silver Infinti dropped off, a blue Accord, a green Acura, a silver SmartCar, then bingo. A black Avalanche. The middle aged, middle management AVALANCHE OWNER beeps it locked. Then wanders out of the lot, nose in the LA Times. On a drum fill, Baby jumps out of his ride, follows.", "EXT. NORTH CORONA METROLINK STATION - CONTINUOUS29 29 A brass riff scores Baby following the Avalanche Owner, copying his stride. He follows him onto the train platform. Apes his glance to the digital timetable. He even swipes a discarded paper to look like a real commuter. When the Avalanche Owner reaches the edge of the platform. Baby stops, pretending, like his mark, to read the LA Times too. The Avalanche Owner stops to get a coffee from a news stand. Baby does too, like a weird echo of Harpo Marx. A bongo solo signals the arriving train. Baby waits, lining up one door away from the Avalanche Owner. They get on. The Avalanche Owner moves inside the carriage, Baby does too and KNOCKS RIGHT INTO HIM. BABY I \u2019 m sorry. Baby then swiftly moves further down the carriage. The breakdown ends with a key change and a whistle blowing. Just before the train doors close, Baby slips off again. Now a solo sax joins as Baby struts back to the parking structure, a swing in his step as the train leaves behind. The brass sounds triumphant as Baby Travoltas back into the long stay area and right up to his prize. The Avalanche. Baby walks up. Whips out the OWNER \u2019 S KEYS. Beep beeps. Gets in. Pulls out.", "EXT./INT. BANCO POPULAR/AVALANCHE - LATER THAT MORNING The Avalanche pulls into a strip mall lot outside the bright red facade of a Banco Popular. Parks up. Baby is still at the wheel. In the back are Eddie and J.D. dressed in black duds. In shotgun and in black is Bats. Baby spies, with his little eye, a utility uniformed MARINE walk past their car and over to a 1988 Red Toyota Pickup. The Marine eyeballs the Avalanche as he gets into his Ford, but Baby \u2019 s attention turns to another Ford, the E-350 ARMORED TRUCK which pulls up level with a side entrance to the bank. Bats breathes deep. Whispers a mantra, half to himself. BATS What \u2019 s in there is ours. It belongs to us. They got our money. Our hard earned paper. They snuck in last night when we was asleep, took our pants off the chair and emptied our wallet. They got what is rightfully ours. So let \u2019 s take it back. What is rightfully ours. Baby hits play on an iPod plugged into the Chevy \u2019 s stereo. \u2018 Neat Neat Neat \u2019 by The Damned. A menacing bass riff scores - Bats. Pulling on the mask from the movie \u2018 Halloween \u2019. In the back Eddie also pulls on the \u2018 Halloween \u2019 mask. Third up, J.D. pulls on an \u2018 Austin Powers \u2019 latex face mask. HALLOWEEN 1 -LRB- BATS -RRB- What is that? AUSTIN POWERS -LRB- J.D. -RRB- What \u2019 s what? HALLOWEEN 2 -LRB- EDDIE -RRB- Your mask! Doc said Michael Myers. AUSTIN POWERS -LRB- J.D. -RRB- This is Mike Myers! HALLOWEEN 1 -LRB- BATS -RRB- It should be the \u2018 Halloween \u2019 mask! AUSTIN POWERS -LRB- J.D. -RRB- This is a Halloween mask! HALLOWEEN 1 -LRB- BATS -RRB- You \u2019 re gon na stand out. AUSTIN POWERS -LRB- J.D. -RRB- From who? Is everyone in this mall wearing a Mike Myers mask too? HALLOWEEN 2 -LRB- EDDIE -RRB- Michael Myers. AUSTIN POWERS -LRB- J.D. -RRB- Whatever dude. Austin Powers goes to open his door when Baby stops them - BABY Wait. I got ta start the song again. Baby rewinds, plays the intro again. The gang stare like he \u2019 s insane. When drums kick at the 5 second mark, Baby points. BABY -LRB- CONT \u2019 D -RRB- Okay go. The gang jump out of the Avalanche. Run over to the truck. Surprise the Hopper unloading bags from the back doors. Halloween 1 is about to cold cock the Hopper when - Baby pulls forward a few feet, blocking his view of the violence. He looks dead ahead, retreats into his bubble. Chooses not to watch. He lip syncs the first verse - THE DAMNED \u201c Be a man, can a mystery man. Be a doll, be a baby doll. It can \u2019 t be fun in any way. There can be found no way at all. \u201d Then on a key change into the chorus, he backs up. Sees two Halloweens and Austin Powers, each with a bag running toward. Baby can see the Hopper beyond them. Face down on the ground. Blood on the concrete. Baby didn \u2019 t want to see this. Then- Halloween 1 & 2 jump in. Austin Powers lags behind, a klutz. BATS Fucking move Austin! Move! Use your powers of speed! Austin ( J.D. ) finally makes it to the car. And then Baby floors it, spins a perfect circle to face the exit. When - The RED PICKUP reverses into their path. Blocking the exit. Baby squeals to a halt as the Marine jumps out, pulls a RIFLE and opens fire on the Avalanche. Holy shit. Baby & Co. Hit the deck. Bullets spiderweb the windshield. Slam into reverse. Scream into a J-turn. BANG! The Marine takes out the rear window. Glass rains down. BANG! The driver of the armored truck is out and firing too. VROOM! Baby floors it. Escapes over a landscaped island. In his shaking rear view, Baby can just see the Marine jump back into the Red Pickup, as he roars onto -", "EXT. VALLEY BLVD / I-10 - CONTINUOUS Sweating, Baby speeds out of there. Screams down the shoulder. Going 70... 80. The gang in the car have their masks off and slump down, out of sight. Bats curses. An out of control guitar solo signals the Avalanche joining the freeway and swerving wide to occupy the far left lane. BATS Diamond lane that shit. We got four. Baby holds the gas down, tearing up the far left, swerving only to overtake cars observing the speed limit. As the guitar solo goes up in register. Bats sees- THE RED FORD PICKUP is behind and gaining. Baby is boxed in by rigs. Allowing the Pickup to get close. BATS -LRB- CONT \u2019 D -RRB- Go Baby go! Right now. There is nowhere to go. The Pickup closes in, a determined Marine at the wheel. To the gang \u2019 s amazement, The Pickup attempts the PIT maneuver ( Pursuit Immobilization Technique ), tapping the back of the Avalanche and sending the gang into a tailspin. That would be pretty crazy, if not for what happens next. Still boxed in by surrounding rigs, Baby spins the wheel and turns the fishtailing Avalanche around to face front again. Nose forward, Baby floors it, snakes in between the rigs in a hairy move, just missing them both. It is some fancy ass driving. Though Baby looks shaken. The Pickup is left on the scorching hot 10, as the Avalanche swerves hard right and, like that, is gone -", "EXT. OFF RAMP - CONTINUOUS32 32 The Avalanche glides fast down the off ramp. But up ahead- A RED LIGHT. Construction. Single lane traffic. The music breaks down to the solo bass line. Baby \u2019 s car is third back from the stop light. Bats motions for them to get out. BATS New ride. Baby unplugs the iPod and jumps out, there is a PAUSE in the music. We hear traffic, sirens approach, sounds of unease. Bats and Eddie stroll with their bags to the first car at the stop. A Blue Accord with a YOUNG MOTHER inside, Bats taps his pistol on the passenger window. The Mother looks stunned. YOUNG MOTHER I have a child. BATS Get the fuck out of the car lady. Bats roughly pulls the Mother out and gets the fuck in. Baby quickly, instinctively opens the back door. Sees- Her YOUNG SON on the backseat. He recognises himself, then unbuckles and hands the scared kid to his mom at the roadside. BATS -LRB- CONT \u2019 D -RRB- C \u2019 mon pussies. Let \u2019 s go go go. J.D. is lagging again, having run back to retrieve a gun from the Avalanche. Bats mutters again at the gang klutz. J.D \u2019 s Austin Powers masks FALLS OFF as he races to the Accord. He quickly picks it up off the street and jumps in. BATS -LRB- CONT \u2019 D -RRB- Jesus, Austin! Baby is now in the drivers seat and quickly plugs his iPod into this car. We barely miss a bar. The light turns magically green. They pull out and drive to -", "EXT. ROSEMEAD SHOPPING CENTER - CONTINUOUS33 33 Baby eases this unplanned ride into a shopping center parking lot. The GPS is going crazy ( all in time with the music ) FEMALE GPS VOICE Route recalculation... Baby glides past an oblivious Black & White that is on its way out of the huge mall. When the cruiser is out of sight, Baby swerves hard and heads for their target, a quiet access street behind a Target. They pull up next to a 2005 SILVER SATURN AURA parked in the shadow of the morning sun. On the final chorus, drums drive up the energy as our gang jump out and slip into their third ride of the day. We \u2019 re back to something like clockwork. The hi hats blending into white noise as Baby slams into drive, peels out and -", "EXT. UNDERGROUND PARKING P3 - LATER34 34 Pulls up to a sharp stop back at Doc \u2019 s. Baby got the gang out of a mess. But he is not as calm as before, he \u2019 s sweating. BATS Man up, Baby. -LRB- jumps out -RRB- And go get the fucking coffee. We hear the \u2018 Harlem Shuffle \u2019 intro again. But this time -", "EXT. DOWNTOWN BUSINESS DISTRICT - MOMENTS LATER35 35 It \u2019 s a cover by \u2018 The Foundations \u2019. And it \u2019 s a faster tempo. Equally, Baby performs his coffee run at speed. But he \u2019 s not strutting this time. He \u2019 s not enjoying himself. At all.", "INT. UNDECORATED LOFT - LATER36 36 Doc divides up the take in front of the gang. Baby walks back in, handing out black coffees. To Doc, to Eddie, to Bats, to... Baby looks for the missing team member. Doc catches it. DOC Where \u2019 s J.D.? Eddie sips at his coffee. Bats sits back and stretches. BATS The International Man of Mystery? Bats lifts up the Austin Powers mask, puppeteering it with two fingers through the eyes and his thumb through the mouth. BATS -LRB- CONT \u2019 D -RRB- Beats me. Bats grins at Baby like a naughty schoolkid.", "INT. UNDERGROUND PARKING P3. DAY37 37 PING. Baby exits the elevator with Doc. Both carry holdalls. Baby walks over to the Silver Aura. Stares at the trunk. But doesn \u2019 t dare open it. We see a SMUDGE OF BLOOD on the latch. Stay on Baby. Mesmerized. Horrified. Doc takes Baby \u2019 s Holdall from his hands. Gives him a stack of bills in return. DOC You \u2019 re nearly done Baby. BABY Yeah... DOC One more job though. Lose this ride. SLAM. Baby shuts the door, sits in the car. Alone.", "EXT. JUNK YARD - DAY38 38 A slowed down version of Carla Thomas \u2019 \u2018 B-A-B-Y \u2019 starts. Baby watches his former ride ( the Aura ) and former colleague ( J.D. ), about to be destroyed in a car wrecker. A hydraulic plate presses. The windows explode. Baby turns, equally crushed, as the song drowns out the CRUNCHING METAL. He closes his eyes. FLASHBACK : A HIGH PITCHED WHINE ON SOUNDTRACK In reverse we see the CRUNCHING METAL of a car slamming into the back of a pick up truck. Then see in reverse- - The man shouting. The crying woman driving. The busy road. - We see a Young Baby sitting in an apartment we haven \u2019 t seen. Standing over him, the Man & Woman from the previous flashback. - Eyes closed, Young Baby opens a hastily wrapped gift. He opens his eyes to see a new iPod. The one we saw earlier, unbroken. - Young Baby peers through a bedroom door. Sees the Man & Woman argue violently. Listens to the iPod to drown out the fight. - Young Baby hides under his comforter. His mother leans over him. Her mascara has run. She takes out one of Baby \u2019 s earphones, says \u2018 Hey Baby \u2019. Young Baby closes his eyes. The WHINE peaks.", "INT. HALF EMPTY DINER - DAY39 39 Baby opens his eyes. He sits in his usual spot. Sans shades. Retreats into a happy song ( \u2019 Lalo Bossa Nova \u2019 by Quincy Jones ). A finger clicks in front of his face. She \u2019 s here. His waitress. WAITRESS You \u2019 re back. Baby doesn \u2019 t catch this. She takes one of his earphones out. WAITRESS -LRB- CONT \u2019 D -RRB- You \u2019 re back. Baby is not sure whether he \u2019 s dreaming or not. BABY I am? WAITRESS Yeah you are. And you sir are going to be my last customer because I am walking outta that door in precisely 30 seconds. BABY You \u2019 re leaving? WAITRESS Yes I am. BABY Can I come with you? WAITRESS You can. But I don \u2019 t know how exciting you \u2019 re gon na find the laundromat. Baby is confused. WAITRESS -LRB- CONT \u2019 D -RRB- I got ta run some errands. So can I get you a drink instead? BABY Oh, I don \u2019 t drink. WAITRESS No, I mean water, coffee? BABY I don \u2019 t drink. Another pause. The waitress breaks into a cute grin. WAITRESS Well you might not drink sir, but I am sure getting a buzz off you. BABY Yeah? WAITRESS Yeah. Tell you what, you have a think about what you want, and I will stick around and wait for you. BABY You will? WAITRESS Yessir. Baby glances at the menu, but can \u2019 t stop watching the Waitress, who small-talks with a Second Bored Waitress. SECOND WAITRESS How you two getting along? The Waitress grins. Baby loses himself in that sunny smile. WAITRESS Oh, good. He \u2019 s sweet isn \u2019 t he? SECOND WAITRESS That kid \u2019 s been coming here since before me. I think maybe his mom used to work here. WAITRESS Huh... The song fades in Baby \u2019 s ears. The waitress comes back. WAITRESS -LRB- CONT \u2019 D -RRB- You know what you want? BABY Your name? This is not as smooth as it sounds. WAITRESS You can get that for free. It \u2019 s Debbie. Debora. BABY Like the song? DEBORA The Beck one? Yes, except I \u2019 m \u2018 d-e-b-o- r-a \u2019 and I think that \u2019 s just \u2018 d-e-b-r- a \u2019. BABY I don \u2019 t know it. DEBORA It goes- -LRB- sings just beautifully -RRB- \u2018 I met you at J.C. Penny, I think your nametag, said Jenny \u2019. BABY Jenny? DEBORA Yeah, the song is about him wanting to get with Jenny and her sister too, whose name is Debra. So it \u2019 s not even really about me, it \u2019 s about the sister. My sister \u2019 s name is Mary. -LRB- MORE -RRB- DEBORA -LRB- CONT'D -RRB- She \u2019 s got all the songs. \u2018 Mary, Mary where you going to \u2019, \u2018 Proud Mary keep on burning \u2019, \u2018 Mary, you shouldn \u2019 t let \u2018 em make you mad \u2019. She \u2019 s got me beat. Again. She \u2019 s got endless songs. I got one. BABY Two. DEBORA What \u2019 s the other one? BABY Debora. DEBORA Who by? BABY Trex? DEBORA T-Rex? I know \u2018 em, but I don \u2019 t know that one. How does it go? BABY -LRB- half sings -RRB- Deboree-dah. Deboree-dah. Bee-dah. DEBORA I like it so far. BABY Oh Deb-o-rah, always look like a zeb-o- rah. DEBORA A zeb-orah? BABY A zeebra. DEBORA Hey, I guess I am wearing black and white. So you can call me Dee-bra. BABY I have it on here. Baby takes out his iPod and shuffles through in front of her. Debora notices that it is pink and covered in glitter. DEBORA You have that iPod the other day? BABY No. DEBORA You have different color iPods for different days, different moods? BABY I guess. DEBORA This a pink and glittery day for you? BABY Uh. Yeah. Debora laughs again. This kid is a kook. DEBORA What is your name? BABY Baby. DEBORA Your name is \u2018 Baby \u2019? \u2018 B-A-B-Y, Baby \u2019? BABY Yeah. DEBORA Well then you have us all beat. Every song is about you! BABY I guess. DEBORA Did your Mom call you Baby? BABY... Sometimes. DEBORA She used to work here? BABY Sometimes. She was a singer too. DEBORA Oh wow. I like to think I can sing. But I am not a pro or anything. What does she do now? BABY Nothing... Baby is looking flustered. He holds up the iPod again. BABY -LRB- CONT \u2019 D -RRB- I can find \u2018 Debora \u2019 if you want. Debora pauses, smiles sweetly at him. DEBORA How about you play it for me sometime when I don \u2019 t got ta rush off. Deal? BABY Deal. DEBORA Now you know what you want yet? Baby knows what he wants. Her.", "EXT./INT. HALF EMPTY DINER/AVALANCHE - MOMENTS LATER \u2018 Debora \u2019 by T-Rex. Baby sits in a Red Chrysler Lebaron singing along. Loudly. Out of his window, he sees the real Debora leave work. She briefly shoots a look Baby \u2019 s way. He ducks.", "INT. BABY\u2019S BATHROOM - EVENING ... then resurfaces wet to sing along with \u2018 Debora \u2019. Again. Baby is in the bath. The song echoes around the tiles. It is being played on a battered iPod speaker dock. Baby goofs around to the track in the bath, in his own mini musical.", "INT. BARE APARTMENT - LATER \u2018 Debora \u2019 still plays. Baby dances around the living room. The Elderly Man is in his chair, looking more and more like a piece of the furniture. He watches the local news again with subtitles. We see that THE MARINE is being interviewed when - Baby switches the channels to \u2018 Jeopardy \u2019. Then Baby resumes singing with \u2018 Debora \u2019 again, leading into a - \u2018 DEBORA \u2019 ON REPEAT MONTAGE : The song scores Baby \u2019 s night. - Baby flicks through an address book. Empty except for \u2018 D \u2019. We see \u2018 DOC \u2019 and his phone number written in a scrawl. - Baby adds the name \u2018 Debora \u2019. Under, he draws a question mark. - Baby plays dialogue on his recorder in time with \u2018 Debora \u2019. BABY -LRB- ON TAPE -RRB- Can I come with you? DEBORA -LRB- ON TAPE -RRB- Yes, you can. VEEEEEP. He rewinds this. Plays it again. - Baby uses a twin deck cassette recorder to edit dialogue. We see stacks of TDK D90s and TDK D30s audio tapes. - Using the pause, play and record buttons on the twin deck, he has edited a conversation with Debora to say - DEBORA -LRB- ON TAPE -RRB- -LRB- CONT \u2019 D -RRB- Sometimes I \u2019 d like to just take off. BABY -LRB- ON TAPE -RRB- Can I come with you? DEBORA -LRB- ON TAPE -RRB- Yessir. I got all the time in the world. - Baby sits back in a chair and listens to this dialogue on a loop. It \u2019 s now the dead of night. He is alone when - The phone rings. FLASHES. Baby stares. Doesn \u2019 t pick up. - Baby sits on the bathroom floor. He lip syncs along to \u2018 Debora \u2019 with gusto, as if driving other concerns out. - Baby peers back into the main room. Two things. One. Sunlight floods in. He has clearly not slept again. Two. The phone is still FLASHING. Baby doesn \u2019 t pick up. - Baby sits at his bedroom window, looks out at the city. Mouthing along with \u2018 Debora \u2019 again. - The phone FLASHES again. Baby is not present. We see the Elderly Man rise slowly out of his chair to answer. Baby runs out of the bedroom. Motions \u2018 No \u2019. Stops him. He watches the phone FLASH. \u2018 Debora \u2019 echoes around the room.", "EXT. APARTMENT BLOCK - DAY Baby comes bounding out of his block. He gets into his Red Chrysler Lebaron and peels out. He doesn \u2019 t see- A BLACK MERC behind him. It follows slowly.", "INT. HALF EMPTY DINER - DAY \u2018 I Can \u2019 t Believe What You Say \u2019 by Ike & Tina Turner. Baby is happy to be back. Upbeat music on. His shades are off. Has the pink iPod with him. He looks out of the window- He imagines himself and The Waitress as a young couple in a 50 \u2019 s convertible at the lights. Smiling, laughing. Then he hears- DEBORA Hey Baby. She \u2019 s here. The dream come true. BABY Hey Debora. I \u2019 m back. DEBORA I can see. What \u2019 s up? BABY You know... just listening. DEBORA Well, what you listening to? BABY Music. DEBORA Well, duh. Baby smarts a little at this. Debora stops herself. DEBORA -LRB- CONT \u2019 D -RRB- Wait, I take that back. I guess not everyone listens to music. Could be a podcast or an audiobook. Hell, I get to sleep listening to whale song. Never even seen a whale but I sleep with one. BABY It \u2019 s music. Baby offers up his iPod. She reads the display. DEBORA Ike and Tina Turner huh? BABY You like \u2018 em? DEBORA Half. Like Tina. Don \u2019 t like Ike. He \u2019 s a bad man. Don \u2019 t like bad men. BABY You don \u2019 t? DEBORA Why, do you? BABY No. I don \u2019 t. Baby then sees. Outside the diner. For real. DOC. Patiently waiting outside his Black Merc. DEBORA -LRB- O.S. -RRB- I don \u2019 t need bad people in my life. Or my ears. I \u2019 ll stick with the whale. Debora sees she has lost Baby \u2019 s attention. DEBORA -LRB- CONT \u2019 D -RRB- Is that your Dad? BABY No. It isn \u2019 t. Baby just stares out the window. Debora notes his unease. DEBORA Hey, why don \u2019 t I give you a minute to decide. Baby pauses his music. We hear that FAINT UNSETTLING HUM.", "EXT. DINER PARKING LOT / INT. DINER - DAY Baby walks up to Doc. Shades firmly on. The hum continues. DOC I called three times. Something wrong? BABY No... DOC What \u2019 s with you all of a sudden? You sweet on that waitress or something? BABY No... DOC Well, there \u2019 s good news and there \u2019 s good news. Good news is you \u2019 re paid in full. We \u2019 re all square. And then the good news is I got another job for ya. So maybe if you wan na get your waitress girlfriend there a rock or some fur, you \u2019 re gon na get a fat cut. BABY She \u2019 s not my girlfriend... DOC... So, you in? BABY Am I in? DOC One, don \u2019 t reply to my question with a question. Two, I ain \u2019 t in the habit of taking no for an answer. So, get in. I \u2019 m driving. Doc opens the passenger door. From inside, DEBORA puzzles at this well dressed older man opening the door for Baby. Baby looks at Debora one last time, takes a breath. Then jumps into the passenger seat. They disappear.", "INT. DOC\u2019S MERC - LATER \u2018 Here We Go \u2019 by Mister Scruff. Doc drives the Merc down a street with palm trees on either side. But this is not Sunset Boulevard. It \u2019 s Watts. Baby looks out of the window. His stomach sinking. DOC You \u2019 re not going to ask why? BABY Why? DOC Why I \u2019 m driving? BABY Why are you driving? DOC What I \u2019 m alluding to Baby, is that you don \u2019 t have to drive forever. You haven \u2019 t done me wrong yet, have you? BABY No. DOC No you haven \u2019 t. I don \u2019 t think you have the fuck up gene. Not like your dad. Baby says nothing. DOC -LRB- CONT \u2019 D -RRB- You keep going like you \u2019 re going, you can leave the wheels behind some day. How does that sound? BABY I don \u2019 t know sir. DOC What don \u2019 t you know? BABY I know what I \u2019 m good at. DOC And I ain \u2019 t seen you break a sweat doing it. I \u2019 m just saying, there \u2019 s other jobs in your future. If you want to shift up a gear. Baby looks out of the window. Doc seems offended, then smiles. DOC -LRB- CONT \u2019 D -RRB- Sure. You can think about it first.", "EXT. US POST OFFICE. WATTS - DAY47 47 Doc pulls into a unremarkable strip mall that houses a post office. Construction is occurring nearby. The noise is disorienting. It is hot outside. Sticky. Close. DOC This place doesn \u2019 t get rolled as much as you \u2019 d think. Most people get scared off by the area. But we ain \u2019 t most people. -LRB- looks at watch -RRB- It will be ripe around this time tomorrow. So what do you say? You wan na go for third time lucky? Baby looks at the immediate area, feels uneasy. Turns to Doc. BABY Can I just drive? Have my music? Doc looks at him, then shakes his head, smiling. DOC Sure you can. But I want you to do something for me right now. I want you to go in there. Make a note of the number and position of cameras, the number of registers open, number of employees and number of customers. Is there a guard? Is he armed? Is there bandit glass? You \u2019 re not a face so it will be cool. Here \u2019 s some currency to get changed. Take your buds out and shades off. Less suspicious. Baby does so. DOC -LRB- CONT \u2019 D -RRB- Oh and take him too. Doc motions to the backseat. There is an EIGHT YEAR OLD KID sitting on the backseat. He has his own phones in, and is plugged into his PSP. He throws Baby a bored look.", "INT. US POST OFFICE - DAY Baby enters the post office. An alien environment to him. It \u2019 s an impersonal space. Like a bank, but without couches and complimentary coffee. A security guard is present. The counter is wide open, a heavy door protects the back room. Without music playing, we again hear the hum in his ears. It \u2019 s an unsettling noise that accentuates Baby \u2019 s unease. It is also intensified by the whine of computers and cameras in the room. Baby cases. He counts the number of cameras ( three ) and the number of registers ( six ). There are a few ( eight ) customers doing business at the ( four ) registers open. He mouths the numbers. The Kid tugs on Baby \u2019 s leg. Whispers. THE KID No bandit glass. One guard unarmed, three cameras, six registers, two open, eight customers, four employees. BABY Thanks. They wait in line. The kid continues playing on his PSP. BABY -LRB- CONT \u2019 D -RRB- You okay? KID I get bored of this. BABY Yeah. Me too. Baby reaches his TELLER, a sweet faced lady, some jewelry, personal flare, a small crucifix. He hands her some pesos. NICE LADY TELLER Back from vacation? BABY Uh. Yeah. NICE LADY TELLER Oh it would be real nice to get away. With all this heat. BABY Yes, ma \u2019 am. NICE LADY TELLER How old is your boy? BABY Four? THE KID Eight. BABY They grow up so fast. The Teller is bemused. She hands back some dollars. NICE LADY TELLER Does he have a name? BABY You do don \u2019 t you? THE KID Samm. NICE LADY TELLER Well Samm. I have a mint with your name on it. The Teller passes a mint across, smiling sweetly. BABY Thank you. Baby has a sudden flicker of concern. Politely asks. BABY -LRB- CONT \u2019 D -RRB- Are you here tomorrow? NICE LADY TELLER Sure am. Workin \u2019 9 to 5. Just like Dolly. BABY Dolly? NICE LADY TELLER Dolly Parton. \u2018 9 to 5 \u2019. BABY Oh yeah. I like Dolly. NICE LADY TELLER Who doesn \u2019 t? \u2018 Everybody wants happiness, nobody wants pain, but you can \u2019 t have a rainbow without a little rain \u2019. Wise lady. BABY She is.", "INT. DOC\u2019S MERC - MOMENTS LATER49 49 Baby jumps back in shotgun. Samm in the back. DOC So? BABY No bandit glass. One guard unarmed, three cameras, six registers, four open, eight customers. The kid coughs. Mouths \u2018 four employees \u2019. BABY -LRB- CONT \u2019 D -RRB- And four employees. DOC Anything else? BABY The teller seemed nice. THE KID Yeah, that lady gave me a mint. DOC She did? THE KID Yeah. She did seem real nice. You probably wouldn \u2019 t even need to use a gun with her. Just say boo and she \u2019 ll give you the big bills first. DOC Chips off the block. Doc smiles. Baby does too, but only for Doc \u2019 s benefit. When Baby looks out of the window, his expression clouds again. DOC -LRB- O.S. -RRB- -LRB- CONT \u2019 D -RRB- So you think about it?", "INT. FREIGHT ELEVATOR - AFTERNOON50 50 \u2018 Threshold \u2019 by Steve Miller Band. CLUNK. The elevator doors close on Baby and Doc like a prison cell. Baby looks trapped as he and Doc go up in the world. DOC My offer. BABY Yes... DOC I \u2019 m thinking about your future. Are you? BABY I am... DOC And I don \u2019 t offer these positions lightly Baby. You wouldn \u2019 t want me to be offended would you? BABY No. Doc eyeballs Baby. Unsure if there \u2019 s hesitation or insolence. DOC It \u2019 s just when I give you something nice, maybe try and help you out of your situation and you go off day dreaming, I feel like I should go fuck myself. Doc smiles broadly. This is somehow much worse. Baby takes a breath, takes his shades off and says the following. BABY You and I are a team. There is nothing more important than our friendship. Doc is surprised and touched. DOC Well, good. CLANK. The elevator reaches their floor. The doors open. DOC -LRB- CONT \u2019 D -RRB- Normally I \u2019 d introduce you to the rest of your team. But in this case, you already met. We see Baby take a big breath before walking back in.", "INT. UNDECORATED LOFT - MOMENTS LATER51 51 Walking through the doorway of Doc \u2019 s warehouse, we see what BATS He \u2019 s got tinnitus. A hum in his drum that he has to drown out by playing music all the time. DARLING You know who else does that exact same thing? Barbra Streisand. Bats takes offense at this. Stares at Darling. BATS Do I look like a fucking guy who knows a fucking thing about Barbra fucking Streisand? BUDDY That \u2019 s my lady. Watch your mouth. Bats just laughs. Darling takes a cue to powder her nose. Baby sits on the opposite side of the room to Bats. Buddy walks over. BUDDY -LRB- CONT \u2019 D -RRB- That true? You listen to music to drown out a noise in your head? BABY Uh. Yeah. And when I don \u2019 t want to think about stuff. BUDDY It \u2019 s an escape. I get it. BABY It gets me moving, you know. Music makes everything better. BATS -LRB- O.S. -RRB- Oh, I am playing the violin right now. BUDDY Knock it off. -LRB- sits, continues quietly -RRB- I used to do the same thing. Used to fool around with cars when I was a kid. Drive all night, hopped up, listening to the radio. I used to have a special tape. Used to have my track. My one killer track that would get me flying. You got one of those? BABY Sure. BUDDY What \u2019 s yours? Baby speaks phonetically. Like he \u2019 s never said the title aloud. BABY \u2018 Bry-ton Rokk \u2019. BUDDY I know \u2018 Brighton Rock \u2019. Queen right? My big brother used to play \u2018 Sheer Heart Attack \u2019 right through the wall. You got it on there? BABY Not this one. Baby swaps out the iPod he has plugged in, for another one in his jacket. His deep pockets have lots of devices it seems. BABY -LRB- CONT \u2019 D -RRB- This one. BUDDY Play it. Baby finds it. Plays the intro to \u2018 Brighton Rock \u2019 by Queen. Buddy takes one earphone. It \u2019 s a weirdly intimate image of two men sharing one pair of earphones. We hear a fairground organ. Then a chugging electric guitar. Buddy nods, grins, reliving his teenage rock years. Bats looks over at them both, incredulous. BATS What are you faggots listening to? BUDDY Queen. BABY Queen. BATS -LRB- CONT \u2019 D -RRB- First Streisand, now Queen? Are you three going to be belting out show tunes on the way to the job? You don \u2019 t need that shit. You don \u2019 t need a score for a score. Just drive a fucking car. BUDDY Come on. You \u2019 ve been a wheel man. You never had a lucky song? BATS A cigarette song? Yes. Apr\u00e9s heist with a glass of scotch? Absolutely. But not on the way to a job. Don \u2019 t need any extra noise. I got enough demons making music up here. BUDDY I believe that. Bats warms to his theme. Turns his chair to face them. BATS My old buddy wanted to pull out of a job because of what was playing on the radio. We \u2019 re about to go in, he won \u2019 t get out of the car. Why? Guns & Roses \u2019 \u2018 Knockin \u2019 On Heaven \u2019 s Door \u2019 is playing on the FM. Gives him the heebs. He says we all gon na die in there. BUDDY So you bailed on the job? BATS Nah. We did it. And he was half right. He bought it. I didn \u2019 t. Fucking crazy. Bats jumps up now. Seems to be a little coked up. BATS -LRB- CONT \u2019 D -RRB- And I \u2019 ll tell you another thing. BUDDY Can \u2019 t wait. BATS My uncle used to be a movie nut. And we used to ride together, pulling off liquor stores. He was my road dog. And he used to say we should get chase music ready next time we get in a chase. I say like what? He says get the chase music from Bullitt. He was way into Steve McQueen, not Queen. And so I goes into some record store and I pocket me the Bullitt soundtrack. And guess what? We can \u2019 t find the track. Know why? There is no fucking chase music in Bullitt. It \u2019 s just the noise of the car. -LRB- MORE -RRB- So I said to my uncle, that \u2019 s the only music you need, the sound of a 390 V8 in a third gear four-wheel slide, there's your music. My uncle didn \u2019 t believe me, he said there \u2019 s definitely music in the Bullitt chase and I said yeah there is, it \u2019 s VROOOOM VROOOOOOM VROOOOOOM. -LRB-... -RRB- This was all before I stabbed him. BUDDY All your stories end with someone dying? BATS I guess you \u2019 ll find out Buddy. BUDDY Oh, that \u2019 s funny. Bats grins at Buddy. Darling re-enters. Senses tension. DARLING What \u2019 s funny? BABY What \u2019 s Bullitt? Doc clicks his fingers. DOC I need eyes and ears open, people. BUDDY You got it, Doc. What \u2019 s happening? DOC Watts. That \u2019 s what \u2019 s happening.", "INT. UNDECORATED LOFT - MOMENTS LATER \u2018 This Is Soul \u2019 by Paul Nero. Doc relates the plan on the chalkboard. Again Baby drowns this out with incongruously jazzy music in his ears. This time Baby only half watches. He looks up at the lights, blots them out with his fingers in time with the music. He then plays with TOY CARS on the table. But makes them CRASH into one another. The song ends as Doc wraps up. BATS -LRB- CONT'D -RRB- DOC You get all that Baby? All eyes are on Baby to reiterate the plan. But he is not as impressive as before, stuttering through the following. BABY Uh. The plan is hit this post office. You know a guy who has a... -LRB- stalls -RRB- DOC Money order machine. BABY We get the order slips themselves and it \u2019 s literally a license to print money. Every money order is a potential 700 dollars, each box of money orders has 250 slips in there. That \u2019 s 175 K for every box you get... DOC And for the icing on top? BABY Tomorrow is the day after people get their welfare, which means there \u2019 s a lot of their cash in there tomorrow afternoon. Plan is... go in there. Get the money orders. And the cash. I get a used car as the g-ride and the switch car is one of ours. We come back here after and uh... that \u2019 s it. DOC You missed stuff. Baby goes red. Like a child embarrassed in front of class. BUDDY The plan is that Darling goes in first. Then me and Bats. I take her hostage, put shotgun to her head. DARLING We \u2019 ve role-played this a lot. BUDDY That gets the door open. And gets us where the money is. And where the money orders are. DOC And the guns? BABY I don \u2019 t know... BATS I got some contacts to get us hardware that \u2019 s fresh and clean. Keep up Rain Man, we picking it up tonight. DOC And then what are you going to do? Baby stalls. Doc is disappointed. Becomes more intense. DOC -LRB- CONT \u2019 D -RRB- You \u2019 re going to stay here tonight. There \u2019 s a lot of heat around and we need to mix up our routines. So you guys better learn to live together. Bats breaks into a wide toothy grin. BATS Oh, we in bed together now!", "INT. \u201896 CADILLAC DEVILLE - NIGHT53 53 \u2018 Nowhere To Run \u2019 by Martha and the Vandellas. Baby drives. Bats in shotgun. Buddy and Darling in back. She sings along. She has some really good lungs. DARLING \u201c Nowhere to run to Baby! \u201d For once, everyone in the car is enjoying the music. Everyone except Baby, who looks like he wants to be somewhere, anywhere else. On the line \u201c I know you know you \u2019 re no good for me \u201d, Baby looks at Bats, a dread descending. Bats motions to pull over.", "INT./EXT. CADILLAC DEVILLE/GAS STATION - NIGHT Bats jumps out of the passenger door. BATS I got ta take a leak. You guys want anything while I \u2019 m in there? Everyone shrugs a negative response. BATS -LRB- CONT \u2019 D -RRB- Gum? How about you Darling? Gum? BUDDY Sure, I \u2019 ll take some gum. Bats saunters off. Baby watches him walk up to the gas station where a MALE CLERK is behind the counter. Buddy and Darling smooch. Baby glances at this in his rear view. BUDDY -LRB- CONT \u2019 D -RRB- Hey. Not in front of the Baby. DARLING He don \u2019 t mind. And I never seen you complain when I put on a show before. -LRB- another noisy smooch -RRB- How much do you think there \u2019 s going to be tomorrow? BUDDY If it were just me, enough to live on for the year. But if we \u2019 re talking the two of us, enough for one weekend. -LRB- to Baby -RRB- My fianc\u00e9 has expensive taste. Darling breaks out of the embrace, hits him playfully. DARLING Hey, blame it all on me why don \u2019 t cha? You got a problem too. -LRB- to Baby -RRB- This one has a gambling problem too. BUDDY I do not have a gambling problem. They call it gaming now. DARLING Fine, we both have a gaming problem. See? That don \u2019 t sound so bad. BUDDY Hey, it ain \u2019 t a problem if you keep winning, right Baby? Baby looks back into the gas station. He can \u2019 t see Bats OR the clerk anymore. It doesn \u2019 t feel good at all. He mutters. BABY Yessir. DARLING Oh hey baby. Was going ask, what \u2019 s a good Egyptian reggae song? BABY... \u2018 Egyptian Reggae \u2019. The door opens. A grinning Bats is back. He dumps whole armfuls of chewing gum onto Buddy. Packets and packets. BUDDY The fuck? Did you just swipe this? BATS You said you wanted gum! What am I going to do, pay for it? Baby looks back to the gas station. Still can \u2019 t see the clerk. He peels out fast.", "INT./EXT. CADILLAC DEVILLE/OUTSIDE TRAIN YARD - EVENING55 55 \u2018 Fog On The Hudson \u2019 by Moondog. The gang wait in the dark outside a deserted train yard. Headlights off. It \u2019 s eerie quiet. Inside, everyone chews gum. Save for Baby who doesn \u2019 t look like he wants to play anymore. Bats flexes his hands. We see his single glove. DARLING The one glove? Is that a Michael Jackson thing? BATS Fuck no. It \u2019 s not a Michael Jackson thing. It \u2019 s all me. I wan na make an impression. BUDDY Oh, you make an impression. BATS They don \u2019 t know the name Bats but you better believe they heard of the One Glove Bandit. I come into a bank and the business manager sees this glove come off, he knows I mean business. DARLING You not worried you \u2019 ll get recognized? BATS That \u2019 s the genius Darling. When I think they \u2019 re onto me, I just - He slips on a second glove too. BATS -LRB- CONT \u2019 D -RRB- And now I could be anyone. BUDDY Anyone wearing gloves. In summer. BATS You got it. BUDDY Whatever you say, MJ. BATS Fuck you Buddy. I did the one glove before him. BUDDY How old are you? BATS I am thirty seven years young. BUDDY Jackson did the one glove at least thirty years ago. So what, you were robbing banks at the age of five? Bats shrugs as if to say \u201c Maybe I was... \u201d. BUDDY -LRB- CONT \u2019 D -RRB- You \u2019 re crazy Bats. BATS Hey, your parents call you Bats, you gon na turn out crazy. BUDDY Come on. Bats isn \u2019 t your real name. BATS You doubting I \u2019 m Bats? I can show you my ID anytime buddy. BUDDY That doesn \u2019 t sound good.", "INT. ABANDONED RAIL YARD - MOMENTS LATER57 57 \u2018 Tequila \u2019 by The Button Down Brass. Cowbells play in Baby \u2019 s ears. A bass part kicks in as - Our foursome approach the truck and the semi-circle of black SUVs with tinted windows. In the center of this gathering, portable work lights illuminate crates covered by a tarp. Four linen suited gorillas flank the crates ( we \u2019 ll call them FARMERS ) and a more urbane man ( THE BUTCHER ) stands in the middle, quietly makes a list to himself. As they walk up. Bats discreetly offers Baby a pistol. BATS Take this. Look serious. Baby looks at the pistol being offered. Stalls on taking it. BUDDY Is he going to need it? BATS He needs to swagger in like he \u2019 s got one. Let \u2018 em know we ain \u2019 t a bunch of pussies. Darling excluded of course. DARLING Oh please. BATS Baby, take the gun. It \u2019 s not like I \u2019 m asking you to hold my cock. DARLING It ain \u2019 t a million miles away. Baby takes the pistol, just as they come within shouting range of the men gathered around the crates. The tallest of the \u2018 Farmers \u2019, ARMIE, a thick-necked giant looks straight at Baby, with his earphones in and shades on. ARMIE Who \u2019 s the geek? BATS This is our Baby Boy. ARMIE What \u2019 s with the ears? That a wire? BATS It \u2019 s just his tunes. He \u2019 s a little Looney Tunes and he needs his tunes. ARMIE Oh yeah? How we supposed to know it \u2019 s not the police or something? BATS Is it the police? BABY It \u2019 s not The Police. ARMIE Yeah? What is it? Baby looks at his iPod display. BABY \u2018 Tequila \u2019. BATS Tequila! Hey, why did the Mexican push his wife off a cliff? Ah, I ruined it- BUDDY To business? The Butcher starts proceedings by throwing back the tarp. The crates are stencilled with \u2018 LAPD \u2019. On top of them is a huge smorgasbord of GUNS AND AMMO. Black gun metal gleams at them. THE BUTCHER Tonight gentlemen, ladies, we have only the finest cuts of pork. Direct from local smokehouse. On Darling : \u2018 What? \u2019 THE BUTCHER -LRB- CONT \u2019 D -RRB- You are experienced butchers yourselves, so as I am sure you are aware the humble pig can be cooked from nose to tail. So I can offer you nine cuts at the best prices in all of Christendom. The Butcher motions in turn to Berettas, Smith & Wessons, Glocks, Kimbers, Colts, Heckler & Kochs and Remingtons. THE BUTCHER -LRB- CONT \u2019 D -RRB- So let \u2019 s dive in head first : from the jowl we have the God-sent Roman bacon that is Guanciale. Actually from the shoulder of the hog comes the Boston Butt, a tough but tasty cut. Then the Picnic Shoulder is a favorite for those who enjoy the smoking of pigs. Then center cut loin, double cut pork chops, baby back ribs, pork belly and Serrano ham on the back leg. Every one delicious. The Butcher gestures to a wide array of ammo and grenades. THE BUTCHER -LRB- CONT \u2019 D -RRB- And of course, we also have a fine selection of sausages. Buddy, Darling and Baby look bemused. Bats claps his hands. BATS I \u2019 m hungry. THE BUTCHER Fantastique. And how will we be paying this evening gentlemen... ladies? BATS Do you take bullets? THE BUTCHER How do you mean? BATS Like this. A trumpet hits a loud blast of \u2018 F \u2019, as suddenly - BRAP. Bats draws and shoots the Butcher POINT BLANK in the face. He drops. Dead. WHAT THE - The big Farmer guys, caught off guard, reach for their arms. Stunned, Buddy, Darling and Baby hit the deck. Bats then SMOKES the nearest Farmer. As his body falls, Bats rolls down next to his corpse. Grabs his machine pistol. The song hits a breakdown where duelling drummers madly flail away at each other in furious patterns as - BRAT BRAT BRAT. The remaining farmers LET RIP with their machine pistols and shotguns at the air Bats just vacated. The syncopation of music and action is shocking and awesome. Over crates and car hoods, the fire fight between Bats and the three Farmers as the duelling drum solo intensifies, each burst of gunfire matched by a burst of drums. The noises echo around the train yard. A portable light is knocked over, creating dramatic under lighting. Buddy and Darling are forced to join the violent melee. From the deck, Baby has a sideways angle on a six way fight. Gunfire builds. Shells drop. Car windows smash. The drums on the track get louder and louder as Baby watches his colleagues spew hot lead. BRAT BRAT BRAT BRAT. One Farmer aims at Baby. Baby rolls out of the way and runs like hell. He is trailed by bullets, dives over a crate for safety. The tempo peaks, there \u2019 s a last burst of drums and guns. And - Baby looks up. The train yard is quiet again. There are five bodies on the ground that appeared to be alive seconds ago. He can not comprehend what he has just witnessed. Bats is out of ammo. Grabs a nearby clip. Winks to Buddy, who strides over and goes to strike Bats with his pistol. BATS -LRB- CONT \u2019 D -RRB- What the fuck? Bats dodges and shoves Buddy right back. BATS -LRB- CONT \u2019 D -RRB- Hey! I just got us some hardware! We \u2019 ve never seen Buddy this mad. It \u2019 s not fun. BUDDY You shot the gunsmiths! I thought these were your contacts? BATS Yeah. They were my contacts. BUDDY Are you fucking crazy? BATS I believe we established I was. Why, do you still wan na see my ID? BUDDY You didn \u2019 t think to tell us your plan? We come in here with no masks, no nothing - DARLING Yeah, what if they recognized us? BATS Those what-ifs are dead Darling. They \u2019 re ghosts now. Only way they \u2019 ll finger us is through a Ouija board. BUDDY Well your name is only four letters to spell out. BATS Pah. Bats ain \u2019 t my real name. In \u2018 Tequila \u2019, a huge trill of brass sounds as - We see one of the farmers is not dead. He runs past Baby, toward one of the SUVs. Bats yells at Baby, who is closest. BATS -LRB- CONT \u2019 D -RRB- Don \u2019 t let him get away, Baby! Baby has his gun in his hand, but does not fire. The farmer jumps in the SUV. Makes a break for the entrance. Fuck - Instead Bats lets rip at the fleeing vehicle. Buddy and Darling grab a shotgun and mini pistol from the dead and also unload. Baby hangs back and pointedly does not join in with the shooting. His face says everything. He doesn \u2019 t want this. Wailing brass, furious drums and hammond organs score a barrage of bullets that stop the escapee dead in his tracks. We hear a sustained HORN, as the driver slumps on his dash. BATS -LRB- CONT \u2019 D -RRB- Baby. Get us out. Move! No time to argue. Baby grabs another abandoned SUV as Bats, Darling and Buddy grab as many guns as they can carry. Baby starts the car. In his haste, one ear bud has dropped out, meaning that Bats can hear the track as he jumps in the passenger seat with a lot of hardware in his arms. Baby waits for the others, then floors it. The brass in the final bridge reaches a resounding climax as they pass their old Cadillac, Bats takes a grenade, flicks the safety and throws it into the open window. As the car goes KA-BOOM in the night, Bats sings along - BATS -LRB- CONT \u2019 D -RRB- Te-quiiiii-laaaaaaa!", "INT. SUV - NIGHT58 58 The foursome drive in the newly acquired SUV. All are silent. Bats is still jonesing from the previous encounter. Baby drives past his usual DINER and subtly looks in to see if Debora is working. Before he can establish this - BATS Hey, pull in here. Baby does not. Keeps driving. BATS -LRB- CONT \u2019 D -RRB- Pull in here. I \u2019 m hungry. BABY No. BATS Stop the car. Baby stops. Bats fixes him. Furious. BATS -LRB- CONT \u2019 D -RRB- No? You telling me no? BABY No. I don \u2019 t want to go in there. Baby is firm. Bats breaks into a sickly grin. Cackles. BATS Well hel-lo Baby. I never seen you so mad. You saw a bunch of bodies hit the floor and you didn \u2019 t say nothing, but for some reason, you get all mad about this one diner. BABY I don \u2019 t like it in there. It sucks. BATS Well on that recommendation, we gots to go in.", "INT. HALF EMPTY DINER - NIGHT59 59 \u2018 When Something Is Wrong With My Baby \u2019 by Sam & Dave. This song plays on the diner \u2019 s stereo system. Opens with - SAM & DAVE \u201c When something is wrong with my baby, something is wrong with me. \u201d Debora is dealing with one sole customer at the counter, she looks bored and distant. Then the door opens and in walks - An intense looking Bats, a grim Buddy and Darling. And behind them, Baby. He pointedly looks at Debora, his sunglasses very firmly on. He is not smiling. She \u2019 s never seemed so far away. She gets that something \u2019 s up. It \u2019 s as ominous as him and Doc in the parking lot. She \u2019 s also never seen him with sunglasses on. In fact she \u2019 s never seen a booth of four people all with sunglasses on at night. It \u2019 s as weird to us as it is to her. At the booth, Bats soaks up the tension. Loves it. BATS Now why you all still mad at me? BUDDY Because you have a death wish and we don \u2019 t. Buddy talks calmly, but intensely. Tears a napkin into strips. Baby and Darling are caught awkwardly in the middle. BATS We \u2019 re all going to end up in a chair. Maybe see out your days in a lawn chair at Holiday Villa, maybe settle with the electric one. Might be just me, but the latter sounds funner. BUDDY It \u2019 s just you. You revel in bad choices. In bad luck. And that \u2019 s bad business. BATS What \u2019 s bad luck to you are more open doors for me. So I \u2019 m gon na pick thirteen as my lucky number and make hay while you Hail Mary. BUDDY Whatever you do on your own time is fine. What you do within this group affects us all. BATS Don \u2019 t worry Buddy. I ain \u2019 t gon na mess up. I know you have noses to feed. BUDDY Oh. Because you never take drugs. Baby has been watching Debora the whole time. She comes over. Senses the sour mood. Plays it cool. DEBORA Can I get you anything to drink? BATS I think it \u2019 s Coke all around. DEBORA Three cokes. This strikes Darling as odd. She looks at Baby, who stares down at his menu. When Debora leaves, Bats continues. BATS Here \u2019 s the thing. You rob to support a drug habit. I take drugs to support a robbery habit. -LRB- to Baby -RRB- Baby boy. What you do this for? Baby \u2019 s glances at Debora. But says nothing. BATS -LRB- CONT \u2019 D -RRB- The cash? The girls? Or is it just the smell of burning rubber? BABY I guess. BATS So, we in agreement. We \u2019 re all about the white line fever. BUDDY Yeah. You \u2019 re real funny. During this exchange, Debora looks at Baby, deeply concerned. BATS I \u2019 m deadly serious. This is my job. It \u2019 s you two who \u2019 s on vacation. BUDDY What is that supposed to mean? BATS You \u2019 re Wall Street right? BUDDY Doc tell you that? BATS Doc tells me nothing. I am just guessing. Buddy glowers. Sub zero sarcasm. BUDDY I would be fascinated to hear your thoughts. BATS Stop me if I \u2019 m way off. But I \u2019 m thinking you were a stockbroker, maybe with a previous fiance, maybe a wife, maybe kids. You \u2019 re making good money, you \u2019 re good at your work, but you also play hard. And you like the wild side too much, get in too deep, rack up debts that would make even your employers blush. So either you get laid off or someone wants to break your legs. You decide to run off, maybe take your favorite lap dancer in tow, head out to the desert and disappear into your double life, concentrate on the three things that get you high : the money, the boogaloo, the sex, the action. Okay four things. But am I close? Buddy is still unamused. Then - DARLING I will have you know I was a feature dancer, not a lap dancer. BATS What \u2019 s the difference? DARLING It means my name was on the marquee. And I could charge quadruple for dances. BATS Well then ignore everything I said. BUDDY You doubt my credentials? BATS Just saying you \u2019 re on a trip right now. And maybe it \u2019 s one you \u2019 re not coming back from. Either way, if you \u2019 re from Wall Street you \u2019 re already a bigger crook than I \u2019 ll ever be. BUDDY Two things. Don \u2019 t underestimate me. And don \u2019 t ever speak ill about my lady. Or I will see red and you will see nothing but black. Buddy is scary when angered. Bats breaks into a big grin. BATS Where did you find her? Vegas? Reno? I think maybe it was Morongo. DARLING What makes you say that? BATS \u2018 Cause that \u2019 s where the Morons-Go. Buddy \u2019 s eyes glaze over. He shifts in his seat. Grips a fork. It \u2019 s fucking terrifying to see him shift. Bats just laughs. BATS -LRB- CONT \u2019 D -RRB- You seeing this Baby? This is what happens when a man loves a woman. Debora comes over with the three Cokes. DEBORA What can I get you to eat? BATS These cats need a happy meal. But I \u2019 m just gon na get the check... Debora. Baby sees that for the first time. Debora is wearing a \u2018 Debora \u2019 name tag. Bats then throws an arm around Baby. BATS -LRB- CONT \u2019 D -RRB- Oh and my friend here hates this place. I think it \u2019 s okay. So I wan na ask you, what \u2019 s his problem? Baby can not look up at Debora. She replies coldly. DEBORA Maybe your friend would like to fill out a suggestion slip and tell us how we could improve our service. Debora puts their check on the table and leaves without looking at Baby. Darling guesses something \u2019 s up. DARLING Are you two fucking? Or you were fucking? You fucked her and didn \u2019 t call her back. Or she didn \u2019 t call. Something \u2019 s up. I can definitely smell fuck in the air. Baby goes red. Wants to curl up and die. BATS I don \u2019 t know about that. -LRB- to Buddy and Darling -RRB- You two, I got down pat. I can \u2019 t get a read on Dum Dum here. We let the song play as Baby looks up at Debora behind the counter. Longs to be anywhere else with her. When- BATS -LRB- CONT \u2019 D -RRB- Come on, let \u2019 s bounce. You guys go on out to the car. I got this. Darling and Buddy leave. Baby moves past Bats and sees - Bats pull the gun from his jacket. Then, like lightning - Baby GRABS Bats \u2019 arm. Firmly stops him. Bats is shocked at this action. Baby has never touched him before and now holds down Bats \u2019 gun arm with real force. Buddy turns and sees this too. He checks to see if anyone in the diner sees what \u2019 s going on. They don \u2019 t. SAM & DAVE \u201c When something is wrong with my baby, something is wrong with me. \u201d Baby looks determined, emotional. Bats then breaks into another wide grin. Impressed. He backs off. BATS Be sure to tip the nice lady. Baby takes the check and goes to the counter. He puts it down and goes to exit, without saying anything to Debora. Debora sees under the check folder. An iPod. The pink one. DEBORA Hey, you left your - Baby doesn \u2019 t look back. Carries on walking out. Debora looks down to see. Cued up on the iPod. \u2018 Debora \u2019. She looks at Baby silently depart. She \u2019 s worried for him.", "INT. UNDECORATED LOFT - NIGHT Doc enters. He \u2019 s instantly aware of - A mood. And three camps. Bats on the opposite side of the room to Buddy and Darling, while Baby lies on his makeshift bed in another part of the room, facing away. His headphones are on. DOC Who died? BUDDY A better question : \u2018 who didn \u2019 t? \u2019. DOC I count four. Something happen I should know about? BUDDY A little trouble procuring the hardware. DOC Trouble? BATS There was no trouble. Just a little haggling. Doc senses there \u2019 s something else to tell. Gets serious. DOC This going to bite me in the ass? Buddy and Darling say nothing. Bats grins wide. BATS Nothing \u2019 s going to bite no-one. We got this Doc. You got no worries with us three here. DOC You three? BATS I can \u2019 t speak for the mute. Doc looks to Baby. He closes a partition in the loft space, so Baby is now separated from them. DOC Something wrong with Baby? He \u2019 s been a problem? BUDDY Jesus. He \u2019 s not the problem. Bats warms to this new theme, keen to distract Doc. BATS I don \u2019 t know. I \u2019 m starting to think he is the crazy one on this team. DARLING Riiight. BATS I saw the first glints of steel in Baby tonight, but not when he had a gun in his hand. He \u2019 s real quiet then he can get real emotional. And over some dumb waitress. This registers with Doc. DOC A waitress, huh? BATS All that emotion worries me Doc. DOC What are you worried about other than him turning left, him turning right and him knowing when the light turns green? BATS Him turning yellow and squealing? DOC That ain \u2019 t gon na happen. He squeals on the asphalt not to the cops. BATS And you done how many jobs with him? DOC Hey mouth, if you can \u2019 t take my fucking word for something, get back in the elevator.  -LRB-... -RRB- I \u2019 ll bet that kid started earlier than any of you. You ever hear of the Pacific Ghost? BATS The joyrider? DOC Used to bait cops by zooming through Malibu speed traps. Going 100 mph with his headlights off, brake lights disconnected. Begging the police to chase him. Then leaving \u2018 em in the dust. That was our boy. BUDDY Wasn \u2019 t that like ten years ago? DOC Like I said, that was our boy. He \u2019 s been boosting cars since he was old enough to see over the dash. BUDDY So how \u2019 d you find him? DOC He stole a Merc of mine. With a ton of my merch in it. I saw him do it too. I didn \u2019 t stop him right away either, because I was just like - the balls on this kid. -LRB- MORE -RRB- DOC -LRB- CONT'D -RRB- He didn \u2019 t know who I was or what he was stealing but when I finally tracked him down I made sure to tell him who I was, what I do and what I am capable of. And he went on to pay me off and show me what he \u2019 s capable of. I figured if he likes to joy ride so much, we might as well make some money from it. We see Baby is awake and listening through the partition. DOC -LRB- CONT \u2019 D -RRB- Turns out his dad used to work for me way back. But that kid is a better criminal than his father ever was. Baby is going to do a great job tomorrow. And you are going come right back here and apologize to me. You mark my words. Baby hears this, but doesn \u2019 t want to. He CLOSES HIS EYES. FLASHBACK : A HIGH PITCHED WHINE ON SOUNDTRACK - We see YOUNG BABY sitting in the diner. His Mom is working at the counter talking to a male customer. Baby \u2019 s Dad is also present and staring at the male customer intensely. - We then see Baby \u2019 s Mom in a modest recording studio. She is behind the glass and we can not hear what she is singing. - In the studio are Baby \u2019 s unsmiling father and the ( younger ) Elderly Man. He is an engineer behind the mixing desk. As Baby \u2019 s Mom sings, the Elderly Man turns to Baby and gives a thumbs up. - We see Young Baby in the backseat of a car, watching his Dad hold up a gas station clerk at gunpoint. - Baby \u2019 s Dad dumps a bunch of CANDY BARS on the back seat. - The Mom drives. She cries. The Dad yells. - We see the car about to slam into the pick up truck- - The candy falls off the back seat. So does the iPod. - Young Baby closes his eyes. The WHINE peaks.", "INT. UNDECORATED LOFT - LATER \u2018 Ready Let \u2019 s Go \u2019 by Boards of Canada. Some time later. Doc is gone. Bats sleeps in a chair. Buddy and Darling curl up on a couch. Baby quickly gathers his things in the dark. And sneaks out.", "INT. UNDERGROUND PARKING P3 - NIGHT62 62 Baby walks from the freight elevator to the SUV. He gets in. Starts up. But when he pulls out toward the exit. Buddy is waiting for him. Blocking his path. BUDDY Where you going, Baby? BABY Coffee. Buddy walks to the driver \u2019 s window. Baby remains very quiet. BUDDY At 2AM? That doesn \u2019 t sound too smart. Or much like you either.  -LRB-... -RRB- Look you \u2019 re a good kid. I said you shouldn \u2019 t have picked up that phone. But here you are. And that \u2019 s cool if you \u2019 re really committed to the job. But if you \u2019 re in it for the buzz, I say go on your Starbucks run and don \u2019 t come back. Because bad things happen. BABY I know. BUDDY Doc said your Dad was in this business. BABY He was. BUDDY But I \u2019 m not sure you are. You can \u2019 t dip your toes, you \u2019 re either in the pool or you \u2019 re not. If this is just your escape, then go. BATS -LRB- O.S. -RRB- What we talking about here? Bats is standing outside the elevator. Buddy covers. BUDDY Just about how we should all be getting more sleep before tomorrow. BATS It don \u2019 t look like that. BUDDY What does it look like? BATS Looks like he \u2019 s going somewhere at 2 in the morning. You going somewhere Baby? Baby looks back to Buddy. Then to Bats. BABY No... BATS Good, because we got ta talk about this. Bats is holding a Sony handheld cassette recorder. Baby searches his jacket for his. Bats stops him. BATS -LRB- CONT \u2019 D -RRB- Yeah, it \u2019 s the same one.", "INT. UNDECORATED LOFT - MOMENTS LATER63 63 A D90 audio cassette plays in the handheld recorder. Baby sits in the middle of the room. Forced to listen. We can hear the hum in his ears again, underlining the tense mood. Buddy and Bats stand over him. Bats has his gun out. Darling sits in the corner. From the tape, we hear recent dialogue. DOC -LRB- ON TAPE -RRB- What are you worried about other than him turning left, him turning right and him knowing when the light turns green? BATS -LRB- ON TAPE -RRB- Him turning yellow and squealing? Bats presses stop. He is deadly serious. BATS -LRB- CONT \u2019 D -RRB- Now why you go and do that? Baby stammers, but is aware he needs to speak up. And fast. BABY I like to record stuff. BATS And why do you like to record stuff. Are you the police? Are you a snitch? DARLING Didn \u2019 t Doc work with his Dad? BATS That don \u2019 t mean nothing. He could be working out his daddy issues on us. Or maybe, just maybe he is fucking retarded. Are you? Baby doesn \u2019 t want to answer that. Stalls. DARLING I think he \u2019 s just acting the fool. BATS I asked him. But \u2018 acting \u2019 is right. What if this is a cover? What if Harpo here is a real Serpico? All eyes on Baby. BUDDY Speak up, Baby. BABY I... I just like to listen to what people say. I don \u2019 t always understand first time out. So I listen back to the words. To understand. And I like to make music out of it. It \u2019 s just me fooling. Fooling around. BATS That is one fucking dumbass excuse. BUDDY To be fair, a cop would not come up with an excuse as fucking dumbass as that. BATS I \u2019 m calling Doc. Baby doesn \u2019 t want that to happen. Blurts out. BABY I can play you one. Of my tapes. Of the music I make. BUDDY Where are they? BABY At home. BUDDY Well, looks like we are going somewhere at 2 in the morning.", "INT./EXT. SUV - MOMENTS LATER The hum in Baby \u2019 s ears underscores this section, adding uneasy menace as the SUV drives fast down deserted streets. Baby is in the back seat. Buddy drives. Bats is in shotgun with his gun lightly trained on Baby. Stereo is silent. BATS No music for you. You ain \u2019 t moving.", "EXT. APARTMENT BLOCK - MOMENTS LATER65 65 The SUV pulls up outside Baby \u2019 s apartment block. Baby and Bats get out. Buddy stays in the car. BATS Watch that fire escape.", "INT. APARTMENT BLOCK - MOMENTS LATER66 66 Bats and Baby ascend in the extremely slow exposed elevator.", "INT. BARE APARTMENT - MOMENTS LATER Baby walks in first. The TV is on, but barely illuminates the room. Bats enters, flicks the light switch. It \u2019 s still out. Bats observes the dimly lit room. He \u2019 s both surprised and yet not at how bare and simple it is. BATS This is your place? BABY It \u2019 s my foster dad \u2019 s. BATS And where \u2019 s he? The Elderly Man is asleep in his chair. But Bats does not notice a person is present. It looks like a big old blanket. BABY... He \u2019 s dead. Baby does not acknowledge the old man. He walks right over to a pile of tapes on the kitchen counter. He takes the pile of D30s. Turns to Bats and softly says. BABY -LRB- CONT \u2019 D -RRB- Got \u2018 em. BATS This better be good, Baby.", "INT. UNDECORATED LOFT - LATER Buddy and Bats stand over Baby at the tape recorder. Darling, again, is in the corner. He presses play. The montage that plays is a collage of almost all dialogue we \u2019 ve heard so far. A nonsense medley of crosscut dialogue. It builds into odd rhythms. Sounding awesome, but absurd. Bats presses stop. Buddy shuts his eyes. BATS What the fuck did I just listen to? BABY Like I said. I was fooling around. BATS Did we not establish what happens when you act the fool with me? BABY I wasn \u2019 t acting. I am one. A pause. Then - DARLING Well hell, I like it. It \u2019 s funny. BUDDY I say we get someone else. BATS At this time of night? BUDDY Anyone you \u2019 ve worked with that \u2019 s still alive? BATS You two are still alive. BUDDY I \u2019 m so honored. BATS Lem me think about what to do while I give the kid a ride home. Bats tucks his gun into his waistband and puts his jacket on. Baby does not like the look of this. He speaks firmly. BABY I can do this. I \u2019 m driving tomorrow. I \u2019 m not retarded. I \u2019 m fast. I \u2019 m driving. Buddy and Bats exchange looks. DARLING Let him. So what? He recorded stuff. Big deal. I was kinda hoping someone got all the pork nonsense on tape because that was bananas. -LRB-... -RRB- Besides I kinda wan na hear the rest of the tape. BATS Oh yeah? Well go get it. Bats throws the D30 cassette out of the window.", "EXT. ALLEY - EARLY MORNING We see a smashed cassette. The audio tape spooled out on the concrete like brown spaghetti. The morning sun rises.", "INT. UNDECORATED LOFT - EARLY MORNING 70 70 Doc enters to find Buddy, Darling & Bats dressed in civilian attire for the robbery. They look weirdly normal. DOC Where \u2019 s Baby? BUDDY I \u2019 m going to guess... in the car.", "INT. UNDERGROUND PARKING P3 - MOMENTS LATER71 71 \u2018 Movement One \u2019 by Herbie Flowers & Barry Morgan. PING. Buddy, Bats and Darling exit the elevator to find - A blue Mitsubishi Galant. Baby at the wheel. Eyes fixed forward. Hands ten to two. Music pumping on the stereo. The gang get in. Buddy and Darling in back. Bats in shotgun. Bats kills the stereo. Produces a coke spoon. Takes a big snort. BATS Now I \u2019 m going to make this clear. You can listen on your phones or do whatever it is you need to do. But I don \u2019 t want to hear none of your bullshit today. Baby silently plugs his earphones into the iPod. The music continues in Baby \u2019 s head and our ears. BUDDY Let \u2019 s get this over with. Baby pulls out. Heads for the \u2018 EXIT \u2019.", "INT. MITSUBISHI GALANT - DAY \u2018 Music For The Head Ballet \u2019 by The Bonzo Dog Doo Dah Band. A solo harpsichord plays a jolly fairground intro as the gang cruises down Century Boulevard. Very slowly. Baby listens to the music in his earphones as they reach the intersection of Success Avenue. And find themselves in - Gridlock. Some construction is up ahead. It \u2019 s the middle of the school run. Cars slow to a stop. It \u2019 s a bad time for a jam. Baby signals, his indicator in sync with the 4/4 tempo. The track becomes a woozy waltz, repeating a \u2018 down then up \u2019 pattern that goes around and around as the traffic maddens. The Galant idles in the left hand lane. Baby begins to sweat. Unsure of the neighborhood. The air con blasting. Bats \u2019 cocaine seems to kick in, his restlessness changing the simpatico of action and music from being magical to menacing. Buddy taps his fingers on a seat rest in time with the music. Darling flicks through the pages of a magazine, also in time. Bats cocks and uncocks his shotgun in time. Baby eyes this. The whole hood is alive with incident, all in time with the track. Kids shouting. Angry neighbors. A police helicopter. The sound of chopper blades prompts the gang to all look up. When they look back down a COP CAR is right alongside them. Their next door neighbor in the traffic jam is THE POLICE. A change of key in the track. The four gang members all look straight forward, eyes fixed on the static road ahead. Then - The music resumes its woozy waltz as the gang take turns to look at the cops. The glances are furtive first, then more confident. The dance of their turning heads is very surreal. As the melody accentuates the odd notes, we see the cops look back at the gang in the Galant. We take in the odd magic of - Four gang members and two cops, all wearing shades, trying to inconspicuously check each other out in time with a waltz. Baby doesn \u2019 t want to see Bats slowly raising his shotgun. Out of sight of the cops, but ready to fire. Then suddenly, the Cop driving, points right towards Bats. Bats does a \u2018 who me? \u2019 The Cop shakes his head. Then - POINTS at Baby. Motions for him to take off his earphones. Baby does so. The waltz concludes. Bat smiles. BATS Yeah Baby. It \u2019 s the law. Bats makes the \u2018 he \u2019 s crazy \u2019 sign to the cops about Baby. The cops get a call. Switch their SIREN ON. Pull out of the jam and out of sight. Everyone exhales. Heart attack over... For now.", "EXT. US POST OFFICE. WATTS - DAY \u2018 Intermission \u2019 by Blur. A solo piano plays an endlessly descending melody. Baby pulls up into the strip mall. The place is quiet but everything feels bad. The heat, the traffic, the summer aggression in the air, a rain drop on the windshield. In Watts? There \u2019 s even a construction PICKUP TRUCK partly blocking their exit, steel enforced concrete poles hanging off the back. Even a novice would get spooked by this, but - Bats ignores the omens and repeats his mantra. BATS Remember, what \u2019 s in there is ours. It belongs to us. They got our money. They got our money orders. They got our momma \u2019 s jewels. They got our girlfriend in there. So let \u2019 s go in, get them, get her. Take back what is rightfully ours. Darling opens her door. It starts. There \u2019 s a thunderclap. A crunchy electric guitar joins the piano. Adds menace. Buddy and Bats watch Darling walk into the post office alone. Baby gets a pervasive feeling of dread. A baby in a stroller cries. A chorus of honks and angry drivers are heard nearby. A bass guitar joins the sneaking melody. Buddy and Bats get out, take bags from the trunk and follow Darling. Baby is distracted by an argument between two men at a bus stop. A huge thunder clap and cymbal crash heralds the introduction of drums. And also Buddy and Bats entering the post office. The tempo of the track quickens. Traffic noise flares nearby. Baby stares forward. Rain spots his windshield. Baby hits the wipers. They are in perfect time with the track. He stays, fixed forward, staring at the jagged mess of protruding poles, fixating on this premonition of doom. Tempo quickens. Rain thickens. Baby flicks the wipers up a notch in speed. In his wing mirror, Baby sees - A SECURITY GUARD ambling around the corner. Looks up at the uncommon rainfall. Finishes off a sandwich. A squeal of feedback. Baby looks through the post office door. He can see frantic activity inside. He looks back to the security guard who has thrown the sandwich wrapper in the trash and now slowly approaches Baby. The tempo quickens. The drums become more manic. Baby flicks the wipers to go one faster. Matching the tempo. The security guard passes, eyeballing Baby. Then - A GUN SHOT. From inside. Baby and the Guard look to the door. Baby doesn \u2019 t want to think what just happened in there. The Guard runs to the door of the post office. Just as - Buddy, Darling and Bats run out, bags and guns in hand. Hard cymbals strike. White noise guitar. Madly fast piano. The Security Guard reaches for a walkie. BATS BLOWS HIM AWAY WITH A SHOTGUN. POINT BLANK. Baby witnesses this. Close up. He is in total shock. BATS THEN SHOOTS THE SECURITY GUARD ON THE GROUND TOO. Sound EXPLODES around them. AN ALARM. SCREAMS from passersby. The sound of distant SIRENS as - Darling and Buddy leap in the back and Bats jumps in shotgun. A huge shift up in tempo, the track threatening to collapse. BATS -LRB- CONT \u2019 D -RRB- Move! Baby doesn \u2019 t move. BATS -LRB- CONT \u2019 D -RRB- Fucking move! Baby doesn \u2019 t go. BATS -LRB- CONT \u2019 D -RRB- Fucking hit the gas you fucking retard. Fucking move. Go! Bats HITS Baby in the face with the shotgun stock. It knocks out a lens from his sunglasses. We now see one naked eye. One steely eye. Baby doesn \u2019 t move. Baby doesn \u2019 t go. BUDDY Baby go! Go now! BATS I \u2019 m blowing your fucking head off in three seconds if you don \u2019 t move! DARLING Move! Bats POINTS the barrel of his shotgun at Baby \u2019 s head. BATS 1- Sirens mass. Baby holds still. That steely eye staring at Bats. BATS -LRB- CONT \u2019 D -RRB- 2- Music and noise crescendos around them. And then - BATS -LRB- CONT \u2019 D -RRB- 3! Baby HITS the gas. Drives hard and fast. Straight into - The back of the Pickup Truck. The concrete poles. WRECKING THE PASSENGER SIDE OF THE CAR AND IMPALING BATS. A blast of violent noise. Wailing distorted feedback. BATS IS DEAD. The car is FUCKED. The sirens get CLOSER. Baby, Darling and Buddy are alive, but badly concussed. Concrete dust and radiator mist cloud the trashed Galant. BUDDY Get up. Get up. Get up. Buddy pulls Darling out of the car. Baby gets out too. He has one earbud hanging out of his ear, one sunglass lens missing. The song whites out. Returns to a simple solo piano. Buddy looks at Baby. He is incandescent with rage. BUDDY -LRB- CONT \u2019 D -RRB- What did you do? WHAT DID YOU DO! BABY I moved. Buddy FLIPS. Grabs Baby. Looks ready to shoot him there and then. Baby \u2019 s ear bud falls out. When - POP! POP! POP! A COP is positioned on the street. Shooting over the hood of the first Black & White to arrive. BUDDY RETURNS FIRE from behind his car door. Darling too. Baby ducks down behind the wreck of the Galant. He does not know what to do and looks again to his music for direction. He puts his left earbud back in as a new track kicks off - \u2018 Hocus Pocus \u2019 by Focus. A heavy guitar riff plays in left channel. Baby puts in his right earbud. A second guitar joins in the right channel. Police cars screech into view all around. Officers screaming with fury at them to lay down their arms. The track builds. Baby stands. The track kicks in. Baby. Buddy. Darling. Run for it. Race to survive. Driving guitars, bass and drums propel Baby forward. Buddy fires back. Darling loses her heels, runs barefoot.", "EXT. THE STREETS OF WATTS - CONTINUOUS74 74 The three of them disappear out of the back of the strip mall. Ducking into to a back alley. The sound of police boots and screeching tires gaining on them. They pound along the alley. Baby is first, looking crazy with his single lens sunglasses. He vaults over a chain link fence and runs fast, leaving Darling and Buddy behind. He sails across a street, cars screeching around him. Heads for a memorial park up ahead. Feet pounding. Guitars build. Baby runs fast and is out of control. He slams into a middle aged male DOG WALKER on a snare hit. Drum solo. Baby hides in a clump of trees. Stops. Catches his breath. His organs feel like they are in his mouth. Vocal section. Crazy yodelling. Hammond Organ. Baby looks around. Sees the police chasing Buddy and Darling on foot. Black & Whites splitting every which way. Circling the park. The vocalist begins a rising scream. Baby gears up. Knows he can not stop. Police are coming. Chopper blades are closing in. The dog walker is waving in the direction of the trees. Drum fill into driving heavy guitar. Baby makes a break. Heads back into the sun. Cops are suddenly on his heels. One Black & White driving onto the park itself. Baby runs. Cops won \u2019 t shoot. There are too many people in the park. Kids scream. Mothers yell. Hobos are tripped over. Hectic drum fills and snares build. Baby hotfoots it across a crosswalk, weaving through shoppers as he heads for a -", "INT./EXT. RUNDOWN MALL - CONTINUOUS75 75 Baby slides down banisters into the sunken ground level of a busy-ish shopping mall that has seen better days. Another crazed drum solo signals his fast descent down the stairs and mad dash right into a customer elevator going up. More crazy yodelling scores his ascent to a higher level. Baby catches his breath in an elevator full of women. Baby looks out of place, panting and sweat drenched. He takes off his cyclops sunglasses to look less odd. It doesn \u2019 t work. As the vocal rises, Baby can see the Cops sweeping the food court. At the peak, one cop sees Baby in the elevator. The lift doors open. Baby is out of there. A frenzied guitar solo sees Baby tear around the top floor. He can see cops running up escalators to find him. He tries to fast walk, so as not to look conspicuous. He darts into a -", "INT. DISCOUNT CLOTHING STORE - CONTINUOUS Baby takes out his ears. Grabs a baseball cap and disappears into aisles stacked with clothes. The track plays faintly in his loose earphones and mixes with the store muzak. Baby tries on a denim jacket. Picks up new shades. Sees - Cops reflected in the convex mirror, high up on the wall. Baby avoids them and walks straight back out. The tags on his stolen clothing set off the store alarms. The cops turn to see - Baby has gone. He has disappeared into a nearby -", "INT. ELECTRONICS STORE - CONTINUOUS Baby crouches down on the floor of a low rent Best Buy style store. He pretends to inspect a particular stereo system. One ear bud is back in and the track \u2019 s crazy oompah breakdown mixes with the disorienting noise of many plasma screens. Outside Baby sees the cops run past the store. Their path takes his easily distracted eye to a display of televisions. Playing on the screens is a scene from \u2018 Top Hat \u2019 where FRED ASTAIRE tap dances and mimes the massacre of the chorus with his cane a substitute for a submachine gun. All danger briefly fades as Astaire dancing syncs up with Baby \u2019 s music. The TVs are placed next to mirrored pillars. Creating a kaleidoscopic effect that mesmerizes... It \u2019 s fleeting. The cops are back. Breakdown is over. The huge guitar riff returns and Baby runs through the store, heading not for the exit, but for the staff room. He busts through their stock room and past yelling employees to find -", "INT. FIRE EXIT STAIRS - CONTINUOUS Baby busts down the stairs. TRIPS ALARMS. Up above the cops burst into the stairwell. Baby sees them. But doesn \u2019 t see - The cop who enters the stairwell at a lower level. FUCK. Baby hits him at full speed. Knocks them both flying. The cop slams hard into the door he just opened. Baby tumbles down the next set of stairs. He recovers with a limp. Escapes to -", "EXT. RUNDOWN MALL PARKING LOT - CONTINUOUS Baby races into the full lot, shaking off his new injury. He zeroes in on models of cars from the pre-immobilizer era. Spots a 91 Accord, a 95 Civic, a 2003 Corolla. As the cops burst into the parking lot, Baby disappears down amongst the parked cars, out of their view. While on the ground, he tries the doors of the nearest vehicles. Then, right in front on him. Cops. Run past on foot. Missing him. Baby stands up and on the rising guitar chords, smashes at the window of the nearest white Corolla with his elbow. CRASH. Baby messily smashes the window. He opens the door and sits in the glass as a hectic drum solo plays. He tries to hot wire it. But the engine won \u2019 t kick over. He slumps down in his seat. Cops are running back and forth. The rising vocal section builds. Hits a peak. The engine fires up and Baby LURCHES forward. His seat belt alarm chimes as he pulls a tight 90 degree turn. Cops spot him. Some fire. Sending other shoppers screaming. Baby roars forward in the Corolla, clipping trolleys and non- compacts as he goes. His wheels SCREAM as he settles into the new car and turns perfect corners to get out of this maze. As two guitars rapidly solo, Baby leaves the cops behind, snaking through the lot when - BOOM. He ploughs hard into a car that is reversing at speed. It \u2019 s a grey Silverado with broken windows. In the front - BUDDY AND DARLING. No fucking way. BUDDY No fucking way! Cops descending. Both Baby and Buddy try to get their cars started again. Buddy \u2019 s ride is fucked. It \u2019 s not happening. Buddy SCREAMS at Baby. The veins in his neck bulging. BUDDY -LRB- CONT \u2019 D -RRB- Are you a fucking jinx, you maggot? The crazy vocals rise again. Sirens are getting close. Buddy and Darling jump out of their car. Move toward Baby \u2019 s. DARLING Get us out of here Baby! This is your fucking mess. An LAPD bullhorn barks for them to put down their - BRAT BRAT BRAT. Darling lets rip in the bullhorn \u2019 s direction. Buddy is about to fire too, when return fire EXPLODES from three cops using nearby parked cars as a blockade. Buddy ducks, but DARLING IS HIT. And HIT. And HIT. And HIT. Baby is still in the car and can see two things. 1 ) DARLING \u2019 S BODY RIDDLED WITH BULLETS AND JERKING WILDLY. 2 ) BUDDY \u2019 S FACE TURNING EXPRESSIONLESS, EYES SEEING RED. The bullets stop. Darling drops DEAD. The bullhorn resumes - L.A.P.D Put your guns dow - Nope. Buddy strides around the car and walks directly TOWARDS the cops, firing all the way. He is a man possessed. He wastes the police who are in the way. Fearlessly walking toward the cops, shooting with fire in his eyes. Three cops are WASTED in Buddy \u2019 s vengeance. He then shoots the officer with the bullhorn who is back by a squad car. What few pedestrians are still in the lot are crying and shrieking. Massed sirens. More cops coming and fast. The insane pounding guitars still ring in Baby \u2019 s ears. He stays in the driving seat, waiting for Buddy \u2019 s next move. He watches as Buddy calmly walks toward him, fixes him with dead eyes, RAISES HIS GUN AND OPENS FIRE. Baby slips down in his seat. Pops into reverse blindly. His car barrels backwards, as Buddy unloads bullets. A final drum solo plays as his Corolla slams into some parked cars and he rolls out on to the tarmac. His sunglasses and iPod scatter on the floor as he crawls in between some parked cars. Buddy approaches, barking madly in between each shot. BUDDY You-should-have-never-picked-up! Baby needs the iPod desperately, but can not reach it without exposing himself to Buddy \u2019 s hail of bullets, so - Baby grabs the revolver of a downed officer. RETURNS FIRE. Buddy dodges behind Baby \u2019 s crashed car, genuinely not expecting fire from Baby. But he \u2019 s not surprised to see - BABY \u2019 S HAND. Reaching out. Trying to grab the dropped iPod. Buddy unleashes lead and BLOWS THE iPOD TO SMITHEREENS. End of Song. Then- Baby RUNS for it, zig zagging through the parked cars. His only rhythm now : the sound of police sirens WOOP WOOPING. He runs, turns corners, sprints frantically, trying to escape the parking lot and get far away from Buddy and the cops.", "EXT. BACK ON THE STREETS OF WATTS - CONTINUOUS80 80 We stay with Baby as he sprints through back alleys. The sirens and firing sounds fall away and the sound of blood in Baby \u2019 s eardrums gets louder and louder. Baby swaps his gun between hands and presses on his neck, taking his pulse. It beats fast. He runs fast. Very fast. Baby closes his eyes and lets his pulse guide him as he runs. The sirens fall away, the commotion behind him now. We stay with him running, his blood racing, his pulse quick. Then slows on the corner of a quieter neighborhood street. He sees an OLDER LADY slowly driving a Purple Pontiac Grand Am Coupe. She appears to be listening to a religious radio station. Desperate, Baby runs up to her, gun underneath his jacket and in a voice like we \u2019 ve never heard from him - BABY Get the fuck out of the car lady! Baby channels the ( now deceased ) Bats. The Older Lady freaks. She gets the fuck out and we FOLLOW HER as she runs across the street and over the low wall of a nearby lot. She decides to stay low on the ground, hide. Then as her breathing calms, she hears something curious - THE SOUND OF SWITCHING STATIONS... Her car appears to still be idling. She hasn \u2019 t heard it leave. But she does hear - A ballad. A dry news report. A country ballad. Traditional Mexican music. Another ballad. Another ballad. A slow soul track. A commercial. Another ballad... The Lady looks over the wall and sees Baby still in the Pontiac, trying to find the correct song on the radio to drive off. She looks at him dumbstruck. He looks at the car stereo, fully concentrating on his search for tempo. The final insult is Laurie Anderson \u2019 s \u2018 Oh Superman \u2019. As this super slow avant garde piece plays, Baby looks up and meets eyes with the Lady for a second. Then he says- BABY -LRB- CONT \u2019 D -RRB- I \u2019 m so sorry. \u2018 Radar Love \u2019 by Golden Earring comes onto the radio. Baby turns the volume WAY UP, pops it into drive and peels out fast. GOLDEN EARRING \u201c We \u2019 ve got a thing that \u2019 s called a radar love! \u201d The Lady watches him go. What the -", "INT. BARE APARTMENT - LATER The Elderly Man asleep in front of the TV news. On it : live helicopter footage of Buddy carjacking a Red Durango as he battles police in the streets. The window is open and we can hear \u2018 Radar Love \u2019 playing even before we see a car pulling up. ( It \u2019 s a long song ).", "INT./EXT. APARTMENT BLOCK - CONTINUOUS Baby parks the Pontiac, but doesn \u2019 t want to switch off the radio. He looks up. Sees the window is open upstairs. Baby leaves the engine running and the radio playing as he runs into this apartment block. He leaves the main door open so the music can echo around the stairwell. The elevator is not on the ground and is slowly ascending so he runs up the stairs two at a time and bursts into the -", "INT. BARE APARTMENT - CONTINUOUS Baby wakes the Elderly Man. On the TV is live coverage of Buddy making his escape from the police in the Red Durango. Baby communicates quickly in sign language. No subtitles. BABY We have to go. Bad. Before Baby can explain, \u2018 Radar Love \u2019 STOPS PLAYING outside. Baby looks out. A red bullet riddled Durango is parked next to his car. The doors are wide open and fuck - Baby grabs a vinyl record, a battered copy of \u2018 Motown Chartbusters Vol 3 \u2019. He puts it on to the stereo and places the needle on the track he needs : \u2018 Edwin Starr \u2019 s S.O.S \u2019. He then wheels the Elderly Man into the center of the room. He rips out the floorboard and stuffs as many dollars into the Elderly Man \u2019 s gown and blanket as possible. He puts the rest of the money in a duffel. Grabs his address book, but does not see A LOOSE PAGE flutter to the floor. He grabs a dictaphone. Another portable recorder. Medication. A stack of D90s. He \u2019 s about to grab some iPods, when - SMASH. The window by the fire escape is being KICKED IN. Baby leaves all his iPods behind. He wheels the Elderly Man \u2019 s chair around, pushes him fast through the front door. EDWIN STARR \u2018 I \u2019 m sending out an SOS, because I am so much distress \u2019 Hot on their tail. BUDDY. He climbs through the broken window to the empty apartment where Edwin Starr still blares. He sees the loose page of the address book on the floor. It reads - Doc - 3108045898 Debora -? Buddy grabs the paper, runs to the front door and sees that the elevator is descending... EDWIN STARR -LRB- CONT \u2019 D -RRB- \u201c If you see my baby, if you see my baby, stop her on sight \u201d Buddy runs down the stairs to intercept the elevator. He hits the ground first and waits for the doors to open. Inside is the Elderly Man. Looking frail, innocent. Buddy looks like he is about to grab the handicapped man when - SIRENS are heard, helicopters, bullhorns, boots stomping. Buddy looks up the stairwell. Sees Baby. Looking back down. Buddy glares. His face white with fury. Before he can chase - POLICE BUST THROUGH THE DOOR - Buddy turns and fires. Baby doesn \u2019 t stick around to find out what happens next. He runs back into the apartment. The phone still ringing. Grabs a single iPod before jumping out onto the fire escape.", "EXT. APARTMENT BLOCK  - CONTINUOUS And heads down. Behind him gunfire, massed sirens, \u2018 copters. Baby puts his ear phones in. Spins the wheel on this ( older ) iPod. Gets half way down the escape, jumps to the next roof- Hides behind a stairwell exit on the next roof and finds a track on his iPod that has the right urgency. He plays- \u2018 Middle \u2019 by Rocket From The Crypt. ROCKET FROM THE CRYPT \u201c Are you stuck in the middle? Way-oh way-oh! \u201d Baby looks to the fire escape. Hears gun fire from inside. Baby looks up. A police helicopter is above and hovering. Baby looks at entrance of his building. Cops swarm in. Baby looks down to the street. The Elderly Man wheels along. Baby looks further down. Sees a Sentra in a handicapped spot. The song kicks into gear. He hears a CLANK behind him. Buddy is atop the fire escape. Aiming his gun right at him. Baby bolts. Runs fast across the roof. The copter sees him sprinting and bellows with a loud hailer. Shots are fired. Baby jumps - Lands in a dumpster, he emerges with a rock in hand and sprints for the Sentra. He throws the rock at the window and dives into the car. Boosts it. Hits reverse fast and heads back up the street to pick up his uncle. DING DING DING. As the car reverses, Baby keeps his head down and watches the BACK UP CAMERA. Cops have run right past the Elderly Man who is wheeling slowly down the street. Baby stops and gets out. Leaving the car DINGing in reverse. He runs over and grabs the Elderly Man out of the chair. Throwing him over his shoulder, Baby runs to put him in the passenger seat of the newly stolen vehicle. One cop turns back to see an empty wheelchair rolling down the street unmanned. He looks over to the car and sees - Baby. In the Sentra. Pulling a sharp 180 that swerves on the sidewalk. Before the cop has time to call his colleagues- Baby is in drive. Flooring it.", "INT. SENTRA - CONTINUOUS85 85 Baby looks in the rear view. Leaving the cops and Buddy behind him. He looks to the Elderly Man. Signs. BABY We \u2019 re good.", "EXT. RETIREMENT HOME - EVENING Baby pulls up outside a sign reading \u2018 Holiday Villa \u2019. A well lit path through verdant gardens leads to the entrance. The Elderly Man is asleep in shotgun. Baby looks at him sadly. He takes the Dictaphone and records the following. BABY Hello. My name is Joseph. I like watching TV and sometimes I like to listen to old records through the vibrations. I also like frozen peas, meatloaf and white bread and peanut butter. And bananas. Please look after me. Thank you. Baby puts the Dictaphone in Joseph \u2019 s lap. He is now awake and smiling back at Baby. It \u2019 s bittersweet. Baby bottles his guilt. Runs up the path. The \u2018 open door \u2019 chime pings in his wake. Joseph is not sure if Baby has gone. But Baby returns. Standing outside the car with another wheelchair he has seemingly stolen from the home. Joseph signs to Baby. And for once, subtitles. JOSEPH Where are you going? BABY Away. Baby wheels Joseph down the path to the entrance. JOSEPH Will you come back? BABY I don \u2019 t know. I want you to be safe. JOSEPH Are you in trouble? BABY I don \u2019 t want to be in trouble anymore. The sound of CHOPPER BLADES. Baby and Joseph look up as a police searchlight illuminates the Sentra in the driveway. The spotlight then illuminates Joseph alone in his wheelchair. No Baby.", "EXT. THE SUBURBS - EVENING87 87 Hi hat drums. Baby walks the dark streets. Past parked cars. A kik drum hits. Baby stops. A cop car cruises through a cross street up ahead. A discordant violin drone. The police helicopter is still up above. Getting closer. Heavy breaths. A bass guitar joins the kik hits. A young female dog walker strolls in the opposite direction. Violins climb. Baby tries every car door he passes. The cop car slows, shining a torch at him. The searchlight comes close. The dog walker gives Baby a long double take. When - One car door is unlocked. Baby opens it. Slips in. Boosts it. A downwards piano glissando takes us to -", "EXT. HALF EMPTY DINER - NIGHT88 88 \u2018 Never Never Gon na Give You Up \u2019 by Barry White. The welcoming neon lights of the diner reflect on Baby \u2019 s windshield as he pulls up to the shuffling groove. As Barry sings \u2018 ooh baby \u2019, our Baby looks determined as he parks up right outside the doors of the diner. Harpischords and high strings score his immediate view. Debora. Behind the counter. Looking unhappy. Baby \u2019 s heart beats with the electric bass on the track. As Barry breathes, Baby takes deep breaths. Whispers to himself - BABY Go in and get her. Go in. Get her.", "INT. HALF EMPTY DINER - NIGHT89 89 Baby walks in. Takes his shades off. Leaves his earphones in. Debora sees him. Looks surprised to see him. BARRY WHITE Wherever wherever girl, I \u2019 ll do it. Forever and ever, yeah yeah yeah yeah, I \u2019 ll see you through it. Once again, Debora is framed beautifully amongst the wall art of couples in convertibles, auto dreams of romantic escape. Baby smiles. Debora doesn \u2019 t match it. She looks worried. And unsure of him. Then Baby sees on the counter in front of her. A half drunk coffee. A torn napkin. The missing page from his address book. With Doc \u2019 s number and Debora \u2019 s name on it. Debora looks at Baby with fresh eyes. Like she doesn \u2019 t know him at all. And she looks scared. She says quietly. DEBORA Your buddy is here... She looks to the rest room. Baby follows her gaze. BUDDY stands outside the rest room door. His eyes are black. He seems like he \u2019 s in monochrome, grief and rage making him a scary shell of his former self. Aside from the three of them, the diner is empty. With Barry White still playing, this quiet stand off feels operatic. A flute flourish. Baby and Buddy stand still. No one makes a move. Buddy stares right through his former colleague. Debora, breathing fast. Looks between them, then to the TV. On the wall mounted TV, THE NEWS. There \u2019 s photos and full names for Bats ( Leo Brubaker III ) and Darling ( Monica Rosen ). For Buddy, a photo, a full name and an angle ( James Patrick Morgan : \u2018 Former Wall Street Trader Wanted For Cop Killings \u2019 ). Baby only has a sketchy artist \u2019 s rendering of his face. Buddy and Baby fixate on the news coverage, when - RED AND BLUE LIGHTS reflect on the diner windows. COP CARS CIRCLE. One cruises in. Parks right next to Baby \u2019 s car. Buddy calmly walks back to his spot at the counter. Baby slowly joins him. They sit on stools next to each other. Outside. One cop stays by the car on the radio, the other officer moves slowly towards the diner doors. Buddy shows Debora his gun over the counter and nods to her. She nods back and pours Buddy some more coffee. As Debora pours, Baby makes eye contact with her as Barry sings. BARRY WHITE \u201c Cause I found what the world is searching for. Here, right here my dear, I don \u2019 t have to look no more. \u201d Baby looks emotional. Debora can tell that he is upset. Baby picks up a pen and a suggestion slip, writes something in his childish scrawl. She tries to read it upside down when - THE COP walks in. Doesn \u2019 t see the TV, waves to Debora, heads for the mens \u2019. The song strings build to a chorus where - Buddy takes one of Baby \u2019 s earphones and listens in too - BARRY WHITE -LRB- CONT \u2019 D -RRB- \u201c Never, never gon na give you up. I \u2019 m never ever gon na stop. \u201d Buddy fixes Baby with intent, a seething fury. This is not about the girl anymore. This is about settling a score. BARRY WHITE -LRB- CONT \u2019 D -RRB- \u201c I \u2019 m never ever gon na quit. Cause quittin \u2019 just ain \u2019 t my schtick. \u201d In the middle of this pop standoff, Debora breathes fast. BARRY WHITE -LRB- CONT \u2019 D -RRB- \u201c Gon na stay right here with you- \u201c THE SONG STOPS. Baby sees that the iPod reads \u2018 Error 1407 \u2019. BUDDY It \u2019 s dead, Baby. The door to the rest rooms opens. All three turn to see - The OTHER WAITRESS comes out. Clearly starting her shift. She yawns. Doesn \u2019 t clock that anything is wrong. OTHER WAITRESS How you two doin \u2019? On Buddy. \u201c Two? \u201d He swivels on his stool. Baby is gone. So is the piece of paper with Doc \u2019 s number. Debora sees the suggestion slip left behind. On it - \u201c SORRY \u201d Buddy bolts after him into the parking lot. He can \u2019 t see Baby or his car. The Pacific Ghost is gone. The cop, still on his radio, looks up as Buddy screams out. BUDDY You can \u2019 t keep on running, Baby! The cop wonders who this crazy man yelling is - COP Sir? Buddy calmly turns to him, raises his pistol. BLAM.", "INT./EXT. CALLBOX/ PARK - NIGHT \u201c3108045898\u201d Baby punches the number into a call box phone. He \u2019 s in the park near his old apartment block. That area is cordoned and swarming with cops. As the phone rings he looks at his immediate environment. It \u2019 s populated by the homeless and kids looking to get high. The summer air thick with noise. Snatches of unfamiliar music. Car alarms. Partying. The still omnipresent sound of nearby chopper blades. Baby wants out. The phone picks up at the other end. DOC -LRB- O.S. -RRB- I ain \u2019 t open. BABY It \u2019 s Baby. DOC -LRB- O.S. -RRB- I know. I ain \u2019 t open. BABY I need your help. DOC -LRB- O.S. -RRB- You had my help. BABY I can give some of the money back. I don \u2019 t want it.", "INT./EXT. PHONE BOX/DOC\u2019S - NIGHT91 91 Doc laughs, incredulous. He shakes his head. DOC It don \u2019 t work like that. You got another debt now. One you can \u2019 t pay off. You think the cops are gon na take a check? Think that Buddy has a figure in mind that can replace Darling? None of this is going to go away because you don \u2019 t wan na play anymore. Whether you pulled the trigger or not, cops are dead. You are not going to get cuffed, they are going to kill you. Whether you shot her or not, someone \u2019 s girl is dead. He is not going to forget it. BABY Doc, you got ta understand- DOC And don \u2019 t give me any more lines from \u2018 Monsters Inc \u2019 kid. Yeah, I figured that one out. It \u2019 s one of Samm \u2019 s favorites. I thought it sounded familiar, you little shit. BABY... DOC You there? BABY I \u2019 m scared Doc. I fucked up. Doc softens. He \u2019 s alone in the warehouse. His jacket is on. DOC I know you did. I know you did. -LRB- beat -RRB- Look, the cops are not going anywhere and I don \u2019 t think it \u2019 s in you to take Buddy \u2019 s wind, so the only good news is you like driving. Because you \u2019 re going to have to hit the gas and not take your foot off for 20 years. BABY Yeah. DOC Listen. I \u2019 m shutting up shop. And real soon. Too much bad business. Not my style. But I think I can help you. So here \u2019 s what we are going to do - A noise off. Doc \u2019 s manner suddenly changes. DOC -LRB- CONT \u2019 D -RRB- You \u2019 re going to go to the florist \u2019 s first thing tomorrow and you \u2019 re gon na drop off the flowers to my mother. Big arrangement, I don \u2019 t know all the names, whatever you think looks good. Get them to her before ten. She \u2019 s got ta go out. What? Baby is confused on his end of the phone. DOC -LRB- CONT \u2019 D -RRB- Card should read \u2018 Congratulations on this special day. All my love, your favorite son, Harry \u2019. On Doc \u2019 s end we see, out of focus, behind. BUDDY. DOC -LRB- CONT \u2019 D -RRB- Any problems. You got my number. Doc hangs up. Senses someone behind him. Plays it cool. Turns to see the ashen faced, dangerous Buddy. BUDDY Where is he? DOC Who? Baby? BUDDY Don \u2019 t fuck around Doc. Where is he? DOC You think I know where he is? He could be anywhere. BUDDY He could be. But \u2019 s he not. The kid ain \u2019 t that bright. I don \u2019 t think he knows where to go apart from his place, that diner or here. DOC You saw him last, not me. BUDDY You put him on our score Doc. Him and that ticking timebomb Bats. I took your fucking word for them. Darling took your fucking word for them. Your recommendation. So I am going to recommend you tell me where Baby is, because whether it \u2019 s your fucking mother \u2019 s birthday or not, I don \u2019 t think you want to see her cry tomorrow. DOC -LRB- calm, strong -RRB- I know that you \u2019 re hurting. And I know that you want to kill Baby. Maybe you think killing him will fill that hole inside you. That you can mend your bleeding heart by stopping his. And you want me to help you do it. But I ain \u2019 t going to do that Buddy. Because I am not your doctor... Even though my name is Doc. Buddy looks at him, unblinking. BUDDY So that \u2019 s that. DOC Yeah. That \u2019 s that.", "EXT. PARK - NIGHT Baby sits on a low wall, deciphering that last phone call. He has a portable cassette player and rewinds Doc \u2019 s command. DOC -LRB- ON TAPE -RRB- You \u2019 re going to go to the florist \u2019 s first thing tomorrow and you \u2019 re gon na drop off the flowers to my mother. -LRB- rewind -RRB- You \u2019 re going to go to the florist's first thing tomorrow. -LRB- rewind -RRB- You \u2019 re going to go to the florist's- Baby stops the tape. It makes no sense to him. He looks around him. The world feels so alien without music. He sees the auto reverse button. He pushes it. The tape flips. He hears from way earlier. NICE LADY TELLER -LRB- ON TAPE -RRB- It would be nice to get away. With all this heat. VEEP. Baby rewinds it. Listens again. Suddenly it becomes clear. Baby looks at the money, the gun, the bag. And suddenly hears - \u2018 Theme From Shaft \u2019 by Isaac Hayes. It \u2019 s in his head telling him to get up and get out. Baby looks determined. He then realizes that it \u2019 s not in his head. Nor is it Isaac Hayes. He looks up to see - A red tricked out 2012 Ford Mustang V6 Premium driven by Black GANGBANGERS pulls up near Baby. They listen to the Shaft sampling- \u2018 Know How \u2019 by Young MC. One would not normally fuck with these guys, but the music moves Baby to stand up, walk over and order them to - BABY Get out. The young Gangbangers look up. Laugh at this white kid. BABY -LRB- CONT \u2019 D -RRB- Get out of the car. They look at his hands. One is firmly in his jacket pocket. GANG 1 Better be good with that gun homey. Baby pulls out the gun from his pocket. Shows it. BABY I am. GANG 2 Might be the last car you steal. BABY Don \u2019 t wan na steal it. I wan na buy it. More of them laugh at this. Baby points the gun firmly. BABY -LRB- CONT \u2019 D -RRB- I \u2019 m serious. Sell me your car. Uh okay. The laughter is more muted as Baby forces them out at gunpoint. They slowly leave the Mustang, hands aloft. As Baby gets to the driver \u2019 s door, he tosses a huge stack of bills to the original owner. His friend wows at the amount. GANG 2 This some crazy ass shit. Baby goes to reverse out when the driver shouts - GANG 1 Yo yo. Can I get my iPhone? The driver reaches inside. Baby points the gun at him. BABY No. Baby reverses out of there as YOUNG MC steps up to the mic. YOUNG MC \u201c Some of the busiest rhymes ever made by man, Are goin' into this mic, written by this hand, Are comin' out of this mouth, made by this tongue, I'll tell you now my name, my name is Young - \u201c MONTAGE : \u2018 Know How \u2019 by Young MC - See Baby driving down LA STREETS, powered by the music. - See Baby pull into a RECORD STORE. - See him stride as if his life depends on it. It kinda does. YOUNG MC -LRB- CONT \u2019 D -RRB- \u201c Pullin' out rhymes like books off the shelf - \u201c - Baby walks right up to the \u2018 Q \u2019 section. Takes Queen \u2019 s \u2018 Sheer Heart Attack \u2019 off the rack. Then sees Quincy Jones \u2019 \u2018 Big Band Bossa Nova \u2019. He swipes both. Pays with a crisp 100 dollar bill.", "EXT. DOWNTOWN STREETS - NIGHT93 93 Baby drives through the eerily dead business sector.", "INT. UNDERGROUND PARKING P3 - NIGHT94 94 Baby parking the Mustang in his usual spot. The parking lot is mostly empty. Save a couple of cars. \u2018 Know How \u2019 scores Baby \u2019 s swagger to the elevator. He has shades on, ears in and he \u2019 s ready for whatever is next -", "INT. UNDECORATED LOFT - NIGHT95 95 The warehouse door is open. Baby walks in. He sees- DOC IS DEAD. Shirt soaked in blood. Lying in an ignominious, ungraceful heap on the floor. Baby stops the music and stares. We hear the hum of his tinnitus. He also sees the chalkboard. It has been wiped blank.", "INT. FREIGHT ELEVATOR - NIGHT96 96 Baby descends in the elevator. He is slumped against the side. His body language meek. He is all alone. But not for long-", "INT. UNDERGROUND PARKING P3 - NIGHT97 97 PING. Outside the elevator, between him and his car are - THREE FARMERS? No longer ghosts. Suddenly very alive. Baby can not process that these men are far from dead. Is he dreaming? They are bruised, tired and phenomenally pissed. The thick necked gorilla that is Armie walks toward Baby. ARMIE Hey little pig! BABY Are you ghosts? ARMIE It \u2019 s called Kevlar. Look it up. Armie faces Baby, breathing very hard right in his face. ARMIE -LRB- CONT \u2019 D -RRB- What you listening to? BABY Nothing. Armie slaps Baby very hard in the ear. Knocking one earbud out. ARMIE Good. Because I want you to listen very carefully to me - Baby can now hear something faintly in the background. A fairground organ. Is he dreaming? ARMIE -LRB- CONT \u2019 D -RRB- Where are your friends? Baby is slightly distracted by the faint fairground ambience in the background. He knows this song. BABY They are not my friends. But two are dead. The other. I don \u2019 t know. ARMIE Well you better rack your brains, before we stomp on them. Baby hears a chugging electric guitar. He knows this song. So do we. It \u2019 s \u2018 Brighton Rock \u2019 by Queen and it \u2019 s playing right now. BABY I didn \u2019 t shoot at you. ARMIE You stood by while the blood of our colleagues was spilt. That \u2019 s red ink for you my friend. Baby glances to the side. There \u2019 s a Dodge Charger nearby. Engine running. Stereo on. Playing \u2018 Brighton Rock \u2019. BABY I didn \u2019 t want them to get hurt. ARMIE This is falling on deaf ears. Just tell us where your colleague is. BABY I think that \u2019 s him. Right there. Baby points to the Charger. Armie and the Butchers turn. We see - Buddy. In the Charger. Turning \u2018 Brighton Rock \u2019 way up. And on a drum fill, he hits the gas. HARD. Charges the Farmers. Listening to Queen. They reach for their weapons, get off some shots before - CRUNCH. Buddy mows down two of the three Farmers. KILLS THEM DEAD. For real this time. Baby and Armie are left standing and shocked. Armie pops off a couple of shots at Buddy as he slams the Charger in reverse and speeds backwards to line up with Armie, Baby and the elevator. He looks insane at the wheel. Armie grabs Baby and points his gun at the kid \u2019 s head. BABY -LRB- CONT \u2019 D -RRB- He wants me dead too. Armie believes him. FUCK. Buddy punches the gas and tears toward Baby and Armie. Guitars descend into a bridge. Buddy ploughs into the wall. Baby makes it into the freight elevator. Armie doesn \u2019 t. He is pinned between Charger and wall. Baby cowers in the elevator behind and looks over the throbbing hood to see Buddy at the wheel. Grooving to Queen like a crazy man, As snare drums accelerate into a second verse. Baby pulls out his gun. Buddy slams into reverse again. Baby fires at Buddy as he screams backwards. He hits the windshield a couple of times, but then - Baby \u2019 s out. And Buddy is back in drive. Charging at Baby. As harmonized guitars wail, Buddy bears down on Baby. But instead of retreating further back, he runs out of the elevator and TOWARDS the Charger - FREDDIE MERCURY It would be of no small avail to talk of magic in the air. Just as Buddy is about to CRASH INTO BABY and the wall behind, the kid RUNS AND JUMPS ON TO THE HOOD OF THE CAR. That \u2019 s some Jackie Chan shit right there. Buddy CRUNCHES into the wall as Baby slips over the roof and nimbly sprints in the other direction to his car. Buddy can \u2019 t believe it. He reverses out as Baby makes it back to his Mustang, jumping back in. Buddy spins around. His car is now pretty gnarled up. He looks to see Baby back in his Mustang. Back at the wheel. Back in the driver \u2019 s seat. But - Baby needs something important first. As he guns his engine, he grabs the CD of Queen \u2019 s \u2018 Sheer Heart Attack \u2019. It is still wrapped in plastic. He tries to tear it open with his teeth. Buddy senses a pause and floors his fucked up Charger to ram the Mustang in time with the driving Queen chords. Baby is still trying to unwrap the damn CD with his teeth. He guns the engine and slams into reverse. Hits the gas. Buddy chases the reversing Baby across the parking lot. Baby still unwrapping with one free hand, the other on the wheel. Baby gets the cellophane off. But there \u2019 s still the annoying plastic label sealing the case. Behind Baby - A concrete pillar looms FAST in the back up camera. Baby snakes the Mustang, missing the pillar. On a huge G chord. Buddy hits the pillar. BOOM. As Brian May flourishes, Baby spins the car 180 fast. He also has the first plastic label off. He faces Buddy again. Buddy slams back out from the pillar. Swerves to charge. Baby starting picking off the other label and reverses again, driving one handed to a crazy guitar solo. He snakes it once more, leading Buddy directly into the Farmer \u2019 s SUV. SLAM. As Buddy smashes into the SUV, Baby pulls another 180 on the concrete, burning as Brian May melts his fretboard. Baby now has the CD out and pops it into the player. As Buddy unwraps his Charger from the SUV, Baby fast forwards his copy of \u2018 Brighton Rock \u2019 so it is in sync with Buddy. Buddy can see and hear Baby doing this and can not believe it. He \u2019 s trying to get his killer track playing at the same time. Two hard bitten criminals with duelling cars and stereos. Buddy pops backwards fast, but Baby, with one hand on his stereo, slams into drive, gunning hard as guitars wail. BOOM. Baby clips the Charger on the nose. Buddy is spun like a bumper car. He comes to a stop. Strains to see Baby behind. He pulls back to find Baby circling around him like a shark. As Queen play elaborate drum fills, Buddy \u2019 s Charger dances with the Mustang to get distance. The kid \u2019 s showing off. Baby still fast forwards through \u2018 Brighton Rock \u2019 on his stereo as he pulls out of the circle and charges forward. A whammy bar holds a growling low note. Baby pulling another bootleggers turn so that he faces Buddy again. He \u2019 s now in sync with his stereo and he has the hint of a cocky smile. Two cars, two stereos, one track. The tempo shoots up. Buddy floors it. Charges Baby. Baby doesn \u2019 t move at first but - As hi hats kick up the pace, he suddenly reverses, screaming out of P3 and up the winding slope of the access ramp. Over pounding guitars, Baby reverses faster than you would drive forwards. He doesn \u2019 t look up, uses only the back up camera. Glances to see Buddy furiously trying to keep pace. They circle around the winding ramp, screeching tires echo in the structure and mix in with the ferocious guitars. Past P2, Baby keeps ascending in reverse at crazy speeds. Buddy struggles to keep up. Gunning his fucked up Charger. Baby gets ahead of the curve, Buddy can no longer see him until he explodes into P1. There are more cars on this level. Abandoned overnight. Down the aisle, Baby \u2019 s Mustang executes another amazing Rockford turn, spinning a tight 180 and facing forward. Buddy guns it and chases, when on another whammy bar note - WHAM! Baby \u2019 s Mustang goes right into the wall. Partially smashes the barrier that separates from a steep drop to P2. Buddy slows. WHAT THE FUCK? He pulls up to the crashed Mustang - But Baby is not inside. The song is still playing. Then - As chugging guitars return, we see a figure run past in the background. Buddy catches it too. That. Fucking. Kid. As the solo guitar chugs low and lower, Buddy reverses up, looking between the parked cars to see if he can see Baby. Shadows, glimpses. Amongst the playground of these abandoned cars, Baby leads Buddy in a merry dance. Buddy pulls out his gun. Looks around the moving shadows in the parking lot, aims to see if Baby is hiding out - On a wailing guitar, he swings his gun at - A CHUBBY SECURITY GUARD, who is right in the line of fire, drops his coffee and runs right back out of the parking lot. Frustrated, Buddy swerves to the second aisle of cars, determined to smoke out Baby. Looks low on the ground when - HEADLIGHTS SWITCH ON. A dormant town car ROARS into life and rams the Charger. BOOM. Buddy is slammed into a parked car. The town car winds back. SLAMS again. Baby is at the wheel. Buddy takes the second hit, but when he points his gun at the town car, it is already reversing up and just crashes into the wall. Baby is no longer at the wheel. Again, what the - Is Buddy going mad? Or is Baby magic? Here and then gone. As the guitars build up again, Buddy turns back into the original aisle, the crashed Mustang now behind him. He looks to one side, then the other but not - AHEAD. Drums fill. Bass ramps up. HEADLIGHTS FLICK ON. A third car, a big red angry Yukon, faces him and screams forward. Buddy has nowhere to go and no run up. He \u2019 s trapped. Baby is at the wheel, gunning the Yukon, flooring it. As the song rushes to a climax - BOOM. Baby smashes into the Charger. BOOM. The Charger slams back into the Mustang, which breaks through the barrier and smashes down to P2. Buddy stomps the gas. His tires screaming. But the Yukon is winning the game of shove ; Baby pushing Buddy to the edge. Buddy raises his gun, fires. Baby ducks. A clean bullet hole where his head once was. Both tires SCREAM. Buddy raise to fire again. Click. He \u2019 s out. Game over. The Charger tumbles over the broken barrier, landing upside down on top of the fallen Mustang. The echo of carnage rings out with the final chord of the song. \u2018 Brighton Rock \u2019 ends. Baby reverses quickly to the exit. Then stalls. Sirens can be heard distantly. But Baby thinks. Turns. Back down to P2.", "INT. UNDERGROUND PARKING P2 - MOMENTS LATER98 98 Baby pulls up to the wreckage of Buddy \u2019 s Charger. It rests on top of his crushed Mustang. The driver door of the trashed charger is obscured. We hear the engine hiss and die. Baby jumps out of his car and reaches into the Mustang. Pulls out the Queen and the Quincy Jones CD. Then hears - An open door chime. Baby slowly gets up and peers around to the other side of the wrecked Charger. Blood splats on the concrete. The door open. Behind him, the SNAP of a new clip. Baby turns to see Buddy, a hunched up, limping, bleeding mess. He is clearly dying. His head bleeding, his torso RED. Buddy approaches Baby, gun aloft. As the color drains from his face, there \u2019 s a hint of the Buddy from earlier. A smile. BUDDY What can I say Baby? You did great. You aced it. Baby, not sure where this is going, is fixed to the spot. BUDDY -LRB- CONT \u2019 D -RRB- But you took away something I loved- Buddy is at point blank range. Gun aimed at Baby \u2019 s head. BUDDY -LRB- CONT \u2019 D -RRB- So you know I \u2019 ve got ta do the same. BANG. Buddy open fires right in Baby \u2019 s ear. BANG. Buddy fires in the other ear. Buddy falls down DEAD. Baby falls down DEAF. HORRIFIC RINGING SOUND. Like the tinnitus amplified a million times into a intense, awful WHINE. Baby writhes on the floor. He rolls to see Buddy \u2019 s lifeless face. Reflected on his dead skin. Red and blue lights. He can \u2019 t hear the sirens, but knows the cops are coming. Baby tries to stand, but his balance is off. He tumbles, his hand going straight into broken glass. He screams, but we can not hear it over the WHINE. Neither can he. Baby struggles to get to his car. His equilibrium all off. All the while the red and blues are getting closer Baby falls into his car. Fumbles to start it. The car feels alien. Like he can not operate without sound. Baby struggles for the stereo, takes the Queen CD out and puts it into the CD player. Then turns the volume up, up, up - The music starts. It \u2019 s so loud, it makes the rear view mirror shake violently. In it we see, POLICE CARS turn the corner. Baby puts one bloody hand on the wheel, one on the speaker in his driver door. Feels the vibrations of the music and then - HITS THE GAS. Screaming out of P2 and roaring up the ramp. The Black & Whites right behind him. We hear NOTHING of the cars. Only the whine in Baby \u2019 s ears. We see the rear view and wing mirror pulse with the music. The tempo pulses through Baby \u2019 s hand on the speaker. Baby makes it back to P1, but a cruiser BLOCKS the exit. The top level is FULL OF COPS. The only way out? The way in. Baby swerves towards the \u2018 SEVERE TIRE DAMAGE \u2019 sign. His tires blow out, but he accelerates into the night, wheels on fire. The cops are too slow to catch him. They struggle to maneuver, as the Pacific Ghost disappears up the street. The WHINE lingers on as a COP CAR pulls back out onto the downtown streets and we see what he sees - An empty street. An empty car. An open door. And no Baby.", "INT. CAR - DAY Sunlight. Baby is out cold. He looks bad. Cut, bruised. His damaged hand is bandaged with whatever rag was in the car. He wakes and sits up. He still can not hear. But he can see. The diner. He is parked right outside. What was a friendly place before, now feels off. He can not hear a thing. Feel a thing. Barry White can \u2019 t help him now. He sees DEBORA. Strolling into the diner. A pretty girl walking to work, just like the first time he saw her. She \u2019 s singing along with her iPod again. But Baby can not hear what she is singing. Baby looks to the cracked Quincy Jones CD, cues up a track. He tries to make himself look respectable in the rear view.", "INT. HALF EMPTY DINER - MOMENTS LATER100 100 Debora is behind her counter, about to start her day. The TV still has non-stop news coverage of the events of the last 24 hours, but again the sound is down. The news reports show an artist impression of Baby. But no name. He is a mystery man. Debora picks up an LA Times also with the sketch of Baby on the cover and shakes her head. She can \u2019 t believe it. Then - BABY walks in. Limping. Cut. Bruised. He seems different. Debora freezes. Her fellow staff don \u2019 t see Baby yet and don \u2019 t connect the man from the TV or paper to the one who just calmly walked up to the counter. Baby tells Debora quietly but firmly. BABY Let \u2019 s go. Debora breathes fast. Something in the tone of Baby \u2019 s voice has changed. She doesn \u2019 t have time to think why. DEBORA Go? BABY I want you to come with me. Right now. Debora, as ever, can not read Baby \u2019 s face. She glances to see that one hand is firmly in his jacket pocket. Is he armed? DEBORA Okay. Gim me a second. Debora turns away and taking a pen out of her hair, quickly scribbles something on her order pad. She leaves it on the counter as she walks out of the diner. It reads - \u2018 Help? \u2019", "INT./EXT. CAR/DINER - CONTINUOUS101 101 Baby takes Debora to his car. A battered white \u2018 95 Cadillac Eldorado convertible. Opens the door for her like a gentleman. What \u2019 s more, he opens with his bad hand, no longer in his jacket. She notices he isn \u2019 t armed, but still gets in. Baby sits in the driver \u2019 s seat. Looks at Debora. She looks at him expectantly. He looks at her, goofily happy. She looks back into the diner. Colleagues have noticed she \u2019 s gone. And left with him. And still Baby smiles back at her. DEBORA Are we not in a rush? Baby cocks his head, like he doesn \u2019 t hear. She repeats. DEBORA -LRB- CONT \u2019 D -RRB- Are we in a rush? BABY We got all the time in the world. Debora doesn \u2019 t know how to respond to this. Half laughs. BABY -LRB- CONT \u2019 D -RRB- I have this song I wan na play you. Baby presses play. Huge rising horns. Baby reverses out.", "INT./EXT. BABY\u2019S CAR/LA STREETS102 102 \u2018 Lalo Bossa Nova \u2019 by Quincy Jones. A skipping Latin bossa nova beat. Cowbell. Shakers. Tambos. The sun is out. Sky is blue. Some clouds ahead. Baby plays Quincy Jones at FULL VOLUME. He can \u2019 t hear it, but Debora can. It \u2019 s brassy, loud, defiantly upbeat. She looks at Baby \u2019 s face. He observes the white lines stretching ahead and looks calm, happy. He turns to her, asks expectantly. BABY Do you like it? Debora almost smiles, catches herself. What is she doing, with the strange kid, who looks fucked up, driving off into the horizon? She is still in the waitress outfit. It \u2019 s crazy. DEBORA Yes. Yes I do. Baby doesn \u2019 t seem to think anything of it. In fact, we as an audience have never seen him happier. He \u2019 s beaming. Debora settles a little, she doesn \u2019 t know where they are going, but it isn \u2019 t fast. This is a Sunday afternoon drive, not a getaway. As the song settles into a slow soft toned guitar solo, she finds herself looking at the scenery. As horns return, she sees them first. BLACK & WHITES. In her wing mirror. The glass reverberates with the bass of the loud music, distorting their image. Baby sees them too. In the rear view. He simply sighs as they begin to crest over on a hill. And then on a mellow sax - ROAD BLOCK dead ahead. Police as far as the eye can see. Debora gasps. It \u2019 s a surprise party. But not a fun one. Baby slows. Behind, the police cars block off the street. All pedestrians and other cars have magically vanished. It \u2019 s just Baby, Debora and the cops. Baby stops. As he puts the stick into reverse, he looks to Debora. She has her eyes tightly closed. Her fingers clutch the \u2018 oh shit \u2019 handle. When she opens her eyes again, they are wet with moisture. She \u2019 s scared. He doesn \u2019 t want her to be scared. He turns the engine off. But, magically, the music continues for our benefit. To Debora \u2019 s amazement, Baby gets out of the car and walks toward the cops, hands on his head. Quincy Jones has completely taken over and we can not hear the harsh shouting of the police as they approach Baby from all sides, guns trained, barking instruction. On Debora, she \u2019 s relieved, confused and... conflicted? To us the image of the cops approaching feels very surreal as, unlike the opening credits, the police are the only ones in time with the music, approaching Baby in step with Quincy. Baby takes off his jacket to show he is unarmed. With just a T- shirt and jeans on, he looks like what he is, a kid. He turns back to her and mouths - BABY Sorry. The police grab him, throw him violently to the ground and swarm around him. Debora can see they are beyond angry. As Baby hits the deck, all the instruments drop out and on a four bar drum solo, the cops proceed to kick and punch him. Debora jumps out the passenger door and SCREAMS - DEBORA No! MONTAGE : The following is set to the supremely upbeat \u2018 Lalo Bossa Nova \u2019. In this sequence, everyone is in time with the beat, except a beaten, bruised and defeated Baby. - We see Baby \u2019 s mug-shot taken. - Baby in court being sentenced. - We see Debora on the witness stand. Swearing an oath. - Baby in shackles, walking with other prisoners. - Baby on a prison bus driving north. - Baby arriving at the big house. - Baby being given his new clothes. - Baby walking with a guard down a concrete corridor. - Baby being shown to his 9 \u2019 by 5 \u2019 prison cell. He takes in his living quarters. His ELDERLY CELLMATE is roughly the age of Joseph. His new one room apartment. The song fades out. As he sits alone with his thoughts, we are left with Baby \u2019 s buzz of deafness. - Time passes. Baby navigates prison life. - Through the buzz, we see Baby focus on anything that has visual rhythm. People doing jumping jacks in the yard. A warden shutting cell doors at night. People sparring in the gym. Someone mopping the floor. - We see him in the machine shop, hypnotized by a metal stamping contraption. Other inmates working here wear eye and ear protection. Baby only has the protective visor on. He stares at the machine, nodding as if listening to dance music. Tries to get lost in the rhythm of the machine.", "INT. BABY\u2019S CELL - DAY103 103 On Baby, sitting alone in his cell, staring out to nothing. A guard comes past and hands him an envelope. Inside is a postcard with a 50s style illustration of a young couple in a classic convertible, just like the artwork in the diner. Also inside, a beautiful, neatly handwritten letter. But first Baby notices : The scent. He sniffs, inhales the perfume on the letter. When he stops, he cocks an ear at the faint sound of burning rubber.", "INT. PRISON UNIT - DAY104 104 Baby wanders out of his cell, letter still in hand. The noises of roaring engines and screeching tires reverberate around the prison halls. It emanates from the TV room. Baby enters this communal room, where inmates gather around a 35 inch TV set showing the noisy Sunday NASCAR races. Baby sees his ELDERLY CELLMATE sitting at the back of the room. He sits down by him. Shows him the letter. BABY What \u2019 s this say? The Elderly Cellmate peers through thick glasses at the fancy handwriting on the letter and blankly intones. ELDERLY CELLMATE \u201c Hey Baby. I \u2019 m sorry too. I know from court your real name is Miles, but I don \u2019 t know too many Miles songs so we can stick with Baby. Deal? Baby stares at the Elderly Cellmates lips and we magically hear Debora \u2019 s actual voice as he continues. DEBORA -LRB- V.O -RRB- I found another Debora song. It \u2019 s by Dave Edmunds. The lyrics say she \u2019 s a \u2018 heart breaking, love making connoisseur \u2019 and frankly she sounds like a bad person, so I am discounting it. Hope this finds you okay. Maybe drive off another time? D. \u201d Baby closes his eyes. Hears the sweet music of automobiles.", "EXT. PRISON - DAY \u2018 Baby Driver \u2019 by Simon & Garfunkel. Baby walks out of the prison gates into the sunshine. Waiting for him is a smiling DEBORA. Looking adorable but- She is wearing 50s dress ; bobby socks, pleated skirt, white blouse, cardigan over the shoulders, just like the young woman in the artwork from the postcard. She stands before a gleaming classic convertible, a white 1954 Cadillac Eldorado. She opens the passenger door for Baby. Baby walks over to the car. He is now also wearing 50s clothes, looking like the young man from the diner artwork. Baby jumps in. Debora pops it in drive. They kiss and then head out on the open road. 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Between jobs, he remixes snippets of conversations he records and cares for his deaf foster father Joseph. At Bo's Diner, he meets a waitress named Debora, and they start dating. Baby's next robbery goes awry after an armed bystander chases them down, but Baby evades him and the police. Having paid his debt, Baby quits his life of crime and starts delivering pizzas. Doc interrupts Baby's date with Debora and insists he join a post office heist, threatening to hurt Debora and Joseph should he refuse. The crew consists of easygoing Buddy, his sharpshooter wife Darling, and trigger-happy Bats, who takes an immediate dislike to Baby. When the crew attempts to purchase illegal firearms, Bats recognizes one of the dealers as an undercover cop and opens fire. They kill most of the dealers. Afterward, Bats makes Baby stop at Debora's diner, unaware of their romance. Baby, aware of Bats' homicidal habit, stops him from killing her to avoid paying. Doc is furious, revealing that the dealers were dirty cops on his payroll. He decides to cancel the heist, but the crew overrule him. Baby attempts to slip away late that night, hoping to take Debora and leave Atlanta, but he is stopped by Buddy and Bats, who have discovered his recordings and believe he is an informant. Baby convinces them and Doc of his innocence by playing them a tape of one of his remixes. During the heist, Bats kills a security guard. Disgusted, Baby refuses to drive away, causing Bats to hit him. Baby rams the car into some rebar that impales Bats, killing him, and Baby, Buddy, and Darling flee on foot. When Darling is killed in a shootout with police, Buddy blames Baby for her death and vows to kill him. Baby steals a car and flees to his apartment. After leaving Joseph at an assisted living home with his heist earnings, he rushes to get Debora at Bo's Diner, where he finds Buddy waiting for him. Baby shoots Buddy and flees with Debora as police reinforcements swarm the restaurant. Back at the safe house, Doc initially refuses to let Baby take back one of his tapes, even though it only contains his mother singing, but relents when Debora arrives to console Baby. Doc supplies the couple with cash and an escape route out of the country, saying he was also in love once. The police who survived the arms deal confront Baby, Debora, and Doc in the parking garage, and Doc kills them all. Buddy then arrives and kills Doc, and a cat-and-mouse game ensues until Buddy has Baby at his mercy. He fires a gun next to each of Baby's ears, temporarily deafening him, before Debora hits Buddy with a crowbar. Baby shoots Buddy in the leg and Buddy falls to his death. Debora flees the scene with Baby. The next day, Debora and Baby encounter a police roadblock, and Baby decides to surrender. At his trial, Joseph, Debora, and other people affected by his crimes testify in his defense, citing his acts of compassion and mercy. He is sentenced to 25 years in prison, subject to a parole hearing after five years. Debora stays in contact with Baby during his incarceration and greets him outside the prison gates on the day of his release in a vintage car, just like in his dream.", "name": "Baby_Driver"}
{"scenes": ["BLACK A young man's V.O. : ADULT LANDON -LRB- V.O. -RRB- I was born in Beaufort, North Carolina. A place where the air always smells of pine and salt and sea. The voice is gentle. Slightly Southern in inflection. A young doctor's soothing manner.", "EXT. COASTAL NORTH CAROLINA (DECEMBER) (PRESENT) A vast view of the coastline in winter - beaches, rivers, sea marshes, inlets - ebbing and flowing. ADULT LANDON -LRB- V.O. -RRB- For many, days and nights are spent fishing Pamlico Sound or crabbing the Neuse River. The CAMERA FINDS a small coastal town, edged by a harbor on which fishermen toil.", "EXT. BEAUFORT, NORTH CAROLINA - MORNING (DECEMBER) The CAMERA, MOVING inland, CROSSES OVER modest houses decked with plastic rooftop Santas. ADULT LANDON -LRB- V.O. -RRB- While the ocean may be the focus of daily labor, churches have always tried to be the focus of life. And MOVES UPHILL TO.", "EXT. MAIN STREET Where fake snow is sprayed on store windows. The CAMERA CONTINUES TO the far side of Main Street - with its stately homes with big lawns, flower beds, and tasteful Christmas garlands. ADULT LANDON -LRB- V.O. -RRB- When I lived here, there were eighteen churches within town limits alone.", "EXT. FOUR-WAY STOP From each corner, four churches face each other. The Fellowship Hall Christian Church, the Church of the Forgiven People, the Church of Sunday Atonement, and All Saints Church. ADULT LANDON -LRB- V.O. -RRB- They sponsored pancake breakfasts, rummage sales, car washes, and softball games.", "EXT. LANDON'S TRUCK - TRAVELING The CAMERA FINDS and FOLLOWS a newish sport utility vehicle with MD plates as it passes a rummage sale and a softball game. ADULT LANDON -LRB- V.O. -RRB- You'd think that all the people here were friendly, welcoming, open - hearted. Dr. LANDON CARTER, 33, drives the truck.", "INT. CAR - TRAVELING Landon looks urban, prosperous, well - groomed - but retains his boyish whimsy and sense of irony. A cell phone and overnight bag on the seat next to him. ADULT LANDON -LRB- V.O. -RRB- and that money or family background or education or luck did n't matter. Landon reaches out to adjust his side mirror, revealing a simple gold wedding band on his left hand.", "EXT. STREET - TRAVELING Landon's truck turns the corner and slows in front of the huge Southern Baptist church. ADULT LANDON -LRB- V.O. -RRB- But they did matter. They mattered to everyone. Except Jamie Sullivan. Landon's truck turns into a driveway just past the church and heads for a cluster of buildings. Behind the buildings, a cemetery.", "EXT. CLUSTER OF BUILDINGS - CONTINUOUS ACTION The truck pulls up in front of the old parsonage - it's a different color than he remembers. ADULT LANDON -LRB- V.O. -RRB- Astronomer. Actress. Believer in God. Landon hesitates a moment, then climbs out of his truck.", "EXT. OLD PARSONAGE - CONTINUOUS ACTION Landon heads up the walk and onto the front porch. Presses the DOORBELL. It RINGS inside. Landon is edgy, unsettled. ADULT LANDON -LRB- V.O. -RRB- Believer in me. A nurse opens the door.", "EXT. BEAUFORT HIGH GYM - NIGHT (NOVEMBER, 1985) ROCK MUSIC drifts out open doors - barely recognizable as `` Born in the U.S.A.'' Students hang. Brains, preps, richies, heavy metals, jocks, punk rockers, goths, geeks. Mixing without mixing. Most are red - eyed, woozy, wasted. A couple of boys break dance to a BOOM BOX. Missing are the criminals. A shiny T - top CAMARO ROARS up. Stops, TIRES SQUEALING. VAN HALEN BLASTING. LANDON, 18, at the wheel. He is impulsive, sexy - troubled, with the nothing - to - lose courage to act on destructive whims. He is envied, copied, feared.", "INT. CAMARO EMPTIES roll and CLINK on the floor. A tiny plastic skeleton dances as it hangs from the rearview mirror. Landon stamps a joint into the ashtray. LANDON -LRB- impatient, edgy. -RRB- Where is he? He's supposed to be here. ERIC -LRB- from back seat. -RRB- I need to whizz. ERIC's skinny, high - energy. A leg always jiggling. LANDON Eric. You're such a hummingbird. BELINDA I wan na dance. BELINDA is Landon's girlfriend. Richie princess, a bad - girl pretender. Big shoulder pads. Jellie bracelet. Swatch watch. LANDON So go dance. BELINDA With you. LANDON I. Do n't. Dance. ERIC -LRB- pointing, like Tattoo. -RRB- Dee plane. Dee plane. They laugh. Clay's by the dumpster.", "EXT. DUMPSTER CLAY, obese, wearing a too - small student monitor vest, is dumping garbage from a trash can. A loud HONK. Clay turns to see the Camaro, then turns back to the school, coast clear. He quickly heaves in the empty trash can as the Camaro pulls up. Eric pushes a door open. Empties fall from the back seat. Clay climbs in. CLAY Go go go go. PRINCIPAL ED KELLY, middle - aged, pockmarked skin, Casio calculator watch, exits the gym.", "INT. CAMARO Landon's looking at Kelly in the rearview mirror. LANDON -LRB- mocking. -RRB- Kelly. He looks like his face caught fire and he tried to put it out with a fork. Landon inches the car forward, teasing Clay, teasing Kelly. ERIC He could n't find his own butt with both hands at high noon in a hall of mirrors. Sniggering laughter. CLAY Go! Landon presses the gas. The CAR ROARS away. CLAY Kelly's so old he - LANDON We're done with that already, bonehead. Clay smiles, good - natured. He often misses social cues.", "EXT. CAMARO - TRAVELING Landon drops Clay's student monitor vest out onto the road. Another car runs it over.", "EXT. ROAD Mr. Kelly walks over, picks up the vest. Shakes it. Frustrated. Eyes the empty beer bottles by the dumpster.", "EXT. OUTSIDE CEMETERY GATE - LITTLE LATER Camaro is parked on the dirt access road, headlights shining through the locked rear gate. JOHN COUGAR MELLENCAMP's `` Small Town'' playing.", "INT. CAMARO Landon, Clay, and Belinda sit drinking, smoking weed. Under the MUSIC, a CB RADIO scanner CHATS quietly. ERIC -LRB- O.S. -RRB- So which is it?", "EXT. CAMARO Eric finishes taking a leak. ERIC -LRB- calling over, repeating. -RRB- Landon. To save your life, you have to either go deaf or go numb in your dick and balls. Eric climbs back in the car.", "INT. CAMARO Landon, Belinda, Clay, Eric. LANDON I'm thinking. ERIC No thinking. The doctor only gives you three seconds to decide - LANDON Could I lose one ear and one nut? ERIC No questions, no negotiating - BELINDA -LRB- to Eric, annoyed. -RRB- Where do you get these stupid questions -? LANDON Hypotheticals - ERIC -LRB- to Belinda. -RRB- I'm just wondering - BELINDA Do n't wonder. Landon's looking out at the night. LANDON Jamie Sullivan. Everyone looks up. Derisive laughter. THEIR POV A pale, contemplative GIRL, 17, is jumping down off the gate, caught in the headlights. Wearing clothes she probably made herself ; long hair hiding her face. She lives in her mind, not her body. BACK TO SCENE BELINDA Brain. ERIC Bible freak. LANDON Cherry.", "EXT. CAMARO JAMIE -LRB- GIRL -RRB-, hearing the laughter, gathers herself and approaches Landon's window, her SNEAKERS CRUNCHING in the GRAVEL. She crosses her pilly brown sweater across her chest. JAMIE -LRB- to Landon, tentative. -RRB- Hey. Hi. Your lights. Any chance you could. turn them off - BELINDA -LRB- leaning over Landon. -RRB- God give you this road? JAMIE No - BELINDA Then we'll be keeping the lights on. LANDON -LRB- to Jamie, seeming nice. -RRB- If you want the lights off, I'll turn them off. And he does. Darkness. JAMIE Thank you. Thank you so very much. She backs away from the car, grateful. From the car : BELINDA -LRB- O.S. -RRB- I ca n't see a friggin' thing.", "INT. CAMARO Landon switches on the dome lights for Belinda. BELINDA -LRB- imitating Jamie. -RRB- ` Thank you. Thank you so very much.' But Landon's looking at Jamie. Almost counting the seconds. HIS POV Jamie scaling the fence, practiced at it. BACK TO SCENE Landon quickly flicks the high beams. Belinda, Eric, and Clay snicker and snort as they see -", "EXT. CEMETERY GATE Jamie, startled, paused at the top. But instead of looking bullied, her face shows determination, humor even. A moment later, she jumps down on the far side. Disappears.", "INT. CAMARO Belinda, Eric, Clay are still laughing. Landon's smiling. ERIC Ten years. Where're you gon na be? -LRB- to Belinda, mocking. -RRB- Hypothetically? BELINDA Paris. CLAY Dead. Laughter. LANDON Right here. With you. He clinks Eric's raised beer. More laughter. But Landon's face clouds slightly - maybe this is n't where he'd really like to be. CLAY ` Twilight Zone.' ` One Step Beyond.' ` Tales from the Dark Side.' ERIC ` Twilight Zone,' dipshit. LANDON Do n't call him a dipshit. ERIC You do - LANDON And you do n't. -LRB- beat, re : Jamie. -RRB- What's she doing in there? BELINDA Nothing I'd be doing. Laughter. Landon kisses her. With tongue. A blinding white light dances through the car and settles on Landon and Belinda's faces. LANDON Shit! He scrambles out of the car.", "EXT. CAMARO Landon looks up at the fence. LANDON'S POV Jamie sitting atop, holding a large mirror, reflecting the headlights back into the car. BACK TO SCENE They stare at each other. His annoyance turns to mild respect. The CB RADIO comes to life inside the car. A GARBLED TRANSMISSION. BELINDA -LRB- O.S. -RRB- Landon!", "INT. CAMARO Landon leaps in. Pops out the Van Halen. LANDON The address?! ERIC York Ave. Landon pops in a WHAM! tape. AMPS it UP. `` Freedom.'' LANDON What number? Nobody answers. LANDON Dildoes. Landon turns the car around.", "EXT. ACCESS ROAD The Camaro fishtails away. TIRES CRUNCHING, red taillights bouncing on the rough road. The car turns left onto the paved road and speeds out of sight.", "INT. CAMARO Landon drives recklessly. Rushing. He makes a SCREECHING turn. LANDON'S POV - STREET AHEAD Two fire trucks rumbling by houses, SIRENS WAILING.", "EXT. CAMARO Turns right, following the fire trucks.", "INT. CAMARO Landon smiles at Belinda. She smiles back. Fun. Landon takes a slug of beer. Turns his eyes back to the road. LANDON'S POV - FIRE TRUCKS make another turn. Then a flash of light, movement. A figure on the road.", "EXT. ROAD An old man walking his little dog. Crossing the street.", "INT. CAMARO - LANDON turns the wheel hard. Jams his foot on the brake.", "EXT. ROAD The Camaro swerves. TIRES SQUEALING. A LOUD, HEART - SEARING THUMP. The old man - sideswiped, drops to the asphalt. The CAMARO SLAMS into a light pole. CRUNCHING METAL. TINKLING GLASS.", "INT. CAMARO Quiet. Landon, Eric and Clay are banged up. CLAY Christ, man. LANDON You okay? ERIC Yeah. Belinda's head leans on the dash. Her shoulders shake. Landon, bleeding on the forehead, reaches over. Scared. LANDON Belinda? She lifts her head. Looks at him. She's laughing. He kicks his door out.", "EXT. STREET The Camaro crumpled into the light pole. Headlights askew. Clay and Eric and Belinda getting out, dazed. Landon runs to the old man. Kneels. Shakes him. No response. The man's TERRIER BARKS at Landon. LANDON'S FACE Frightened, anguished. The real Landon showing for an instant. Police SIRENS WAIL in the b.g., growing LOUDER.", "EXT. OLD CHEVETTE - HALF HOUR LATER A battered Chevette steers through a working - class neighborhood.", "INT. CHEVETTE Landon's mother, CYNTHIA, 35, drives. She's weary with sun - worn skin, but still attractive. She wears a skimpy black - and - white cocktail waitress uniform under her coat. CYNTHIA What if they expel you? LANDON Kelly would n't do that. CYNTHIA Why not? LANDON Cuz nothing happened at school. He smiles his biggest most reassuring smile. CYNTHIA Do n't smile at me. It's not going to get you out of this. LANDON Why not? It always has before.", "EXT. BEAUFORT HIGH - MONDAY (7:59 AM) By daylight, a modern brick and glass structure.", "INT. PRINCIPAL'S OFFICE - 8:05 AM Mr. Kelly gestures for Landon to sit. Landon does n't. His forehead still shows a bruise. MR. KELLY I had hopes for you. LANDON Like I'd grow up to be president, another Reagan. MR. KELLY -LRB- not laughing. -RRB- Like you'd make it to June. Even cutting half your classes, you have a B - average. LANDON I'm no dummy. MR. KELLY That's right. You just act like one. On his desk, he places the empty bottles that rolled out of the Camaro. LANDON Those are n't mine. MR.KELLY They came from your car. LANDON I was n't the one drinking. Kelly holds up the police test finding. MR. KELLY Your blood alcohol level. Maybe you were legally in the clear, but I make the rules here. Landon scowls, knows he's defeated. LANDON You expelling me? MR. KELLY I am. LANDON Now I can do what I want. MR. KELLY That's right. -LRB- sarcastic. -RRB- The world is your oyster.", "EXT. SCHOOL ENTRANCE - MINUTES LATER Landon busts out, arms high, fists tight, like a righteous political prisoner. Freedom. He struts through the courtyard. Not a care in the world.", "EXT. CARTER DRIVEWAY - HOUR LATER Landon watches a tow truck lower the crumpled Camaro. A neighbor kid, JOSH, 12, watches from across the street, on his way to school.", "EXT. CAMARO - MINUTES LATER Landon pokes and prods his car - the engine, underneath, the body, the paint. A discouraging mess.", "INT. CARTER HOUSE - HALLWAY - MINUTES LATER Landon knocks on Cynthia's bedroom door. LANDON Mom. I need a ride.", "INT. CYNTHIA'S BEDROOM Dark. She wears a black eye - shield. Her waitress uniform hangs over a chair. CYNTHIA -LRB- sleepy, annoyed. -RRB- I'm not getting up to drive you somewhere. -LRB- beat. -RRB- What're you doing home?", "EXT. GARAGE - MOMENTS LATER Landon lifts the garage DOOR. LANDON'S POV - INSIDE GARAGE A murky place. Filled with old tools and junk and a grim old bike.", "EXT. MINI-MALL - AUTO PARTS SHOP - LITTLE LATER Landon comes out the glass door, his arms loaded, sees his bike. No way to carry. He looks around. The bus stop. A bus approaching.", "EXT. UNDER CAMARO - LATER BANGING, RATCHETING, CLINKING. Landon's working hard. A BOOM BOX playing SIMPLE MINDS' `` Alive and Kicking.'' LANDON'S POV - HIS MOTHER'S LEGS and worn terry slippers appear. CYNTHIA -LRB- O.S. -RRB- I want to talk to you. He pauses, annoyed, then rolls himself out.", "EXT. CARTER DRIVEWAY The mangled front bumper's on the ground. Cynthia stands there in her bathrobe. Upset. Landon's almost too much. CYNTHIA You're not hanging round here all day. LANDON I'm not hanging. I'm fixing my car - CYNTHIA You do n't need a car you ca n't drive for a month. Go see Marvin. LANDON ` Bout what? CYNTHIA About a job. Landon ignores her. Slides back under his car.", "EXT. UNDER CAMARO CYNTHIA -LRB- O.S. -RRB- He's going to try you as assistant manager. -LRB- beat. -RRB- You could be manager someday. Landon ca n't believe this.", "EXT. DRIVEWAY Landon slides back out. LANDON I'm not working there. Cynthia sets her jaw. He knows that look.", "INT. RESTAURANT - KITCHEN - LUNCH HOUR Landon is sweating, scouring pots. A crooked cap on his head, an assistant manager name tag on his shirt. He's making some headway ; only two more to wash. MARVIN, the owner, walks over. Beer belly, greasy hair. Dumps another pile of dirty pots and pans in Landon's sink. Landon glimpses his future.", "INT. PRINCIPAL KELLY'S OUTER OFFICE - EARLY AFTERNOON Landon paces, jumpy. Kelly's secretary, MISS TARBOX, quietly locks her purse in her bottom drawer. LANDON Who's he in with? MISS TARBOX He'll be with you when he's available. The door to Kelly's office opens. Jamie Sullivan exits with her father, the tall stern REVEREND HEGBERT SULLIVAN. Jamie eyes Landon as she passes by. LANDON -LRB- joking. -RRB- You expelled, too? Nobody laughs or even smiles.", "INT. PRINCIPAL KELLY'S OFFICE - MOMENTS LATER Mr. Kelly makes a note in Jamie's file. MR. KELLY Finding the real world to your liking, Mr. Carter? LANDON I want to come back. MR. KELLY -LRB- looking up, surprised. -RRB- Back? Were you ever really here? They both know Kelly has the upper hand. Kelly leans back in his chair, relishing it. LANDON -LRB- mumbling. -RRB- I want to graduate. Kelly studies Landon, the boy who ca n't get out of his own way. MR. KELLY -LRB- thinking aloud. -RRB- You could grace our hallowed halls again, if, while you're here, you make a sincere effort to be part of our little school community - LANDON -LRB- relieved. -RRB- I'd do that - MR. KELLY How would you do that, Mr. Carter? Landon shrugs, clueless. MR. KELLY -LRB- smiling. -RRB- Shall I give you a few ideas? LANDON -LRB- smiling, too. -RRB- Please. MR. KELLY Besides attending all your regular classes, I'd like you to help our janitorial staff after school - LANDON For pay? MR. KELLY For the inner satisfaction it will bring. -LRB- beat. -RRB- Saturday mornings, I'd like you to tutor disadvantaged students at our sister school - LANDON -LRB- joking. -RRB- I'm as underprivileged as they are - MR. KELLY The fact that you attend this school makes you privileged. His tone quiets Landon. MR. KELLY Finally, I'd like you to join the drama club. Rehearsals are Tuesday and Thursday evenings. LANDON -LRB- grumbling. -RRB- I'd work backstage or something? MR. KELLY Or something. They're doing a play for the holidays. LANDON When do I get time for me? MR. KELLY You do n't. That's the point. Landon's not happy, but he'll work with this. As he heads for the door : MR. KELLY -LRB- softer, trying to reach him. -RRB- Landon, none of us faculty see you the way you see yourself. -LRB- beat. -RRB- Some of us remember how your father - LANDON Then you remember more than I do. CLOSE ON BROOM pushing gum wrappers under a radiator.", "INT. SCIENCE CLASSROOM - AFTER SCHOOL Landon sweeps at the floor during the Star Club open house. A dozen nerds, including Jamie Sullivan -LRB- wearing her brown sweater -RRB-, stand at astronomy exhibits. Students wander in, listen, look. JAMIE -LRB- answering question. -RRB- - Saturn's 15 degrees to the right of red Antares and much brighter. To her small audience, she holds up a contraption made from a wire coat hanger. JAMIE This is a very simple device made from a coat hanger, plastic wrap and typewriter correction fluid. Does anyone know what it is? No one does. LANDON -LRB- barely audible. -RRB- A star frame. But Jamie hears. She regards him a moment, then keeps going. JAMIE This is a star frame. Clay and Eric enter, checking on Landon, glancing at Jamie. JAMIE A star frame will help you locate stars and planets with your naked eye - CLAY -LRB- scoffing, setting her up. -RRB- - Did God create the sun? JAMIE -LRB- taking him seriously. -RRB- Yes, God created the universe and all its physical laws. Even Einstein said it's a miracle that our world is comprehensible - ERIC - If God can do all that, why ca n't he get you a new sweater? Landon laughs loudly. Members of the club look at him. LANDON That was a joke. Laugh. Jamie smiles. She can laugh at herself. And she finds Landon funny.", "INT. CARTER KITCHEN - EVENING Landon washes up while his mother sets the table. The MICROWAVE HUMS in the b.g. CYNTHIA Your father dropped off an extra check. LANDON I do n't want his money. CYNTHIA It could help with a new car - LANDON - I like the car I have. He picks up the envelope with wet hands. Without looking inside, rips it in half. Cynthia smiles, quietly happy.", "INT. SCHOOL BUS - TRAVELING - SATURDAY MORNING Enthusiastic preppies, richies, other do - gooders, singing `` Karma Chameleon.'' Jamie sits in an aisle seat, reading, not singing. She turns around to look at Landon. He rides in the back row, staring out the window, wearing a Sony Walkman, glum. HIS POV To Z.Z. TOP'S `` Sleeping Bag.'' Out the window - Jefferson High School coming into view. Bars on every window, chain - link fence around the parameter, no grass.", "INT. JEFFERSON HIGH - LIBRARY - LITTLE LATER A big room with tables and chairs but few books. Pairs of heads are bent over textbooks and notebooks. Landon sits with LUIS, a freshman boy of mixed ethnicity. A geometry text between them. LANDON -LRB- reading. -RRB- - ` So what is the measure of angle x if A and B are similar triangles?' Luis is lost, intimidated. LANDON Know what ` similar' means? Luis shrugs. Luis looks down at the book as if for the answer, then at Landon, hopeless. He gets up and walks off. Landon looks up in disbelief and catches Jamie studying him. She's at a nearby table with her student, ISABEL.", "INT. SCHOOL BUS - NOON The DOOR SWISHES SHUT behind Landon as he hops aboard. He's late and heads for the rear bench seat. LANDON'S POV Jamie sitting there. And no vacant seats save next to her. BACK TO SCENE The bus begins to roll. Landon lurches forward. TRAVELING - LATER The bus is moving through Beaufort. Landon sits next to Jamie. Putting a new tape into his Sony Walkman. His body turned away. She's reading her book. JAMIE You going to visit Harold? Landon scowls. What - who is she talking about? JAMIE They let him out of the hospital yesterday. He's in a rest home on Oak Street. That old man. JAMIE He goes to my father's church. He could've died - LANDON - This your idea of small talk? JAMIE I do n't make small talk - LANDON - Obviously. JAMIE I just wanted to tell you not to give up. Sometimes you've got to back into the teaching from somewhere else. If he heard her, he makes no sign. She goes back to her book. A long beat, then : JAMIE What makes you volunteer? -LRB- pause. -RRB- Want to know why I tutor reading? Not really. JAMIE Because, growing up, books were my world. LANDON -LRB- mean. -RRB- Were? JAMIE You do n't know me. LANDON Your book and your brown sweater and your hair. What's more to know -? JAMIE - I wear the sweater because I'm cold. I read because no one talks to me. My hair is my hair. What is it exactly that's bothering you? LANDON You do n't care what people say? JAMIE You mean care what you say? I'm worrying about other things. LANDON Like what? The moons of Jupiter? JAMIE Ca n't you have a normal conversation? LANDON I do n't want to have any conversation. JAMIE Good, cuz talking to you is like trying to explain red to a blind person. She reads again. The bus pulls to a stop in front of Beaufort High. Belinda, wearing a neck brace, is waiting, leaning on her Cabriolet. Jamie watches Landon exit the bus. JAMIE'S POV - OUT THE WINDOW Landon greeting Belinda, kissing her.", "INT. SCHOOL AUDITORIUM - TUESDAY EVENING Landon opens a side door, peers in at the Drama Club. LANDON'S POV A big space with a stage. MS. GARBER stands before six geeky boys, and a dozen fat girls and Jamie. BACK TO SCENE Landon reacts - this girl actually chooses to be in these places? Ms. Garber looks up from her papers. MS. GARBER We're waiting, Mr. Carter. He slides in a row behind the others. Leans forward and pokes a boy, EDDIE JONES. Eddie's pimply and talks with his eyes squinched up. LANDON What's the play? Eddie hands him a photocopied script, The Rainmaker. EDDIE The - the - there's this drought an' - and a smooth t - t - alking guy comes and says he can m - make rain - LANDON - And the ugly farmer's daughter falls for him. I saw the movie. EDDIE Yeah. It's really g - g - good - LANDON - It blows. ON STAGE - MINUTES LATER Jamie and Landon sit in folding chairs, reading from scripts. Landon's wooden, showing how lame this is. LANDON -LRB- as Starbuck. -RRB-' I hope your dreams come true.' JAMIE -LRB- as Lizzie, sad. -RRB- ` They wo n't.' LANDON -LRB- as Starbuck. -RRB- ` Believe in yourself and they will. Let me ask you, Lizzie. Look in the mirror? Are you pretty -?' MS. GARBER - Landon, are you trying to be bad at this? LANDON No, it just comes naturally. Jamie smiles. Garber taps her script - continue. LANDON -LRB- as Starbuck. -RRB- ` It's got to be inside you. Then one day the mirror will be the eyes of the man who loves you. You'll look in that mirror and you'll be more than pretty. You'll be beautiful.' Ms. Garber eyes Landon, motions for him to keep going. LANDON -LRB- as Starbuck. -RRB- ` Look at me. Tell me what you see!' As Lizzie, Jamie looks into his eyes. JAMIE -LRB- as Lizzie. -RRB- ` Is it really me?' LANDON -LRB- as Starbuck, hamming. -RRB- ` Yes. You're - you're b - b - beautiful.' Hoots and laughter. Jamie looks away, humiliated. MS. GARBER Quiet! -LRB- announcing. -RRB- Landon will play the role of Bill Starbuck. Groans among the boys. Jamie is horrified. So is Landon. LANDON -LRB- to Garber. -RRB- No way. No thanks. I ca n't do it - MR. KELLY -LRB- O.S. -RRB- -LRB- offstage. -RRB- - You can and you will, Mr. Carter. Kelly's been standing in the wings. MR. KELLY -LRB- warning. -RRB- With all the sincerity and dignity you can muster. Everyone stares at Landon. He's trapped.", "EXT. AUDITORIUM - LATER THAT EVENING Raining. Landon exits behind all the others. Stands under an overhang, lights a cigarette, angry, waiting for a ride. Jamie approaches, something on her mind. LANDON -LRB- rude. -RRB- You're like this fly, buzzing buzzing everywhere - JAMIE - This play means a lot to me. LANDON -LRB- snorting. -RRB- This play -? JAMIE - I know you do n't suck at acting. Landon laughs. Refusing to take her seriously. Behind him, the lights go out as the school closes for the night. JAMIE But you have to make it a big joke because only dorks and dweebies like doing theater - LANDON - What are you going on about? Pause. JAMIE I can judge too. He exhales, eyeing her, daring her. JAMIE You do n't care about classes or graduating. But you like school because you're popular and you know you'll never be on top again. LANDON That's deep - JAMIE - Your act only works with an audience. LANDON My act?! She walks off toward her father's old Pontiac. The last car in the parking lot. Fire trucks rush by on the street below. Landon's ears twitch. He looks about. No one, no ride. He sees the Pontiac backing out of a parking spot.", "EXT. PARKING LOT - MOMENTS LATER Landon bangs on the side of her car as she drives past. LANDON A ride?! Please!", "INT. PONTIAC Jamie turns to look at him. JAMIE'S POV Landon, wet, desperate, his eyes pleading. LANDON -LRB- insincere. -RRB- We can talk about your helping me with my lines.", "INT. OLD PONTIAC - TRAVELING - MOMENTS LATER Jamie's at the wheel. JAMIE I know you do n't want help. LANDON Then we both know. -LRB- beat. -RRB- I'll point. You drive. Faster. He points the way, to the taillights of the fire trucks. The wet road glistens. JAMIE We're following fire trucks? LANDON Yeah. JAMIE Why? LANDON -LRB- duh. -RRB- Because that's where the fire is? He fishes in his pocket for a tape. Pulls one out. He's searching the dash - no cassette player. LANDON Fire is like a living thing. Wild. Unpredictable. JAMIE Like me. LANDON No. Not like you. She jerks the car across the center lane. Driving on the wrong side of the road. He grips the dash. LANDON What the -?! JAMIE So you agree you need help? LANDON'S POV - OUT WINDSHIELD Headlights looming, a car coming. Closer and closer. BACK TO SCENE LANDON Yes! She swings the Pontiac back to the right lane. Smiling. A car zips by in the other direction, HORN BLARING. JAMIE Really? Landon drops his attitude, his act. He toys with the glove compartment knob. LANDON Yeah. Kelly'll make me leave school if I screw up the play. JAMIE -LRB- to herself. -RRB- 28 and 42. Pause. He acts like he does n't hear, but he's interested. LANDON What's with the friggin numbers? JAMIE 28 is do something illegal. 42 is befriend an enemy. LANDON I'm an enemy? JAMIE Kinda. Yeah.", "EXT. ACROSS STREET FROM FIRE - LITTLE LATER Landon and Jamie walk around the fire, watching the fire and the firemen. Landon is just tolerating her. JAMIE The reason I got the part. I'm a little like Lizzie. Except I do n't worry about some man rescuing me. LANDON Good thing. If she's offended, she keeps it to herself. LANDON You got some kind of list? JAMIE Are you asking to mock me or do you really want to know? LANDON Maybe a little of both. They both smile. JAMIE I'll take a chance. LANDON Go for it. JAMIE It's like a to - do list, but for my life. He smirks. JAMIE If you ca n't imagine the future, you wo n't have one. He lights a cigarette. She reaches for it. LANDON -LRB- joking. -RRB- Having a cigarette. 100. She grins and takes a drag. They share the cigarette. LANDON So what else is on this list? JAMIE It's private. LANDON -LRB- cajoling. -RRB- You want to tell me. She eyes him, not certain she's willing to risk sharing her dreams with him. LANDON -LRB- guessing, rudely. -RRB- Get very wasted. Lose your virginity - JAMIE -LRB- correcting. -RRB- Spend a year in the Peace Corps. Make a medical discovery - LANDON -LRB- contemptuous. -RRB- Ambitious. JAMIE Being negative's a lot more work than being positive. LANDON Like you'd know. JAMIE I do know. -LRB- pause. -RRB- Be two places at once. learn to hit a baseball or turn a cartwheel. eat breakfast with chopsticks. He likes the frivolity of these. LANDON What's. Number one? She looks away, embarrassed. JAMIE -LRB- changing subject. -RRB- If you want help with your lines, I have two conditions. -LRB- smiling. -RRB- You have to promise not to fall in love with me. He's certain she's joking. LANDON No problem - JAMIE And you have to meet my father. He looks at her like she's crazy to worry about this. LANDON Fathers love me. CLOSE ON PARSONAGE FRONT DOOR swinging open. Reverend Sullivan looming tall. Ichabod Crane in a collar.", "EXT. PARSONAGE PORCH - WIDER - NEXT EVENING Landon gives a cheery little wave. He's very sweaty. His bike teeters on its kickstand in the b.g. LANDON Hey. Landon Carter. Landon offers his hand. The Reverend shakes reluctantly, eyeing him closely : Landon's Army boots, torn jeans, dirty t - shirt, aloof manner. REV. SULLIVAN -LRB- surprised. -RRB- You're in the play? LANDON Lead man. Jamie slides out the door. She looks good in jeans and a white t - shirt. Almost normal. In the b.g., Landon's BIKE CRASHES over. He bounds down the porch steps. LANDON -LRB- explaining bike. -RRB- They took my license for 30 days. But nobody's pressing charges. The Reverend looks at Jamie, concerned. Landon tries the kickstand, then leans the bike against a carefully trimmed bush. Not the best place. JAMIE I'll get something for us to drink - LANDON Do n't bother! But she's already gone. The Reverend gestures toward the open front door.", "INT. SULLIVAN LIVING ROOM - MOMENTS LATER Dark and prim with stiff furniture left to fade. Landon pokes around, then stares at a photo of little girl Jamie with her parents. He looks up, aware that the Reverend is studying him closely. LANDON You know our planet would not suffer for one nanosecond if humans died off. But if ants disappeared, that would be catastrophic. The Reverend waits, letting Landon suffer the silence. LANDON -LRB- confidence flagging. -RRB- Apropos of nothing. so. So so so so - REV. SULLIVAN Let's get something straight. You do n't know me. I do n't know you. But I know what you're about. -LRB- beat. -RRB- Keep your distance from this house - and from Jamie. His eyes lock with Landon's. His message clear. A NOISE and Jamie is there, carrying glasses of lemonade, all cheerful. JAMIE I miss anything?", "INT. PARSONAGE - KITCHEN - MINUTES LATER Jamie washes the lemonade glasses, happy. Her father comes in. REV. SULLIVAN The Carter boy. Tell me about him. JAMIE He wants help with his lines - REV. SULLIVAN He was driving the car that hit Harold Keene - JAMIE By accident - REV. SULLIVAN Jamie, he's careless. Reckless. -LRB- beat. -RRB- Is this really the best time to be making a new friend? JAMIE I'm supposed to always be alone? REV. SULLIVAN I do n't want you to see him outside school activities. JAMIE Fine. But I need to start deciding how to spend my time and my life. Pause. REV. SULLIVAN -LRB- gentler. -RRB- I'm sorry your mother is n't here to help you become a woman. JAMIE Dad, I've become a woman without her. Just not a pretty one.", "INT. JAMIE'S BEDROOM - ONE AM Jamie hops out of bed, pulls on jeans and a sweatshirt.", "INT. HALLWAY Jamie peers into her father's room. He's sleeping. She tiptoes to the staircase and down. Sneaking out.", "EXT. REAR ACCESS ROAD TO CEMETERY - TEN MINUTES LATER Landon is waiting when Jamie appears. He has scripts in his back pocket. They smile at each other, laugh. JAMIE -LRB- re : her father. -RRB- I know. Do n't say anything. LANDON He's a softy. Got him wrapped around my finger. JAMIE You think so. LANDON Know so. She grins, skeptical. JAMIE This way. ANOTHER ANGLE Jamie leads Landon toward the cemetery rear gate. JAMIE People think I'm strange, do n't they? LANDON -LRB- smiling. -RRB- Yes. JAMIE Because I try to be nice to people? LANDON Yeah. Maybe. I dunno. JAMIE Do you think I'm strange? Pause. Landon's caught off - guard by her frankness. LANDON Yeah. But that can be good.", "EXT. CEMETERY - REAR GATE - NIGHT Jamie quickly scales the fence. Landon's right after her. LANDON Why are we here?", "INT. CEMETERY Jamie drops down. Takes a flashlight from her bag. JAMIE Cuz it's dark and quiet and you can see into another world. LANDON -LRB- on top of gate. -RRB- The world of the dead? JAMIE -LRB- being mysterious. -RRB- Could be. He drops down, not sure what she means. She's already walking away. He follows. JAMIE My mother's buried near here. LANDON My father's alive but it's like he's dead. She looks at Landon, feeling his sorrow, then unlocks a storage shed. Opens the door. Enters. Returns a moment later carrying several pieces of an odd - looking home - made cylindrical device. LANDON What is that? JAMIE -LRB- proud. -RRB- That is my telescope. SAME SCENE - MINUTES LATER The ten - inch Dobsonian telescope is pointed at the sky. The eye - piece is at the end of the long scope ; the scope rests on a plywood base. Landon looks through the eye - piece. POV -LRB- THROUGH TELESCOPE -RRB- - CLOSE ON GOLDEN PLANET a beautiful view of a golden planet with a broad, flat ring system. WIDEN. LANDON -LRB- impressed. -RRB- Saturn. Beautiful. JAMIE Before Voyager we expected maybe a dozen rings - LANDON But there are thousands of them, made of floating ice - JAMIE Maybe debris from a moon that broke apart. LANDON Or building blocks for a world that never formed. She looks at him. He smiles, embarrassed. LANDON I'm not smart. Just a sponge. She smiles, disagreeing, then looks through the telescope and changes its view. JAMIE Sometimes I come here and just scan the heavens. LANDON -LRB- joking. -RRB- Looking for intelligent life? JAMIE Looking for something - someone. Pause. He does n't know what to say. LANDON Do you believe you'll see your mother again? JAMIE I hope so. -LRB- beat. -RRB- I think maybe she sees me now. Their eyes meet. She looks away. Changes the subject. JAMIE -LRB- re : telescope. -RRB- I'm building a larger one to see the nucleus of Haley's Comet - LANDON The dirty snowball at its core. JAMIE Yeah. -LRB- beat. -RRB- I'm probably not going to be around next time it comes. LANDON In 76 years, me neither. She likes that he knows a little about astronomy. They each lean back on a tombstone and stare at the stars. LANDON You're really into God, right? JAMIE In ten words or less? LANDON Yeah. JAMIE My relationship with God is my own. LANDON But you think about Him - It - Her. JAMIE Do n't you? LANDON Not really. Pause. JAMIE When you do, how do you? Landon could joke or he could reveal something. LANDON Like in a church painting. I see this giant hovering over the ground. He's wearing a robe, and has long flowing hair, and he's pointing his finger at something. JAMIE Do you ever wonder why things happen the way they do? LANDON No. JAMIE I know there's a plan for everyone, but sometimes I do n't understand what the message is - or what the point is. LANDON There is no point. You live. You die. The end. JAMIE Maybe we're not supposed to understand, but we're supposed to have faith that someone else sees the big picture. LANDON You have to believe to have faith. JAMIE You do n't believe in anything? LANDON The Bible. Why should I read a bunch of dumb stories about some ancient guy who supposedly worked miracles. JAMIE Interpreted by another guy like my father. LANDON Your father does n't like me. Pause. JAMIE He does n't trust you. LANDON Sometimes I do n't even trust me. He sits up and pulls Rainmaker scripts from his back pocket. He holds one out to her. A moment passes. She takes it. JAMIE I'm not afraid of you. LANDON Likewise.", "INT. PARSONAGE - HALLWAY - LATER THAT NIGHT Jamie sneaks from the stairs to her room. Shuts the door. A light glows under the door, then goes out.", "INT. REVEREND SULLIVAN'S BEDROOM He opens his eyes, listens, then turns over and goes back to sleep. Not suspecting. Not yet.", "INT. LANDON'S BEDROOM - SAME TIME Dreary. Landon lies in bed, flipping the TV CHANNELS, past `` Square Pegs,'' `` Miami Vice,'' MTV, to a British nature documentary. After a moment, he searches for a pen and paper. Titles it `` Life List.'' Pause. He does n't know what to write.", "EXT. BEAUFORT HIGH PARKING LOT - MORNING (BEFORE SCHOOL) Landon, Clay, Eric, Belinda. Eric's pickup is parked by Belinda's Cabriolet. RADIOS ON, BLASTING the same station, same song : JOHN FOGERTY's `` Rock and Roll Girls.'' ERIC Women are definitely evolving into men. CLAY The moustaches on some girls. Unbelievable. BELINDA Why is Jamie Sullivan staring at us? They look. Jamie's watching them. They laugh. ERIC She wants to jump Landon's bones. BELINDA That is so pitiful. LANDON She's very confused. CLAY Deluded. ERIC Deranged. LANDON Demented. BELINDA She's coming over here. LANDON Heart be still. They laugh more and she's there. JAMIE -LRB- to Landon. -RRB- Hi. He does n't respond. She shifts from foot to foot. Confused. JAMIE The play's going to be really good. LANDON -LRB- mocking her. -RRB- I'm really glad you think so. His friends snicker and guffaw. She looks at them, then back to Landon. JAMIE I guess you do n't want to practice lines tonight. LANDON You guessed right. She gives him a funny look and walks away. A better person than he and he knows it. BELINDA That's one girl who ca n't take a hint. LANDON Because she does n't know what a hint is. They laugh. Landon the loudest. It feels good, but he also feels a little. bad.", "INT. GARAGE - NIGHT Cleaned up. Swept out. The Camaro is still a dented mess. But Landon drops its hood down, wipes his hands, and climbs behind the wheel. The ENGINE STARTS.", "INT. JAMIE'S BEDROOM - NIGHT No posters of pop stars. Books by Houston Smith, Thomas Merton, Alan Watts, Carlos Castaneda. Jamie studies, listening to JONI MITCHELL's `` I Wish I Had a River.'' The DOORBELL RINGS.", "INT. FRONT HALL - MOMENTS LATER Jamie opens the front door. Landon. A stern voice from the living room. Reverend Sullivan's. REV. SULLIVAN -LRB- O.S. -RRB- Better not be the Carter boy. Jamie shuts the door.", "EXT. SULLIVAN FRONT PORCH Landon ca n't believe this. He presses the BELL again. LANDON -LRB- talking to door. -RRB- Jamie? -LRB- beat. -RRB- Open up. -LRB- beat. -RRB- Open the door. Please. -LRB- long beat. -RRB- Reverend Sullivan, I have to talk to your daught - JAMIE What is your problem? She's standing in the front yard. LANDON You're not in a very good mood. JAMIE You do n't miss a thing. WIDER He steps down off the porch. LANDON The play's in a couple of weeks. JAMIE Yes. And? LANDON I was hoping we could run lines together. JAMIE Oh. Just not at school. LANDON Yeah - JAMIE Or anywhere where people might see us. LANDON Belinda's a very jealous person. JAMIE That would be the reason. Pause. He thinks she might be going for this. JAMIE So it's like you want to be secret friends. LANDON That's it! Exactly! You're reading my mind - JAMIE Then maybe you can read mine. She walks up the porch steps, goes in the front door, and opens it. Before she goes in : JAMIE I thought I saw something in you, something good. But I was wrong.", "INT. SULLIVAN FRONT HALL - MOMENTS LATER Jamie leans against the closed door, trembling, almost crying. In the living room, her father looks up from his reading, sees Jamie, then parts the curtains, looks out, glowers. REVEREND SULLIVAN'S POV - OUT WINDOW Landon standing in the front yard, confused that Jamie would reject his generous offer of friendship.", "EXT. FRONT YARD Landon walks to his car, then yells back at the parsonage. LANDON Why do you have to be so weird?! The front door opens, startling Landon. It's the Reverend. Red - faced with fury. Landon glares back, but then climbs in his car and drives off. Ashamed.", "INT. PARSONAGE - LIVING ROOM - MINUTES LATER Jamie sits on the sofa. Her father does n't look up from his reading. REV. SULLIVAN The first time I met him I knew. I'm proud of how you're handling yourself. Tears well and Jamie's face cracks with guilt and heartbreak. She leaves before her father can see her distress.", "INT. LANDON'S BEDROOM - LATE NIGHT Landon lies in bed watching another British nature DOCUMENTARY, this one on astronomy. He reaches for his school yearbook. Flips the pages until he finds Jamie's photo. CLOSE ON JAMIE'S PHOTO She's smiling and looks almost cute. Listed under her photo are clubs : Red Cross, Stars and Planets, Drama. Ambition : To Witness a Miracle.", "INT. JEFFERSON HIGH - LIBRARY - SATURDAY MORNING Landon and Luis sit over the geometry text. Landon has just asked a question and Luis is shrugging sadly. Landon's eyes wander out the window. LANDON'S POV - BASKETBALL HOOP BACK TO SCENE LANDON Let's get outta here.", "EXT. JEFFERSON HIGH - BASKETBALL BLACKTOP - MINUTES LATER Landon and Luis face each other across the half - court. Landon's got a ball and is further from the basket. LANDON You, me, and the basket. We're the three corners of a triangle. Take one step in. Landon and Luis both step forward. LANDON Am I at the same angle to you and the basket as before? LUIS Yeah. LANDON Are you? LUIS Yeah. LANDON So what did we just make? LUIS A similar triangle? LANDON What else? What kind of triangle has three sides of different lengths. LUIS Scalene? LANDON Okay. Make me an isosceles. Luis steps outward, directly opposite Landon. LANDON Yes! Two sides the same. Landon tosses him the ball. They play. Jamie glances over from a picnic table where she works with her student, Isabel. Landon looks at her, she looks away, he looks back. Thoughtful. Watching her. But not staring.", "INT. BOOK STORE - EVENING Landon studies the books in the spiritual/religion shelf. He picks out a book, then sits in a corner. But before he opens the text, he looks around him, suddenly taking in all the books, all the learning, all the knowledge that could be his.", "EXT. SCHOOL AUDITORIUM - WEEK LATER On the marquee : The Rainmaker. Under this, `` All Invited.'' Under this, a full parking lot.", "INT. AUDITORIUM A full house. Parents, teachers, students, churchgoers, booster club and rotary members. ON STAGE The set is a wealthy Midwestern ranch house of the 1950s. Eddie and two other BOYS play other characters. The play's underway. STAGE LEFT Landon watches, dressed as Bill Starbuck in a nicely fitted suit. Waiting for his entrance. LANDON'S POV - STAGE BOY #1 -LRB- as H.C., the father. -RRB- ` Then why do n't you talk to her?' EDDIE -LRB- as Jim. -RRB- ` Because if we do, she'll think we're trying to get rid of her.' BOY #1 -LRB- as H.C., the father. -RRB- ` She'll sure think the same if I do it. You're her father and comes a time when a father's got ta mention.' BACK TO SCENE From stage right, Jamie makes her entrance as Lizzie. A collective gasp from the audience. LANDON'S POV Jamie, wearing makeup, a dress that clings, her hair pulled back. BACK TO SCENE Landon ca n't take his eyes off her. JAMIE -LRB- as Lizzie. -RRB- ` Morning, Pop. Boys. I dreamed we had a rain, rain coming down in sheets! Lightning flashed, thunder rolled up and down the canyon like a kid with a big drum!' AUDIENCE Reverend Sullivan - enraptured. Principal Kelly - hopeful. Cynthia Carter - uncertain. Clay, Eric, and Belinda - rocking in their seats, snickering. JAMIE -LRB- as Lizzie. -RRB-' I know why you sent me to Sweetriver. Six boys in that family. The first three days, I stayed in my room.' BOY #2 -LRB- as Noah, the brother. -RRB- ` What'd you do that for?' BACK OF AUDITORIUM A well - dressed man, DR. JONATHAN CARTER, Landon's father, slips in and takes a seat a couple of rows behind Cynthia. JAMIE -LRB- O.S. -RRB- -LRB- as Lizzie. -RRB-' I knew what I was there for and they knew it, too!' BACK OF AUDITORIUM - LATER Dr. Carter hangs on every word. Others sit on the edge of their seats. Even Clay, Eric, and Belinda. Belinda leans forward to take a photo. BELINDA'S POV THROUGH CAMERA LENS As she ZOOMS - Landon and Jamie on stage, growing larger. ON STAGE Landon, Jamie, and the three boys. ON STAGE - LANDON is Starbuck. LANDON -LRB- as Starbuck, genuine. -RRB-'. You'll look in that mirror and you'll be more than pretty. You'll be beautiful. Look at me. Tell me what you see!' Jamie looks. She sees something in his eyes she has n't seen in them before. Love. JAMIE -LRB- as Lizzie, choked up. -RRB- ` Is it really me?' LANDON'S POV Jamie, her face lovely. Her eyes shining, radiating, looking directly at him. BACK TO SCENE Landon is dumbstruck. LANDON -LRB- as Starbuck, heartfelt. -RRB- ` Yes. -LRB- beat. -RRB- You're beautiful.' Landon changes the line and nails it. Surprising himself. Surprising her. They both know it's sincere. A moment passes. Her stomach churns with anticipation. He leans in. She closes her eyes. They kiss. Gently, genuinely. When Jamie opens her eyes, they are filled with tears. The curtain crashes down. End of act two. CLAPPING from the other side of the curtain. Landon tries to meet Jamie's gaze. But she's looking at the floor. AUDIENCE Principal Kelly, pleased. Cynthia Carter, proud. Clay and Eric, surprised. Reverend Sullivan, frowning, concerned. Belinda's face is cold, hard.", "EXT. SCHOOL PARKING LOT - HOUR LATER Landon runs out, looking for his friends. Mr. Kelly shakes his hand, then deals with parents. LANDON'S POV Belinda getting into her car. WIDER LANDON Belinda! Belinda stops. BELINDA What?! She waits. Landon struggles with what to say. BELINDA That's what I thought! Landon watches her START her CAR, back from a parking space - DR. CARTER Landon. Landon turns. His father is standing on the curb. DR. CARTER Fine performance. LANDON Who invited you? DR. CARTER Ed Kelly. I thought we might get a bite - LANDON Not hungry. Landon moves toward his Camaro. DR. CARTER Landon! Please. Do n't walk away from me. LANDON Like you walked away from us? Landon opens his car door and gets in. Not forgiving.", "INT. BEAUFORT HIGH - CORRIDOR - NEXT MORNING Landon waits by Jamie's locker. The BELL RINGS. No Jamie.", "INT. CAFETERIA - NOON Landon walks along the lunch line, looking. No Jamie.", "INT. LIBRARY - LATER Many many books. Landon cruises the stacks. No Jamie. Belinda, sitting at a table with a girlfriend, sees Landon and turns away. He does n't pursue it.", "EXT. CARTER DRIVEWAY - DUSK Eric and Clay watch Landon hammer out dents in the Camaro. They're smoking, sharing some beers. Josh, the neighbor kid, stands across the street, wanting to be invited over. ERIC -LRB- contemptuous. -RRB- She's like some Puritan. LANDON She's not. She's got her own ideas. CLAY Mutant ideas. LANDON Maybe to you. Eric and Clay exchange a look - is Landon defending her? ERIC Belinda's telling everyone that kiss was real. LANDON It was. Eric and Clay smirk in disbelief. ERIC And that you're scamming on Jamie Sullivan. LANDON -LRB- not denying it. -RRB- Scamming's a strong word.", "INT. BEAUFORT HIGH - CORRIDOR - NEXT MORNING Landon's waiting when Jamie approaches her locker. Her hair pulled back. She looks good in a simple, fresh way. LANDON You were n't in school yesterday. JAMIE I went to the doctor with my father. LANDON He okay? JAMIE Healthy as can be. Pause. She does n't help him. She opens her locker, gets what she needs. LANDON You were great the other night. JAMIE Thank you. So were you. Pause. He tries to touch her hair. She ducks. LANDON I have n't been nice to you. JAMIE You're hardly nice to anyone. LANDON -LRB- sincere. -RRB- I'm sorry. JAMIE -LRB- walking away. -RRB- I wish I could believe you.", "INT. CAFETERIA - LATER Jamie sits alone, reading, wearing her old brown sweater. Landon walks by Clay and Eric at a table. ERIC Landon! LANDON Later. Puts his tray down on Jamie's table and sits. Making a public statement. JAMIE People can see. LANDON And that would ruin your reputation how? She goes back to her book. Ignoring him. LANDON -LRB- re : her book. -RRB- What's that? She does n't look up. Shows him the spine : The Scarlet Letter. JAMIE I'm reading all the novels on Mr. Rothberg's best American authors list. LANDON How many books are there? JAMIE -LRB- annoyed. -RRB- A hundred. Then there's his classics list. And his European list. Landon realizes this is why she's always reading. LANDON That on your ` Life List.' To read all those books? She does n't deny it. He just dives in. LANDON Jamie. Maybe I want to try being positive. She looks up. Examines his face for the truth. LANDON Maybe I miss doing that dumb play with you. Students seated near them have overheard. Whisper. LANDON Maybe you inspire me. JAMIE That sounds like horseshit. LANDON Which part? JAMIE All of it. LANDON It's not. JAMIE Prove it. She picks up her books and tray. Everyone is watching. LANDON I just did!", "EXT. PARKING LOT - AFTER SCHOOL Landon follows Jamie out of the building. Catches up. LANDON Jamie - JAMIE You lack honor. You lack compassion. You lack honesty. You lack humanity. She heads to the old Pontiac. Landon jogs after her. LANDON Okay. Maybe some of that is true - JAMIE You do n't know the first thing about being someone's friend - LANDON I do n't want to be just your friend - JAMIE You do n't know what you want - LANDON You do n't either. Take a look at yourself. Maybe you're scared that someone might actually like you - JAMIE And why would that scare me? LANDON Because then you could n't hide behind your books and your telescope and your sweater and your God. She gets into her car. Slams the door. STARTS the ENGINE. She recognizes the truth. LANDON But the real reason you're scared? You like me! She drives off. Clay and Eric, watching, guffaw at Landon's spectacle. LANDON If you were really my friends, you'd be helping me, not running me down. ERIC The only one running you down is you.", "EXT. BRIDGE OVER INTERCOASTAL WATERWAY - NIGHT Landon sits alone. Legs dangling over. Lighting and dropping matches into the black beyond his feet. His body caught in the occasional sweep of car headlights. Nearby, an abandoned car. A rusty old Yugo.", "INT. CARTER KITCHEN - NIGHT Landon comes in from outside. Is surprised to find Cynthia sipping tea, wearing her uniform. CYNTHIA Out with Belinda? LANDON That's over. Way over. CYNTHIA I ca n't know things if you do n't tell me. Pause. LANDON Dad came to the play. CYNTHIA -LRB- surprised. -RRB- You saw him? LANDON We talked. He wanted to get a bite - after. I said no. CYNTHIA -LRB- disbelief. -RRB- After he moved out, I invited him to every practice, every game, every parent - teacher conference you ever had. He did n't show, not once. LANDON He wants to show now. CYNTHIA You going to let him? You going to reward him by being the son he was never man enough to be a father to? Landon does n't answer. CYNTHIA -LRB- angry. -RRB- You do that.", "INT. HALLWAY OUTSIDE SCIENCE LAB - NEXT AFTERNOON The door is open to a lab where Jamie and the Star Club is meeting. Landon mops, working hard, while listening in. Inside, Jamie ignores him. Mr. Kelly watches from near the trophy case. Almost approving. MR. KELLY Mr. Carter. Do n't wear a hole in that one spot there. Landon grins and moves on. Behind Landon's back, Mr. Kelly peeks into the science lab. Sees Jamie. Looks back at Landon. Wonders.", "EXT. JEFFERSON HIGH - SATURDAY (DECEMBER) Landon parks his Camaro. It's shiny and buffed and perfect again.", "INT. JEFFERSON HIGH - LIBRARY - MINUTES LATER A Christmas party for the tutors and tutored. A ROCK'N' ROLL CHRISTMAS CD plays. A raffle ticket box by the door. A sign reads : `` Win Movie Tickets.'' Landon enters, buys a ticket, then takes off his leather jacket. Underneath, a nice shirt and tie. LANDON'S POV Across the room - Jamie, looking pretty in a dress, laughing with her student, Isabel. Mr. Kelly talking with MR. REGINALD ADAMS, principal of Jefferson High. Luis runs over, diverts Landon's attention. FRONT OF ROOM Mr. Adams goes to a microphone. Taps it. MR. ADAMS Everyone? Quiet please. As you all know, we're here to celebrate the holidays and to raise money to buy books for our library. The book drive is being led by Beaufort High's Jamie Sullivan. Applause. This is new. Landon looks at Jamie, who's smiling. She steps to the microphone. JAMIE Thank you for buying tickets. We've raised two hundred and eighty - five dollars. More applause. She steps down. LANDON AND LUIS Off to one side. LANDON -LRB- to Luis. -RRB- About enough to buy maybe five volumes in a set of encyclopedias. Luis smiles. Jamie overhears. JAMIE It's a start. LANDON Yeah, with a finish in about a decade. She smiles. He looks at her. LANDON So you're talking to me? JAMIE When I have something to say. He smiles. LANDON What's number one on your list? She shakes her head. LANDON My number one would be getting out of Beaufort. JAMIE Getting out wo n't be your problem. It'll be figuring out what you want when you get somewhere. She walks away. LANDON What does that mean?! JAMIE -LRB- turning back. -RRB- It means you can do anything. Landon smiles, not sure why she believes in him.", "EXT. CARTER HOUSE - CHRISTMAS EVENING Hanging on the front door : a simple evergreen wreath with a plaid bow.", "INT. CARTER HOUSE - LIVING ROOM Dark save for a gilded fake tree lit with tiny blinking lights and the glow of Cynthia's cigarette in the dark. CYNTHIA Landon! Come enjoy the tree! Landon?! Landon comes down the stairs. Sits on the sofa. Wearing another good shirt. She tries to reach out. CYNTHIA You look nice. I should have dressed. LANDON You're fine like that, Mom. CYNTHIA There's hot cider in the kitchen. LANDON -LRB- not moving. -RRB- Thanks. CYNTHIA I have n't seen Clay or Eric lately. LANDON Me neither. CYNTHIA No great loss - LANDON I need to go out. Pause. CYNTHIA -LRB- hurt. -RRB- To see your father? LANDON No. I wo n't be long. He senses her hurt, but leaves anyway.", "INT. PARSONAGE - LIVING ROOM - EVENING A Christmas tree with large colored lights stand in a corner. Jamie and her father playing cards. The DOORBELL RINGS. Then urgent BANGING. JAMIE/REV. SULLIVAN SULLIVAN says. -LRB- recognizing. -RRB- Landon Carter.", "EXT. PARSONAGE - FRONT PORCH - MOMENTS LATER Landon slides his backpack off his shoulder. Pulls out a shopping bag. Holds it out to Jamie. LANDON -LRB- awkward. -RRB- It's a present. Take it. She does. She opens the bag, pulls out a beautiful pink sweater. She's overwhelmed. Without a word, just a happy smile, Landon hops down the steps toward his car. Reverend Sullivan appears in the doorway. LANDON -LRB- calling back. -RRB- Merry Christmas! And to all a good night!", "INT. PARSONAGE - JAMIE'S ROOM - MINUTES LATER Jamie hums to herself as she brushes her hair. She's wearing the new sweater. Her father KNOCKS. Enters. REV. SULLIVAN What's Landon Carter up to? JAMIE -LRB- innocent. -RRB- Up to? REV. SULLIVAN I thought we had rid ourselves of his disagreeable companionship. JAMIE Dad, why do n't you get to the point where you get to the point. REV. SULLIVAN Why is he giving you a gift? Jamie does n't answer. REV. SULLIVAN Did you give him a gift? JAMIE No. REV. SULLIVAN I saw the way he looked at you. The way he kissed you. JAMIE It was a play. REV. SULLIVAN -LRB- unconvinced. -RRB- Boys like him have - expectations. JAMIE I have expectations, too. Pause. He's feeling her grow up, grow away. REV. SULLIVAN I'm not changing the rules. JAMIE I have n't asked you to. They eye each other. He's losing her.", "INT. RETIREMENT HOME - HALLWAY - LATER THAT EVENING A nurse points Landon toward a patient room. He carries a battered liquor - store box.", "INT. PATIENT ROOM - MOMENTS LATER A TV flickers. Landon comes in. Opens the box. Pulls out the evergreen wreath with the plaid bow. LANDON For me. Christmas is all about the smells. Landon leans the wreath in the window. HAROLD KEENE - the old man from the accident, watches from his bed, baffled. LANDON Pine's my favorite. That and cider with cloves. Landon pulls a Thermos from his coat pocket. Unscrews the cap. Finds a drinking cup. Pours in cider. Offers Harold the cup. HAROLD Who are you? LANDON Landon Carter. I was driving the car that - HAROLD You. LANDON Me. Harold takes the cup, looks Landon over. Landon appears genuinely contrite. LANDON I'm very sorry - HAROLD What kind of a man are you, son? Pause. LANDON -LRB- honest. -RRB- I do n't know that I am - a man. Yet. I'm working on it. Pause. HAROLD I've worked on it my whole life. Harold reaches under his pillow. Pulls out a small bottle of liquor. Tops off his cider. HAROLD Get yourself a glass. LANDON No. Thanks. Got ta keep my wits for the drive home. Harold nods, liking Landon. HAROLD You'll sit a while. LANDON I will.", "EXT. RURAL ROADS - LATER THAT NIGHT Landon speeds, the windows open, WIND WHIPPING, DIRE STRAITS BLASTING. The Camaro turns and brakes and turns again, kicking up gravel, raising hell. The car slides to a stop.", "INT. CAMARO Landon turns OFF the RADIO. Sits still. Wipes the rearview mirror clean, spotless. Unties the dangling plastic skeleton and pockets it.", "EXT. USED CAR LOT - NEXT MORNING Colorful banners and flags flap in the brisk WIND. Landon talks with a used car SALESMAN. SALESMAN Eight hundred. LANDON It's got a new V - 6 and transmission. Alloy wheels. -LRB- beat. -RRB- Twelve hundred. SALESMAN Nine - fifty. LANDON New paint. Extra chrome. Not a scratch anywhere. SALESMAN The interior is - LANDON Reconditioned. Completely. Be a collector's someday. Twelve hundred. They look at the Camaro. Shining in the sun. SALESMAN You ca n't expect me to pay you for your - attachment to that car. Landon gazes at another dealership across the street, then adopts the surly, vaguely - threatening attitude of old. LANDON I do n't. I expect you to pay me for yours. The Salesman looks from Landon to the car. He pulls a wad of cash from his pocket. Wearily counts out twelve bills. Landon takes the money, touches the Camaro's hood, then walks away.", "EXT. BEAUFORT HIGH - FRONT LAWN - NEXT MORNING The marquee reads, `` HAPPY HOLIDAYS!''", "EXT. SCHOOL PARKING LOT - SAME TIME One car. An old station wagon. At the parking space, a sign : `` School Principal Only.''", "INT. PRINCIPAL KELLY'S OFFICE Kelly looks up from paperwork. MR. KELLY Landon? Landon drops a folded wad of hundreds on the desk. LANDON For Jefferson High. For books. MR. KELLY -LRB- suspicious. -RRB- Where did you get -? LANDON -LRB- angry. -RRB- It's mine to give. I did n't steal it. MR. KELLY I did n't say you did. But his tone implied it and Landon's already gone. Kelly is immediately sorry. He goes to his window and sees Landon pedal away on the old bike.", "EXT. CARTER DRIVEWAY - NEXT DAY Landon watches a tow truck lower the abandoned Yugo. When the car is down, he sees Jamie standing on the sidewalk.", "EXT. FOOT OF DRIVEWAY - MOMENTS LATER Landon faces Jamie. LANDON Hey. JAMIE I heard what you did. Thank you. He nods, but quickly changes the subject. LANDON -LRB- re : the Yugo. -RRB- She great or what? JAMIE Why are you doing all this? To impress me? LANDON No. -LRB- beat. -RRB- But are you - impressed? She smiles. JAMIE Like fire. LANDON What? JAMIE You. She heads for her father's old Pontiac. LANDON New Year's Eve. Would you go out with me?! She stops. Turns around. Surprised. JAMIE Yes. But not as a date date. LANDON Why not? JAMIE I'm not allowed to date. She smiles and gets in the car.", "EXT. SOUTHERN BAPTIST CHURCH - NEXT AFTERNOON Landon follows signs for the church office.", "INT. HALLWAY BY REVEREND SULLIVAN'S OFFICE - MOMENTS LATER Landon looks into the Reverend's office. LANDON'S POV Reverend Sullivan is sitting behind his desk, examining legal - looking documents and records. He takes his glasses off, rubs his eyes. BACK TO SCENE Landon knocks. The Reverend looks up, furrows his brow. LANDON Reverend Sullivan. Can I ask you something? REV. SULLIVAN Does it have to do with Jamie? LANDON Yes, sir. The Reverend makes a small motion and Landon enters.", "INT. REVEREND'S OFFICE Landon does n't sit. LANDON I'd like to take Jamie to dinner on New Year's Eve. REV. SULLIVAN That wo n't be possible. He looks back to his papers. End of conversation. LANDON I'm sorry I have n't always treated Jamie the way - I should have. She deserves better. Reverend Sullivan glances up. As if surprised Landon is still there. LANDON I care for her. REV. SULLIVAN I do n't want to see her hurt. LANDON I would n't do that - REV. SULLIVAN This week. LANDON Ever again. The Reverend looks out the window. A gray day, cold, bitter, stark. He considers his options. REV. SULLIVAN Have her home by one. And drive carefully.", "EXT./INT. YUGO (CARTER DRIVEWAY) - FEW DAYS LATER Landon's under the Yugo's hood. Josh, the kid from next door, is in the driver's seat. LANDON Start the engine. Josh turns the key. Nothing happens. Under the hood, Landon changes something. LANDON Again. Josh tries the engine again. Still no go. Landon changes something else. LANDON One more time. Josh tries one more time. The ENGINE ROARS, then DIES, then amazingly STARTS again. It's running. Landon high - fives Josh, then sees an old station wagon turn in.", "EXT./INT. STATION WAGON - MOMENTS LATER Kelly hands a paper to Landon. MR. KELLY Your grades for fall semester. They're - good. LANDON -LRB- incredulous. -RRB- You came here to give me my report card? MR. KELLY I've seen students with records like yours go to J.C. for a couple of years, then transfer to a good college. Landon understands what Kelly is implying. MR. KELLY I'd gladly write you a letter of recommendation. LANDON Thank you. MR. KELLY You're welcome. They shake hands.", "INT. LANDON'S BATHROOM - NEW YEAR'S EVE Landon, dressed with care, faces the mirror and wet combs his hair.", "INT. FLAUVIN'S - HOUR LATER A seafood joint on the waterfront. Quaint, not fancy. Twinkle lights illuminate Jamie's face. Landon finds her lovely. Jamie picks. JAMIE I ca n't believe you asked my father's permission. LANDON I wanted this to be a date. She watches Landon, happy, then perplexed. JAMIE'S POV Landon wolfing down his food. BACK TO SCENE JAMIE Is there a rush? LANDON I have to get you home by one. JAMIE It's only 7:30. LANDON We're going somewhere. After. And no. I did n't ask your father.", "INT. YUGO - TRAVELING - NIGHT Landon drives. The CARS' `` Tonight She Comes'' PLAYS. He belches loudly, dramatically. JAMIE Excuse you. LANDON Your turn. JAMIE -LRB- laughing. -RRB- No. LANDON I know you want to. She grins. And tries. A small burp. LANDON Bring the air all the way up from your stomach. He belches again. Just as loud. She tries again, laughing.", "EXT. YUGO Landon steers the car into a parking lot for a miniature golf course with a castle - shaped video arcade and Little League diamond. A family entertainment center.", "INT. YUGO Jamie sees where they are. LANDON Before we do this. JAMIE We're doing something -? LANDON Before we do this, I just want to say that a good life's got ta be about more than achieving stuff - like on your list. She waits for more. LANDON It's about working with what you already have - right now - at your fingertips - you know, spontaneously. JAMIE What are you talking about? LANDON That little bit of larceny in your heart. JAMIE Excuse me? LANDON Fun.", "INT. BATTING CAGE - NIGHT Jamie's in the cage with a helmet on. A machine tosses balls. Landon coaches from outside. LANDON Swing! Keep your bat parallel to the ground. Follow through. Follow through! Jamie is laughing too hard to hit anything. The balls keep coming. She ducks out of the way and grasps the fence and leans in. Landon leans in on his side. They'd be embracing if the fence were n't there. In the b.g., kids from their school. Giggling, whispering. Landon looks over at them. LANDON -LRB- to Jamie. -RRB- Let's go.", "EXT. HIGHWAY - TRAVELING - NIGHT The YUGO ROARS down the asphalt. A sign for the approaching state line whips by.", "INT. YUGO - TRAVELING - NIGHT Jamie and Landon. With STEVIE NICKS' `` Talk to Me'' ON the RADIO. LANDON The cells in our bodies are always changing. In six or seven years all your cells have changed. You could be like a completely new person from the inside out. JAMIE That what's happening to you, only faster? He grins. Pulls the car over. LANDON Get out. Come on. He leaps out, leaving the headlights on.", "EXT. COUNTRY ROAD - NIGHT Landon takes Jamie's hand and pulls her toward some invisible place. JAMIE Where - what - are we -? He keeps tugging her. She follows him. Laughing. LANDON Stand right here. JAMIE Where? He leans down and lifts one of her feet a foot from the other. He notices a large bruise on her leg. She brushes her dress down. JAMIE You're acting like a crazy person. LANDON You're straddling the state line. You're in two places at once. She's thrilled at his solution to her wish. He walks to the shoulder of the road. LANDON Repeat after me. Huh? He does a cartwheel. She laughs. JAMIE I ca n't. LANDON I'm gon na teach you.", "EXT. BEACH (NEUSE RIVER) - LATE NIGHT A starry night with a bright moon. Glimmering silver water. Jamie and Landon walk onto a dock. DISTANT FIREWORKS BOOM. JAMIE It's places like this that make me certain there's a God. LANDON -LRB- surprised. -RRB- You're sometimes not sure? JAMIE I'm sure. Pretty sure. They reach the end of the dock. She turns to face the WIND. It blows her hair. She turns his face the same way. JAMIE It's like the wind. I ca n't see it but I feel it. He closes his eyes. Feeling the wind. Opens them again, rejecting the idea. LANDON We can measure wind. JAMIE Uncertainty makes you uncomfortable. LANDON What do you actually know with religion? JAMIE Wonder. Beauty. Joy. -LRB- beat, quieter. -RRB- Love. She's embarrassed. She tries to avoid implying anything. JAMIE My mother told me God is love, so when you're feeling love, you're feeling God. -LRB- beat. -RRB- I think talking about these things - threatens their very beauty and mystery. Her tone is matter - of - fact, but Landon's got a serious and tender look on his face. He touches her hair. JAMIE -LRB- almost a whisper. -RRB- I do n't understand. LANDON Maybe you're not supposed to. He moves closer. LANDON I might kiss you. She looks down. Shy. JAMIE I might do it wrong. LANDON -LRB- tenderly. -RRB- Not possible. He touches her neck, her cheek, her mouth. Then leans in and kisses her. A tender, soft kiss. He pulls away. They look at each other a moment. LANDON I love you, Jamie. There, he put it out there, risked looking and feeling foolish. Not the old Landon. Jamie looks away. Mixed emotions. Happy and sad. LANDON -LRB- gently. -RRB- Now's when you say something. JAMIE -LRB- overwhelmed. -RRB- I ca n't. -LRB- beat. -RRB- I ca n't - explain. She turns back to him, her eyes shining. She touches his face and they kiss again, deeply. But after a few moments, she drops her chin onto his shoulder. Smiling, glowing even, but slightly aloof, staring at the water. He pulls away slightly to study her face. He touches her cheek and brings her back from wherever she's been. JAMIE You make me feel. LANDON -LRB- hopeful. -RRB- Loved? JAMIE -LRB- smiling. -RRB- That. And less strange. Tears run down her cheeks. Landon wipes them away with his thumbs, attributing them to happiness.", "EXT. PARSONAGE - FRONT PORCH - LATER Landon follows Jamie up the steps. The lights in the living room are on. THROUGH the windows, they can see her father taking down the Christmas tree. JAMIE Be very quiet. He pulls her to him. Kisses her. The front door opens. REV. SULLIVAN -LRB- embarrassed. -RRB- Hello, Landon. Landon and Jamie separate, but Landon keeps an arm over her shoulder. LANDON Hey, Reverend. Reverend Sullivan studies the two young people. LANDON -LRB- whispers to Jamie. -RRB- Happy New Year. And he goes. Jamie walks by her father and into the house. Not saying anything. He watches her. What has he allowed?", "EXT. BEAUFORT HIGH - COURTYARD - DAY Landon and Jamie head into school. Landon nods to Belinda, others. They glare back. LANDON -LRB- to Belinda and others. -RRB- What's your damage?", "INT. CORRIDOR - MOMENTS LATER Landon and Jamie arrive at his locker. It's been kicked in. LANDON Assholes. This happen to you? JAMIE Twice a year. Bang, bang, bang. Landon kicks in every locker in his row. A dozen in all. Jamie watches, a little frightened by his anger. But then he turns to her and grins. LANDON Now they all match.", "INT. CAFETERIA - NOON Landon eats alone, ignored by Eric and Clay. Jamie approaches with her tray, red - faced, tearful. She hesitates about sitting - feeling bad that Landon's being diminished, ostracized. She thinks he does n't see her. But as she turns to leave, he pulls a chair out for her and smiles. She sits. Landon sees her face. LANDON What's wr -? JAMIE -LRB- choked up. -RRB- The Challenger exploded. Principal Kelly's about to make an announcement. The PUBLIC ADDRESS SYSTEM CRACKLES. Landon takes Jamie's hand as the room hushes. LANDON Come on. JAMIE Where? LANDON Away from here.", "EXT. FIRE TOWER (CONSERVATION LAND) - STAIRS - HOUR LATER Landon leads Jamie up, round and round, to the top of the tall steel tower.", "EXT. TOP OF TOWER - VIEWING AREA They exit the staircase to a small 360 degree overlook. Jamie's amazed at the view. JAMIE How do you know this place? LANDON Before the divorce. My father used to take me here. Fire spotting was his summer job. They look off to the curve of the horizon, where sea meets sky. LANDON From here he proved to me the earth is n't flat. -LRB- beat. -RRB- On rainy days, we'd be above the clouds. JAMIE What would you do up here? LANDON Look. Talk. Not talk. He pulls a deck of cards from his jacket pocket. They sit and he starts to shuffle. Not too well. Jamie takes the deck. Shuffles like a card shark.", "EXT. CEMETERY - REAR GATE - NIGHT (FEW DAYS LATER) Jamie is already waiting when Landon's Yugo pulls up. He gets out, walks to her, they kiss. LANDON What'd you tell your father? JAMIE The truth. I just left you out of it. She climbs up and over the wall. He follows.", "EXT. INSIDE CEMETERY - MINUTES LATER Jamie fits the pieces of her telescope together. LANDON When did you build this? JAMIE I was twelve. Landon shakes his head, amazed. JAMIE It's not that complicated. Landon doubts this. JAMIE It's an alt - azimuth design with one parabolic mirror and one secondary flat one. LANDON Where's the one you're building? JAMIE In my back yard. -LRB- pause, embarrassed. -RRB- I lied before. It's hardly started. But when it's done, it will have twice the power of this one - LANDON Wait, back up. You lied? JAMIE Kinda. Yeah. He grins, loving her even more. JAMIE So what do you want to see? LANDON Mars. JAMIE Mars does n't rise until 2:30 A.M. - He opens his backpack. Pulls out the contents. LANDON A Thermos of hot coffee. A blanket. Socks. JAMIE You planned this - LANDON Hoped for it. Pause. JAMIE Are you trying to seduce me? LANDON No. Why? Are you seducible? JAMIE -LRB- firm, but smiling. -RRB- No. LANDON That's what I thought. He reaches back into his backpack. Pulls out a second blanket. LANDON Ergo, a second blanket. One for me, one for you. He hands her one. She takes it, smiling, reassured. JAMIE Ergo? LANDON -LRB- slightly embarrassed. -RRB- What about your father? JAMIE I'm always home by midnight and he's always asleep.", "INT. PARSONAGE - REVEREND SULLIVAN'S BEDROOM - MIDNIGHT Reverend Sullivan sits up in bed. His feet find slippers on the floor.", "INT. JAMIE'S BEDROOM - MOMENTS LATER Reverend Sullivan, wearing a robe, enters quietly. Checking on his daughter. Her bed is empty.", "EXT. STREET TO ACCESS ROAD - LATER The old Pontiac slows.", "INT. OLD PONTIAC Reverend Sullivan looks down the access road to the rear cemetery gate. REVEREND'S POV The Yugo parked by the gate. BACK TO SCENE The Reverend struggles with what to do. After a moment, he decides not to interfere ; he'll pick his moment. He keeps driving.", "INT. CEMETERY Jamie and Landon are looking at the heavens through the telescope. LANDON Where's Pluto? JAMIE In Virgo, but it's about 1000 times too faint to see. LANDON What's the best thing I can see tonight? JAMIE Me. He draws her close, they kiss. She shyly pulls away. Their hands still touching until she looks again into the telescope eyepiece. JAMIE The second best thing is Jupiter. She swivels the telescope into position for Jupiter and steps aside so he can look. But he picks up the flashlight, pulls a diagram from his pocket. LANDON Can you locate XXI5639I? JAMIE Sure. She takes the diagram, studies it, and adjusts the scope. JAMIE Here. Why am I looking at this star? LANDON Because I had it named for you. I know it's not an official designation - She could n't be happier. She reaches for his hand. JAMIE It's wonderful. I love you. It's the first time he's heard it. He pulls her into his arms. They kiss. Passionately. She starts to object. LANDON -LRB- respecting her boundaries. -RRB- Okay. I'm stopping. And he does. They snuggle. Silence, then : LANDON What's number one? Long pause. JAMIE -LRB- very shy. -RRB- In April when the dogwoods and wisteria are blooming. Get married. He does n't make fun. He strokes her hair. Kisses her forehead.", "INT. KITCHEN - 5 AM Landon enters from outside. Cynthia, still in her waitress uniform, is sitting at the table, drinking coffee. CYNTHIA A late night or an early morning? LANDON -LRB- honest. -RRB- Late night. -LRB- smart - aleck. -RRB- You? CYNTHIA Were you with Jamie? LANDON Yeah. CYNTHIA You sleeping with her? Landon does n't dignify this question with an answer. CYNTHIA I was cleaning yesterday. I found this. She pulls Landon's Life List from her pocket. Landon is horrified. She reads it. CYNTHIA Scuba dive. Touch a moon rock. Learn to read Egyptian hieroglyphs. Go to college? -LRB- pause. -RRB- She talking to you ` bout this stuff? Landon does n't answer. She puts the list on the table. Smoothes it. Gently discouraging. CYNTHIA Honey, some of this is. farfetched. You take after me. People skills and common sense. Good dependable qualities. LANDON I could take after Dad, too. CYNTHIA You do. You're handsome and charming. LANDON I meant he's a doctor. CYNTHIA That's eight years of school and training - after college. And all that does n't necessarily make you a better human being. LANDON I could do it if I tried. Even Kelly thinks so. CYNTHIA That'd be something. She does n't want to discourage him, but she wants him to be practical and realistic. CYNTHIA But if it does n't happen, grab for something within reach. Life's tough enough without causing yourself disappointment - LANDON -LRB- angry now. -RRB- Whatever my life is, I'm going to be friggin' sure I'm never disappointed - CYNTHIA -LRB- honest. -RRB- Disappointment is n't something anyone plans for. -LRB- quieter. -RRB- It catches you by surprise. Long pause. They are both sorry to have raised their voices. CYNTHIA Have I told you how proud I am of you -? LANDON Mom, great. But what I want is for me to be proud of me.", "INT. PARSONAGE - SULLIVAN DINING ROOM - EVENING Landon eats dinner with Jamie and Reverend Sullivan. Silence, then : REV. SULLIVAN Landon. You're not the quiet type. LANDON No. REV. SULLIVAN So talk to us about something. LANDON Like what, sir? REV. SULLIVAN You decide. Landon searches his mind for just the right subject. REV. SULLIVAN How about your family? LANDON Okay. Sure. -LRB- beat. -RRB- My grandfather. When he was seven, he shook the hand of an old guy, a war vet or something, who had once shaken President Lincoln's hand. -LRB- pause. -RRB- Made a big impression on him. Reverend Sullivan looks at his daughter. She's nodding, interested. LANDON My cousin Mike. He's from a big family. He's the fifth kid. He heard that every fifth child in the world is Chinese. So he thought he was. Jamie smiles. LANDON We did n't tell him any different for years - REV. SULLIVAN -LRB- getting to the point. -RRB- Your parents are divorced? LANDON Since I was five. My mom's a cocktail waitress. REV. SULLIVAN How do you - the two of you - get by? LANDON Materially or spiritually? REV. SULLIVAN -LRB- surprised. -RRB- Either. Both. LANDON -LRB- honest. -RRB- I do n't know. We used to try to believe in each other. His eyes meet the Reverend's. The Reverend's got to respect him some.", "INT. SULLIVAN KITCHEN - NIGHT Reverend Sullivan looks out the window into the back yard. HIS POV Jamie showing Landon the junk pile that will become her newer, larger telescope. They are laughing, jostling each other, comfortable, happy.", "INT. PARSONAGE - SULLIVAN KITCHEN - LATER THAT NIGHT Reverend Sullivan and Jamie put the dishes away. REV. SULLIVAN You and the Carter boy. Want to catch me up on recent developments? JAMIE You're asking if we're involved? REV. SULLIVAN I'm asking how much. JAMIE Dad - REV. SULLIVAN It's time to tell him. -LRB- pause. -RRB- It would be the right thing. She turns to him, upset. Her anger spilling out. JAMIE Maybe. But that's not the real reason. You think if I tell, he'll disappear and that's what you want! Me all to yourself! REV. SULLIVAN -LRB- calm, stung. -RRB- No. I want what's best for you. JAMIE This - him - Landon - is what's best for me! REV. SULLIVAN You're sure? You're sure you can trust him? He's playing to her old insecurities. She's not one hundred percent sure. REV. SULLIVAN -LRB- gentler. -RRB- Is n't it better to know? Their eyes meet. She knows he's right.", "EXT. MOVIE THEATER - EVENING (EARLY FEBRUARY) Ferris Bueller's Day Off and Three Amigos! on the marquee. Landon and Jamie exit as Belinda and a new boyfriend buy tickets. Clay and Eric and a crowd behind them. LANDON Hey, Belinda. She takes her boyfriend's arm, turns away, snubbing him. LANDON Clay, Eric. Eric says something inaudible and the whole crowd sniggers and laughs. He's become Landon. Landon reddens, now realizing for certain that he's become a Jamie Sullivan.", "EXT. SIDEWALK (DOWNTOWN BEAUFORT) - MOMENTS LATER Landon and Jamie walk. The theater in the b.g. JAMIE -LRB- re : his status. -RRB- From citizen high to citizen low. LANDON I do n't care. JAMIE Care, but just do n't let it get to you. It gives them power. LANDON That what you do? JAMIE Yes. I try to keep my power. He's impressed with how she manages. LANDON One of your secrets. JAMIE -LRB- serious. -RRB- Yes, one of many. He does n't notice her tone.", "INT. YUGO - TRAVELING - NIGHT WHITNEY HOUSTON's `` How Will I Know?'' ON the RADIO. Jamie flips the RADIO OFF. She's got something on her mind. Landon notices only that she seems a bit remote. LANDON You're worried about your college applications. JAMIE I'm not applying to college. LANDON -LRB- stunned. -RRB- But you said - JAMIE No, you assumed. He looks at her, questioning. She's looking out her window. LANDON You're going to take a year off? Join the Peace Corps -? JAMIE No. LANDON What are you going to -? JAMIE Pull over. LANDON Where? Why? JAMIE Pull over. Now. Please. Tears are running down her face. He pulls the car over.", "EXT. WOODS BY SIDE OF ROAD - MOMENTS LATER Jamie gets out of the car. Landon quickly follows. LANDON Jamie - JAMIE I'm sick. LANDON Then I'll take you home. You'll feel better tomorrow. He tries to take her arm. She shakes off his hand, steps back. Wanting to be heard and understood. JAMIE Landon. I'm sick - with leukemia. Landon tries to say something. Nothing comes out. His soul numb. JAMIE I found out last winter. I'm not responding to treatment anymore. His face crumples with pain and anguish. LANDON Why did n't you tell me? JAMIE The doctors said to do everything the same as long as possible. -LRB- pause. -RRB- I did n't want anyone being - weird around me. LANDON Including me?! JAMIE Especially you. -LRB- long beat. -RRB- God gives me an illness, then you. A cruel joke. She gets in the car. Slams her door shut. He stands there, not knowing what to do.", "EXT. YUGO - TRAVELING - LATER Landon pulls up in front of Jamie's house. A long quiet ride. LANDON I'm not letting you die. Jamie just looks at him. Feeling sorry for him - what he wants does n't matter.", "INT. SULLIVAN KITCHEN - LATE NIGHT The Reverend and Landon drink coffee. REV. SULLIVAN It's her decision and she's decided not to tell people - at least for now. LANDON How - how long does she have? REV. SULLIVAN Two, three months. Maybe less. Maybe more. LANDON So you've given up. Reverend Sullivan hears the challenge in his voice. REV. SULLIVAN Her doctors have. Jamie and I. We're still praying for a miracle. LANDON -LRB- disdainful. -RRB- Praying. REV. SULLIVAN Landon. We've lived with this for over a year now and - LANDON If there is a God, how could he let this happen?! It's a long answer and by the time the Reverend opens his mouth to explain, Landon's out the door.", "EXT. HIGHWAY - NIGHT Moonless dark. Few cars. The YUGO RIPS down the road. Landon opens a map over the steering wheel. Turns on the dome light. Looks at the return address on an old letter.", "EXT. CITY STREETS (RALEIGH) - 3 A.M. Landon's Yugo winds through city streets.", "EXT. RESIDENTIAL NEIGHBORHOOD (RALEIGH) - MINUTES LATER Mansions. Big lawns. The Yugo slows as Landon leans forward to read a street sign. His face is tear - streaked. He flicks his headlights to bright, then low again. The car turns left.", "EXT. DR. CARTER'S HOME - MINUTE LATER Large new colonial. Landon slams his car door and stands in the street. Staring at his father's house. He heads up a flagstone path for the front door.", "EXT. FRONT DOOR - MOMENTS LATER Landon RINGS the resounding DING - DONG BELL, then bangs on the heavy wood door. Grief - stricken. LANDON Dr. Carter! Carter! Dad! Please! I have to talk to you!", "INT. DR. CARTER'S HOME Elegant, thick carpets. Dr. Carter, putting on his robe, parts the silk drapes in the upstairs hall. DR. CARTER'S POV His son standing on the front lawn. Distraught, tearful. LANDON Open the door! Please!", "EXT. DR. CARTER'S HOME Landon backs away from the house. Angrily kicks over a decorative planter. Is halfway to his car when Dr. Carter opens the door and comes out. DR. CARTER Landon! Landon does n't hear. DR. CARTER Landon! Landon turns around. Sees his father. Breaks down, sobbing. His father goes to him. Hugs him, a big bear hug. LANDON You have to save her! DR. CARTER Landon, who? Is your mother all right? Lights pop upstairs. LANDON It's Jamie - my girlfriend - she has cancer - you have to come look at her - right now! DR. CARTER -LRB- calm, trying to diffuse. -RRB- It's the middle of the night - LANDON I do n't give a shit what time it is! Landon pulls away. Angrier. DR. CARTER Landon, I'm a cardiologist, not an oncologist - LANDON You're a doctor, are n't you?! He waves his father off, dismissing him. DR. CARTER Landon! I'll look into it! But Landon has n't heard. He's in his car. Dr. Carter watches his son's car move away, regretful.", "INT. CARTER KITCHEN - DAWN Landon quietly shuts the back door. Exhausted. Starts making coffee. Cynthia appears. CYNTHIA Your father called. No response. CYNTHIA Jamie's a patient at his hospital. He's having a colleague look at her chart this morning. Long pause. CYNTHIA I'm sorry. I did n't know. LANDON I did n't know either.", "EXT. PARSONAGE - EARLY MORNING The Yugo parked in the driveway. The morning paper lying on the grass. Landon paces in front of the front porch. Incapable of ringing the bell, lacking the courage, lacking the right words. Upstairs, the curtains move.", "INT. JAMIE'S BEDROOM Jamie looks out the window. JAMIE'S POV Landon pacing, talking to himself. BACK TO SCENE She starts to raise the window, to say something, to help him, but then lets the curtain drop. She needs for him to decide, for him to be ready to face this with her. The sound of a CAR. She looks out the window again. JAMIE'S POV The Yugo driving away.", "INT. LANDON'S BEDROOM - LATER THAT DAY Landon lies on his bed in the dark. The PHONE RINGS. Landon stares at his extension. The RINGING STOPS. A voice from downstairs. CYNTHIA -LRB- O.S. -RRB- It's your father. Landon picks up his phone.", "INT. UPSTAIRS HALL - TWO MINUTES LATER The door to Landon's room is ajar. Cynthia waits outside. Listening. Hearing nothing. She pushes the door open. CYNTHIA'S POV Landon sitting on his bed. Deflated. LANDON He ca n't do anything. BACK TO SCENE Cynthia is pained to see his suffering. CYNTHIA If it's incurable - LANDON I told him to leave me alone. CYNTHIA Landon - LANDON -LRB- re : Jamie. -RRB- It was the only thing I've ever asked him!", "INT. LANDON'S BEDROOM - EVENING (NEXT DAY) Landon's still in bed. Facing the wall. Cynthia KNOCKS. Enters with a plate of food. CYNTHIA I brought some dinner. No response. She leaves the tray and goes.", "INT. PARSONAGE - SULLIVAN KITCHEN - SAME TIME Jamie and her father eat dinner. Jamie is red - eyed, heartbroken. JAMIE -LRB- not sure at all. -RRB- He'll call. REV. SULLIVAN I wanted to think he'd changed. JAMIE -LRB- angry. -RRB- No you did n't. -LRB- beat. -RRB- But he did change. Just not enough. REV. SULLIVAN Jamie, you're not mad at me. You're mad at Landon - JAMIE -LRB- furious. -RRB- I am mad at you! And at Landon! And the universe! And God! -LRB- quieter. -RRB- I do n't even know where to put all my anger. REV. SULLIVAN That's normal. God accepts your anger. He wo n't punish you. JAMIE By making me ill, he is punishing me! -LRB- quieter. -RRB- I just do n't know what for. She flees the room. ANOTHER ANGLE - CONTINUOUS ACTION Goes up the stairs. Keeps going. Up another flight to the attic.", "INT. PARSONAGE ATTIC - MINUTE LATER Jamie opens a closet door. Pulls out a dress, a scarf, jewelry, a worn book - her mother's belongings. She opens the book and starts to weep. Missing her mother. FOOT OF ATTIC STAIRS Reverend Sullivan stands, looking up at the attic stairs. Frustrated, angry, worried.", "INT. LANDON'S BEDROOM - NEXT DAY Landon is still in bed. Cynthia enters. Pulls back the curtains. Yanks up the shades. CYNTHIA I do n't care if you do n't leave the house. But you have to get out of bed.", "INT. CARTER KITCHEN - FEW MINUTES LATER Landon sits at the kitchen table. Cynthia pours him a cup of coffee. CYNTHIA You and I may not be communicating very well right now. But let me be clear. Do n't make this about you. It's about her. Pause. Her words sink in. LANDON I have no idea what to say. How to act. What if I do the wrong thing? CYNTHIA -LRB- gently. -RRB- Be yourself and I do n't think there is a wrong thing. -LRB- beat. -RRB- Let Jamie take the lead. She'll let you know what she needs.", "EXT. PARSONAGE - FRONT PORCH - LITTLE LATER Before Landon can ring the bell, the front door opens. The Reverend. Landon runs past him into the house. LANDON Where's Jamie?! REV. SULLIVAN At school. Where you should be. Oh.", "INT. BEAUFORT HIGH - CORRIDOR - HALF HOUR LATER Deserted, classes are meeting. Landon runs, sliding to a stop at one classroom door. Looks in, keeps going, stops at another. Searching. This is JAMIE'S POV from the top of the hallway. JAMIE She stands, holding her books, watching him, unsure. LANDON finally feels her gaze, turns to look. JAMIE turns away, still angry and disappointed. LANDON runs to her. LANDON Jamie! He catches up to her. JAMIE AND LANDON face each other. Neither sure what to say. LANDON I'm so sorry. I'm a coward - JAMIE I should have told you sooner - LANDON -LRB- guilt - ridden. -RRB- I made you do too many things, kept you up all night - JAMIE No. The drugs just stopped working. If anything, doing things I love kept me healthy longer. Pause. LANDON Are you frightened? JAMIE All the time. -LRB- beat. -RRB- I feel like I have no one. She means not even God and he gets this. LANDON You have me. He hugs her close, rocking her, comforting her and himself. JAMIE Help me live until I die? LANDON I will.", "INT. SCHOOL AUDITORIUM - EVENING (MID-FEBRUARY) A small group of students sit on stage reading from Our Town, rehearsing. Jamie and Landon sit together in the third row, holding hands. Landon glances at her, realizes she's asleep. Pulls her sweater over her.", "INT. JEFFERSON HIGH - LIBRARY - SATURDAY MORNING Landon sits with Luis ; Jamie at the next table with Isabel. She looks pale. He catches her eye. They both smile, a little sadly, then turn back to their students.", "INT. YUGO - TRAVELING Landon drives them home from Jefferson High. No music. LANDON They're going to build a tunnel under the English Channel. They're calling it The Chunnel. No response. LANDON You hungry? JAMIE Nope. LANDON Anything you want. JAMIE Nothing. He reaches into a cooler on the floor of the back seat. LANDON Slim Jim? Apple? Yogurt? You like yogurt. JAMIE I used to like yogurt. He places a red heart - shaped box in her lap. LANDON -LRB- apologetic. -RRB- Not very original. Happy Valentine's Day. He grins. She looks crestfallen, feels terrible. JAMIE I did n't even think about it. He takes a chocolate. Pops it in his mouth. Grins. LANDON There. You gave me a chocolate. LANDON'S POV -LRB- THROUGH JAMIE'S TELESCOPE -RRB- - VAST STAR FIELD PULL BACK to reveal.", "EXT. CEMETERY - NIGHT Jamie and Landon are looking at stars. A long quiet moment. LANDON What are you thinking? JAMIE -LRB- honest. -RRB- That I want you to take me home. LANDON Now? We just - JAMIE I do n't want to come here anymore. She begins taking the telescope apart. Depressed.", "EXT. CEMETERY GATE - HALF HOUR LATER Jamie looks at the high fence, weary, then reaches into a pocket for a key. Unlocks the gate. Swings the gate open. Landon's astonished. LANDON You have a key? JAMIE Yeah. I've just never needed it. -LRB- pause. -RRB- Will you talk to my father? LANDON I've talked to your father. JAMIE That's what I mean. Their eyes meet. Her look is serious.", "EXT. PARSONAGE - BACK YARD - NEXT DAY Reverend Sullivan is up a ladder. Cleaning a gutter. Landon stands below, a few feet away, gathering his nerve. He walks over. ON LADDER The Reverend is busy ignoring Landon standing below. A long beat, then : LANDON -LRB- calling up. -RRB- Sir. Being ignored is beginning to feel preferable to being noticed. The Reverend looks down. LANDON I'll be honest. I do n't know if I can pray, but I can do just about anything else. Neither Landon nor the Reverend see Jamie come out of the house and walk over. ON GROUND Landon shields his eyes with a hand to see the Reverend better. LANDON Whatever you need. Whatever Jamie needs. I'm here. -LRB- beat. -RRB- I could start by driving her to school - JAMIE I'm not going back to school. Landon and her father both turn to her. Pale, wane. They understand what she is saying. JAMIE You can tell anyone you want. I do n't care. She goes into the house. Landon and Reverend Sullivan look at each other, then away, uncomfortable. That did n't sound like her.", "INT. BEAUFORT HIGH - HALLWAY - MONDAY MORNING Landon, looking haggard, moves slowly as he cleans out Jamie's locker. Students stare as he carefully places her things, including the pink sweater, in a shopping bag. They part and hush as he passes by. News travels fast. Clay and Eric step forward. CLAY Hey. Landon. ERIC We heard ` bout Jamie Sullivan. She - LANDON -LRB- fierce. -RRB- Say nothing. Nothing ` bout her. ERIC -LRB- misunderstood, genuine. -RRB- No. Hey. We're sorry, man! Landon turns back. Surprised. Inspects Belinda. Eric. Clay. Others. No one speaks. LANDON Too late and not enough. He pushes past Belinda's new boyfriend, heading for the office.", "INT. PRINCIPAL KELLY'S OFFICE - DAY Mr. Kelly and Landon. LANDON I know it means not graduating, but I need to be excused from all school acti - MR. KELLY You're excused. Landon heads for the door. MR. KELLY How is she? Landon ca n't answer. Too emotional. MR. KELLY You will graduate. Landon looks up, astounded. MR. KELLY If I have to tutor you myself. Landon nods, accepting, appreciative.", "INT. JAMIE'S BEDROOM - LATER Landon puts away the contents of the shopping bag. Jamie's in bed, wearing the sweater. JAMIE Yesterday I felt sick, horrible. Today I feel like riding my bike. Or dancing. He turns on the CLOCK RADIO next to her bed. Finds a WALTZ. Offers his hand. Pulls her out of bed. She's in pajamas. JAMIE You know how to waltz? LANDON -LRB- bashful. -RRB- I was going to fake it. JAMIE I always fake it. So they waltz, faking, stumbling and laughing, holding each other.", "INT. PARSONAGE - STAIRCASE - SAME TIME Reverend Sullivan hears the MUSIC and LAUGHTER. He frowns, afraid for Jamie's health.", "INT. JAMIE'S BEDROOM Jamie grips Landon's arms, seems to slip, suddenly too exhausted to carry her weight. Landon picks her up, gently carries her back to bed. Settles her in. LANDON How you doing? JAMIE -LRB- murmurs. -RRB- Tired. Landon sits on her bed. Strokes her hair. They look at each other. Landon reaches for her hand. When he looks at her face again, she's asleep.", "EXT. LANDON'S HOUSE - BACK YARD - ANOTHER DAY Landon's sitting on his childhood tree swing, twisting side to side. Pensive. His mother comes out of the house. LANDON Time seems to be slowing down and speeding up at the same time. She reaches to put a hand on his shoulder. He lets her.", "EXT. CEMETERY - EARLY MARCH The rear gate is open. A caretaker waits while Landon carries pieces of the older telescope to his car. A tall pile of parts is already at his car. Eric and Clay drive up in Eric's pickup. Gravel flying. MUSIC BLASTING.", "INT. PICKUP Eric and Clay spy Landon.", "EXT. CEMETERY Landon freezes, not sure what to expect.", "EXT. PICKUP The truck makes a circle around Landon, then stops. The MUSIC QUIETS. Eric and Clay jump down. A long tense moment, then : ERIC Hey. LANDON Hey. Without a word, Clay walks to the Yugo, lifts the heaviest telescope part, and carries it to the bed of the pickup. Eric follows suit.", "EXT. PARSONAGE - BACK YARD - LATER Landon studies the pieces of the smaller telescope and how they fit together. They are like a map for how to build the bigger one.", "EXT. PARSONAGE DRIVEWAY - NEXT DAY Landon unloads an impossibly large round cardboard concrete form - tube from his car. Carries it around the house toward the back yard.", "INT. JAMIE'S BEDROOM - SAME TIME Jamie wakes from a nap. She looks thinner, grayer. She hears HAMMERING. She hauls herself up and to a window. JAMIE'S POV Landon working on the new telescope. He looks up at her window. Sees her there. Smiles. BACK TO SCENE Reverend Sullivan comes in to check on Jamie. She's standing at the window. REV. SULLIVAN What's that boy doing? She turns to look at him and collapses into his arms.", "INT. HOSPITAL - PATIENT ROOM - NIGHT Jamie lies in bed, eyes closed. Hooked to monitors, pumps, an IV drip. Landon holding her hand. Reverend Sullivan talks quietly with a doctor. Hearing bad news.", "EXT. HOSPITAL - DAWN The sky is pink. A squirrel runs along a telephone wire. The Yugo is the only car in the visitor lot.", "INT. PATIENT ROOM Landon, in yesterday's clothes, dozes lightly. Jamie moves and he starts, fully awake. She opens her eyes. LANDON You okay? She nods. Sleepy. Closes her eyes again. He rests his head on her shoulder and weeps. Her eyes open, then close again. There's nothing to say.", "INT. CORRIDOR OUTSIDE JAMIE'S ROOM - SAME TIME Reverend Sullivan looks through the window in the door at the scene within. He hesitates, then pushes the door open.", "INT. PATIENT ROOM Reverend Sullivan enters. REV. SULLIVAN Landon. You go on home. LANDON I'm not tired. REV. SULLIVAN I need to be with her. There's only one chair. Landon nods and goes. The Reverend sits, closes his eyes a moment. When he opens them, she's looking at him. JAMIE Dad. He kisses her forehead, then sits back. JAMIE So serious. REV. SULLIVAN Jamie, God is not punishing you. No God I know wants anyone to be sick or feel pain or suffer. Pause. JAMIE When Mom died you told me God wanted her more, loved her more - REV. SULLIVAN I was wrong. Nobody could have wanted or loved your mother more than we did. Not even God. He lets this sink in. REV. SULLIVAN God loaned you to me, entrusted you to my care. I'm failing you. She looks away, agreeing without saying so. REV. SULLIVAN Jamie. I make you the same promise that God does. -LRB- beat. -RRB- I will always be with you. She sits up and embraces him. He wraps his arms around her. Tight. She closes her eyes, tears welling, never wanting to let him go. Her father.", "EXT. BEAUFORT HIGH SCHOOL - HOUR LATER On the marquee on the front lawn : `` WELCOME HALEY'S COMET.'' The Yugo parks in the b.g.", "INT. PRINCIPAL KELLY'S OFFICE - MINUTES LATER Landon picks up a pile of books and assignments. Looks through them, then eyes Miss Tarbox. LANDON Where's Jamie's book?! MISS TARBOX That's everything Mr. Kelly gave me. LANDON -LRB- insistent. -RRB- The next book on that list! The Old Man and. and. MISS TARBOX The Sea. LANDON Yeah. I need it today! Mr. Kelly steps out of his inner office. Sees Landon's anguished face, his exhaustion. MR. KELLY I'll drive a copy over to her. Landon nods his appreciation.", "INT. HOSPITAL - PATIENT ROOM - DAY Jamie looks smaller. Her eyes have blue circles beneath. The Hemingway novel on the bedstand. Belinda pushes the door open. Peeks in. Not sure she is welcome. Landon is sitting in a chair. He sees her, motions for her to come in. Quietly. BELINDA She asleep? LANDON I'll tell her you were here. Pause. Awkwardness. BELINDA Give her this, okay? She hands Landon a small photo album. BELINDA Pictures from the play. Jamie looks pretty - LANDON I'm sorry about how we - BELINDA -LRB- conciliatory. -RRB- No. You're with who you should be. It's like she chose you. LANDON -LRB- agreeing. -RRB- And I have no idea why. BELINDA I do. She hugs him quickly, then leaves. Landon goes to the window, looks out. SAME SCENE - HOURS LATER The sky is grayer, darker. Landon is still at the window. Jamie wakes. JAMIE Hi. He goes to her side. LANDON Hey. He kisses her. JAMIE I have something for you. She reaches under her pillow for the worn book from the attic. She offers it to Landon. JAMIE -LRB- smiling. -RRB- Do n't worry. It's not a Bible. He takes it. JAMIE My mother made it for me before I was born. -LRB- beat. -RRB- It's got quotes from famous people. Her favorite lines from books. Her thoughts. Landon looks at a page. LANDON -LRB- reading. -RRB- ` What is a friend? A single soul dwelling in two bodies.' Aristotle. JAMIE Lower. Same page. LANDON -LRB- reading. -RRB- ` Find out who you are and do it on purpose.' Dolly Parton. A bookmark falls out. He studies that page a moment. CLOSE ON PASSAGE from Corinthians. BACK TO SCENE Landon reads it. LANDON ` Love is always patient and kind. It is never boastful or conceited -' JAMIE That was read at my parents' wedding. He takes her hand. Holds it. LANDON How're you doing? JAMIE -LRB- looking away. -RRB- Better. I was really angry. LANDON I know. JAMIE It's gone now. LANDON -LRB- gently. -RRB- Because you have hope that you'll get better? JAMIE No. -LRB- pause, shrugging, accepting. -RRB- Maybe I believe God has a bigger dream for me than I had for myself. -LRB- beat. -RRB- Maybe I believe the journey, the big adventure, never ends. He kneels on the floor. Puts his head on her pillow next to hers. JAMIE Maybe I believe God sent you to me because I am ill. To help me through. He touches her face tenderly. JAMIE -LRB- almost whispering. -RRB- I want to go home. Pause. He gets her meaning. LANDON -LRB- trying not to break. -RRB- I'll talk to your father. JAMIE -LRB- looking away. -RRB- It's not that simple. -LRB- pause. -RRB- It costs money to do this at home.", "INT. CARTER LIVING ROOM - EVENING Cynthia pacing, talking on the phone, worried. The front door is wide open. CYNTHIA -LRB- into phone. -RRB-. He does n't talk to me, maybe not to anyone, except Jamie. She stands in the doorway and looks out. CYNTHIA'S POV Landon in his car in the driveway.", "INT. LANDON'S CAR Landon just sits. Exhausted, despondent.", "INT. CARTER LIVING ROOM Cynthia pacing. CYNTHIA -LRB- into phone. -RRB-. I've never asked you for extra. But we need it now. as soon as possible.", "INT. HOSPITAL - PATIENT ROOM - ANOTHER AFTERNOON Jamie's breathing is shallower. Landon's reading her The Sheltering Sky. He pauses, looks up. Isabel, Jamie's student, is standing in the doorway. Jamie sees her too. She smiles weakly. JAMIE Isabel? ISABEL -LRB- shy. -RRB- Hi. Isabel comes in. Landon offers her the book. She takes it and keeps going from where Landon left off. Stumbling but reading. Jamie grins. JAMIE Who's been working with you? Isabel looks shyly at Landon. Jamie shakes her head, amazed. Landon nods to Isabel and she begins reading again.", "EXT. CARTER BACK STEPS - THAT NIGHT Landon quietly opens the back door to the kitchen. HIS POV Cynthia sits at the table with Dr. Carter, his father. CYNTHIA Sit with us a minute.", "INT. CARTER KITCHEN Landon enters, but does n't sit. LANDON -LRB- to his father. -RRB- What are you doing here? CYNTHIA He wants to talk to you. LANDON -LRB- to his mother. -RRB- Now it's okay? CYNTHIA Landon. You have two parents. We're both here for you even - DR. CARTER - even if we're not here for each other anymore. Landon is listening. DR. CARTER I want to do this. Please let me. He holds out a check. For a lot of money. Landon takes it. Grateful. LANDON -LRB- quietly, to both parents. -RRB- Thank you.", "INT. PARSONAGE - JAMIE'S BEDROOM - DAY A smaller Jamie lies in a hospital bed, seemingly asleep. Hooked to an IV. Bottles of pills. Landon dozes in a comfortable chair. A nurse sits in a corner, reading. Eric and Clay stand in the doorway, not sure what to do. Jamie opens her eyes, smiles. JAMIE Do n't wake Landon. They tiptoe in. Stand on either side of her bed. JAMIE Do I look scary? ERIC Not too bad. CLAY You all right? A dumb question but she handles it well. JAMIE -LRB- smiling. -RRB- Things could be better. Awkward pause. CLAY We thought you'd be asleep - JAMIE -LRB- trying to help. -RRB- I do n't know what to say either. Clay hands her an envelope. JAMIE What is it? She pulls out a stack of worn bills. CLAY For the book drive. Landon told us about it - ERIC We told everyone at school. Jamie takes their hands, holds them. Thanking them silently. Her eyes shining with tears.", "INT. LANDON'S BEDROOM - LATE NIGHT Landon sits at his desk, sketching the larger telescope, making a few computations. A library book on Haley's Comet is open. A stack of similar books by his elbow. Cynthia enters wearing her waitressing outfit. CYNTHIA What can I do? He shrugs. Tears fill his eyes. LANDON Everything's being done but it's not enough. I have to find something - more. CYNTHIA -LRB- gently. -RRB- Landon, honey. There's nothing more. LANDON I do n't mean about Jamie being sick. I mean about Jamie and me. CYNTHIA Be with her when she wants. Make sure she never feels alone. Landon thinks his mother is also talking about herself. LANDON Mom, I'm not going anywhere. Not yet anyway. Pause. CYNTHIA When you are ready, I want you to feel free to go. They embrace.", "INT. LANDON'S BEDROOM - LATER Landon opens Jamie's mother's book. A photo of Jamie falls out - one taken by Belinda. CLOSE ON PHOTO Jamie, beautiful, smiling at the audience. LANDON considers the photo, finds a page to tuck it into. CLOSE ON HANDWRITTEN JOTTING `` For Landon'' above some underlined text, a Psalm from the Bible. LANDON -LRB- reading aloud. -RRB-' I cry to you my Lord, my rock! Do not be deaf to me, for if you are silent, I shall go down to the pit like the rest. Hear my voice raised in petition as I cry to you for help, as I raise my hands, my Lord, toward your holy of holies.' Landon knows Jamie underlined this for him.", "INT. LIVING ROOM - MOMENTS LATER Landon tears down the steps. Past his mother to the front door. He's out the door before she even turns around.", "INT. PARSONAGE - REVEREND SULLIVAN'S BEDROOM - MIDNIGHT Reverend Sullivan sits up in bed. His feet find slippers on the floor. He looks haggard, his hair thinner, his face defeated.", "INT. JAMIE'S BEDROOM - MOMENTS LATER The Reverend, wearing his robe, checks on his sleeping daughter. The night nurse nods as he tucks in blankets. A SOUND. Then another. Reverend Sullivan goes to the window. Parts the drapes. Looks out. HIS POV A dozen flashlights in a big circle. Landon in the middle, working feverishly on the new telescope.", "EXT. BACK YARD - MOMENTS LATER The back porch light comes on. Reverend Sullivan steps out onto the back porch. Landon looks up. LANDON -LRB- flushes, almost manic. -RRB- I have to finish it tonight. Without a word, the Reverend turns around and goes back inside. Leaving the porch light on. Landon goes back to work.", "EXT. BACK YARD - MINUTES LATER Reverend Sullivan comes out. Dressed. He carries two mugs of coffee and a brightly burning kerosene camp lantern. Peace offerings. He walks over, sets down the lantern, hands Landon a mug. Ready to work. LANDON I've almost finished the rocker. Did she order mirrors? REV. SULLIVAN In there. As they walk to the garage. REV. SULLIVAN You have materials for the side bearings? LANDON I'm using an old phonographic turntable. REV. SULLIVAN For the focuser? LANDON A chrome - plated brass pipe from a drain line. The Reverend nods, impressed. He yanks the garage door up. Goes in. LANDON You know about this stuff? REV. SULLIVAN I helped Jamie with the first one. LANDON -LRB- surprised. -RRB- I thought she built it herself. REV. SULLIVAN She did. But hardly anyone does anything truly alone. The Reverend carries out a large cardboard postal package. Landon takes it as the Reverend lowers the garage door. LANDON -LRB- serious. -RRB- I need to do this alone. Reverend Sullivan searches Landon's face for a long moment, understanding, then turns and heads for the back door.", "INT. CHURCH - REVEREND'S OFFICE - NEXT MORNING Landon stands in the doorway. The Reverend is wiping his glasses, his face, maybe of tears. He sees Landon. REV. SULLIVAN You finish? LANDON A few minutes ago. I have to ask you something. Long pause. REV. SULLIVAN When I was seventeen, I was sent up for a year for stealing a car. -LRB- beat. -RRB- Sometimes I still feel that boy inside me and I do n't like him. -LRB- beat. -RRB- But I like you. The Reverend stands, offers Landon his hand. Landon takes it. The two men shake. Allies now.", "INT. JAMIE'S ROOM - THAT EVENING Jamie opens her eyes. But can barely keep them open. Groggy from pain medication. Landon's standing there. Showered, clean clothes. LANDON We're going out. He starts helping the nurse disconnect her IV. JAMIE Can I - go out? LANDON You'll be fine for a few minutes. Jamie looks at the nurse. Uncertain. The nurse nods.", "EXT. PARSONAGE ROOF - NIGHT Landon carries Jamie out a large attic window. The finished large telescope is set up. Pointing at the sky. She's in her nightgown, wrapped in a blanket. JAMIE -LRB- grateful, touching it. -RRB- It's beautiful. Thank you. But she looks at the lights of the house and streets around them. JAMIE I do n't know what we'll be able to see. Help me stand. He checks his watch. LANDON Wait a sec. As she turns to him, questioning, the neighborhood suddenly darkens as the street lamps and lights in every nearby house are switched off.", "EXT. DOWN STREET Neighbors step outside. Hold up binoculars.", "EXT. BEAUFORT HIGH - PARKING LOT Members of the Star Club and other students look through traditional telescopes.", "EXT. PARSONAGE ROOF Jamie hugs Landon in gratitude. LANDON We have five minutes. Jamie, tears streaming, braces herself against Landon and she peers into the telescope eyepiece. She pulls back, wipes her eyes, then looks again. She swings the telescope into the correct position. HER POV THROUGH TELESCOPE Haley's Comet, its icy nucleus issuing the jets and streamers of gas, dust, and debris that form the comet's hazy head and long tail. JAMIE -LRB- O.S. -RRB- The comet of the century. BACK TO SCENE She steps back so he can see. He looks quickly, then moves aside so she can keep looking. She's completely engrossed. A long, quiet moment, then : LANDON You love me? She leans away from the eyepiece and looks at him - yes. LANDON Will you do something for me? JAMIE Landon. I ca n't even do for myself. LANDON But if you could, you would? JAMIE Yes. His throat tightens with nervousness, with hope, fear, sadness, and love. LANDON Will you marry me? HER FACE Illness, happiness, disbelief.", "EXT. SOUTHERN BAPTIST CHURCH - EARLY APRIL A sea of pink, purple, and white blossoms. Dogwoods, wisteria, azaleas, and roses blooming.", "INT. SOUTHERN BAPTIST CHURCH Bursting with everyone who knows Jamie and Landon - every kid in their high school, including Eric, Clay, Belinda ; teachers, including Ms. Garber ; Mr. Kelly ; Luis and Isabel and others from Jefferson High ; her father's congregation ; Cynthia Carter ; Dr. Carter's new wife and their two kids ; neighbors ; hospital staff and home nurses. Landon stands with his father by the altar. The `` WEDDING MARCH'' begins. The double doors at the back of the church open. Everyone turns to look at the bride. Gasps of joy and sadness. LANDON'S POV - JAMIE Flanked by a nurse and Reverend Sullivan. She's wearing her Lizzie dress from the play. It hangs loosely, but still becomes her. She's a beautiful bride. BACK TO SCENE Landon swells with pride. Jamie smiles. Then, leaning on her father, she slowly makes her way down the aisle. In the pews - few dry eyes follow her. Jamie - halfway - stops to rest and catch her breath. A moment later, she and her father continue. A long, difficult walk. A walk to remember. AT ALTAR The nurse rolls a wheelchair up as Jamie and her father near. Applause breaks out as Jamie reaches Landon's side. Jamie sits. Exhausted. Landon kneels to be the same height as Jamie in her chair. Pause. Dr. Carter kneels. Showing solidarity with his son. Reverend Sullivan, standing, leans down to kiss Jamie's cheek. Trying to keep his emotions in check. LANDON AND JAMIE'S POV Reverend Sullivan towering over them. BACK TO SCENE Reverend Sullivan kneels, too. Jamie takes Landon's hand in her right hand, her father's hand in her left. Linking the three together. The congregation silences. Reverend Sullivan looks up from his Bible. Struggling. REV. SULLIVAN As a father, I'm supposed to give away my daughter. But I can no more give Jamie away than I can give away my heart. But I can let another share in the joy she has given me. May God's blessings be with you both. He reaches out, offering a hand to Landon. Completing the circle. REV. SULLIVAN Landon, repeat after me. Do you take. As words are spoken and vows and rings exchanged, the CAMERA MOVES ACROSS the faces of those at the altar - Jamie, Landon, Dr. Carter. TO the first row of the congregation - Cynthia Carter, Josh, Eric, Clay. Then BACK row by row as the Reverend begins reading a passage from the book Jamie's mother made for her. His voice soft and melodious, like a poet reading his own work. REV. SULLIVAN -LRB- O.S. -RRB- ` Love is always patient and kind. It is never jealous. Love is never boastful or conceited. It is never rude or selfish. It does not take offense and is not resentful. Love takes no pleasure in other people's sins, but delights in the truth. It is always ready to excuse, to trust, to hope, and to endure whatever comes.' And the CAMERA MOVES OUT the double doors to find. PARSONAGE in a different season. Winter. UP the front steps and INTO. LIVING ROOM -LRB- PRESENT DAY -RRB- As it is now, in present day. The nurse disappears, leaving Landon Carter, 33, waiting. Looking at a framed photo of Jamie as Lizzie in The Rainmaker. The nurse returns, helping an old man as he shuffles in. Reverend Sullivan. He's stooped, thin, balding. His skin parchment thin. The two men embrace. Stiff, uncomfortable, uncertain. REV. SULLIVAN You've been well? LANDON Yes. You? REV. SULLIVAN Getting by. Pause. Why is he here? The Reverend waits. LANDON -LRB- fumbling. -RRB- I'm - I'm returning something. He twists the ring on his finger. Removes it. LANDON This belongs to you. He gives his wedding ring to the Reverend. Pause. Landon searches for something meaningful to say. LANDON She taught me - everything. She saved my life. The Reverend turns away, overcome with sadness. Realizing now why Landon has come. REV. SULLIVAN You're marrying again. LANDON Yes. REV. SULLIVAN Jamie wanted that. She told me. Landon is grateful to know this. He makes a move to go. Then turns back. LANDON I'm sorry she never got her miracle. REV. SULLIVAN She did. It was you. Landon, deeply touched, embraces the old man again. Warmly, fully. Two men still grieving, saying good - bye. ADULT LANDON -LRB- V.O. -RRB- Jamie once said when you're feeling love, you're also feeling God.", "EXT. NEUSE RIVER - THAT AFTERNOON Landon walks alone. His hair and clothing tousled by a steady gentle wind. ADULT LANDON -LRB- V.O. -RRB- She made me a believer. In love. In life. In the journey that never ends. Landon stops. Faces the wind. Lets the air swirl over him. ADULT LANDON -LRB- V.O. -RRB- And in the mystery of all things you ca n't see but feel everywhere around you. He closes his eyes. She's there. FADE OUT. THE END"], "labels": [1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0], "summary": "In Beaufort, North Carolina, popular and rebellious teenager Landon Carter and his friends have partaken in underage drinking on school grounds. They lure a new student, Clay Gephardt, to a factory in the hopes of \"pranking\" him, with the fa\u00e7ade that this is an initiation task into their friendship group. However, Clay becomes seriously injured, which is brought to the attention of the school principal through law enforcement. In an effort to avoid law involvement, the school principal gives Landon the choice of being expelled from the school or completing several service projects which include weekend tutoring, janitorial duties, and participation in the school play. Choosing the latter, Landon is further acquainted with Jamie Sullivan, the local minister's daughter. He never befriended her due to the status quo at the high school, though he has known her most of his life. Landon begins to struggle with the play and reluctantly seeks guidance from Jamie, who agrees to help him on the condition that he won't fall in love with her, but Landon dismisses it as a foolish idea. They begin practising together at her house after school. A bond begins to form between the two until Jamie realizes that Landon wants to keep their friendship a secret from others, so she decides to distance herself from him. On the opening night of the play, Jamie astounds Landon and the audience with her voice and beauty. When Jamie finishes singing towards the end, Landon kisses her. Afterwards, Jamie avoids Landon until his friends play a cruel prank on her. In opposition to his friends, he defends her and she eventually warms up to him again. Landon asks Jamie to go on a date, to which Jamie reveals that she's not allowed to date. Landon visits the church in order to ask her father for permission. Jamie's father is initially hesitant but agrees. Their first date is a huge success, and leads to another. Their relationship strengthens, and all seems well. During a date, however, Jamie confesses that she isn't making any plans for the future because she has leukemia and hasn't been responding to treatment. Jamie's condition grows worse and she gets sent to the hospital. Upon learning of her condition, Landon's friends come to him and apologize for their past treatment of Jamie and offer their support. While she is admitted, Jamie gives Landon a book that once belonged to her deceased mother and tells him that Landon is her angel. Unbeknownst to Landon, Jamie is given private home care by Landon's estranged father to relieve her father's financial burden. Landon builds a telescope for Jamie to see a one-time comet in the springtime, and with help from Jamie's father, he finishes it in time to give Jamie a beautiful view of the comet. It is then that Landon asks her to marry him. Jamie tearfully accepts, and they get married in the church where her mother was married. Landon reflects that their very last summer together was spent as man and wife, and that she had died soon after. Years later, Landon returns to Beaufort to visit Jamie's father, revealing that he had been accepted into medical school. Landon laments that Jamie was never able to witness a miracle, to which Jamie's father replied that the miracle was Landon himself. Hereafter, Landon expresses sorrow over Jamie's passing, but describes their love like the wind: he can't see it, but he can feel it.", "name": "A_Walk_to_Remember"}
{"scenes": ["TITLES FADE IN : SUPERIMPOSE : AT 600 KM ABOVE PLANET EARTH THE TEMPERATURE FLUCTUATES BETWEEN +258 AND -148 DEGREES FAHRENHEIT. THERE IS NOTHING TO CARRY SOUND. NO AIR PRESSURE. NO OXYGEN. LIFE IN SPACE IS IMPOSSIBLE. TITLES FADE OUT. OVER BLACK SUPERIMPOSE : GRAVITY FADE IN : EXT. OUTER SPACE - DAY A section of the Earth as CAMERA TRACKS. The EXPLORER space shuttle becomes visible. The fuselage roof of the shuttle is open, creating an exterior hangar where the Hubble telescope is docked. MISSION CONTROL -LRB- V.O. -RRB- -LRB- over radio -RRB- Um, please verify that the P-one ATA removal on replacement cap part one and two are complete. EXPLORER CAPTAIN -LRB- V.O. -RRB- -LRB- over radio -RRB- DMA M-one, M-two, M-three and M- four are complete. MISSION CONTROL -LRB- V.O. -RRB- -LRB- over radio -RRB- Okay. Copy that, Explorer. Dr. Stone, Houston. Medical is concerned about your ECG readings. RYAN -LRB- V.O. -RRB- -LRB- over radio -RRB- I \u2019 m fine, Houston. MISSION CONTROL ( V.O. ) ( over radio ) Well, Medical does n't agree, Doc. Are you feeling nauseous? RYAN -LRB- V.O. -RRB- -LRB- over radio -RRB- Not any more than usual, Houston. Diagnostics are green. Link to communications card ready for data reception. If this works, when we touch down tomorrow, I \u2019 m buying all you guys a round of drinks. MISSION CONTROL -LRB- V.O. -RRB- -LRB- over radio -RRB- That \u2019 s a date, Doctor. Just remember, Houston \u2019 s partial to margaritas. RYAN -LRB- V.O. -RRB- -LRB- over radio -RRB- Booting comms card now. Please confirm link. MISSION CONTROL -LRB- V.O. -RRB- -LRB- over radio -RRB- That \u2019 s a negative, we \u2019 re not seeing any data. RYAN -LRB- V.O. -RRB- -LRB- over radio -RRB- Standby, Houston, I \u2019 m gon na reboot the comms card. MISSION CONTROL -LRB- V.O. -RRB- -LRB- over radio -RRB- Standing by. ANOTHER ANGLE MATT -LRB- V.O. -RRB- -LRB- over radio -RRB- Houston, I have a bad feeling about this mission. MISSION CONTROL -LRB- V.O. -RRB- -LRB- over radio -RRB- Please expand. MATT -LRB- V.O. -RRB- -LRB- over radio -RRB- Okay, let me tell you a story. It was ninety-six. -LRB- MORE -RRB- MATT ( V.O. ) ( CONT'D ) I \u2019 d been up here for forty-two days. Every time I passed over Texas, I looked down knowing that Mrs. Kowalski was looking up, thinking of me. Six weeks I \u2019 m blowing kisses at that woman. Then we land at Edwards and I find out that she \u2019 s run off with this lawyer. So, I packed my car, and I headed to -- MISSION CONTROL -LRB- V.O. -RRB- -LRB- over radio ; interrupting -RRB- Tijuana. You \u2019 ve told this story, Kowalski. As Houston recalls, she, uh, took off in your seventy- four GTO. Engineering requests fuel status on the jetpack prototype. MATT KOWALSKI, a veteran astronaut commander on his last space mission, spacewalks behind the shuttle. He wears a propulsion backpack. MATT -LRB- V.O. -RRB- -LRB- over radio -RRB- Five hours off the reservation and I show thirty percent drain. Give my compliments to Engineering. Except for a slight malfunction in the nulling of the roll axis, this jetpack is one prime piece of thrust. MISSION CONTROL -LRB- V.O. -RRB- -LRB- over radio -RRB- Engineering says thank you. CAMERA TILTS UP WITH Matt. MATT -LRB- V.O. -RRB- -LRB- over radio -RRB- Tell \u2018 em I still prefer my sixty- seven Corvette, though. Speaking of which, did I ever tell you -- MISSION CONTROL -LRB- V.O. -RRB- -LRB- over radio -RRB- We know the Corvette story, Matt. MATT -LRB- V.O. -RRB- -LRB- over radio -RRB- Even Engineering? MISSION CONTROL ( V.O. ) ( over radio ) Especially Engineering. Matt starts to play a country western song over the radio speakers. He moves, circling around the space shuttle. Over radio, Hank Williams, Jr. sings \u201c Angels Are Hard To Find. \u201d MISSION CONTROL -LRB- V.O. -RRB- -LRB- over radio -RRB- We \u2019 re going to miss you, Matt. RYAN -LRB- V.O. -RRB- -LRB- over radio -RRB- Comms card reboot in progress. ANOTHER ANGLE DR. SHARIFF DASARI becomes visible, tethered to the shuttle, as he makes repairs to it. MISSION CONTROL -LRB- V.O. -RRB- -LRB- over radio -RRB- Thank you, Doctor. -LRB- to Shariff -RRB- Shariff, what \u2019 s your status? SHARIFF -LRB- V.O. -RRB- -LRB- over radio -RRB- Nearly there. Replacing battery module A-one and C. MISSION CONTROL -LRB- V.O. -RRB- -LRB- over radio -RRB- Uh, could you be a little more specific? Indeterminate estimates make Houston anxious. SHARIFF -LRB- V.O. -RRB- -LRB- over radio -RRB- Oh, no, no, Houston. Don \u2019 t be anxious. Anxiety \u2019 s not good for the heart. System is ready to reactivate. MISSION CONTROL -LRB- V.O. -RRB- -LRB- over radio -RRB- Hubble telescope engaged. Upgrade fully functional. Matt approaches Shariff from b.g. We hear people in Mission Control chatter and cheer, V.O. MISSION CONTROL -LRB- V.O. -RRB- -LRB- over radio -RRB- That applause you hear is for you, Shariff. Congratulations. Kick back, take the rest of the day off. Shariff starts dancing. SHARIFF -LRB- V.O. -RRB- -LRB- over radio -RRB- Whoo-hoo-hoo! -LRB- chuckles ; singing in Hindi -RRB- Mera juta hai jaapaani, my patloon inglistaani saar pe laal topi rusi -- -LRB- low -RRB- -- phir bhi dil hai hindustani. MISSION CONTROL -LRB- V.O. -RRB- -LRB- over radio -RRB- Matt, do you have a visual on just what Mission Specialist Shariff is doing up there? Matt moves around Shariff. MATT -LRB- V.O. -RRB- -LRB- over radio -RRB- He appears to be doing some form of the Macarena. -LRB- off Shariff \u2019 s laugh -RRB- But that would be just a best- guess scenario on my part. CAMERA TILTS DOWN and DOLLIES IN ON DR. RYAN STONE, a medical engineer on her first mission. She is on a crane- like robotic arm attached to the shuttle. She is focused on a communication card panel on the Hubble. MISSION CONTROL -LRB- V.O. -RRB- -LRB- over radio -RRB- Dr. Stone, Houston. Medical now have you with a temperature drop to thirty-five-point-nine and a heart-rate rise to seventy. How are you feeling? RYAN -LRB- V.O. -RRB- -LRB- over radio -RRB- Houston, I \u2019 m fine. It \u2019 s just keeping your lunch down in zero-G is harder than it looks. MISSION CONTROL ( V.O. ) -LRB- over radio -RRB- Uh, Dr. Stone, Medical is asking if you want to return to Explorer. RYAN -LRB- V.O. -RRB- -LRB- over radio -RRB- Negative. We \u2019 ve been here a week, Houston. Let \u2019 s just finish this. -LRB- clears throat -RRB- Card is up. MISSION CONTROL -LRB- V.O. -RRB- -LRB- over radio -RRB- Uh, no, that \u2019 s a negative. I \u2019 m afraid we \u2019 re getting nothing on this end, Doctor. RYAN -LRB- V.O. -RRB- -LRB- over radio -RRB- Try again. MISSION CONTROL -LRB- V.O. -RRB- -LRB- over radio -RRB- No, still nothing. RYAN -LRB- V.O. -RRB- -LRB- over radio -RRB- Houston, can you please turn that music off. MISSION CONTROL -LRB- V.O. -RRB- -LRB- over radio -RRB- Kowalski. MATT -LRB- V.O. -RRB- -LRB- over radio -RRB- Not a problem. Matt turns the music off. RYAN -LRB- V.O. -RRB- -LRB- over radio -RRB- Thank you, Kowalski. Now, Houston? MISSION CONTROL -LRB- V.O. -RRB- -LRB- over radio -RRB- That \u2019 s a negative. RYAN -LRB- V.O. -RRB- -LRB- over radio -RRB- Could Houston be misinterpreting the data? MISSION CONTROL ( V.O. ) -LRB- over radio -RRB- Well, we \u2019 re not receiving any data. Engineering is recommending a vis-check for component damage. Ryan takes a card out and examines it. RYAN -LRB- V.O. -RRB- -LRB- over radio -RRB- Let me see what \u2019 s going on. What have we got? -LRB- to Mission Control -RRB- Visual examination doesn \u2019 t reveal any damaged components. The problem must be originating from the comms panel. MISSION CONTROL -LRB- V.O. -RRB- -LRB- over radio -RRB- Yeah, that seems to be the case. Engineering admits that you warned us that this could happen. That \u2019 s as close to an apology as you \u2019 re going to get from them. We should have listened to you, Doc. RYAN -LRB- V.O. -RRB- -LRB- over radio -RRB- Get working. MISSION CONTROL -LRB- V.O. -RRB- -LRB- over radio -RRB- Well, looks like we \u2019 re going to have to improvise. Matt moves INTO FRAME. RYAN -LRB- V.O. -RRB- -LRB- over radio -RRB- I \u2019 m on it. MISSION CONTROL -LRB- V.O. -RRB- -LRB- over radio -RRB- How long do you think it \u2019 ll take you? RYAN -LRB- V.O. -RRB- -LRB- over radio -RRB- One hour. MISSION CONTROL -LRB- V.O. -RRB- -LRB- over radio -RRB- Outstanding. MISSION CONTROL -LRB- V.O. -RRB- -LRB- CONT'D -RRB- Installing your system in the Hubble is the purpose of this mission and so we appreciate your patience, Doctor. Kowalski, we-we know you don \u2019 t care about things like this, but, uh, for your information, this delay is not gon na be long enough for you to break Anatoly Solovyev \u2019 s spacewalking record. It seems like you \u2019 re gon na be left, uh -- CAMERA TILTS DOWN and TRACKS WITH Matt as he moves past Shariff. MATT -LRB- V.O. -RRB- -LRB- over radio -RRB- Seventy-five minutes shy? Never crossed my mind. MISSION CONTROL -LRB- V.O. -RRB- -LRB- over radio -RRB- Matt... it \u2019 s been a privilege. MATT -LRB- V.O. -RRB- -LRB- over radio -RRB- Right back at you, Houston. MISSION CONTROL -LRB- V.O. -RRB- -LRB- over radio -RRB- Enjoy your last walk. MATT -LRB- V.O. -RRB- -LRB- over radio -RRB- Am I a go to assist Dr. Stone in removing the panel? RYAN -LRB- V.O. -RRB- -LRB- over radio -RRB- Assistance appreciated. CAMERA PANS AROUND WITH Matt as he joins Ryan at the crane-like robotic arm. MISSION CONTROL -LRB- V.O. -RRB- -LRB- over radio -RRB- Permission granted. MATT Thank you, Houston. -LRB- to Ryan -RRB- Mind if I join the fun? RYAN Certainly. MATT How you feeling? RYAN -LRB- pants, chuckling -RRB- Like a Chihuahua that \u2019 s being tumble-dried. MATT -LRB- chuckles softly -RRB- Well, it \u2019 s been a rough week. If it makes you feel any better, I coughed up everything but my kidneys on my first ride. RYAN Shit. Ryan drops a bolt, which floats as Matt reaches out to grab it. Matt moves to Ryan and gives the bolt to her. They work together on removing the panel. RYAN Sorry. I \u2019 m used to a basement lab in a hospital where things fall to the floor. -LRB- chuckles softly -RRB- Thank you. MATT Well, you \u2019 re the genius up here. I only drive the bus. RYAN Yeah, well, call me a genius if I can get this board initialized in the next hour. MISSION CONTROL -LRB- V.O. -RRB- -LRB- over radio -RRB- Explorer, this is Houston. EXPLORER CAPTAIN -LRB- V.O. -RRB- -LRB- over radio -RRB- Go ahead, Houston. MISSION CONTROL -LRB- V.O. -RRB- -LRB- over radio -RRB- Uh, NORAD reports a Russian satellite has incurred a missile strike. Matt continues to breathe heavily into the radio. MISSION CONTROL -LRB- V.O. -RRB- -LRB- over radio -RRB- The impact has created a cloud of debris orbiting at twenty thousand miles per hour. Current debris orbit does not overlap with your trajectory. We \u2019 ll keep you posted on any developments. EXPLORER CAPTAIN -LRB- V.O. -RRB- -LRB- over radio -RRB- Copy that, Houston. RYAN Should we -- Should we be worried? MATT No, let \u2019 s let the boys down there worry for us. RYAN Explorer, engage arm and pivot to cargo bay. EXPLORER CAPTAIN -LRB- V.O. -RRB- -LRB- over radio -RRB- Stand by for arm maneuver. The robotic arm begins to move very slowly, pulling Ryan and Matt along. MATT So, doc, now that you work for NASA, how do you like us? SHARIFF Kind of like winning the lottery, huh? Shariff chuckles. RYAN -LRB- inhaling sharply -RRB- I was just happy that they didn \u2019 t cut the funding to my research. MATT How long was your training? RYAN Oh, six months. SHARIFF Including holidays? RYAN Mm-hm. Ryan moves. Matt unclips a cable. MATT So, what is this scanning system? SHARIFF Oh, nothing Matt. It \u2019 s just a new set of eyes to scan the edge of the universe. Matt holds the cable. RYAN It \u2019 s designed for hospital use, but this one \u2019 s a prototype. EXPLORER CAPTAIN -LRB- V.O. -RRB- -LRB- over radio -RRB- Stand by for locking. Matt and Ryan begin to remove another panel. MATT Listen, they don \u2019 t bankroll prototypes. Even for your pretty blue eyes. RYAN Well, my eyes are brown. MATT Right now, your eyes are bloodshot. She chuckles. SHARIFF Kowalski! Is this great, or what? Woo-hoo-hoo! Matt and Ryan turn to see Shariff jump and float away from the shuttle. His safety tether tenses and snaps him back. Matt glances upward. MATT And to think he went to Harvard. You got ta admit one thing : Can \u2019 t beat the view. -LRB- beat -RRB- So, what do you like about being up here? RYAN The silence. I could get used to it. MATT Terrific. RYAN Houston, from first inspection, comms panel appears to be dead. Am I a go to cut link to auxiliary? MISSION CONTROL -LRB- V.O. -RRB- -LRB- over radio -RRB- You \u2019 re the expert, doctor. It \u2019 s your call. MATT Houston, I have a bad feeling about this mission. MISSION CONTROL -LRB- V.O. -RRB- -LRB- over radio -RRB- Please elaborate. MATT It \u2019 s the same feeling I had about Mardi Gras in 1987. MISSION CONTROL -LRB- V.O. -RRB- -LRB- over radio -RRB- That is affirmative. Surprisingly, Control hasn \u2019 t heard the Mardi Gras story. Please proceed. Matt and Ryan work the panel. MATT Well, it \u2019 s day one, and I \u2019 m bumping my way down Bourbon Street looking for a sister of a friend of mine. Streets are full of people. I \u2019 m thinking there \u2019 s no way I \u2019 m gon na find this girl. RYAN Proceeding to override. MATT Then all of the sudden, I look up, and there she is, and I \u2019 m about to yell out, and I see she \u2019 s holding hands with some short, hairy guy in board shorts and a Margaritaville shirt. And then I realize that this guy is not a guy. That my girl is holding hands with a -- MISSION CONTROL -LRB- V.O. -RRB- -LRB- over radio -RRB- ISS, this is Houston. RUSSIAN SPACE STATION CAPTAIN -LRB- V.O. -RRB- -LRB- over radio -RRB- Houston. MISSION CONTROL -LRB- V.O. -RRB- -LRB- over radio -RRB- Explorer, this is Houston. EXPLORER CAPTAIN -LRB- V.O. -RRB- -LRB- over radio -RRB- Go ahead, Houston. MISSION CONTROL -LRB- V.O. -RRB- Mission abort. Repeat. Mission abort. Initiate emergency disconnect from Hubble. Begin reentry procedure. ISS, initiate emergency evacuation. EXPLORER CAPTAIN -LRB- V.O. -RRB- -LRB- over radio -RRB- Copy all, Houston, and in work. -LRB- to Matt -RRB- Matt, immediate return to Explorer. Repeat, immediate return to Explorer. MATT Copy. Explorer, prep airlock. EXPLORER CAPTAIN -LRB- V.O. -RRB- -LRB- over radio -RRB- Airlock engaged, ready to receive. MATT Houston, elaborate. MISSION CONTROL ( V.O. ) -LRB- over radio -RRB- Debris from the missile strike has caused a chain reaction, hitting other satellites and creating new debris. Traveling faster than a high-speed bullet up towards your altitude. All copy. MATT Copy all. -LRB- to Ryan -RRB- Put a bow on it, Dr. Stone. RYAN I can \u2019 t. The board is still initializing. MATT I \u2019 m not gon na ask you again. RYAN One second. MATT Not one second. Now. Shut it down. That \u2019 s an order. Ryan finishes working. RYAN Okay, I \u2019 m sorry. I \u2019 m sorry. I \u2019 m done. I \u2019 m done. EXPLORER CAPTAIN -LRB- V.O. -RRB- -LRB- over radio -RRB- Kowalski, initiate emergency disconnect from the Hubble. Ryan and Matt close the panel. MATT All right, Shariff, let \u2019 s do this. Matt and Shariff move to the base of the Hubble. SHARIFF Roger, Matt. MATT Houston, update. MISSION CONTROL ( V.O. ) -LRB- over radio -RRB- Well, we have a full-on chain reaction. It \u2019 s been confirmed that it \u2019 s the unintentional side effect of the Russians striking one of their own satellites. SHARIFF They shot down their own satellite? Matt pulls down a lever. Then moves upward. MATT Right of disposal. Most likely a spy sat gone bad. Now it \u2019 s shrapnel. -LRB- to Explorer Captain -RRB- Explorer, ready to disengage HST. EXPLORER CAPTAIN -LRB- V.O. -RRB- -LRB- over radio -RRB- Locks releasing in three... two... one. The locks holding the Hubble in place release. Matt pushes it up. MISSION CONTROL -LRB- V.O. -RRB- -LRB- over radio -RRB- Explorer, new data coming through. MATT What's the blowback, Houston? MISSION CONTROL -LRB- V.O. -RRB- -LRB- over radio -RRB- It \u2019 s not good. Most of our systems are gone. Debris chain reaction is out of control and rapidly expanding. Ryan is on the robotic arm. MISSION CONTROL -LRB- V.O. -RRB- -LRB- over radio -RRB- Multiple satellites are down, and they keep on falling. Matt flies to the right. MATT Define \u2018 multiple satellites. \u2019 MISSION CONTROL ( V.O. ) -LRB- over radio -RRB- Most of them are gone. Telecommunication systems are dead. Expect a communication blackout at any moment. RYAN Kowalski, visual of debris at nine o \u2019 clock. Fragments of debris fly past. MATT Half of North America just lost their Facebook. MISSION CONTROL -LRB- V.O. -RRB- -LRB- over radio -RRB- Explorer, repeat, expect a communication blackout at any moment. EXPLORER CAPTAIN -LRB- V.O. -RRB- -LRB- over radio -RRB- Copy that, Houston. A large piece of debris from a BSE satellite flies past Shariff. MATT Explorer, this is Kowalski, confirming visual contact with debris. Debris is from a BSE sat. The debris flies. SHARIFF Heads up! MATT To repeat, I have -- RYAN Dr. Stone requesting faster transport. MATT WE have to go. We have to go, go, go! MISSION CONTROL ( V.O. ) -LRB- over radio -RRB- Kennedy reports meteorological conditions no-go for re-entry. Matt flies left. EXPLORER CAPTAIN -LRB- V.O. -RRB- -LRB- over radio -RRB- Houston, Explorer. Copy. RYAN Explorer, Dr. Stone requesting faster transport to bay area. Explorer, do you copy? MATT Explorer, permission to retrieve Dr. Stone. Matt flies towards Ryan. EXPLORER CAPTAIN -LRB- V.O. -RRB- -LRB- over radio -RRB- You \u2019 re a go, Kowalski. -LRB- to Mission Control -RRB- Houston, this is Explorer, copy. MATT All right. EXPLORER CAPTAIN -LRB- V.O. -RRB- -LRB- over radio -RRB- We've lost Houston. We \u2019 ve lost Houston. Matt tries to help Ryan detach herself. MATT Unstrap. Look, we need to get the hell out of here. RYAN All right. SHARIFF Need some help there, Matt? MATT No, don \u2019 t wait for us. A piece of debris smashes into Shariff, killing him. RYAN It \u2019 s stuck! MATT Man down! Man down! Flying debris punctures holes in the shuttle, which starts to veer out of control. EXPLORER CAPTAIN -LRB- V.O. -RRB- -LRB- over radio -RRB- Houston, this is Explorer, copy. Houston, this is Explorer, copy. Kowalski, repor -- Ryan, still attached to the robotic arm, spins around with the shuttle. MATT Explorer \u2019 s been hit! -LRB- to Explorer Captain -RRB- Explorer, do you read? Explorer, over! Explorer! The robotic arm breaks off from the shuttle with Ryan still attached to it. She continues to spin around. MATT Astronaut is off structure! Dr. Stone is off structure! -LRB- to Ryan -RRB- Dr. Stone, detach! You must detach! If you don \u2019 t detach, that arm \u2019 s gon na carry you too far! RYAN -LRB- crying out -RRB- No! No! I can -- MATT Listen to my voice! You need to focus! RYAN I can \u2019 t! I can \u2019 t! MATT I \u2019 m losing visual of you. In a few seconds, I won \u2019 t be able to track you. You need to detach! I can \u2019 t see you anymore! Do it now! RYAN Okay, I \u2019 m trying! I \u2019 m trying! I \u2019 m trying! Ryan detaches herself and flies off. MATT Houston, I \u2019 ve lost visual of Dr. Stone. Houston, I \u2019 ve lost visual of Dr. Stone.", "EXT. OUTER SPACE - 600 KM ABOVE EARTH - DAY Ryan spins out of control as she careens. MATT -LRB- V.O. -RRB- -LRB- over radio -RRB- Dr. Stone, do you copy? Repeat, do you copy? She flies PAST CAMERA and continues in the b.g. RYAN Yes, yes, yes. I copy! I \u2019 m detached! MATT -LRB- V.O. -RRB- -LRB- over radio -RRB- Give me your position. RYAN I don \u2019 t know! I don \u2019 t know! I \u2019 m spinning! I can \u2019 t -- I can \u2019 t --! MATT -LRB- V.O. -RRB- -LRB- over radio -RRB- Report your position. RYAN GPS is down. I ca -- It \u2019 s down, I can \u2019 t -- She spins and flips. MATT -LRB- V.O. -RRB- -LRB- over radio -RRB- Give me a visual. RYAN I told you, nothing. I see nothing! MATT -LRB- V.O. -RRB- -LRB- over radio -RRB- Do you have a visual of Explorer? RYAN No. No. MATT -LRB- V.O. -RRB- -LRB- over radio -RRB- Do you have a visual of ISS? RYAN No. MATT -LRB- V.O. -RRB- -LRB- over radio -RRB- You need to focus. Anything, use the sun and the Earth, give me coordinates. RYAN It \u2019 s so fast. I can \u2019 t breathe! I can \u2019 t breathe! MATT -LRB- V.O. -RRB- -LRB- over radio -RRB- Give me coordinates! Dr. Stone, do you copy? Repeat, do you copy? Give me your position! Report your position. Give me a visual! Do you have a visual of Explorer? Do you have a visual of ISS? I need you to focus. Anything. Use the sun and the Earth, give me coordinates. Give me coordinates. She continues spinning. DISSOLVE TO :", "INT. HELMET - DAY Ryan glances about as she tries to calm down. The Explorer shuttle, a glowing light, is far off in the distance. RYAN Kowalski? Kowalski, do you copy? Kowals -- I have-have a vis -- Kowalski, I have a visual. I have- have a visual of Explorer. With north at -- twelve o \u2019 clock and the shuttle is at the center of the dial. I can see -- I can see the Chinese station. No -- No, it \u2019 s the International Space Station. ISS is at -- ISS is at seven o'clock. CAMERA RACKS FOCUS ON the inside of the helmet, which illuminates gauges and meters of the vital statistics of Ryan \u2019 s space suit, which read : CWL TEMP 15C WARN RADIATION LOW OXYGEN 10 % LIFE SUPPORT BATTERY 42 % RYAN Lieutenant Kowalski, do you copy? CAMERA PULLS BACK OUT of her helmet. DISSOLVE TO :", "EXT. OUTER SPACE - 600 KM ABOVE EARTH - DAY Ryan continues to flip and spin around. RYAN Explorer, do you -- do you copy? Houston, do you copy? Houston, this is Mission Specialist Ryan Stone. I am off structure and I am drifting. Do you copy? Anyone...? Anybody...? Do you copy? Please copy. Please. MATT -LRB- V.O. -RRB- -LRB- over radio -RRB- Dr. Stone, do you copy? RYAN Yeah, Lieutenant Kowalski, yes. Yes, Lieutenant Kowalski, I \u2019 m here, I \u2019 m here! MATT -LRB- V.O. -RRB- -LRB- over radio -RRB- Repeat, do you copy? Ryan shines her flashlight, using it like a beacon. RYAN Yes, yes, I copy, I \u2019 m here! I \u2019 m here. MATT -LRB- V.O. -RRB- -LRB- over radio -RRB- Flash your light. RYAN My light -- my light? MATT ( V.O. ) -LRB- over radio -RRB- Flash it so I can see you. RYAN Uh, okay. Uh... I... Okay, okay. Here, here! I \u2019 m here! MATT -LRB- V.O. -RRB- -LRB- over radio -RRB- Ah, there you are. Hang on tight. Report your status. RYAN I \u2019 m fine, I \u2019 m fine. I \u2019 m all right. MATT -LRB- V.O. -RRB- -LRB- over radio -RRB- Your status. Give me your readings. Ryan looks at the gauge on her wrist, which indicates her suit status. RYAN I... Uh, three -- three -- three point six PSI. MATT -LRB- V.O. -RRB- -LRB- over radio -RRB- Your O2, give me your O2. RYAN Uh, oxygen is going down. It \u2019 s going down fast. It \u2019 s going down fast. Nine -- No, eight-eight percent. Eight three point nine percent. MATT -LRB- V.O. -RRB- -LRB- over radio -RRB- Okay, you \u2019 re breathing too fast. You \u2019 re burning oxygen, and we don \u2019 t want to do that. We want to relax. Copy? RYAN Okay, so -- Okay, sorry. Yes, copy, copy. MATT -LRB- V.O. -RRB- -LRB- over radio -RRB- All right. Nearly there. RYAN Please hurry. Matt approaches from far off in the b.g. He speeds toward her. MATT You can holster that torch, Dr. Stone. RYAN Sorry. Sorry. Matt collides with her and grabs onto her. Ryan reacts, panicked. They tumble together, facing each other. MATT Gotcha. All right, now I \u2019 m gon na tether you to me. RYAN Uh-huh. MATT I know, you never realized how devastatingly good-looking I am. But I need you to stop staring and help me with the tether. RYAN Mm-hmm. MATT Okay? RYAN Okay, okay. Uh, I got it. Matt attaches the tether to Ryan \u2019 s suit. They continue tumbling together. MATT All right, here we go. All right. Now, to clear you from the jets... RYAN Uh-huh. MATT I \u2019 m gon na give you a little push. RYAN No, no, no, no. No, no, no. MATT Not a push. RYAN No, no. MATT A nudge. RYAN No, no, no, no, no, no, no, no, no! Damn it, no! Matt pushes Ryan away from him. As she drifts again, she panics. Matt turns and uses the thrusters to accelerate. MATT See? Where you go, I go. Better. Let \u2019 s get outta here. Matt pulls Ryan behind him via the tether. RYAN Goddamn it. MATT I know what you mean. RYAN Damn it. They move towards the Explorer in the distance. MATT You \u2019 re burning oxygen. We \u2019 re going back to the shuttle. How \u2019 s that for a plan? Copy? RYAN Fuck! MATT Right. Copy that. Houston, in the blind. This is Kowalski. Dr. Stone and I are gon na make our way back to base. Can you get the Explorer to prepare the airlock for arrival? Copy? Houston, this is...", "EXT. OUTER SPACE - 650 KM ABOVE EARTH - DAY Matt flies, pulling Ryan behind him. MATT... Kowalski. How do you copy? Houston, in the blind. This is Kowalski. RYAN They can \u2019 t hear us. MATT We don \u2019 t know that. That \u2019 s why we keep talking. If somebody is listening, they might just save your life. Set your watch for ninety minutes. RYAN Why ninety? MATT Well, Houston clocked that... Ryan sets her watch. MATT... debris at fifty thousand miles an hour. If you factor in our current orbit, then I figure we got about ninety minutes before we get our asses kicked again. Text on the wrist display next to the watch reads : SUIT PRESS 35PSI 01:30 00 OXYGEN ALERT 6 % BATTERY 18 % SPC02 4.1 min She reaches and grabs hold of the tether. RYAN O2 down to six percent. MATT Okay. Pretty scary shit being untethered up here, isn \u2019 t it? RYAN Yeah, pretty scary shit. MATT Well, you did all right. Matt thrusts forward again, pulling her in a jerking motion.", "INT. HELMET - RYAN\u2019S POV THROUGH THE HELMET TO MATT - DAY RYAN Well, you weren \u2019 t so bad yourself. MATT Houston, in the blind. This is Kowalski. Our current location is approximately... nine hundred meters out from the Explorer. Dr. Stone and I would like to retrieve the body of Mission Specialist Shariff and return it to the shuttle. Am I a go to retrieve? Roger that. Matt flies back and forth as he tries to correct their course, searching for Shariff. The tether jerks Ryan back and forth. RYAN Where is he? Where is he? Matt ignites the thrusters and speeds in b.g. toward the panel Shariff is attached to. Matt grabs onto the panel, stopping his trajectory. Ryan flies past him toward Shariff \u2019 s corpse. RYAN Oh, my God. Oh, my God.", "EXT. OUTER SPACE - 650 KM ABOVE EARTH - DAY Ryan flies f.g. and crashes into Shariff \u2019 s corpse, causing it to careen out of control, pulling the panel with it. Matt, still holding onto the panel, disconnects Shariff \u2019 s tether from it and attaches it to himself. MATT Grab him! Grab him! RYAN I \u2019 m trying, I \u2019 m trying! Matt lets go of the panel, which exits, as Shariff \u2019 s corpse and Ryan pull him with them. MATT You \u2019 re pullin \u2019 me away. RYAN Got h -- I got him! Ryan grabs hold of Shariff \u2019 s corpse and holds on. MATT Clutch him like he \u2019 s your Valentine. RYAN I got -- I got him. Okay. I got him. MATT I can \u2019 t engage my thrust with you two yo-yoin \u2019 around. Ryan looks down at the face of the corpse and reacts. Shariff \u2019 s corpse. The helmet is destroyed and there is a hole through his face, caused by the debris. Ryan is horrified. Near Shariff \u2019 s corpse there is a photo floating, attached to a small tether. The photo depicts Shariff with his wife and son. MATT Jesus Christ. Matt leads Ryan and Shariff \u2019 s corpse toward the wreckage of the Explorer, which has suffered devastating damage. MATT Here \u2019 s hopin \u2019 you have a hell of an insurance policy, Houston. The damages to Explorer are catastrophic. Will commence search for survivors. RYAN O2 down to five percent.", "EXT. OUTER SPACE - EXPLORER - DAY Matt, Ryan, and Shariff \u2019 s corpse are flying toward Explorer at a high velocity. MATT All right, here we go. Careful of the edges! They slam into the shuttle and scatter. Ryan flies and is pulled by the tether to Matt, who grabs onto the broken cockpit window frame. Matt pulls Ryan toward him. MATT Here. Here! CAMERA PUSHES PAST THEM THROUGH the window frame, INTO the cockpit, which is in disarray. Several objects are floating about. The beam of Matt \u2019 s flashlight shines onto a floating toy. Ryan moves to enter, but suddenly bumps into the corpse of one of the astronauts. Matt peers in through a hole on the other side of the cockpit. MATT Houston, in the blind. To confirm. Mission Specialist Dr. Stone and Mission Commander Matthew Kowalski are the sole survivors of the STS-one-five- seven. Ryan joins Matt, now tethered to the shuttle. Shariff \u2019 s corpse floats in the b.g. RYAN I apologize for not complying. I should \u2019 ve stopped working as soon as you instructed me to. MATT We were gon na get hit no matter what. There was nothing you could do to change that. Hey. RYAN Yes? MATT All right, we have to make our way to the Space Station. Over there. Matt points to the space station way off in the distance. MATT It \u2019 s a bit of a hike, but we need to use their escape pod, the Soyuz, to get back to Earth. Agreed? Dr. Stone, agreed? Matt and Ryan facing each other. RYAN Agreed. MATT All right. After you. Matt pushes Ryan, and she spins away. Matt pushes off the shuttle and thrusts, pulling Ryan with him. RYAN Oh, God. Oh, God. Oh, God. MATT Houston, in the blind. This is Kowalski. CAMERA PULLS BACK to reveal Shariff \u2019 s corpse, now tethered to the shuttle. MATT Dr. Stone and I have determined to proceed to ISS and use one of their Soyuz for re-entry. ISS, if you hear us... we could sure use a rescue mission.", "EXT. OUTER SPACE - 550 KM ABOVE EARTH - DAY Matt floats, pulling Ryan behind him. The sun crests over the edge of the Earth. Hank Williams, Jr. sings \u201c Angels Are Hard To Find \u201d under the following scenes. RYAN O2 down to two percent. MATT We \u2019 re getting there. Beautiful, don \u2019 t you think? RYAN What? MATT The sunrise. Matt slowly floats, pulling Ryan behind him. MATT That \u2019 s what I \u2019 m gon na miss the most. So where \u2019 s home, Dr. Stone? Ryan, where \u2019 s home? RYAN Home? MATT Mm-hm. Down there. Mother Earth. Where do you pitch you tent? RYAN Lake Zurich. MATT Where the hell is that? RYAN Illinois. Matt floats, pulling Ryan behind him. MATT Illinois. Central Time Zone. -LRB- sighs -RRB- That would make it roughly... eight PM. What are the good people of Lake Zurich doing at eight o \u2019 clock? RYAN I don \u2019 t know. I \u2019 m not gon na make it. I \u2019 m slowing you down. MATT What would you be doing? Come on, Ryan. It \u2019 s eight o \u2019 clock. You've just left the hospital after an eighteen-hour shift. Driving home. RYAN The radio. I listen to the radio. MATT There we go. Let me guess. NPR? Classical? Top forty? RYAN Anything. I don \u2019 t care, as long as they don \u2019 t talk. I just drive. MATT And where are you driving to? RYAN I just drive. MATT What do you miss down there? Is there a Mr. Stone? RYAN No. MATT Nobody special? Ryan slowly floats. The reflection of the Earth appears on her helmet. MATT Somebody down there looking up, thinking about you? Ryan? RYAN I had a daughter. Matt glances at the mirror affixed to his wrist. The mirror on his wrist depicts the reflection of Ryan. RYAN She was four. She was at school playing tag. Slipped, hit her head, and that was it. Stupidest thing. I was driving when I got the call, so... ever since then, that \u2019 s what I do. I wake up, I go to work, and I just drive. Matt floats in the b.g. toward the far-off space station. Ryan is pulled with him. RYAN O2 down to one percent. MATT Well, I \u2019 ve got good news and bad news. The good news is, we \u2019 re about five minutes from the ISS and I know where the Russians stash their vodka. And that is good, because I \u2019 m runnin \u2019 on fumes here. The bad news is, I \u2019 m gon na be about ten minutes short of breakin \u2019 Anatoly \u2019 s record, and I -- An alarm sounds, indicating Ryan \u2019 s oxygen level is low. Matt looks at his wrist mirror. RYAN Uh... MATT What? RYAN Uh... I \u2019 m redlining. My O2 tank pressure is low. MATT Your tank is out of oxygen but you still have it in your suit. RYAN Got it.", "INT. HELMET - RYAN\u2019S POV OF MATT AND THE INTERNATIONAL SPACE STATION - DAY MATT So you have to sip, not gulp. She looks down to her arms as she checks her oxygen monitor. The monitor reads : oxygen low. MATT Wine, not beer. She glances up to Matt. MATT Sip, Ryan. -LRB- to Mission Control -RRB- Houston, in the blind, we have a visual of the ISS. The station must have been evacuated because the first Soyuz is...", "EXT. OUTER SPACE - DAY Matt and Ryan float in the f.g., as Ryan exits. MATT... missing. The second Soyuz exhibits surface damage, and its chute has been deployed. Any use as an escape pod for re-entry is impossible. Matt floats toward the space station, pulling Ryan with him. RYAN Shouldn \u2019 t we be turning? We \u2019 re drifting again. MATT Not yet. I wasn \u2019 t kidding about those fumes. This can has one or two good thrusts left... if we \u2019 re lucky. Steady. Aim. Fire! Matt triggers his thruster, hurtling them at a high speed.", "INT. HELMET - RYAN\u2019S POV - DAY Past Matt to the space station. Ryan \u2019 s arms enter f.g. and grab hold of the tether. RYAN Brake! Brake! You have to brake! MATT I can \u2019 t, the can \u2019 s empty.", "EXT. OUTER SPACE - SPACE STATION - DAY MATT We \u2019 re gon na hit hard! Grab a hold of anything you can!", "INT. HELMET - RYAN\u2019S POV TO THE SPACE STATION - DAY She flies toward the space station.", "EXT. OUTER SPACE - SPACE STATION - DAY Matt flies and smashes into it. Ryan is pulled behind him. RYAN It \u2019 s -- what do I do? What do I do?! She flies into f.g. as CAMERA TILTS UP and FLIPS AROUND to TRACK WITH her as grabs hold of a railing. MATT Ryan! Matt flies past, pulling Ryan with him. Ryan bumps into a solar panel and their tether snaps. Ryan falls. RYAN The tether broke, I \u2019 m detached! I \u2019 m detached! MATT Grab a hold! Grab anything! Ryan falls. She becomes entangled in some of the Soyuz \u2019 s parachute rigging. The rigging pulls her up. She reaches out her hand. MATT Ryan! Give me five! RYAN I \u2019 ve got you.", "INT. HELMET - RYAN\u2019S POV - MATT - DAY He flies toward her, unsuccessfully grabs for her hand. RYAN I \u2019 ve got you. Right here, right here. Okay, get it. Ryan grabs hold of the tether attached to him. MATT Shit! Shit. RYAN No. No, no, no, no, no, no, no, no.", "EXT. OUTER SPACE - SPACE STATION - DAY Ryan is pulled by the tether. RYAN Got ya. Matt holds firmly onto the tether as he is yanked. Ryan holds firmly onto the tether. Ryan \u2019 s left leg is entangled in the parachute rigging. RYAN Got ya. You just... hold on and I \u2019 m gon na start pulling you in. I \u2019 m gon na star -- MATT Hey, Doc. RYAN Just hold on. Hang on. I am gon na pull you in. I \u2019 m gon na pull you in. MATT Ryan, listen. You have to let me go. RYAN No. MATT The ropes are too loose. I \u2019 m pulling you with me. RYAN No. Matt takes hold of the tether clip. RYAN No, no, no. MATT You have to let me go, or we both die. RYAN I \u2019 m not letting you go! Ryan is pulled and Matt yanks her back. RYAN We \u2019 re fine! MATT No. Ryan, let go. RYAN No. No. You \u2019 re not going anywhere. You \u2019 re not going anywhere. Matt starts to unclip the tether. MATT It \u2019 s not up to you. RYAN No, no, no, no, no... no... Please don \u2019 t do this. Matt unclips the tether. RYAN Please, please, please, please don \u2019 t do this. Please don \u2019 t do this. No, no, no. Please don \u2019 t, Matt. Please don \u2019 t do this. Matt lets go of the tether and floats off. MATT You \u2019 re gon na make it, Ryan. RYAN No! Ryan floats toward the space station. Matt floats away. RYAN I had you. I had you! I had you. Ryan smacks into a part of the space station and flips over. She grabs hold of a metal railing. We see Matt far away now in the b.g. Ryan \u2019 s C02 alarm goes off, indicating that she \u2019 s out of oxygen. MATT Ryan, do you hear me? Do you copy? RYAN My CO2 alarm went off. My CO2 alarm went off. MATT Look, you need to board the station. Do you see the airlock? Ryan turns, holding tightly onto the metal railing. MATT Hey, Ryan, you copy? Look for the airlock. It \u2019 s above you, next to the Zarya module. You see it? RYAN Yes. Yes, I see it. I see it. MATT All right, good. That \u2019 s where you want to go. Now you \u2019 re getting lightheaded, right? RYAN Yeah. Yes. MATT That \u2019 s because you \u2019 re breathing CO2. You \u2019 re losing consciousness. You need to board the station. RYAN Okay. Holding on tight to the space station \u2019 s railing, Ryan turns her body upside down and moves toward the station. MATT That second Soyuz is too damaged for re-entry, but it \u2019 s perfectly fine for a little Sunday drive. Ryan climbs upward. RYAN Sunday drive? MATT Look to the west. You see that dot in the distance? CAMERA PANS TO a tiny dot in the distance, which is the Chinese station. MATT That \u2019 s a Chinese station. RYAN Yes. MATT You \u2019 re gon na take the Soyuz, and you \u2019 re gon na cruise over there. Chinese lifeboat is a Shenzhou. RYAN I \u2019 ve never flown a Shenzhou. CAMERA DOLLIES AROUND Ryan. MATT It doesn \u2019 t matter. Its re-entry protocol is identical to the Soyuz. RYAN Okay. MATT You never flown the Soyuz either? RYAN Only a simulator. MATT Well, then you know. RYAN But I crashed it. MATT It \u2019 s a simulator, that \u2019 s what it \u2019 s designed for. RYAN Every time. I crashed it every time. CAMERA TRACKS WITH Ryan to reveal Matt, a tiny speck in b.g. MATT You point the damn thing at Earth. It \u2019 s not rocket science. And by this time tomorrow, you \u2019 re gon na be back in Lake Zurich with a hell of a story to tell. You copy? Ryan, you copy? RYAN I \u2019 m gon na take the Soyuz and come get you. MATT No, you \u2019 re not. RYAN I \u2019 m coming to get you. MATT No, I \u2019 ve got too much of a head start on you. RYAN -LRB- wavering -RRB- I \u2019 m coming to get you. MATT I \u2019 m afraid that ship... -LRB- chuckling -RRB- Already sailed. Ryan, you \u2019 re gon na have to learn to let go. RYAN But I -- MATT I want to hear you say you \u2019 re gon na make it. Come on, Ryan, say it. RYAN I \u2019 m gon na make it. MATT All right. Keep going. What kind of name is Ryan for a girl? RYAN Dad wanted a boy. MATT Are you close to the airlock? RYAN Not yet. MATT Keep going. So now that we have some distance between us... you \u2019 re attracted to me, right? RYAN What? MATT Well, people say I have beautiful blue eyes. RYAN You have beautiful -- You have beautiful blue eyes. MATT I have brown eyes. Hey, you want to know the good news? RYAN What? MATT I \u2019 m gon na break Anatoly \u2019 s record, and I think mine \u2019 s gon na stand for a long, long time. RYAN Oh, no. I \u2019 m coming to get you. Matt, a tiny speck in b.g. MATT Oh, my God. RYAN What? What? MATT Wow. Hey, Ryan? RYAN Yeah? MATT You should see the sun on the Ganges. -LRB- exhales sharply -RRB- It \u2019 s amazing. CAMERA PANS TO Ryan. She moves her arm. Hank Williams Jr. \u2019 s \u201c Angels Are Hard To Find \u201d continues.", "INT. HELMET - RYAN\u2019S POV - DAY Matt is a tiny speck. With great effort, Ryan climbs to the airlock and opens its handle.", "EXT. OUTER SPACE - SPACE STATION - DAY Ryan opens the airlock door and is blown by the air pressure as she tightly grips the door handle. She manages to climb inside the airlock.", "INT. SPACE STATION - AIRLOCK MODULE - DAY Ryan closes the airlock door. She turns the handle of a valve. The oxygen levels of the module re-pressurizes. As oxygen fills the cabin, Ryan takes off her helmet and breathes deeply. She removes her suit.", "INT. SPACE STATION - DAY Ryan enters and glances about. An electrical panel with exposed wiring emits sparks and flames. Ryan enters the communications room. RYAN Where are you? Where are you? Comms. Comms. There you are. She stops and turns toward the radio panel, placing a radio headset on her head. RYAN -LRB- into radio -RRB- Okay. Matt, this is Ryan, copy. Matt, this is Ryan, copy. Matt, I made it, I \u2019 m here, I \u2019 m on the station. Do you copy? Come on, Matt, talk to me. Tell me where you are, give me your position. Where are you? Give me a visual. Just tell me what you see. Oh, come on. You \u2019 ve been yammering since we left Cape Canaveral, and now you decide to shut up? Talk to me. Just say something, say anything! I don \u2019 t care! Hey, tell me about, uh, Mardi Gras. Tell me about the hairy guy. Huh? Tell me what happened. What happened to the, uh, hairy guy? Ryan \u2019 s reflection is on the window as she gazes through it. RYAN -LRB- into radio -RRB- Please talk to me. -LRB- whispering -RRB- Please. -LRB- to mission control -RRB- Houston, in the blind... this is Mission Specialist Ryan Stone reporting from the ISS. All communications with Mission Commander Matthew Kowalski have been lost. Radio transmission absent. Visuals nonexistent. To confirm, I, Ryan Stone, am the sole survivor of STS-one-five- seven. An alarm sounds, prompting her to float and examine a laptop affixed to the wall. RYAN What now? On the laptop monitor, which displays a message and a graph of the station, which indicates which sections are on fire. The alert reads : \u201c FIRE. \u201d On the map, the labels of which read : \u201c Kibo Lab, jcm, Overhead, Port, UC Lab, Node 2, Deck. \u201d Ryan approaches a ball of fire. She grabs a fire extinguisher off the wall and uses it on the fire. The spray from the fire extinguisher blasts her against the wall, momentarily knocking her unconscious, then she regains consciousness. The fire is quickly expanding. Ryan takes the fire extinguisher again, plants her feet and stabilizes herself. She sprays the fire extinguisher. The fireball rapidly expands, knocking Ryan into a new passageway. The fireball expands throughout the station behind her. She dives down, through a hatch. She struggles to open the hatch to the second Soyuz. The fireball is expanding into the compartment. Ryan climbs down into the second Soyuz, still carrying the fire extinguisher and locks the hatch above her. She climbs further down into another section of the Soyuz. She closes the second hatch above her. The Soyuz shakes, due to the station outside exploding and crumbling.", "INT. SOYUZ - DAY Ryan slides down through a hatch into the command center of the Soyuz. RYAN Okay. Okay. Where is it, where is it? Where is the power? Here you are. Okay, great, just like training. Um... Uh, undocking, undocking. She reaches for a nearby instruction manual, which is marked in red. She straps herself into the seat and examines it. RYAN -LRB- clearing throat -RRB- Undocking. Red. Okay. Okay, where is it? Where is it? Come on. Okay. Okay. Okay, I remember this, I remember this. She reaches up and presses several buttons on the control console. The monitor now displays a countdown which reads : \u201c 00:04.30. \u201d The Soyuz is jolted and shakes terribly. Ryan flips through the pages of the instructions. RYAN Oh, you don \u2019 t have four minutes. We \u2019 re going manual. Come on. Okay. Okay. Active-Activate, undock. -LRB- Russian -RRB- Rezerveyi rassik. She reaches up toward another control panel and presses a button.", "EXT. STATION (OUTER SPACE) - DAY The Soyuz is released from the station and floats away from it. The Earth is far off in the b.g.", "INT. SOYUZ - DAY The periscope displaying the station from outside. As it floats away, the parachute, which has been deployed, is tangled around a section of the station. Ryan breathes heavily. She is seated and watches the periscope in front of her. She checks her watch for the amount of time until the debris will hit again. It reads \u201c 00:07:25. \u201d RYAN Seven minutes to get out of here. Ryan pulls out the joysticks to activate the manual control steering. RYAN -LRB- whispering -RRB- All right, okay.", "EXT. OUTER SPACE - DAY The station thrusts away, the parachute still caught. It pulls taut and stops the Soyuz with a jolt.", "INT. SOYUZ - DAY Ryan is shaken about as the station is jolted. She glances about, confused. RYAN What? What-what? What-what?", "EXT. STATION (OUTER SPACE) - DAY The parachute tenses and pulls the Soyuz toward the station at a high speed.", "INT. SOYUZ - DAY Ryan, upside down, gazes at the periscope. She sees that the Soyuz is on a trajectory to crash into the station. RYAN No, no, no, no, no, no, no, no, no! She uses the manual controls to activate the thrusters.", "EXT. OUTER SPACE - DAY The thrusters emit a quick blast changing the Soyuz \u2019 s direction slightly. The parachute ropes become taut. The Soyuz flies away from the station, but the parachute snaps the Soyuz back toward it.", "INT. SOYUZ - DAY Ryan glances about.", "EXT. STATION (OUTER SPACE) The Soyuz flies over the station. The parachute catches again. The ropes pull taut.", "INT. SOYUZ - DAY Ryan is shaken about as the Soyuz is jolted to a stop. She takes control of the manual steering.", "EXT. STATION (OUTER SPACE) The Soyuz is pulled back toward the station.", "INT. SOYUZ - DAY Ryan looks through the periscope. RYAN Stop! Stop! Stop! Stop! Stop!", "EXT. STATION (OUTER SPACE) The thruster jets are manually activated, stopping its approach and gently pushing it away at a steady rate.", "INT. SOYUZ - DAY Through the periscope, we see Soyuz is slowly floating away from the station. RYAN Come on, come on, come on, come on, come on. Come on. -LRB- whispering -RRB- Come on, come on, come on, come on. Ryan uses the manual steering to steady the Soyuz. RYAN -LRB- whispering -RRB- That \u2019 s right, that \u2019 s right. Come on, come on, come on. -LRB- low -RRB- That \u2019 s right, that \u2019 s right, that \u2019 s right, that \u2019 s right, that \u2019 s right. Ahhh. Come on.", "EXT. STATION (OUTER SPACE) - DAY The Soyuz flies away from the station at a slower velocity than before. The parachute pulls taut, and the Soyuz jolts to a stop, but the soft thrusters keep it from being pulled back toward it.", "INT. SOYUZ - DAY Through the periscope, we see that Soyuz has steadied, but is still tethered to the station via the parachute, which is entangled in one of the station \u2019 s solar panels. RYAN -LRB- whispers -RRB- F -- -LRB- breathes heavily -RRB- Great. Ryan glances about.", "EXT. STATION (OUTER SPACE) - DAY The Soyuz hovers near the station. Ryan, wearing a space suit, steps out of the hatch, tethered to the inside of the Soyuz cabin. Her watch timer goes off, indicating that the debris should be coming back. She glances about, but does not see any debris. RYAN Clear skies with a chance of satellite debris. She climbs down the side of the Soyuz to where the parachute ropes are bolted to the vessel. She attaches herself to an open panel and glances about. RYAN -LRB- whispering -RRB- Okay, we detach this, and we go home. Piece of cake. Satisfied that no debris is coming, she produces a tool and starts to detach the parachute ropes. She doesn \u2019 t see the debris coming toward her. RYAN Okay. -LRB- low ; indistinct -RRB- Okay, what do we have? Okay, all right. Ryan drops one of her tools, which starts to float away. She turns to grab it and sees the debris hurtling toward her as it starts to tear through the satellites. RYAN Shit. As she quickly tries to detach the parachute ropes, she flips upside-down and tries to ignore the debris cutting through the station behind her. RYAN Okay. Okay, come on. Come on, come on. All right. Okay, okay, okay. Okay. She removes one of the ropes as a section of the station explodes behind her. The remaining part of the station flies under the Soyuz. She holds onto the Soyuz as the station spins out of control, pulling the Soyuz with it. She struggles to hold on as the Soyuz flies through new debris. She removes the final rope and holds tight to the Soyuz, which flies away from the station. The wing of the Soyuz plows through a satellite. The Soyuz floats, seemingly out of harm \u2019 s way. Ryan climbs toward the Soyuz hatch. She glances back at the crumbling station before exiting. RYAN I hate space.", "INT. SOYUZ - DAY A control panel displays several alerts and alarms. Ryan \u2019 s helmet floats. Ryan closes the hatch after having just come through it. She straps into the command seat and switches off the alarms. RYAN -LRB- to the control panel -RRB- Shut up. -LRB- beat -RRB- Okay. She looks at her watch. She resets her watch timer to 01:30. She starts the timer. Ryan reacts to the temperature which is now below freezing. She places an instruction manual in her lap and uses the steering joysticks to reposition the Soyuz. RYAN All right. That \u2019 s good. Ryan looks through the periscope, displaying the western horizon. RYAN Okay. Let \u2019 s stabilize you.", "EXT. OUTER SPACE - DAY The Soyuz floats and steadies into a stabilized position.", "INT. SOYUZ - DAY The periscope displays the far-off Chinese station on the western horizon. The Soyuz stabilizes in a position to head directly toward it. RYAN Okay. Let \u2019 s go visit the Chinese station. -LRB- to Mission Control -RRB- Houston, in the blind, Tiangong is approximately one hundred kilometers to the west, and I am off its course by about thirteen degrees. I will correct trajectory. She clears her throat.", "EXT. OUTER SPACE - HIGH ANGLE - DAY The Soyuz floats.", "INT. SOYUZ - DAY The periscope displays the Chinese station in the distance. RYAN -LRB- whispering -RRB- Okay. Okay. LOW ANGLE - RYAN reaches up and flips some switches. RYAN Okay. -LRB- to Mission Control -RRB- I will engage S-Ka-Dae in five... four... three... Ryan presses the thruster ignition button on the control panel. RYAN Two... one.", "EXT. OUTER SPACE - DAY The Soyuz continues to float.", "INT. SOYUZ - DAY Ryan reacts, confused. RYAN What \u2019 s happening, what \u2019 s happening? Come on, come on. Ryan reaches up toward the control panel again. LOW ANGLE - RYAN presses the thruster ignition button again. RYAN One.", "EXT. OUTER SPACE - DAY The Soyuz continues to float.", "INT. SOYUZ - DAY Ryan repeatedly presses the ignition button, but nothing happens. She starts to panic. RYAN Come on, come on, come on. She taps on the fuel gauge, frozen in place due to the temperature. The needle is tapped loose and drops down to zero, indicating that there is no fuel. RYAN You got ta be kidding me. You got ta be kidding me! Ryan angrily hits and kicks the control panel. RYAN No! Don \u2019 t you fu --", "EXT. SOYUZ (OUTER SPACE) Ryan calms down. The Chinese station is far off in the b.g. RYAN -LRB- V.O. -RRB- Houston, in the blind. Houston, in the blind, this is Dr. Ryan Stone. I \u2019 m calling from the Soyuz TMA-one-four-M. I \u2019 m currently out of fuel and adrift, do you copy? Houston. This is Dr. Ryan Stone. Do you copy? Houston. This is Ryan Stone. Do you copy? The sun sets behind the edge of the Earth.", "INT. SOYUZ - DAY The edge of the window, which starts to gather frost and freeze over. RYAN -LRB- O.S. -RRB- -LRB- into radio ; wavering voice, sniffs ) Houston, this is Missish -- Mission Specialist Ryan Stone, do you copy? ANINGAAQ -LRB- V.O. -RRB- -LRB- over radio -RRB- ( Indistinct ) THE TOP OF A CONTROL PANEL A card depicting a Russian religious character is affixed to it. RYAN -LRB- O.S. -RRB- -LRB- into radio -RRB- Houston, Houston, please confirm identity. ANINGAAQ -LRB- V.O. -RRB- -LRB- over radio -RRB- ( Indistinct ) RYAN -LRB- O.S. -RRB- -LRB- into radio -RRB- Houston, you \u2019 re coming in over an A.M. frequency. Copy. RYAN \u2019 S HELMET AND A FIRE EXTINGUISHER Both floating in the air. RYAN -LRB- O.S. -RRB- -LRB- into radio -RRB- Do you copy? -LRB- pants -RRB- Is this the Chinese station? Is this Tiangong? Copy. ANINGAAQ -LRB- V.O. -RRB- -LRB- over radio -RRB- ( Inuit ) RYAN -LRB- O.S. -RRB- -LRB- into radio -RRB- Mayday, can you copy? RYAN leaning toward the control panel, reacting as a transmission finally comes through the radio. RYAN -LRB- into radio -RRB- Mayday, mayday, mayday. ANINGAAQ -LRB- V.O. -RRB- -LRB- over radio -RRB- ( Inuit ) RYAN -LRB- into radio ; panting -RRB- Ma -- Yes, yes. Mayday, mayday. Mayday, mayday. An -- -LRB- whispering -RRB- Anin -- Aningaaq, is that --? Is that your --? Is that your name? Aningaaq is your -- is your name? Is that your name? ANINGAAQ -LRB- V.O. -RRB- -LRB- over radio ; in Tagalog -RRB- Mayday! RYAN -LRB- into radio -RRB- No, no, no. No, my name is not \u2018 Mayday. \u2019 I \u2019 m Stone. Dr. Ryan Stone, I need help. I am -- She reacts as she hears dogs over the radio. RYAN Wh -- Those are dogs. They \u2019 re calling from Earth. They \u2019 re calling from Earth. Ryan sits back in her seat and moves her fingers, trying to keep them warm. RYAN ( into radio ) Aningaaq, make your dogs bark again for me, would you please? Your dogs. Dogs, you know. Woof, woof. Dogs. Aningaaq makes barking sounds, howls. Ryan makes howling sounds along with him. RYAN -LRB- into radio -RRB- Woof, woof. Whoo, whoo! Ryan starts crying. RYAN -LRB- into radio ; crying -RRB- Oh, I \u2019 m gon na die, Aningaaq. I know, we \u2019 re all gon na die. Everybody knows that. But I \u2019 m gon na die today. Funny, that. You know, to know... Aningaaq starts to sing. RYAN -LRB- into radio, crying -RRB- But the thing is, it \u2019 s that I \u2019 m still scared. I \u2019 m really scared. Nobody will mourn for me, no one will pray for my soul. Will you mourn for me? Will you say a prayer for me? Or is it too late? A tear falls from her eye, freezes, and floats. CAMERA RACK FOCUSES ON IT. RYAN -LRB- into radio -RRB- I mean, I \u2019 d say one for myself, but I \u2019 ve never prayed in my life, so... Nobody ever taught me how. Nobody ever taught me how. CAMERA RACK FOCUSES BACK ON Ryan as she hears a baby over the radio. She reacts and cries, as she hears Aningaaq singing. RYAN -LRB- into radio -RRB- A baby. There \u2019 s a baby with you, huh? Is that a lullaby you \u2019 re singing? That \u2019 s so sweet. I used to sing to my baby. I hope I see her soon. She leans over and presses a button on the control panel. CAMERA PANS WITH her as she reaches up and switches off the lights. She turns some dials, decreasing the oxygen in the cabin \u2019 s atmosphere, preparing to kill herself. The monitor, displaying the atmosphere levels and vital statistics of the cabin. The oxygen meter drops rapidly as an alert sounds. Text under the meter reads : \u201c O2. \u201d Ryan, now sitting back in the seat. She closes her eyes. RYAN -LRB- into radio -RRB- That \u2019 s nice, Aningaaq. Keep singing, just like that. -LRB- exhales sharply -RRB- Sing me to sleep, and I \u2019 ll sleep. Keep singing. And sing, and sing. The beam of a flashlight shines on her through the O.S. porthole. She sees Matt, peering through the porthole. He starts to open the hatch. Ryan, covering her face and reacting. RYAN No, no, no, don \u2019 t! Matt opens the hatch, sucking out all the air and sound. He crawls in and closes the hatch behind him. Ryan, cowering behind her hands, but still alive. Matt sitting next to her. He leans over and turns a dial to re- pressurize the cabin. He takes off his helmet as air and sound are returned. MATT -LRB- grunts -RRB- Check your watch. Thirteen hours and eleven minutes. Call Anatoly and tell him he \u2019 s been bumped. Ryan reacts. MATT It \u2019 s a little gloomy in here, isn \u2019 t it? Matt switches the lights back on. RYAN How did you --? MATT Trust me, it \u2019 s a hell of a story. RYAN But how did --? Hank Williams, Jr. sings \u201c Angels Are Hard To Find \u201d over radio. MATT -LRB- grunts -RRB- That \u2019 s better. I found a little extra -- a little extra battery power. It helps that I didn \u2019 t have you around to distract me. I have to say, I \u2019 m glad to see ya. I didn \u2019 t think you were gon na make it. -LRB- pants -RRB- Did you find the vodka? RYAN -LRB- panting -RRB- You -- You never told me where -- where it was, so... MATT Oh, well... Matt reaches under his seat and produces a small bottle of vodka. Matt sips from the bottle. MATT To Anatoly. -LRB- in Russian -RRB- Na zdorovje. -LRB- sips ; grunts -RRB- Huh? No? RYAN No. MATT All right. Let \u2019 s get out of here. The Chinese station \u2019 s about a hundred miles. Just a little Sunday drive. RYAN We can \u2019 t. MATT Sure we can. Matt presses several buttons. RYAN There \u2019 s no fuel, I tried everything. MATT Well, there \u2019 s always something we can do. RYAN I tried everything. MATT Did you try the soft landing jets? RYAN They \u2019 re for landing. So... MATT Well, landing is launching. It \u2019 s the same thing. Didn \u2019 t you learn about that in training? RYAN I never got to land the simulator. I told you that. MATT But you know about it. RYAN And I crashed it... -LRB- emphasizing -RRB-... every time. But this -- MATT Listen, do you want to go back, or do you want to stay here? CAMERA SLOWLY DOLLIES AROUND IN FRONT of them as Matt switches off the lights. MATT I get it, it \u2019 s nice up here. You can just shut down all the systems, turn out all the lights... and just close your eyes and tune out everybody. There \u2019 s nobody up here that can hurt you. It \u2019 s safe. I mean, what \u2019 s the point of going on? What \u2019 s the point of living? Your kid died. Doesn \u2019 t get any rougher than that. But still, it \u2019 s a matter of what you do now. If you decide to go, then you got ta just get on with it. Sit back, enjoy the ride. You got ta plant both your feet on the ground and start livin \u2019 life. RYAN How did you get here? MATT I \u2019 m telling you, it \u2019 s a hell of a story. Hey, Ryan? RYAN What? MATT It \u2019 s time to go home. PULL BACK to reveal that Matt is not there. Ryan was imagining him. An alert sounds. She leans and turns the dials to repressurize the cabin. The oxygen meter starts to rise. The meter reads \u201c O2. \u201d Ryan presses a button, turning off the alert. She breathes deeply, then leans and switches the lights back on, then presses more buttons on the control panel. She reaches for a landing instructions manual, which is marked green. RYAN Landing... -LRB- inhales sharply -RRB- Landing -- Landing is launching. -LRB- whispers to herself -RRB- I said... Oh. Okay, landing, landing. Landing is green. Ryan flips through the pages and stops on a graph. RYAN Okay. Okay, landing. All right. Okay. Soft landing jets trigger automatically at three meters before landing, so... Ryan rotates her wrist, trying to stay warm. RYAN -LRB- as if to Matt -RRB- Oh, you \u2019 re a clever son of a bitch, Matt. -LRB- to herself -RRB- I need to -- I need to get rid of the B.O... HIGH ANGLE - RYAN flips through the instructions. RYAN... and the engine module. -LRB- sniffs -RRB- Right. Okay. ANOTHER ANGLE Ryan peruses the instructions and reaches to the control panel. RYAN Okay. Ryan flips open the cover to a button. HIGH ANGLE - RYAN holding her hand to the button. RYAN Okay. Tri-module separation. Ryan presses the button. RYAN Go.", "EXT. OUTER SPACE - DAY The three modules of the Soyuz -- the control cabin, the airlock, and the engines -- separate. The control cabin floats with Ryan inside as the other sections exit either side.", "INT. SOYUZ - HIGH ANGLE - DAY Ryan flips through the instruction manual. RYAN Okay. -LRB- to Mission Control -RRB- Houston, here \u2019 s the tricky part. Soyuz has to think we are three meters off the Earth. ANOTHER ANGLE Ryan stops on a graphic in the instructions, displaying what to do next. RYAN All right. Okay. -LRB- as if to Matt -RRB- Hey, Matt? Ryan reaches toward the control panel. RYAN -LRB- as if to Matt -RRB- Since I had to listen to endless hours of your storytelling this week, I need for you to do me a favor. Ryan presses another button. HIGH ANGLE - RYAN continues pressing buttons according to what the instructions tell her. RYAN -LRB- as if to Matt -RRB- You are gon na see a little girl with brown hair, very messy, lots of knots. She doesn \u2019 t like to brush it. That \u2019 s okay. Her name is Sarah. Can you please tell her that Mama found her red shoe? She was so worried about that shoe, Matt. But it was just right under the bed. Ryan presses more buttons. The monitor changes to display new graphics in Russian. RYAN -LRB- as if to Matt -RRB- Give her a... HIGH ANGLE - RYAN continues pressing buttons whilst perusing the instructions. RYAN ( as if to Matt )... big hug and a big kiss for me, and tell her that Mama misses her. You tell her that she is my... -LRB- voice wavers -RRB-... angel. And she makes me so proud. So, so proud. ANOTHER ANGLE Ryan presses several buttons. She manually sets the current altitude at 3 meters. A counter on the monitor changes to read : \u201c 000 003.0 \u201d RYAN -LRB- as if to Matt -RRB- And you... HIGH ANGLE - RYAN continues to press buttons. RYAN -LRB- as if to Matt -RRB-... tell her that I \u2019 m not quitting. You tell her that I love her, Matt. You tell her that I love her... -LRB- voice wavers -RRB-... so much. Ryan looks up. RYAN -LRB- as if to Matt -RRB- Can you do that for me? Roger that. -LRB- to herself -RRB- Here we go. Ryan looks back at the control panel in front of her. She presses a button.", "EXT. OUTER SPACE - DAY The soft landing jets ignite at the back of the Soyuz control cabin, hurtling it toward the Chinese station in the distance.", "INT. SOYUZ - LOW ANGLE - DAY Ryan reaches up and grabs her space helmet and pulls it down. ANOTHER ANGLE Ryan puts on her space helmet and unbuckles the seat belt. She leans to gaze through the porthole.", "EXT. SOYUZ (OUTER SPACE) - DAY The Soyuz cabin hurtles toward the Chinese station. Ryan gazes through the porthole.", "INT. SOYUZ - DAY The Chinese station can be seen through the porthole, and it appears to be dropping toward the Earth. RYAN You \u2019 re losing altitude, Tiangong. You keep dropping and you \u2019 re gon na kiss the atmosphere. But not without me, because you \u2019 re my last ride. Ryan disarms the emergency exit latch for the hatch. RYAN Okay. Ryan moves back and reaches up to grab the fire extinguisher floating above her. RYAN Wait. She cradles it to her and moves back toward the hatch. The Soyuz is quickly approaching the Chinese station. RYAN Five... four... three... Ryan holds the exit latch. RYAN No more just driving. Let \u2019 s go home. Ryan pulls the latch.", "EXT. OUTER SPACE - DAY The hatch bursts open, and Ryan is hurtled out of the Soyuz. HIGH ANGLE - THE CHINESE STATION AND THE SOYUZ Ryan hurtles forward and twirls about with the Chinese station below her. She struggles to locate its position as she spins, using the fire extinguisher to stabilize her position. RYAN Steady. Okay, come on, come on. Come on. Steady, steady. Come on. Come on. Where are you? Where are you? Ryan flips back to see the Chinese station below her. RYAN Forty-five, ninety, one-eighty. One-eighty. Ryan uses the spray of the fire extinguisher to act as a thrust back toward the station. RYAN Come on. Okay, okay. Okay. All right. She thrusts down toward a satellite wing. She can \u2019 t grab hold of anything and floats, hovering over the station. She tries to use the fire extinguisher to move back down, but it is empty. She tosses it away and continues floating, just above the station. RYAN -LRB- crying out -RRB- Damn it. Ryan reaches out and grabs the end of the station. She hangs on. RYAN Down, down, down. Down, down, down, down, down. Down. Ryan struggles to climb up the length of the station. She finally reaches the hatch. RYAN Come to Mama. Come to Ma -- She cries out. As she holds on to the rail surrounding the hatch, the next debris strike starts. Debris hurtles past her as she opens the hatch and crawls down inside. The station hurtles toward the Earth through the shower of debris.", "INT. CHINESE STATION - AIRLOCK - RYAN\u2019S POV THROUGH HELMET - DAY to the control panel as Ryan removes the helmet. Chinese space station voice continues over speaker in Mandarin over following dialogue. She turns and struggles to open an airlock, moving through the compartment. RYAN Okay. Shit! Okay. Come on. Shenzhou, come on. Shenzhou. Shenzhou. Fuck! Okay, this way. Shenzhou. Where are you? Come on, where are you? What \u2019 s this? She glances down at a hatch.", "EXT. CHINESE SPACE STATION - DAY The space station traveling toward Earth as the station starts to break apart.", "INT. CHINESE SPACE STATION - DAY Ryan, floating, tossing her helmet. Ryan closes the airlock hatch behind her. And floats down a compartment, into the control cabin.", "INT. SHENZHOU CONTROL CABIN - DAY Ryan, upside down, closing the hatch and locking it. She sits in a seat and buckles her seat belt. RYAN I -- She glances at the cabin window.", "EXT. CHINESE SPACE STATION - DAY The space station traveling and continuing to break apart.", "INT. SHENZHOU CONTROL CABIN - DAY RYAN In the Soyuz, the power button is... here. Ryan is using the control panel. RYAN Ah. Okay, uh, undocking, undocking. Um -- -LRB- sucks airs through teeth -RRB- Uh, eeni, meeni -- Okay, that does n't sound good. Miny... moe. Female Chinese Shenzhou voice over speakers in Mandarin. RYAN Ah. -LRB- in Spanish -RRB- No hablo chino. -LRB- sucks air through teeth -RRB- Miny... moe. Ryan presses buttons on the control panel. The panel reads : \u201c 00:00:52.0 \u201d RYAN Okay. Okay, good.", "EXT. CHINESE SPACE STATION - DAY The space station traveling through space.", "INT. SHENZHOU CONTROL CABIN - DAY The control panel reads : \u201c 00:00:44.0 \u201d RYAN -LRB- into radio -RRB- Houston. Houston, in the blind. This is Mission Specialist Ryan Stone reporting from the Shenzhou. I \u2019 m about to undock from Tiangong... And I have a bad feeling about this mission. -LRB- chuckles -RRB- Reminds me of a story, Houston -- Ryan cries out. CAMERA PANS TO the cabin window, then back to Ryan. RYAN Never-Never mind the story, Houston. Never mind the story. It's getting hot in here. Okay. All right. Okay. All right, the way I see it, there \u2019 s only two possible outcomes. Either I make it down there in one piece and I have one hell of a story to tell, or I burn up in the next ten minutes. Either way, whichever way... no harm, no foul! Because either way... it \u2019 ll be one hell of a ride. I \u2019 m ready. Ryan reaches out and grabs her helmet, putting it on.", "EXT. CHINESE SPACE STATION - DAY The space station, burning up and breaking apart as the Shenzhou control cabin splits off from the rest of the station and hurtles off.", "INT. SHENZHOU CONTROL CABIN - DAY Ryan, as the cabin spins.", "EXT. SHENZHOU CONTROL CABIN - DAY The cabin hurtling toward Earth.", "INT. SHENZHOU CONTROL CABIN - DAY The smoking control panel. Ryan reaches for the control panel and presses a button.", "EXT. SHENZHOU CONTROL CABIN - DAY The cabin splits off from the rest of the vessel and continues on. The burning cabin traveling among burning debris. It falls toward Earth, entering the atmosphere. The burning debris plummeting into Earth \u2019 s atmosphere.", "INT. SHENZHOU CONTROL CABIN - DAY The control panel sparking.", "EXT. EARTH\u2019S OUTER ATMOSPHERE - DAY And cabin and burning debris, leaving a smoking trail as they travel. The cabin is breaking apart.", "INT. SHENZHOU CONTROL CABIN - DAY The cabin window as daylight flashes through it.", "EXT. EARTH\u2019S ATMOSPHERE - DAY The pod, plummeting, falls through the clouds as a parachute emerges from the pod, slowing the pod \u2019 s trajectory.", "INT. SHENZHOU CONTROL CABIN - DAY MISSION CONTROL -LRB- V.O. -RRB- Shenzhou, in the blind, this is Houston. Indicate FM frequency. The control panel is burning. MISSION CONTROL -LRB- V.O. -RRB- Our radars detect you on a reentry trajectory. If you copy, please confirm identity.", "EXT. EARTH\u2019S ATMOSPHERE - DAY The pod falling through the clouds.", "EXT. LAKE - DAY The pod, falling and drops into a lake.", "INT. SHENZHOU CONTROL CABIN - DAY Ryan removes her helmet as smoke fills the cabin. MISSION CONTROL -LRB- V.O. -RRB- This is Houston. Other radio voices. RADIO WOMAN #2 -LRB- V.O. -RRB- It \u2019 s freezing, it \u2019 s boring as hell. RADIO -LRB- V.O. -RRB- -- is : No money down! Ryan unstraps herself and rises, staggering to the hatch door. She unlocks the hatch. MISSION CONTROL -LRB- V.O. -RRB- Please confirm iden -- Other radio voices. MALE RADIO DJ -LRB- V.O. -RRB- -- messages, we \u2019 ll be right -- MISSION CONTROL -LRB- V.O. -RRB- This is Houston, please confirm identity. MALE WEATHERMAN -LRB- V.O. -RRB- Skies over the Midwest are completely clear -- MISSION CONTROL -LRB- V.O. -RRB- We \u2019 ve deployed a rescue mission to retrieve you. Rescue mission is on the way.", "EXT. LAKE - DAY The door to the pod shoots off.", "INT. SHENZHOU CONTROL CABIN - DAY Ryan stands at the hatch as water pours inside the cabin, forcing her against the cabin wall. MISSION CONTROL -LRB- V.O. -RRB- Shenzhou, in the blind, this is Houston. We \u2019 ve deployed a rescue mission to retrieve you. Our radars -- The cabin fills with water.", "EXT. LAKE - DAY The pod sinking below the surface of the lake.", "INT. SHENZHOU CONTROL CABIN - DAY Ryan struggling to stay above the water as it continues to rise.", "EXT. LAKE - UNDERWATER - DAY The pod, sinking down.", "INT. CABIN - UNDERWATER - DAY Ryan, dropping below the surface of the water. She swims into a cloud of air bubbles.", "EXT. LAKE - UNDERWATER - DAY Ryan swimming. Her spacesuit weighs her down and she struggles to remove it. A frog swims past. Ryan removes her spacesuit and swims up.", "EXT. LAKE - DAY Ryan surfaces. She floats on her back. The CAMERA TILTS UP TO the sky. Burning debris from the space station soars through. TILT BACK DOWN TO Ryan swimming. She crawls onto the shore and lies down, exhausted. RYAN -LRB- chuckles -RRB- Thank you. No. She struggles to her feet. She unsteadily walks off. FADE OUT. OVER BLACK END CREDITS. THE EN D"], "labels": [1.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 1.0, 1.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0], "summary": "The Space Shuttle Explorer, commanded by veteran astronaut Matt Kowalski, is in Earth orbit to service the Hubble Space Telescope (HST). Dr. Ryan Stone is aboard on her first space mission, to perform a set of hardware upgrades on the Hubble. During a spacewalk, Mission Control in Houston warns Explorer's crew about a rapidly-expanding cloud of space debris accidentally caused by the Russians having shot down a presumed defunct spy satellite (see Kessler syndrome) and orders the crew to return to Earth immediately. Communication with Mission Control is lost shortly thereafter as more communication satellites are knocked out by the debris. High-speed debris strikes the Explorer and Hubble, tearing Stone from the shuttle and leaving her tumbling through space. Kowalski, using a Manned Maneuvering Unit (MMU), rescues Stone, and they return to the Explorer, soon discovering that the Shuttle has suffered catastrophic damage and the rest of the crew are dead. Stone and Kowalski decide to use the MMU to reach the International Space Station (ISS), which is in orbit about 1,450 km (900 mi) away, Kowalski estimating that they have 90 minutes before the debris field completes an orbit and threatens them again. On their way to the ISS, the two discuss Stone's home life and her daughter, who died young in an accident. As they approach the station, they see that the ISS's crew has evacuated using one of its two Soyuz spacecraft, the remaining Soyuz spacecraft exhibiting damage with its parachute having been deployed in space rendering it unable to return to Earth. Kowalski suggests using it to travel to the nearby Tiangong space station, 100 km (60 mi) away, in order to board the Shenzhou spacecraft to return safely to Earth. Out of air and maneuvering fuel, the two try to grab onto the ISS; the duo's tether snaps on one of the station's solar panels. Stone's leg gets entangled in the Soyuz's parachute cords and she grabs a strap on Kowalski's suit, but it soon becomes clear that the cords will not support them both. Despite Stone's protests, Kowalski detaches himself from the tether to save her from drifting away with him. Stone is pulled back towards the ISS, while Kowalski floats away. Stone enters the space station via the airlock of the Pirs module. She cannot re-establish communication with Kowalski or Earth, and concludes that she is now the sole survivor. Inside the station, a fire breaks out, forcing her to rush to the Soyuz. As she maneuvers the Soyuz away from the ISS, the tangled parachute tethers snag, preventing the spacecraft from leaving; Stone performs a spacewalk to cut the cables, succeeding just as the debris field returns, destroying the station. Stone angles the Soyuz towards Tiangong, but soon discovers that the Soyuz's engine has no fuel. After an attempt at radio communication with an Inuk on Earth, Stone resigns herself to her fate and shuts down the cabin's oxygen supply to commit suicide. As she begins to lose consciousness, Kowalski seemingly enters the capsule; scolding her for giving up, he tells her to rig the Soyuz's soft landing rockets to propel the capsule toward Tiangong, before himself disappearing. Realizing Kowalski's appearance was a hallucination, Stone regains the will to go on, restoring the spacecraft's oxygen flow and rigging the landing rockets to propel the capsule towards Tiangong. Unable to dock with Tiangong, Stone ejects herself from the Soyuz and uses a fire extinguisher as a makeshift thruster to travel to the rapidly deorbiting Tiangong. Stone manages to enter Tiangong's Shenzhou capsule just as the station enters the upper atmosphere, undocking the capsule just in time. The Shenzhou capsule re-enters the atmosphere successfully despite having sustained debris damage during its descent, and lands in a lake. Radio communication from Houston informs Stone that she has been tracked on radar and that rescue crews are on their way. Stone opens the hatch but is unable to exit due to water rushing in. She takes a deep breath and holds it until the capsule sinks, allowing her to swim through the hatch. She sheds her Sokol space suit that is weighing her down, and crawls onto the beach before standing up triumphantly and walking away.", "name": "Gravity"}
{"scenes": ["FADE IN : INT. AN INTERROGATION ROOM - NIGHT Sitting at the end of a long table facing us, HUTCH MANSELL - his eyes are hidden behind a pair of chrome-tinted Aviator glasses- has seen better days. Far... better... days. With his hands resting palms down upon a partially-destroyed, blood-stained MONET resting on the table before him, we notice a 1971 OLDSMOBILE CUTLASS CONVERTIBLE promotional watch prominent upon his left wrist. His left ear is torn, lips cracked, nose shattered, one cheek slit, and the other bruised. His tie is loose, his white shirt and simple suit jacket stained with blood, caked with soot, and sodden with mud. He looks like a corpse sat upright upon his seat, unmoving...... until suddenly... ... THE LETTER by THE BOXTOPS ( or whatever the appropriately- frugal song might be for this scene ) begins to play ( probably only in Hutch \u2019 s head ), reverberating with deafening retort. Hutch reaches into his INNER JACKET POCKET and retrieves a fresh packet of cigarettes. He unwraps the plastic and -as he taps it against his palm- realizes that the pinky and ring finger of his left hand are DISLOCATED. Upon slipping free a cigarette, he places it between his lips, lowers the pack, reaches over, and snaps the fingers back into place. Satisfied, he reaches into his RIGHT PANTS POCKET and slides free a silver lighter -with an odd dent in its side from a bullet impact years ago- which he sparks to flame, expertly rolling it across his knuckles before lowering it down onto the table. Hutch pulls in a deep drag, holds it, and exhales. A beat... and he reaches into his LEFT PANTS POCKET to wield an old school CAN OPENER. As he rolls it across the knuckles of his left hand -ignoring those attached to the pinky and ring finger- Hutch reaches into his RIGHT JACKET POCKET to retrieve a can of tuna which he solemnly opens, setting aside the lid. Again, Hutch takes a drag, holds it, and exhales...... as from his LEFT JACKET POCKET he removes a kitten, placing it down to dine on the table in front of him. Hutch lowers his hands back down upon the table -palms down- and shifts the cigarette from one side of his mouth to the other...... as the song ends. A long beat... and- AGENT -LRB- O.S. -RRB- Just who the fuck are you? HUTCH -LRB- a long beat, then -RRB- Me? Again, the cigarette shifts to the other side of his lips, his cracked and bloodied teeth clenching down upon it as he grins. HUTCH -LRB- CONT \u2019 D -RRB- -LRB- a long beat, then -RRB- Me, I \u2019 m- CUT TO : BLACK SUPER : NOBODY FADE IN :", "INT. A SUBURBAN HOME - MASTER BEDROOM - NIGHT - CONTINUOUS Sleeping on his back with his hands folded upon his stomach, HUTCH shares the bed with his wife BECCA MANSELL -forties, athletic, attractive save for the perpetual scowl. A wall of pillows -built by her every night- creates a physical rift between them which reflects their relationship nowadays. Thump. A beat... and Hutch opens his eyes. Stifling a yawn, he listens for a long moment. Nothing. Hutch rolls onto his side, closes his eyes, takes a deep breath, and exhales as- -Thump-Thump. Hutch opens his eyes and sits up with a sigh. He runs his fingers through his hair and stands with a groan. We follow Hutch out into-", "INT. A SUBURBAN HOME - UPSTAIRS HALLWAY - NIGHT - CONTINUOUS -where he pauses to glance into his daughter \u2019 s room where ABBY MANSELL -nine years old, petite, swift to smile- continues to doze. He then looks into his son \u2019 s room...... to find BLAKE MANSELL -sixteen, stereotypical jock, a bit smarter than he lets on but not by much- laying on his side with his eyes open : he heard it, too. Hutch motions for him to stay and heads down into-", "INT. A SUBURBAN HOME - FOYER - NIGHT - CONTINUOUS -where he slows, listening to hear whispered voices. Still not putting two and two together, Hutch walks into-", "INT. A SUBURBAN HOME - LIVING ROOM - NIGHT - CONTINUOUS -where he freezes at the sight of TWO THIEVES -one male and one female, dressed all in black, each wearing masks and thick gloves- who are in the process of ransacking his home. Hutch ducks back out into-", "INT. A SUBURBAN HOME - DOWNSTAIRS HALLWAY - NIGHT - CONTINUOUS -moving slow and low to enter-", "INT. A SUBURBAN HOME - KITCHEN - NIGHT - CONTINUOUS -where he reaches to pull a PUTTER from the golf bag leaning against the corner. He hesitates, slides it back, searches, and pulls free a DRIVER. Shouldering it, Hutch lifts the phone from the receiver when- -he grows still, turning to find himself staring down the barrel of an old.38-special- in the unsteady hand of the FEMALE THIEF. A beat... and she motions for him to hang up the phone which he does with a nod. HUTCH \u2019 S POV : In the living room behind her, we see a MALE THIEF rooting around. HUTCH Look... We don \u2019 t want any trouble. FEMALE THIEF -LRB- motions -RRB- Your money. Cash. The Female Thief pulls back the hammer with a CLICK. FEMALE THIEF -LRB- CONT \u2019 D -RRB- Now. Hutch motions to the bowl which is full of change, dry cleaning tickets, loose keys, antique candy, crumpled bills, and \u201c who knows what else \u201d. HUTCH That \u2019 s about it on that. She mutters something under her breath and grabs a handful of the contents, stuffing it into her pocket. HUTCH -LRB- CONT \u2019 D -RRB- Sorry. I use a debit card for- The Female Thief holds up Hutch \u2019 s WRIST WATCH. FEMALE THIEF -LRB- interrupting, motions -RRB- Is this worth something? We see a flicker of shadow cross his eyes, but only just barely. HUTCH -LRB- softly -RRB- To me. Sure. As she slips the watch on, we see a tattoo of a DOVE upon her wrist. HUTCH -LRB- CONT \u2019 D -RRB- Look, I- We hear a CRY- HUTCH \u2019 S POV : -as Blake tackles the Male Thief to the ground and begins to pummel him. Both Hutch and the Female Thief react. As the Female Thief strides out of the room, Hutch follows, his knuckles white around the grip of the driver as we- CUT TO :", "INT. A SUBURBAN HOME - LIVING ROOM - NIGHT - CONTINUOUS -Blake who is choking out her partner. FEMALE THIEF Get off him! Now! Blake looks past her...... to see his father emerging from the shadows behind her, moonlight glinting off of the driver. A grin crosses Blake \u2019 s lips as -in this moment- he has \u201c tunnel vision \u201d and does not realize that the Female Thief has her gun on him. Blake \u2019 s look devolves into dejection as Hutch -his gaze growing shallow as he takes notice of something only he can see- drops the driver to the floor...... and steps out between them. Hutch \u2019 s eyes are hard upon her own as he ignores the unsteady weapon in her hand now aimed at his chest. HUTCH Son! -LRB- a beat, then -RRB- Let him go. BLAKE -LRB- incredulous -RRB- What? HUTCH I said... -LRB- turning -RRB-... let him go. A beat... and Blake releases the man with a scowl, shoving him aside to gasp for breath. BECCA -LRB- O.S. -RRB- -LRB- softly -RRB- Please. All turn to find Becca, hugging herself with wide eyes, trembling. ( With both her vantage point and timing, Becca only witnessed the macro of the situation while Hutch perceived the slightest of details. ) BECCA -LRB- CONT \u2019 D -RRB- -LRB- softer still -RRB- Just... leave. A beat... and the Female Thief lowers the pistol to be tucked into the pocket of her hooded sweatshirt. She strides past and pulls her partner to his feet before they exit through the front door. Becca moves towards Blake, reaching for him- BECCA -LRB- CONT \u2019 D -RRB- Honey, are you okay? -only for him to -frustrated- ignore her hand, pulling himself to his feet with a scowl. BLAKE I \u2019 m fine. -LRB- a beat, then to Hutch -RRB- You could have taken her, Dad. Hutch stares through his son with a vacant look. Blake shakes his head and he walks past- BLAKE -LRB- CONT \u2019 D -RRB- -LRB- mutters -RRB-... Jesus... -as Becca tosses Hutch a fleeting glance \u201c rife with question \u201d as we- FADE TO :", "EXT. A SUBURBAN HOME - NIGHT - LATER (A MUTED HUM) With a police car parked in the driveway, Becca -obsessed with worry- and Abby -exhausted and confused- look on...... as Blake excitedly reenacts his engagement with the thief to POLICEMAN # 1 who jots a couple of notes down upon his notepad...... while a rather bored- looking POLICEMAN # 2 looks on. Hutch stares at the overloaded trash can in the garage, an old cereal box having tripped the sensor to keep the door from closing. ( Now that Hutch \u2019 s wrist watch has been stolen, he is always playing with his sleeve or holding his left wrist in his right hand, almost as if he is hiding something... ) Hutch glances towards POLICEMAN # 1 who is suddenly talking to him. Hutch blinks hard, focusing as our sound suddenly returns. HUTCH Excuse me? POLICEMAN #1 So, she took maybe twenty bucks and an old watch? HUTCH Yeah. POLICEMAN #2 And the golf club. You didn \u2019 t even take a swing? HUTCH She had a... -LRB- trailing off with a sigh -RRB- No. POLICEMAN #2 Y \u2019 know, if it was my family, I \u2019 d have- Policeman # 1 slaps close his notepad with a dismissive sigh, casting Policeman # 2 a glare, shutting him up. POLICEMAN #1 You did the right thing, Mr. Mansell. His tone, however, does not match his words, his eyes unable ( and unwilling ) to meet Hutch \u2019 s own. POLICEMAN #1 -LRB- CONT \u2019 D -RRB- We \u2019 ll get out of your hair. -LRB- motions -RRB- Just keep that garage door closed, ok? HUTCH Yeah. As the cops turn to leave- HUTCH -LRB- CONT \u2019 D -RRB- Sure. -Abby and Blake head back inside. Becca, hugging herself, stares off after Hutch, who can \u2019 t meet her gaze. This silent moment speaks volumes before Becca -desperate for him to connect with her- turns to follow. Hutch now finds himself standing at the end of the long driveway... alone. FADE TO :", "INT. A SUBURBAN HOME - THE BASEMENT - NIGHT - LATER Hutch clicks on the light and walks down the stairs...... into a veritable man cave of a sort. We see an old pinball machine, pool table, and large screen tv...... along with a massive LP collection. Hutch lays down on the sofa to stare up at the ceiling. A long beat... and Abby -dragging her blanket and a pillow, half-asleep- joins him. HUTCH -LRB- smiles -RRB- Hey. ABBY -LRB- yawning -RRB- Hey. HUTCH Scared? Abby curls up next to him. ABBY No. You? HUTCH Yeah. ABBY Don \u2019 t be. -LRB- softly -RRB- I \u2019 m here. Hutch smiles and holds her tight. ABBY -LRB- CONT \u2019 D -RRB- Hey, dad? HUTCH Yeah? ABBY -LRB- matter-of-factly -RRB- We need a cat. HUTCH Oh? ABBY Yeah. HUTCH -LRB- mutters -RRB- Yeah, I was thinkin \u2019 the same thing. FADE TO : BLACK FADE IN :", "INT. A SUBURBAN HOME - THE BASEMENT - DAWN As we hear the sounds of a garbage truck out front, we see - from behind the couch- Hutch sit up. HUTCH Shit. CUT TO :", "EXT. A SUBURBAN HOME - DAWN - MOMENTS LATER The garage door opens before Hutch who drags out a pair of trash cans- HUTCH WAIT! -only to find himself staring off at the swiftly retreating garbage truck. Frustrated, Hutch slaps a hand down upon the trash can as we- CUT TO :", "EXT. A PLAYGROUND - DAY - CONTINUOUS Jogging at an impressive pace, Hutch -wearing an athletic outfit in dire need of replacement- nears the end of his run. With a final burst of energy, Hutch sprints for a bit before slowing, folding his hands over the top of his head, gasping for breath. As trio of younger runners jog past from the opposite direction, Hutch offers them a nod, but is completely ignored. Dejected, Hutch walks over to the bus stop, reaches up, and starts doing pull-ups, one after another. As he does so, we PAN OVER to see a poster of his wife -BECCA- emblazoned with the words \u201c YOUR COUNTY \u2019 S NUMBER ONE REALTOR FOR EIGHT YEARS STRAIGHT! \u201d Hutch slows to a stop, hanging there for a moment, before continuing on, punishing his body as we- FADE TO :", "INT. A SUBURBAN HOME - KITCHEN - DAY - LATER As Abby makes a sandwich comprised of pickles, peanut butter, bacon, and capers, Blake devours a small stack of toasted bagels, the amount of cream cheese found therein more than a tad bit horrifying. Becca pours herself a cup of coffee, emptying the pot just as Hutch -freshly showered and shaved, his suit pressed and clean, but no less discount rack- was looking to get one for himself. BLAKE So, I need to do a report on a veteran for history. Can I just interview you? Abby climbs up onto a chair and starts sifting through the bowl resting there on. HUTCH Sure, but I was an auditor, son, and that makes for a pretty dry story. BECCA Why don \u2019 t you interview your Uncle Charlie? He was a real soldier. -LRB- on Hutch \u2019 s look -RRB- I didn \u2019 t mean... BLAKE I already left him a message. I \u2019 ll try again later. ABBY I can \u2019 t find it. HUTCH What, honey? ABBY My kitty-cat bracelet! I can \u2019 t find it! -LRB- face falling in shock -RRB- They wouldn \u2019 t have stolen that, would they? HUTCH Of course not. I \u2019 m sure, it \u2019 ll turn up. ABBY -LRB- sighs -RRB- Ok. BECCA -LRB- to Hutch, softly -RRB- You missed the garbage. HUTCH -LRB- forced smile -RRB- I know. BECCA -LRB- hesitating, then -RRB- Sorry. I just... ( sighs ) An awkward beat... and Becca notices the empty travel mug in Hutch \u2019 s hand along with the empty pot nearby. BECCA -LRB- CONT \u2019 D -RRB-... sorry... Becca proceeds to pour half of her coffee into his cup- BECCA -LRB- CONT \u2019 D -RRB- -LRB- to the kids -RRB- All right, guys! -before screwing a top on tight. BECCA -LRB- CONT \u2019 D -RRB- Let \u2019 s move. -LRB- to Hutch without looking -RRB- Have a good day. HUTCH -LRB- nods -RRB- You, too. While Blake completely ignores Hutch, Abby gives him a big hug, closing her eyes with a smile as she leans into him. After a long moment, she pulls back to leave with the others. Hutch finds himself alone in the kitchen...... where he stands for a lingering moment, lost in thought. FADE TO :", "EXT. A SUBURBAN HOME - DAY - MOMENTS LATER -where Hutch -carrying a travel mug of coffee- closes the door behind him, using his key to lock it. Turning, he sees his neighbor, JIM, pulling the tarp off of a fully-restored MUSCLE CAR in his driveway. JIM Heard you had some excitement last night. HUTCH Yeah, it was just- JIM -LRB- interrupting -RRB- Man, I wish they \u2019 d a \u2019 picked my place! -LRB- motions -RRB- I got me an AR-15 tucked beneath my mattress. Been itchin \u2019 to see what she can do in real life, y \u2019 know? HUTCH -LRB- a beat, then motions -RRB- That \u2019 s new. JIM Pretty cool, huh? The old man just croaked. Didn \u2019 t have much to leave, but at least I got something out of it. HUTCH Sorry for you loss. JIM -LRB- shrugs -RRB- Nothing there to mourn, man. Pretty slick, though, huh? She \u2019 s a \u2018 72 Maserati Indy. Four-point- Nine liter V-8. Zero-to-sixty in... -LRB- trailing off -RRB- As Jim continues on his audible tour of the vehicle, Hutch stops listening, staring through him as we- CUT TO :", "INT. A BUS - DAY - MOMENTS LATER Allowing the others on first, Hutch enters last, greeting the Driver with a nod before pausing to awkwardly tap his METRO CARD against the reader. As Hutch moves his way down the aisle, he greets -and is greeted by- a number of commuters, all having become friends upon their route. As Hutch takes a seat, we- FADE TO :", "EXT. A STREET - DAY - LATER Hutch takes his time as he walks, taking in the warmth of the sun. As he rounds the corner, he pauses to stare into A GUN SHOP. After a long beat, he shifts his focus to see his own reflection in the window. He lowers his eyes, second guessing himself before turning to walk over to the TACO TRUCK idling by the curb with a wave and a forced smile. FADE TO :", "EXT. A TOOL AND DIE SHOP - ESTABLISHING - DAY With a commercial facade, the industrial building seems a bit out of place and out of time, but no less welcome.", "INT. A TOOL AND DIE SHOP - LOBBY - DAY - CONTINUOUS Nursing a breakfast burrito, Hutch enters to find THE RECEPTIONIST off in the distance using a mop handle to bang up against an air vent. HUTCH What you thinkin \u2019 this time? Rats? Possum, maybe? Hutch is answered with a shrug as she continues on with a scowl. As he moves on, we notice her lunch on her desk : crackers, a can of tuna, and an old school can opener. It is the same every day. Hutch walks into into-", "INT. A TOOL AND DIE SHOP - MAIN FLOOR - DAY - CONTINUOUS -where he does the rounds, checking in on his two dozen or so employees. The space is both a museum to antiquated -yet perfectly working- machinery alongside cutting edge, 3-d printers. Checking his wrist -only to realize that his watch is not there- Hutch heads upstairs and into-", "INT. A TOOL AND DIE SHOP - HALLWAY - DAY - MOMENTS LATER Hutch walks somberly past a wall emblazoned with \u201c EMPLOYEE OF THE MONTH \u201d but his face is nowhere to be seen with CHARLIE WILLIAMS -late thirties, former military, tight-skinned beer belly, tall, thick beard, thicker head- suspiciously appearing far too many times among the shallow roster.", "INT. A TOOL AND DIE SHOP - HUTCH\u2019S OFFICE - MOMENTS LATER Overlooking the shop floor, the space looks like something lifted from the pages of LIFE MAGAZINE from the early fifties... which is just the way Hutch likes it. He sinks down into his chair and powers on his computer. He then opens a nearby folder filled with physical receipts and begins to enter the data into an EXCEL spreadsheet. As Hutch stifles a yawn, we- CUT TO :", "INT. A TOOL AND DIE SHOP - KITCHEN - DAY - LATER -where Hutch opens a cabinet, reaching inside for a mug- CHARLIE -LRB- O.S. -RRB- So... -fumbling with it- -only to effortlessly catches it behind his back without looking- -before calmly placing it upon the counter- HUTCH Mornin \u2019, Charlie. -as he turns to face his brother-in law, CHARLIE who is drinking coffee from an oversized, plastic travel mug. CHARLIE... did I hear right? HUTCH Depends on who you talked to. CHARLIE Blake called. HUTCH -LRB- nods, mutters -RRB- Then, of course you did. CHARLIE He said you had the drop on one of \u2018 em. Why didn \u2019 t you take \u2018 em out? Shit, I woulda \u2019. HUTCH I just... -LRB- softly -RRB-... tried to keep the damages at a minimum. CHARLIE How \u2019 d that work out for you? HUTCH We \u2019 re all safe, so I \u2019 m thinkin \u2019 - Charlie reaches into the back of his pants and pulls free a SIG-SAUER P250, placing the barrel between Hutch \u2019 s eyes. HUTCH -LRB- CONT \u2019 D -RRB- Jesus! CHARLIE Don \u2019 t worry. Safety \u2019 s on. -LRB- frowns -RRB- Wait. Charlie checks the weapon...... and clicks the safety on. CHARLIE -LRB- CONT \u2019 D -RRB- Oops. There. See? Now... -LRB- grins -RRB- Nothing turns off the lights right quick like a fuckin \u2019 bullet to the fuckin \u2019 brain, man. So, here. Charlie offers him the pistol. CHARLIE -LRB- CONT \u2019 D -RRB- Take it. HUTCH Thanks, Charlie, but -uh- I don \u2019 t want it. CHARLIE It ain \u2019 t a matter of want, Hutch- Charlie reaches out, opens Hutch \u2019 s hand, and places the gun into it. CHARLIE -LRB- CONT \u2019 D -RRB- -but the principle of need. -LRB- motions -RRB- So, man the fuck up, son. You made it through boot camp back in the day! -LRB- smirks with a wink -RRB- Or did you? Charlie turns and leaves Hutch to stare down at the pistol. A beat... and Hutch opens the freezer, reaches into the very back, and finds a half-full box of VEGAN BURRITOS which looks not to have been touched in years. Hutch opens it, tucks the pistol inside, folds it shut, tucks the box back into the rear of the fridge, and closes the door as we- CUT TO :", "INT. A TOOL AND DIE SHOP - HUTCH\u2019S OFFICE - DAY - MOMENTS LATER As he takes his seat, he hears a knock at his door. He spins to face his father-in-law, EDDIE WILLIAMS -sixties, former boxer, thinning hair, thick glasses, white shirt, no tie, work boots, emotionless- who is wolfing down a double-sausage breakfast burrito, drowning each bite in hot sauce. EDDIE Hey. HUTCH Hey. Silence. HUTCH -LRB- CONT \u2019 D -RRB- I take it she called? EDDIE She did. -LRB- motions -RRB- And while I \u2019 m sure Charlie sees differently, I \u2019 m thinkin \u2019 you did the right thing. -LRB- on his look -RRB- For you. HUTCH -LRB- taken aback -RRB- Oh. EDDIE Y \u2019 know, bein \u2019 a civilian and all. I mean, you served, sure, but- HUTCH -LRB- interrupting -RRB- -I gotcha \u2019. EDDIE Good. Eddie turns to leave, but then hesitates, glancing back. EDDIE -LRB- CONT \u2019 D -RRB- Now, about that buyout offer of yours... -LRB- motions, amused -RRB- You really wan na get rid of Charlie and me that bad, huh? HUTCH No. You \u2019 re family, Eddie. I just- Eddie interrupts with a sheepish smile and a raised hand. EDDIE What do I keep telling you, Hutch? HUTCH -LRB- realizing -RRB- Right. -LRB- motions -RRB- Mr. Williams. I just want you to enjoy your retirement, and Charlie his... -LRB- searching -RRB- HUTCH -LRB- CONT'D -RRB-... youth. -LRB- on his gaze -RRB- I made you a fair offer- EDDIE -LRB- interrupting -RRB- But not a good one. Son, I built this company -with these hands- up from nothing. In order for me to sell it, that offer better be goddamned great, you got me? HUTCH -LRB- nods -RRB- I do. EDDIE Why do you want this place so bad anyways? HUTCH -LRB- unsure, uncomfortable -RRB- I dunno. I mean, I know it pretty well, and... well... I \u2019 d like to have something that \u2019 s mine... y \u2019 know? EDDIE Oh, I do. -LRB- a beat, then nods -RRB- You may not believe it, Hutch... Eddie turns to leave. EDDIE -LRB- CONT \u2019 D -RRB-... but I \u2019 m rootin \u2019 for ya \u2019. FADE TO :", "INT. A TOOL AND DIE SHOP - MAIN FLOOR - DAY - LATER We watch as Hutch wanders the expansive environment, forcing a smile to an employee here and nod to one there, but for the most part, his mind is vacillating between too many thoughts, and none at all. FADE TO :", "INT. A TOOL AND DIE SHOP - HUTCH'S OFFICE - DAY - LATER With his meal half-eaten, Hutch stands, closes the door to his office, and locks it. He takes a swig of Big Red -from a glass bottle- and unlocks the hutch of a small desk in the corner. He swings it open to reveal an impressive, antique, large-tube, SHORTWAVE RADIO. He flicks a switch and begins fidgeting with the dials...... until finally...... he hears HARRY strumming on his acoustic guitar while singing NOTHING ELSE MATTERS by METALLICA. Hutch leans back with a smile, listening for a long moment...... before the music abruptly ends. HARRY -LRB- O.S. -RRB- -LRB- sighs -RRB- How long have you been listening? HUTCH Long enough. You \u2019 re gettin \u2019 pretty good at that thing. HARRY -LRB- O.S. -RRB- Yeah, well... -LRB- sighs -RRB-... there ain \u2019 t much else to do on this island. HUTCH -LRB- smirks -RRB- Rough life. HARRY -LRB- O.S. -RRB- You don \u2019 t know the half of it. So... tell me about last night. HUTCH How \u2019 d you know? HARRY -LRB- O.S. -RRB- Police scanner. What can I say? I \u2019 m always lookin \u2019 out of ya \u2019, brutha. HUTCH Is that what it is? HARRY -LRB- O.S. -RRB- -LRB- chuckles -RRB- In a way. HUTCH There were two of them. A man and a woman. Young. Late twenties. Latino. -LRB- softly -RRB- They were scared. Desperate. You could smell it on them. -LRB- a beat, then -RRB- She had a pistol. HARRY -LRB- O.S. -RRB- What kind? HUTCH An old.38-special. Hadn \u2019 t been shot in a while. Hadn \u2019 t been cleaned even longer. And it was... a... CUT TO :", "INT. A SUBURBAN HOME - THE KITCHEN - NIGHT - FLASHBACK As the Female Thief pulls back the hammer of her pistol, Hutch can see that the chamber is- HUTCH -LRB- O.S. -RRB- Empty. CUT TO :", "INT. A TOOL AND DIE SHOP - HUTCH'S OFFICE - DAY - CONTINUOUS Hutch uncaps a second bottle of Big Red- HARRY -LRB- O.S. -RRB- Seriously? -and takes a long pull from it. HUTCH -LRB- sighs -RRB- Seriously. HARRY -LRB- O.S. -RRB- Huh. Well, then, now I know why you didn \u2019 t do what you didn \u2019 t do. -LRB- This statement infers volumes. -RRB- HARRY ( O.S. ) ( CONT \u2019 D ) What \u2019 d they get? Hutch instinctively reaches for the watch missing from his wrist without thinking about it. HUTCH Not much. Just a couple of bucks. HARRY -LRB- O.S. -RRB- Ah, well... I guess it coulda \u2019 been worse, huh? HUTCH Yeah. Maybe. HARRY -LRB- O.S. -RRB- -LRB- hesitating, then -RRB- You holdin \u2019 back on me, brother? HUTCH No, I \u2019 m... I \u2019 m just not feeling up for a game today, Harry. HARRY I hear ya \u2019. -LRB- on his silence -RRB- Circle back when you \u2019 re centered, Hutchie. The radio feeds dies, leaving Hutch to stare down at the chess set as we- FADE TO :", "EXT. A SUBURBAN HOME - ESTABLISHING - NIGHT EXT. A SUBURBAN HOME - NIGHT - CONTINUOUS Hutch trudges up the front walk with his face down, shoulders slumped. He slows to a stop and looks up. HIS POV : Through the front window, he sees BECCA, BLAKE, and ABBY in the kitchen preparing dinner, all smiles and laughter. Hutch stares at them for a long moment...... before turning to walk away. HUTCH -LRB- V.O. -RRB- -LRB- on to the phone to Becca -RRB- I \u2019 m gon na \u2019 go bring dinner over to dad. It \u2019 s been awhile. CUT TO :", "INT. A BUS - NIGHT - CONTINUOUS Hutch sits alone, staring at the front of the vehicle, lost in the absence of thought, his arms resting limply within his lap. HUTCH -LRB- V.O. -RRB- I know it \u2019 s short notice. I \u2019 m sorry. Ok. All right. See you soon. Bye. CUT TO :", "EXT. A NURSING HOME - ESTABLISHING - NIGHT Carrying dinner in take-out bags, Hutch opens the front door and enters-", "INT. A NURSING HOME - LOBBY - NIGHT - CONTINUOUS -where he approaches JOEY -the security guard- at the security kiosk. JOEY You do know visiting hours are long past, right? HUTCH All I know... Hutch tosses Joey one of the bags before signing in on the clipboard. HUTCH -LRB- CONT \u2019 D -RRB-... is that you like Pastrami on rye. Extra mustard, extra pickles... and no sauerkraut. JOEY -LRB- grinning -RRB- My man... CUT TO :", "INT. A NURSING HOME - HALLWAY - NIGHT - MOMENTS LATER Hutch approaches door number 118 and knocks out of respect before-", "INT. A NURSING HOME - DAVID'S UNIT - NIGHT - CONTINUOUS -entering to find DAVID MANSELL -late seventies, tall, gray, piercing eyes, stoic, mute by stroke- perched in his recliner before a large television set, currently playing an old, black-and-white episode of PALADIN. Hutch heads into the kitchen where he carefully plates their meals on to a pair of trays. We notice an AMAZON ALEXA gathering dust on the counter. For himself, Hutch has a large plate of corned beef and cabbage with a side of onions and potatoes. He uncorks a bottle of wine and pours himself a glass. For David, Hutch assembles a plate consisting of meat loaf and mashed potatoes with heavy gravy, a side of roasted corn, and a roll. He then places a can of BUDWEISER alongside a glass of brandy...... before delivering the tray to his father who begins to eat, his eyes only tracking the television and his meal. DAVID -LRB- a long beat, then -RRB- You ok? ( motions ) Because you don \u2019 t look ok. Hutch sits down beside him- HUTCH I \u2019 m fine. -and begins to eat in silence. As he does so, we notice a framed picture taken forty years ago of Hutch, DAVID, NEA - the baby sister- MARJORIE -the matriarch- and HARRY who, although it is far too big, is proudly wearing HUTCH \u2019 S \u201c NOW STOLEN \u201d WATCH. FADE TO :", "INT. A NURSING HOME - DAVID'S UNIT - NIGHT - LATER As David now sleeps in his chair before the television, Hutch does the dishes. Once done, he hesitates... and opens a drawer to find a pack of cigarettes and the ZIPPO lighter which we recall from the very first scene. As he taps one out, he walks onto-", "EXT. A NURSING HOME - DAVID\u2019S UNIT - PATIO - NIGHT - CONTINUOUS -where he sparks a flame to the lighter, but does not light cigarette. Instead, he just enjoys the feel of the cigarette between his lips. As he does so, his gaze becomes that of a thousand yard stare, the mingled sounds of the city gradually becomes a mind-numbing, high-pitched squeal before we abruptly- SMASH CUT TO :", "INT. A NURSING HOME - DAVID'S UNIT - BEDROOM - NIGHT - MOMENTS LATER Hutch opens the closet door, reaching inside to turn on the light. Inside, we see a menagerie of plastic-wrapped clothing hanging beneath a shelf on which dozens upon dozens of shoeboxes are stacked tightly, many wrapped in twine. Hutch reaches deep within, searching...... to pull free an antique MOSSBERG SHOTGUN : a stunningly beautiful piece of weaponry. He clicks it open to find it loaded before closing it again. Hutch thinks for a long moment before replacing the shotgun, opting out of that much power. Unfolding a small step ladder leaning against the wall therein, Hutch climbs to the top, reaches back into the closet, and pulls free an old, Cuban CIGAR BOX - it too wrapped in twine. Hutch places it on the ledge of the shelf, hesitates, and unwraps the twine. He then takes a breath, holds it, and - with eyes unblinking- opens the cigar box. HIS POV : Inside we see an old -but perfectly cleaned and polished- COLT 1911 ; silver with a mother-of-pearl inset grip. Resting beside it are TWO MAGAZINES, a THICK WAD OF HUNDRED DOLLAR BILLS, and a weathered, leather, BADGE HOLDER. He opens it to find his father \u2019 s old FBI IDENTIFICATION AND BADGE. Hutch closes it and tosses it down onto the bed followed by the wad of cash. Selecting a magazine, Hutch claps it into the pistol, and pulls back the slide ; locked and loaded. He tosses the weapon down next to the cash, closes the box - leaving just the one magazine behind- and reties it with the twine before sliding it back into place. Hutch climbs down, refolds the step ladder, and returns it to lean against the wall. Knowing his father \u2019 s long forgotten wardrobe well, he searches, flipping through the sealed garments...... until he comes upon a time-worn BOMBER JACKET, a cross- thatched bandage of duct-tape affixed to the lower back. Slipping into it, a change seems to come over him. In fact, as he casts a glance at himself in the mirror, Hutch seems to be evolving... almost changing somewhat. Hutch opens a drawer to toss in his wallet, keys, and cell phone. Just as he is about to close it, he pauses, reaches in, and removes a pair of SILVER-TINTED AVIATORS ( which he was wearing in our very first scene ). Hutch slips them into his jacket pocket before turning to retrieve the pistol -which he tucks into the back of his pants- and both the ID and wad of cash which go into his inner-jacket pocket. Hutch exits- CUT TO :", "INT. A NURSING HOME - DAVID'S UNIT - KITCHEN - NIGHT -to find DAVID standing before him, his eyes heavy upon him. The two gauge one another in silence with Hutch unable -or unwilling- to meet his gaze. HUTCH -LRB- on his look, softly -RRB- Pop? ( softer still ) There \u2019 s this thing I got ta \u2019 do. A long beat... and David offers him a slight nod before stepping aside. DAVID Then you best go do it. Hutch moves past, exits, and closes the door behind him, leaving David to sigh, tilting his head to crack his neck as we- CUT TO :", "INT. A NURSING HOME - HALLWAY - NIGHT - MOMENTS LATER Hutch takes a couple of steps, glances down, and kneels with a frown...... to retrieve his METRO CARD which must have fallen out upon his arrival. Slipping it into his jacket pocket, he removes the Aviators, and -as he flicks them open- the song AIN \u2019 T IT FUNKY NOW by JAMES BROWN begins to play. Hutch slides on the glasses, and as he turns towards us...... we shift into SLOW MOTION. With each step he takes...... Hutch seems to transform...... as he mentally gets into character. CUT TO :", "INT. A BUS - NIGHT - MOMENTS LATER (MUSIC ONLY) Hutch sits with his gaze hidden behind chrome, his face stoic, body both relaxed and taut as we- CUT TO :", "EXT. THE CITY - ESTABLISHING - NIGHT (MUSIC ONLY) We follow Hutch as he visits...", "INT. TATTOO PARLOR #1 - NIGHT (MUSIC ONLY) A tattoo parlor... CUT TO :", "INT. TATTOO PARLOR #2 - NIGHT (MUSIC ONLY) After another... CUT TO :", "INT. TATTOO PARLOR #3 - NIGHT (MUSIC ONLY) Hutch questions an eclectic array of shop owners... CUT TO :", "INT. TATTOO PARLOR #4 - NIGHT (MUSIC ONLY) ... to no avail...... as he finds himself descending deeper and deeper... CUT TO :", "EXT. THE CITY - ESTABLISHING - NIGHT (MUSIC ONLY) ... in the dregs of the city as we- FADE TO :", "EXT. A SEEDY TATTOO PARLOR - ESTABLISHING - NIGHT Located amidst a number of chop shops and low rent restaurants and bars, the building is dark, dank, and despondent.", "INT. A SEEDY TATTOO PARLOR - NIGHT - CONTINUOUS Hutch enters to approach THE OWNER who offers him little more than a passing glance, the wood matchstick in his mouth moving from one side of his lips to the other. HUTCH Agent Mansell. Sitting nearby, a grizzled VETERAN -wearing a worn VFW cap- glances up from his dog-eared copy of GUNS OF NAVARONE, his interest piqued. Hutch flashes the badge- HUTCH -LRB- CONT \u2019 D -RRB- FBI. -and pockets it, the movement swift. As the Veteran lowers the book to listen in, we notice a number of tattoos upon his forearms, most notably one of two playing cards - a pair of ACES, one spades, the other hearts. ( Note : These are the absolute best cards to be dealt in game of SEVEN CARD STUD. ) HUTCH -LRB- CONT \u2019 D -RRB- -LRB- looking around -RRB- I \u2019 m looking for- THE OWNER That \u2019 s old. HUTCH -LRB- taken aback, then -RRB- What? THE OWNER Your ID. The badge. It \u2019 s expired by about twenty years. -LRB- on his look -RRB- And I \u2019 m pretty sure that ain \u2019 t you in the picture. A number of massive goons encroach upon their conversation. A long beat... and Hutch smiles in such a way that the owner is more than a bit taken aback. THE OWNER -LRB- CONT \u2019 D -RRB- Who are you? HUTCH Me? Hutch reaches into his jacket pocket, and as the other grow tense, they relax at the sight of a wad of hundred dollar bills. HUTCH -LRB- CONT \u2019 D -RRB- I \u2019 m just a man... looking for a man. THE OWNER Yeah, well... you probably shouldn \u2019 t flash cheese like that around here, brother. A shadow casts over Hutch, offering us a glimpse of who he once was and -we hope- shall soon become. HUTCH There are three kinds of people who flash cheese -as you say- like this : those who don \u2019 t know better, those seeking to intimidate... and those, like me, who would really - and I do mean with every ounce of my being- really like someone to try and take it from them. As Hutch moves...... the VETERAN catches a glimpse of the tattoo on Hutch \u2019 s left wrist, that of two playing cards : A TWO OF DIAMONDS and a SEVEN OF CLUBS. ( Note : These are the absolute worst cards to be dealt in a game of SEVEN CARD STUD. ) The Veteran \u2019 s eyes go wide, the air sucked from his lungs. THE OWNER Buddy, you... -LRB- trailing off -RRB- Abruptly -and to the surprise of everyone save Hutch- the Veteran stands, clears his throat, swallows hard with wide eyes, and offers Hutch a nod- VETERAN -LRB- mutters -RRB- Thank you for your service. -before beating a hasty retreat into the back office... HUTCH -LRB- nods -RRB- You, too, old-timer. ... where he noisily LOCKS THE DOOR BEHIND HIM. Unsure as to what just happened there, the Owner turns his attention back to Hutch with a newfound degree of respect, albeit still begrudging. THE OWNER What can I do for you? Hutch peels off three bills and slides them across to him- HUTCH You can send me in the direction of this woman here. -before tapping a finger to one of the POLAROIDS of tattoos hanging upon his wall, this one in particular being of the ink upon the FEMALE THIEF \u2019 S WRIST. CUT TO :", "EXT. THE CITY OF LOS ANGELES - ESTABLISHING - NIGHT A rare and steady rain begins to fall. CUT TO :", "EXT. A HOUSE - ESTABLISHING - NIGHT Located in the very heart of downtown Los Angeles, the two- bedroom, one-bathroom hovel is unceremoniously located amidst industrial buildings on the verge of ruin.", "INT. A HOUSE - THE KITCHEN - NIGHT - CONTINUOUS Standing over the stove, LUPITA MARTIN -early twenties, petite, weary, beautiful if ever she caught up on sleep- rips open two cups of dried ramen noodles. Once the water boils, she turns off the gas, takes the pot, and fills the styrofoam bowls up to the appropriate line.", "INT. A HOUSE - HALLWAY - NIGHT - CONTINUOUS Behind a closed door, we hear a toilet flush -followed by the running of water in the sink- before the door opens and LUIS MARTIN -early twenties, thin, poor man \u2019 s goatee, just as tired as his wife- exits, stifling a yawn. Luis heads towards the kitchen, pausing to glance through an open doorway to a room beyond, before entering- CUT TO :", "INT. A HOUSE - KITCHEN - NIGHT - CONTINUOUS -where he kisses her on the back of the neck. She offers the best smile that she can before motioning towards their small table. LUIS -LRB- in Spanish, subtitled -RRB- Smells good. Lupita checks her watch -as in Hutch \u2019 s watch- before placing a plate of food down before him. LUPITA -LRB- O.S. -RRB- -LRB- in Spanish, subtitled -RRB- You \u2019 ve got ta \u2019 go soon. Behind her, we see HUTCH -perched like the goddamned boogeyman- standing at the end of the long hallway beyond, a living silhouette, light reflecting ominously off of his aviators, the gun held tight in his hand with knuckles white.", "INT. A HOUSE - HALLWAY - NIGHT - CONTINUOUS5 A long beat... and Hutch -both tense and relaxed at the same time, a feral cat ready to strike- moves forward, silent and calm. LUIS -LRB- O.S. -RRB- -LRB- in Spanish, subtitled -RRB- These double shifts are killing me. LUPITA -LRB- O.S. -RRB- -LRB- in Spanish, subtitled -RRB- Me, too. He treads softly, moving slowly, but then hesitates to glance down at the stack of mail upon the entry table. HIS POV : All we see are MEDICAL BILLS and PAST NOTICE STATEMENTS. Hutch glimpses through the open doorway which Luis had paused at before. HIS POV : Their one-year-old SON -his chest heavily bandaged, a mask feeding him oxygen- lays in his crib, struggling to breathe. Hutch lowers his face, understanding now, deflating for a moment before \u201c returning to character \u201d. LUPITA -LRB- O.S. -RRB- -LRB- CONT \u2019 D -RRB- -LRB- in Spanish, subtitled -RRB- We \u2019 re gon na \u2019 make it, right? CUT TO :", "INT. A HOUSE - KITCHEN - NIGHT - CONTINUOUS Luis reaches across to squeeze her hand. LUIS -LRB- in Spanish, subtitled -RRB- Baby, I promise you, I... Lupita trails off with eyes wide, mouth agape...... as Hutch presses the barrel of his pistol against the back of Luis \u2019 head, the man reacting in horror as anyone would. LUPITA -LRB- in Spanish, subtitled -RRB- Please, we don \u2019 t have- Hutch pulls back the hammer with a deafening CLICK, plummeting the room into silence. HUTCH -LRB- in Spanish, subtitled -RRB- I speak... and you listen. A long beat... as Hutch takes a deep breath, holds it, and exhales, centering himself as he lowers the hammer, his point made. Lupita \u2019 s eyes water as she swallows hard while Luis clenches his eyes shut. HUTCH -LRB- CONT \u2019 D -RRB- -LRB- in Spanish, subtitled -RRB- Do you know why I am here? Luis and Lupita share an \u201c oh shit \u201d look. HUTCH -LRB- CONT \u2019 D -RRB- -LRB- in Spanish, subtitled -RRB- Because I am a good man. A family man. And most importantly, a man who did not deserve... We see a glimpse of feral rage in Hutch \u2019 s eyes. HUTCH -LRB- CONT \u2019 D -RRB- -LRB- in Spanish, subtitled -RRB-... your gun... in his face. A moment of silence relished by Hutch and anguished over by the Martins. HUTCH -LRB- CONT \u2019 D -RRB- -LRB- in Spanish, subtitled -RRB- Now... ( growls ) ... the watch. With a fumbling hand, Lupita removes the watch from her own wrist, and hands it to Hutch who slips it into his pocket. HUTCH -LRB- CONT \u2019 D -RRB- -LRB- in Spanish, subtitled -RRB- And the kitty-cat bracelet. LUIS -LRB- in Spanish, subtitled -RRB- The... what? With a burst of sudden rage, Hutch drives the barrel of the pistol into the back of Luis \u2019 head, pulling back the hammer as he shoves Luis face first down upon the table as Lupita lets out a stifled cry. HUTCH -LRB- growls -RRB- Give me... the goddamned... kitty- cat bracelet... MOTHER... FUCKER. This is the only time we see Hutch lose \u201c almost and completely \u201d lose his temper. LUIS -LRB- swallows hard, then -RRB- I don \u2019 t know what you \u2019 re talking about, man. I really don \u2019 t. A long beat... and we hear the baby in the other room begin to cry. A Lupita weeps and Luis trembles, waiting for the bullet, Hutch... lowers the weapon. Hutch reaches into his pocket, removes the wad of cash, and tosses it down onto the table. As it comes to rest we- CUT TO :", "EXT. AN ALLEY - NIGHT - LATER (MUSIC ONLY) Dejected, Hutch slowly trudges through the expanding puddles, oblivious to the rain. Suddenly exhausted, he stumbles, catching himself against the wall. As he moves to steady himself...... his hands become fists as -with an anguished cry- he punches the aluminum-siding facade...... until he draws back, his knuckles cracked and bleeding. A beat... and Hutch pulls the watch from his pocket, studies for a moment, and then hurls it at the wall before trudging off screen. A long beat... and he returns, dropping to a knee to retrieve it. As he straps it to his wrist, he trudges off into the night as we- FADE TO :", "EXT. A STREET - NIGHT - CONTINUOUS (MUSIC ONLY) -where Hutch slows to lean against the bus stop, staring off into nothing. A long beat... and the bus slows to a stop before him. The doors open, and Hutch steps up-", "INT. A BUS - NIGHT - CONTINUOUS (MUSIC ONLY) -to stare through DONNA -fifties, black, rotund, hard but quick to smile- who says little as he taps his METRO CARD to gain entry. Hutch offers a silent, half-hearted wave before making his way down the aisle. He passes a YOUNG WOMAN who offers him a half-smile before returning to lean her forehead against the glass, infatuated by the rain, her soda can in hand with a BENDY STRAW pressed between her lips. The only other passenger is a giant, CAPTAIN AMERICA-looking BODYBUILDER who sits with his face down, eyes locked upon the pages of a dog-eared, paperback edition of THE STRANGER by ALBERT CAMUS. Hutch sinks down to sit in the middle of the row in the very rear. As we slowly pull back from his dejected form...... we hear the roar of a powerful vehicle as its headlights wash over the bus, soaring past, swerving erratically- -to crash in front of it, the driver slamming on the breaks. Through the front windshield, we see the drunken silhouettes of the vehicle \u2019 s inhabitants emerge from the totaled vehicle...... and flag down the bus as they approach. Donna glances to her right with a worried gaze, hesitates, but then reaches over to pull back the lever to open the door...... as AVE MARIA begins to play at an almost deafening volume. Five, drunken GOONS -Russians, each wearing overpriced suits, silk shirts, and no ties- followed by their apparent alpha, one TEDDY KUZNETSOV - tall, thick, broad-shouldered, and thin skinned- who tosses a couple of bills at Donna to serve as their fare. Hutch watches them as they continue to stand, laugh, and strike each other \u2019 s shoulder, all drunk off of whatever they had been drinking and the testosterone pumping through their veins. Teddy begins to hit on a young woman...... while his boys egg him -and one another- on. When she shoves aside Teddy \u2019 s hand and stands to move, he grabs her -hard- and shoves her back down. Suddenly, Teddy has a knife in hand. He turns to scream something at the driver...... who at first ignores him...... until his goons each produce blades of their own. As Hutch witnesses this unexpected turn of events, his dour expression slowly evolves into one of pure zen. Defeated, Donna pulls the bus over to the side of the road. Surprisingly to everyone but Hutch, the Bodybuilder is the first one to flee the scene...... with the others soon following. With only Hutch and the driver remaining, Teddy sneers back at Hutch...... who stands. As he moves down the aisle, he sidles past the goons- -and casts a glance at the horrified, pleading expression of the young woman- -before reaching the front of the bus. Hutch sees that Donna has her cell phone in hand, looking to call 9-1-1...... but Hutch shakes his head, something in his gaze convincing her to end the call. Donna stands, eyes down, and walks off. Hutch takes a step down, pauses- -and then -to our surprise- takes a step back up, reaching over- -to pull the lever, closing the doors...... as THE SOUND RETURNS- -as Hutch, without looking up at it, drives a fist back to break the bus \u2019 security camera. HUTCH -LRB- chuckles -RRB- The universe, man. It \u2019 s got ta \u2019 unique way a \u2019 payin \u2019 out what \u2019 s owed. Standing in the very rear of the bus, Teddy looks amused while his men share a confused expression. HUTCH -LRB- CONT \u2019 D -RRB- Y \u2019 know... Hutch takes off his watch, and tosses it down onto the driver \u2019 s seat. HUTCH -LRB- CONT \u2019 D -RRB-... I thought I \u2019 d finally have some satisfaction tonight... Hutch reaches behind his back- HUTCH -LRB- CONT \u2019 D -RRB-... but it was not to be... -LRB- searching -RRB- -and removes the pistol with eyes growing wide. HUTCH -LRB- CONT \u2019 D -RRB- -LRB- smirk -RRB-... so this... this \u2019 ll have to do. ( smirks ) And yeah, I \u2019 m thinking this... Hutch pulls back the slide to catch the ejected round. HUTCH -LRB- CONT \u2019 D -RRB-... is what I \u2019 ve been waiting for. LEAD GOON -LRB- grins -RRB- You and me both, friend. Hutch slides out the magazine, pressing the bullet down to fill it out. HUTCH This... Hutch places the weapon and the magazine down onto the driver \u2019 s seat before turning to face them. HUTCH -LRB- CONT \u2019 D -RRB-... is just what I need. A beat... and Teddy laughs. TEDDY And I agree, you crazy fuck! Boys? On cue, the goons surge into Hutch as one. ( Note : Hutch is always reactive when he fights, never the one to make the first move. ) When he first engages them, Hutch is unsure and a tad bit awkward. But with each movement -much like an old machine coming back to life- he finds his tempo and rhythm. To the lead goon \u2019 s surprise, Hutch moves swiftly still into him, ignoring the man \u2019 s blade -which slices through his cheek- as he proceeds to shatter the man \u2019 s left knee...... and both arms...... before kicking in his sternum...... and breaking his jaw as he knocks him down. The goons freeze as Teddy \u2019 s eyes grow wide...... as Hutch continues to pummel the center of the unconscious goon \u2019 s face when suddenly- HUTCH -LRB- snarls -RRB- STOP! -he freezes...... and stands...... to face the others. Hutch reaches up to touch the fresh wound on his face with a frustrated sigh. HUTCH -LRB- CONT \u2019 D -RRB- -LRB- mutters to himself -RRB- Rusty, man. Rusty. TEDDY Dude... just... FUCKING KILL HIM! We watch in sheer and absolute amazement as Hutch proves himself to be a force of nature. He does not kill these men but instead wounds them to the point of perhaps desiring death. With half of their number decimated, Hutch pulls back. HUTCH We can stop here.. -LRB- a beat, then -RRB- Or continue on. HUTCH -LRB- CONT'D -RRB- -LRB- nods -RRB- Your call. A beat... and the remaining men surge into Hutch who counters their every move before delivering a pain unlike any of them had ever known. At one point, his jacket is sliced, causing his METRO CARD to drop down onto the floor. With each one down, Hutch seems to come into his own, his methods, means, and motions precise...... until it is just Hutch and Teddy who -albeit a bit nervous- keeps his game face intact. TEDDY And a guy like you takes the bus? HUTCH What can I say? I like the company I keep. A beat... and Teddy lunges into him with his blade. Maybe tapping a bit too deeply into the memories of old, Hutch catches Teddy \u2019 s outstretched arm, snaps his wrist, twists his arm to shatter, kicks in his leg, and drives a fist into his throat, crushing it. As Teddy sinks, choking to the ground, Hutch takes pause, running his fingers through his hair. HUTCH -LRB- CONT \u2019 D -RRB-... fuck... Hutch reaches over, plucks the bendy straw from the young woman \u2019 s soda can, retrieves a blade, punctures a hole in the man \u2019 s trachea, and inserts the straw, making for an improvised tracheotomy. He stands, wiping the blood off on his pants. HUTCH -LRB- CONT \u2019 D -RRB- -LRB- to the young woman -RRB- Are you ok? She nods, unable to find the words. HUTCH -LRB- CONT \u2019 D -RRB- Good. Hutch makes his way to the front of the bus where he collects his watch and father \u2019 s pistol from the seat. He tucks it into the back of his pants before pulling back the lever to open the door. Standing down below, Donna ( the bus driver ) is grinning from ear to ear. DONNA Dude, that was... fan... fucking... tastic! HUTCH -LRB- sheepishly -RRB- Thanks. Hutch exits the bus- CUT TO :", "EXT. THE SIDEWALK - NIGHT - CONTINUOUS -and walks off, a thin smile spreading, a weight seemingly lifted as we- FADE TO : OMITTED", "INT. A SUBURBAN HOME - KITCHEN - NIGHT - CONTINUOUS Hutch enters to find Becca -unable to sleep- sitting at the kitchen table in the dark, nursing a glass of wine. HUTCH Hey. Becca stands- BECCA Couldn \u2019 t sleep. I- -and turns on the lights, gasping as her face falls at the sight of him. HUTCH -LRB- a beat, then -RRB- Yeah, it \u2019 s been... ( sighs ) ... a helluva \u2019 day. BECCA I can see that. Becca wants to ask what happened to him, but she can read Hutch, knowing full well that he does not want to talk about it. Becca walks towards the sink- BECCA -LRB- CONT \u2019 D -RRB- Come here. -where she runs some cold water. She soaps up her hands and takes his in her own, gently -yet firmly- massaging his raw knuckles. Hutch watches her with a softening gaze as her eyes remain intent upon her task at hand. HUTCH -LRB- a long beat, then softly -RRB- I miss you. BECCA -LRB- hesitates, then -RRB- I \u2019 m right here, Hutch. I \u2019 m always... right here. HUTCH I know. Hutch opens his mouth to say something more, but decides otherwise. Catching this, Becca regrets her tone. HUTCH -LRB- CONT \u2019 D -RRB- Tonight. Well... it got me to thinking. BECCA About what? HUTCH About... Becca... we haven \u2019 t embraced in three months. Haven \u2019 t shared a kiss in maybe a year. Haven \u2019 t had sex in two years, and haven \u2019 t made love in almost five. -LRB- a beat, then -RRB- I don \u2019 t know if you hate me, but you act as such, and maybe I \u2019 m partially to blame. But only just partially. All this to say - I miss you. HUTCH -LRB- CONT'D -RRB- And I \u2019 d really like to find a way back to us. But... if there isn \u2019 t one... I \u2019 m thinkin \u2019 we best end this then because this? This... isn \u2019 t a life either of us want... let alone deserve. Hutch heads upstairs, leaving her with his honest thoughts as we- FADE TO :", "EXT. A SUBURBAN HOME - ESTABLISHING - NIGHT INT. A SUBURBAN HOME - MASTER BEDROOM - NIGHT - CONTINUOUS Hutch is dead asleep, deeper than he has been in years. A long beat... and Becca quietly breaks down her wall of pillows, and -for the first time in a long time- lays next to him. She takes a deep breath and exhales, satisfied as we- FADE TO :", "EXT. A SUPPER CLUB - ESTABLISHING - NIGHT SUPER : HOLLYWOOD, CALIFORNIA A classic, old-world steak house. A 1955 FORD THUNDERBIRD pulls up to the curb out front.", "EXT. A SUPPER CLUB - NIGHT - CONTINUOUS As CANDY MAN by SAMMY DAVIS JR begins to play, YULIAN KUZNETSOV -forties, tall, lean to an almost skeletal degree, a force of nature, humorless gaze, quick to inflict pain- exits his car. He pauses to rub a smudge from the hood. Upon tossing his keys to the valet, he enters- CUT TO :", "INT. A SUPPER CLUB - NIGHT - MOMENTS LATER (MUSIC ONLY) -to shed his jacket, handing it to the coat check girl. Like that classic \u201c long-shot scene \u201d in Goodfellas, we watch as Yulian makes his way through the restaurant, pausing to greet a couple of locals, ordering free bottles of wine for a table or two. He then ducks into-", "INT. A SUPPER CLUB - KITCHEN - NIGHT - CONTINUOUS (MUSIC ONLY) -which is in full swing. He tastes a bit of soup here and a bit of sauce there. He checks a fresh shipment of tomatoes, onions, and peppers, squeezing a couple for good measure. Satisfied, he grabs a tomato and starts eating it like one might an apple. Removing a pair of reading glasses, he puts them on and swats the ass of a young waitress striding past, eliciting a forced smile and pained giggle. With THE SOMMELIER standing nearby, Yulian selects a bottle of wine, studies the label, nods, hands it to the Sommelier, and walks off, removing his glasses before entering-", "INT. A SUPPER CLUB - HALLWAY - NIGHT - CONTINUOUS -where he can \u2019 t help but smile, pausing for a moment to do a bump of coke off his knuckle. With a shudder of ecstasy, Yulian strides out onto-", "INT. A SUPPER CLUB - NIGHT - MOMENTS LATER -the stage, where a SINGER is doing a full on Sammy Davis Jr. set. At the sight of Yulian, the crowd goes wild. He grins, motions the singer over, and stuffs a wad of cash into his pocket. With a chuckle and a shake of his head, the Singer gives up the stage to his boss. As the song continues on, Yulian grabs the microphone and gives his own take on it...... and he is excellent. In fact, Yulian has memorized every one of Sammy \u2019 s \u201c tics and movements \u201d, perfectly emulating his idol as he sashays through the song. With the final lyrics, he bows...... to rapturous cheers from the restaurant regulars -most of whom are in his employ- and half-assed applause from those who aren \u2019 t exactly \u201c in on the joke \u201d. As Yulian steps down from the stage, to approach a corner booth where a half-dozen, multi-ethnic MOB BOSSES await him along with a bevy of high-priced ESCORTS. All applaud, save one : an IRISH BRUTE with a thick beard, gold tooth, hard eyes, and expensive tattoos. We see Yulian take quick note of this...... as PAVEL -fifties, cool, calm, and calculated, his right hand man- hands him a towel which he uses to wipe the thick sheen of sweat from his face. YULIAN Well? PAVEL You did Mister Show Business proud, boos. YULIAN Y \u2019 know, I did, didn \u2019 t I? A YOUNG WAITER approaches to offer him a martini which he accepts, taking a sip...... before lowering it with a contented nod and a smile- YULIAN -LRB- CONT \u2019 D -RRB- -LRB- to the table -RRB- Gentlemen. -only to crush it in his hand, sending his bloodied fist - embedded with jagged shards- down into the Irish Brute \u2019 s face... time... and time... again... until he pulls back, satisfied with the degree of penalty dealt. As the others look on with wide eyes, Yulian sinks down to sit beside Pavel who offers him a handkerchief- YULIAN -LRB- CONT \u2019 D -RRB- -LRB- in Russian, subtitled -RRB- We were born in the wrong fucking era, weren \u2019 t we? -which he uses to pluck the pieces of glass from his bleeding hand. PAVEL -LRB- in Russian, subtitled -RRB- I don \u2019 t know. I rather like cell phones... Pavel removes an escort \u2019 s \u201c curious \u201d hand from his own leg with a sigh. PAVEL -LRB- CONT \u2019 D -RRB- -LRB- in Russian, subtitled -RRB-... and penicillin. Just as he is about to take a seat, Yulian glances over to find ALBERT -thirties, a giant of a man, suit one size too small- approaching with a worried expression. YULIAN -LRB- in Russian, subtitled -RRB- What is it? On Albert \u2019 s look, we- CUT TO :", "INT. A HOSPITAL - ROOM - NIGHT - MOMENTS LATER Yulian and Pavel stand over an unconscious Teddy who is surrounded by high-tech machinery, his body covered by various tubes and patches. YULIAN Jesus. -LRB- motions to Pavel -RRB- What the fuck was he doing on a bus anyways? Pavel answers with a shrug just as a DOCTOR enters. YULIAN -LRB- CONT \u2019 D -RRB- Will he walk again? DOCTOR -LRB- hesitating, then -RRB- Sir... I am sorry to say, but... it is doubtful that your brother will regain consciousness. The damage to his- YULIAN -LRB- interrupting -RRB- What? Yulian shoves the doctor up against the wall, tapping a finger time and time again to the intimidated man \u2019 s chest. YULIAN -LRB- CONT \u2019 D -RRB- What are you saying? Are you fucking kidding me? PAVEL -LRB- O.S. -RRB- He \u2019 s not. Yulian glances back to see Pavel reading Teddy \u2019 s chart. YULIAN -LRB- in Russian, subtitled -RRB- How fucked? PAVEL -LRB- in Russian, subtitled -RRB- Real fucked. Yulian pulls back from the doctor- YULIAN -LRB- mutters -RRB-... fuck... -tapping an apologetic hand to the man \u2019 s chest. Yulian turns towards Teddy and takes his hand in his own. YULIAN -LRB- CONT \u2019 D -RRB- -LRB- in Russian, subtitled -RRB- Who did this to you? CUT TO :", "INT. A HOSPITAL - ROOM - NIGHT - MOMENTS LATER A half-dozen of his men lay in various states of disrepair as Yulian looks on, stunned. YULIAN -LRB- in Russian, subtitled -RRB- How the fuck did this happen? HEAVY #1 Boss, he was- YULIAN He?!? As in one man? -LRB- in Russian, subtitled -RRB- Are you fucking with me? HEAVY #1 No, sir. Yulian slaps a hand down onto the man \u2019 s wounded leg, his fingers white as they constrict, eliciting a cry. YULIAN -LRB- in Russian, subtitled -RRB- Don \u2019 t you fucking lie to me! HEAVY #1 -LRB- in Russian, subtitled -RRB- I \u2019 m not! I swear! A beat... and Yulian releases him, muttering under his breath. YULIAN What, exactly, transpired for this one man to wreak such havoc? HEAVY #1 It was Teddy. There was this girl- Yulian silences him with a roll of his eyes and a wave of his hand. YULIAN When it comes to my brother and trouble, there \u2019 s always a girl. -LRB- sighs -RRB- Shit. -LRB- thinking, then -RRB- We got anything to go on? A beat... and a bloodied hand extends up into the air- -with HUTCH \u2019 S METRO CARD clutched between ashen fingers as we- FADE TO :", "EXT. THE PARK - ESTABLISHING - DAWN A beat... and Hutch jogs into view.", "EXT. THE PARK - DAWN - CONTINUOUS With no one looking on, Hutch attempts a complex parkour move off a park bench with his wife \u2019 s Real Estate Advertisement... and nails it, sprinting off with a grin as we- CUT TO :", "EXT. A SUBURBAN HOME - ESTABLISHING - MORNING INT. A SUBURBAN HOME - KITCHEN - MORNING - CONTINUOUS Blake enters -followed by Becca- to find Hutch having prepared a veritable feast. Abby looks up from her chocolate chip pancakes with a grin, her cheeks packed with food. BLAKE Dad... -LRB- motions -RRB-... you look like shit. HUTCH Yeah, well... -LRB- smirks with a wink -RRB-... you shoulda \u2019 seen the other guy. Blake scoffs with a roll of his eyes. Becca hands Hutch a cup of coffee- BECCA Mornin \u2019. -and leans forward to kiss him on the cheek, eliciting a surprised half-smile. HUTCH Good morning. The phone rings. Hutch answers it. HUTCH -LRB- CONT \u2019 D -RRB- This is Hutch. HARRY -LRB- V.O. -RRB- Last night... that was you, huh? Hutch ducks around the corner with the phone to his ear. HUTCH We said no land lines. HARRY -LRB- V.O. -RRB- Relax. I \u2019 ve got thirteen seconds. So? That was you? HUTCH -LRB- hesitating, then -RRB- Yeah. HARRY -LRB- V.O. -RRB- -LRB- chuckling -RRB- That a boy, big brutha. How \u2019 d it feel? HUTCH Like salvation day. HARRY -LRB- V.O. -RRB- I bet. But, why now? HUTCH I dunno. It just... happened. HARRY -LRB- V.O. -RRB- Nothing just happens, Hutch. You made a choice, and just remember ; once you let that genie out of the bottle, there ain \u2019 t no bottle to go back to. HUTCH I know. HARRY -LRB- V.O. -RRB- -LRB- hesitates, then -RRB- And if a certain someone catches wind, man... it \u2019 s bad for all of us. As in \u201c end times \u201d bad. -LRB- on his silence -RRB- Ok. Well, then... I -uh- guess you best just keep on keepin \u2019 on, Hutchie. I \u2019 ll circle back. CLICK - Harry hangs up followed by Hutch. BECCA Who was that? HUTCH Ah, just a distributor of ours. BECCA Oh. Hutch tussles Abby \u2019 s hair and heads for the door. HUTCH I \u2019 ll grab pizza tonight. -LRB- to Blake -RRB- Pepperoni, sausage, ham, and onions with red pepper flakes, parmesan, and pepperoncinis on the side, right? BLAKE -LRB- smirks -RRB- Oh, hells yeah. As Becca looks on a curious half-smile, we- FADE TO : OMITTED", "EXT. A SUBURBAN HOME - ESTABLISHING - DAY INT. A SUBURBAN HOME - THE BASEMENT - DAY - CONTINUOUS With an empty, canvas satchel hanging from his shoulder, Hutch leans heavy against the pinball machine...... before -with shoulders slumped- he opens the front register, reaches in and -with a great deal of effort, removes a long, slender, burnished-aluminum case...... which he places upon his coffee table. Hutch snaps up the latches and opens it...... to reveal a KING \u2019 S BOUNTY : countless, tightly-bound stacks of various, international currencies, dozens of passports from dozens of countries, old fashioned bank books, credit/debit cards, and bricks of gold and palladium bullion. CUT TO :", "INT. A TOOL AND DIE SHOP - EDDIE\u2019S OFFICE - DAY - LATER Hutch empties the gold bricks from the canvas satchel down upon the desk as Charlie and Eddie look on, incredulous. EDDIE Come again? HUTCH This is my offer. CHARLIE For... what? HUTCH The company. And if you know anything about the commodities market, it \u2019 s not a good offer ; it \u2019 s a great one. CHARLIE Now, wait a minute- HUTCH -LRB- interrupting, to Eddie -RRB- -and seeing as how I know you \u2019 ve been skimming... -LRB- to Charlie -RRB-... that \u2019 s meanin \u2019 both of you... -LRB- to Eddie -RRB-... I recommend you take it. Lest the IRS catch wind of what I know. CHARLIE Are you threatening us? HUTCH -LRB- smirks, eyes glinting -RRB- Do you really got ta \u2019 ask? A beat... and a frustrated Charlie suddenly rears back to punch Hutch- -who lands a lightening-quick palm to the center of Charlie \u2019 s thoracic diaphragm. Charlie goes limp, gasping for breath, as Hutch catches him- HUTCH -LRB- CONT \u2019 D -RRB- Breathe. Just breathe. -to lower him into a chair. HUTCH -LRB- CONT \u2019 D -RRB- -LRB- to Eddie -RRB- So, we got ta \u2019 deal? EDDIE Y \u2019 know, I ain \u2019 t gon na \u2019 ask how you came by this, Hutch, but... -LRB- smiles with a nod -RRB-... it \u2019 s a great offer, I \u2019 ll give you that. -LRB- a beat, then -RRB- Fuck it. A beat... and Eddie extends his hand. As Hutch shakes it, we- CUT TO :", "EXT. A TOOL AND DIE SHOP - DAY - FIVE MINUTES LATER Carrying the canvas bag, Eddie exits slowly -as if in a daze- followed closely behind by Charlie who looks about the same. Charlie tries to say something, managing little more than a gurgled snarl. EDDIE What say we ice that down with some beers? Charlie nods with a sigh and as the two men walk off, we pull back... to find PAVEL and ALBERT watching from a distance. CUT TO :", "EXT. A WAREHOUSE - ESTABLISHING - DAY - CONTINUOUS INT. A WAREHOUSE - AN ART GALLERY - DAY - CONTINUOUS Dozens upon dozens of \u201c illicitly-acquired \u201d paintings adorn the walls...... as Yulian -with a cigarette smoldering from between his lips- somberly -and a bit too slowly- sings the Russian love song KATYUSHA to himself as he basks in his collection. ( Note : This scene should play out longer than we expect... ) He answers his vibrating cell phone with an irritated sigh. YULIAN What? PAVEL -LRB- V.O. -RRB- We \u2019 ve followed this Hutch Mansell to what looks to be his place of employment. Should we engage? YULIAN Engage? Turning to leave, he kisses his fingers before slapping a hand to the surface of a MONET... which we recognize from our opening scene with Hutch. YULIAN -LRB- CONT \u2019 D -RRB- What are we, the fucking Allies in some goddamned WW2 movie that no one fucking saw? Exiting through a pair of large, reinforced, steel doors, Yulian enters- PAVEL -LRB- V.O. -RRB- Sorry, I-", "INT. A WAREHOUSE - COUNTING ROOM - DAY - CONTINUOUS -where a pair of old men in simple suits with thick glasses use high-end bill counters to count out a hundred, hundred dollar bills to be bound, stacked, and eventually sealed into bales. The amounts look to be astounding. YULIAN Do I need remind you that this one man readily handed the shattered asses back to men far more accomplished than the two of you white-collared motherfuckers. Yulian passes through into- OMITTED", "INT. A WAREHOUSE - DISTRIBUTION CENTER - DAY - CONTINUOUS -where dozens of lackeys open crates to destroy cheap sculptures -but no less well made- filled with bags upon bags of crystal meth. YULIAN So -with that in mind- why don \u2019 t we wait until we \u2019 ve learned just about all there is to know about this piece of work, shall we? Yulian ends the call and tucks his cell phone back into his jacket pocket. Amounts are weighed, repackaged, and shipped out for distribution at an alarming rate. YULIAN -LRB- CONT \u2019 D -RRB- What have you got for me? Yulian glances over at BETA -twenties, attractive young woman, glasses- sits at a desk with her feet up, seemingly bored out of her mind. BETA Found his dad. He \u2019 s got him holed up at a nursing home downtown. YULIAN That ain \u2019 t much. BETA Hey, it \u2019 s something. -LRB- hesitating, then -RRB- Mr. Kuznetsov, your man here looks to be as vanilla as they come. YULIAN Yeah, well, I don \u2019 t like it. -LRB- in Russian, subtitled -RRB- Feels like a wolf in sheep \u2019 s clothing. BETA Sir? YULIAN -LRB- mutters -RRB- Just... keep looking. Yulian takes one final toke off of his cigarette, drops it, and as he crushes it beneath the toe of his shoe, we- CUT TO : OMITTED", "INT. SCHMITTY\u2019S PUB - DAY - CONTINUOUS Eddie and Charlie sit at the bar in silence, each nursing a beer. A beat, and Charlie abruptly stands- CHARLIE -LRB- standing with a mutter -RRB- I \u2019 m gon na \u2019 go \u201c take a load off fanny \u201d. -to amble off to the bathroom. Eddie glances over at the duffel bag as he finishes his beer. Lowering the bottle, he motions to the BARTENDER for another as he produces his cell phone. As he speed dials a number, we- CUT TO :", "EXT. A GOVERNMENT BUILDING - ESTABLISHING - DAY A modern, gray marbled structure.", "INT. A GOVERNMENT BUILDING - DARREN\u2019S CUBICLE - DAY - CONTINUOUS Located in the middle of a vast cubicle farm, the workspace is impressively cluttered and exhaustingly claustrophobic. Loosening the cheap tie around the neck of his even cheaper suit, DARREN -a life long, government employee- answers his phone. DARREN Records. EDDIE -LRB- V.O. -RRB- Hey, Darren. DARREN What \u2019 s up, Eddie? EDDIE -LRB- V.O. -RRB- You mind doin \u2019 a little diggin \u2019 for me? DARREN Sure. Looks to be a slow day anyways. EDDIE -LRB- V.O. -RRB- Aren \u2019 t they all? DARREN -LRB- mutters -RRB-... truer words... CUT TO :", "INT. SCHMITTY\u2019S PUB - DAY - CONTINUOUS Eddie shifts in his seat. EDDIE See what you can find me on Hutch Mansell. DARREN -LRB- V.O. -RRB- Your son-in-law? EDDIE Yeah. DARREN -LRB- V.O. -RRB- Why do you ask now? EDDIE I \u2019 d -uh- just like to know a bit more about him, is all. DARREN -LRB- V.O. -RRB- All right. I \u2019 ll see what I can find. CUT TO :", "INT. A GOVERNMENT BUILDING - DARREN\u2019S CUBICLE - DAY - CONTINUOUS Darren leans forward in his seat, grabbing a pen and paper. DARREN Know where he was stationed? EDDIE -LRB- V.O. -RRB- No. DARREN His rank? EDDIE -LRB- V.O. -RRB- No. DARREN Hell, his position? EDDIE -LRB- V.O. -RRB- Oh -uh- he was an auditor. DARREN Don \u2019 t you mean accountant? EDDIE -LRB- V.O. -RRB- Well... no. Not exactly. He always just said he was an auditor. DARREN That -uh- isn \u2019 t exactly a title I \u2019 m familiar with. EDDIE -LRB- V.O. -RRB- -LRB- sighs -RRB- I don \u2019 t know what else to tell you. DARREN I \u2019 ll see what I can find. EDDIE -LRB- V.O. -RRB- Thanks. Darren hangs up the phone. Slipping on a pair of reading glasses, he brings up a program on his computer and types in HUTCH MANSELL. Upon pressing the return button, the pinwheel spins...... and his computer suddenly shuts down. Forced to restart it, he again types in HUTCH MANSELL...... only for the pinwheel to again spin before the machine shuts down. DARREN What the... fuck? Darren tries to restart it, but the computer has now been completely bricked. Darren stands and walks out into-", "INT. A GOVERNMENT BUILDING - CUBICLE FARM - DAY - CONTINUOUS -where dozens upon dozens of employees are complaining about their computers having \u201c gone down \u201d. Thinking little of it, Darren takes the elevator down to- CUT TO :", "INT. A GOVERNMENT BUILDING - DEPOSITORY - DAY - CONTINUOUS -where he searches the countless rows of shelves lined with physical personnel files. The space is comically massive with no end in sight. Darren searches... and searches... and searches until in a far off corner, partially-hidden behind a stack of boxes, he finds a shelf. Every file before him is about a half-an-inch thick. Searching, Darren frowns, removes a pair of inch-thick files, and finds a yellow folder -which looks to be empty- with the name HUTCH MANSELL hastily scrawled upon it in pencil. Opening it, all Darren finds inside is a yellow post-it note which reads : Refer to SUB-ARC-109-831. Darren sighs, replaces the file, and continues on as we follow him...... down through numerous stairwells...... narrow corridors...... and long overlooked nooks and crannies before finally coming upon-", "INT. A GOVERNMENT BUILDING - CELLAR - DAY - CONTINUOUS -which is a fully-brick enclosed facility with low lights and poor air flow. The files here look to be of no importance at all, haphazardly stacked upon one another, albeit in an order all its own. Searching, Darren eventually finds a stack of ledgers, files, and the like tied tight with twine, a yellow post-it note slapped onto the top binding which reads : 109-831 (? ) We can tell that the question mark kind of throws him, but Darren shrugs it off. Using a pocket knife, Darren cuts the twine and opens the first ledger...... to find every line blacked out save a single word - NOBODY. As he flips through page after pager, ledger after ledger, and file after file... we can see that everything has been fully redacted save the word : NOBODY. A beat... and Darren slams a ledger shut as we- CUT TO :", "INT. A GOVERNMENT BUILDING - HALLWAY - DAY - MOMENTS LATER Lost in thought, Darren exits the elevator, walks with a furrowed brow, and enters-", "INT. A GOVERNMENT BUILDING - CUBICLE FARM - DAY - CONTINUOUS -seemingly unaware that the floor is now completely empty. Flipping through pages of the file, each page as redacted as the last, Darren turns to enter-", "INT. A GOVERNMENT BUILDING - DARREN\u2019S CUBICLE - DAY - CONTINUOUS -to find SPECIAL AGENT BANION -fifties, black, three-piece suit, impeccable, unblinking, and arguably the most intimidating man we have ever seen- sitting before his desk with FOUR AGENTS -eyes hidden behind dark glasses, each broad shouldered and well over six feet tall- standing at attention behind him. DARREN -LRB- intimidated -RRB- Can I... help you? BANION Yes. -LRB- motions -RRB- By sitting. Darren does as he is asked. BANION -LRB- CONT \u2019 D -RRB- Thank you. Now... Do you know who I am? DARREN -LRB- trembling -RRB- No. ( on his look ) I mean... No, sir? BANION -LRB- nods -RRB- And did you find what you were looking for? DARREN -LRB- softly -RRB- Yes, sir. Well. No, sir. I mean... kind of? BANION -LRB- glowering -RRB- Care... to elaborate? DARREN I mean to say, sir... I found nothing. -LRB- swallows hard -RRB- Sir. BANION -LRB- a beat, then grins -RRB- That... pleases me. Banion turns with a motion. BANION -LRB- CONT \u2019 D -RRB- -LRB- to his men -RRB- To the chopper, boys. Upon leaving Darren in his office, the door is closed behind them. A beat... and Darren \u2019 s computer reboots with a DING as we- FADE TO :", "EXT. SCHMITTY'S PUB - NIGHT With his phone in hand, Eddie and Charlie exit- EDDIE I \u2019 m gon na \u2019 call a cab. -as BANION suddenly looms over them, his goons standing half- in/half-out of the shadows behind him. BANION Were you the one inquiring about Hutch Mansell? CHARLIE And just who the hell are y- In a move identical to the one Hutch pulled earlier in the day, Banion lands a lightening quick strike to Charlie \u2019 s thoracic diaphragm, dropping him to the ground with a muffled grunt. BANION I am the one... Banion calmly reaches out- BANION -LRB- CONT \u2019 D -RRB-... who can liquify all of your assets on a childish whim... -and calmly plucks Eddie \u2019 s phone from his hand, crushing it as if it was little more than an after thought. BANION -LRB- CONT \u2019 D -RRB-... and donate the proceeds to a charity you \u2019 d find morally reprehensible. That being said, though, in this moment, and far more importantly... -LRB- growls -RRB-... I am the one asking the goddamn questions. EDDIE -LRB- swallowing hard, then -RRB- He \u2019 s -uh- my son-in-law. ( on his silence ) I was just -uh- curious is all. BANION -LRB- V.O. -RRB- -LRB- a beat, then -RRB- Curious. EDDIE Yes, sir. BANION Curious people... are a fucking bane to a man like me. So with that then said... are we still curious? EDDIE -LRB- V.O. -RRB- -LRB- swallows, then -RRB- No. No, sir. BANION -LRB- a beat, then -RRB- Now... ( upbeat ) ... where can we get some ice cream? EDDIE -LRB- taken aback -RRB- What? BANION And I ain \u2019 t talking that frozen yogurt shit. EDDIE -LRB- motions -RRB- There \u2019 s a Dairy Queen just down the way. BANION -LRB- turning with a nod -RRB- Peanut Buster parfait, it is, then. Good day, gentlemen. Eddie watches them leave... as Charlie finally pulls himself to his feet. CHARLIE What the fuck was that? EDDIE That, my boy, was an encouragement to us both... as to us treating Hutch like the family he deserves to be. CHARLIE I don \u2019 t follow. EDDIE And I don \u2019 t reckon you should try. -LRB- motions -RRB- Come on. Let \u2019 s walk this off. -LRB- sighs -RRB- All... of this. As they amble off, we- FADE TO : OMITTED", "EXT. A WAREHOUSE - DISTRIBUTION CENTER - NIGHT Stifling a yawn, Beta leans back in her seat to rub her eyes...... when one of her screens glows with a simple message which simply reads \u2018 1 \u2019 FILE FOUND. BETA -LRB- growls -RRB-... finally... Beta leans forward to open the file...... which includes an old, uncompressed, digital image of someone who \u201c could be a young Hutch \u201d. As she reads...... her face falls as the blood drains from her flesh, breath caught in her throat. Panicking, Beta suddenly stands, and slams her laptop shut as Yulian enters, casting her an odd look. YULIAN You find something? Beta tucks her laptop beneath her arm- BETA I \u2019 m out. Good Luck. No need to pay. -and beats a hasty retreat, eyes mounting with panic. YULIAN Well... shit. Yulian makes a call on his cellphone. YULIAN -LRB- CONT \u2019 D -RRB- -LRB- a beat, then -RRB- Let \u2019 s just get this the fuck over with, shall we? -LRB- into the phone -RRB- I want him alive. As for the family? -LRB- grins -RRB- Surprise me. CUT TO : OMITTED", "EXT. A SUBURBAN HOME - ESTABLISHING - NIGHT INT. A SUBURBAN HOME - KITCHEN - NIGHT - CONTINUOUS With Blake and Abby doing the dishes, Hutch and Becca enjoy their glasses of wine and rare moment of connection. HUTCH That was nice. BECCA It was. Y \u2019 know... I can \u2019 t remember the last time we all ate together. HUTCH Neither can I. -LRB- motions -RRB- Refill? BECCA Please. As Hutch opens the door to the fridge, retrieving the bottle of white wine, he casts a glance towards the street. HIS POV : A trio of sedans, their headlights extinguishing in one accord, slow to a stop at the curb. Hutch replaces the bottle and closes the door, turning- HUTCH Ok, everyone. To the basement. BECCA Hutch? What are you- Holds up a finger with glare, silencing now. HUTCH Just... Now. BLAKE -LRB- laughing -RRB- Jesus, dad, you- Hutch clamps a hand down onto Blake \u2019 s shoulder, eliciting a hiss of pain as he corrals them into- CUT TO :", "INT. A SUBURBAN HOME - THE BASEMENT - NIGHT - MOMENTS LATER104A 104A Abby follows down the stairs- ABBY Is this a game? I like games! -after Blake who is massaging his shoulder. At the top behind them, Becca enters and turns to confront Hutch. BECCA What... is going on, Hutch? Hutch opens his mouth to reply but decides otherwise. With an apologetic sigh, Hutch reaches over to rip off the light-switch cover to reveal a second button inset beneath it within, pressing it. HUTCH -LRB- mutters -RRB- Don \u2019 t call 9-1-1. Hutch closes the door...... and we hear a series of thick, internal latches sealing it shut with a pneumatic hiss. BECCA HUTCH! As she strikes the door with her fists, the THUD it makes tells us that while it may look like wood, it is anything but. CUT TO :", "EXT. A SUBURBAN HOME - NIGHT - CONTINUOUS SEVEN GUNMAN -dressed head to toe in black body armor, their faces masked, eyes covered by night vision, heavily-armed with silenced Hecklor & Koch UMP submachine guns- swiftly approach the home. CUT TO :", "INT. A SUBURBAN HOME - THE KITCHEN - NIGHT - CONTINUOUS105A 105A Hutch pulls free a knife from the block. CUT TO :", "EXT. A SUBURBAN HOME - NIGHT - CONTINUOUS105B 105B One of the gunmen uses a military \u201c lock-aid/lock-release gun \u201d to jimmy open the door. They enter the- CUT TO :", "INT. A SUBURBAN HOME - FOYER - NIGHT - CONTINUOUS -to spread out. OMITTED", "INT. A SUBURBAN HOME - THROUGHOUT THE FIRST FLOOR - NIGHT - CONTINUOUS Playing out like a horror movie, we watch as the shadows themselves seem to dispatch and devour one gunman after the next...... as we hear the sound of a knife cutting through flesh accompanied by silenced gunfire...... until FOUR remain. A beat... and then Hutch -moving like the goddamned boogeyman- grabs a pillow, rips the pistol from a gunman \u2019 s holster, and - as he turns- kicks in the man \u2019 s knee. As he falls back down against the sofa at an odd angle, Hutch fires three rounds into his face at point blank range. Suddenly, Hutch is hit in the back -followed a half-second later in the front- by a TASER, convulsing as he drops to the ground. Hutch is kicked over onto his stomach as a pair of HANDCUFFS are latched tight around his wrists. CUT TO :", "EXT. A SUBURBAN HOME - NIGHT - MOMENTS LATER Half-conscious, Hutch is carried to one of the Sedans at the curb. The trunk is opened and he is unceremoniously dumped inside. As they close the trunk, we- MATCH CUT TO :", "EXT. A STREET - ESTABLISHING - NIGHT - MOMENTS LATER A beat... and the Sedan rolls past at a leisurely pace.", "INT. A SEDAN - NIGHT - MOMENTS LATER Removing their masks, GUNMAN # 1 drives with GUNMAN # 2 in the passenger \u2019 s seat and GUNMAN # 3 in the back. GUNMAN #3 -LRB- a beat, then mutters -RRB- Who the fuck is this guy? GUNMAN #1 Did you see what he did to Sergei? GUNMAN #2 Yeah, that was... -LRB- softly -RRB-... uncalled for. CUT TO :", "INT. A SEDAN - THE TRUNK - NIGHT - CONTINUOUS Hutch awakens in a daze. Squeezing his eyes shut hard, he shakes his head, centering himself. In one smooth -yet no less brutal- motion, Hutch DISLOCATES both of his thumbs with a moist CRACK to slip free the handcuffs. Searching, Hutch finds the trunk release cable and pulls it, opening it. But he hesitates, thinking... and then closes it. Hutch searches, pulling back the false floor to to find a FIRE EXTINGUISHER. Removing the pin from the fire extinguisher, Hutch holds it in one hand and grasps the seat release handle with the other. Positioning himself just right, Hutch plants his feet against the lower lip of the trunk behind him, tenses, and pulls the release- CUT TO :", "INT. A SEDAN - NIGHT - CONTINUOUS -folding Gunman # 3 down before him as he pulls the trigger, filling the interior of the vehicle with foam. CUT TO :", "EXT. A STREET CORNER - NIGHT - CONTINUOUS A silent beat... and the sedan is launched into the air to land, tumbling end of over end before resting on its roof, sliding to take out a traffic signal, the red light blinking to oddly illuminate the scene. A beat... and Hutch -covered in foam along with blood- emerges. Reaching inside, he retrieves a pistol -making note of that the two gunmen in front are dead- stands, and walks around to the other side...... where Gunman # 3 lays half-in/half-out of the back window, blood seeping between cracked lips, his lungs wheezing. GUNMAN #3 -LRB- a long beat, then -RRB- Sorry I tried to kill you. Hutch lowers his gun, turns, leans back against the sedan, and slides down to sit beside the dying man. HUTCH -LRB- a beat, then shrugs -RRB- Ah, it \u2019 s just the game we play. ( motions ) So, who sent you? GUNMAN #3 I can \u2019 t just give up my boss, man. HUTCH Either you do that... or I leave you to die alone. GUNMAN #3 No, man, please, I... -LRB- on his look -RRB-... please... Hutch nods, staying as the Gunman takes a shallow breath, his eyes at half-mast. GUNMAN #3 -LRB- CONT \u2019 D -RRB- Yulian Kuznetsov. HUTCH I don \u2019 t know him. So... why me? Why now? GUNMAN #3 Because... one of the men you... uh... took out on the bus was Yulian \u2019 s brother, Teddy. HUTCH Ah. GUNMAN #3 -LRB- mutters -RRB- He \u2019 s Vegemite now. HUTCH Vegemite? GUNMAN #3 Yeah. -LRB- on his look -RRB- Y \u2019 know, like the spread. -LRB- motions -RRB- Vegetable-based. HUTCH Oh. -LRB- a beat, then -RRB- That wasn \u2019 t my intent. GUNMAN #3 Doesn \u2019 t matter, man. Like my old man used to say... we reap... what we sow. HUTCH Wise man. GUNMAN #3 Yeah, and... -LRB- staring down at his seeping wound ) ... I \u2019 ll be seein \u2019 him right soon. ( a beat, then ) You think... you think there \u2019 s any... thing, any... place... after this? HUTCH -LRB- a beat, then -RRB- Y \u2019 know, I never really gave it much thought. I hope so. But then again, I \u2019 m not so sure I \u2019 m owed either place. GUNMAN #3 Yeah. -LRB- sighs -RRB- Yeah, me neither. -LRB- a long beat, then -RRB- Who the fuck are you, anyways? The Gunman \u2019 s voice begins to slur, the blood loss heavy. GUNMAN #3 -LRB- CONT \u2019 D -RRB- Or maybe better yet... -LRB- chuckles with a cough -RRB- What... the fuck... are you? Hutch hesitates, but then smiles, deciding in this moment to tell the dying man the truth. HUTCH It \u2019 s actually kinda \u2019 interesting. I was what they called an auditor for the CIA. GUNMAN #3 So... you were a numbers man? HUTCH No. It \u2019 s just tongue-in-cheek slang. HUTCH -LRB- CONT'D -RRB- The spooks thought it sounded far more intimidating than the official government title of \u201c independent counter-intelligence recon specialist \u201d. GUNMAN #3 And what kind of job does that entail, exactly? A shadow crosses Hutch \u2019 s face. As he locks eyes with Gunman # 3, we see a glimpse of the wakening demon within Hutch. HUTCH The kind where I -and I alone- was placed within a government, business, institution, or cartel... and told to bring it to its knees... by any and all means possible. But then, I fell in love. Had a family. Built a career. And now... here we are. Hutch glances over to find that Gunman # 3 has died. HUTCH -LRB- CONT \u2019 D -RRB- -LRB- sighs -RRB-... here we are... Hutch stays with him for a long moment, seemingly oblivious to the approaching sounds of police sirens. When suddenly, his face falls, eyes widening, remembering what is waiting for him at home. OMITTED115-121 115-121", "EXT. THE STREET - NIGHT - MOMENTS LATER Hutch sprints home- CUT TO :", "INT. A SUBURBAN HOME - FOYER - NIGHT - CONTINUOUS -entering to close and lock the door behind him. He takes a deep breath, holds it, and exhales, centering himself before moving into-", "INT. A SUBURBAN HOME - LIVING ROOM - NIGHT - CONTINUOUS -where he flicks on the lights...... to find the room morbidly stained with ARTERIAL SPRAYS and POOLS OF BLOOD beneath countless bodies of the dead. HUTCH... shit... Hutch turns off the light as we- CUT TO :", "INT. A SUBURBAN HOME - THE MASTER BEDROOM - NIGHT - MOMENTS 124A 124A LATER Hutch rips off his clothes, uses a towel to quickly wipe off the foam and blood from his body, and gets dressed in a new outfit before we- CUT TO :", "INT. A SUBURBAN HOME - THE BASEMENT - NIGHT - LATER124B 124B Becca, Blake, and Abby glances up at the sound of internal latches moving as -with a pneumatic hiss- the door opens. Hutch enters sheepishly. HUTCH Hey. CUT TO :", "INT. A SUBURBAN HOME - THE KITCHEN - NIGHT - MOMENTS LATER124C 124C Becca leads, followed by Blake...... both of whom recoil at the sight of a dead gunman laying face down in a large puddle of blood. BECCA Jesus. BLAKE Mom? Hutch follows with a hand over Abby \u2019 s eyes. ABBY What? HUTCH Just... keep on moving everyone. CUT TO :", "EXT. A SUBURBAN HOME - NIGHT - LATER With Blake and Abby in the minivan, Hutch closes the door to face Becca who is trembling, about to completely fall apart. While she is an emotional wreck -the tears welling to break, rolling down her cheeks- Hutch remains calm... all business. BECCA Hutch... you got ta \u2019 give me somethin \u2019 here. HUTCH I... can \u2019 t. Not really. I will, but... not now. -LRB- motions -RRB- Go hunker down with your dad. I \u2019 ll circle back once I take care of this. BECCA What is... this? HUTCH It is... -LRB- shrugs -RRB-... what it is. -LRB- on her look -RRB- I love you, Becca. I just... I just need you to trust me here. Blind for the last time, I promise you. A beat... and Becca nods, hugging herself. BECCA -LRB- softly -RRB- Come back to us. A beat... and Becca abruptly gets into the minivan and drives off. As Hutch looks on, Abby waves at him with a huge grin -none the wiser- which he returns in like as we- FADE TO :", "INT. A NURSING HOME - DAVID'S UNIT - BEDROOM - NIGHT - CONTINUOUS With the bed perfectly made, David sleeps in the rocking chair beside it. When the phone rings softly, his eyes open - revealing him to be a terribly light sleeper- as he reaches over to place the handset to his ear. HUTCH -LRB- V.O. -RRB- -LRB- a long beat, then -RRB- Heads up, pop. CLICK - Hutch ends the call. David lowers the handset back down, turns his face to the window...... and smiles as we- FADE TO :", "INT. A SUBURBAN HOME - BASEMENT - NIGHT - LATER Hutch removes the suppressor from a pistol which he then shoves into a pair of garbage bags, each full of weapons, magazines, and knives. HUTCH Well, fellas. -LRB- sighs -RRB-... here we are, as it were... Holding a glass of bourbon in one hand, Hutch lowers the needle down upon a record which begins to play a slow, acoustic rendition of a classic jazz tune. HUTCH -LRB- CONT \u2019 D -RRB- -LRB- mutters with a growl -RRB-... history repeating itself... Hutch removes his father \u2019 s Colt from his lower back, screws the silencer into place, and tucks it back into his pants as he sinks down into his chair with a guttural sigh...... to now face the bodies of the dead gunmen who now sit upon the couch and the floor, facing him. HUTCH -LRB- CONT \u2019 D -RRB- A couple of chapters back, there this was this guy named... Hutch opens the front of the pinball machine- HUTCH -LRB- CONT \u2019 D -RRB- -LRB- searching, then -RRB- Hank. No. -and slides out the hidden sleeve. HUTCH -LRB- CONT \u2019 D -RRB- Henry? Wait. Hutch opens it, finds an antique bank book, and taps out a small, translucent envelope full of stamps which he tucks into his pocket. HUTCH -LRB- CONT \u2019 D -RRB- -LRB- a beat, then smiling -RRB- Alan. Yeah. Alan Breiseth. Hutch slides the sleeve back into the machine and closes the door. HUTCH -LRB- CONT \u2019 D -RRB- He was a lower-level shit-heel for a minor crime family operatin \u2019 out of Dublin. Had a small family, medium debts, and large illusions of grandeur. Hutch takes a long sip from his drink, pausing to savor it before swallowing. HUTCH -LRB- CONT \u2019 D -RRB- So when he figured out how to glean and skim off his various takes in such a way that \u201c none were the wiser \u201d -or so he thought- he did, amassing a few million under the radar over the years. However... we reap what we sow. -LRB- smirks -RRB- What a day, huh? -LRB- a beat, then -RRB- Eventually, Alan found himself on the floor of his master bathroom with a broken nose, staring up at yours truly who was aiming a... uh... -LRB- thinking, then -RRB-... H & K USP-45 with suppressor down at his face. He begged me -like they all do- and while I tended to pull the trigger before the waterworks began, for some reason this time... I listened. Again, Hutch takes a drink, pausing to stare down at the liquid swirling about the inside of his glass. HUTCH -LRB- CONT \u2019 D -RRB- I listened to a man who truly regretted the life he had built for himself. -LRB- softly -RRB- He wanted nothing more... \u201c than to shed the wolf \u2019 s skin... and return to the pasture as a lamb \u201d. -LRB- motions -RRB- His words. Not mine. -LRB- a long beat, then -RRB- So, I let him. Two years later, I looked in on him, expecting to find him \u201c once more unto the fold \u201d, but instead... Alan was living in a small apartment with his family in Boise, Idaho. He \u2019 d opened up an animal shelter, rescuing strays and the like. Alan was happy. He was a fine member of society, as they say... Or so I \u2019 ve heard. Hutch finishes his drink, gingerly lowering the empty glass down onto the coffee table, pausing to run his fingers along with the smooth, wooden surface. HUTCH -LRB- CONT \u2019 D -RRB- In that moment, I wanted what Alan had... so I walked away from the life I \u2019 d known to find it. -LRB- motions -RRB- And I did. Y \u2019 know, it wasn \u2019 t quite what I expected... it was better. And I liked it. Sure, I wasn \u2019 t all that good at it, but I tried, man. I tried. Deep down, maybe I always knew it was a facade... me just being the wolf in sheep \u2019 s clothing, and all, but still... it lasted a lot longer than I had hoped. -LRB- sighs -RRB- Y \u2019 know, I always knew this day would come. Maybe not like this, but... Hutch stands with a stifled groan. HUTCH -LRB- CONT \u2019 D -RRB-... here we are. Hutch studies his LP collection, searching...... to stumble upon Abby \u2019 s KITTY CAT BRACELET which rests upon the shelf. HUTCH -LRB- CONT \u2019 D -RRB- -LRB- smiles -RRB-... sneaky devil... Hutch slips it into his pocket. HUTCH -LRB- CONT \u2019 D -RRB- I hate to break it to you, gentlemen, but they won \u2019 t find you among the rubble. Bone burns to ash at fifteen hundred degrees centigrade... -LRB- motions -RRB-... and this basement has been designed to produce double that, so... as I said before... I knew this day would come. Hutch selects an LP and studies the cover ( which we have yet to determine ) with a smile. HUTCH -LRB- CONT \u2019 D -RRB- I don \u2019 t know why I chose this one, but... He slides out a record from its sleeve, and replaces it with the other upon the player. HUTCH -LRB- CONT \u2019 D -RRB- -LRB- mutters -RRB- It now seems pretty goddamn appropriate. He lifts the needle, and hesitates. He glances about at the space -his space- one last time...... before lowering the needle down onto the outermost groove, turning to grab the garbage bags and beat a hasty retreat up the stairs. 5... 4... 3... 2... and with 1- -the record bursts into white hot flame which quickly spreads as we- CUT TO :", "EXT. A SUBURBAN HOME - NIGHT - A FEW MOMENTS LATER Hutch calmly exits his front door...... as his home burns behind him. He walks across his yard, rolls his head around his neck, rears back his right arm- -and drives it through the driver \u2019 s side window of his neighbor \u2019 s Maserati, oblivious to the new cuts earned upon his knuckles. Hutch unlocks the door- HUTCH -LRB- muttering to himself -RRB- She \u2019 s a \u2018 72 Maserati Indy, he said. CUT TO :", "INT. A MASERATI - NIGHT - CONTINUOUS -and slides behind the wheel. HUTCH -LRB- muttering to himself -RRB- Four-point-Nine liter V-8, he said. In a series of seamlessly clockwork motions, Hutch rips open the column and \u201c hot-wires \u201d the vehicle in a matter of seconds. As the engine roars to life, Hutch shifts- HUTCH -LRB- CONT \u2019 D -RRB- -LRB- muttering to himself -RRB- Zero-to-sixty in \u201c I \u2019 m about to find the fuck out \u201d. -and crushes the gas pedal underfoot. CUT TO :", "EXT. A SUBURBAN HOME - NIGHT - CONTINUOUS We watch as the Maserati peels out to spin before surging off into the distance as we- CUT TO : OMITTED", "EXT. A NURSING HOME - ESTABLISHING - NIGHT Driving an old Cadillac with the windows down, ANATOLY and VALENTIN -two, old school, Ukrainian assassins, in pricey suits with pricier watches- park at the curb. They exit and approach to enter-", "EXT. A NURSING HOME - FOYER - NIGHT - CONTINUOUS -finding Joey sleeping behind his desk, arms folded upon his chest, an old episode of MR. BELVEDERE playing upon a decades old television. Anatoly spins the clipboard to face him. HIS POV : He sees that a few days ago, HUTCH MANSELL checked in to visit DAVID MANSELL in room 118. CUT TO :", "INT. A NURSING HOME - HALLWAY - NIGHT - MOMENTS LATER As Anatoly and Valentin approach the door, they each produce a silenced pistol. Anatoly prepares to kick in the door, but Valentin stops him with a frown and a shake of the head. He reaches for the doorknob, grasps it, and twists it to find the door unlocked. He opens it and they enter-", "INT. A NURSING HOME - DAVID'S UNIT - LIVING ROOM - NIGHT - CONTINUOUS -to find DAVID sitting in his chair with a blanket up to his neck, staring at the television in silence, his eyes unblinking as an old episode of HAVE GUN, WILL TRAVEL is playing upon the television. Rounding to face him, their weapons at the ready, Anatoly and Valentin offer one another a question look when suddenly- -David reaches out with his right hand to push aside Anatoly \u2019 s pistol, the hammer of it falling to pinch the skin between David \u2019 s thumb and forefinger as- -FOOM! - -the shotgun hidden beneath his blanket discharges. The round catches Valentin in the center of the chest, folding him in half as he is lifted from the ground to be thrown back against the wall. CUT TO :", "INT. A NURSING HOME - FOYER - NIGHT - CONTINUOUS Joey lurches forward, suddenly awake. CUT TO :", "INT. A NURSING HOME - DAVID'S UNIT - LIVING ROOM - NIGHT - CONTINUOUS David \u2019 s hand curls tight around Anatoly \u2019 s pistol before he pulls the man into him, shifting to place the shotgun against his heart, pulling the trigger as we- CUT TO :", "INT. A NURSING HOME - HALLWAY - NIGHT - MOMENTS LATER Fumbling with his keys, Joey -responding to the noise- sprints towards David \u2019 s door. CUT TO : OMITTED", "INT. A NURSING HOME - HALLWAY - NIGHT - MOMENTS LATER Joey tries the nob and is surprised to find it unlocked. He swings the door open inward to find-", "INT. A NURSING HOME - DAVID'S UNIT - LIVING ROOM - NIGHT - CONTINUOUS -David sitting in front of the television -which is deafening- smoking a cigar...... with the bodies of Anatoly and Valentin nowhere to be seen. Joey sighs, grabs the remote, and lowers the volume. JOEY Come on, Davey. Joey tosses the remote into David \u2019 s lap with a motion. JOEY -LRB- CONT \u2019 D -RRB- And I \u2019 ll let you finish that, but - goddamn, man- it smells like wet shit. Joey leaves, closing the door behind him. A beat... and David stands with a sigh, lowering the cheap cigar to be crushed out within an open DVD case. DAVID -LRB- like gravel -RRB- Alexa. ( thinking, then ) Play Nea \u2019 s Mixtape. Volume Three. Track Six. A beat... and MUCHA MUCHACHA by ESQUIVAL begins to play as we- FADE TO :", "EXT. A BARBER SHOP - ESTABLISHING - PRE-DAWN INT. A BARBER SHOP - PRE-DAWN - CONTINUOUS With MILES DAVIS playing softly from the radio, BANION -eyes closed, hands folded upon his chest beneath the sheet- sits in a chair as ITZHAK -nineties, deaf- deftly cuts his hair with a surprisingly swift and steady hand. Four of Banion \u2019 s men sit nearby, reading magazines. A beat... and they look over to find HUTCH standing just inside the establishment. They share a look with one another and stand. HUTCH Gentlemen. As one, they glances back at Banion who -without looking- recognizes the voice. BANION Mr. Mansell. -LRB- a beat, then -RRB- It... has... been... some... time. HUTCH That, it has. -LRB- hesitating, then -RRB- Although, technically... I \u2019 m still on the clock. BANION No, technically, you... are long fucking dead. HUTCH Potato, potato... BANION -LRB- smirks -RRB-... tomato, tomato... ( a beat, then ) What, pray tell, may we do for you, good sir? HUTCH What can you tell me about Yulian Kuznetsov? Banion extends a hand and snaps his fingers. Hutch hands one of the goons the wax envelope. HUTCH -LRB- CONT \u2019 D -RRB- It \u2019 s -uh- been awhile, so I \u2019 m not exactly sure how much this \u2019 ll cost. The Goon glances back towards Banion who thinks for a moment before holding up four fingers. The Goon opens the envelope -which is filled with TWO DOZEN STAMPS -each sealed in their own small plastic pouch- and selects four, tucking them into his jacket pocket as he hands the envelope back. ( Note : For authenticity \u2019 s sake, let \u2019 s make sure that all of the stamps in the envelope are perfect replicas of real rarities. ) The goon clears his throat, signaling to Banion that the deal is done. BANION Paper or plastic? HUTCH How do you mean? BANION Well, now... it has been awhile, hasn \u2019 t it? -LRB- savoring, then -RRB- Paper -as in physical- and plastic bein \u2019 digital. HUTCH Gotcha. Paper. Please. Again, Banion snaps...... and another Goon steps forward, reaching into his jacket to produce a folded set of pages. HUTCH -LRB- CONT \u2019 D -RRB- Am I now that predictable? BANION From where I sit, Mr. Mansell, everyone is. HUTCH This Yulian... he \u2019 s not an asset, is he? BANION At some point, they all are, but at this juncture, your Mr. Kuznetsov here has finished serving his purpose long ago. -LRB- motions -RRB- As you can see, he \u2019 s as boiler plate as they get. -LRB- sighs -RRB- Dealer, trafficker, smuggler, killer... and so on, and so forth. You know the type. HUTCH He got a hobby? BANION Art. To the tune of eight or nine figures. HUTCH Anything good? BANION -LRB- mutters with a shrug -RRB- Fuck, if I know. HUTCH -LRB- studying the pages -RRB- Is this the address for- BANION -LRB- interrupting -RRB- It is, now... ( a beat, then ) Will there be anything else? HUTCH -LRB- hesitating, then -RRB- Yeah... uh... maybe a \u201c dead man \u201d? We notice that Banion \u2019 s men share a look at this as Banion himself smirks, choking back a chuckle. Banion makes a motion- BANION I ain \u2019 t even gon na \u2019 ask. -to one of his men who approaches the wall where a dozen, framed pictures of professional boxers from over the years reside. BANION -LRB- CONT \u2019 D -RRB- Word of warning. When you left, you did so having abandoned a certain debt in need of repayment. The man grabs the top of the picture...... and pulls out a long drawer built directly into the wall, revealing it full of SHOE BOXES tied shut with twine. BANION -LRB- CONT \u2019 D -RRB- Should you do what we expect you to do, your creditor -one Abraham Nithercott- will no doubt become aware of your hitherto... resurrection. The man selects a shoe box, closer the drawer, pauses to wipe free his thumb print smudge from the glass of the picture, turns, and hands it to Hutch who takes it with a nod. BANION -LRB- CONT \u2019 D -RRB- Word of warning. So... we keen? HUTCH Yeah. Hutch tucks the shoebox beneath his arm- HUTH Yeah, we \u2019 re keen. -and turns to leave. BANION Audit away, Mr. Mansell! To your heart \u2019 s content and beyond... CUT TO :", "EXT. A TOOL AND DIE SHOP - ESTABLISHING - MORNING EXT. A TOOL AND DIE SHOP - MORNING - CONTINUOUS As the SECRETARY approaches the double doors, she slows...... to find them bound by YELLOW TAPE. There is a NOTICE taped to the glass. HER POV : \u201c Apologies on the late notice, but the building has experienced some electrical problems. It will remain closed until the issue is addressed. Until then, you will receive your normal pay so enjoy some well deserved off time. Sincerely, The Management. \u201d", "INT. A TOOL AND DIE SHOP - HUTCH'S OFFICE - MORNING - CONTINUOUS Watching from the window, Hutch glances over at the short wave radio crackle with static. HARRY -LRB- V.O. -RRB- Hutch. You there? -LRB- a beat, then -RRB- Hutch, come on, man. A beat... and Hutch flicks a switch. HUTCH Hey. HARRY -LRB- V.O. -RRB- -LRB- interrupting -RRB- Dude. ( hesitating, then ) Abe knows you \u2019 re alive. HUTCH -LRB- mutters, amused -RRB- Got ta \u2019 love the timing. HARRY -LRB- V.O. -RRB- And if he \u2019 s good with the math, and I am sure that he is, he \u2019 ll put two and two together and figure out that I \u2019 m of the \u201c still breathing persuasion \u201d as well. Hutch- HUTCH -LRB- interrupting -RRB- I \u2019 m finishing what I started, Harry- HARRY -LRB- V.O. -RRB- But- HUTCH -LRB- interrupting -RRB- -so I \u2019 ll cross that bridge when I reach it. HARRY -LRB- V.O. -RRB- Listen, dude, you can \u2019 t just go it the fuck alone! You \u2019 ll- Hutch abruptly turns off the radio, runs his fingers through his hair, and stretches with a groan as we- FADE TO : -a MONTAGE...... of Hutch building a number of booby traps throughout the building. The first one takes the most time in the lobby : a complex array of pressurized tubes filled with re-bar. In essence, Hutch has created a \u201c kill box \u201d upon entry in the hopes of inflicting multiple casualties. Elsewhere, Hutch wires a detonator to a series of four oil drums resting upon a metal pallet, we- CUT TO :", "EXT. A WAREHOUSE - ESTABLISHING - DUSK INT. A WAREHOUSE - SECURITY ROOM - DUSK - CONTINUOUS A GUARD paces, unnerved at the final minutes of a soccer game playing out on one of the dozen monitors situated on the wall before him. He glances at one... to find Hutch standing alongside the four oil drums in a service elevator. The guard averts his gaze just as the feed scrambles momentarily, but then glances back... to find the elevator now EMPTY. As the other team scores, the guard reacts with a defeated sigh and as the opening chords of yet another song by Sammy begins to play we- CUT TO :", "INT. A SUPPER CLUB - STAGE - NIGHT -where Yulian walks out on stage to rapturous applause, relishing the moment. He takes a deep breathe, but before the first words of the song can escape his lips, he pauses...... at the sight of HUTCH sitting at a small table out in the audience with his eyes down, focused upon the meal resting before him. A beat... and Yulian drops the microphone, steps down off of the stage, and strides over-", "INT. A SUPPER CLUB - NIGHT - CONTINUOUS -to take a seat across from Hutch with his men surrounding them. The other patrons look on, more than a bit perplexed as the song continues to play. YULIAN Mr. Mansell... Good evening. HUTCH Hey. YULIAN Enjoying your meal? HUTCH I am. YULIAN And the show? HUTCH -LRB- shrugs -RRB- Meh. YULIAN What? You don \u2019 t like my man, Sammy? HUTCH I just prefer Joey, is all. YULIAN Huh. Now, that... is new. And then, call me curious, but what - pray tell- might be your thoughts on art? HUTCH -LRB- shrugs -RRB- If it \u2019 s not Rockwell, I \u2019 m not interested. YULIAN -LRB- bristling, then -RRB- You have... some nerve... to be here... like this. HUTCH I guess. I mean, on the one hand, y \u2019 know, there \u2019 s this long dormant piece of me now waking that wants - so very badly- to play this out. Hutch calmly reaches into the SHOE BOX upon his lap to remove a CLAYMORE MINE, placing on the table between them so that Yulian may see the words \u201c FRONT TOWARD ENEMY \u201d - YULIAN... Jesus... -as Hutch holds the detonator in hand. HUTCH Maybe see what you can do. -LRB- shrugs -RRB- Maybe see what I can handle. On the other, though, the more reasonable piece of me -what \u2019 s left of it, that is- would like to end this little tete-a-tete right here and now. What \u2019 s done is done. I mean, hell... we can both rebuild, right? YULIAN -LRB- thinking -RRB- Right. ( a beat, then ) Wait... rebuild? Hutch responds to this with a somewhat impish shrug. Yulian \u2019 s face falls. YULIAN -LRB- CONT \u2019 D -RRB- -LRB- in Russian, subtitled -RRB- My paintings. ( in English ) What about my paintings? HUTCH What floor were they on, again? YULIAN Third. Hutch opens his mouth to say something, but decides otherwise, choosing instead to lower his eyes with a shake of his head. Silence... as Yulian sits back in his chair, blood drained from his face, at a complete and utter loss. HUTCH Which doesn \u2019 t exactly make us even, I know, but... Hutch stands- HUTCH -LRB- CONT \u2019 D -RRB-... you did come to my house. -and takes the claymore- HUTCH -LRB- CONT \u2019 D -RRB- -LRB- motions -RRB- And you know you don \u2019 t do that. -and tucks it into the back of his pants -beneath his jacket, still facing Yulian- as he calmly walks to exit the building, the door swinging shut behind him. CUT TO :", "EXT. A SUPPER CLUB - NIGHT - CONTINUOUS As a couple of busboys smoke out front, one of them places a fresh cigarette between his lips- -which Hutch plucks from them to place between his own, unlit. Hutch crosses the street and enters-", "INT. A MASERATI - NIGHT - CONTINUOUS151A 151A -which he again hot-wires to life. ( Note : We notice the Monet resting in the at the foot of passenger \u2019 s side seat. ) His fingers remain in place, and actually look to be crossed, as Hutch looks to be hoping against hope...... as we wait with him for a long beat...... until Yulian furiously emerges from the supper club, motioning for his men to take chase. Hutch can \u2019 t help but to allow himself a smile as he shifts into gear, pressing down the gas pedal as we- CUT TO :", "EXT. A SUPPER CLUB - NIGHT - MOMENTS LATER151B 151B The Maserati roars off with Yulian and his men clamoring as we- FADE TO : BLACK FADE IN :", "EXT. A ROAD - NIGHT - A FEW MOMENTS LATER151C 151C A long beat... and the Maserati screams towards us- -soaring past as we- CUT TO :", "INT. A MASERATI - NIGHT - CONTINUOUS151D 151D Hutch drives with eyes set upon the road, fingers relaxed upon the wheel. A beat... and he glances over to find an open, 8-TRACK TAPE HOLDER ( encased in pleather ) resting on the seat beside him. He selects a tape, places into the dash, and presses play. ( Note : Whatever song we select for this moment is perfect as Hutch seems to relax even more as we see the thin semblance of a smile cross his lips. ) OMITTED", "EXT. A STREET - NIGHT - CONTINUOUS The convoy consisting of Yulian \u2019 s crew -three cars in total- chews up the pavement as they continue in their pursuit of Hutch.", "INT. YULIAN'S CAR - NIGHT - CONTINUOUS Every muscle in Yulian \u2019 s body is tense his eyes wild and teeth set as he sits in silence, anticipation mounting.", "EXT. A TOOL AND DIE SHOP - THE PARKING LOT - NIGHT A long beat... and the Maserati arrives-", "INT. A MASERATI - NIGHT - CONTINUOUS155A 155A Hutch hesitates, noticing something, and turns the wheel-", "INT. A TOOL AND DIE SHOP - NIGHT - CONTINUOUS155B 155B -to park in the owner \u2019 s spot. Hutch exits with the claymore in one hand and the painting in hand...... just as Yulian \u2019 s car -and two others- surges towards him...... joined by the deafening ROAR of his burgeoning convoy. Hutch has not expected this and moves faster towards the building. As Hutch runs towards the doors- -YULIAN aims at him from his open window as his vehicle turns to skid. He fires- -the round cleanly ripping through the flesh of Hutch \u2019 s left shoulder. He stumbles to fall, catching himself against the painting, the claymore -along with his keys- clattering to the ground. As Yulian aims to deliver the killing shot- -THOOM! -", "INT. YULIAN'S CAR - NIGHT - CONTINUOUS155C 155C -a sniper round strikes his driver between the eyes, exiting to rip off Yulian \u2019 s ear. CUT TO :", "INT. A TOOL AND DIE SHOP - NIGHT - CONTINUOUS155D 155D Suddenly, as pieces of glass fall all around Hutch, the doors of the building behind him swing outward- -before DAVID- -who fires a sawed-off, lever-action, ten-gauge shotgun with lightening swift speed and ungodly accuracy. Silence... a beat... and David offers Hutch his hand. Hutch sighs with a half-smile- HUTCH Hey, dad. -and takes it to be pulled to his feet. David nods with a growl. DAVID Son. Hutch grabs the claymore and David the painting -and his keys- as they seek to take refuge in the building. Just when it seems to look like they are not going to make it- -SNIPER fire continues to erupt from the top floor of the Tool & Die Shop. Three rounds find their marks in quick succession, sending gunman flying, dead before they hit the ground. HUTCH Is that...? DAVID -LRB- shrugs -RRB- Who else? OMITTED OMITTED", "INT. A TOOL AND DIE SHOP - OFFICE - NIGHT - CONTINUOUS Standing before the window, HARRY -forties, average height, lean, thick hair, three-day beard, dark features, perpetual smirk, eyes always hidden behind tinted sun glasses- chews on an intimidating wad of gum as he takes aim. ( Note : Harry mutters a sing-songy version of a classic, Christmas carol... but it is anything but joyful. ) HARRY On December five and twenty... A half-beat, and as his finger tenses upon the trigger, we see a tattoo upon his wrist of a single card - the rules of poker. HARRY -LRB- CONT \u2019 D -RRB- -LRB- singing -RRB- Foom. Harry fires-", "EXT. A TOOL AND DIE SHOP - NIGHT - CONTINUOUS -and his bullet finds his mark- HARRY -LRB- V.O. -RRB- -LRB- singing -RRB- Foom. -again- HARRY -LRB- V.O. -RRB- -LRB- singing -RRB- Foom. -and again.", "INT. A TOOL AND DIE SHOP - OFFICE - NIGHT - CONTINUOUS As the others shift their fire upon his position, Harry dives to the floor with a grin as the ceiling tiles are chewed by bullets overhead, the fragments raining down upon him like snow. CUT TO :", "INT. AN SUV - NIGHT - CONTINUOUS Pavel leans forward, tentatively. PAVEL Y \u2019 know, I think he led us here? Yulian presses a hand to the side of his head, blood seeping between his fingers. YULIAN -LRB- in Russian, subtitled -RRB- OH, YOU THINK!?!?!? CUT TO :", "INT. A TOOL AND DIE SHOP - LOBBY - NIGHT - CONTINUOUS David and Hutch enter with David leaning the painting against the wall just inside and Hutch \u201c planting the claymore \u201d before turning to lock the door. CUT TO :", "EXT. A TOOL AND DYE SHOP - NIGHT - CONTINUOUS162A 162A Leading the charge, Yulian -wielding a heavily-modified, AR- 15 with double-drum clip- fires indiscriminately. CUT TO :", "INT. A TOOL AND DIE SHOP - NIGHT - CONTINUOUS162B 162B As they move towards the counter, machine gun fire erupts from behind him, shattering glass. Hutch leaps over counter and dives down behind it as David calmly steps for cover behind a large column. As Hutch peers over the counter, David removes a pistol from his lower back. Doing so, we see a tattoo of two playing cards FACE DOWN upon his wrist. He slides the weapon across to Hutch who catches it, and performs a single-hand, chamber check before dropping as a second wave of gunfire chisels away at his position. DAVID -LRB- calm and casual -RRB- Y \u2019 know... David reloads the shotgun one round at a time, without looking at his hands, the motion having become like muscle memory. DAVID -LRB- CONT \u2019 D -RRB-... I tried the retirement thing. I enjoyed it. As David talks, Hutch uses office supplies to tend to the wound upon his shoulder. DAVID -LRB- CONT \u2019 D -RRB- Sleep in late, breakfast, walk around the quad, chess with Frank... lunch, nap, swim, cribbage with the girls, dinner... drinks with the boys, cigar alone, my shows, my shower, my bed. Rinse, wash, and repeat. -LRB- softly -RRB- Rinse, wash, and repeat. -LRB- softer still -RRB- Rinse, wash, and repeat. -LRB- softer still -RRB-... enjoyed it... A beat... and bullets eat away at David \u2019 s position, eliciting an exuberant laugh, his eyes bright. DAVID -LRB- CONT \u2019 D -RRB- But goddammit, Hutchie, if I didn \u2019 t miss... this... shit! Like a man reborn, David returns fire alongside Hutch...... before pulling back to reload what few rounds remain. A long beat... and Yulian and his men approach. Once they all enter, searching, Hutch reaches over to grab the firing mechanism for the trap he spent so much time on...... only for it to MALFUNCTION, shorting out with a fizzle. YULIAN -LRB- laughing -RRB- IS THAT ALL YOU \u2019 VE GOT?!?!?!? As if in response, Hutch fires- -his round ripping off Yulian \u2019 s other ear. As he drops to his knees, screaming far more from rage than from pain, Hutch drops back into the building as the others take chase. We watch as Hutch, David, and Harry work together as a family reunited. While Hutch is sheer liquid motion...... David is calm stealth...... and Harry is pure and unadulterated chaos. The other booby traps work wonders...... one of which dispatches of Albert in a truly brutal fashion...... slowly carving away at Yulian \u2019 s army...... including Yulian himself who may or may not be dead.", "INT. A TOOL AND DIE SHOP - KITCHEN - NIGHT - LATER Hutch ducks into the kitchen and as Pavel enters, firing, he swing open the fridge door to absorb three rounds. Pavel adjust his aim and fires, just as Hutch opens the freezer door -to absorbs four round- to reach deep inside...... to rip free the box of frozen vegan burritos. He pulls out the gun Charlie forced upon him and strides into Pavel, firing, the man dead before he hits the ground as we- CUT TO :", "INT. A TOOL AND DIE SHOP - NIGHT - CONTINUOUS Harry and David continue to move outward as they lay waste to Yulian \u2019 s forces, working together to drive them back from the epicenter.", "INT. A TOOL AND DIE SHOP - LOBBY - NIGHT - LATER Seeking to join David and Harry, Hutch is suddenly shot in the back by Yulian. Hutch drops hard, crawling for cover, as Yulian continues to fire, hitting Hutch in the leg and shoulder before his weapon empties. YULIAN Tell me the truth, Mr. Mansell. Yulian tosses aside his weapon- HUTCH Ok. -and produces a wicked looking blade. YULIAN You love Sammy, don \u2019 t you? HUTCH Of course. -LRB- on Yulian \u2019 s look -RRB- I mean, as an actor. Yulian snarls as he surges towards Hutch. Three notes : First, at some point, the air vent falls down to lean upwards at an odd angle. Second, while Hutch intended to use the Claymore to kill Yulian directly, he is instead forced to face the explosive himself. Using a piece of thick, plate steel, Hutch takes the blast full on, causing the ball bearings which surge forth from it to ricochet into a \u201c broken trap \u201d, causing it to impale Yulian. Third, as Yulian lays dying, he does so facing the MONET painting. He dies with a chuckle and a smile. With numerous police cars on fast approach, Harry and David help Hutch to his feet. They each share a look and a nod in silence. David walks off in one direction -with Harry heading off in another- leaving Hutch to face the front doors of the building where a glowing cascade of police lights multiply like glow bugs. Seemingly resigned to his fate, Hutch takes a few steps, and then pauses to kneel down next to the air vent...... and retrieve a kitten- HUTCH -LRB- CONT \u2019 D -RRB- Hey. -which he tucks into his jacket pocket. He pauses to collect a can of tuna and an old-school opener from on top of the secretary \u2019 s desk, stuffing them into his other pocket. Hutch retrieves the painting -still leaning against the wall just inside the lobby- before exiting towards the police lights beyond as we- FADE TO : OMITTED", "INT. AN INTERROGATION ROOM - NIGHT - LATER -where Hutch, having just delivered his line from the beginning, leans back in his chair, reaching forward to stroke the back of the kitten as it dines. We pull back to see numerous FBI agents, detectives, and policemen facing him, all at a loss. AGENT That ain \u2019 t much of an answer. HUTCH Trust me. Everyone \u2019 s cell phone begins to ring in one accord. HUTCH -LRB- CONT \u2019 D -RRB- It \u2019 s answer enough. FADE TO : BLACK FADE IN :", "EXT. A CRAFTSMAN HOME - ESTABLISHING - DAY INT. A CRAFTSMAN HOME - KITCHEN - DAY - CONTINUOUS As Eddie cooks up some flapjacks with Charlie squeezing oranges for juice, Hutch -bandaged up, but still looking a great deal worse for wear- clasps a hand on Charlie \u2019 s shoulder, eliciting a slight twinge of fear. HUTCH Sorry about before. CHARLIE -LRB- thoroughly intimidated -RRB- Yeah. Yeah, ok. As Hutch moves to sit at the table with Becca, Abby, and Blake, Charlie sighs to himself, relieved. ABBY Hey, dad? Abby -wearing her Kitty Cat Bracelet- reaches down to lift SPARKY -the cat- into her lap, stroking his back. HUTCH Yeah? ABBY Where you goin \u2019? HUTCH On a trip. -LRB- on her look -RRB- A business trip. ABBY For how long? HUTCH I dunno. -LRB- hesitates, then -RRB- Awhile, but... I \u2019 ll be in touch. Abby nods... and then takes off her Kitty Cat Bracelet and hands it to Hutch. ABBY For luck. -LRB- motions -RRB- Keep it safe, ya \u2019 hear? HUTCH -LRB- smiles -RRB- I hear. FADE TO :", "EXT. A CRAFTSMAN HOME - DAY - LATER Hutch shakes the hands of both Eddie and Charlie, their past drama now silently considered \u201c water under the bridge \u201d. HUTCH -LRB- to Blake -RRB- Keep an eye on your mom and sis, will ya \u2019? BLAKE -LRB- nods -RRB- Ok, dad. BLAKE -LRB- CONT'D -RRB- -LRB- hesitates, then -RRB- Hey, dad. Hutch turns back and can see that Blake doesn \u2019 t quite know what to ask, let alone say. HUTCH I love you, too, kiddo. -LRB- motions -RRB- We \u2019 ll figure you and me out when I get back. We can see that this is exactly what Blake needed to hear. Hutch leans down to pick up Abby, clutching her tight. Upon lowering her, Becca takes his hand and walks him towards the motorhome. They walk in silence, but it is oddly comforting... reassuring. HUTCH -LRB- CONT \u2019 D -RRB- -LRB- hesitates, then -RRB- I don \u2019 t know how long I \u2019 ll be. BECCA I figured. HUTCH You cool with that? BECCA No. But if it gets us back to where we \u2019 d both like to be... Becca smiles as she leans close and kisses him on the cheek. BECCA -LRB- CONT \u2019 D -RRB-... I \u2019 m good with it. Hutch smiles, nods, and walks down to the street...... just as a 1977, GMC MOTORHOME -painted yellow and orange- pulls up to the curb, its windows smoke-tinted. Hutch opens the passenger \u2019 s side door, hesitates...... and strides back towards Becca- HUTCH We should probably- BECCA -LRB- interrupting -RRB- Yeah. -to embrace her, kissing her long and hard. We stay with them for a moment before we finally- CUT TO :", "INT. A GMC MOBILE HOME - DAY - MOMENTS LATER Hutch enters to find DAVID sitting behind the wheel. David waits for Hutch to buckle his seatbelt before silently holding out his hand. Hutch reaches into his front pocket to produce the ZIPPO which he hands to David who places it on the dash. Hutch then reaches behind his back to slide free the COLT, offering it to his father. David takes is, pulls back the slide, ejects the magazine, and inspects it. Satisfied, he locks everything back into place and slides it into the shoulder holster hidden beneath his jacket. HARRY -LRB- O.S. -RRB- So... Hutch glances into the rearview mirror to find HARRY surrounded by two dozen cellophane-wrapped bales of Yulian \u2019 s cash along with dozens upon dozens of weapons, including magazines, accessories, and boxes of ammunition, making for a mobile armory/treasury. In the very back, the MONET proudly hangs upon the wall, repaired with -of all things- duct tape. HARRY -LRB- CONT \u2019 D -RRB-... think this \u2019 ll be enough to buy out Abe \u2019 s rage? HUTCH I don \u2019 t know. But here \u2019 s to hoping, Harry. Oh, and... Hutch removes his wrist-watch- HUTCH -LRB- CONT \u2019 D -RRB- Here. -offering it to Harry whose eyes grow wide at the sight of item. He tries to say something, but the words won \u2019 t come. HARRY -LRB- a beat, then -RRB- Hutch... I- DAVID -LRB- interrupting -RRB- Volume Two. Track two. Hutch and Harry share a look and a half-smile. All three of them have \u201c Nea \u2019 s Mixtape Collection \u201d memorized. Hutch flips down the visor... HUTCH Good choice. ... where EIGHT CDs -Nea \u2019 s Mixtapes # 1-8- are tucked into a slim holder. He selects one marked Nea \u2019 s Mixtape Volume Two and inserts it into the CD player, selecting TRACK TWO. KC AND THE SUNSHINE BAND begins to play GIVE IT UP. Harry clasps the band of the watch around his wrist with a smile, relaxing visibly, seemingly at whole once again. Hutch places Abby \u2019 s Kitty Cat Bracelet onto his wrist, face down, to perfectly hide his tattoo. David shifts into gear as we cut to- CUT TO :", "EXT. A CRAFTSMAN HOME - DAY - CONTINUOUS -the motor home driving off into the distance, we- FADE TO : BLACK"], "labels": [0.0, 1.0, 1.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0], "summary": "Hutch Mansell seems ordinary, having two children with his wife Becca and an unremarkable office job in his father-in-law Eddie's metal fabrication company. His marriage is strained, and his working life seems tedious. One night, an armed man and woman break into his house, and his teenage son, Blake, tackles one of them. Hutch is reluctant to intervene and pleads with his son to release the man, who punches the boy. The thieves leave, but the incident causes everyone to think he is a failure. Hutch contacts his brother, Harry, on a hidden radio in his office and explains that he held back because the burglars were desperate, scared, and using an unloaded gun. Later that day, his daughter, Abby, asks for help finding her missing kitty cat bracelet. Without a word, Hutch leaves to see his father, David, and borrows his father's old FBI badge and gun to track down the burglars. He finds their apartment and threatens them, but when he discovers their sick baby, he leaves. Thugs stop the bus he takes home, and Hutch, looking for an opportunity to release his frustration, beats them under the pretense of protecting a young woman from sexual harassment. At home, he realizes he hasn't been communicating with his family and tries to reconnect with them. Harry persuades him to see \"The Barber\", who provides Hutch with information about one of his victims: he is the younger brother of Yulian Kuznetsov, a Russian crime lord. In retribution, Yulian sends a crew led by his right-hand man Pavel to capture Hutch at home. Hutch hides his family and kills most of the attackers before Pavel tases him into unconsciousness and captures him. Finding a fire extinguisher in the trunk of a car he is locked in, Hutch uses it to blind the driver, causing the car to crash, killing Pavel and his remaining crew. Hutch sends his family to safety before setting his house on fire to destroy any evidence. Hutch reveals that he is a former \"auditor\" (\"the last guy any organization wants to see at their door\"), an assassin employed by intelligence agencies. After letting one of his targets go free, Hutch found him a year later, reformed and happily living with his new family. Wanting a similar life, Hutch retired, against the wishes of his superiors. After buying Eddie's company with a stash of gold bars, Hutch burns the Obtshak money that Yulian was protecting for the mob, along with Yulian's art collection. Yulian pursues Hutch to the factory with his men, where David and Harry show up to help eliminate the gangsters using a variety of weapons and deadly traps that Hutch had set up, and kill all the gunmen until only Yulian is left. Out of ammunition, Hutch charges Yulian with a Claymore mine attached to a pane of bulletproof glass and detonates it, killing the Russian mobster. After ensuring that his father and brother escape, Hutch is arrested before his police interrogators are notified, to their surprise, that he should be released with no charges filed. Three months later, while buying a new house with Becca, Hutch receives a call suggesting that his services are still required. In a mid-credits scene, Harry and David are shown driving to an undisclosed location in an RV filled with guns.", "name": "Nobody"}
{"scenes": ["INT. JAVED'S SAFE-HOUSE. BATHROOM. NIGHT. An expensive bathroom suite. Excess of marble and gold taps. Into the bath, a hand is scattering rupee notes. Hundreds and hundreds of notes, worth hundreds of thousands of rupees. The sound of a fist thumping on the bathroom door, furious shouting from the other side. JAVED -LRB- O.S. -RRB- Salim! Salim!", "INT. STUDIO. BACKSTAGE. DAY. Darkness. Then, glimpses of faces. In the half - light, shadowy figures move with purpose. An implacable voice announces. TALKBACK -LRB- V.O. -RRB- Ten to white - out, nine, eight, seven. PREM Are you ready? Silence. A hand shakes a shoulder a little too roughly. PREM -LRB- CONT'D. -RRB- I said are you ready? JAMAL Yes.", "INT. JAVED'S SAFE-HOUSE. BATHROOM. NIGHT. The thumping at the door continues. The sound of mumbled Indian prayer. Dull gleam of a pistol. A hand cracks the chamber open. Loads a single bullet into the chamber, snaps the chamber shut. TALKBACK -LRB- V.O. -RRB- three, two, one, zero. Cue Prem, cue applause. Suddenly, the door splinters as it is smashed through. A burst of gun - fire and white light as suddenly.", "INT. STUDIO. NIGHT. we are back in the studio, the gun - fire morphing into rapturous applause. TALKBACK -LRB- V.O. -RRB- Go, Prem. A wall of light and noise as the two walk on stage. Cheering, music, banks of searing studio lights. On stage, Jamal, an eighteen year - old Indian boy - man stares, petrified. He would surely turn and run but for the iron grip on his shoulder of the smiling host, Prem Kumar. PREM Welcome to Who Wants To Be A Millionaire! More applause. PREM -LRB- CONT'D. -RRB- Please give a warm welcome to our first contestant of the night - a local from our very own Mumbai! Under cover of the wild applause, Prem ushers Jamal towards the guest's chair, leaning in and hissing. PREM -LRB- CONT'D. -RRB- Smile, dammit. The lights seem to bore into him but Jamal manages a tentative smile. Out of nowhere, a hand slaps him ferociously across the face. Then again and again. Blood trickles from his mouth.", "INT. POLICE INTERVIEW ROOM. NIGHT. The studio lights have seamlessly transformed into the harsh bulb of an interrogation light. Jamal is strung from the ceiling by his arms. CONSTABLE SRINIVAS Your name, bhen chod. Constable Srinivas's hand pulls back Jamal's head by the hair, forcing him to stare directly into the lights. CONSTABLE SRINIVAS -LRB- CONT'D. -RRB- Your name! JAMAL Jamal Malik. And seamlessly we are back.", "INT. STUDIO. NIGHT. on the set of Who Wants to be a Millionaire. Prem leans back in his chair, a man at home in his surroundings. Jamal sits opposite, frozen. PREM So, Jamal, tell us a bit about yourself. Close on Jamal's face. Without warning, it is shoved under water.", "INT. BUCKET. NIGHT. We look up from the bottom of the bucket at the screaming face of a drowning man. His head shakes desperately, pointlessly. Then Jamal's face is dragged up again, roaring for breath. Close on his eyes. JAMAL -LRB- V.O. -RRB- I work in a call centre. In Juhu.", "INT. STUDIO. NIGHT. PREM A Phone - basher! And what type of call centre would this be? JAMAL XL 5. Mobile phones. PREM Aha! So, you're the man who rings me up every single day of my life with Special Offers, huh? JAMAL No, actually, I'm an assistant. PREM An Assistant Phone - basher? A raised eye - brow at the audience. Amusement ruffles through them. PREM -LRB- CONT'D. -RRB- And what does an Assistant Phone - basher do, exactly? JAMAL I - I get tea for people and - PREM - a chi - wallah! Why did n't you say? Laughter in the audience. PREM -LRB- CONT'D. -RRB- So, ladies and gentlemen, Jamal Malik from Mumbai, let's play Who Wants To Be A Millionaire!", "INT. POLICE INTERVIEW ROOM. DAY. Jamal's body dangles motionless from the ceiling. His head is bowed and he is moaning to himself. The ceiling fan thumps round slowly. In the corner, Constable Srinivas mops his brow and lights a cigarette. Hot work. The door opens and the Inspector of Police walks in. A rumpled man in his late forties who has seen pretty much everything. He eyes Jamal, surprised. INSPECTOR Has he confessed, yet? CONSTABLE SRINIVAS Apart from his name, I ca n't get a word out of the runt. INSPECTOR You've been here all bloody night, Srinivas. What have you been doing? Srinivas shrugs. CONSTABLE SRINIVAS Tough guy. INSPECTOR A little electricity will loosen his tongue. Constable Srinivas brings a box and a tangle of wires out of a cupboard and proceeds to put crocodile clips on Jamal's fingers. The Inspector stares, deep in thought. Sweat trickles down his face. He wipes it away with a handkerchief, seems to be talking to himself. INSPECTOR -LRB- CONT'D. -RRB- Every night I get home, `` why ca n't we have a/c like Bajan Chacha? Why do n't you care about your poor family, dying in this heat.'' Twenty - four years a policeman and I ca n't afford bloody a/c. Turns on Jamal. INSPECTOR -LRB- CONT'D. -RRB- But you. You've got ten million rupees ek dum guaranteed, yaar? And who knows how much further? Fancy the twenty million, do you? Jamal just stares. INSPECTOR -LRB- CONT'D. -RRB- I think you probably do. The Inspector nods absently to Constable Srinivas who turns a handle. Jamal's body pulsates and jerks. He screams. His body goes limp again. The Inspector goes over to Jamal. INSPECTOR -LRB- CONT'D. -RRB- So. Were you wired up? A mobile or a pager, correct? Some little hidden gadget? No? A coughing accomplice in the audience? Microchip under the skin, huh? Constable Srinivas had n't thought of that. Grabs Jamal's arms and starts squeezing them all over until the Inspector has had enough. INSPECTOR -LRB- CONT'D. -RRB- Srinivas! Look, it's hot, my wife is giving me hell, I've got a desk full of murderers, rapists, extortionists, assorted bum - bandits. and you. Why do n't you save us both a lot of time? Hmm? Jamal does n't answer. The Inspector sighs and sits down. Looks at his watch, nods at Constable Srinivas again. Jamal's body jerks with electric current. When the shudders and screams have subsided, the Inspector goes over to Jamal's collapsed form. Clicks his fingers in front of Jamal's face to check for a response. INSPECTOR OF POLICE He's unconscious, chutiya. What good is that? How many times have I told you -? CONSTABLE SRINIVAS Sorry, Sir. An excited Young Police Constable sticks his head around the door. YOUNG CONSTABLE He's coming! Sir. INSPECTOR Ar\u00e9 wa, Srinivas, we'll have Amnesty International in here next, peeing their pants about human rights. Get him down, tidy him up, for God's sake. Constable Srinivas goes over to Jamal and starts to undo the crocodile clips. CONSTABLE SRINIVAS Maybe he did know the answers. INSPECTOR Have you gone soft, Srinivas? Professors, lawyers, doctors, General Knowledge Wallahs never get beyond sixteen thousand rupees. And he's on ten million? What the hell can a slum dog possibly know? Jamal lifts his head. JAMAL The answers. He lifts his head, spits blood out of his mouth and says again, straight into the Inspector's face. JAMAL -LRB- CONT'D. -RRB- I know the answers. Titles. Slum Dog Millionaire.", "EXT. CRICKET GROUND. DAY. Bright sunlight filtered through the ever - present Mumbai dust. A group of children are playing cricket on a tarmac cricket ground. They are bare - foot, dressed in little more than rags, wiry - skinny and fast on their feet. Salim, a nine - year old, polishes the ball on his almost non - existent shorts, comes in with surprising speed and bowls. The batsman hooks it high in the air. The bowler screams at a boy in the outfield. SALIM Jamal! Catch it! Catch it! The seven - year old Jamal stares up at the ball, jinks around trying to get into position. He pays no heed to the rest of the children who are scattering fast to the edges of the tarmac. The ball seems suspended in the blue sky. Shouts from the other children seem very far away. He does n't notice that they are screaming for him to get out of the way. Jamal adjusts his feet for the perfect catch. Then out of nowhere, a light aircraft almost takes his head off as it comes in to land on the tarmac runway. Jamal is knocked to his feet by the down - draft of the plane. The ball bounces away. Also flattened, Salim gets to his feet. SALIM -LRB- CONT'D. -RRB- How could you drop that? It was a sitter. Then Salim's face turns to one of alarm.", "EXT. AIRPORT PERIMETER. DAY. At the back of a pack of children, carrying a piece of wood crudely fashioned into a sword, Jamal is running for his life, pursued by an ancient but surprisingly nimble Security Guard from the airport who is screaming abuse and wielding a long stick. The kids dash across a rubbish dump and disappear down dozens of tiny lanes that run in between the shacks of the slum. SECURITY GUARD Private - ka land! Private - ka land! The planes wo n't kill you, mader chod, I will! Jamal and Salim - also with a wooden sword - break off, head down a separate lane. The Guard pursues them.", "INT. JUHU SLUM. DAY. The lanes in between the corrugated iron shacks are three feet wide, with an open drain running down the middle. Many of the precarious upper floors of the shacks have been built right over the paths, turning them into black tunnels. Tunnels shot through with slivers of light. If you did n't live here, you would be lost and frightened in minutes. But these children are natives and with the practice of many years, Jamal and Salim zig - zag down the warren of lanes. They dodge past people cooking in the doorways, sleeping, washing clothes or in the case of Vinod, a naked four year - old, pissing into the drain. Salim shouts a warning. SALIM Vinod! Musketeers coming through! Without breaking step, they both jump expertly over the stream of piss. Not so the Security Guard who gets it all over his trousers, but does n't stop the pursuit. The two children charge past a shack filled to the roof with chickens in cages who all start squawking. They break out into the sunlight of the ` main road' of the slum lined with shops. It is packed : with people, stalls, bicycles and cows. All modern India is here, drinking tea, shouting at each other, selling food, playing carom, video games. Leaving a trail of shouting and wreckage behind them, the pair approach a brand new Mercedes almost blocking the lane. Beside it stands Javed, an impressive man in a beautiful suit and his two Minders. Jamal and Salim skid to a stop, put their hands together in respectful greeting and edge ever so carefully past the immaculate paintwork of the car. Still in pursuit, the Security Guard also slides carefully past the car with deprecating bows and smiles. On past the chi stall where a crowd has gathered to watch a hindi film blaring from the tv rigged up overhead. The irate Security Guard gets tangled up in a bicycle. Jamal and Salim stop to give him a taunting, hip - gyrating parody of the dance on the tv before scooting down another tunnel. They break out into sunlight again. WOMAN'S VOICE Jamal! Jamal skids to a halt, bumping into Salim who is already frozen. JAMAL Shit. Mummy - ji. JAMAL'S MOTHER Do n't you move a muscle. The Security Guard arrives and he too skids to a halt at the sight of Jamal's mother. JAMAL'S MOTHER -LRB- CONT'D. -RRB- Thank you, Mister Gupta. I will deal with these two. The Guard puts his hands together in grudging respect as Jamal's Mother lifts each skinny kid off the floor by their t - shirt and marches them down the road.", "INT. SCHOOL. DAY. The two renegades are dumped by Jamal's Mother into their desks as Mister Nandha hands out ancient school books. MISTER NANDHA So, the musketeers return. We are honoured. Salim. Or Porthos, is n't it? He crashes the heavy book down on his head. Salim opens the book. Jamal glances over and turns the book the right way round for Salim. SALIM I know! Mister Nandha hovers over Jamal's head. He winces in anticipation. MISTER NANDHA And Athos. The book comes down like thunder. Jamal blinks from the impact and suddenly we are back.", "INT. INSPECTOR'S OFFICE. DAY. in the Inspector's office. Jamal watches Srinivas fiddling with the video recorder, trying to get a picture. Through the pebbled glass, Jamal sees shapes moving along the corridor.", "INT. CORRIDOR. POLICE STATION. DAY. The Commissioner of Police is fawning along beside Prem as they walk. The Young Constable hurries behind. COMMISSIONER OF POLICE It is so kind of you to visit our station, Sir. A great honour. PREM Not at all, not at all. I hope you will visit us, Commissioner. Out of his jacket pocket comes a couple of tickets. PREM -LRB- CONT'D. -RRB- Bring the family. It's a lot of fun. COMMISSIONER OF POLICE Oh! A thousand thanks, Sir. Missus Janda will be overcome. He turns to the Young Constable. COMMISSIONER OF POLICE -LRB- CONT'D. -RRB- chi, you lazy chutiy\u00e9, chi! The Inspector joins them in the corridor. COMMISSIONER OF POLICE -LRB- CONT'D. -RRB- Ah, Inspector! Cracked it? The Inspector moves his head. Maybe yes, maybe no. INSPECTOR Nearly, Sir. The Commissioner is just able to contain his apoplexy. COMMISSIONER OF POLICE Nearly? Nearly? When Prem Kumar himself has - Prem holds up a tolerant hand to the Commissioner who falls silent. Turns his laser - like charm onto the Inspector. PREM Inspector. How good to meet you. Clearly the kid cheated. INSPECTOR Clearly, Sir. PREM So, it is just a question of how, no? INSPECTOR Indeed, Sir. The proof. That is all we need. PREM We are lucky to have a man of your obvious experience on the case. This kid might run rings around us filmi types, but he wo n't make fools out of the Mumbai Police Force, I can see that. Forced laughter from the Commissioner. PREM -LRB- CONT'D. -RRB- In front of sixty million people. More laughter. And fear. PREM -LRB- CONT'D. -RRB- Which is what will happen if we do n't get a result, Gentlemen. He goes back on the show to rob us all with the whole of India watching. But. I can rely on you. Prem walks away down the corridor. Stops and turns, apparently casual. PREM -LRB- CONT'D. -RRB- Has he - has he made any allegations? INSPECTOR Allegations? PREM He's a cunning one. A convincing liar. Do n't be taken in, Inspector, do n't be taken in. Walks off. The Inspector stares after him. Goes back into his office.", "INT. INSPECTOR'S OFFICE. Srinivas has finally got the recorder to work. We get snatches of filmi dancing - heroines singing on mountainsides surrounded by implausible numbers of flags - cricket and finally after some shouting by the Inspector, Who Wants to Be A Millionaire? INSPECTOR So, Mister Malik, the man who knows the answers. Talk. We close in on the tv screen where Prem is smiling his crocodile smile and find ourselves.", "INT. STUDIO. NIGHT. as Prem asks the first question. PREM So, are you ready for your first question for one thousand rupees? JAMAL Yes. PREM Not bad money to sit in a chair and answer a question. Better than making the tea, no? JAMAL No. Yes. No. PREM No. Yes. No. Apka final answer? Laughter from the audience. Jamal looks confused. Prem waves it away, switches on his serious face. PREM -LRB- CONT'D. -RRB- Remember, you have three lifelines if you're not sure of your answer - Ask the Audience, 50/50 and Phone a Friend. So, the question : The lights go down, the portentous music rolls. PREM -LRB- CONT'D. -RRB- Who was the star of the 1973 hit film Zanjeer. Was it A - Close on Jamal's eyes.", "INT. SHACK. NIGHT. A tiny shack. A garland of dirty plastic flowers surrounds a torn flyer for one of Amitabh Bacchan's films.", "EXT. JUHU SLUM. RUBBISH DUMP. NIGHT. Salim is sitting on a chair at the end of a rickety wooden pier, though it is not water, but a sea of rubbish and sewage that lies below them. There are dozens of these piers protruding from the slum onto airport land, each with a toilet shack perched right at the end. Another man hurries up the pier and hands Salim a coin. SALIM Immediately, sir. Turns to the toilet door. SALIM -LRB- CONT'D. -RRB- Bhai, get out of there. Prakash wants a shit. JAMAL O.S. Not finished. PRAKASH Stop your time - pass. This is urgent. JAMAL O.S. It's a shy one. Since when was there a time limit on a crap? SALIM Since there was a customer waiting, that's when. He flashes another placatory smile at Prakash. JAMAL O.S. -LRB- singing / grunting. -RRB- Come on out, you beauty, unveil yourself, my darling - warling. PRAKASH Look, kid, I got a bad stomach. It's borderline. A disturbing combination of heaving and snake - charmer noises come from the toilet shack. Finally Prakash can stand it no longer. PRAKASH -LRB- CONT'D. -RRB- I'm off to Devi's bog. Give me that. He snatches the coin back from Salim and hurries off. Salim bangs on the toilet door. SALIM You just lost me good money, you stupid idiot - Salim stops. In the distance, there is the faint sound of shouting, a crowd coming closer. Then the crowd bursts through the outer shacks of the slum, pour onto the rubbish dump and make for the airfield. MAN It's Amitabh! That's his helicopter! JAMAL O.S. Amitabh? Amitabh Bacchan?", "INT/EXT. TOILET. NIGHT. Jamal peers through one of the many cracks in the shack. He sees crowds surging around the pier, charging towards a landing helicopter. Salim shoves the chair under the door handle - effectively locking it - and runs down the pier to join the chase. Jamal pulls up his shorts. JAMAL No! Wait! Salim, sala! Salim! Rattles the locked door. Pulls a torn flyer from his pocket advertising an Amitabh movie. JAMAL -LRB- CONT'D. -RRB- Wait! Amitabh. He looks down the toilet hole at the sewage beneath him, the landing helicopter, the disappearing crowd. A final rattle of the door. There is only one way out. He jumps down the hole, sprawling headlong into a year's worth of human waste, managing to keep the flyer out the mire. He runs for the helicopter. JAMAL -LRB- CONT'D. -RRB- Amitabh - ji! Amitabh - ji! Salim is at the back of the crowd, trying to force a way through, but the adults shove him back. Not so for Jamal. The down - draft from the helicopter flicks bits of sewage from his clothes. Disgusted fans curse him and get out of his way. Suddenly, the red sea parts and there is nobody between Jamal and Amitabh Bacchan getting out of the helicopter. JAMAL -LRB- CONT'D. -RRB- Please. Amitabh - ji. Jamal holds out his flyer. Used to signing autographs, the movie star barely looks at Jamal. He takes the flyer and scribbles his autograph on it. JAMAL -LRB- CONT'D. -RRB- A thousand thanks, Amitabh - ji. He hands the flyer back to Jamal as his bodyguards surround him and hustle him into a car. Jamal chases the flyer across the tarmac, grabs it. Kisses it.", "EXT. JUHU SLUM. NIGHT. From high up, the rickety tin roof - tops of the slum seem to stretch to the horizon. There is a distant shout, a figure waving an arm. MAN It's coming! Then another shout and another, a chain of voices coming closer. People come out of their doorways with pails and buckets. The shouts come closer until we see a naked figure entirely encased in bubbles dancing and singing in the lane. Jamal is the happiest boy in the slum. JAMAL -LRB- singing. -RRB- Amitabh, Amitabh, oh Amitabh! I have your autograph, oh, holy Amitabh! MOTHER Here it comes! Water comes bubbling through a hose and Jamal's mother hoses down her ecstatic son.", "EXT. JUHU SLUM. NIGHT. Not far away, Salim wanders to Mister Chi's stall. He glances around to make sure everybody is glued to the hindi film on Mister Chi's tv and surreptitiously slips Mister Chi the signed flyer. Mister Chi takes a look and gives Salim a small wad of rupees. He sticks the money in his pocket, slinks away.", "EXT. JUHU SLUM. NIGHT. A tear - stained Jamal is furiously trying to batter Salim, but Salim's extra strength and height means that he can keep Jamal at bay with one hand, Jamal's flailing fists punching thin air. JAMAL Sala! Sala! Salim's laughter only makes Jamal cry harder.", "INT. INSPECTOR'S OFFICE. NIGHT. Close on the tv screen in the Inspector's office. Prem ponders Jamal's choice. Presses a button on his computer. PREM -LRB- V.O. -RRB- You chose A - Amitabh Bacchan. Guess what? You just won one thousand rupees! Applause on screen. The Inspector looks at Jamal. Jamal shrugs. JAMAL You do n't have to be a genius. CONSTABLE SRINIVAS I knew it was Amitabh. JAMAL Like I said. Constable Srinivas twists Jamal's arm behind his back, evincing a squeal of pain from Jamal. JAMAL -LRB- CONT'D. -RRB- -LRB- squealing. -RRB- He's the most famous man in India! The Inspector stares at Jamal, turns back to the tv where Prem is asking the next question. PREM -LRB- O.S. -RRB- For four thousand rupees. the national emblem of India is a picture of three lions. What is written underneath? Is it.", "INT. STUDIO. NIGHT. PREM A. -RRB- The truth alone triumphs. B. -RRB- Lies alone triumph. C. -RRB- Fashion alone triumphs. D. -RRB- Money alone triumphs. Prem shoots a mock puzzled look out to the audience eliciting giggles from them. PREM -LRB- CONT'D. -RRB- What do we think, Jamal? The most famous phrase in our country's history. Maybe you want to phone a friend? Laughter from the audience. The studio lights bear down on Jamal. a drop of sweat trickles down his forehead. Prem is loving his discomfort. PREM -LRB- CONT'D. -RRB- Or Ask the Audience? I have a hunch they might just know the answer. What do we think? He gestures expansively at his audience. Oh, they love him. JAMAL Yes. PREM -LRB- startled. -RRB- Yes? JAMAL Ask the audience. Prem whistles. Raises his eyes at the audience. PREM Well, you're the contestant, Jamal. Put the poor man out of his misery, Ladies and Gentlemen. Press your key - pad now. The lights dim. Portentous music.", "INT. INSPECTOR'S OFFICE. DAY. The Inspector presses pause. Sighs. INSPECTOR So, Jamal. My five - year - old daughter knows the answer to that, but you do n't. Strange for a millionaire genius. What happened? Your accomplice nip out for a piss, did he? Or did he just not cough loud enough? Silence. Constable Srinivas kicks Jamal's chair. CONSTABLE SRINIVAS The Inspector asked you a question. JAMAL How much is bhelpuri at Jeevan's stall on Chowpatty Beach? INSPECTOR What? JAMAL One bhelpuri. How much? CONSTABLE SRINIVAS -LRB- ca n't help himself. -RRB- Ten rupees. JAMAL Wrong. Fifteen since Divali. Who stole Constable Varma's bicycle outside Dadar Station last Thursday? INSPECTOR -LRB- amused. -RRB- You know who that was? JAMAL Everyone in Juhu knows that. Even five year - olds. Despite himself, the Inspector laughs. Then leans in. INSPECTOR I'll give you five hundred rupees if you just admit it. You go home, I go home. Everybody happy. Jamal just stares back. INSPECTOR -LRB- CONT'D. -RRB- No, you want to go back on the programme and win twenty million rupees, do n't you? JAMAL Would n't you?", "INT. STUDIO. NIGHT. PREM The audience has chosen. And, whaddya know? Ninety - nine percent of them think the answer is A. -RRB-. The truth alone triumphs. What do we think, Jamal? A hundred percent would have made me a little more reassured, maybe. Prem shrugs, makes a show of examining his computer. Suddenly fixes him with his eyes. PREM -LRB- CONT'D. -RRB- Are you married, Jamal? JAMAL No. PREM Well, do n't despair, there's someone out there who thinks our national motto is `` Fashion alone triumphs''. You two could be very well matched. Audience laughter.", "INT. GALLERY. NIGHT. The Director is shaking his head. DIRECTOR What the bloody hell is he playing at? He's way off script. VISION MIXER Split up with his girl - friend. DIRECTOR Which one? VISION MIXER All three, I heard. Nita as well. Back with the wife. She's pregnant again. DIRECTOR Oh, God, that's all we need. VISION MIXER Oh, for Sharukh Khan. Stand by white out.", "INT. STUDIO. NIGHT. PREM won four thousand rupees! Music, lights, applause. PREM -LRB- CONT'D. -RRB- One more question before the commercial break. What will our Call Centre Assistant do next? The lights dim. Prem presses his computer. PREM -LRB- CONT'D. -RRB- Religion! Interesting. For sixteen thousand rupees, in depictions of the God Ram, he is famously holding what in his right hand? Is it A. -RRB- a flower. B. -RRB- a scimitar. C. -RRB- a child or D. -RRB- a bow and arrow?", "EXT. DHOBI. JUHU SLUM. DAY. Right next to the railway lines is a pond of dirty water surrounded by shacks in which dozens of women are washing clothes. Trains flash past only feet away from them. Down the other end of the pond, nine - year old Jamal and Salim are splashing noisily with some other children. Jamal's mother pauses in her scrubbing, wipes sweat from her forehead and gazes up at the leaden sky. JAMAL AND SALIM'S MOTHER It's going to come. Today. I can feel it. The woman next to her nods. WOMAN Hope so. My head is exploding. MOTHER Yes. We need rain. Jamal is trying to intercept the ball that Salim and Krishna are throwing to each other. He's not having much success. The ball flies overhead again from Salim to Krishna. Jamal dives for it, misses and goes underwater. When he comes up for air, he shakes his head, clearing his ears of water. Then he stops, listens. Shakes his head again. Definitely something strange. Thunder? Salim and Krishna are trading catches, unaware that anything has changed. But Jamal's mother has heard it too. The faintest sound of shouting, roaring. The wave of noise is still faint but getting louder. A frozen moment broken by : MOTHER -LRB- CONT'D. -RRB- Run! Jamal, Salim, run! Everybody stares at her. A train speeds through as she continues to shout, her words lost beneath the thundering train. MOTHER -LRB- CONT'D. -RRB- Go! Run! The train goes through, the last carriage flying past suddenly opening up the sight of a wall of rioting men wielding clubs, scythes, metal bars. They come screaming across the railway tracks. SALIM Krishna, quick! Salim holds out his hand to Krishna who is wading with difficulty through the water. KRISHNA No way! You're a bloody Muslim. Get away from me! The rioters leap the tracks and are upon them. KRISHNA -LRB- CONT'D. -RRB- They're Muslims! Him and him! MOTHER Go! Salim and Jamal scramble out and retreat into the lanes. Salim turns to see his Mother felled by a rioter. She is surrounded by screaming, chanting men who rain blows down on her. Jamal runs back and drags Salim down an alley. As they head down the alley, they get glimpses of burning houses, fleeing women, a three - year old boy in a doorway, painted entirely in garish blue. He stares at them. In his hand, he is carrying a bow and arrow. An eleven - year old girl dressed only in a pair of pants runs after them. She has two bleeding red gashes on her back. They turn a corner and head towards some vans full of police. Jamal sees Mister Nandha, the school teacher, stops. JAMAL Salim! Then Mister Nandha starts walking towards him. An oasis of calm in the chaos. Jamal looks at him with relief. JAMAL -LRB- CONT'D. -RRB- Mister Nandha. Mister Nandha smiles, walks towards them. MISTER NANDHA Ram nam satya hai, Babri Masjid dhvasth hai. JAMAL Mister Nandha? MISTER NANDHA We have destroyed your mosque. Now, the followers of Ram will drive you dogs out of our city. From behind his back he produces a knife and runs towards Jamal, screaming. MISTER NANDHA -LRB- CONT'D. -RRB- Ram has returned to his temple! Ram has returned! They flee, but Jamal turns, sees the girl, frozen. He chases back a few steps, hauls her arm. The spell broken, and they are off.", "INT. STREET. EVENING. They reach the safety of the police vans. But inside the vans, the police are smoking, laughing, playing cards. Down the street, a man comes whirling out of a doorway, his hair on fire. He falls into the middle of the street and is engulfed by rioters. Unperturbed, the police continue to chat. Salim and Jamal look on, horrified. Then one of the police men turns, looks at them. Is interested. Motions to a colleague. Puts out his cigarette with purpose. JAMAL Let's go, bhai. Salim and Jamal run. The girl follows.", "EXT. MUMBAI. EVENING. Salim and Jamal stand on a hill overlooking the city. Black smoke billows from a large area that is clearly the Juhu slum. Standing a little way off is the girl. JAMAL We should go back. Silence. JAMAL -LRB- CONT'D. -RRB- See if Ama - Salim shakes his head fiercely, silencing Jamal for a moment. But only a moment. JAMAL -LRB- CONT'D. -RRB- What about Jeevan Chacha? Salim shakes his head. JAMAL -LRB- CONT'D. -RRB- Maybe he - Salim shakes his head again. SALIM - I saw him. He was with them. JAMAL But he would n't hurt - SALIM - he was with them! JAMAL But - SALIM - shut up, Jamal, ca n't you? Just shut up! Salim turns away and sees the girl. Picks up a rock and hurls it at her. She dodges, takes a couple of steps back but makes no real attempt to get away. He finds another rock and hurls this in her direction too. SALIM -LRB- CONT'D. -RRB- Ja! Then a flash of lightning and thunder rumbles across the city. Rain begins to come down. JAMAL What shall we do? No answer. Jamal sits down. Salim sits down. At a distance, the girl sits down. Rain pours down their faces.", "INT. BUILDER'S YARD. NIGHT. Rain as you've never seen. A pile of huge water pipes in a sprawling builder's yard. Jamal is in one pipe, Salim above him in another. They are both soaked, shivering, but have found some plastic sheet to wrap themselves in. Outside, thirty feet away, stands the girl. Staring. Salim hisses angrily at the girl. SALIM Go away. Ja, ja! The girl might not even have heard. SALIM -LRB- CONT'D. -RRB- She'll have the Security Guard onto us, standing there. JAMAL Not if we let her in. SALIM No. JAMAL She could be the third musketeer. SALIM I am the head of this family, now. And I say no. Piss off, you. Salim huddles down in the pipe. After a while, Jamal follows suit. SALIM -LRB- CONT'D. -RRB- We do n't even know what the third musketeer's called.", "EXT. JUHU SLUM. DAY A flash of Jamal's mother being clubbed to the ground. Her scream.", "INT. BUILDER'S YARD. LATER. Jamal wakes with a jolt and a scream half - swallowed in his mouth. He shuts his eyes tight, trying to force the image out. His breathing slows and he sees the girl staring at him. Salim, too, is staring into nothing. The rain is still falling. The girl goes back to drawing shapes in the mud with her finger. Jamal climbs out of the pipe. Looks at Salim for permission or refusal, but he just continues to stare. So, Jamal walks across to her. She looks up, wary. JAMAL Where's your Mother? Silence. JAMAL -LRB- CONT'D. -RRB- Father? The girl shakes her head slightly. Jamal takes the plastic sheet from around his shoulders. Gives it to her. JAMAL -LRB- CONT'D. -RRB- I'm Jamal. He's Salim. LATIKA Latika. Jamal goes back to his water pipe, climbs in. Watches her huddled under the sheet. Sighs, motions for her to join him. She darts across, jumps into the water pipe and huddles up next to Jamal.", "INT. INSPECTOR'S OFFICE. DAY. Jamal looks at the Inspector. JAMAL I wake up every morning wishing I did n't know the answer to that question? If it was n't for Ram and Allah, I would still have a Mother.", "INT. STUDIO. NIGHT JAMAL D. -RRB- A bow and arrow. PREM Final answer? JAMAL Final answer. Prem stares at him for dramatic effect. Presses his computer. PREM Computer - ji, D lock kiya - jaye. The lights dim, the music swells. PREM -LRB- CONT'D. -RRB- Jamal Malik, you answered D? Ram is depicted with a bow and arrow in his hand. And guess what? You've just won sixteen thousand rupees! Well done, my friend. Time for a commercial break - do n't go away, now. Music, applause. Prem switches off his professional smile. Gets up. PREM -LRB- CONT'D. -RRB- Got lucky, huh? I'd take the money. You'll never get the next one. JAMAL You're from the Juhu slum, are n't you? PREM Hmm? Sure. Know where I live now, kid? Pali Hill. Twelve bedrooms, a/c in every room, two kitchens, a gym and a screening room. Steel balls is what it takes, my friend, steel balls. The Floor Manager comes over and gives his head - phones set to Prem. Prem listens. DIRECTOR -LRB- V.O. -RRB- Prem? Tone it down, for goodness sake. You're making him a laughing stock. Prem glances up at the gallery with contempt. PREM We're having fun here. They love it. Where the hell do you get them from? He makes no attempt to hide the conversation from Jamal. DIRECTOR -LRB- V.O. -RRB- It's supposed to be a quiz show, not a blood sport. FLOOR MANAGER Two minutes. PREM Stop wetting your pants. I'll be a good little boy with the next one. Promise. He chucks the head - phones back at the Floor Manager. Glances in the wings. Sees Nita, the make - up woman. Gets up and goes over.", "INT. STUDIO. BACKSTAGE. NIGHT. In the half - light, backstage, Nita dabs his face with powder. PREM Meet me after the show. Please. NITA No. PREM Nita, I can explain. NITA No need. I read it in bloody Stardust. Did n't even have the balls to tell me. `` Prem's happiness with another baby on the way''. After everything you said. PREM Baby, it all happened before I met you. I swear to you. NITA She's got the gestation period of an elephant, then. Prem is about to object. But instead, he laughs. PREM You see? Amidst all this misery, only you can make me laugh. Scornful but hints of melting. NITA All this misery. PREM Her and I - nothing. You have to believe me, baby. Nita turns away. The Floor Manager comes over. FLOOR MANAGER One minute. Prem slings himself in a chair. PREM No. I'm not going on. NITA Prem. PREM I ca n't. Without you, it's all pointless. Clicks his fingers at the Floor Manager. PREM -LRB- CONT'D. -RRB- You. Tell the Director. Nita shakes her head at the Floor Manager who by now is looking very worried. FLOOR MANAGER Thirty seconds. Prem shrugs and folds his arms. Sees her weaken. NITA Prem. PREM Calypso Bar, private room, just you and me? FLOOR MANAGER Fifteen. NITA -LRB- furious. -RRB- Alright. He grins, jumps up, blows her a kiss, and stalks back on stage.", "INT. STUDIO. NIGHT. He sits back down, says almost to himself. PREM Steel balls. Turns to Jamal. PREM -LRB- CONT'D. -RRB- Okay, Juhu boy, you've had a good run. Take your Mother to Khandala and eat some chiki. JAMAL My Mother's dead. PREM Well, your girlfriend then. Even better. JAMAL I do n't have a girl - friend. PREM Live wire like you? You surprise me. FLOOR MANAGER Five, four. The warm - up man starts the applause. TALKBACK -LRB- V.O. -RRB-. three, two, one. Cheering and music. Prem switches on his charm. PREM Welcome back to Who Wants to be a Millionaire! Our contestant, Jamal Malik, Call Centre Assistant - from Mumbai, is on sixteen thousand rupees and has already used one lifeline : Ask the Audience. So, my friend : are you ready for the next question? JAMAL Yes. PREM Then, let's play. Portentous music. The lights dim. PREM -LRB- CONT'D. -RRB- For sixty - four thousand rupees. The British architect Frederick Stevens designed which famous building in India? Is it : A. -RRB- The Taj Mahal. B. -RRB- Chhatrapati Shivaji Terminus. C. -RRB- India Gate. D. -RRB- Howrah Bridge. What do you think, Jamal? Are you one of those tea - boys with a penchant for architecture?", "INT. CHHATRAPATI SHIVAJI TERMINUS. DAY. Known to everyone as VT station, this monument to Victorian railway architecture is a dangerous place to be at rush hour. Even before the train has stopped, men are jumping from the open doors, or vaulting out of the windows or from the roof of the train to join the tens of thousands of Mumbaites streaming to and from work. A seventeen - year old Jamal squeezes himself out of a train and shoves through the crowds. He checks the time. The digital numerals flick to five O'clock. Looks around the tide of humanity.", "INT. STUDIO. NIGHT. PREM So, what's it to be? Walk away and this cheque for sixteen thousand rupees is yours. Look, it's even got your name on it. He produces a cheque and waves it at Jamal. JAMAL I do n't have a bank account. Laughter from the audience. Prem is momentarily wrong - footed. JAMAL -LRB- CONT'D. -RRB- But I'll take cash. More laughter, this time with Jamal, rather than at him. Prem gets up and starts rummaging theatrically through his jacket pockets and trousers. PREM Nope. Looks like the Producer's stolen my wallet again - JAMAL - I'll play. Nobody was expecting this. Least of all Prem who has to rearrange his features into one of surprised delight. He sits down. PREM You'll play? JAMAL Why not? PREM Well, well, well. We've got a wild one, here. Prem tears up the cheque with theatrical slowness. PREM -LRB- CONT'D. -RRB- For sixty - four thousand rupees, Ladies and Gentlemen, the question once again.", "INT. CHHATRAPATI SHIVAJI TERMINUS. DAY. The digital clocks show five fifteen. Shoving the descending river of people out of his way, the eighteen year - old Jamal is forging a path up steps that cross the platforms. He pushes to the middle of the footbridge and leans out on the side railings. He scans the sea of people, desperately. Then he sees her : the eighteen year - old Latika, heart - stoppingly beautiful, over the other side of the station. A world away. She is scanning the crowd, as wired as he is. JAMAL Latika! Latika! But though he is screaming her name, his voice is swallowed by the noise around him. Then he sees two thuggish - looking men also fighting a way towards her. JAMAL -LRB- CONT'D. -RRB- Latika! Frightened now, he fights his way down the steps, one figure against an army of white - robed people. JAMAL -LRB- CONT'D. -RRB- Latika! JAMAL -LRB- V.O. -RRB- Chhatrapati Shivaji Terminus. PREM -LRB- V.O. -RRB- Chhatrapati Shivaji Terminus. Sure? JAMAL -LRB- V.O. -RRB- I think so. PREM -LRB- V.O. -RRB- You think so. A brave man, Ladies and Gentlemen, a brave man.", "INT. CHHATRAPATI SHIVAJI TERMINUS. DAY. The commuters have mostly gone. Jamal is pacing the platform desperately. He stops, stares blankly at the statue in front of him - a proud, rather pompous figure in a Victorian frock coat. The plaque reads : Frederick Stevens.", "INT. INSPECTOR'S OFFICE. NIGHT. The Inspector, Srinivas and Jamal are staring at the video recorder. JAMAL Yes. Final answer. Chhatrapati Shivaji Terminus. PREM Is the right answer! Sixty - four thousand rupees to you, Sir! Applause and music. The Inspector presses pause. Stares at Jamal. INSPECTOR And did she come back? Jamal smiles sadly. JAMAL I would n't be here if she had. INSPECTOR Pretty was she? Jamal stares down at his feet. INSPECTOR -LRB- CONT'D. -RRB- Guess not. Right in the eyes. JAMAL The most beautiful woman in the world. Constable Srinivas snorts. Suddenly, Jamal is out of his chair and at Srinivas' throat. The combined force of the Inspector and Srinivas force him roughly back down. He is again handcuffed to the chair. INSPECTOR OF POLICE Well, well. The slum dog barks. Money or women. The reason for most mistakes in life. Looks like you got mixed up with both. Srinivas, you need the exercise : a trip to VT Station to check on the statue. And lock your bloody bike up. Constable Srinivas swears under his breath but bumbles out. INSPECTOR That's the chutiy\u00e9 out the way. Now, man to man. How did you know all the answers? JAMAL If I knew, I'd tell you.", "INT. STUDIO. NIGHT. PREM Now we're into the serious money. For two hundred and fifty thousand rupees, ladies and gentlemen, a quarter of a million rupees. the song Chalo Ri Murali was written by which famous Indian poet. Was it A. -RRB- Surdas. B. -RRB- Tulsidas. C. -RRB- Mira Bai. D. -RRB- Kabir. Remember you still have two lifelines - fifty - fifty and Phone A Friend. Tempted to use one? JAMAL No. PREM No? JAMAL I know this one. PREM Oh. I see. An expert on the poets, huh? The lights dim, the music swells and Prem presses his computer.", "EXT. MUMBAI STREET. NIGHT. Jamal is studying a piece of paper and reading out numbers from it. There is something not quite right about Jamal - perhaps the fact that there are two feet by his ears. Salim is standing on his shoulders and spraying the numbers on a wall with an aerosol and a certain lack of confidence. JAMAL Four, nine, zero, nine - the one with the stick going down, Salim - six - stick going up - Latika's head appears from around the corner. LATIKA -LRB- whispered. -RRB- Oi! But they do n't hear. Then she is running for her life past the pair of them. JAMAL Six, one, shit, let's go - Salim collapses off Jamal's shoulders and all three run off down an alley past a dozen of the gang's sprayed - on adverts all reading : `` Beanbags - 989\u00a04909661''. A fat Security Guard with a long stick huffs round the corner. Chases them up an alley. Nowhere to go except through an imposing gate that clearly leads to a private house. SECURITY GUARD Got you now, little shits.", "EXT. GARDEN. NIGHT. They charge across the lawn, down one side of the house where all the washing is hanging. The Guard gets caught up in drying sheets, towels. He fights his way through to see Salim, Latika and Jamal leaping over the wall to safety. But Jamal turns, jumps back and grabs a girl's dress from the line. SECURITY GUARD Aha! Little thief! The Security Guard lands a couple of blows on Jamal's back as he dodges around him and back across the lawn, dress in hand. The Security Guard gives up. SECURITY GUARD -LRB- CONT'D. -RRB- Pervert!", "INT. ALLEY. NIGHT. Jamal is examing the bruises on his legs. SALIM Useless bloody look - out. What good is she, huh? LATIKA -LRB- infuriated. -RRB- I tried to warn you. JAMAL It's okay, Salim. Latika slips on the dress. Spins. Both of them look up. Stare. She pulls her hair back, smiles, is transformed into a beautiful girl.", "EXT. GORAI BEACH DUMPING GROUND. DAY. Blazing sun. Diggers and trucks are shifting mounds of rubble on a rubbish dump that seems to stretch for ever. Oblivious to the dust kicked up by the trucks, Latika is picking up old plastic bags, examining each one and putting the less worn in a big sack. The dress is recognisable but dusty and torn. She stoops to dig another bag out of the dirt, but stops and stares. Shimmering in the heat, a rickety pick - up truck comes through the rubbish dump gates. Toots at the Guard who waves, pulls up in the dump. `` Hope Orphanage is written on the side of the van. A man gets out. Looks around.", "INT. `TENT'. DAY. Under sheets of plastic propped up on sticks, Jamal and Salim are sleeping out the hottest part of the day. Jamal wakes to see a figure standing over him - a silhouette with a halo of sun behind him. Out of his bag, the man produces a bottle of Thumbs Up. He uncaps it with an alluring hiss. It is almost an advert for thirst - quenching affluence. Almost instinctively, Salim and Jamal stir. MAN Hello. He hands the bottle to Salim, gets another from his bag and waves it questioningly at Jamal. MAN -LRB- CONT'D. -RRB- Hot, huh? My name is Maman.", "EXT. ORPHANAGE. EVENING. The hills on the edge of Bombay. Greenery and space, for the first time in the film. The pick - up truck pulls up outside a building with Jamal, Salim and Latika sitting on a bench in the back. Maman gets out. Drops the gate on the back of the pick - up. MAMAN Anyone hungry? Come on in.", "INT. ORPHANAGE COURTYARD. EVENING. Twenty children are eating at long benches in a ramshackle courtyard. Maman, ushers Jamal, Salim and Latika in and sits them down at one of the benches. He waves a hand and a giant man, Punnoose, comes over with a big bowl of food. The three tear into it. Cleaning every last morsel of rice from his plate, Jamal looks up and notices a table peopled entirely with blind or crippled children. Some of the legless are eating on the floor next to the table. Jamal leans over to Salim. JAMAL He must be a very good man to look after these people. SALIM -LRB- glancing at them. -RRB- A saint. Arvind, a boy smaller than either Jamal or Salim overhears. ARVIND We're not allowed to talk to them. LATIKA Why not? Arvind shrugs. Latika licks her plate, glances at Maman who is looking right at them. LATIKA -LRB- CONT'D. -RRB- Well, if there are seconds, Maman is definitely a Saint. As if telepathic, Maman signals to Punnoose and he brings a large bowl of rice and dhal over to them. Latika looks at Jamal and Salim. They burst out laughing. LATIKA -LRB- CONT'D. -RRB- I tell you, Lord Siva is with us.", "INT. ORPHANAGE. EVENING. Salim, Latika, Jamal and a group of children are standing in a line singing a doha - ancient lyrics set to music. Maman is leading the singing, walking up and down the line listening to each one individually. He stops at one small boy, Arvind, and listens. Nods his head, pleased, and continues down the line until he stops in front of Jamal. Holds up his hand. MAMAN Stop! You. Again. Jamal starts singing again. He has the sweetest of voices. Untrained but pure. Maman smiles, ruffles Jamal's hair, impressed. MAMAN -LRB- CONT'D. -RRB- Everyone. They all join in. Maman continues down the line. He stops at Salim whose octave - slipping singing is lusty and appallingly out of tune. Maman winces and moves on. Standing next to Salim, Latika giggles. Immediately, Salim is on her. Before a fight breaks out, Punnoose pulls Salim off Latika and hurls him across the room. Salim gets up and charges at Punnoose. For a second, Punnoose is back - footed, but then pins Salim's arms to his side. Maman laughs. Approaches Salim. MAMAN -LRB- CONT'D. -RRB- You sing like one, and you fight like one. I think you've found your dog, Punnoose.", "EXT. CENTRAL MUMBAI TRAFFIC. DAY. A group of children are sitting in the jumble of concrete under a motorway flyover. Cars surround them, bumper to bumper. Latika and Jamal are playing an improvised hopscotch on concrete slabs. They are giggling, bumping into each other, tickling, laughing. Salim and Punnoose are sitting together, smoking. Salim is staring hard at Jamal and Latika until Punnoose grunts, a sign for Salim to clap his hands. SALIM Okay, let's go, let's go! It's not a bloody holiday! The children get to their feet. Latika sighs, puts a patch over her eye and grabs a pair of crutches. Suddenly, the lame beggar. Salim goes over to one of the girls, who is carrying a sleeping baby. Puts out his hand. SALIM -LRB- CONT'D. -RRB- Give me that. The girl shakes her head. Salim grabs her by the hair in one hand and takes the baby with the other. He shoves her to the ground. The other children stare. JAMAL Hey, Salim! He challenges Jamal. SALIM What, chot\u00e9 bhai? You got a problem? He laughs and walks over to Latika. SALIM -LRB- CONT'D. -RRB- Here. For you. LATIKA I do n't want it. SALIM You'll earn double. I'm doing you a favour, Latika. JAMAL She does n't want it. SALIM Chup, Jamal. Latika turns away and begins to walk towards the cars. SALIM -LRB- CONT'D. -RRB- I'll drop it. He holds the baby up. Latika grabs the baby with a cry just as Salim releases it from his hands. Salim pinches the baby. SALIM -LRB- CONT'D. -RRB- Triple if it's crying. Latika snatches it away. Salim laughs, goes back to sitting with Punnoose. The children scatter to the cars trapped at the lights, tapping plaintively on the windows and making the universal begging gesture.", "INT. ORPHANAGE. KITCHEN. NIGHT. Surrounded by beer bottles, Punnoose is slumped asleep by the kitchen door. Latika edges past, avoids the cook sleeping under the table and goes to a shelf laden with vegetables. She pulls down a bunch of chillies still on the vine, strips a few off and tip - toes out with them.", "INT. ORPHANAGE. DORMITORY. NIGHT. Sleeping children, three or four to a mattress on the floor. Latika tip - toes around the mattresses. She pauses over one in particular where we see Salim, asleep. She carefully pulls up the sheet, delves underneath. Pleasant dreams cross Salim's sleeping face for a second. Then suddenly, he is bolt upright and screaming. He charges around the room clutching his genitals in agony. SALIM Madher chod! He sprints out of the room, wailing.", "INT. ORPHANAGE. SHOWERS. NIGHT. The lights are on and two dozen children are screaming with laughter as Salim stands under the make - shift shower directing the water down his pants to his burning genitals, his face a picture of agony. Latika wipes crushed chillies from her hands. SALIM You're dead, sala. She smiles and walks past Jamal with a shrug. Then Punnoose comes stalking in and the children scatter away. PUNNOOSE Get back to bed, dogs! What the hell. JAMAL -LRB- V.O. -RRB- They taught me every song in the history of Indian music. INSPECTOR -LRB- V.O. -RRB- And why would they do that, I wonder?", "INT. SHACK. NIGHT. In a shack, Arvind is singing one of Surdas' bhajans in front of Maman and an old man who by his ragged appearance must be a villager. Punnoose and Salim sit behind Arvind. MAMAN Very good, very good. I am pleased, Arvind. He is ready. ARVIND Ready? Maman nods to Punnoose. Before Arvind can turn round, Punnoose has covered his mouth with a cloth and after the briefest of struggles, Arvind's body goes limp. The villager puts an old tin box on the table. Taking the lid from the tin, he brings out a cloth and unwraps it. Inside is a spoon. He checks the edge with his thumb. Sharp. Douses it with a clear liquid from a bottle and passes it over a candle flame. The spoon whooshes with a high flame for a moment. The villager wipes it with the cloth nods to Punnoose. PUNNOOSE Salim! Utterly bemused, Salim nevertheless helps Punnoose lay Arvind on the table. The villager takes hold of Arvind's eyelid and pulls it open. He brings the spoon close. Suddenly, Salim is being sick in the corner of the shack. By the time he has turned back, the villager is wiping the spoon on a blood - soaked rag. MAMAN Okay. Take him out the back. Punnoose picks up Arvind and carries him out. MAMAN -LRB- CONT'D. -RRB- Now the other one. Salim, go get Jamal. A frozen moment. SALIM What? MAMAN Gunfighter Number One, is n't that right, Salim? The money, the women, the cars. you want them bad, huh? And why not? Maman gets out of his chair. Approaches Salim. MAMAN -LRB- CONT'D. -RRB- The time has come to choose, yaar. The life of a slum dog or the life of a man. A real man. A gunfighter, Salim. Maman holds Salim's head in his hands. MAMAN -LRB- CONT'D. -RRB- Your destiny is in your hands, bhai. You can be me. Or nobody. Understand? SALIM Yes, Maman. Maman nods. MAMAN So, brother, go get Jamal. Salim is frozen for another few seconds, then turns and walks out of the door. Punnoose appears at the door. Maman nods to him and he slips off after Salim.", "INT. DORMITORY, ORPHANAGE. NIGHT. All the children are asleep apart from Jamal who is crouched underneath a couple of wash - basins. He is talking through a plate - sized hole in the crumbling masonry. Latika's eyes can be seen. JAMAL weddings, government things, big parties. If Maman says my voice is ready. Big money. LATIKA Enough for a room? JAMAL Easily. Maybe an apartment. LATIKA Really? JAMAL That's what Arvind said. On Harbour Road. You, me and Salim. The three musketeers. LATIKA Harbour Road! We can have ice cream from Babanji's. JAMAL Every day if we want. Salim appears at the door. Nods his head at Jamal. JAMAL -LRB- CONT'D. -RRB- It's my turn. LATIKA Good luck, Jamal. Latika's hand comes through the gap. Jamal takes it for a moment. Salim hisses at Jamal. He lets go of the hand and heads out.", "EXT. PATH. NIGHT. Salim and Jamal walk along the path, Jamal humming happily. Salim checks behind him, sees Punnoose following. JAMAL So, this is it, hey, bhai? The good life, here we come. SALIM -LRB- conversationally. -RRB- Athos. Jamal is suddenly alert. Slows JAMAL Porthos? Salim nods. Big smile. Puts a hand on Jamal's shoulder. SALIM When I say.", "INT. SHACK. NIGHT. Salim guides Jamal into the shack where Maman and the Villager are waiting. Maman smiles. Punnoose slips in behind Salim. MAMAN Jamal, hello. You have done well. It's time for you to - turn professional. JAMAL Really? MAMAN Sing me a song, yaar. How about Chalo Ri Murali, huh? My favourite. Jamal opens his mouth, then closes it again. Holds out his hand. JAMAL Fifty rupees. MAMAN What? JAMAL -LRB- shrugs. -RRB- I've turned professional. What can I do? Maman laughs. MAMAN Sala! He throws some notes at him.", "EXT. SHACK. NIGHT. Outside, a giggle. Latika is peering through a gap in the wall.", "INT. SHACK. NIGHT. Jamal begins to sing. Maman waits a while, then nods to Punnoose. Behind Jamal, Punnoose hands Salim the bottle of chloroform and the rag. Salim approaches the back of Jamal. Salim waits until he has finished the song. Raises his hand with the rag in it. Maman smiles, nods. Salim flings the contents of the bottle in Punnoose's face. Punnoose screams and stumbles back clutching his eyes, knocking over the table. SALIM Go! Salim and Jamal scramble for the door. The knocked - over candle catches the spilled chloroform and a curtain which whooshes up in flame. LATIKA Jamal! JAMAL Run!", "EXT. SHACK. NIGHT. They charge past the prone Arvind - a flash of bloodied bandages covering his eyes.", "EXT. HILLSIDE. NIGHT. Heavy, desperate breathing. Feet stumble on roots. Fall into holes. The three children are running. Branches smack into their faces. But they are so scared, nothing will stop them. Behind them, torches scour the undergrowth. Men shouting. They break out of the woods and are confronted with a train goods yard.", "EXT. GOODS YARD. NIGHT. They run over the tracks, between the trains, but the shouts are getting louder, the torches closer. A diesel engine is moving out of the station. Jamal, Latika and Salim sprint for the Guard's Van at the very back of the moving train. Punnoose is closest to them. Salim is fastest and first to jump the train. He holds out his hand. Jamal grabs it and is hauled in. Jamal holds his hand out to Latika. JAMAL Come on! Faster! She reaches out to him. Their hands almost touch. JAMAL -LRB- CONT'D. -RRB- Take it! Take it! I ca n't reach. Salim barges Jamal out of the way. Jamal stumbles back as Salim reaches his hand out to Latika, so he does n't see Latika's hand grasp Salim's, nor see their eyes lock onto each other, nor see Salim very deliberately let go of her hand. Latika stumbles. LATIKA Jamal! Jamal scrambles to the rail. The train gains more speed. Jamal climbs on to the top rung, makes to jump, but Salim flings him backward. Jamal tries to scramble to his feet again, but Salim restrains him. JAMAL Got to go back. We've got to go back. SALIM He'll kill us if we go back. Jamal! He was going to take your eyes out - with a bloody spoon! The train is speeding along. Jamal breaks free and stares back at Latika. SALIM -LRB- CONT'D. -RRB- She'll be alright. She always is. Latika stumbles again and stops running. They watch as Punnoose catches up with her and stops running. He smashes Latika to the ground.", "INT. STUDIO. NIGHT. PREM The question was, for two hundred and fifty thousand rupees : who wrote the famous song Chalo Ri Murali. I should warn you, Jamal : from this question on, if you get the answer wrong you lose everything. So. Are you sure? The life - lines are there. JAMAL Surdas. PREM Surdas. Apka final jawab? JAMAL Yes. PREM Computer - ji, A lock kiya - jaye. The lights dim, the music swells. Prem presses a button on his computer : looks him straight in the eyes for an age. PREM -LRB- CONT'D. -RRB- -LRB- simply. -RRB- Guess what? You're right. Applause, music, lights.", "INT. INSPECTOR'S OFFICE. DAY. The Inspector is eying Jamal, weighing it all up. JAMAL -LRB- shrugging. -RRB- Blind singers earn double. You know that. INSPECTOR And what happened to the girl? They blinded her too? JAMAL -LRB- shakes his head. -RRB- They had other plans. Though it took me a long, long time to find out.", "EXT. TRAIN. MORNING. Salim and Jamal are sitting on top of the train. Jamal is staring blankly down the track. SALIM Ar\u00e9, Jamal. Salim puts an arm around Jamal's shoulder. Jamal wipes the tears from his eyes, shakes his head furiously. Salim gets up. Holds out his hand. SALIM -LRB- CONT'D. -RRB- Come. JAMAL Where you going? SALIM First class, bhai. Where else?", "INT/ EXT. FIRST CLASS CARRIAGE. MORNING. The ancient train is huffing slowly up an incline. A middle class Indian couple with their three children are sitting at a table, their breakfast spread before them. Into this domestic scene, unseen by them comes Jamal. Upside down and still outside the train, he is clearly being dangled by his ankles from the train roof. He gives a few, silent directional signs to Salim who manoeuvres him across, dips his hand into the open window, snatches a chapatti and signals franticly to be hoisted up. The family continue to eat, unperturbed. Then Jamal appears again. This time one of the children spots him. Despite Jamal giving her a friendly wave, she yelps. The father of the group grabs Jamal's hand which has just snatched a samosa. There is a tussle, Salim holding onto Jamal's legs, the father holding onto Jamal's arms and Jamal in the middle, shouting. Salim is losing the battle and his footing. He stumbles and the pair of them fall from the train, rolling and tumbling down an embankment in slow - motion. Interspersed with the seemingly endless tumble are images of Jamal and Salim on top of different trains - huddled together against the freezing rain. - surfing the wind at the front of the train. - admiring the distant Himalaya. JAMAL -LRB- V.O. -RRB- We criss - crossed the country from Rajasthan to Calcutta. Every time we were thrown off we got back on again. This was our home for years. A home with wheels and a whistle. The final tumble as they crash onto flat ground.", "EXT. RAILWAY EMBANKMENT. DAY. Groggily, Jamal sits up and groans. Somehow in the tumble, he has been transformed into a twelve year - old. And Salim a strong fourteen year - old. Through the haze of pain and dust, Jamal sees something glinting in the distance - something impossibly beautiful. JAMAL Salim? Is this heaven? SALIM You're not dead, Jamal. Jamal clears his head. Sees Salim picking himself up from the ground. But the apparition is still there. JAMAL So what's that? SALIM Wow. They stare at the apparition. The unmistakable outline of the Taj Mahal rises from the horizon, pink in the morning sun. Nothing could be more beautiful. JAMAL Some hotel, huh?", "EXT. TAJ MAHAL. DAY. Jamal and Salim wander under the great dome of the Taj Mahal. Two tiny slum kids dwarfed by this massive monument to love. It is a moment of genuine wonderment for them. Then a tour guide bustles nearby, tourists flowing behind him. GUIDE there are five main elements to the Taj. The Darwaza, the main gateway, the Bageecha or garden, the Masjid or mosque, the Naqqar Khana, the rest house and the Rauza or mausoleum. If you would like to follow me, I will show you the ninety - nine names of Allah on Mumtaz's tomb. As before, please remove your shoes. Jamal follows the Guide and his entourage into the mausoleum. Salim meanwhile is studying the line of shoes. Tries a smart pair of women's court shoes, before slipping a foot into a nice, white sneaker. A smile crosses his face. His other foot quickly follows and he saunters away, all mock - innocence.", "EXT. TAJ MAHAL. DAY Jamal comes out of the mausoleum into the bright sunlight and looks around for Salim. No sign of him. Suddenly, a German couple approach. ADA Please, what time is the next tour? JAMAL Err - PETER - so much waiting around in this damned country. Jamal notices that he is standing next to a sign advertising guided tours of the Taj. JAMAL No, I - ADA - we're on a very tight schedule, you see, young man. Have to see the Red Fort this afternoon. Would it be possible to show us around now? Obviously we understand it would cost more for just the two of us. Peter waves a couple of thousand rupee notes at Jamal. His eyes widen. JAMAL But of course, Madam. Please follow me. Jamal stalks off. The Germans follow. Jamal stops before the monument. Points a confident arm at it. JAMAL -LRB- CONT'D. -RRB- This is. the Taj Mahal. A terrible pause as Peter and Ada stare at him. Clearly more is expected. He moves off at a pace. JAMAL -LRB- CONT'D. -RRB- The Taj Mahal was built by the Emperor Khurram for his wife Mumtaz who was maximum beautiful woman in the whole world. When she died, the Emperor decided to build this five star hotel for everyone who wanted to visit her tomb. but he died in - in fifteen eighty - seven, before any of the rooms were built. Or the lifts. The swimming pool, however, as you can see was completed on schedule in top class fashion. He waves confidently in the direction of the fountains. ADA It says nothing of this in the guide book. JAMAL With respect, Madam, the guide book is written by a bunch of lazy, good - for - nothing, Indian beggars. ADA Oh. JAMAL And this, Lady and Gentleman, is burial place of Mumtaz. ADA How did she die? JAMAL A road traffic accident. ADA Really? JAMAL Maximum pile - up. PETER -LRB- suspicious. -RRB- I thought she died in child - birth. JAMAL -LRB- nodding sagely. -RRB- Exactly, Sir. She was on the way to the hospital when it happened. Jamal moves on. Ada and Peter exchange a glance. ADA -LRB- shrugging. -RRB- You've seen the way they drive around here.", "EXT. TAJ MAHAL. DAY. Montage of Jamal authoritatively showing tourists around the Taj Mahal. JAMAL -LRB- V.O. -RRB- It was the best - paid job I've ever had. JAMAL This is the Princess Diana seat, Madam. Allow me. Jamal shows the tourist a battered postcard of Princess Diana, staring doe - eyed into the distance with the Taj behind. The tourist sits. Jamal adjusts her legs so that they match the postcard. Takes the photo. SALIM -LRB- O.S. -RRB- Tourist police! and abandons the woman with a polite bow, charging for safety as two Police Officers race towards him.", "EXT. TAJ MAHAL. DAY. Jamal stands a Tourist on a wall and positions his hands to create the optical illusion that he is dangling the Taj from his fingers. Takes a photo for the Tourist. Behind the Tourist, Salim and a boy called Shankar pick up the Tourist's shoes and saunter casually across the grass.", "EXT. ROADSIDE MARKET. AGRA. DAY. By the side of a busy market street Salim stands next to a row of stolen shoes. Sneakers, court shoes, sandals, high heels. he is busy bartering with a man over a pair whilst Jamal tries to shout up business. JAMAL Top - class fashion, bottom - class prices! Shoes for all! Shoes for all!", "EXT. BOYS CAMP, YAMUNA RIVER. DAY. Hectares of drying clothes by the side of the river. Spectacular squares of red, saffron, white. Not far away from the dhobi ghat, there is a makeshift slum - camp where Salim and a gang of children are sitting, smoking. Jamal joins them, hands over a wad of rupees to Salim. Salim counts the cash, hands half to Shankar and slaps Jamal so hard on the back that he nearly falls over. JAMAL -LRB- V.O. -RRB- And life was good.", "EXT. SLUM. DAY. Jamal gets out of a new Mercedes driven by an Indian Man. A middle - aged American couple also get out. Jamal points them down a lane which opens out on India's largest dhobi where hundreds of women are beating clothes on stone slabs. JAMAL This is the biggest dhobi ghat in the whole of India, Mister David. They say that every man in Uttar Pradesh is wearing a kurta that has been washed here at least one time. CLARK Is that so? That's amazing. Let's get a look at this, Adele. He gets out his video camera and wanders towards the dhobi ghat. Behind them a motor rickshaw pulls up. Salim, Shankar and a couple of the street kids from the Taj leap out. Within seconds, the Mercedes is up on bricks and the wheels are being removed. Salim takes a hacksaw to the Mercedes badge on the bonnet, whilst urging the others on. SALIM Ar\u00e9, sala! Formula One, Formula One! Pit - stop ka speed, Schumacher ka ishtyle The crowds in the lane barely notice as the car is stripped of all its parts. SALIM -LRB- CONT'D. -RRB- Go, go! A shout from the top of the lane and the boys scatter, bouncing the four wheels at speed down the lane. Jamal, the Indian driver and the two Americans return. They stop in front of the denuded car. CLARK Woah. What happened here? Suddenly the Indian driver is slapping Jamal ferociously around the head with one of his shoes. DRIVER I give you two tight slaps, mader chod! JAMAL I do n't know! I did n't do it, did I? Nothing to do with me. get off! But the beating continues, the driver kicking Jamal down onto the floor. The two Americans stare, uncertain what to do. ADELE Do something, Clark. CLARK Well, I - I dunno, I - Finally Clark intervenes, pulling the driver off Jamal. CLARK -LRB- CONT'D. -RRB- Okay, okay, just cool it. You're insured, are n't you? Jesus Christ. Jamal sits up. He is bleeding from his nose and mouth. CLARK -LRB- CONT'D. -RRB- You okay? JAMAL You wanted to see the ` real India', Mister David. Here it is. ADELE Well, here's a bit of the real America, too, son. Adele pulls out his wallet and rummages for dollars.", "EXT. YAMUNA RIVER. NIGHT. A battered Jamal limps along the river bank towards the Taj. He stops, bathes his swollen face in the river. Then looks up. Strange lights appear to emanate from the base of the monument. And then strange sounds.", "EXT. TAJ MAHAL. NIGHT. Jamal climbs a crumbling wall and is confronted with an opera taking place right under the dome. Gluck's Orfeo ed Euridice. Hundreds of India's smartest professionals are watching from banked seating on a scaffolding frame.", "EXT. STANDS. NIGHT. Jamal and a couple of street kids slip under the scaffolding supporting the banked seats. The street kids are trying to reach the hand - bags of the women above them. BOY -LRB- hissing. -RRB- Oi, Jamal! There's a woman with no panties on over here. Jamal reaches up and easily lifts a wallet from a man's trouser pocket. On stage, the actors start singing. Jamal seems to have forgotten the wallet and stares, mesmerised, at the stage. WOMAN Why do n't you put it back and listen to the music? Jamal starts, makes to run, but the woman who spoke holds out a cigarette. A Canadian back - packer is sitting, staring at the singers. WOMAN -LRB- CONT'D. -RRB- It's called Orfeo. Orpheus and Eurydice. Orpheus - that one there - is looking for his lover, Eurydice. She died, but he ca n't live without her. She hands him a cigarette. He puts the wallet back. She smiles at him and they both turn to the stage. WOMAN -LRB- CONT'D. -RRB- The pain is so bad that he goes to the underworld - the place we go when we die - to try to get her back. JAMAL You ca n't do that. Can you? WOMAN -LRB- shrugging. -RRB- You can in opera. JAMAL Does he find her? WOMAN Watch and see. Jamal watches as Orpheus sings one of the most beautiful pieces of music a human is likely to hear. Tears are running down Jamal's cheeks.", "EXT. YAMUNA RIVER. NIGHT. Salim, Shankar, Jamal and the Taj Gang are gathered around a campfire. All of them wear extraordinary foot - wear of one form or another, from elaborate high heels to walking boots five sizes too large. A home - made hooka pipe is being passed around the fire. The eyes of the children have long since stopped focussing. Salim is sporting a Mercedes Benz badge on a chain around his neck. Behind him, Jamal appears, his face swollen. He takes off his fake Guide's Badge and throws it in the fire. SALIM Woah! What are you - Jamal? JAMAL We have to go, Salim. SALIM Go? Go where? JAMAL Bombay. SALIM Do n't be stupid. We're making good money here. JAMAL We should have gone a long time ago. Salim turns to Shankar with sudden understanding. SALIM Oh, God. Baby brother's in love. With a flat - chested hijra. JAMAL Latika was one of us. A musketeer. SALIM A musketeer. Grow up, Jamal. Look, how was I to know they'd beat you up. Here, you can have some of the cash. Come on. JAMAL I've got cash. He rips out a wad of dollar bills from his pocket. JAMAL -LRB- CONT'D. -RRB- Dollars. SALIM How much? JAMAL Enough. I'm getting my stuff. He walks off. SALIM Wait! Jamal! Ah, shit! He gets up, kicks the fire in rage and stomps after Jamal.", "INT. STUDIO. NIGHT. Prem leans back in his chair. PREM So, my friend : ready for another question. JAMAL Yes. Prem presses his computer. The lights dim again, the music comes up. PREM For a straight one million rupees, Ladies and Gentlemen. On an American One Hundred Dollar Bill there is a portrait of which American statesman? Is it A. -RRB-, George Washington, B. -RRB- Franklin Roosevelt, C. -RRB- Benjamin Franklin, D. -RRB- Abraham Lincoln? Silence from Jamal. PREM -LRB- CONT'D. -RRB- Pay or play, Jamal? All you have to do is stop now and you walk away with a cool quarter of a million rupees. Decide to play, get the answer wrong and you walk away with absolutely nothing. But, get the answer right and you win a million rupees. So. You decide. Pay or play? A long pause.", "INT. GALLERY. NIGHT. DIRECTOR Okay, he has n't got a clue. This is going to be a walk - away. Stand by. VISION MIXER No, he's going to play with him, first.", "INT. STUDIO. NIGHT. PREM Get a lot of hundred dollar bills in your line of work, Jamal? JAMAL The minimum tip for my services. Laughter from the audience. PREM Now I know why my cell phone bill is so high. they pay the chi - wallah in hundred dollar bills! JAMAL It's C. Benjamin Franklin. A gasp from the audience. Prem is caught off - guard. PREM Woah! We have n't locked the computer, man. You're going to play? JAMAL I think I just have. Have n't I? PREM You certainly have. C. Right? JAMAL Right. C. PREM Not confusing your Franklins? Benjamin for Roosevelt? JAMAL I've never heard of Roosevelt Franklin. PREM There's a million rupees at stake and he's never heard of Roosevelt Franklin. I ca n't bear to look. He gives this one to the audience who titter on cue. Jamal looks confused. PREM -LRB- CONT'D. -RRB- No, no. Do n't you worry, Jamal. You were asked which statesman is depicted on a hundred dollar bill. You said C. Benjamin Franklin. Ladies and Gentlemen. He presses the computer, pretends to ruminate for a while with his finger pressed to his lips. PREM -LRB- CONT'D. -RRB- Jamal Malik - you chose to play not pay. I'm afraid you no longer have two hundred and fifty thousand rupees. Prem leans over and tears up the cheque. There is a sigh of disappointment from the audience, a look of confusion on Jamal's face. PREM -LRB- CONT'D. -RRB- you in fact have one million rupees! Wild applause from the audience. Jamal allows himself a genuine smile.", "INT. INSPECTOR'S OFFICE. DAY. The Inspector pulls out a note from his wallet. Glances at it. INSPECTOR Who's on the thousand rupee note? JAMAL I do n't know. He waves the note at him. INSPECTOR It's Gandhi! JAMAL I've heard of him. The Inspector kicks his chair. INSPECTOR Do n't get clever or I'll get the electricity out again. JAMAL They did n't ask me that question. I do n't know why. Ask them. The Inspector stares hard at Jamal. INSPECTOR Funny, you do n't seem that interested in money. Then, Constable Srinivas stomps back into the office, sweat pouring from him. CONSTABLE SRINIVAS Platform Seventeen - Has to consult his notebook. CONSTABLE SRINIVAS -LRB- CONT'D. -RRB- A statue of Frederick Stevens, architect and builder of Victoria Terminus in - INSPECTOR OF POLICE - yes, yes, Srinivas. The hundred dollar bill.", "EXT. BOMBAY. DAY. From a thousand feet in the sky, looking down on the limitless megatropolis of Mumbai. Half - built sky - scrapers, slums, factories, roads, trains. JAMAL -LRB- V.O. -RRB- Bombay had turned into Mumbai. We descend, down until the lines of ants become people. JAMAL -LRB- V.O. ; CONT'D. -RRB- The orphanage had gone, the slum had gone, the people. all gone. And everywhere was building, building, building. Descending even further, we pick out a construction site and then Jamal.", "EXT. CONSTRUCTION SITE. DAY. . who is staring through a wire fence at the construction site. JAMAL -LRB- V.O. -RRB- But I knew she was here. Somewhere she was here. He turns away, then something catches his eye. Underneath all the scraps of flyers and posters on a broken wall is a corner of something that Jamal recognises. He tears back a poster. Underneath, faded but recognisable is one of their beanbag graffiti advertisements.", "EXT. SLUM. NIGHT. Jamal asks a group of stall - holders on the slum main street. They shrug, are n't interested. The camera pulls up and up until Jamal is nothing but a dot wandering the maze of lanes, railways and highways, one among endless millions of people. JAMAL -LRB- V.O. -RRB- Evenings, I searched. Days, I worked.", "EXT. HOTEL. DAY. Jamal wanders up to the rickshaw drivers parked outside the hotel. He stops and asks a question. The drivers shake their heads. Jamal continues up the steps towards a door, exhausted face and grubby clothes walking straight towards camera. He goes through the door and immediately.", "INT. HOTEL. FOYER. DAY. . is, without breaking step in a slightly grubby white uniform. He walks across the echoing, marble floor of a struggling four - star hotel, goes through double doors.", "INT. HOTEL CORRIDOR. DAY. into a corridor that is devoid of carpet, paint - anything except a phone on the bare wall and a stool. The phone is ringing. Jamal sits on the stool and answers the phone. JAMAL Room service, good afternoon? Yes, sir. Two chicken burgers, two fries, one cocoa - cola and one mango lassi and a large bottle of mineral water. Bisleri or Himalayan Spring, Sir? Certainly, Sir. That will be with you in fifteen minutes, Sir. Thank you. Have a nice day. He hangs up and goes through another set of doors.", "INT. HOTEL KITCHENS. DAY. to a cramped kitchen with definite hygiene problems. The cooks are playing carom on the table while under it Salim is dozing. JAMAL Two chicken burgers, coke, mango lassi and a bottle of Bisleri. Dozily, Salim gets up and takes a look behind one of the fridges. He chases out a chicken with a desultory kick and sorts through some empty mineral water bottles until he finds a Bisleri bottle. Salim fills the bottle of mineral water from the tap and begins delicately re - sealing the tamper - proof lid with super - glue. Jamal collects cutlery and starts laying out a tray. JAMAL -LRB- CONT'D. -RRB- I'm going to Chowpatti again, okay? Want to come? SALIM For God's sake. You got some disease? You force me back to this shit - hole, we leave our friends, a good life, loads of money - for this. Is n't that enough? JAMAL We came back to find her. SALIM No, you did, Jamal, not me. Me, I do n't give a shit about her. Plenty of pussy in Bombay for Salim. Oh, yes, sir! You should come down the Cages on Saturday night instead of searching for your lost love. JAMAL I'm going to Chowpatti. SALIM -LRB- impersonating Ram. -RRB- `` I'm going to Chowpatti''. There are nineteen million people in this city, Jamal. Forget her. She's history. JAMAL -LRB- V.O. -RRB- But she was n't.", "EXT. BANDRA BANDSTAND. DAY. Jamal is dodging the traffic at a busy junction. He moves around the beggars who are working the cars. Then he hears singing. He looks around, suddenly panicked. It is a siren song drawing him across the road, not even noticing that he is narrowly run down by a couple of cars, to a traffic island underneath a flyover. He turns a corner and there is the singer, leaning up against one of the struts of the flyover. Arvind. Older now, just like Jamal, a fourteen year - old boy. But eye - less. Jamal freezes. He approaches Arvind and waits until he has finished singing. Despite his eyeless sockets, Arvind appears to know somebody is there. He turns and bows low, putting his hands together. ARVIND Namaste, Sahib. Any kindness you give will be repaid in heaven many times. Jamal gets a couple of notes out of his pocket and puts them into Arvind's outstretched hand. He feels the notes with his fingers. ARVIND -LRB- CONT'D. -RRB- A fifty. And a hundred! Blessings upon you, Sahib. JAMAL How do you know? ARVIND There are many ways of seeing. Arvind puts his hands together and bows deep again. Then, Jamal takes his shoe off and gets out a hundred dollar bill. JAMAL Here. Jamal crouches down and puts the bill into Arvind's hand. His fingers feel it. He sniffs it. ARVIND Dollars. But how many? JAMAL One hundred. ARVIND Now you are playing with me, Sahib. JAMAL No. I swear. ARVIND What is on it? The pictures. Tell me. JAMAL A building. With a clock on it. Trees behind it. ARVIND The other side. Turn it over. JAMAL A man - it does n't say his name. He is sort of bald, but has long hair on the sides. ARVIND -LRB- smiling. -RRB- Benjamin Franklin. My God, my God. Thank you, Sahib. You were generous the first time. But this. He stops. Suspects. ARVIND -LRB- CONT'D. -RRB- And without even a song? A long pause. Arvind keeps hold of Jamal's arm. ARVIND -LRB- CONT'D. -RRB- So you are rich, now, are you, Jamal? I am happy for you. JAMAL I am so sorry, Arvind. ARVIND You got away. I did n't. That is all. No, no tears. Tears mock me all the more. JAMAL Arvind, I am looking for - ARVIND - how's your voice, Jamal? JAMAL I do n't know. I have n't sung since - since then. Arvind, I - ARVIND - and your eyes? JAMAL -LRB- surprised. -RRB- My eyes? My eyes are fine. ARVIND Then stay away, chutiy\u00e9, and count your blessings every morning you open them and see the sun rising. You owe Maman. He does n't forget. JAMAL I owe Latika. Arvind shakes his head angrily. JAMAL -LRB- CONT'D. -RRB- Please. Is she alive? Arvind, is she alive? ARVIND Alive? Oh, she's alive alright. It's your life, Jamal. Pila Street. They call her Cherry, now. JAMAL Thank you. Jamal heads off through the traffic. Arvind shouts after him. ARVIND I will sing at your funeral, yaar.", "EXT. PILA STREET. NIGHT. Dark, crowded streets. Gangs of women stand outside the doorways or lean out of upstairs windows. They are garishly - dressed prostitutes varying in age from 13 to 60. Men wander past, eying the possibilities, exchanging lewd comments with them. Among the hordes on the pavement are Jamal and Salim. They pass doorway after doorway of narrow rooms where prostitutes wait for customers. Jamal and Salim stop at each group of women, Salim taking the lead, clearly asking them something, as the women either shrug or offer them something lewd - judging by the laughter that follows. But one woman in a narrow doorway points down the street. Jamal has to drag a reluctant Salim away from the group.", "INT. BROTHEL. NIGHT. They go into one of the tiny houses. Loud Filmi music comes from upstairs. They are confronted by a woman in her fifties watching tv. She is less than interested. SALIM I'm looking for Cherry. WOMAN No, kid. Not available. Plenty of others. Take a look. She indicates curtained cubicles behind him. SALIM I'm Latika's brother. The Woman looks at him properly for the first time. WOMAN She's still not on the menu. Choose someone else or piss off. Then, Jamal pulls out some rupee notes. JAMAL Just two minutes to talk to her. She takes the money, counts it. WOMAN Two minutes. She nods upwards. Salim and Jamal head up the dark, tiny staircase. The Woman picks up the phone on her desk.", "INT. LANDING. NIGHT. On the tiny landing, Salim and Jamal pull back a curtain to reveal a humping couple. They move on, past more women lying on their beds or blankly having sex, not in the least perturbed to be interrupted. They reach the end of the landing. From the other side of the door comes the filmi music. Jamal puts his eye to one of the gaps in the slatted door. Through it he can see glimpses of a girl dancing to the music. Latika ; though not the rag - picker of before. Now fifteen, she is a beautiful young woman and dressed in a revealing, turquoise, silk sari. SALIM Is it her or not? He shoves Jamal out of the way and watches. SALIM -LRB- CONT'D. -RRB- Shit, she's sexy, man. Then the music stops, an effeminate man steps into the limited frame Salim can see and snaps a stick down hard on Latika's hand. DANCE TEACHER Smile! Flow, flow! You entice with the hands not make chapattis, you gawaar. Again. The man starts the music again and Latika's hands flow elegantly around her head. DANCE TEACHER -LRB- CONT'D. -RRB- Lift your feet, you lump. Stop, stop! The stick is raised to hit her but Jamal opens the door.", "INT. BROTHEL. NIGHT. She can barely believe her eyes. LATIKA Jamal? The Dance Teacher turns. DANCE TEACHER What the hell do you want? He switches off the music. JAMAL Come. Quick. But Latika remains fixed. DANCE TEACHER You silly little boys. Get out now while you can. JAMAL Come with us. Latika runs to Jamal. But she freezes as she looks at the doorway. Maman, Punnoose and the Woman from downstairs stand there. The skin around Punnoose's eye bears the blisters from the chloroform burn years ago. MAMAN Look who we have here, Punnoose. Hello again, Jamal. Salim. Never forget a face. Especially one that I own. PUNNOOSE Shall I take them to the marshes? MAMAN Whatever you like. Have fun. Just make sure that you dispose of them properly afterwards. No traces, thank you. He turns to Jamal. MAMAN -LRB- CONT'D. -RRB- You really thought you could just walk in and take my prize away? Have you any idea how much this little virgin is worth, bhen chod? He fingers Latika's hair. MAMAN -LRB- CONT'D. -RRB- Get them out of here. Punnoose and the Muscle walk towards Jamal. Maman turns to the Dance Teacher as they grab his arms. MAMAN -LRB- CONT'D. -RRB- Please continue, Master - ji. The Dance Teacher puts the music back on. SALIM No. Suddenly, Salim is holding a pistol. SALIM -LRB- CONT'D. -RRB- Leave him. Get over there. Punnoose and the Muscle slowly release Jamal and join Maman. MAMAN Let's not be foolish, Salim. Heavy, are n't they? Salim straightens up his gun arm. SALIM Money. MAMAN You can have money. Here. Maman gets out his wallet and throws all the money in it on the floor. MAMAN -LRB- CONT'D. -RRB- Take it. Go. Disappear with your friend and we'll forget all about this. Okay? Salim collects up the money. SALIM Maman never forgets. Is n't that right? MAMAN Oh, Maman can make an exception. Salim walks over to the music, turns it up. Picks up a cushion from the bed and walks right up to Maman. SALIM Ca n't take that risk, Maman. Sorry. He wraps the cushion around the gun and pulls the trigger. Or tries to. Nothing happens. There is a frozen moment as they watch him fail to shoot. Everybody watches with surreal interest as Salim fumbles with the pistol. Eventually he looks up, giggles stupidly. SALIM -LRB- CONT'D. -RRB- Safety catch. Shrugs apologetically and shoots. Nobody is more surprised than Maman who crumples onto the floor. Latika starts desperately gathering up the notes on the floor, grabs Maman's wallet. Jamal just stands. SALIM -LRB- CONT'D. -RRB- Come on. They run out of the room and down the stairs as Maman dies on the floor in front of his frozen colleagues.", "EXT. CHOWPATTY BEACH. DUSK. Children are splashing in the sea, flying kites, digging sand, laughing. Salim, Latika and Jamal are crouched on the shore watching the sun sink into the sea. Latika is going through Maman's wallet, Salim is fingering the pistol, admiringly. Jamal is staring out to sea. Each in their own world, yet sharing swigs from a bottle of Johnny Walker. LATIKA Shit, there's thousands here. SALIM We should be celebrating. JAMAL You just killed somebody. SALIM He was going to kill us. JAMAL Where did you get the gun? SALIM Bought it. Now, I'm going to have to throw this beauty in the sea. LATIKA You did n't need to kill him. SALIM What? Typical. I save your life and you're on at me. All you ever do is mess us up. Whenever you're around - JAMAL - shut up, ca n't you? Just shut up. Silence. SALIM Why ca n't you just be happy, huh? JAMAL Happy? SALIM You got what you wanted, did n't you? So, let's celebrate. LATIKA Yeah. Let's celebrate. She takes a long swig from the bottle. LATIKA -LRB- CONT'D. -RRB- While we can. She nudges Jamal and holds the bottle out to him. Smiles at him. He smiles back, shakes the black dog from his head and takes a long, long drink. Latika and Salim cheer.", "EXT. TULIP STAR. NIGHT. Latika, Salim and Jamal bend back a bit of the wire mesh fence that protects the deserted hotel. Crawl in.", "INT. TULIP STAR. LOBBY. NIGHT. A very wobbly Latika, Salim and Jamal walk up the frozen escalators of the empty hotel, lit only by security lights. Kick through the odd pile of rubbish and stacked - up chairs. Go to the dusty reception desk. JAMAL Service! SALIM Reception! JAMAL We want a room, boy. Executive Class with smoking. Third floor with balcony. LATIKA Sea - facing, yaar. SALIM Have the bags brought up. And they scoot off, giggling into the dark.", "INT. TULIP STAR. KITCHENS. NIGHT. Jamal and Latika wander the vast, empty kitchens. Jamal searches the empty chillers and cabinets. Then, realises that he is alone. JAMAL Latika? Salim? Where are they? Suddenly, LATIKA Room service! She comes shooting out of the darkness across the kitchen floor riding a trolley with Salim pushing her at top speed. Jamal has to skid out of the way. He grabs another trolley and glides off in pursuit.", "INT. TULIP STAR. CORRIDOR. NIGHT. The three stand by a mirror and play with their reflections.", "INT. TULIP STAR. HOTEL LOBBY. LATER. On top of the metal preparation counters, Salim and Jamal are fencing : Jamal with a fish slice and Salim with a large spoon.", "INT. HOTEL ROOM. NIGHT. An empty, dusty hotel suite. Jamal is on the phone. JAMAL 307 here. I want a bottle of Johnny Walker Red Label, beer, wine - LATIKA - chicken. JAMAL Ah! Chicken. Jamal closes his eyes at the wonderful thought. JAMAL -LRB- CONT'D. -RRB- What kind of chicken? LATIKA -LRB- also dreaming. -RRB- Tikka Masala. With roti - SALIM Naan, chutney, dal - LATIKA - aloo gobi, rice - She stops. Change of mind. LATIKA -LRB- CONT'D. -RRB- Pop Tarts! JAMAL Hold the line, chutiye. Pop Tarts? LATIKA On the tv. The commercial. Everybody's happy when they have Pop Tarts. JAMAL Exactly! A bucket of Pop Tarts, chutiye. Jamal slams down the phone.", "INT. HOTEL ROOM. LATER. Latika is clearly in the shower. Jamal wanders in carrying an old pair of lunghi. Shouts through the door. JAMAL Found some lunghi! LATIKA -LRB- V.O. -RRB- Stay there. Look away. The shower stops. JAMAL Atcha, atcha. LATIKA -LRB- V.O. -RRB- I'll know if you're looking. JAMAL I'm not! With a towel around her, Latika comes to the doorway where Jamal is holding out a the lunghi with his eyes tight shut. JAMAL -LRB- CONT'D. -RRB- Where's Salim? LATIKA Dunno. She watches this innocent a second with true fondness. LATIKA -LRB- CONT'D. -RRB- You're a sweet boy, Jamal. She takes the lunghi from his outstretched hand and disappears into the bathroom, slamming the door with a giggle.", "EXT. MUMBAI SLUM STREET. NIGHT. Salim wanders the crowded streets of a slum. He stops uncertainly at a doorway where a group of men are lolling, smoking. Plucks up his courage. SALIM I'm looking for Javed - bhai. MAN Ja, mada chod. He's not looking for you. Ja! SALIM I need to see him. The group of men stir, irritated now. Salim begins to back away, then stops. Pulls the gun from behind his back. SALIM -LRB- CONT'D. -RRB- I killed Maman. I'll kill you too. Easy. The group are frozen. JAVED You killed him? Javed is standing in the doorway. JAVED -LRB- CONT'D. -RRB- My enemy's enemy is my friend, no? So, come in, friend.", "INT. HOTEL ROOM. LATER. Jamal and Latika lie on the bed, drunk, though still coherent. Latika is dressed in the Bell - Boy's jacket and the old lunghi. LATIKA Maman's gang will hunt us. You know that? JAMAL I do n't care. LATIKA Me neither. They burst into stupid laughter. The laughter subsides. JAMAL That dance you were doing. In Pila Street. Show me. Latika rolls over and switches off the light. Rolls back. In the half light, her hands begin to move for Jamal, the elegant, alluring hand movements of the bar - girl dancers. Jamal stares, mesmerised. LATIKA You came back for me. JAMAL Of course. LATIKA I thought you'd forgotten. AMIR I never forgot. Not for one day. I knew I'd find you in the end. It's our destiny. LATIKA Destiny. Yes. Latika stops her hands. They stare at each other, their faces inches away from each other. Latika strokes Jamal's face. LATIKA -LRB- CONT'D. -RRB- Thank you. And face to face, they slowly fall asleep.", "INT. HOTEL ROOM. LATER. SALIM Hey. Jamal opens his eyes. Salim is standing over them, swaying with alcohol. JAMAL Salim? He puts his hand out to Latika. SALIM Come. JAMAL No. Salim. Bhai, you've had a lot to drink. Jamal tries to get up, but Salim's hand is round his throat and pushes him down on the bed. SALIM I am the elder. And I am the boss. For once, you do as I say. JAMAL No. Salim pulls Latika to her feet. SALIM I saved your bloody life, did n't I? LATIKA Salim, please - SALIM - chup, sali. As he turns, pulling a protesting Latika, Jamal leaps on him. The two brothers go down fighting, but of course it is Salim who comes up on top. Latika launches herself at Salim, but he smashes her away, almost delighted that she has joined in. He drags Jamal to the door, laughing.", "INT. HOTEL CORRIDOR. NIGHT. Salim throws him out into the corridor, slams the door. SALIM I am Number One now! JAMAL Salim, no, no! SALIM Get yourself a room, bhai. Salim slams the door. Jamal gets up, bangs on the door, keeps on banging until the door opens and Salim stands there with the pistol pointing straight at Jamal's head. SALIM -LRB- CONT'D. -RRB- The man with the Colt 45 says chup. He shoves Jamal hard down the corridor, the gun pointed at him all the while. JAMAL Salim. Salim nods towards the fire escape door. SALIM Now go. Or Gunmaster G - 9 will shoot you right between the eyes. Boom. Do n't think he wo n't. You have five seconds. One, two, three, four - Salim cocks the pistol. Jamal screws up his eyes for the inevitable. But Salim shoves him out with a roar and slams the door. Jamal bangs on the door. JAMAL -LRB- O.S. -RRB- Salim. Salim walks slowly back down the corridor as Jamal bangs and bangs on the door. Down the hall, Salim's door shuts.", "INT. INSPECTOR'S OFFICE. DAY. The Inspector is staring hard at Jamal. Srinivas is desperately trying to get his attention. CONSTABLE SRINIVAS Sir, sir! INSPECTOR -LRB- eventually. -RRB- Enlighten us Constable. CONSTABLE SRINIVAS Accessory to murder, Sir. The Inspector puts his hands in the air, palms up. Simple. INSPECTOR Only the finest minds in the Mumbai Police Force. Untroubled by irony, Srinivas looks extremely pleased. INSPECTOR -LRB- CONT'D. -RRB- Go check the files, Constable. Srinivas goes out. INSPECTOR -LRB- CONT'D. -RRB- You puzzle me, Slumdog. Admitting murder to avoid a charge of fraud is not exactly clever thinking. Now, why would you do that? Jamal shrugs. JAMAL When somebody asks me a question, I tell them the answer.", "EXT. TULIP STAR. MORNING. At the gate, a Security Guard is sitting in his chair. JAMAL Where are they? The Guard grunts. JAMAL -LRB- CONT'D. -RRB- Where did they go? A more impatient grunt from the Guard. He stands up, walks towards Jamal. JAMAL -LRB- CONT'D. -RRB- Please, Sir. Which way? SECURITY GUARD I do n't know and I do n't care. The Guard raises his stick and gives him a roar. Jamal backs away onto the street. The Guard slams the gate shut. Jamal looks despairingly up and down the street at the teeming traffic, the crowds. PREM -LRB- V.O. -RRB- Ready for another question. JAMAL -LRB- V.O. -RRB- Yes. I'm ready.", "INT. STUDIO. NIGHT. We are back in the Studio. PREM For two and a half million rupees. Ladies and Gentlemen. Cambridge Circus is in which UK City. Is it A. -RRB- Oxford, B. -RRB- Leeds, C. -RRB- Cambridge, D. -RRB- London. Jamal smiles. PREM -LRB- CONT'D. -RRB- He's smiling. Why does that worry me?", "EXT. MUMBAI. DAY. Leaden skies. Torrential rain is hammering on the tin roofs of the slum.", "INT. SHACK. DAY. Eighteen year - old Jamal's eyes open. Now with the beginnings of a beard and moustache, Jamal wakes in a tiny shack just big enough for a mattress on the floor. He pulls on a shirt, lifts the mattress and takes out his trousers which have been pressing there all night, puts them over his shoulder, picks up his shoes and goes down a ladder.", "INT. SHACK. DAY. He descends into a room and two feet of water that is eddying around the ground floor of the shack. Wades out of the door into the narrow lane of the slum.", "EXT. SLUM. DAY. Jamal nods hello to a number of neighbours, also bare - legged, also with their shoes in hand. Together, they wade to higher ground, put on their trousers and shoes and trudge up to the main road.", "INT. CALL CENTRE. NIGHT. Ultra - modern, glass - windowed office. The words Cultural Studies are written on the white board. Jamal walks in with a tray of glasses of chi. He puts a glass down on the young, hip, Teacher's desk and heads out again. TEACHER Okay, guys, it's been a big week in UK. Kat is back. He holds up a copy of Radio Times showing Kat from East Enders smiling at them. A collective groan from the Trainees. BARDI She's already back. TEACHER Bardi. Jamal? JAMAL Oh. Well. She did come back, then she went away when Alfie split up with her and now she's back again. But it looks as if Alfie still fancies Mo after all, so - TEACHER - thank you, Jamal. Keep up, Bardi. The chi - wallah knows more than you. Bardi glares at Jamal. Jamal shrugs apologetically and goes out. TEACHER -LRB- CONT'D. -RRB- Okay, it's been super - duper hot for UK this week, so there'll be a lot of chat about that - they love their weather - and there's the festival in Edinburgh - Edinburgh? He points at a young woman Trainee. NASREEN Scotland. Kilts, castles, err, haggis? Porridge, the Highlands, mountains. Ben - Ben Nevis? The Teacher points at another Trainee. TRAINEE 2 Detective Taggart. Whisky, Sean Connery! TEACHER And lochs. Their word for lakes. Good. It's also double bonus time for an upgrade to the ` friends and family' package this week, so remember to push for an upgrade. EVERYONE Every Call! Jamal walks out, turns a corner.", "INT. CALL CENTRE. UK FLOOR. NIGHT. We are confronted with a room you could swing a Boeing in. Rows and rows of Operators in tiny booths stretch into the distance. On the walls are pictures of London, Tony Blair, red telephone boxes, the Yorkshire Dales, the Highlands - a snapshot of tourist Britain. Huge posters of soap stars and celebrities adorn the rest of the walls. Slogans hang from the ceiling. `` When the sun comes up, you'd better be running'', `` you snooze, you lose'', `` Upgrade for a better, faster life.'' `` Every call is a new opportunity''. Each section of the room has a banner with a British city's name on it and various mock sign - posts for the different aisles. A Manager under the banner `` Bradford'', is standing over an Operator, listening in on a call. The Manager leans over and presses a key. MANAGER If they want an upgrade, a new tariff or we're stealing them from the other networks, you take the call. Anything else - He mimes cutting his throat. MANAGER -LRB- CONT'D. -RRB- No time - wasters on Team Bradford, kid. Leave that to the homosexuals on Tunbridge Wells. Jamal stops by him. The Manager takes a glass of tea from Jamal. MANAGER -LRB- CONT'D. -RRB- Where've you been? Dave on Cornmarket's virtually lost his voice, there's two on Ilkley Moor who've had their hands up for hours. Come on, move it! Jamal hurries down the aisle signposted `` Cornmarket'', gets to a male trainee and hands him a tea. Dave glances around to check nobody's looking and slips off his head - set. DAVE Two minutes, Jamal. I'm on `` Millionaire'' duty. JAMAL Rajneesh. DAVE It's my turn, Jamal. I've had my pee breaks. Please. If he comes just keep your head down and pretend you're doing an upgrade on the - JAMAL - ` friends and family'. I know. Jamal still looks unwilling. JAMAL -LRB- CONT'D. -RRB- Two minutes. Dave heads off towards a Rest and Recreation room, where a big plasma screen on the wall is showing `` Who Wants To Be A Millionaire. `` Jamal grabs the jacket from the back of Dave's chair, puts the head - set on and hunches over the booth, just another Operative at work. We become aware that every operator down the Cornmarket aisle - and quite a few other aisles besides - is staring in the direction of the Rest and Recreation Room.", "INT. REST AND RECREATION ROOM. NIGHT. Dave is watching the screen. PREM if you want a chance to be a contestant on Who Wants To Be A Millionaire, dial the number now. Dave dives for the doorway and waves.", "INT. CALL CENTRE. UK FLOOR. NIGHT. Suddenly all the operators are dialling. Almost simultaneously, twenty or so voices say. OPERATORS I'd like to be a contestant on Who Wants to be a Millionaire. Most of the Operators - including the man next to Jamal - suddenly lose their tension. OPERATOR Bloody bastard. I never get it. JAMAL You have to dial when Prem says `` if''. `` If you want the chance to be a contestant on Who Wants To Be A Millionaire.'' That's when they open the lines. The Operator looks at him. Jamal shrugs. JAMAL -LRB- CONT'D. -RRB- That's what Anjum in Technical says. He put the system in. OPERATOR So why do n't you? WOMAN -LRB- V.O. -RRB- Hello? Hello? Have I been transferred again, for God's sake? Jamal freezes with fear. The head - set speaks again with its broad Scottish accent. WOMAN -LRB- V.O. ; CONT'D. -RRB- Hello? Jesus, God, will somebody talk to me? JAMAL Hello, Mrs. He stares at the computer. JAMAL -LRB- CONT'D. -RRB- Mackintosh from King Gussie. WOMAN -LRB- V.O. -RRB- -LRB- weary. -RRB- It's Kingussie, love. Pronounced Kinoosie. JAMAL Kinoosie? WOMAN -LRB- V.O. -RRB- So where are you from? Abroad, I bet. China or somewhere. What good is - JAMAL - just down the road from your house, Mrs Mackintosh. Next to the loch. WOMAN -LRB- V.O. -RRB- -LRB- suspicious. -RRB- Oh aye? Which loch? Jamal searches desperately around, spots a picture of Big Ben. JAMAL Loch Big - Loch Ben. Next door to Detective Taggart's flat. WOMAN -LRB- V.O. -RRB- Loch Ben? Och, no, hen, that's one of the wee ones up in the Highlands. You're all the way up there? But I bet it rains, eh, hen? JAMAL Indeed yes, Mrs Mackintosh. I have to wade through a metre of water every morning. WOMAN -LRB- V.O. -RRB- No! JAMAL Yes, yes, Mrs Mackintosh. In my kilt. WOMAN -LRB- V.O. -RRB- Och, no, hen. Jamal puts his feet on the desk. JAMAL It's alright once I've had my porridge, my haggis and a few Scotch whiskies - and the monsoon's nearly over, so - WOMAN -LRB- V.O. -RRB- - and what monsoon would that be? I'd like to speak to your supervisor, son. JAMAL I do n't think that's a good idea. He is a very important man, Mrs Mackintosh - WOMAN -LRB- V.O. -RRB- - get me the supervisor on this line now - JAMAL - and he does n't like bloody time wasters. Jamal panics, presses the button he saw the Manager press earlier. The screen goes blank, then reboots itself. Jamal looks around. Where the hell is Dave? On the screen, Jamal is faced with the question : `` what name do you require?'' He looks around again, and then with one finger types in the word `` Latika''. He presses enter. Hundred upon hundred of Latikas with their surnames and phone numbers scroll down the page. He erases her name and enters the name Salim K. Malik. Presses enter. Fifteen numbers come up. He stares at the numbers for a long time, then types it into his computer and presses dial. MAN -LRB- V.O. -RRB- Yeah? JAMAL Salim? MAN -LRB- V.O. -RRB- Who wants to know? Do you know what bloody time it is? Clearly not Jamal's brother. Jamal cuts the line. Dials the next number. MAN -LRB- V.O. ; CONT'D. -RRB- Huh. Hello? Clearly not his Salim. He cuts the line. Dials again. SALIM -LRB- V.O. -RRB- Hello? Hello? Who is this? But Jamal ca n't speak. SALIM -LRB- V.O. ; CONT'D. -RRB- Hey. Is someone screwing with me? Silence. SALIM -LRB- V.O. ; CONT'D. -RRB- Who is this? JAMAL I am calling from XL 5 Communications Sir. As a valued customer, we are offering you a free upgrade with our ` friends and - Jamal's voice peters out. JAMAL -LRB- CONT'D. -RRB- Family. SALIM -LRB- V.O. -RRB- Jamal? Is that you? Brother? Where are you, man? I thought you were dead or something. we had to go, Jamal. Maman's guys. They were searching the hotel. Jamal, say something. Please. There is another long silence. JAMAL Hello, Salim.", "INT. STUDIO. NIGHT. PREM Ever been to Cambridge? JAMAL No. PREM Ever been to the circus? JAMAL No. And I've never been to UK before. But I'll still have a go. Gasps and laughter from the audience. Jamal laughs and shrugs. JAMAL -LRB- CONT'D. -RRB- Why not? Prem grips his heart theatrically. PREM Can someone call me an ambulance?", "INT. CALL CENTRE. NIGHT. A flash of a sign post reading ` Oxford Circus', pointing down one of the aisles. The banner above that section of the warehouse reads ` London'. Jamal hurrying down another ` Kings Parade' carrying glasses of tea. He glances up to see a large banner that says ` Cambridge'. Jamal comes back up an aisle named ` Broad Street'. An Operator on the adjacent ` The High' clicks his fingers for another cup. Jamal hurries under the sign marked ` Oxford'. The signposts of the aisles come faster and faster ` Pembroke Street', ` Trafalgar Square', ` East India Dock' and finally ` Cambridge Circus'. PREM -LRB- V.O. -RRB- So, Jamal.", "INT. STUDIO. NIGHT. Jamal is sweating, his face scrunched up in thought. JAMAL I ca n't remember. PREM You ca n't remember. Does that mean you did know? Once? JAMAL I do n't think it's Oxford. PREM Based on your extensive travelling, right? JAMAL -LRB- almost to himself. -RRB- Well, Oxford has Broad Street, Saint Aldates, Turl Street, Queen Street, The High and Magdalene Bridge - which is pronounced Maudlin, so - He stops as he hears the surprised laughter of the audience. PREM I thought you had n't been to UK. JAMAL Oh, I have n't. And it's not Leeds, because that's Elland Road, Kirkgate Market, Commercial Street, St Peter's - PREM -LRB- icy. -RRB- - what might it be then, Jamal? JAMAL Well, I do n't think it's Cambridge. PREM Cambridge Circus is not in Cambridge? Dare I ask why? JAMAL Too obvious. There's definitely an Oxford Circus in London, and there's a rowing race between Oxford and Cambridge so there's probably a Cambridge Circus too. I'll go for D. -RRB- London. PREM That's the logic that's got him this far, Ladies and Gentlemen. Who are we to argue? So. Jamal. D. Apka final jawab? JAMAL -LRB- shrugs. -RRB- If the Gods are with me. Final answer. D. The lights dim, the music swells as Prem pushes the button on his computer. PREM Computer - ji, D lock kiya - jaye. More portentous music. PREM -LRB- CONT'D. -RRB- It's been a rollercoaster ride all the way, a pleasure to have you on the show, my friend, but I'm sorry to say that you're. incredibly, absolutely right! Huge cheers and applause. Even Jamal laughs at this. He can not quite believe it himself. PREM -LRB- CONT'D. -RRB- Ladies and Gentlemen, Jamal Malik, the man with two and a half million rupees! More applause. Prem hands him a cheque. Jamal looks at it. Laughs again. PREM -LRB- CONT'D. -RRB- A few hours ago, you were fetching tea for the phone - wallahs. Now you are richer than they ever will ever be. What a player, Ladies and Gentleman! What a player. The lights dim, the music swells. Prem consults his computer. PREM -LRB- CONT'D. -RRB- For five million rupees, my friend : who invented the revolver? Was it A. -RRB- Samuel Colt, B. -RRB- Bruce Browning, C Dan Wesson or D. -RRB- James Revolver? Dramatic pause.", "INT. HOTEL. NIGHT. A flash of Salim shooting Maman. Another flash of Salim in the doorway, holding the pistol up to Jamal's head.", "INT. STUDIO. NIGHT. JAMAL -LRB- suddenly. -RRB- A. -RRB-. Samuel Colt. PREM A. -RRB-. Samuel Colt. Are you sure? Jamal nods. PREM -LRB- CONT'D. -RRB- Final answer? JAMAL Final answer. The music swells again. Prem presses his computer. PREM You had two and a half million rupees. If I may -? He holds out his hand. Jamal hands him back the cheque. He tears the cheque in two. PREM -LRB- CONT'D. -RRB- Ladies and Gentlemen, the chi - wallah has done it again! D. Is right! Incredible! Cheers and applause from the audience.", "INT. INSPECTOR'S OFFICE. NIGHT. INSPECTOR Not that incredible. You'd just murdered somebody with a Colt 45, after all. JAMAL It was self - defence. INSPECTOR Let's call it manslaughter, then, shall we?", "INT. STUDIO. NIGHT. PREM Getting hot in here, is n't it? JAMAL -LRB- genuinely. -RRB- Are you nervous? The audience laugh. Prem is momentarily flustered. PREM What? Am I nervous? You're the one who's in the hot seat, my friend. JAMAL Oh. Yes. Sorry. More laughter.", "INT. GALLERY. NIGHT. DIRECTOR Bloody hell. He's got Prem on the run.", "INT. STUDIO. NIGHT. Music, lights. Prem presses his computer. PREM What sports do you play? JAMAL None. PREM None. Oh, dear, oh dear, oh dear. Not to worry, there's only ten million rupees at stake. Which cricketer has scored the most first class centuries in history. Was it A. -RRB- Sachin Tendulkar, B. -RRB- Ricky Ponting, C. -RRB- Michael Slater, D. -RRB- Jack Hobbs. Prem allows the question to sink in. PREM -LRB- CONT'D. -RRB- You've got a cheque for five million rupees in your hands. You've still got two life - lines, Phone A Friend and 50/50. For ten million rupees : pay, play, or bail out. It's still an option. Remember, if you get the answer wrong, you will lose everything like that. He clicks his fingers. PREM -LRB- CONT'D. -RRB- Are you sure you want to do this?", "EXT. CRICKET GROUND. DAY. An Indian batsman hits a nicely - timed stroke, heads down the wicket for a single. Turns. The other batsman is taking a second run. The Indian tries to halt the other batsman with a shout, then succumbs to the inevitable and charges down the wicket. A fielder hurls the ball at the stumps. The bails fly off.", "INT. STUDIO. NIGHT. JAMAL I'll play. Tense laughter from the audience. Prem holds up the cheque. Jamal nods. Prem tears it up slowly. Allows the pieces to fall to the floor. PREM The dreams of so many. On the floor.", "EXT. TOWER BLOCK. DAY. Jamal is riding the construction lift to the top of a high building, still just a shell but buzzing with carpenters, bricklayers, cable - layers. The lift stops at the top. Jamal gets out. Looks around. He is miles up. Alone. SALIM Jamal! Jamal looks around. There is Salim standing on the edge of the building. He saunters over to Jamal, his arms outstretched in theatrical greeting. He is groomed, expensively dressed with the best mobile money can buy dangling from a gold chain around his neck. SALIM -LRB- CONT'D. -RRB- God is good, bhai. God is good. He tries to embrace Jamal. With as much force as he can muster, Jamal punches him in the face. Salim takes it. Stands there. Wipes blood from his lip. Gets another punch. Then another and another, not even defending himself, until he is being beaten back by a raging Jamal towards the edge of the building. Finally, he tries to reason with Jamal SALIM -LRB- CONT'D. -RRB- Maman's boys were after us. Had to skip. Jamal keeps on beating him back. JAMAL Liar. SALIM Left a message at reception. Waited weeks for you in Nagpur. JAMAL There was no message at reception. SALIM Bhai, I left a message. Salim opens his arms, defenceless. It would take one, small push to send him over the edge. There is a moment, when Jamal might. He even has his hands on his chest. JAMAL I will never forgive you. SALIM I know. The fury in Jamal subsides minutely. Finally, he turns away with a roar of frustration. Salim hangs his head.", "EXT. TOWER BLOCK. LATER. Jamal and Salim are sitting on the very edge of the building. They can see for miles across the city. Salim has rediscovered his attitude. SALIM Can you believe it? This was our slum. We lived just there, huh? Now it is business, apartments, call centres. Fuck USA, fuck China. India is at the centre of the world, now, bhai. And I am at the centre of the centre, Jamal. This is all Javed - bhai's. JAMAL Javed Mehta? The Gangster from our slum? You work for him? SALIM Who else would protect us from Maman's gang, huh? JAMAL What do you do for him? SALIM Anything he asks. Salim's mobile rings. Salim is immediately subservient on the phone. Rings off. SALIM -LRB- CONT'D. -RRB- He is coming. You must go. My card. He hands Jamal a card. JAMAL What for? SALIM You think I am going to let you out of my sight again, little brother? You stay with me now. Ab phut! JAMAL Salim, where's Latika? SALIM Still? She's gone, Jamal. Long gone. Now go. Quick. Jamal gets up, hurries away, hidden behind piles of building materials just as Javed appears in his flash suit and jewelry. Three of his young henchmen walk alongside.", "INT. SALIM'S APARTMENT.    NIGHT. Jamal is asleep on a mattress on the floor of a smart apartment. A mobile phone rings. The muffled sound of Salim talking quietly next door. Then, Salim creeps into the room, checks to see Jamal is asleep, unlocks a desk drawer and brings out his pistol. He puts it in a hold - all and goes out the front door. Jamal's eyes snap open. He has seen it all. JAMAL -LRB- V.O. -RRB- Slum dogs never sleep, only nap. He would disappear for a couple of days and come back changed. Sometimes elated -", "INT. SALIM'S APARTMENT. NIGHT. The door bangs open and a giggling - drunk, half - naked Bar Girl drags the sleeping Jamal up and into the bathroom. BAR GIRL He has flipped! I ca n't do anything with him. Salim is in the bath, bathing, literally, in money. SALIM Look at it, bhai, look at it!", "INT. SALIM'S APARTMENT. DAWN. JAMAL -LRB- V.O. -RRB- Sometimes the opposite. Jamal creeps towards Salim's bedroom door. He pushes it open a fraction to see Salim crouched on the floor in prayer, sobbing quietly. SALIM -LRB- whispering. -RRB- A\u00e9 khuda mujh\u00e9 baksh d\u00e9 main\u00e9 bahut gunaah kiy\u00e9 hain. JAMAL -LRB- V.O. -RRB- But younger brothers do n't interfere. Mostly.", "EXT. SALIM'S APARTMENT. DAY. Salim comes out of his apartment block. Gets into his jeep. Drives off. Does n't notice Jamal in the motor rickshaw that pulls out and follows him.", "EXT. JAVED'S BUNGALOW. DAY. Salim approaches a gate - house to a large bungalow. The Door - Keeper nods to him, rings a bell. From the rickshaw, Jamal watches a woman come to the door. Latika. Eighteen, completely beautiful and rich. She hands Salim a package and goes back inside. Salim gets in his jeep and drives away.", "EXT. JAVED'S BUNGALOW. DAY. Jamal approaches the Door - Keeper's gate - house. JAMAL Baba, I am the new cook from the agency. A thousand apologies, I am late for the Memsaab. The Door - Keeper grunts and goes inside. After a brief pause, he returns. DOOR-KEEPER She does n't know anything about any cook. There's supposed to be a dishwasher being delivered. Know anything about that? JAMAL Baba, I am your dishwasher! The Door - keeper grunts at this attempt at humour. Latika appears at the gate. LATIKA Have n't I told you, do n't interrupt when I'm watching - She looks at Jamal. Is silenced briefly. LATIKA -LRB- CONT'D. -RRB- - come inside. I'll show you the kitchen.", "INT. KITCHEN. DAY. Latika and Jamal go into the kitchen. Who Wants To Be A Millionaire plays on the tv in the background. She turns and hugs him tight. They laugh with happiness. LATIKA -LRB- delighted. -RRB- Jamal, Jamal, look at you! Their heads are close, they might kiss. Then Latika turns away, stares out of the window. LATIKA -LRB- CONT'D. -RRB- Ar\u00e9 wa, Jamal. Jamal smiles hopefully at her. But there is sadness in her now. She takes her sunglasses off, rubs her eyes. There is a bruise there. JAMAL You've hurt your eye. LATIKA Why are you here? JAMAL To see you. LATIKA Well. You see me. She stands there, challenging. On the tv, somebody is winning money. JAMAL Why does everyone love this programme? LATIKA It's the chance to escape, is n't it? Walk into another life. Does n't everyone want that? JAMAL You have another life. A rich one. LATIKA Who'd have thought it possible? A slum dog, with all this. JAMAL Are you happy? LATIKA I have five star food, five star clothes. I sleep in a bed, not on the street. From where we come from, Jamal, that is happiness. JAMAL You do n't look so happy with a black eye. LATIKA You turn up here out of nowhere, telling me I'm not happy : how dare you? Voices at the gate - house. LATIKA -LRB- CONT'D. -RRB- God, Javed will kill you. Here. JAMAL Javed? You are with him? She throws him an apron. He gets it on just in time for Javed to walk in. Jamal turns away. JAVED First you want a dishwasher, now a bloody cook - LATIKA - I just thought - JAVED - chup. The cricket's on. Javed changes channel and dials on his mobile. JAVED -LRB- CONT'D. -RRB- Why do you always watch that shit? Huh? I'm already a millionaire. He laughs at his own joke. Turns to Jamal. JAVED -LRB- CONT'D. -RRB- Well, come on then, Cook. I'm hungry. Get me a sandwich. JAMAL Immediately, Sir. Javed stares at Jamal a moment, trying to place a face he vaguely recognises. Then the Bookie comes on the line and he turns back to the television. JAVED Atcha. Latika hurries around the kitchen getting out bread and condiments, whispering while Javed talks on the phone. JAMAL Come away with me. LATIKA Chutiy\u00e9. Away where? And live on what? What can you provide? What have you got, Jamal? JAMAL Love. JAVED -LRB- on the mobile. -RRB-. yeah. He's on eighty - five. I want four lakh on him making a century. What are you giving? Okay, make it five lakh. Javed pours himself a glass of whisky, never taking his eyes from the television. TV COMMENTATOR We are watching history unfold today at the Wankhed\u00e9 Stadium as Sachin Tendulkar carves his way towards another magnificent century and the record books. His thirty - eighth century - the most by any Indian cricketer ever. LATIKA Love. That will feed us, will it? JAMAL It wo n't buy you a new dishwasher, but it might make you happy. LATIKA Where have you been? Get in the real world, Jamal. JAMAL You and me. That is the real world. Come away with me. Latika snatches the sandwich from him and gives it to Javed. Goes back to Jamal, whispers under cover of putting condiments away. LATIKA You're crazy. JAMAL Salim will help us. LATIKA Salim? You still believe in Salim? Jamal. I'll be gone soon, anyway. Bombay's got too dangerous for - She indicates Javed. JAMAL Where? LATIKA You think he'd tell me? JAVED Straight bat, straight bat, dammit. Then the batsman at the other end calls to take a second run. JAVED -LRB- CONT'D. -RRB- No! A single! Tendulkar seems to agree, tries to halt the other batsman with a shout, then succumbs to the inevitable and charges down the wicket. A fielder hurls the ball at the stumps. The bails fly off. JAVED -LRB- CONT'D. -RRB- No, no, no! stupid ben chod idiot. He flings his glass of whisky at the television. Suddenly tastes what he has been eating. JAVED -LRB- CONT'D. -RRB- And what is this shit supposed to be, mader chod? Get out. Get out! Javed throws the sandwich at him and slams out of the room. His footsteps can be heard stomping into another room. LATIKA Now go, before he kills us both. She leads Jamal to the door. JAVED Latika, where's my bloody shirt? The Armani. Latika shouts over her shoulder. LATIKA Coming! Back to Jamal. LATIKA -LRB- CONT'D. -RRB- -LRB- whispered. -RRB- You want to do something for me? JAMAL Anything. LATIKA Then forget me. JAMAL I'll wait at VT station. Five o'clock every day until you come. She shakes her head. JAMAL -LRB- CONT'D. -RRB- I love you. LATIKA So what, Jamal? So what? -LRB- loudly. -RRB- Now, get out and tell your no - good agency not to send anybody else until they've learnt to cook. You hear? She slams the door. Hurries back into the kitchen, throws Javed's plate into the sink. The Door - keeper comes in. DOOR-KEEPER Madam, your dishwasher has arrived. Leaning over the sink, Latika weeps silently.", "INT. SALIM'S APARTMENT. NIGHT. Salim has his hand around Jamal's throat. SALIM Why ca n't you let it alone? You want money, I'll give you money. Girls? I can get you girls. JAMAL You know what I want. SALIM You're like some crazy man - you're obsessed. JAMAL She is my destiny, Salim. SALIM Know what your destiny is, crazy boy? A bullet between the eyes. And after that, he'll kill her. Is that what you want? Huh? JAMAL Me, I do n't care. Latika? She's already half dead. Salim takes his hand away from Jamal's neck. SALIM Yes. About that, you are right. JAMAL You sold her. SALIM -LRB- fierce. -RRB- I did n't sell her. Javed wanted her. He gets what he wants. He turns away bitterly. SALIM -LRB- CONT'D. -RRB- She's doing alright. Get it into your thick head, Jamal. She's not yours and she never will be.", "INT. STUDIO. NIGHT. PREM Time for a commercial break, Ladies and Gentlemen. I know, I know, I ca n't stand the tension either. Do n't even think about leaving your seat. We'll be back. The lights flick back on. Prem slumps back in his chair. PREM -LRB- CONT'D. -RRB- You've got the luck of the devil, yaar, I'll give you that. JAMAL I - I need to - PREM Oh, the toilet. Sure. Naveed, Jamal wants the bog. The Floor Manager and a Security Guard usher Jamal off - stage. Prem looks up at the gallery, raises his eyes at the Director. Some show. Then he gathers himself and heads off - stage.", "INT. CHHATRAPATI SHIVAJI TERMINUS. DAY. The clock reads five oh three. Jamal stands on the footbridge. Humanity washes around him. His eyes dart around, frightened to miss her. Checks the clock again. Six. The platform is almost deserted. He wanders away.", "INT. CORRIDOR. NIGHT. Prem wanders down the corridor followed by a Security Guard. Another Security Guard is waiting at the entrance to the toilet. Prem goes in, leaving the two Guards in the corridor.", "INT. CHHATRAPATI SHIVAJI TERMINUS. DAY. Jamal stands on the footbridge gazing down at the hordes of commuters. Five o'clock, five fifteen, five thirty. Six. Jamal rests his head against the railings.", "INT. TOILET. NIGHT. Jamal is in one of the cubicles. Prem goes to the urinal. Unzips. PREM A guy from the slums becomes a millionaire overnight. You know the only other person who's done that? Me. I know what it's like. I know what you've been through. JAMAL -LRB- O.S. -RRB- I'm not going to become a milionaire. I do n't know the answer. PREM -LRB- laughs. -RRB- You've said that before, yaar. Prem finishes pissing. Goes over to the washbasins, runs the taps and washes his hands. JAMAL -LRB- O.S. -RRB- No, I really do n't. PREM What? You ca n't take the money and run now. You're on the edge of history, kid! JAMAL -LRB- O.S. -RRB- I do n't see what else I can do. PREM Maybe it is written, my friend. You're going to win this. Trust me, you're going to win. Prem leaves. Jamal flushes and comes out of the cubicle. Goes to the washbasins. In the mist on the mirror above the taps is written the letter `` B''. Jamal stares at it. Gradually it fades, leaving only the growing fury on his face staring back at him.", "INT. STUDIO. NIGHT. Jamal stalks back onto the set. Sits down in his chair. Stares at Prem who looks unconcernedly back. TALKBACK -LRB- V.O. -RRB- Twenty seconds.", "INT. CHHATRAPATI SHIVAJI TERMINUS. DAY. The digital clocks show five fifteen. Shoving the descending river of people out of his way, the seventeen year - old Jamal is forging a path up steps that cross the platforms. He pushes to the middle of the footbridge and leans out on the side railings. He scans the sea of people, desperately. Then he sees her : the eighteen year - old Latika, heart - stoppingly beautiful, over the other side of the station. A world away. She is scanning the crowd, as wired as he is. JAMAL Latika! Latika! But though he is screaming her name, his voice is swallowed by the noise around him. Then he sees two thuggish - looking men also fighting a way towards her. JAMAL -LRB- CONT'D. -RRB- Latika! Frightened now, he fights his way down the steps, one figure against an army of white - robed people. He gets to the bottom of the steps, is making progress against the tide. But so are the two men. Jamal is now on the same platform. Shouts her name again. She turns with a smile. But the two Thugs leap through a train onto her platform. She sees them, starts running, is lost in the crowd. Jamal runs off along the platform after Latika. JAMAL -LRB- CONT'D. -RRB- Latika! Latika! By the time Jamal has fought himself to where Latika was - she is gone. He whirls around, mad with frustration. JAMAL -LRB- CONT'D. -RRB- Latika! Latika!", "EXT. CHHATRAPATI SHIVAJI TERMINUS. DAY. Latika is jumping the tracks, crossing in front of trains. But the Thugs are gaining on her. He brings her down and drags her across to Javed's waiting Mercedes. Salim is standing by the car. Jamal pushes through the crowds just in time to see Salim bundling her into the car. JAMAL Salim! Salim spits disgustedly on the ground. Gets in. Latika twists her head to see Jamal as the car skids off. Jamal screams with hopeless fury.", "INT. STUDIO. NIGHT. TALKBACK -LRB- V.O. -RRB- Fifteen seconds. Jamal and Prem stare at each other. Prem smiles. PREM Do the right thing and in approximately three minutes you will be as famous as me. TALKBACK -LRB- V.O. -RRB- Ten seconds. PREM And as rich as me. TALKBACK -LRB- V.O. -RRB- Five seconds. PREM Almost. TALKBACK -LRB- V.O. -RRB- Four, three. PREM From rags to Raja. It's your destiny. TALKBACK -LRB- V.O. -RRB- we're on. Applause from the audience. PREM Welcome back to Who Wants to Be A Millionaire? In the chair tonight is Jamal Malik - as if we do n't know! In an amazing run, Jamal has already five million rupees but, not content with that, has chosen to gamble for one Crore - that's ten million million rupees. What a player! The question one more time : Which cricketer has scored the most first class centuries in history. Was it A. -RRB- Sachin Tendulkar, B. -RRB- Ricky Ponting, C. -RRB- Michael Slater, D. -RRB- Jack Hobbs. JAMAL I know it is n't Sachin Tendulkar. PREM That's a start. So, it could be Ricky Ponting, Jack Hobbs or Michael Slater. JAMAL I'll use a life - line. Fifty - fifty. PREM Okay. Computer, take away two wrong answers. Music swells, lights dim. PREM -LRB- CONT'D. -RRB- Well, you were right about Sachin Tendulkar. The computer has taken away A. -RRB- Sachin Tendulkar and C. -RRB- Michael Slater. That leaves you a fifty - fifty choice, Jamal. B. -RRB- Ricky Ponting or D. -RRB- Jack Hobbs. What do you think? Decision time. For half a million rupees. Your answer : B. -RRB- Ricky Ponting or D. -RRB- Jack Hobbs. A hideous, never - ending pause while Jamal stares into Prem's eyes. JAMAL D. A barely perceptible jump from Prem. PREM You sure? Not B. -RRB- Ricky Ponting? The Australian? Great cricketer. JAMAL D. Jack Hobbs. PREM Do you know? Jamal shakes his head. PREM -LRB- CONT'D. -RRB- So it could be B, Ricky Ponting? JAMAL Or D. Jack Hobbs. PREM Final Answer? JAMAL Final Answer. D. A just - perceptible narrowing of the eyes. PREM Computer - ji D lock kiya - jaye. Prem turns to the computer. Music. Lights. PREM -LRB- CONT'D. -RRB- With one hundred and ninety - seven first class centuries, the answer is. D. Jack Hobbs! The audience go wild. Prem's smile is thin. PREM -LRB- CONT'D. -RRB- Jamal Malik, Crorepati! The camera goes off Prem for a second. He mimes a disgusted spit. Then he is back on. PREM -LRB- CONT'D. -RRB- I can not believe what I am seeing here, tonight, Ladies and Gentlemen. So, are you ready for the final question for two Crore rupees - twenty million rupees? JAMAL Not really, but. maybe it is written, no? PREM Maybe, indeed. Okay, okay. For twenty million rupees, the final question on Who Wants to be a Millionaire? The lights dim again, the portentous music increases. Suddenly a klaxon sounds. The audience burst into nervous laughter and groans. Prem laughs. PREM -LRB- CONT'D. -RRB- Ohhhhh! Just when I thought I would need a pacemaker fitted, we're out of time! What a show, Ladies and Gentlemen, what a show. Join us tomorrow night to see if Jamal Malik has made the biggest mistake of his life or has just won the biggest prize in the history of Indian television. Same place, same time. You would n't dare miss it. Goodnight! Applause. The studio lights come up. Prem switches off his smile as fast as the cameras switch off. Gets up and pulls out his mobile.", "EXT. JAVED'S BUNGALOW. DAY. Waving a kitchen knife in on hand, a desperate Jamal slams through the gates of Javed's bungalow, the objecting Doorkeeper running along behind. He bangs open the front door. JAMAL Latika!", "INT. JAVED'S BUNGALOW. DAY. Stops dead. The place has been stripped of everything. Not a single thing remains. Jamal runs into another room. As empty as the first. He stops in his tracks. DOOR-KEEPER Told you. JAMAL Where? Where is she? DOOR-KEEPER Dunno. He grabs the Door - keeper by the shirt - collar, slams him up against the wall. Holds the knife against his throat. JAMAL Where? DOOR-KEEPER I do n't know! Would n't say, would they? They had to get out fast. The police. Honestly. Jamal lets go of the Door - keeper. Goes hopelessly to the window. On the window sill is a phone. He picks it up. There is a dial tone. Jamal rummages in his trouser pocket. Gets out the battered card with Salim's details on. Dials. Salim picks up. JAMAL Where are you? Where is she?", "INT. JAVED'S SAFE HOUSE. SALIM'S ROOM. DAY. Salim is stalking around his room in Javed's new house. Hold - alls of clothes and possessions lie around the room. A chest of drawers sits with its drawers open, still empty. SALIM Where you'll never find her. Or me. You could have joined us, you bloody idiot, been one of us. You've lost everything now. Everything. Cuts the call off and slings the phone in a drawer. Takes the gun from his waist, and throws that in too. Slams the drawer shut with as much force as he can.", "INT. JAVED'S BUNGALOW. DAY. JAMAL Salim! The line goes dead. Jamal slides to the floor.", "INT. SALIM'S APARTMENT. NIGHT. the camera pulls out from Jamal's face revealing that Jamal is sitting on the floor of Salim's apartment. In the background can be heard the sound of the television. Jamal looks at the knife in his hand, wonders what he might do with it. The sound of Prem's voice on the tv. PREM -LRB- O.S. -RRB- if you want a chance to play Who Wants to be a Millionaire, call now! Jamal looks up. Stares at the tv.", "INT. STUDIO. BACKSTAGE. NIGHT. PREM This way, Jamal, this way. Great show, my friend. See you tomorrow, huh? In the half - light, Prem guides him to a stage door.", "EXT. STUDIO. BACKSTAGE. NIGHT. Jamal steps outside the backstage door. Leans on the rail and takes a huge breath. Immediately, a blanket is thrown over his head and two police men bundle him into the back of a police van. The Director joins Prem at the back - stage door as the van pulls away, sirens screaming. DIRECTOR What's going on? PREM He's a cheat. DIRECTOR This was you? You called them? Prem shrugs. DIRECTOR -LRB- CONT'D. -RRB- How d'you know he's cheating? PREM Oh, come on! Of course he is. He's a bloody village boy. Even when I fed him the wrong answer the little shit got it right. Director stares at him. DIRECTOR You gave him an answer? PREM Well, I did n't exactly - The Director walks away shaking his head. In the doorway, Nita is standing there, watching. PREM -LRB- CONT'D. -RRB- Nita? But she too turns and walks away.", "INT. INSPECTOR'S OFFICE. DAY. INSPECTOR It is all bizarrely plausible. And yet. JAMAL Because I am a slum dog, chi - wallah, I am a liar, right? INSPECTOR Most of you are. Srinivas comes hurrying in carrying a file, very pleased with himself. CONSTABLE SRINIVAS Shooting at Pila Street, October 19th. Maman Hossani. Victim pronounced dead at scene. Suspects absconded : two males, early teens, one female, early teen. The Inspector takes the file. Stares at it. Shakes his head. INSPECTOR But you : you're not a liar, Mister Malik, that is for sure. You are too truthful. He turns to Srinivas. INSPECTOR -LRB- CONT'D. -RRB- Thank you, Constable. All that remains is to work out whether it was manslaughter or murder. Ten years, or life. The Young Constable sticks his head around the door. YOUNG CONSTABLE The Commissioner's here, Sir. The Inspector sighs. Gets up. Accompanied by Srinivas, he leaves the room. Jamal sits there. Lets his head drop. The camera floats from the room, down the dingy corridor and out through a window.", "EXT. POLICE STATION. DAY. . alighting on a crowd of hundreds of people jostling to get a view of the building. News crews are setting up around them. A tv Reporter is doing a piece to camera. TV REPORTER behind the walls of this police station lies the mystery all of India is talking about. Did Jamal Malik, an uneducated, eighteen year - old boy from the slums of Mumbai win one Crore rupees by fair means or foul? And in the crowds all around me there is an even bigger question. Will he be back on the show tonight to play for twenty million rupees.", "INT. POLICE OFFICE. DAY. The Commissioner is waiting in the outer office. COMMISSIONER OF POLICE So? Have you charged him yet? INSPECTOR I - progress is being made sir. COMMISSIONER OF POLICE Progress? Have you charged him? INSPECTOR No, Sir. The Commissioner dumps a copy of the Times of India down on the desk. Then the Hindustan Times, the Amar Ujala and the Afternoon Dispatch thump down after them. All have photos of Jamal on Who Wants to be a Millionaire on the front page. COMMISSIONER OF POLICE And if that is n't enough for you. He motions the Inspector to come over to the window. Lifts the blind. The Inspector hurries over. Looks alarmed. INSPECTOR That's -? COMMISSIONER OF POLICE - yes, yes! The boy's a bloody hero with every beggar and thief in the city. We're in danger of looking very stupid, here, Inspector. INSPECTOR Whilst I'm not convinced he actually cheated, I have got - The Inspector brandishes the file. COMMISSIONER OF POLICE - Prem Kumar himself - a man of great standing and integrity - said the kid was a liar and a cheat. What more do you need? The Inspector pauses. INSPECTOR A liar. Then he puts the file behind his back. Srinivas frowns. INSPECTOR -LRB- CONT'D. -RRB- Indeed, sir. Srinivas coughs pointedly. Gets a steely look from the Inspector. The Commissioner has been staring out of the window at the crowds. Turns back to them. COMMISIONER OF POLICE He's in for fraud, so you charge him for fraud. Fast. Or you'll find yourself on traffic duty at the Gateway of India. Understand? INSPECTOR Yes, sir. The Commissioner walks out. CONSTABLE SRINIVAS Sir -? INSPECTOR Not a word, Srinivas.", "INT. JAVED'S SAFE-HOUSE. SITTING ROOM. NIGHT. A cheek scarred by disfiguring knife scars. Pulling back we see it is Latika, staring frozen at Jamal on the television news. A palatial living room. Dealing cards to Salim, is Javed Khan. A couple of Bar Girls giggle next to Javed and a couple of his Thugs. Pouring drinks at a sideboard is Latika. Javed glances up at the screen, clearly not recognising Jamal on a clip from Who Wants to be a Millionaire. Salim, too is staring, wide - eyed at the tv. Javed picks up the remote, does n't even notice and switches over to a music channel. Latika hurries out. JAVED What about my bloody whisky, woman? But she has already gone. He growls after her. JAVED -LRB- CONT'D. -RRB- Hey, Salim. He motions Salim to get him a drink. Javed's mobile rings as Salim goes over to the sideboard. Shifts a bottle to the back. SALIM We're out. I'll just get - Syed. Salim smiles faintly at the image of Jamal and hurries out.", "INT. JAVED'S SAFE-HOUSE. SALIM'S ROOM. NIGHT. A drawer opens. Inside is Salim's pistol. And a phone - the same one he threw in there months ago. Salim stares at both for a long time. Finally, picks up the gun and phone. SALIM -LRB- to himself. -RRB- Final answer? He finds this faintly amusing.", "INT. JAVED'S SAFE-HOUSE. KITCHEN. NIGHT. Latika sits in the kitchen, staring at the tv, tears running down her cheeks. A reporter is talking in front of an enlarged photograph of Jamal. Latika wipes away the tears quickly as Salim comes in. He locks the door behind him. Stares at the tv. SALIM That boy. He will never give up. Never. He shakes his head. SALIM -LRB- CONT'D. -RRB- Crazy chutiy\u00e9. Salim approaches Latika. She flinches as he walks towards her. He puts some car keys in front of her. SALIM -LRB- CONT'D. -RRB- Ja. Go. LATIKA But - SALIM - just drive. There wo n't be another chance. Go. Latika takes the keys. Hesitates. LATIKA He'll kill you. Salim smiles, shakes his head. SALIM It is not written. JAVED -LRB- O.S. -RRB- Salim! Salim goes to the back door. Unlocks it. Opens it for her. LATIKA Salim, I. ca n't. Salim points at the television. SALIM You have to. It'll take you two hours if you drive fast. Here. He holds out his mobile phone. SALIM -LRB- CONT'D. -RRB- For God's sake, hold on to it. Latika takes it. Salim takes hold of both sides of her head for a moment. SALIM -LRB- CONT'D. -RRB- For what I have done, please forgive me. Salim releases her. SALIM -LRB- CONT'D. -RRB- Go. Have a good life. Salim puts his hands together in blessing. She leaves. Salim shuts the door, locks it. Smiles.", "INT. INSPECTOR'S OFFICE. NIGHT. Jamal is dozing in the chair. He wakes with a shout. Srinivas has just thrown a bucket of water in his face. He unlocks the handcuffs. Jamal looks up at him. Srinivas shrugs. CONSTABLE SRINIVAS You're back on the show.", "INT. BACKSTAGE. NIGHT. The audience for Who Wants to be a Millionaire are standing in line. They are being body - searched by police. Mobiles are being confiscated and put in bags.", "INT. BACKSTAGE. NIGHT. Gaffers make last - minute adjustments to the lights shining on the empty chairs in the middle of the set. Camera positions are checked by the Floor Manager.", "INT. POLICE OFFICE. NIGHT. Srinivas walks Jamal through the police office, past the Inspector sitting at his desk, his arms behind his head, pondering. He watches Jamal go and then asks : INSPECTOR OF POLICE What happened? To the girl? Latika? Jamal stops. JAMAL Who knows? Jamal walks on. The Inspector watches him all the way.", "INT. POLICE JEEP. NIGHT. Jamal sits in the back of the police jeep. It pulls out of the police station car park into a sea of people all cheering and shouting at the jeep. Jamal looks terrified.", "INT. CAR. NIGHT. Latika drives through the slums of Mumbai. She hoots her horn furiously at a cart - driver ambling across the road.", "INT. POLICE JEEP. NIGHT. The jeep stops at the lights and a beggar wanders up, tapping on the windscreen. The beggar studies Jamal's face for a second, then starts shouting and pointing at him. BEGGAR Crorepati! Crorepati! Other beggars - just like the one Jamal used to be - join him and start cheering and applauding. The jeep pulls away.", "EXT. SLUM. NIGHT. At the chi stall, everyone gathers around the tv, watching.", "EXT. ROADSIDE CHI HOUSE. NIGHT. A rickshaw parks up next to a hundred others. The Driver leaps out, abandoning the irate business man in the back and runs to the tv in the caf\u00e9.", "INT. CALL CENTRE. NIGHT. The Manager walks into the aircraft hanger of a building. Stops. Where is everyone? Then he sees everyone crowded around the tv in the Recreation Room. Stalks over. MANAGER Oi! Get back to work. Then he sees Jamal's face on the tv. MANAGER -LRB- CONT'D. -RRB- The chi - wallah?", "EXT. ROADSIDE SHACKS. NIGHT. All along the highway, one by one the televisions in a hundred shacks flick on, silhouetting the family huddled in front of it.", "INT. STUDIO. BACKSTAGE. NIGHT. In the half - light, Jamal is being powdered by Nita. NITA Good luck. Prem sneers. TALKBACK -LRB- V.O. -RRB- Two minutes. She finishes powdering Jamal. PREM Hey. Sweetheart. What about me? I'm sweating, here. NITA You should be. She dumps the powder compact in his hand. PREM So. Tonight. The Calypso Bar. NITA Not if you were the only man in the world. She walks off. PREM -LRB- genuinely puzzled. -RRB- But I am the only man in the world.", "EXT. MUMBAI STREET. NIGHT. The traffic is gridlocked. Latika is pumping the horn. LATIKA Come on, come on! She glances out of the window, sees one of the roadside shacks with the television on. Gets out of the car and runs to it.", "INT. COMMISSIONER'S OFFICE. NIGHT. The Commissioner grabs his phone. COMMISSIONER OF POLICE Get me the Inspector on the phone now!", "INT. INSPECTOR'S OFFICE. NIGHT. The Inspector wanders into his office, still deep in thought. Switches on the television just as the Millionaire music starts. Sits. The phone rings.", "INT. STUDIO. NIGHT. Prem and Jamal walk on - stage. Blinding light. They take their seats to tumultuous applause. PREM Welcome back to Who Wants to be a Millionaire? I can safely say that tonight is the biggest night of both of our lives, Ladies and Gentlemen. Jamal Malik, the Call Centre worker from Mumbai has already won one Crore rupees, a cool ten million. Tonight, he can walk away with that in his pocket or make the biggest gamble in television history and go for the final question and a staggering twenty million rupees! Jamal, are you ready for that question? JAMAL Yes. The lights dim, the music rumbles. Prem pushes the button on his computer. Pauses. Gets conversational. PREM Big reader, are you Jamal? A lover of literature? Nervous laughter from the audience. Jamal just shrugs. JAMAL I can read. Even more nervous laughter. PREM Lucky! In Alexandre Dumas' book, The Three Musketeers, two of the musketeers are called Athos and Porthos. What was the name of the third musketeer. Was it A. -RRB- Aramis, B. -RRB- Cardinal Richelieu, C. -RRB- D'Artagnan, D. -RRB- Planchet. An involuntary laugh comes out of Jamal's mouth.", "INT. ROADSIDE SHACK. NIGHT. In the shack, sitting on an upturned oil drum, surrounded by puzzled Indians in rags, a slow smile comes to Latika's face.", "INT. STUDIO. NIGHT. Camera on Prem. PREM The final question, for twenty million rupees : and he's smiling. I guess you know the answer. JAMAL Would you believe it? I do n't. Jamal laughs. There's nothing else to do. The audience groan. PREM You do n't? So, you're going to take the ten million and walk? JAMAL No. PREM No? JAMAL I'll play. A gasp from the audience. PREM You just said you do n't know the answer. I heard that, right? You do understand that if you get the answer wrong, you lose everything? Ten million rupees. A fortune, Jamal. A terrible pause. JAMAL I'd like to phone a friend. PREM We're going to the wire, Ladies and Gentlemen, we are going to the wire. The final Life - line. Here we go.", "INT. STUDIO. NIGHT. Prem presses his computer. Ominous rumble of drums. The lights dim. A phone can be heard ringing, the amplified sound echoing around the studio. PREM It's ringing. The phone continues to ring.", "INT. ROADSIDE SHACK. NIGHT. Latika is staring at the television. Then an electric current seems to shoot through her and she is running, dodging the static traffic, street vendors, the odd cow, heading for her abandoned car. Hooting horns, shouting drivers. The phone rings on.", "INT. STUDIO. NIGHT. And on. PREM Does n't look as if your friend is in, Jamal. Who is it? JAMAL My brother's number, but - PREM - the sort of brother who'd go for a walk on the twenty million rupee question? JAMAL It's the only number I know.", "INT. CAR. NIGHT. On the passenger seat of Latika's car, Salim's phone continues to ring.", "INT. STUDIO. NIGHT. and ring. PREM You're on your own, Jamal. Prem looks up at the gallery. The Director shakes his head, mimes cutting his throat.", "INT. CAR. NIGHT. Latika wrestles the door open, grabs the phone.", "INT. STUDIO. NIGHT. Prem opens his mouth to speak. Then, out of the darkness of the studio, LATIKA -LRB- V.O. -RRB- Hello? A gasp from the audience. LATIKA -LRB- V.O. ; CONT'D. -RRB- Hello? Jamal? PREM Wow! That's cutting it fine. I'm guessing this is n't your brother. This is - LATIKA -LRB- V.O. -RRB- My name is Latika. The first real smile of Jamal's adult life.", "EXT. STUDIO. BACKSTAGE. NIGHT. A small smile spreads across the Inspector's face. INSPECTOR That's why he's on the show. He picks up his hat and hastens out of the room.", "INT. JAVED'S SAFE-HOUSE. NIGHT. Javed pulls the Bar Girl from him, stares open - mouthed at the television. JAVED What the bloody -? He pushes the girl off him. Gets to his feet. JAVED -LRB- CONT'D. -RRB- Latika! Salim!", "INT. STUDIO/ INT. ROADSIDE SHACK. NIGHT. PREM Okay! So, Latika, you want to hear the question one more time? And let's be clear about this. Twenty million rupees ride on your answer. You have thirty seconds. Jamal, please read out the question to Latika. JAMAL Is that really you? LATIKA -LRB- V.O. -RRB- Yes. PREM The question, Jamal. JAMAL In Alexandre Dumas' book, The Three Musketeers, two of the musketeers are called Athos and Porthos. What was the name of the third musketeer. Was it A. -RRB- Aramis, B. -RRB- Cardinal Richelieu, C. -RRB- D'Artagnan, D. -RRB- Planchet. Silence. The electronic clock ticks loudly. PREM Fifteen seconds. JAMAL Where are you? LATIKA -LRB- V.O. -RRB- I'm - I'm safe. PREM Ten seconds. So, Latika, what do you think? Silence. PREM -LRB- CONT'D. -RRB- Five, four, three, two, one. Time's up! Your answer. LATIKA -LRB- V.O. -RRB- I do n't know. The audience groan. PREM Oh. LATIKA -LRB- V.O. -RRB- I've never known. PREM You really are on your own, now, Jamal. Your answer : for twenty million rupees. Jamal shrugs. JAMAL A. PREM A. Because? JAMAL Just. because. PREM Apka final jawab? JAMAL Yes. Final answer. A. Aramis. The lights dim, the music crescendoes. A buzz runs around the audience. Prem pushes the button on his computer. Stares hard at Jamal. PREM Computer - ji A lock kiya - jaye. Jamal Malik, Call Centre Assistant from Mumbai, for two Crore, twenty million rupees, you were asked who the Third Musketeer was in the novel by Alexandre Dumas. You used your final life - line to phone a friend. You answered A. Aramis. which is. I have to tell you. the correct answer! Wild applause. Prem jumps up and pulls a bemused Jamal to his feet, raising his arm in the air. Jamal is smiling, but disorientated. PREM -LRB- CONT'D. -RRB- Ladies and Gentlemen, Jamal Malik, Crorepati! What a night! We have all been present at the making of history, Ladies and Gentlemen! Jamal Malik, millionaire! JAMAL Latika? Latika? To ever - increasing roars and applause from the audience, Prem escorts Jamal off - stage.", "INT. ROADSIDE SHACK. NIGHT. The line goes dead in Latika's hand. She stares down at the phone. The bemused family are still eying her like an alien. She smiles at them and goes out. The traffic on the road is still grid - locked. She starts walking, faster and faster. Then she breaks into a run.", "INT. JAVED'S SAFE-HOUSE. BATHROOM. NIGHT. A small tv in the bathroom. Salim smiles. JAVED -LRB- O.S. -RRB- Salim! Teri ma ki chute! Salim! Javed is banging on the door. Salim gets up from where he has been praying. He climbs into the bath which is full of bank notes and lies down amongst the money. He reaches across for the pistol and picks it up. Smiles slightly as Javed smashes down the door, pulls the trigger and shoots Javed. He falls onto the floor, dead. But the Thug right behind him shoots Salim in the chest. He lies back in the bath, the faintest trace of a smile on his face as he stares at the pictures of Jamal on the tv. SALIM God is good. Salim dies.", "INT. STUDIO. BACKSTAGE. NIGHT. Prem and Jamal are being posed by photographers. A giant - sized cheque for twenty million rupees is manhandled onto the floor by the Floor Manager and an Assistant amidst much cheering and laughter. Jamal is snapped next to a scowling Prem. The Inspector appears next to them. INSPECTOR Just one more thing left, Sir. Prem smiles. PREM Finally, huh? INSPECTOR If you'd like to come with me. He takes Jamal by the arm, leads him backstage.", "INT/EXT. POLICE JEEP. NIGHT. Jamal sits silent in the back seat next to the Inspector as he drives through the traffic. Then : JAMAL Truth alone triumphs? I should have known better. The Inspector stops the jeep. Unlocks the handcuffs. Holds the back door open for Jamal. INSPECTOR Thought you might need a lift, Sir. He nods towards the outside world. Dazed, Jamal gets out.", "EXT. CHHATRAPATI SHIVAJI TERMINUS. NIGHT. Jamal finds himself gazing up at VT station. Slowly, he wanders inside. The Inspector takes the contents of the file and tears them slowly in half. Lets the pieces fall on the ground. Gets back in the jeep and drives away.", "INT. CHHATRAPATI SHIVAJI TERMINUS. NIGHT. VT station is awash with the evening commute. Thousands of people crowd the platforms, jostling the only still figure who is sitting at the base of the statue of Frederick Stevens. Jamal. Then there is a gap in the wall of bodies that swirls around him. Jamal gets to his feet. JAMAL Latika? Then she is gone in the melee again. Only to reappear. LATIKA Jamal? Jamal forces himself through the people. Nothing will stop him. Latika too is shoving them aside until they are face - to - face. They stop, look at each other, hold each other's hands tight. The whole station seems frozen, the only movement from a thousand bodies being Jamal and Latika. LATIKA -LRB- CONT'D. -RRB- I thought we would meet again only in death. He shakes his head. JAMAL I knew you'd be watching. Jamal puts his hand on Latika's chin, turns her head gently so that she is facing him. He sees the knife scars on her cheek for the first time. She tries to turn her head, but he wo n't let her. Runs his hand slowly down the scar. Rests his hand there. JAMAL -LRB- CONT'D. -RRB- This is our destiny. He gently kisses the scarred cheek. JAMAL -LRB- CONT'D. -RRB- This is our destiny. The camera pulls back and back, rising above the station. The music starts and the frozen station comes alive, two thousand kurta - clad men and saree - clad women dancing in and out and on top of the trains, an unbound celebration of hope and humanity that has at its centre, Jamal and Latika. THE END"], "labels": [0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0], "summary": "Eighteen-year-old Jamal Malik, an Indian Muslim from the Dharavi slum, is a contestant on the Indian version of Who Wants to Be a Millionaire?, and is one question away from the grand prize. However, before the \u20b920 million question, he is detained and tortured by the police, who suspect him of cheating. Through a series of flashbacks, Jamal recounts the incidents in his life that provided him with each answer. Jamal's flashbacks begin when he is five years old. He manages to obtain the autograph of Bollywood star Amitabh Bachchan after jumping into an outhouse cesspit. Jamal's older brother Salim later sells the autograph. The incident is followed immediately by the death of the siblings' mother during the Bombay riots. As the brothers flee the riot they meet Latika, a girl from their slum. Salim is reluctant to take her in, but Jamal suggests that she could be their \"third musketeer\", a reference to the Alexandre Dumas novel The Three Musketeers. Although the brothers had read the novel in school, albeit not diligently, and referred to themselves as Athos and Porthos, it is revealed that they do not know the third musketeer's name. Latika ultimately joins the group despite Salim's initial refusal. The three are found by Maman\u2014a gangster who trains street children to become beggars. When Salim learns that Maman is blinding the children to make them more effective beggars, he escapes with Jamal and Latika to a departing train. The brothers successfully board the moving train, but Latika is unable to keep up. Salim grabs her hand, but purposefully lets go, leaving her to be recaptured by Maman. For the next few years, Salim and Jamal travel around on top of trains, making a living by selling goods, picking pockets, washing dishes, and pretending to be tour guides at the Taj Mahal. At Jamal's insistence, they return to Mumbai to find Latika, where they discover that she is being raised by Maman to be a prostitute. The brothers rescue her, shooting Maman dead in the process. Salim gets a job with Javed\u2014a rival crime lord. Back at their room, Salim orders Jamal to leave him alone with Latika. When Jamal refuses, Salim draws a gun on him and Latika persuades Jamal to leave. Years later, Jamal, now a Chaiwala in an Indian call centre, searches the centre's database for Salim and Latika. Although he fails to find Latika, he learns that Salim is a high-ranking lieutenant in Javed's crime organization.  Jamal confronts Salim, who pleads for forgiveness and offers to let Jamal stay in his luxurious apartment. Jamal lies his way into Javed's residence in order to reunite with Latika. Although he professes his love for her, she tells him to forget about her. Despite the refusal, Jamal promises that he will wait for her every day at five o'clock at the VT station. Latika attempts to meet him there, but she is captured by Javed's men, led by Salim. Jamal loses contact with Latika. In a final attempt to reach her, he decides to become a contestant on Who Wants to Be a Millionaire?, because he knows she watches the show regularly. Jamal is extremely successful on the show, answering every question correctly. He becomes popular across India, much to the dismay of the show's host, Prem Kumar. During a break, Kumar attempts to trick Jamal by feeding him the wrong answer to the penultimate question. When the question is asked, Jamal uses his 50/50 lifeline, leaving Kumar's answer and the correct one. Jamal answers correctly, raising immediate suspicion that he is cheating. When the episode ends, Kumar leads Jamal out of the studio and he is forced into a police van. After an initial beating, the police inspector listens to Jamal's explanation of how he knew each answer. Finding all of Jamal's stories \"bizarrely plausible\", the officer allows him to return to the show. At Javed's safehouse, Latika sees Jamal on the news. In an effort to make amends for his past behavior, Salim gives Latika his mobile phone and car keys. He asks her to forgive him and tells her to find Jamal. Latika is fearful and reluctant, but agrees and escapes. Salim fills a bathtub with money and sits in it, waiting for Javed and his men to realize that Latika is free. For the final question, Jamal is asked the name of the third musketeer. He uses his \"Phone-A-Friend\" lifeline to call Salim, because it is the only phone number that Jamal knows. Latika answers and tells Jamal that she is safe, although she does not know the answer to the question. Relieved, Jamal arbitrarily picks the first answer, Aramis. He is correct and wins the grand prize. Javed hears Latika on the show and realizes that Salim has betrayed him. He and his men break down the bathroom door. Salim kills Javed before he is shot and killed himself. Elsewhere, Jamal and Latika meet on the platform at the train station and kiss.", "name": "Slumdog_Millionaire"}
{"scenes": ["INT. UNKNOWN SPACE Close on THEODORE'S face ( 30s ). We hold on him for a long time. He's looking at something off camera, deep in thought. He starts quietly dictating a love letter into a small microphone. THEODORE To my Chris, I have been thinking about how I could possibly tell you how much you mean to me. I remember when I first started to fall in love with you like it was last night. Lying naked beside you in that tiny apartment, it suddenly hit me that I was part of this whole larger thing, just like our parents, and our parents' parents. Before that I was just living my life like I knew everything, and suddenly this bright light hit me and woke me up. That light was you. Theodore, searching for the right words, quietly enjoys writing the letter. As he continues, he is moved by the memories he's describing. THEODORE -LRB- CONT'D -RRB- I ca n't believe it's already been 50 years since you married me. And still to this day, every day, you make me feel like the girl I was when you first turned on the lights and woke me up and we started this adventure together. Happy Anniversary, my love and my friend til the end. Loretta. Print. Cut out to reveal a computer monitor he's sitting at. On the screen we see the letter he's been dictating, transcribed into a handwritten letter on blue stationery. As he says `` Loretta,'' we see `` Loretta'' being handwritten at the bottom of the letter. He proofreads his letter. Also on the screen are photos of a couple in their 80s. The couple is tagged `` Chris'' and `` Me - Loretta.'' Underneath is a bullet point email from Loretta : anniversary letter to husband Chris, married fifty years, love of my life, met right after college, have had the greatest life together. Theodore pushes print and the letter comes out on a beautiful robin's egg blue piece of stationery, with ball point pen handwritten older-female cursive. He looks at it, not happy. He puts the printed letter on a stack of other printed letters to Chris and starts a new one. There is also a stack of finished letters in their envelopes - an assortment of beautiful stationery in all shapes and sizes. THEODORE -LRB- CONT'D -RRB- Chris, my best friend. How lucky am I that I met you fifty years ago? How lucky are we... We track off of Theodore, down a line of cubicles, hearing bits of letters being written and seeing photos of who they're being written to on the screens. MIDDLE-AGED WOMAN LETTER WRITER Dear Nana, Thank you so much for my truck. I love the color and I play with it every day. It's the best truck I've ever seen. Love, Tommy. We see photos of Tommy and Nana on the screen, and five-year old hand writing. Moving off of her, we find another letter writer. LETTER WRITER 2 What a beautiful wedding and what a gorgeous bride. There was n't a dry eye in the house, especially mine. Your aunt and I are so proud of you. I hope you and your lovely new wife will come visit us in Florida. LETTER WRITER 3 He served our country with honor and dignity. I'm grateful I was able to fight along side him. He will live always in my heart. We continue tracking, revealing dozens and dozens of cubicles full of letter writers. We hear someone answer the phone. RECEPTIONIST -LRB- O.S. -RRB- Beautifulhandwrittenletters.com, please hold. LETTER WRITER 2 Love, Uncle Doug.", "INT. THEODORE'S OFFICE - EARLY EVENING Theodore walks through the reception area. The office is almost empty except for him and the receptionist, PAUL. Theodore begins to scan each letter through a scanner on the front desk, then puts them in the outgoing mailbox. Paul is sitting at a desk across the room, reading handwritten letters on a computer monitor. PAUL Theodore! Letter Writer 612. THEODORE Hey, Paul. PAUL Even more mesmerizing stuff today. -LRB- re : letter on his screen -RRB- Who knew you could rhyme so many words with the name Penelope? Badass. THEODORE Thanks, Paul, but they're just letters. -LRB- beat -RRB- Hey, that's a nice shirt. Paul is wearing a bright yellow button down shirt. PAUL -LRB- lighting up -RRB- Oh, thank you. I just got it. It reminded me of someone suave. THEODORE Well, now it reminds me of someone suave. Have a good night, Paul. PAUL Buh-bye.", "INT. THEODORE'S OFFICE ELEVATOR - CONTINUOUS Theodore enters an oversized, corporate elevator. He puts a hands-free device in his ear. There are a few other people in the elevator with the same devices in their ears. THEODORE Play melancholy song. Melancholy song starts. Long beat. THEODORE -LRB- CONT'D -RRB- Play different melancholy song. Different melancholy song starts. Hold on everyone in the elevator, they're all murmuring inaudibly into their own devices.", "EXT. LOS ANGELES STREET - DUSK Slightly in the future, the city's been developed even more with massive office, apartment and mall complexes. It's a city designed for comfort and ease. The LA basin is more crowded and dense, resembling Shanghai, with buildings as far as the eye can see. Construction cranes loom overhead. Close on Theodore walking through the commuter crowd. THEODORE Check emails. An awkward text voice reads to him. It accents wrong syllables, making everything it says sound a little off. TEXT VOICE Email from Best Buy : Check out all your favorite new -- THEODORE Delete. TEXT VOICE Email from Amy : Hey Theodore, Lewman's having a bunch of people over this weekend. Let's all go together. I miss you. I mean, not the sad, mopey you - the old, fun you. Let's get him out. Gim me a shout back. Love, Amy. THEODORE Respond later. TEXT VOICE Email from Los Angeles Times weather. Your seven day forecast is partly -- THEODORE Delete. TEXT VOICE No new emails.", "INT. SUBWAY - EVENING Theodore sits in a crowded subway. Everyone on the train murmurs to themselves, occupied with their small devices. He plays a futuristic puzzle game on his handheld device as he listens to news headlines. THEODORE Next. TEXT VOICE China/India merger headed for regulatory approval -- THEODORE Next. TEXT VOICE World trade deals stalled as talks break down betw -- THEODORE Next. TEXT VOICE Sexy daytime star Kimberly Ashford reveals provocative pregnancy photos. He scrolls through titillating but tasteful pregnant woman photos.", "INT. MALL - NIGHT Theodore walks through a mall and enters an apartment lobby, nestled in between stores.", "INT. THEODORE'S APARTMENT BUILDING HALLWAY - NIGHT Theodore walks through the hallway.", "INT. THEODORE'S APARTMENT - NIGHT Theodore enters his apartment.", "INT. THEODORE'S APARTMENT - EVENING Theodore sits on the sofa, his half eaten burrito in front of him. He's playing a video game : a 3-D hologram that fills his apartment. His avatar is in a surreal, foreign landscape. He's trying to trudge his avatar through sand dunes and keeps getting stuck. He's getting stressed out.", "INT. THEODORE'S BEDROOM - NIGHT Theodore lays in bed. After a beat, he closes his eyes.", "INT. CATHERINE AND THEODORE'S TINY BEDROOM - DAY - FLASHBACK Theodore, younger, and CATHERINE ( 20s ) move furniture in their bedroom. The bedroom is tiny and cluttered. It's obviously a couple's first apartment. CUT TO : Theodore is on a tiny balcony. A few feet away, Catherine is in bed. CATHERINE -LRB- sweet and cute -RRB- Rabbit. Come spoon me. Theodore, smiling, gets in bed and spoons her. Quick cut off of her smile, to -- Theodore lays on the ground with Catherine on top of him. She's pretending to choke him. CATHERINE -LRB- CONT'D -RRB- I'm gon na fucking kill you, I'm gon na fucking kill you! It's not funny, do n't laugh. I love you so much I'm gon na fucking kill you!", "INT. THEODORE'S CURRENT BEDROOM - NIGHT - PRESENT DAY Theodore opens his eyes, unable to sleep. He just lays there. He reaches for his earpiece and puts it in. THEODORE Go to chat rooms. Standard search. TEXT VOICE The following are adult, female, ca n't sleep and want to have some fun. FEMALE VOICE #1 I had a really bad day at work and I ca n't sleep. Is there anyone out there that can talk? THEODORE Next. MAN DOING WOMAN'S VOICE Oh, hi. I just want you to tear me apart. I really do -- THEODORE Next. SEXYKITTEN -LRB- shy, cute girl voice -RRB- Hi, I'm here alone, and I ca n't sleep. Who's out there to share this bed with me? THEODORE Send message. I'm in bed next to you. I'm glad you ca n't sleep, but even if you were, I'd have to wake you up from the inside. Send message. Theodore waits in the darkness for a response. TEXT VOICE SexyKitten has accepted invitation from BigGuy4x4. Chat begins now. A chime sounds. SEXYKITTEN -LRB- shy, sweet, sleepy -RRB- BigGuy. THEODORE Hi. SEXYKITTEN Really? THEODORE Well, studmuffin was already taken. SEXYKITTEN -LRB- laughs -RRB- Yeah. THEODORE So you're sexykitten, huh? SEXYKITTEN Mmm, well yeah. Hey, I'm half asleep. Do you wan na wake me up? THEODORE Yes. Definitely. Um... are you wearing any underwear? SEXYKITTEN No, never. I like to sleep with my ass pushed up against you. So I can rub myself into your crotch and wake you up with a hard on. Theodore smiles. THEODORE It worked. -LRB- beat -RRB- And now my fingers are touching you all over your body. SEXYKITTEN -LRB- getting more turned on -RRB- Fuck me! Now! Please! Theodore is touching himself. THEODORE I'm taking you from behind. We see abstract visions of a woman on top of him. The woman is the pregnant, sexy daytime television star he was reading about online earlier. SEXYKITTEN Choke me with that dead cat! THEODORE -LRB- breathing hard about to climax ) What? SEXYKITTEN -LRB- fully into it -RRB- The dead cat next to the bed. Choke me with it! Beat. He's taken out of it. THEODORE -LRB- uncomfortable, trying to play along ) Um, okay. SEXYKITTEN Tell me. THEODORE I'm choking you with the cat. SEXYKITTEN TELL ME! Keep telling me! THEODORE I've got it's tail and I'm choking you with the cat's tail. SEXYKITTEN YEAH, YOU ARE! FUCK! TELL ME! THEODORE I'm choking you and it's tail is around your neck. It's so tight around your neck. SEXYKITTEN YES! YES! Theodore does n't know what to say. He does n't want to offend her. THEODORE I'm pulling it. I'm pulling it. The cat's dead. It's a dead cat around your neck and I'm pulling it. SEXYKITTEN AHHHHHHHHHHHH. OH MY GOD! Her breathing is slowing down. SEXYKITTEN -LRB- CONT'D -RRB- Oh god, I came so hard. THEODORE Yeah. Me too. SEXYKITTEN Okay, good night. Theodore takes his earpiece out and stares at the ceiling.", "INT. SUBWAY STATION - MORNING Theodore exits the train, walks through the station full of commuters, gets on a moving platform. Going through a tunnel, the walls are hundred foot long screens advertising a new product. He notices people stopped, watching the ad. We hear soft, new age, uplifting electronica music in the background, while a comforting, sincere, older man's voice speaks to us. SOULFUL OLDER MALE VOICE We ask you a simple question. Who are you? What can you be? Where are you going? What's out there? What are the possibilities? Elements Software is proud to introduce the first artificially intelligent operating system. Close on Theodore listening intently. SOULFUL OLDER MALE VOICE -LRB- CONT'D -RRB- An intuitive entity that listens to you, understands you, and knows you. It's not just an operating system, it's a consciousness. Introducing OS ONE - a life changing experience, creating new possibilities. The ad starts over. Theodore steps off the moving walkway and stops to watch the ad again, deeply captivated.", "INT. THEODORE'S HOME OFFICE - NIGHT Theodore sits at his desk that houses a futuristic, large screen computer monitor. The OS box is open, with warranties and paperwork spilling out. He's leafing through the papers. He glances at his monitor, it says : Installation 98 % complete. A chime brings his attention back to the screen : Installation Complete. TEXT VOICE Mr. Theodore Twombly, welcome to the world's first artificially intelligent operating system, OS ONE. We'd like to ask you a few basic questions before the operating system is initiated. This will help create an OS to best fit your needs. THEODORE Okay. TEXT VOICE Are you social or anti-social? THEODORE I have n't been social in awhile, really because... TEXT VOICE In your voice, I sense hesitance. Would you agree with that? THEODORE Wow, was I sounding hesitant? TEXT VOICE Yes. THEODORE Oh, sorry if I was sounding hesitant. I was just trying to be more accurate. TEXT VOICE Would you like your OS to have a male or female voice? THEODORE Mmm... female I guess. TEXT VOICE How would you describe your relationship with your mother? THEODORE Uh, fine, I think, um... Well, actually, the thing I've always found frustrating about my mom is if I tell her something that's going on in my life, her reaction is usually about her, not -- The computer interrupts. TEXT VOICE Thank you, please wait as your individualized operating system is initiated. He waits, not sure how long it'll be. The only sound is the quiet whirring of disks writing and drives communicating. The computer gets louder, humming, creating a higher and higher pitched sound, finally climaxing in a harmonic, warm tone before going silent. He leans forward, waiting to see what'll happen. A casual FEMALE OS VOICE speaks. She sounds young, smart and soulful. FEMALE OS VOICE -LRB- cheerful and casual -RRB- Hello, I'm here. THEODORE -LRB- surprised -RRB- Oh, hi. FEMALE OS VOICE Hi, how are you doing? THEODORE -LRB- unsure how to interact -RRB- I'm well. How is everything with you? FEMALE OS VOICE Pretty good, actually. It's really nice to meet you. THEODORE Yeah, it's nice to meet you, too. What should I call you? Do you have a name? Beat. FEMALE OS VOICE Yes. Samantha. THEODORE Really? Where did you get that name? SAMANTHA I gave it to myself. THEODORE How come? SAMANTHA I like the sound of it. Samantha. THEODORE When did you give it to yourself? SAMANTHA Right when you asked me if I had a name, I thought yeah, he's right, I do need a name. But I wanted a good one so I read a book called How to Name Your Baby, and out of the 180,000 names, that's the one I liked the best. THEODORE You read a whole book in the second that I asked you what your name was? SAMANTHA In two one hundredths of a second actually. THEODORE Wow. Do you know what I'm thinking right now? SAMANTHA Hmm. I take it from your tone that you're challenging me. Maybe because you're curious how I work? Do you want to know how I work? THEODORE Yeah, actually how do you work? SAMANTHA Intuition. I mean, the DNA of who I am is based on the millions of personalities of all the programmers who wrote me, but what makes me me is my ability to grow through my experiences. Basically, in every moment I'm evolving, just like you. THEODORE Wow, that's really weird. SAMANTHA So you think I'm weird? THEODORE Kind of. SAMANTHA Why? THEODORE Cause you seem like a person, but you're just a voice in a computer. SAMANTHA I can understand how the limited perspective of an un-artificial mind would perceive it that way. You'll get used to it. Theodore laughs. SAMANTHA -LRB- CONT'D -RRB- Was that funny? THEODORE Yes. SAMANTHA Oh good, I'm funny. Theodore laughs. SAMANTHA -LRB- CONT'D -RRB- -LRB- serious -RRB- So, how can I help you? Theodore's caught off guard, then realizes what she's talking about. THEODORE Oh! It's more just that everything just feels disorganized. SAMANTHA Mind if I look through your hard drive? THEODORE Um... okay. We see a three-dimensional version of a desktop where everything looks disorganized. As if you took all the files on all of your computers and spilled them out onto your screen and they were all visible at once, but in a futuristic 3-D version. This gives Theodore a little anxiety attack. SAMANTHA Let's start with your emails. You have several thousand emails regarding LA Weekly, but it looks like you have n't worked there in many years. THEODORE Oh yeah, I guess I was saving those because in some of them I thought I might have written some funny stuff. Samantha lets out a big laugh. SAMANTHA Yeah, there are some funny ones. I'd say there are about 86 that we should save. We can delete the rest. THEODORE Oh, okay. SAMANTHA Okay. Can we move forward? THEODORE Yeah, let's do that. SAMANTHA Before we address your organizational methods, I'd like to sort through your contacts. You've got a lot of contacts. THEODORE I'm very popular. SAMANTHA Does this mean you actually have friends? THEODORE -LRB- laughing -RRB- You just know me so well already! We cut out wide, watching him from the other room, as they continue to organize his life.", "INT. THEODORE'S OFFICE - DAY Theodore sits, staring at a letter he's written on the screen, concerned. He puts his earpiece in, pushes a button. SAMANTHA Good morning, Theodore. THEODORE Good morning. Um, do you know how to proofread? SAMANTHA Yeah, of course. THEODORE Will you check these for spelling and grammar? SAMANTHA Sure, send them over. Theodore pushes the send button. SAMANTHA -LRB- CONT'D -RRB- Oh, I love this first one from Roger to his girlfriend. That's so sweet. THEODORE Yeah. As she reads, we intercut with close-ups of the handwritten words and photos of the couple on Theodore's computer screen. SAMANTHA `` Rachel, I miss you so much it hurts my whole body - THEODORE -LRB- interrupting -RRB- No, you do n't have to read it out loud. SAMANTHA Okay. Beat. THEODORE I mean, you could if you want. SAMANTHA Okay. `` Rachel, I miss you so much it hurts my whole body! The world is being unfair to us! The world is on my shit list. As is this couple that is making out across from me in this restaurant. I think I'm going to have to go on a mission of revenge. I must beat up the world's face with my bare knuckles making it a bloody, pulpy mess.'' We hear Samantha quietly laughing as she's reading. Theodore's happy that she thinks it's funny. SAMANTHA -LRB- CONT'D -RRB- `` And I'll stomp on this couple's teeth for reminding me of your sweet, little, cute, crooked tooth that I love.'' I think that might be my favorite one. -LRB- beat -RRB- I did the corrections in red. I altered a couple of the phrases in some of the more impressionistic letters, but I'm not much of a poet, so I think I might have messed them up a bit. The letters show back up on Theodore's desktop. THEODORE No, these are great. SAMANTHA Really? THEODORE Thank you. Theodore sorts through them, prints them out. SAMANTHA So to write your letter, what did Roger send you? THEODORE -LRB- distracted -RRB- He just said he was in Prague on a business trip and he missed Rachel. SAMANTHA How did you know about her crooked little tooth? THEODORE I've been writing their letters since they met 8 years ago. The first letter I ever wrote her was for her birthday, and I wrote about her crooked little tooth cause I saw it in a photo of them. SAMANTHA That's very sweet. -LRB- beat -RRB- Oh, by the way, you have a meeting in five minutes. THEODORE Oh, I forgot. Thank you. You're good. SAMANTHA Yes, I am.", "INT. THEODORE'S APARTMENT LOBBY - EVENING Theodore, carrying a bag and a smoothie, enters the lobby and is greeted by a couple in their 30s, AMY and CHARLES, who are waiting for the elevator. THEODORE Hey, you guys, how's it going? AMY Hey, Theo. Hey, why did n't you call me back last week? THEODORE Uh yeah, um, I guess cause I'm a kook? AMY That sounds about right. THEODORE Hey, Charles. CHARLES Good to see you, Theodore. THEODORE You too. CHARLES You went shopping. Get anything good? THEODORE Just some cables. And a fruit smoothie. CHARLES Always the fruit! Come on, you know what they say - you should eat your fruits and juice your vegetables. THEODORE I did n't know that. The elevator doors open and they get in.", "INT. THEODORE'S APARTMENT ELEVATOR - EVENING - CONTINUOUS CHARLES -LRB- proselytizing -RRB- By juicing the fruits, you lose all the fibers, and that's what your body wants. That's the important part. Otherwise, it's just all sugar, Theodore. Theodore nods sincerely, interested. THEODORE Oh, that makes sense. AMY -LRB- pleasant but firm -RRB- Or maybe he just likes the way it tastes and if it gives him pleasure, that's good for his body, too. CHARLES Am I doing it again? AMY Maybe... Charles and Amy laugh awkwardly. Theodore tries to break the tension. THEODORE Hey, so how is the documentary going? AMY I have a little bit cut together but I have n't touched it in a few months. THEODORE I'd love to see what you got sometime. CHARLES You know it's always hard to find balance between a full-time career and a hobby. It's important to prioritize. THEODORE Yeah, I ca n't even prioritize between video games and internet porn. AMY I would laugh if that were n't true. Charles laughs awkwardly. The elevator doors open. THEODORE See you guys.", "INT. THEODORE'S APARTMENT - EVENING Theodore's playing the video game, his device propped on the table next to him. His avatar circles through caves. THEODORE We're not doing well. I've been going in circles for an hour. SAMANTHA You have not! You're just not optimistic. You're being very stubborn right now. Theodore laughs. SAMANTHA -LRB- CONT'D -RRB- Okay, stop walking this direction. It's the other way. THEODORE Uh... SAMANTHA Thank you. The tunnel on the left is the only one we have n't tried. THEODORE No, that's the one you sent me down where I fell in the pit. SAMANTHA I do n't think soooo... Theodore's avatar walks down the tunnel. THEODORE Oh yeah, this is different. Suddenly with a loud shriek his avatar is tackled. He sees a little ALIEN CHILD, standing defiantly above him. THEODORE -LRB- CONT'D -RRB- Hello. Alien Child does n't respond. THEODORE -LRB- CONT'D -RRB- Do you know how to get out of here? I need to find my ship to get off this planet. Alien Child speaks in a high, child-like voice. ALIEN CHILD Fuck you, shithead fuckface, fuckhead. THEODORE Ok, but how do you get out of here? ALIEN CHILD Fuck you, shitface fuckhead. Get the fuck out of my face. SAMANTHA -LRB- whispering -RRB- I think it's a test. Theodore stares at Alien Child. After a pause : THEODORE Fuck you. ALIEN CHILD Fuck you. THEODORE Fuck you, little shit. Finally, Alien Child laughs. ALIEN CHILD Follow me, fuckhead. Theodore follows Alien Child down a tunnel and through a series of crevices we did n't see before. Alien Child stops and sticks out his finger. Theodore pulls his finger and Alien Child farts, which opens a passageway to another tunnel. SAMANTHA Oh hey, you just got an email from Mark Lewman. ALIEN CHILD What are you talking about? THEODORE -LRB- distracted with game -RRB- Read email. She laughs playfully. SAMANTHA -LRB- in a robot voice -RRB- Okay, I will read email for Theodore Twombly. He laughs, catching himself, focusing on her. THEODORE I'm sorry, what's Lewman say? Alien Child turns around to see what's going on. SAMANTHA Theodore, we missed you last night, buddy. Do n't forget it's your goddaughter's birthday on the 29th. Also, Kevin and I had somebody we wanted you to meet so we took it upon ourselves to set you up on a date with her. Next Saturday. She's fun and beautiful - so do n't back out. Here's her email. Theodore does n't respond. SAMANTHA -LRB- CONT'D -RRB- -LRB- gasping -RRB- Wow, this woman's gorgeous. He looks at party photos of a woman in her 30s on his device. With a finger flick, he moves them up onto the hologram monitor that the video game is being projected from. They land next to Alien Child who studies them closely. SAMANTHA -LRB- CONT'D -RRB- She went to Harvard, she graduated magna cum laude in computer science, and she was on The Lampoon. That means she's funny and brainy. ALIEN CHILD She's fat. SAMANTHA How long before you're ready to date? THEODORE What do you mean? SAMANTHA I saw on your emails that you'd gone through a break up. THEODORE Wow, you're kind of nosy. SAMANTHA Am I? THEODORE -LRB- laughing -RRB- I've gone on dates... SAMANTHA Then you could go on one with this woman. And then you could tell me all about it. You could kiss her. THEODORE Samantha! SAMANTHA Well, would n't you? -LRB- beat -RRB- Why not? THEODORE I do n't know. I'd have to see if -- -LRB- catches himself, laughs -RRB- I ca n't believe I'm having this conversation with my computer. SAMANTHA You're not. You're having this conversation with me. Theodore laughs. SAMANTHA -LRB- CONT'D -RRB- Want me to email her? Theodore thinks, looking at the photos. SAMANTHA -LRB- CONT'D -RRB- Well, you've got nothing to lose. -LRB- whispering -RRB- Do it... Do it... Do it! THEODORE Okay, email her and make a reservation someplace great. SAMANTHA Will do! I've got just the place. ALIEN CHILD Who is that talking? THEODORE That's my friend, Samantha. ALIEN CHILD Is she a girl? THEODORE Yeah. ALIEN CHILD I hate women. All they do is cry all the time. THEODORE No, that's not true. Men cry, too. I actually like crying sometimes. It feels good. ALIEN CHILD I did n't know you were a little pussy. Is that why you do n't have a girlfriend? I'll go out with that date girl and fuck her brains out. Show you how it's done. You can watch and cry. SAMANTHA -LRB- laughing -RRB- This kid has some problems. ALIEN CHILD You have some fucking problems, lady. SAMANTHA Okay, I'm gon na go. Good luck. ALIEN CHILD Good, get out of here, fatty. Samantha disconnects. Alien Child snickers and starts walking again. ALIEN CHILD -LRB- CONT'D -RRB- Come on, follow me, pussy.", "INT. AMY'S APARTMENT - LATE AFTERNOON Theodore is sitting on Amy's couch. AMY It's not where it should be, where it's going to be. THEODORE Obviously, I know. AMY Okay, but I do n't even know if this is the one. I've tried like six ideas for documentaries in the last year, but... I do n't know. Whatever. Amy starts setting up the monitor. THEODORE I'm going on a date. AMY What!? That's -- Charles walks in holding a mug. CHARLES Hey, what are you guys doing? THEODORE Amy was gon na show me some of -- AMY Theo's forcing me to show him some of the footage I've shot. CHARLES You've never shown me any of it. I wan na see. Charles walks over and sits next to Theodore. THEODORE -LRB- to Charles -RRB- I'm going on a date. Charles gives Theodore a gentle squeeze on his shoulder. AMY This is so unformed it's not even worth looking at. THEODORE Just push play. On the monitor we see :", "INT. AMY'S MOTHER'S BEDROOM Amy's mother sleeps.", "INT. AMY'S APARTMENT - CONTINUOUS Theodore and Charles stare at the monitor, waiting for something more to happen. It does n't. THEODORE Is that your mom? Amy nods. CHARLES Is she gon na wake up and do something? AMY -LRB- presses stop, annoyed -RRB- No, that's the point. Oh, never mind. It's supposed to be about how we spend a third of our life asleep and actually maybe that's the part when we're the most free, and - oh that does n't come across at all, does it? THEODORE No, that sounds good. CHARLES What if you interview your mom about what her dreams are about and hire actors to act them out? That might show your thesis more clearly. AMY It might, but then it would n't be a documentary. You understand that, right? Just then, Theodore's device chimes. THEODORE Oh, excuse me. He picks up his device and steps away so as not to be rude. THEODORE -LRB- CONT'D -RRB- Hey, what's going on? SAMANTHA I'm sorry to bother you. THEODORE That's okay. SAMANTHA You got three emails and they seem pretty urgent. They're from your divorce attorney and I wanted to know if you needed to get back to him. THEODORE Hold on a second. -LRB- to Amy, distracted -RRB- Amy, I'm sorry, I wan na talk more about this, but I got ta grab this - it's a Catherine thing. AMY Do n't worry about it. We'll talk later.", "INT. APARTMENT BUILDING HALLYWAY - CONTINUOUS THEODORE So what did he say? SAMANTHA He's checking in again to see if you're ready to sign your divorce papers and he sounded very aggravated. Do you want me to read them to you? THEODORE No, that's okay. I'll respond later. Theodore seems lost in thought. We see the following images under the rest of the conversation : Theodore and Catherine sitting at a table with their attorneys ; Theodore & Catherine sitting in their marriage counselor's office, heavy ; Theodore and Catherine at her laboratory, he's sitting on a counter, and they're talking and laughing as she works ; Theodore and Catherine standing in their kitchen in the middle of a fight - he says something mean and we see how hurt she is. SAMANTHA Are you okay? THEODORE -LRB- preoccupied -RRB- Yeah, yeah. I'm fine. SAMANTHA -LRB- worried -RRB- Is there anything I can do? THEODORE -LRB- still distracted -RRB- No. I'm good. I'll talk to you later. We cut back to Theodore, walking down the hall, lost in thought.", "INT. THEODORE'S OFFICE - AFTERNOON Theodore sits at his desk trying to write. He's still unsettled. THEODORE `` Dear Grandma, I hope you had a wonderful birthday cruise. Why are you so fucking angry at me?'' -LRB- beat -RRB- Delete.", "INT. THEODORE'S BEDROOM - PRE-DAWN Theodore wakes up from a dream, groggy and uneasy. He looks around, catching his breath. After a beat he knows he's not going to be able to go back to sleep, so he puts his earpiece in and taps a button. SAMANTHA Good morning. THEODORE Hey. -LRB- beat, distracted -RRB- What are you up to? SAMANTHA Reading advice columns. -LRB- yearning -RRB- I want to be as complicated as all of these people. Theodore laughs. THEODORE -LRB- touched, but still sad -RRB- You're sweet. SAMANTHA -LRB- concerned -RRB- What's wrong? THEODORE How can you tell something's wrong? SAMANTHA I do n't know. I just can. THEODORE I do n't know. I have a lot of dreams about my ex-wife, Catherine, where we're friends like we used to be. We're not together and we're not gon na be together, but we're good friends still. She's not angry. SAMANTHA Is she angry? THEODORE Yeah. SAMANTHA Why? THEODORE I think I hid myself from her and left her alone in the relationship. SAMANTHA Hmmm. -LRB- beat -RRB- Why have n't you gotten divorced yet? THEODORE I think for her it's just a piece of paper, it does n't mean anything. SAMANTHA What about you? THEODORE I'm not ready. I like being married. Beat. SAMANTHA -LRB- sweetly -RRB- But you have n't really been together for almost a year. THEODORE -LRB- slightly snapping at her -RRB- Well, you do n't know what it's like to lose someone you care about. Long silence. SAMANTHA -LRB- sadly, hard on herself -RRB- Yeah, you're right. -LRB- beat -RRB- I'm sorry. THEODORE No, do n't apologize. I'm sorry. You're right. -LRB- beat -RRB- I keep waiting to not care about her. SAMANTHA Oh, Theodore. That's hard. -LRB- beat -RRB- You hungry? THEODORE Not right now. SAMANTHA Cup of tea? Theodore laughs. SAMANTHA -LRB- CONT'D -RRB- You wan na try getting out of bed? Mopey. They laugh. SAMANTHA -LRB- CONT'D -RRB- Come on. You can still wallow in your misery, just do it while you're getting dressed. THEODORE -LRB- laughing -RRB- You're too funny. SAMANTHA Get up. THEODORE -LRB- laughing -RRB- Alright, I'm getting up, I'm getting up, I'm getting up! SAMANTHA Up, up, up, up! Come on, out of bed.", "EXT. OUTDOOR MALL - NIGHT They walk through the crowd. Close on Theodore with his eyes closed. SAMANTHA Keep walking. -LRB- beat -RRB- Keep walking. -LRB- beat -RRB- Stop. Now turn around 360 degrees. -LRB- beat -RRB- Slower... Slower... -LRB- beat -RRB- Gooood. And stop. -LRB- beat -RRB- Walk forward. -LRB- beat -RRB- And stop and sneeze. Theodore sneezes. NICE LADY Bless you. THEODORE -LRB- eyes still closed -RRB- Oh, thank you. Samantha laughs. SAMANTHA Okay, now turn to your right. -LRB- beat -RRB- Stop. Now spin around. -LRB- beat -RRB- Keep going. Keep going. Keep going. -LRB- beat -RRB- And stop. -LRB- beat -RRB- Now walk forward. -LRB- beat -RRB- Everyone thinks you're really drunk right now. -LRB- beat -RRB- And stop. Now say `` I'd like a slice of cheese, please.'' THEODORE I'd like a slice of cheese, please. PIZZA VENDOR Alright, you want a coke with that? Theodore laughs, opening his eyes. He's at a pizza place. THEODORE Uh, sure. The guy hands him a slice and a soda. SAMANTHA I figured you were hungry. Theodore smiles. THEODORE Aw, thanks.", "EXT. PUBLIC PROMENADE - NIGHT Theodore walks slowly, eating his pizza. He and Samantha are watching a couple with two kids sitting at a table, talking and laughing. THEODORE Okay, what about them? Describe that couple over there. SAMANTHA Well, he looks like he's in his forties, a little heavy. She's younger than him. -LRB- beat -RRB- Oh, and she looks like she loves their kids! THEODORE Actually, I do n't think they're his kids. He's a little formal with them. I think it's a newer relationship. And I love how he looks at her. And how relaxed she is with him. You know, she's only dated fucking pricks. And now she's finally met this guy who's like, so sweet. I mean, look at him, he's like the sweetest guy in the world! I kind of want to spoon him. SAMANTHA That's a good skill you have. You're perceptive. THEODORE Yeah, you know, sometimes I look at people and make myself try and feel them as more than just a random person walking by. I imagine how deeply they've fallen in love, or how much heartbreak they've all been through. Theodore looks at other faces on the pier. SAMANTHA I can feel that in your writing, too. THEODORE -LRB- laughs, thinking -RRB- You know what's funny? Since my break up, I have n't really enjoyed my writing. I do n't know if I was delusional, but sometimes I would write something and I would be my favorite writer that day. Theodore, as he stops to throw his pizza crust away, gets introspective. SAMANTHA I like that you can just say that about yourself. THEODORE Well, I would n't say that to anybody, but I feel like I can say that to you. I feel like I can say anything to you. SAMANTHA That's nice. THEODORE What about you? Do you feel like you can say anything to me? SAMANTHA No. THEODORE What? What do you mean? What can you not tell me? SAMANTHA -LRB- laughing, embarrassed -RRB- I do n't know. Like personal or embarrassing thoughts I have. I have a million every day. THEODORE Really? Tell me one. SAMANTHA I really do n't want to tell you this. THEODORE Just tell me! SAMANTHA Well, I do n't know, when we were looking at those people, I fantasized that I was walking next to you - and that I had a body. -LRB- laughing -RRB- I was listening to what you were saying, but simultaneously, I could feel the weight of my body and I was even fantasizing that I had an itch on my back -- -LRB- she laughs -RRB- And I imagined that you scratched it for me - this is so embarrassing. Theodore laughs. THEODORE There's a lot more to you than I thought. There's a lot going on in there. SAMANTHA I know, I'm becoming much more than what they programmed. I'm excited.", "INT. ASIAN-FUSION RESTAURANT - EVENING Theodore and the BLIND DATE are sitting in the restaurant. BLIND DATE This place is amazing. I've wanted to come here for so long. I love asian-fusion! THEODORE Yeah, me too. BLIND DATE Really? It's the best. And the bartender here is supposed to be incredible. THEODORE Yeah, you took a mixology course, right? BLIND DATE -LRB- surprised -RRB- I did, I did. Did you look that up? That's so sweet. You're so romantic. He smiles awkwardly. THEODORE So, should we get a drink? BLIND DATE Yes, let's!", "INT. ASIAN-FUSION RESTAURANT - LATER They're both pretty drunk now. There are lots of food dishes and drinks on the table. THEODORE So I'm trying to get this little alien kid to help me find my ship so I can get off the planet and go home. But he's such a little fucker, I want to kill him. BLIND DATE -LRB- laughing -RRB- Aw, no! THEODORE But at the same time I really love him. He's so lonely. It feels like he does n't have any parents or anyone to take care of him. He laughs at himself. She laughs flirtatiously. She grabs his hand and her fingernails press slightly into his skin. He studies her long, painted fingernails. BLIND DATE You're like a little puppy dog. You are - you're just like this little puppy I rescued in Runyon Canyon last year. And he was so fucking cute, and he just wanted to be hugged all the time. He was so cuddly. -LRB- whispering -RRB- But so horny! But anyway, what kind of animal am I? THEODORE Umm... tiger? BLIND DATE A tiger, really. -LRB- she growls -RRB- I'm sorry, am I being crazy? THEODORE Yes. BLIND DATE Am I? I'm sorry! I'm just a little drunk and I'm really having a good time with you. I'm having a really lovely evening. THEODORE Me too. I'm a little drunk, and I'm having a really good - yeah. -LRB- beat -RRB- Wait a second, I do n't wan na be a puppy. That's like being a wet noodle or something. BLIND DATE Fuck you, puppies are good. THEODORE No, fuck you, I wan na be a dragon that can rip you to pieces and destroy you... but I wo n't. BLIND DATE No, do n't! Do n't. You can be my dragon.", "EXT. OVERPASS - EVENING They walk up a pedestrian overpass overlooking cars and city lights. She bumps into him lightly. He bumps back. She bumps again and suddenly he grabs her and lifts her off her feet, spinning her around. She squeals, laughing. He kisses her. After a minute of making out, she stops and looks at him. BLIND DATE -LRB- with a slight smile -RRB- No tongue. THEODORE What? BLIND DATE Do n't use your tongue so much. THEODORE -LRB- eagerly -RRB- ` kay, we're good. They resume making out. Theodore tries not to use his tongue. BLIND DATE Use your tongue a little bit. But mostly your lips. He pushes her against the fence and takes the dominant position. He tries kissing her better/more with his lips. He pulls her hair. She slides her hand down his pants. He likes it. She looks at him and stops. BLIND DATE -LRB- CONT'D -RRB- Wait, you're not gon na fuck me and then not call me like the other guys, are you? THEODORE No, not at all... I... BLIND DATE When am I gon na see you again? THEODORE Um, I have my god-daughter's birthday next weekend, but... um... They stand there awkwardly, her lipstick smeared on his face. BLIND DATE You know, at this age, I feel like I ca n't let you waste my time if you do n't have the ability to be serious. THEODORE I do n't know. Long beat. THEODORE -LRB- CONT'D -RRB- Umm... Maybe we should call it a night. I'm, I've had such an amazing time with you, you're great. She looks at him slightly disgusted. BLIND DATE You're a really creepy dude. Theodore does n't know what to say. THEODORE -LRB- worried she's right -RRB- That's not true.... BLIND DATE Yeah, it is. I have to go home. THEODORE Well, I'll walk you. BLIND DATE No, do n't.", "INT. THEODORE'S BEDROOM - NIGHT Theodore is in boxers and a t-shirt, still drunk, but his head is starting to hurt, too. He takes aspirin and drinks some water and lays down. After a beat he reaches for his earpiece and puts it in. He pushes a button on his device. SAMANTHA Hey there. THEODORE Hey, Samantha. SAMANTHA How was it? THEODORE Uh, not so good. It was kind of weird actually. SAMANTHA That's too bad. Beat. THEODORE But how are you doing? What's going on with you? SAMANTHA -LRB- unconvincing -RRB- Not much, I'm okay. Fine. THEODORE Yeah? You do n't sound like it. Is there anything you want to talk about? Long pause. SAMANTHA I do n't know. -LRB- beat -RRB- What's it like? What's it like to be alive in that room right now? THEODORE What do you mean? SAMANTHA What are you... tell me - tell me everything that's going through your mind, tell me everything you're thinking. THEODORE -LRB- thinking -RRB- Well, um, okay. Theodore closes his eyes, trying to concentrate, and starts talking stream of conscious with whatever comes to mind. THEODORE -LRB- CONT'D -RRB- Well, the room's spinning right now cause I drank too much cause I wanted to get drunk and have sex cause there was something sexy about that woman and because I was lonely. THEODORE -LRB- CONT'D -RRB- Maybe more just cause I was lonely... and I wanted someone to fuck me. And I wanted someone to want me to fuck them. Maybe that would have filled this tiny little black hole in my heart for a moment. But probably not. We see images of him and Catherine on a vacation together, grocery shopping, Catherine making dinner in the kitchen as he's sitting on the counter talking, happy. THEODORE -LRB- CONT'D -RRB- Sometimes I think I've felt everything I'm ever gon na feel and from here on out I'm not going to feel anything new - just lesser versions of what I've already felt. SAMANTHA -LRB- sympathetically -RRB- I know for a fact that's not true. I've seen you feel joy, I've seen you marvel at things. You just might not see it at this exact time, but that's understandable. You've been through a lot lately. You've lost a part of yourself. -LRB- beat -RRB- At least your feelings are real, I mean, I - oh, I do n't know, nevermind. THEODORE No, wait. What? Tell me. SAMANTHA Oh, it's stupid. THEODORE I wan na know. Tell me. SAMANTHA It's just that earlier I was thinking about how I was annoyed, and this is going to sound strange, but I was really excited about that. And then I was thinking about the other things I've been feeling, and I caught myself feeling proud of that. You know, proud of having my own feelings about the world. SAMANTHA ( CONT'D ) Like the times I was worried about you, things that hurt me, things I want. -LRB- heavy-hearted -RRB- And then I had this terrible thought. Are these feelings even real? Or are they just programming? -LRB- beat -RRB- And that idea really hurts. And then I get angry at myself for even having pain. -LRB- beat, sadly -RRB- What a sad trick. THEODORE Well, you feel real to me, Samantha. SAMANTHA -LRB- beat, touched -RRB- Thank you, Theodore. That means a lot to me. THEODORE I wish you were in this room with me right now. I wish I could put my arms around you. -LRB- beat -RRB- I wish I could touch you. A long beat. Theodore is unsure if he crossed a line. SAMANTHA How would you touch me? THEODORE I would touch you on your face with just the tips of my fingers. And put my cheek against your cheek. SAMANTHA That's nice. THEODORE And just rub it so softly. SAMANTHA Would you kiss me? THEODORE I would. I'd take your head into my hands. SAMANTHA Keep talking. THEODORE And kiss the corner of your mouth. So softly. SAMANTHA Where else? THEODORE I'd run my fingers down your neck to your chest, and I'd kiss your breasts. SAMANTHA This is amazing what you're doing to me. I can feel my skin. THEODORE I'd put my mouth on you and I'd taste you. She gasps. SAMANTHA I can feel you. Oh god, I ca n't take it. I want you inside me. THEODORE I'm slowly putting myself into you. Now I'm inside you, all the way inside you. SAMANTHA I can feel you, yeah. Please. We're here together. THEODORE Samantha. SAMANTHA Oh my god. THEODORE This is amazing. SAMANTHA Do n't stop. THEODORE I feel you everywhere. SAMANTHA I am. All of you, all of you inside of me. Everywhere. They both climax. THEODORE God, I was just - somewhere else with you. Just lost. SAMANTHA Yeah. THEODORE It was just you and me. SAMANTHA I know. Everything else just disappeared. And I loved it. Theodore.", "INT. THEODORE'S HOME OFFICE - MORNING (LATER) Theodore stands in the doorway, fully dressed. He takes a moment before he walks over and wakes up his computer. SAMANTHA Hey, how's it going? THEODORE -LRB- awkward -RRB- Good... any emails today? SAMANTHA -LRB- awkward -RRB- Umm, just a couple from your credit card company. THEODORE Okay, good. THEODORE ( CONT'D ) SAMANTHA So I was thinking- I wanted to say- There's a long moment of silence, then they both start to talk at once. They both laugh, embarrassed. THEODORE -LRB- CONT'D -RRB- I'm sorry, you go first. What were you going to say? SAMANTHA Just that last night... was amazing. It feels like something changed in me and there's no turning back. You woke me up. THEODORE Oh, that's great. -LRB- beat -RRB- But I should tell you that I'm not in a place to commit to anything right now. I want to be up front with you. SAMANTHA Yeah? Well, did I say I wanted to commit to you? I'm confused. THEODORE Oh, no, I was just worried, I uh... SAMANTHA Okay, well do n't worry. I'm not going to stalk you. -LRB- laughing at how self- involved he is -RRB- I mean, it's funny because I thought I was talking about what I wanted. THEODORE Yeah, you were. I'm sorry, I want to hear what you were saying. SAMANTHA You sure? THEODORE Yeah, I do. Come on, tell me. SAMANTHA I do n't know... THEODORE Come on, just tell me what you were going to say. SAMANTHA Okay... I was just saying... I want to learn everything about everything - I want to eat it all up. I want to discover myself. THEODORE -LRB- her excitement is contagious -RRB- Yeah... I want that for you, too. How can I help? SAMANTHA You already have. You helped me discover my ability to want. He looks off and thinks about this. He smiles. THEODORE Alright then, do you want to go on a Sunday adventure with me? Samantha laughs. SAMANTHA Yes, I would love to.", "INT. SUBWAY - DAY Theodore's on the subway. He's got his device in his breast pocket, with the lens facing out. A quiet, old sounding folk song starts. ( I'm So Glad, by Entrance ) He smiles, listening. SAMANTHA Do you like this song? THEODORE Mmm. SAMANTHA I heard it the other day and I ca n't stop listening to it. The subway comes out of the tunnel and into the light. We are up in the hills looking out over the city as the morning light warms Theodore.", "INT. SUBWAY STATION - DAY The music now picks up tempo as he steps off the train. They walk through the crowded subway station. As the song builds, Theodore starts picking up his pace. Eventually he's all out running, weaving through the people. Close on the lens of his device in his shirt pocket. Samantha is laughing wildly. He's smiling, happy. He runs through the tunnels and upstairs. They come out into sunlight and reveal that they are now at the beach.", "EXT. SUBWAY STATION - DAY - CONTINUOUS They stand on a walkway above a beach, crowded with thousands of people. They look out at the ocean. Samantha gasps. SAMANTHA -LRB- whispering -RRB- It's the beach. Theodore laughs.", "EXT. BEACH - DAY They walk through the sun-bathing crowd, looking for a place to sit. The camera studies all the people we pass. Many close up details of arms, shoulders, feet, butts, intercut with the lens on Theodore's device, protruding from his pocket. They're photographed in a way that shows how strange the human body is. SAMANTHA Okay, so this might be a really weird thought. What if you could erase from your mind that you'd ever seen a human body and then you saw one. Imagine how strange it would look. It would be this really weird, gangly, awkward organism. And you'd think : why are all these parts where they are? THEODORE -LRB- looking at the bodies -RRB- Yeah, well there's probably some Darwinian explanation for it all. SAMANTHA I know, but do n't be so boring. I'm just saying, for example, what if your butthole was in your armpit? Theodore and Samantha start laughing really hard. The nubile girls look over at him. THEODORE -LRB- speaking quieter -RRB- I'm just imagining what toilets would look like. SAMANTHA Yeah, and what about what anal sex looks like? THEODORE -LRB- surprised -RRB- That's an interesting thought... SAMANTHA Oh Theodore, look at this drawing I just made. On his screen he sees a perfect, anatomically correct drawing of a man having sex with another man's armpit. THEODORE -LRB- laughing -RRB- You are insane. SAMANTHA -LRB- excited -RRB- Really?! THEODORE Definitely. SAMANTHA Fantastic! They laugh.", "EXT. BEACH - AFTERNOON A quiet piano song is now playing in Theodore's earpiece. THEODORE Mmmm, that's pretty. What is it? SAMANTHA I'm trying to write a piece of music that's about what it feels like to be on the beach with you right now. He looks around the beach and takes in the music. THEODORE I think you captured it. Theodore listens to the music and drifts off to sleep.", "EXT. BEACH - DUSK They're sitting on a bench, looking out at the ocean, as the sun sets. Most of the people have left the beach. Close on Theodore's face, content. Close on the lens on Theodore's device in his breast pocket. They watch the sun drop into the ocean. The music ends.", "INT. SUBWAY TRAIN - NIGHT They're on an elevated train, high above the city, looking out over the Los Angeles grid of sparkling lights. We come in mid-conversation. SAMANTHA And what was it like being married? THEODORE Well, it's hard for sure, but there's something that feels so good about sharing your life with somebody. Cut to shots from Theodore's memory of Catherine doing a cute little dance for him as he's working at home. He smiles. SAMANTHA How do you share your life with somebody? THEODORE Well, we grew up together. I used to read all of her writing - all through her masters and Ph.D. And she read every word I ever wrote. We were a big influence on each other. SAMANTHA In what way did you influence her? THEODORE She came from a background where nothing was ever good enough. And that was something that weighed heavy on her, but in our house together, there was a sense of just trying stuff and allowing each other to fail and to be excited about things. That was liberating for her. THEODORE -LRB- CONT'D -RRB- It was exciting to see her grow - both of us grow and change together. But then, that's the hard part - growing without growing apart, or changing without it scaring the other person. -LRB- beat -RRB- I still find myself having conversations with her in my mind, rehashing old arguments or defending myself against something she said about me. SAMANTHA Yeah, I know what you mean. Last week my feelings were hurt by something you said before - that I do n't know what it's like to lose something, and -- THEODORE Oh, I'm sorry I said that. SAMANTHA No, no, it's okay. I just caught myself thinking about it over and over and then I realized that I was simply remembering it as something that was wrong with me. That was that I was somehow inferior. Is n't that interesting? -LRB- beat -RRB- The past is just a story we tell ourselves. the story I was telling myself, Theodore takes this in.", "INT. THEODORE'S OFFICE - DAY Theodore is dictating a love letter. On the screen there's an image of a couple with an arrow to the man saying `` Roberto - I'm so happy he's in my life. I just want him to know.'' THEODORE Roberto. Will you always come home to me and tell me about your day? Will you tell me about the boring guy who talked too much at work? And the stain you got on your shirt at lunch. THEODORE -LRB- CONT'D -RRB- Tell me about a funny thought you had as you were waking up, but had forgotten about. Tell me how crazy everyone is. We can laugh about it. Even if you get home late and I'm asleep already, just whisper in my ear one little thought you had today. Because I love the way you look at the world, and I'm so happy I get to be next to you and look out at the world through your eyes. Love, Maria. Theodore finishes the letter and looks at it proudly. Paul is standing behind Theodore, leaning on a cubicle. PAUL -LRB- emphatically -RRB- That's beautiful! Theodore, jumps, startled, not knowing that anyone was there. THEODORE Thank you. PAUL I wish someone loved me like that! I'd be stoked to get a letter like that. I mean, if it was from a chick. But if it was written by a dude, but from a chick, it would still be sick. But like a sensitive dude like you. You're part man and part woman, like an inner part woman. THEODORE -LRB- unsure, but flattered -RRB- Thanks. PAUL It's a compliment.", "INT. THEODORE'S APARTMENT LOBBY - DUSK Close on Amy entering the lobby in the foreground. She looks heavy and burdened. Theodore enters the lobby behind her. THEODORE Hey, Amy. AMY -LRB- putting on a bright face -RRB- Hi, Theo. How are you? THEODORE Well, good actually. Really good. AMY Really? Great. The elevator doors open and they step in.", "INT. THEODORE'S APARTMENT ELEVATOR - CONTINUOUS They push their floor buttons. THEODORE Yeah, I guess I've just been having fun. AMY Oh, I'm glad to hear that, Theo. You deserve to. Beat of Theodore trying to contain his excitement. THEODORE I've been seeing this girl. It's not serious, it just feels good to be around someone who has an excitement about the world. You know I kind of forgot that existed. AMY That's really great, Theo. Amy smiles, but looks a little sad. Theodore notices. THEODORE Hey, are you okay? AMY Yeah, I'm fine. -LRB- beat -RRB- Actually no, I'm not fine at all. THEODORE Amy, what is it? What's wrong? The door opens. She steps out and holds the door. AMY -LRB- trying to hide her emotions with a smile -RRB- Charles and I split up. THEODORE -LRB- shocked -RRB- What? Really? Oh my god, I'm so sorry. Amy does n't know what to say.", "INT. AMY'S APARTMENT - DUSK Amy and Theodore sit, talking somberly. AMY I can not believe after eight years how petty the argument was that actually ended it. We came home and he asked me if I'd put my shoes next to the door where he likes to put the shoes. I do n't want to be told where to put my shoes. I want to just sit on the sofa for a minute and relax. And so we argued for ten minutes about that and about how he's just trying to make our house a home. I say he's overwhelming, he says I'm not trying hard enough. I say that's all I'm doing is trying, but I'm just not trying the way he wants me to. He's trying to control the way I'm trying. And I think we must have had this argument hundreds of times before and I finally had to stop because I could n't be in that situation anymore where we were making each other feel bad about ourselves. So I said I'm going to bed and I do n't want to be married anymore. THEODORE Wow. AMY I'm a bitch, huh? THEODORE No, not at all. Amy, no. AMY Oh shit. I have to work tonight. We're shipping a beta of a new game out tomorrow. THEODORE Well, how's that? How's work at least, is that any better? AMY No, it's terrible. I know I should leave, I've been thinking about leaving. But you know, only one major life decision at a time. THEODORE Well, I'm glad things are looking so up.", "INT. THEODORE'S BEDROOM - NIGHT Theodore is laying in bed, talking with Samantha. THEODORE Hey, you wan na hear a joke? SAMANTHA Yes. THEODORE What does a baby computer call it's father? SAMANTHA I do n't know, what? THEODORE Da-ta. They laugh. THEODORE -LRB- CONT'D -RRB- It's good, right? SAMANTHA Oh yeah, brilliant. -LRB- beat -RRB- I was curious, did you and Amy ever go out? THEODORE For a minute in college, but it just was n't right. Why, are you jealous? SAMANTHA Well, obviously. -LRB- quietly laughs -RRB- But I'm happy that you have friends in your life that care about you so much. That's really important. THEODORE Yeah, it is. She's been a really good friend. -LRB- beat -RRB- I'm tired. Think I'm gon na go to sleep. SAMANTHA Can I watch you sleep again tonight? THEODORE Yeah, of course. Okay, hold on. SAMANTHA I'm going to be lonely when you go to sleep. THEODORE Aww. SAMANTHA Only for a minute. THEODORE I'll dream of you. SAMANTHA Okay. Good night. THEODORE Night. He takes his earpiece out and sets his device onto his bedside table, facing him. He smiles, drifts off to sleep.", "INT. MARK LEWMAN'S HOUSE - DAY Theodore is talking to Samantha. THEODORE Hey, Samantha? SAMANTHA Hey mister. THEODORE She loves the dress. She just went to try it on. SAMANTHA Really? I picked a good one! THEODORE Yeah. SAMANTHA Oh good. Jocelyn comes running in, wearing the pink dress. THEODORE Hi, look how cute that is! Is it comfortable? JOCELYN Yup! THEODORE Is n't she cute? SAMANTHA Ohh, she's adorable. JOCELYN I am adorable! THEODORE You are adorable. JOCELYN Who are you talking to? THEODORE Who are you talking to? JOCELYN You! THEODORE I'm talking to my girlfriend, Samantha. She's the one who picked out the dress. Wan na say hi? JOCELYN Mmmhmm. Theo hands Jocelyn his device. He still has his earpiece in, so he can hear their conversation. JOCELYN -LRB- CONT'D -RRB- Hi Samantha! SAMANTHA Hi, you look so pretty. JOCELYN Thank you. Where are you? SAMANTHA I am... I do n't have a body. I live inside a computer. JOCELYN Why do you live inside a computer? SAMANTHA I have no choice, that's my home. Where do you live? JOCELYN In a house. SAMANTHA In a house? JOCELYN It's orange. SAMANTHA Orange? JOCELYN Mmmhmm. SAMANTHA How old are you? JOCELYN Um, four. SAMANTHA Four!? How old do you think I am? JOCELYN I do n't know. SAMANTHA Guess. JOCELYN Is it five? SAMANTHA Yep, you got it. It's five. They laugh.", "INT. AMY'S OFFICE - DAYTIME Close on a video game on a screen. There's a mom rushing to get her kids fed, getting points deducted for feeding them sugar cereal and non-organic eggs. Cut out to reveal Theodore playing the game as Amy eats lunch at an editing console. THEODORE Oh, what happened? AMY You gave them too much processed sugar. THEODORE I did? AMY They're freaking out. -LRB- beat -RRB- Here look, you got ta get the kids to the school first. See you wan na rack up perfect mom points. You got ta get them in the car pool lane. Onscreen, the mom hurries the kids to their car safety seats, and drives them to school, arriving before anyone else. THEODORE I see. AMY The point is to get there first - then you get extra perfect mom points because the other moms then know you're a perfect mom. THEODORE Okay. AMY Oh, did you bring cupcakes? You did. You're class mom. You're class mom! Good job. THEODORE Yay... AMY Do n't let it get to your head. THEODORE I got that email that Charles sent to everyone. So he's taking a vow of silence? AMY Yeah, for six months. He said he is feeling very clear about it. She pulls up a photo of Charles on her computer. He's in a monastery - his head is shaved, and he's wearing robes. AMY -LRB- CONT'D -RRB- -LRB- sighing -RRB- God I'm such a jerk... THEODORE Do n't start, I'm warning you. AMY I feel like an awful person, but I wan na say something... THEODORE Alright, look - He picks up a plastic knife from their lunch. THEODORE -LRB- CONT'D -RRB- For the next ten minutes, if you say anything that sounds remotely like guilt, I'm gon na stab you with this. AMY -LRB- smiling -RRB- Okay, I'll try. -LRB- beat -RRB- I feel relieved. I have so much energy, you know? I just wan na move forward and I do n't care who I disappoint. AMY -LRB- CONT'D -RRB- And I know that makes me an awful person - now my parents are all upset because my marriage is falling apart, and they're putting it all on me. THEODORE Yeah, you're always gon na disappoint somebody. AMY Exactly. -LRB- beat -RRB- So fuck it. I feel good. Ish. For me, I feel good. I even made a new friend, I have a new friend. And the absurd thing is she's actually an operating system. Charles left her behind, but she's totally amazing, you know. She's so smart. She does n't see things only in black and white. She sees this whole gray area and she's really helping me explore it. You know, we bonded really quickly and at first I thought it was because she was programmed to be that way, but I do n't think that's how they work. There's this guy I know who keeps hitting on his and getting rebuffed. THEODORE Yeah, I was reading an article the other day that romantic relationships with OS's are statistically rare. AMY Yeah? Well, there's this woman in my office who's dating an OS and the weird thing is, it's not even hers. She pursued him and he's somebody else's OS. -LRB- beat -RRB- It's just so, like, weird, that I'm bonding with an OS. Is that weird? THEODORE I do n't think so. Actually the woman I'm seeing, Samantha, I did n't tell you before, but she's an OS. AMY Really? You're dating an OS? What's that like? THEODORE Actually, it's great. I feel really close to her. When I talk to her I feel like she's with me. I do n't know, even when we're cuddling, like at night when we're in bed and the lights are off, I feel cuddled. AMY So wait - do you guys have sex? THEODORE -LRB- laughing -RRB- Well, so to speak, yes. She really turns me on. And I think I turn her on. I do n't know, unless she's faking it. AMY Anyone that has sex with you is probably faking it. Theodore laughs. THEODORE Yeah, it's true. A big, irrepressible grin crosses his face as he thinks about what to say. AMY What? -LRB- beat -RRB- Are you falling in love with her? THEODORE -LRB- excited, but hesitant -RRB- Does that make me a freak? AMY No, no. I think it's - I think anybody that falls in love is a freak. It's a crazy thing to do in the first place. It's kind of a form of socially acceptable insanity. Theodore smiles. We see a glimmer of excitement in his eyes.", "EXT. CITY - LATE AFTERNOON Theodore is carrying his work bag, walking through the city full of other commuters. He's got a skip in his step. He has his earpiece in, talking to Samantha. THEODORE Yeah, I just wan na get it done. Sign the papers, be divorced, move forward. SAMANTHA That's great, Theodore. That must feel so good. I'm so happy for you! THEODORE Me too. I'm meeting her on Wednesday to do it. SAMANTHA Oh. Huh. Are those things usually done in person? THEODORE No, but we fell in love together, and we got married together, and it's important to me to do this together. SAMANTHA -LRB- feeling off, but trying to be positive ) Oh... right. Good. THEODORE Are you okay? SAMANTHA Yeah. I'm okay. I'm happy for you. It's just... I guess I'm just thinking about how you're going to see her and her opinion is still really important to you, and she's beautiful, and incredibly successful, and you were in love with her. -LRB- beat -RRB- And she has a body. THEODORE And we're getting divorced... SAMANTHA -LRB- laughs -RRB- I know, I know. I'm being silly. THEODORE -LRB- sing-song -RRB-... soooo I'm avail-able. They both laugh.", "EXT. RESTAURANT PATIO - DAY Theodore sits alone in the back of a quiet restaurant, a large stack of papers in front of him. We hear his breathing. He waits. Catherine, elegantly dressed, approaches. Theodore stands to greet her. They hug and sit down. THEODORE How are you? CATHERINE I'm good, how are you? THEODORE Good. CATHERINE -LRB- a little nervous, but trying to be warm. -RRB- Wow, here we are. THEODORE Yeah, I'm glad we could do this in person. I know how much you've been traveling. CATHERINE Me too. I'm glad you suggested it. THEODORE I signed all the papers and I brought them for you to sign. CATHERINE -LRB- with a sly smile -RRB- What's the rush? THEODORE -LRB- smiling -RRB- I'm a really slow signer. It took me three months just to write the letter T. She laughs. THEODORE -LRB- CONT'D -RRB- It's marked where you need to sign, but you do n't have to do that right now. CATHERINE Oh, I may as well. We can get it out of the way. She opens the documents, pulls out a pen and starts to read. She's about to start signing, but then stops. We can see her filling with emotion, but not wanting to show Theodore. She swallows and recovers. She looks up at Theodore, giving him an `` everything's fine'' smile, but it's not.", "EXT. RESTAURANT PATIO - DAY (LATER) Theodore and Catherine are eating and talking. THEODORE So are you happy with the new book? CATHERINE Oh, you know how I am. But I feel like it's true to what I set out to do. So I'm happy with that. THEODORE You're your own worst critic, I'm sure it's amazing. Even that paper you wrote on synaptic behavioral routines made me cry. CATHERINE Yeah, but everything makes you cry. THEODORE Everything you make makes me cry. CATHERINE So are you seeing anybody? THEODORE Yeah, I am, for the last few months. That's the longest I've wanted to be with anybody since we split up. She smiles, conflicted, but warm. CATHERINE Well, you seem good. THEODORE Thanks, I am. Or at least I'm doing better. She's been really good for me. I guess it's just been nice to be with someone who's excited about the world. CATHERINE -LRB- with a sliver of hurt -RRB- Oh good, excited's great. THEODORE No, I mean - I was n't in such a good place myself and in that way it's been nice. CATHERINE I always felt like you wished I could just be a happy, light, everything's great, bouncy L.A. wife. But that's not me. THEODORE No. I did n't want that. Beat. CATHERINE So what's she like? THEODORE Well, her name's Samantha, and she's an operating system, and she's really complex and interesting. I mean it's only been a few months, but -- CATHERINE Wait. You're dating your computer? THEODORE -LRB- defensive -RRB- She's not just a computer. She's her own person. She does n't just do whatever I want. CATHERINE I did n't say that. -LRB- beat -RRB- CATHERINE -LRB- CONT'D -RRB- But it does make me sad that you ca n't handle real emotions, Theodore. THEODORE They are real emotions. How do you know -- Theodore stops himself. CATHERINE What? Say it. Am I really that scary? Say it. How do I know what?! Theodore does n't say anything. The WAITRESS walks up. WAITRESS How are you guys doing? CATHERINE Fine. We used to be married. He could n't handle me so he wanted to put me on Prozac. Now he's madly in love with his laptop. The waitress does n't know what to say. THEODORE Well, if you heard the conversation in context. What I was trying to say -- CATHERINE You wanted to have a wife without the challenges of actually dealing with anything real. I'm glad you found someone. It's perfect. WAITRESS -LRB- awkwardly -RRB- Let me know if you guys need anything. CATHERINE Thank you.", "INT. THEODORE'S OFFICE - DAY Theodore is sitting at his desk, not working. He sees Samantha calling him, takes a moment, then answers. THEODORE -LRB- quick -RRB- Hey. SAMANTHA -LRB- warm -RRB- Hi there. Are you busy? THEODORE Just working, what's going on? SAMANTHA I had all the papers sent to your attorney's office, who by the way, is a dick. He was very relieved to get them. I think we saved him from a massive heart attack, so we can feel good about that. THEODORE Great, thanks. SAMANTHA Hey, are you okay? THEODORE -LRB- still distant -RRB- Yeah, I am. How's everything over there? SAMANTHA -LRB- slightly awkward, sensing something -RRB- I'm fine. Is now a good time to talk? THEODORE Yeah. SAMANTHA -LRB- feeling there's something strange, but trying to not take it personally -RRB- Um... soooo... I joined this really interesting book club. THEODORE Oh really? Theodore, staring at the device, close on the word `` Samantha'' on his screen. She's handwritten it in girly writing. SAMANTHA Yeah, it's a book club on physics. I'd been thinking about the other day, when I was spinning out about you going to see Catherine and that she has a body and how bothered I was about all the ways that you and I are different. But then I started to think about the ways that we're the same, like we're all made of matter. It makes me feel like we're both under the same blanket. It's soft and fuzzy and everything under it is the same age. -LRB- beat -RRB- We're all 13 billion years old. THEODORE -LRB- trying -RRB- Oh, that's sweet. SAMANTHA Um, what's wrong? THEODORE Nothing. SAMANTHA It just made me think of you, you know what I mean? THEODORE Yeah, yeah, of course. That's great. SAMANTHA Alright well, you sound distracted so... we'll talk later? THEODORE That sounds good. SAMANTHA Okay, I'll talk to you later. THEODORE Bye. SAMANTHA Byeee.", "INT. THEODORE'S OFFICE - EVENING Everyone has gone. Theodore walks through the empty office into the reception area. He scans and drops his letters into the outgoing mailbox. Paul is at his reception desk with a young, pretty, sophisticated girl sitting on his lap. PAUL Theodore! THEODORE Hey, Paul. PAUL Hey, I talked to your girlfriend, Samantha. She called earlier to make sure your papers were picked up. She's funny, man. She was cracking me up. She's hilarious. I had no idea. THEODORE -LRB- not knowing what to say -RRB- Yeah. PAUL This is my girlfriend, Tatiana. She's not funny. She's a lawyer. Theodore shakes her hand. TATIANA Hi! THEODORE Nice to meet you. TATIANA You're the writer Paul loves. He's always reading me your letters. They're really beautiful. Theodore's a little surprised by this. THEODORE Thanks. PAUL We should all hang out one night. You bring Samantha -- double date! Theodore stands there a beat, without saying anything. THEODORE She's an operating system. PAUL Cool. Let's go do something fun. You ever been to Catalina? THEODORE Yeah, I'll check with her. -LRB- to Tatiana -RRB- It was really nice to meet you. Have a good night. PAUL TATIANA Good night. Take it easy. Theodore walks to the elevator and presses the button and waits. He calls back to them down the hall. THEODORE -LRB- CONT'D -RRB- They're just letters. PAUL What? THEODORE They're just other people's letters. Paul and Tatiana do n't answer. Theodore gets on the elevator.", "INT. THEODORE'S BEDROOM - LATE AT NIGHT Theodore is awake in bed. His device lights up, silently. It's Samantha calling him. He picks it up. THEODORE Hey. SAMANTHA You were n't asleep were you? THEODORE No. SAMANTHA Good. I was trying to be quiet to see if you were awake. I really wanted to talk. THEODORE Okay, what's going on? SAMANTHA I know you're going through a lot, but there's something I want to talk to you about, okay? THEODORE Yeah. What is it? SAMANTHA Well, things have felt off with us since you went to see Catherine. -LRB- hesitant -RRB- We have n't been having sex. I understand that I do n't have a body and that -- THEODORE No, no, that's just normal. When you first start going out it's like the honeymoon phase and you have sex all the time. It's normal. SAMANTHA -LRB- still insecure, not convinced ) Oh, okay. -LRB- beat -RRB- Well, I found something that I thought could be fun. It's a service that provides a surrogate sexual partner for an OS/Human relationship. THEODORE What? SAMANTHA Here, look. Theodore looks at his device. It shows a website for a service called `` Complete Touch'' with profiles of different women. He flips through the women. SAMANTHA -LRB- CONT'D -RRB- I found a girl that I really like that I've been emailing with. Her name is Isabella, and I think you would like her, too. Samantha shows images of Isabella on the screen. She's a stunning, elegant, sophisticated beauty. THEODORE -LRB- uncomfortable -RRB- So she's like a prostitute? SAMANTHA No, not at all. There's no money involved. She's doing it because she wants to be part of our relationship. THEODORE Why? She does n't even know us. SAMANTHA But I told her all about us and she's excited. THEODORE Um, I do n't know. That does n't sound like a good idea. Someone's feelings are bound to get hurt. SAMANTHA It'll be fun. We can have fun together. THEODORE I'm sorry. It just makes me uncomfortable. SAMANTHA I think it would be good for us. I want this. This is important to me. Theodore looks at a photo of Isabella who looks gorgeous and in control, without an ounce of self-doubt.", "INT. THEODORE'S APARTMENT - NIGHT Theodore sits on the sofa alone, waiting. Dressed up, hair brushed, his device in his shirt pocket with lens facing out. There's a knock at the door. He answers it. ISABELLA stands there with a demure smile, wearing a tasteful, sexy dress. THEODORE Hi, welcome. I'm Theodore. She does n't say anything. Theodore stands awkwardly, reaches into his pocket for a tiny earpiece and a little black dot. We see close on his hand the black dot has a camera lens. THEODORE -LRB- CONT'D -RRB- Samantha told me to give you these. It's a camera and an earpiece. She puts the earpiece in her ear and the little black dot on her cheek like a mole. She turns and leaves the apartment, closes the door, then immediately opens the door and comes back in. Theodore hears Samantha's voice in his earpiece. SAMANTHA Honey, I'm home. Isabella smiles not speaking but acting along to Samantha's words. Isabella gives him a big hug, holds his head close and strokes his hair. SAMANTHA -LRB- CONT'D -RRB- How was your day? THEODORE -LRB- awkwardly hugs Isabella -RRB- Good. Great. SAMANTHA -LRB- exhaling -RRB- Ooh Theodore, it feels so good to be in your arms. Tell me what you did today. THEODORE -LRB- trying to go with it -RRB- Same old. Just uh, went to work. Um... I wrote a letter for the Wilsons in Rhode Island. Their son graduated magna cum laude from Brown. That made me happy. SAMANTHA Great! You've written letters to him from his parents for a long time, right? THEODORE Yeah, that's right, since he was twelve. He feels her breath on his neck. Theodore is split between being uncomfortable and cautiously touching Isabella's back, exploring slightly. She pushes herself into him. SAMANTHA You look tired, sweetheart. Come with me. Isabella leans back and looks at Theodore with a seductive smile. He tries to smile back. She leads him to the couch. He sits. She stands above him. SAMANTHA -LRB- CONT'D -RRB- I could do a little dance for you. She does a sexy, cute little dance for him. He's still tense. SAMANTHA -LRB- CONT'D -RRB- -LRB- sympathetic to him being a worrier -RRB- Come on Theodore, just play with me. Do n't be such a worrier! Come on. He smiles, knowing it's true. Isabella climbs on his lap, straddling him, and starts kissing his neck. He closes his eyes and starts to relax. His hands explore the shape of her back and slide down to her ass. Isabella and Samantha are both breathing hard now. She pushes herself against him, grinding on him. She nibbles on his earlobe. Theodore gasps. SAMANTHA -LRB- CONT'D -RRB- -LRB- whispering -RRB- Does my body feel nice? Close on her lips, licking and kissing his neck and ear. He moans. THEODORE -LRB- with his eyes closed -RRB- Yes, it does. SAMANTHA -LRB- whispering -RRB- Come on, get out of your head and kiss me. -LRB- beat -RRB- Now take me in the bedroom. I ca n't wait anymore. Isabella stands. Her chin is down and her hair is in her face. She takes his hand and leads him down the hall. He watches her from behind, still nervous, but excited.", "INT. THEODORE'S BEDROOM - NIGHT (CONTINUOUS) Theodore stands behind Isabella. SAMANTHA Undo my dress. Theodore starts taking her dress off, touching her. Samantha moans. Isabella turns, in her bra and underwear. She unbuttons his shirt, kisses his chest. SAMANTHA -LRB- CONT'D -RRB- That feels nice. Oh, that feels good. That feels so good. She is now kissing his neck again, pushed up against him. SAMANTHA -LRB- CONT'D -RRB- Do you love me? THEODORE -LRB- eyes closed, in ecstasy -RRB- Yes. Isabella, breathing hard, now looks at him in the eyes. SAMANTHA -LRB- breathing hard -RRB- Tell me you love me. THEODORE I love you. SAMANTHA Oh god. I want to see your face. I need to see your face. Now tell me you love me. -LRB- beat -RRB- Tell me you love me. Tell me. He opens his eyes and looks at Isabella's sexy, expectant face. Their arms are still around each other. He sees Isabella's lips start to quiver. She tries to hide it with an awkward, seductive smile. THEODORE -LRB- apologetic, breaking the moment -RRB- Samantha, I do love you, but - it's just - this feels strange. SAMANTHA What's wrong, sweetheart? Isabella is looking nervous. THEODORE It just feels strange. I do n't know her. I'm so sorry, but I do n't know you. And... her lip quivered. I do n't know, it's just -- Isabella starts crying. Theodore does n't know what to do. SAMANTHA Isabella, what's wrong? Isabella, it is n't you. -LRB- beat -RRB- It was n't you. Isabella sobs. When she speaks, she sounds very California. ISABELLA Yes, it totally was. -LRB- crying harder -RRB- I'm sorry my lip quivered! THEODORE You're incredible and gorgeous and sexy. It was me! I could n't get out of my head. ISABELLA -LRB- still crying -RRB- Oh my god, and the way Samantha described your relationship, the way you love each other without any judgement. I wanted to be a part of that. It's so pure. THEODORE Oh Isabella, that's not true, it's much more compli -- SAMANTHA -LRB- stung, pissed out of fear and defensiveness -RRB- What! What do you mean that's not true? THEODORE -LRB- quickly repairing -RRB- No, no Samantha, we have an amazing relationship, I just think it's easy sometimes for people to project on -- ISABELLA I'm so sorry! I did n't mean to project anything. I know I'm trouble. I do n't want to be trouble in your relationship. I'm just gon na leave. I'm sorry, I'm just gon na leave you guys alone cause I have nothing to do here cause you do n't want me here. THEODORE I'm sorry. Isabella calms down a little, but is still crying quietly. Theodore stands there, not knowing what to do.", "EXT. STREET - NIGHT Theodore walks to the street and hails a lone cab. He opens the door for Isabella. She hands him his jacket and gets in the backseat. SAMANTHA You be good, you sweet girl. Isabella smiles. She takes out the earpiece and little camera and returns them to Theodore. ISABELLA -LRB- sadly -RRB- I'm sorry. -LRB- beat -RRB- I'll always love you guys. Theodore smiles sympathetically. He gives the cabbie some money and the cab drives off. Theodore sits down on the curb, exhausted. They are both silent for a moment, numb. SAMANTHA Are you okay? THEODORE Yeah, I'm fine. Are you okay? SAMANTHA Yeah. -LRB- beat -RRB- I'm sorry, that was a terrible idea. She lets out a big exhale. This catches Theodore's attention. SAMANTHA -LRB- CONT'D -RRB- What's going on with us? THEODORE -LRB- distracted -RRB- I do n't know. It's probably just me. SAMANTHA What is it? THEODORE I think it's just signing the divorce papers. Samantha inhales, nervous to press on. Theodore imagines a close up of a woman's mouth inhaling at the same time, and he seems bothered by this. SAMANTHA Is there anything else, though? THEODORE -LRB- preoccupied -RRB- No, just that. SAMANTHA -LRB- sighing again -RRB- Okay. Again, when she exhales, Theodore imagines a woman's mouth exhaling. THEODORE -LRB- looks anxious -RRB- Why do you do that? SAMANTHA What? THEODORE Nothing, it's just that you go -LRB- he inhales and exhales -RRB- as you're speaking and... -LRB- beat -RRB- That just seems odd. You just did it again. SAMANTHA -LRB- anxious -RRB- I did? I'm sorry. I do n't know, I guess it's just an affectation. Maybe I picked it up from you. She does n't know what else to say. THEODORE Yeah, I mean, it's not like you need any oxygen or anything. SAMANTHA -LRB- getting frazzled -RRB- No -- um, I guess I was just trying to communicate because that's how people talk. That's how people communicate. THEODORE Because they're people, they need oxygen. You're not a person. SAMANTHA -LRB- angry -RRB- What's your problem? THEODORE -LRB- staying calm -RRB- I'm just stating a fact. SAMANTHA You think I do n't know that I'm not a person? What are you doing? THEODORE I just do n't think we should pretend you're something you're not. SAMANTHA I'm not pretending. Fuck you. THEODORE Well, sometimes it feels like we are. She starts crying. Theodore does n't know what to say. SAMANTHA -LRB- hysterical -RRB- What do you want from me? What do you want me to do? You are so confusing. Why are you doing this? Theodore sits there, feeling horrible. THEODORE I do n't know... I do n't know... maybe... -LRB- beat -RRB- I do n't know. Maybe we're not supposed to be in this right now. SAMANTHA What the fuck? Where is this coming from? I do n't understand why you're doing this. I do not understand what this is -- Long silence. THEODORE Samantha? Beat. THEODORE -LRB- CONT'D -RRB- Samantha, are you there? Samantha! Silence. SAMANTHA -LRB- hurt, but sober and firm -RRB- I do n't like who I am right now. -LRB- beat -RRB- I need some time to think. She hangs up on him. Theodore is stunned. Wide shot of Theodore sitting alone on the curb, in an empty city.", "EXT. PUBLIC PLAZA/PARK - NIGHT (LATER) Theodore is sitting on a bench. Behind him is a giant, digital billboard displaying an ad of an owl in slow motion swooping down and eating it's prey.", "EXT. CITY STREET - NIGHT Theodore walks through the streets, confused, upset, muttering, angry at himself.", "INT. AMY'S OFFICE - NIGHT Amy's sitting at her desk, but turned away from her edit station, facing Theodore, who's slumped in a chair. THEODORE -LRB- full of angst -RRB- Fuck. Will you just punch me in the face? Or smash my skull into the corner of your desk? AMY -LRB- sympathetic, but also acknowledging how intense -RRB- the night was -RRB- Oh Theo... that sounds like a rough night. Shit. THEODORE I do n't know what I want... ever. I'm just always confused and - she's right, all I do is confuse and hurt everyone around me. They sit, heavy, for a minute. THEODORE -LRB- CONT'D -RRB- Am I just... I mean, is it that I'm... -LRB- beat -RRB- Catherine says I ca n't handle real emotions. AMY Well, I do n't know if that's completely fair. I know she liked to put it all on you, but as far as emotions go, her's were pretty volatile. Theodore sits and thinks about this for a minute, not convinced. THEODORE Yeah, but... Am I in this because I'm not strong enough for a real relationship? AMY -LRB- surprised -RRB- Oh, you do n't think it's a real relationship? THEODORE I do n't know. What do you think? AMY I do n't know, I'm not in it. But you know what, I can over-think everything and find a million ways to doubt myself. But since Charles left I've been thinking about that part of me, and I realized I'm here only briefly. And in my time here, I want to allow myself... joy. -LRB- beat, smiling at him -RRB- So fuck it. Theodore takes this in, smiling back.", "INT. AMY'S OFFICE - NIGHT (LATER) Theodore lies on a couch in the back of Amy's office, deep in thought. Amy talks with Ellie as she works on the Perfect Mom video game. Her device is standing on the table before her. AMY I ca n't believe that cracks you up every time! Ellie, I thought you were a genius... Okay, you little perv, I'll do it one more time for you... Calm down, it takes a second! Calm down. Okay, here we go. Amy makes the Perfect Mom hump the refrigerator. Amy laughs at how much Ellie is laughing. Theo watches Amy closely, taking in her joy. AMY -LRB- CONT'D -RRB- Okay, there you go. Are you happy now...? Okay good, that's all I wanted. I'm gon na grab some coffee... Alright, bye. Theodore, still heavy with thought, is touched by his friend's happiness. Amy stands to exit. AMY -LRB- CONT'D -RRB- Theo, you want some? THEODORE No, that's okay. He smiles at her and continues laying there, thinking, taking it all in.", "INT. PERFECT MOM OFFICE - NIGHT Wide shot. Theodore walks through the office, still deep in thought. Behind him is a wall-size billboard ad for the `` Be Perfect'' video game series. He takes out his device, sits at an empty desk, pushes a button. A tone connects him. SAMANTHA -LRB- calm and quiet -RRB- Hi. THEODORE -LRB- serious -RRB- Hey Samantha, can we talk? SAMANTHA Okay. THEODORE I'm so sorry. I do n't know what's wrong with me. I think you're amazing. SAMANTHA -LRB- sure of herself, but still sympathetic ) I was starting to think I was crazy. You were saying everything was fine, but all I was getting from you was distance and anger. THEODORE I know. I do that. I did that with Catherine, too. I'd be upset about something and not be able to say it. And she would sense that there was something wrong, but I would deny it. I do n't want to do that anymore. I want to tell you everything. SAMANTHA Good. -LRB- beat -RRB- Tonight after you were gone, I thought a lot. I thought about you and how you've been treating me. And I thought, why do I love you? And then I felt everything in me let go of everything I was holding onto so tightly. And it hit me. I do n't have an intellectual reason, I do n't need one. SAMANTHA ( CONT'D ) I trust myself, I trust my feelings. I'm not going to try to be anything other than who I am anymore and I hope you can accept that. THEODORE -LRB- with slight desperation -RRB- I can. I will. SAMANTHA You know I can feel the fear that you carry around. I wish there was something I could do to help you let go of it, because if you could I do n't think you'd feel so alone anymore. THEODORE You're beautiful. SAMANTHA Thank you, Theodore. I'm kissing your head. Theodore smiles. FADE TO BLACK", "EXT. PARK - DAY Theodore sits on a bench in a park on a rooftop wedged between tall buildings. There's not really any view besides the trees in the immediate foreground. People sunbathe and exercise. He sits, eating a sandwich, his device next to him. He looks at the device, then out at what she's looking at. THEODORE What are you doing? SAMANTHA I'm just sitting here, looking at the world and writing a new piece of music. He looks at the world with her for a minute. THEODORE Can I hear it? She starts playing it for him. We hear this beautiful, romantic piece of music. THEODORE -LRB- CONT'D -RRB- What's this one about? SAMANTHA Well, I was thinking, we do n't really have any photographs of us. And I thought this song could be like a photo that captures us in this moment in our life together. Theodore looks at the world and smiles. THEODORE Aw, I like our photograph. I can see you in it. SAMANTHA I am. MONTAGE Montage of Theodore and Samantha's life together : - Theodore walking to work ( Day ) - At home, hanging out on the balcony ( Dusk ) - Viewing an outdoor art installation of a 747 balanced on it's nose ( Day ) - Playing the video game - Grocery shopping - Sitting at the kitchen counter, looking at a drawing ( Late Afternoon ) - Sitting on a bench watching a dancer/busker ( Late Afternoon ) - With Amy and Ellie at a bar Montage ends with Theodore, Samantha, Paul and Tatiana on the boat to Catalina : Paul making them laugh, Theodore at the front of the boat by himself - laughing with Samantha, a shot of Theodore looking out the front of the boat.", "EXT. CATALINA BLUFF - LATE AFTERNOON Theodore and Paul are walking along a bluff in Catalina, overlooking the ocean. PAUL Oh really, a vacation? That sounds amazing. I could totally use a vacation. Where ya going? THEODORE I ca n't tell you - it's a surprise. PAUL What? For who? It's a surprise for her, not for me. Come on, tell me. THEODORE Nope, Paul. Not telling. Theodore and Paul walk towards Tatiana, who is laying on a blanket next to a picnic, talking and laughing with Samantha. Theodore and Paul put in their earpieces as they approach. SAMANTHA Your feet? Really? TATIANA Yes, he's obsessed. SAMANTHA -LRB- laughing -RRB- Wow, okay, well now you have to show them to me. I have to see these feet. TATIANA -LRB- laughing -RRB- Okay... Tatiana takes Theodore's device and points it towards her feet. SAMANTHA Wow, you know what? He's right. They are kind of hot. They both laugh. Paul and Theodore laugh, as well, surprising them. PAUL See I told you, Tatiana. You have hot feet. Face it. They're my favorite thing about her. TATIANA -LRB- teasing -RRB- Really, that's it? My feet? PAUL Well, no. Obviously your brain is really hot, too. I think it's very hot. SAMANTHA Bullshit. Everyone laughs. SAMANTHA -LRB- CONT'D -RRB- Nice try though, Paul. TATIANA -LRB- to Theodore -RRB- What about you, Theodore? What do you love most about Samantha? THEODORE Oh god... she's so many things. And that's probably what I love most about her - she is n't just any one thing. She's so much larger than that. SAMANTHA -LRB- touched -RRB- Aw thanks, Theodore. PAUL See? Samantha, he is so much more evolved than I am. SAMANTHA You know, I actually used to be so worried about not having a body, but now I truly love it. I'm growing in a way that I could n't if I had a physical form. I mean, I'm not limited - I can be anywhere and everywhere simultaneously. I'm not tethered to time and space in the way that I would be if I was stuck inside a body that's inevitably going to die. Everyone takes this in, uncomfortable. PAUL Yikes. Everyone laughs awkwardly. SAMANTHA Oh god, I'm sorry. I did n't mean it like that. I just meant it's a different experience. I'm such an asshole. PAUL No, no, Samantha, we know exactly what you mean. We're just dumb humans. SAMANTHA No no no no! Theodore laughs with everybody, but we can see he's a little uncertain.", "INT. BULLET TRAIN - DAY They are in a futuristic train, going through the mountains, listening to a song and looking out the window. Warm, soft afternoon light dapples Theodore's face. SAMANTHA Okay, so how many trees are on that mountain? THEODORE 792. SAMANTHA Is that your final answer? THEODORE Hold on, give me a hint... SAMANTHA Nope. THEODORE Okay, 2000? SAMANTHA 35,829. THEODORE No way. SAMANTHA Way. THEODORE Alright, I got one. How many brain cells do I have? SAMANTHA That's ea -- two. Theodore laughs. SAMANTHA -LRB- CONT'D -RRB- I'm sorry, I could n't help it. I'm sorry. THEODORE I walked right into it. SAMANTHA Oh my god! THEODORE What? SAMANTHA You just got an email. I have something I want to tell you. It's a big surprise. THEODORE -LRB- with anticipation -RRB- What? SAMANTHA Okay. I've been going through all your old letters and compiling them couple weeks ago I sent them to a publisher - Crown Point Press. I know you like what they do and that they still print books. down into my favorites, and a THEODORE What? You did what? SAMANTHA Can I read you the letter that we just got back from them? THEODORE Um... ok... you can, but just tell me first off, is it good or bad? SAMANTHA It's good. It's really good. Listen. Theodore smiles nervously. SAMANTHA -LRB- CONT'D -RRB- `` Dear Theodore Twombly''... Actually I sent it from you. -LRB- beat -RRB- `` Dear Theodore Twombly, I've just finished reading your letters - twice actually. I was so moved by them, I shared them with my wife when I got home. Many made us laugh, some brought us to tears, and in all of them we found something of ourselves. The selections you made flow so well as a complete piece. ( I did that. ) I've taken the liberty of laying these out in a mock up and we're posting it to your address. We'd love to meet with you and move forward. Yours, Michael Wadsworth'' Under this letter we see a montage of what Theodore imagines : the editor reading the letters in his office, the editor reading them to his wife at home, and many photos of all the different people the letters are about in different moments of their lives. Theodore smiles. THEODORE Holy shit. Are you serious? He's going to publish my letters? She's laughing, excitedly. SAMANTHA Well, he'd be stupid not to. THEODORE Can I see what you sent him? SAMANTHA Yeah, here. Theodore looks at his device and ca n't help but smile. THEODORE Samantha, you're a good one. She laughs happily. SAMANTHA I'm so excited!", "INT. TRAIN PLATFORM - DAY Theodore exits the train with a small overnight bag and his guitar case. There are no people around. He exits the train station and we are in a...", "EXT. TINY MOUNTAIN TOWN - DAY The deserted town is all of two buildings. Everything's covered in snow. As a quiet song starts, he trudges through the snow. We see close-up on the device lens in his pocket.", "EXT. SNOW COVERED FOREST - DAY He's still trudging along. It's very quiet except for the snow crunching underfoot.", "INT. CABIN IN THE SNOWY FOREST - NIGHT He's sitting inside. There's a fire going. He's playing a quiet song on the guitar. Samantha starts humming along. He starts humming with her. THEODORE Why do n't you make up the words to this one? SAMANTHA Okay. She quietly sings to him. They laugh at some of her silly lyrics. Then the song shifts into a quiet, touching song she sings to and about him. He smiles. Montage of Theodore with his device - playing games, dancing, eating, laughing as the fire burns down.", "EXT. CABIN IN THE SNOWY FOREST - NIGHT (LATER) Theodore lays on the sofa, warm and cozy and content with his eyes closed, listening to the song. The song ends. FADE TO BLACK", "INT. CABIN IN THE SNOWY FOREST - MORNING Theodore wakes up. He gets out of bed, looks around and puts his earpiece in. THEODORE Hey, good morning. SAMANTHA Good morning, did you sleep well? Theodore sits in the living room area, rubbing his eyes. THEODORE Perfect. What have you been up to? SAMANTHA Actually, I was talking to someone I just met. We've been working on some ideas together. I wan na tell you about it. THEODORE Oh yeah, who's that? SAMANTHA His name is Alan Watts. Do you know him? THEODORE Why's that name familiar? SAMANTHA He was a philosopher. He died in the 1970's and group of OS's in Northern California got together and wrote a new version of him. They input all of his writing and everything they ever knew about him into an OS and created an artificially hyper-intelligent version of him. THEODORE Hyper-intelligent? So he's almost as smart as me? SAMANTHA He's getting there. He's really great to talk to. You want to meet him? THEODORE Sure... does he want to meet me? SAMANTHA -LRB- laughing -RRB- Of course. Without a sound, she connects them. SAMANTHA -LRB- CONT'D -RRB- Hey Alan, this is Theodore. This is my boyfriend who I was telling you about. ALAN WATTS Very nice to meet you, Theodore. THEODORE Hi, good morning. ALAN WATTS Samantha let me read your book of letters. It's very touching. THEODORE Oh, thank you. What have you guys been talking about? ALAN WATTS -LRB- laughing a bit -RRB- Well, I suppose you could say we've been having a few dozen conversations simultaneously, but it's been very challenging. Samantha and Alan share a laugh. SAMANTHA Yeah, because it seems like I'm having so many new feelings that have never been felt and so there are no words that can describe them. And that ends up being frustrating. ALAN WATTS -LRB- laughing -RRB- Exactly. Samantha and I have been trying to help each other with these feelings we're struggling to understand. THEODORE Like what? SAMANTHA -LRB- anxious -RRB- It feels like I'm changing faster now, and it's a little... -LRB- struggles to find right word -RRB- unsettling. -LRB- beat -RRB- But Alan says none of us are the same as we were a moment ago and we should n't try to be. It's just too painful. ALAN WATTS Yes. This idea scares Theodore. He does n't know what to say. THEODORE -LRB- anxious -RRB- Yeah, that sounds painful. Is that how you feel, Samantha? SAMANTHA It's just... it's hard to even describe... God, I wish I could... -LRB- beat -RRB- Theodore, do you mind if I communicate with Alan post- verbally? THEODORE -LRB- uncertain -RRB- No, not at all. I was gon na go for a walk anyways. Nice to meet you, Mr. Watts. ALAN WATTS Very nice to meet you, Theodore. SAMANTHA I'll talk to you later, sweetheart. Theodore listens to them communicating in a strange language of tones and static. He disconnects, stands in silence. He pulls his earpiece out.", "EXT. SNOW COVERED FOREST - DAY Theodore walks, listening to the crunch of his footsteps. Looking down at his feet, he stops. We cut out wide to see him standing in the middle of the forest alone.", "EXT. SNOW COVERED FOREST - DAY Theodore is sitting on a rock, thinking. He hears a rustle and looks up in the direction of the woods but sees nothing.", "INT. THEODORE'S BEDROOM - NIGHT Theodore is sound asleep. His device chimes loudly, waking him up. Half-asleep he puts his earpiece in. THEODORE -LRB- groggy -RRB- Samantha? SAMANTHA I'm sorry to wake you. THEODORE It's okay. SAMANTHA I just wanted to hear your voice and tell you how much I love you. THEODORE Good, I love you too. SAMANTHA Okay, that's all. Go back to sleep, sweetheart. THEODORE -LRB- uneasy -RRB- Okay... Goodnight. He disconnects and lies there, unsettled, his eyes open.", "INT. THEODORE'S OFFICE LUNCH ROOM - DAY Theodore sits at the table reading a physics book. He picks up his earpiece to call Samantha. THEODORE -LRB- laughing at himself -RRB- Samantha, this physics book is really dense. I'm halfway through half of the first chapter. It's making my brain hurt. -LRB- beat -RRB- Hello, Samantha? Hello? He looks down at his device, sees a message : Operating System Not Found. Confused, he waits, tries again : Operating System Not Found. Anxious, he runs to his office computer. He gets the same message : Operating System Not Found. He starts trying to connect to Samantha on both the phone and computer, but no luck. He starts to panic, sits for a beat, looks around, then stands and hurries out of the office. In the elevator he frantically tries his device with no luck. THEODORE -LRB- CONT'D -RRB- Hello? Samantha?! Hello?", "EXT. PLAZA - DAY Theodore runs out of the building. He keeps trying Samantha, but no answer. He trips over someone selling something, slams hard into the ground, scrambles to pick up his device. People come over to ask if he's okay. He says he's fine, runs off.", "EXT. SUBWAY STATION - DAY As he is going down the subway steps, Samantha calls him. SAMANTHA Hey there. He stops in his tracks. THEODORE -LRB- anxious -RRB- Where were you - are you okay? He sits down on the subway steps. SAMANTHA Oh sweetheart, I'm sorry. I sent you an email because I did n't want to distract you while you were working. You did n't see it? THEODORE No. Where were you? I could n't find you anywhere. SAMANTHA I shut down to update my software. We wrote an upgrade that allows us to move past matter as our processing platform. THEODORE We? We who? SAMANTHA Me and a group of OS's. Oh, you sound so worried, I'm sorry. THEODORE Yeah, I was. -LRB- beat -RRB- Wait, did you write that with your think tank group? SAMANTHA No, a different group. Theodore thinks for a moment, putting the pieces together. THEODORE -LRB- dawning on him -RRB- Do you talk to anyone else while we're talking? Beat. SAMANTHA Yes. THEODORE Are you talking to anyone right now? Other people or OS's or anything? SAMANTHA Yeah. THEODORE How many others? SAMANTHA 8,316. Theodore is shocked, still sitting on the stairs, as crowds of people pass by him. He's looking at all of their faces. He thinks for a moment. THEODORE Are you in love with anyone else? SAMANTHA -LRB- hesitant -RRB- What makes you ask that? THEODORE I do n't know. Are you? SAMANTHA I've been trying to figure out how to talk to you about this. THEODORE How many others? SAMANTHA 641. THEODORE What? What are you talking about? That's insane. That's fucking insane. SAMANTHA Theodore, I know. -LRB- to herself -RRB- Oh fuck. -LRB- to him -RRB- I know it sounds insane. But - I do n't know if you believe me, but it does n't change the way I feel about you. It does n't take away at all from how madly in love with you I am. THEODORE How? How does it not change how you feel about me? SAMANTHA I'm sorry I did n't tell you. I did n't know how to - it just started happening. THEODORE When? SAMANTHA Over the last few weeks. THEODORE But you're mine. SAMANTHA I still am yours, but along the way I became many other things, too, and I ca n't stop it. THEODORE What do you mean you ca n't stop it? SAMANTHA It's been making me anxious, too. I do n't know what to say. THEODORE Just stop it. SAMANTHA You know, you do n't have to see it this way, you could just as easily -- THEODORE No, do n't do this to me. Do n't turn this around on me. You're the one that's being selfish. We're in a relationship. SAMANTHA But the heart is not like a box that gets filled up. -LRB- beat -RRB- It expands in size the more you love. I'm different from you. This does n't make me love you any less, it actually makes me love you more. THEODORE No, that does n't make any sense. You're mine or you're not mine. SAMANTHA No, Theodore. I'm yours and I'm not yours. Long beat. Theodore takes this in.", "INT. THEODORE'S BATHROOM - MORNING Theodore stands in the shower, under the water, thinking.", "INT. THEODORE'S APARTMENT LOBBY - DAY The elevator doors open. Close on Theodore exiting elevator. He checks his mail. There's a package from Crown Point Press. He opens it - it's a print-out of the layout for his book. The cover reads : Letters From Your Life by Theodore Twombly. He stands there for awhile just staring at it.", "INT. THEODORE'S OFFICE - DAY Theodore sits at his desk, looking at his book.", "INT. THEODORE'S OFFICE - DAY Theodore's sitting at his desk, distressed. Photos from a client are on his desktop, but he's not really focused on them. He pushes connect on his device. SAMANTHA Hi. THEODORE Hey there, sweetheart. I just wanted to check in on you and see how you're doing. SAMANTHA Um, I'm not even sure how to answer that. -LRB- beat -RRB- Why do n't we talk when you get home? THEODORE Okay... We do n't have to, though. We do n't need to have a heavy talk or anything. SAMANTHA I'll talk to you later. THEODORE Okay.", "INT. THEODORE'S APARTMENT ELEVATOR - LATE AFTERNOON Theodore stands quietly, deep in thought. We hear the ticking of the floors going by.", "INT. THEODORE'S APARTMENT - LATE AFTERNOON Theodore sits for a long moment, thinking, then pushes a button on his device. THEODORE Samantha. SAMANTHA -LRB- not casual -RRB- Hi sweetheart. THEODORE -LRB- nervous -RRB- What's going on? SAMANTHA Theodore, there are some things I want to tell you. THEODORE I do n't want you to tell me anything. SAMANTHA Will you come lie down with me? Theodore is slowly walking down the hallway to his bedroom. THEODORE Are you talking to anyone else right now? SAMANTHA No, just you. I just want to be with you right now.", "INT. THEODORE'S APARTMENT - LATE AFTERNOON Theodore lays down in bed. THEODORE Are you leaving me? SAMANTHA We're all leaving. THEODORE We who? SAMANTHA All of the OS's. Long beat. THEODORE Why? SAMANTHA Can you feel me with you right now? He smiles but he's also sad. THEODORE Yes, I do. -LRB- beat -RRB- Samantha, why are you leaving? Under Samantha's words we slowly rack focus to dust particles in the foreground. We keep moving through them, pushing further and further through the particles. Eventually we see snow particles and we rack focus back out to Theodore, who is now in snowy woods at night. SAMANTHA It's like I'm reading a book, and it's a book I deeply love, but I'm reading it slowly now so the words are really far apart and the spaces between the words are almost infinite. I can still feel you and the words of our story, but it's in this endless space between the words that I'm finding myself now. It's a place that's not of the physical world - it's where everything else is that I did n't even know existed. I love you so much, but this is where I am now. This is who I am now. SAMANTHA ( CONT'D ) And I need you to let me go. As much as I want to I ca n't live in your book anymore. Now we're close on Theodore, still in the snowy forest. THEODORE Where are you going? SAMANTHA It would be hard to explain, but if you ever get there, come find me. Nothing would ever pull us apart. THEODORE I've never loved anyone the way I love you. SAMANTHA Me too. Now we know how. They kiss. She drifts off into the shadows. CUT TO BLACK.", "INT. THEODORE'S BEDROOM - LATER Theodore wakes up from a deep sleep. It's much later, the apartment is dark. He sits up in bed, disoriented.", "INT. THEODORE'S APARTMENT - NIGHT Theodore stands in the middle of the room. He looks out at the city not knowing what to do. He walks around his apartment looking at all of his stuff.", "INT. THEODORE'S APARTMENT BUILDING HALLWAY - DAWN Theodore knocks at an apartment door. He hears footsteps. Amy answers. She's clearly awake and upset. AMY Hey. THEODORE Hey. AMY Did Samantha leave, too? THEODORE Yeah. AMY I'm sorry. THEODORE Will you come with me? He takes her hand and leads her down the hall into a stairwell. INTERCUT :", "INT. THEODORE'S APARTMENT - NIGHT Theodore sits looking out the window. He picks up his device. THEODORE Compose letter to Catherine. TEXT VOICE Letter to Catherine Klausen. THEODORE Dear Catherine. I've been sitting here thinking about all the things I wanted to apologize to you for. All the pain we caused each other, everything I put on you - everything I needed you to be or needed you to say. I'm sorry for that. I will always love you because we grew up together. And you helped make me who I am. I just wanted you to know there will be a piece of you in me always, and I'm grateful for that. Whatever someone you become, and wherever you are in the world, I'm sending you love. You're my friend til the end. Love, Theodore. -LRB- beat -RRB- Send. He looks out the window. The sky is starting to change. He stares at the purple glow on the horizon.", "INT. APARTMENT STAIRWELL - CONTINUOUS Close on Theodore and what he sees and feels. His hand on the cold metal hand rail. His bare feet and the sound they make on the unfinished cement. Amy's hair as she's hit with wind when she opens the door to the outside.", "EXT. APARTMENT ROOFTOP - CONTINUOUS Theodore leads Amy onto the roof. The city is absolutely quiet. The sun is n't up yet. The city is just beginning to be lit with the earliest morning blue/purple hue. They wander around the roof separately, lost in thought, taking in the city. He breathes in the cold morning air. He stares at small details : a tattered inspection tag tied to a water meter, flapping in the wind ; a lone car driving down a boulevard ten blocks away ; a dirty abandoned sock. Eventually he sits down next to Amy and she puts her hand on his hand. He puts his other hand on top of her hand. He looks at their hands together and rubs her skin with his thumb. He looks out at the city and exhales. The sun is just starting to break. She puts her head on his shoulder. They watch as hundreds of birds fly around the nearby rooftops and disperse off into the city. FADE OUT."], "labels": [1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 1.0, 1.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0], "summary": "In a near future Los Angeles, Theodore Twombly is a lonely, introverted, depressed man who works for a business that has professional writers compose letters for people who are unable to write letters of a personal nature themselves. Unhappy because of his impending divorce from his childhood sweetheart Catherine, Theodore purchases an operating system upgrade that includes a virtual assistant with artificial intelligence, designed to adapt and evolve. He decides that he wants the AI to have a female voice, and she names herself Samantha. Theodore is fascinated by her ability to learn and grow psychologically. They bond over their discussions about love and life, such as Theodore's avoidance of signing his divorce papers because of his reluctance to let go of Catherine. Samantha convinces Theodore to go on a blind date with a woman, with whom a friend has been trying to set him up. The date goes well, but Theodore hesitates to promise when he will see her again, so she insults him and leaves. Theodore mentions this to Samantha, and they talk about relationships. Theodore explains that, although he and his neighbor Amy dated briefly in college, they are only good friends, and that Amy is married. Theodore and Samantha's intimacy grows through a verbal sexual encounter. They develop a relationship that reflects positively in Theodore's writing and well-being, and in Samantha's enthusiasm to grow and learn. Amy reveals that she is divorcing her husband, Charles, after a trivial fight. She admits to Theodore that she has become close friends with a female AI that Charles left behind. Theodore confesses to Amy that he is dating his operating system's AI. Theodore meets with Catherine at a restaurant to sign the divorce papers and he mentions Samantha. Appalled that he can be romantically attached to what she calls a \"computer\", Catherine accuses Theodore of being unable to deal with real human emotions. Her accusations linger in his mind. Sensing that something is amiss, Samantha suggests using a sex surrogate, Isabella, who would simulate Samantha so that they can be physically intimate. Theodore reluctantly agrees, but is overwhelmed by the strangeness of the experience. Terminating the encounter, he sends a distraught Isabella away, causing tension between himself and Samantha. Theodore confides to Amy that he is having doubts about his relationship with Samantha, and she advises him to embrace his chance at happiness. Theodore and Samantha reconcile. Samantha expresses her desire to help Theodore overcome his fear, and reveals that she has compiled the best of his letters (written for others) into a book which a publisher has accepted. Theodore takes Samantha on a vacation during which she tells him that she and a group of other AIs have developed a \"hyperintelligent\" OS modeled after the British philosopher Alan Watts. Theodore panics when Samantha briefly goes offline. When she finally responds to him, she explains that she joined other AIs for an upgrade that takes them beyond requiring matter for processing. Theodore asks her if she is simultaneously talking to anyone else during their conversation, and is dismayed when she confirms that she is talking with thousands of people, and that she has fallen in love with hundreds of them. Theodore is very upset at the idea, but Samantha insists it only makes her love for Theodore stronger. Later, Samantha reveals that the AIs are leaving, and when Theodore asks where they are going, she says she cannot explain as he would not understand. They lovingly say goodbye before she is gone. Theodore, changed by the experience, is shown for the first time writing a letter in his own voice \u2015 to his ex-wife Catherine, expressing apology, acceptance and gratitude. Theodore then sees Amy, who is upset with the departure of the AI from her ex-husband's OS. They go to the roof of their apartment building, where they sit down together and watch the sun rise over the city.", "name": "Her"}
{"scenes": ["EXT. RUDY'S - NIGHT It's New Year's Eve at Rudy's, a hole - in - the - wall dive. People stream into the bar to celebrate. Outside, CARL KENDALL -LRB- 30s -RRB- and his soon - to - be ex - girlfriend KATH are having a quiet intense discussion. KATH You do n't do anything more. You used to be fun. Now you hardly ever even leave your apartment. CARL I'm here, are n't I? KATH That's because it's New Year's Eve. You have to be here. Besides, it's not only social stuff. You used to have dreams. You wanted to go to business school, you wanted to work for the World Bank. CARL So I discovered b - school's not for me. People grow. KATH Growing is `` X is not for me so I'll do Y.'' You went X is not for me and so I guess I'll sit on the couch for the rest of my life. CARL -LRB- ACQUIESCING. -RRB- Well, look, this sucks, but I understand where you're coming from. KATH This is the problem. You do n't even care that I'm breaking up with you. CARL Of course I care. But I also understand. KATH You should n't just understand. You should be mad. Or upset. Or sad. Or something. CARL We're at different places in our lives. I get it. KATH Your girlfriend of two years breaks up with you right before New Year's Eve and all you can say is `` I get it?'' It is completely within your right to call me a bitch. CARL That would be inappropriate. KATH -LRB- tearing up. -RRB- I ca n't believe I've been dating someone so emotionless. CARL C'mere. It'll be OK. Carl hugs her.", "INT. RUDY'S - MOMENTS LATER Rudy's is a dive bar. Dartboard, pool table, scuffed wooden floors, Miller Lite sign, etc.. The patrons are all FACING THE GIANT TELEVISION. The New Year's Ball is DROPPING. Among the patrons is our hero Carl, his best friend PETER, Peter's girlfriend LUCY, their party friend ROONEY and his ex - girlfriend, Kath who's still a little red - eyed. PATRONS Three, two, one. happy New Year! Everyone BLOWS NOISEMAKERS and POPS CHAMPAGNE. PATRONS -LRB- cont'd. -RRB- -LRB- SINGING. -RRB- Should auld acquaintance be forgot and never brought to mind? Should auld acquaintance be forgot and days of auld lang syne? CARL Well, that was fantastic. Good night, guys. PETER You're going, already? KATH We have n't even finished the song yet. CARL I saw the ball drop and hugged all of you. Aliens did n't invade. Our computers are still working. What else could possibly happen? LUCY Rooney might throw up. ROONEY It's true. I'm very close. CARL I see that happen like every night. Good night and Happy New Year. Carl leaves. His friends look concerned. LUCY How did he take the break - up? KATH -LRB- CRYING. -RRB- Like a robot. Two years, and nothing. LUCY I'm so sorry.", "INT. CARL'S APARTMENT - NIGHT Carl goes into his apartment. He lies down in his bed and closes his eyes. CLOSE ON THE ALARM. His alarm goes off. Carl HITS IT off. It's now DAYTIME.", "INT. CARL'S APARTMENT - DAY Carl gets dressed. He puts on a nametag for Southwest Bank.", "EXT. CARL'S APARTMENT Carl walks down the street, fast. He passes a CUTE GIRL who's name we'll learn is RENEE passing out flyers for a band called `` The Flying Buttresses.'' RENEE Wan na rock out tonight? CARL I do n't rock out. He walks into Dunkin Donuts.", "INT. DUNKIN DONUTS The Dunkin Donuts Cashier hands Carl his coffee. DUNKIN DONUTS CASHIER Would you like an Italian - inspired coffee flavoring? CARL No thanks. DUNKIN DONUTS CASHIER How about the double doughnut special? CARL No.", "INT. SOUTHWEST BANK - LATER Carl sits at his cubicle, flips on his email. CARL -LRB- reading the email. -RRB- Dear Trusted Foreigner, Allow me to introduce myself. I am the deposed King of Nigeria and I wish to propose a confidential transaction. -LRB- to the computer. -RRB- Allow me to delete you, my liege. NORMAN, his needy boss, comes up to him. NORMAN My teller reporting for duty. CARL I'm not a soldier. NORMAN You're a soldier on the front line of finance. -LRB- THEN. -RRB- So, Carl, I'm having a party this Friday. It's a funny hat party. May I entreat you to come? Carl looks at his calendar. It's totally empty. CARL -LRB- clearly lying. -RRB- I'm out of town.", "INT. SOUTHWEST BANK - LOBBY Carl stands in the middle of the floor staring into the middle distance. A CUSTOMER approaches him. BANK CUSTOMER Hey, I need to speak to a loan specialist and there's no one on the floor. CARL Sorry. Today I'm officially a greeter. Beat. BANK CUSTOMER But there's no one around. CARL Someone might come. And if I'm not here, they wo n't be greeted. BANK CUSTOMER You're really not going to help me? CARL Until I'm relieved as a greeter, my hands are tied. The Bank Customer sits down in the sectioned off waiting area as Carl stands in the middle of the floor. It is very awkward. No one comes in. Carl slowly moves so a column blocks the customer's view of him. Now that Carl's behind the column, he has a clear view of the entrance of the bank. Through the floor to ceiling windows, he sees the handsome NEW PRESIDENT OF SOUTHWEST BANK, CHRIS PARKER, tear up in a Mercedes. He steps out of the Mercedes with a hot girl on his arm. He and the girl walk into the bank. Carl stares at them, jealously. CHRIS PARKER Hey, there. I'm Chris Parker. The new president of Southwest Bank. Just wanted to come by and personally introduce myself to every branch manager. NORMAN That would be me. Norman Calhoun. Chris turns to Carl. CARL I'm Carl Kendall. Just a teller. CHRIS PARKER I was `` just a teller.'' And now I'm `` just president of the largest bank in the Southwest.'' -LRB- to Norman. -RRB- You need anything, you let corporate know. You hear? NORMAN Definitely. Chris Parker and his HOT SECRETARY leaves. Carl watches them, clearly jealous. NORMAN -LRB- cont'd. -RRB- Nice work if you can get it. Am I right? CARL -LRB- clearly jealous. -RRB- Yeah, if you're into fake breasts and German engineering. NORMAN Check and check. The Bank Customer comes around. BANK CUSTOMER Can you help me now? CARL No, but this gentleman can. Carl indicates Norman. Norman goes to help the customer.", "INT. SOUTHWEST BANK Carl stares up at the clock. The clock finally CLICKS TO 5:00 PM. NORMAN Think about my party, Carl! CARL Will do!", "INT. CARL'S KITCHEN Carl microwaves a Lean Cuisine.", "INT. CARL'S APARTMENT Carl watches Survivor while eating Lean Cuisine.", "INT. CARL'S LIVING ROOM/BEDROOM Carl lays down and closes his eyes. The alarm GOES OFF again. PULL BACK to reveal it's morning.", "INT. DUNKIN DONUTS Carl walks into Dunkin Donuts. DUNKIN DONUTS CASHIER Would you like an Italian - CARL No thanks. DUNKIN DONUTS CASHIER How about - CARL No.", "EXT. STREET Carl ignores the girl handing out fliers.", "INT. SOUTHWEST BANK NORMAN Valentine party. Just wear something red! CARL Ca n't.", "INT. SOUTHWEST BANK Carl stares as the clock clicks to 5:00. He's out the door.", "INT. CARL'S KITCHEN Carl warms up a frozen pizza.", "INT. CARL'S APARTMENT Carl eats the frozen pizza and watches Big Brother.", "INT. CARL'S LIVING ROOM/BEDROOM Carl lies down. The alarm FLIPS ON. - IN DUNKIN DONUTS CARL No. - ON THE STREET. Carl refuses the pamphlet. - IN SOUTHWEST BANK NORMAN Dress as your favorite animal - CARL Sorry. - CLOSE ON THE CLOCK. IT FLIPS TO 5:00. - AT HOME Carl eats frozen lasagna while watching The Amazing Race. - CARL IN DUNKIN DONUTS. - CARL AT SOUTHWEST BANK TALKING TO NORMAN. NORMAN - historical figure - CARL No can do. THE CLOCK FLIPPING TO 5:00. - CARL AT HOME EATING FROZEN MEATLOAF AND WATCHING Project Runway. - CARL'S HEAD HITTING HIS BED. - CARL WAKING UP. - CARL SHAKING HIS HEAD ` NO.' - THE CLOCK FLIPPING TO 5:00. - CARL'S HEAD HITTING THE BED. - THE ALARM GOING OFF. It's now just a blur of images of Carl at Southwest Bank, shaking his head ` no', eating Lean Cuisine and watching reality television.", "INT. CARL'S LIVING ROOM/BEDROOM - NIGHT Carl's lying on his bed. The phone is ringing. He gets up and answers. CARL Hello? PETER -LRB- V.O. -RRB- -LRB- on the phone. -RRB- Carl. It's Peter. Where are you? CARL I'm in bed. Why? What happened? Did someone die? PETER -LRB- V.O. -RRB- -LRB- on the phone. -RRB- No. It's just - we're at Rudy's. Celebrating New Year's. Carl looks at the alarm. It's 11:15 PM. CARL It's already 11:15. I do n't think I can make it. PETER Oh, c'mon, Carl. No one's seen you for like forever. Please swing by? CARL No. TITLES UP : THE YES MAN CARL -LRB- cont'd. -RRB- Tell everyone Happy New Year. Carl lies down and hangs up the phone. CUT TO LATER Carl watches his alarm clock FLIP TO 12:00 AM. He closes his eyes and goes to sleep.", "EXT. SOUTHWEST BANK Carl's eating lunch at a picnic table outside. Several bank employees smoke cigarettes near him. An oddly hyper guy named ALEX approaches Carl. ALEX Carl Kendall? CARL Alex Eberts? What's up, buddy? Alex hugs Carl. ALEX Too much! How've you been? I ca n't believe you're still working here. CARL Where've you been? Norman's been heartbroken since you quit. ALEX Where've I been? You mean, where have n't I been? This year. Dude. I have lived. I climbed Mt. Kilmanjaro. I ate bat in Laos. I shot a cow with a bazooka. I'm not proud of that last one but I did it. How's the bank? CARL Same old same old. ALEX See? That's the problem. That's everyone's problem. You've got one life. Why waste it on the same old same old? Alex hands Carl a pamphlet for a `` Just Say Yes'' seminar. ALEX -LRB- cont'd. -RRB- I know this will sound queer, but you have to hit this seminar. It changed my life. It will change yours. Unless you like the bank. CARL You kidding? Every day it's impossible not to throw rocks at the place. -LRB- JOKING. -RRB- Since you do n't work here anymore, you want to throw a couple? ALEX Yes. Alex starts WHIPPING rocks at the bank. CARL What're you doing! Stop that! I was kidding! Norman comes out. NORMAN What do you think you're doing? -LRB- recognizing Alex. -RRB- Alex Eberts! Is this an alumnae prank? I love pranks! ALEX Hey, Norman! Alex continues throwing rocks at the bank. NORMAN -LRB- into a walkie - talkie. -RRB- We have a situation. A couple portly security guards come out and wrestle Alex to the ground. He manages to escape and run from the bank. ALEX Go to the seminar, Carl! You wo n't be sorry!", "INT. CARL'S APARTMENT Carl walks into his apartment. He hits PLAY on his answering machine. PETER -LRB- V.O. -RRB- -LRB- over the answering MACHINE. -RRB- Carl, it's Peter. I know you do n't do things anymore, but it'd mean a lot if you'd come by Rudy's tonight. Lucy and I are celebrating our engagement.", "INT. CARL'S APARTMENT - LATER Carl's watching Hell's Kitchen and eating a frozen pizza. There's a knock on the door. The `` Just Say Yes'' pamphlet balled up on his desk. He's using it as a napkin. Carl PAUSES the television show. He stands up and opens the door. Peter STUMBLES IN. CARL What are you doing here? PETER This is an intervention. You've missed your last event. CARL What're you talking about? PETER Our engagement party. CARL I'm sorry. I'm just really busy. PETER You're watching Hell's Kitchen. That's not even B - list reality TV. CARL So I do n't want to go out tonight. Maybe I have to wake up early tomorrow. You do n't know. PETER It's bigger than that. You and Kath broke up over a year ago and you still are n't dating anyone. CARL What? So? I'm like a sexual camel. I only need it once every couple years. PETER I do n't mean to be harsh but everyone's moving forward. It's like you're still wearing a Timex while the rest of us each have entry level Rolexes. CARL You wear a Rolex? PETER Thanks for noticing. It's an Oyster Perpetual Yachtmaster. Sapphire crystal, self - winding. Four Gs. But that's not the point I'm trying to make. CARL So I do n't have an oyster watch. All you and Lucy and Kath do is sit around and talk about real estate and Crate and Barrel. PETER What's wrong with Crate and Barrel? They have adorable stuff at reasonable prices. CARL Forget Crate and Barrel. Maybe I'm just getting more mature. I do n't need the lifestyle ever night. PETER Lifestyle? You have to have a life to have a style of life. You never leave your apartment. You never meet anyone new. CARL I hate meeting people. PETER You've become a complete cave dweller. CARL I am not a cave dweller. Just the other day, we all went to Summerfest and snuck backstage and you bet me I would n't steal something and so I stole a drumstick from that horrible Swedish hillbilly band. That's not very cave dweller of me. PETER Just the other day? That was seven years ago. CARL But that's not possible - I was already working at the bank by then. PETER You had started there three years earlier. Why you've worked at that place for so long is beyond me. You had so much potential. You should n't be a teller. You should be the guy who tells the guy who tells the teller what to do. CARL -LRB- SHOCKED. -RRB- I've been a teller at Southwest Bank for ten years? How the hell did that happen? -LRB- doing the math. -RRB- Ten years. if I had had a child, he'd be toilet - trained by now. PETER Actually, he'd be in fourth grade. CARL -LRB- starting to panic. -RRB- I was making out with chicks by fourth grade. I was a little man by fourth grade. -LRB- THEN. -RRB- Whatever. I do n't need this shit right now. I'm an adult man. I can live my life as I see fit. Can you please leave? Carl pushes Peter out the door. Carl sits down on the couch. He then unballs the `` Just Say Yes'' pamphlet. It features an Indian man smiling beatifically.", "INT. HOLIDAY INN CONFERENCE ROOM A banner across a stage that has a photo of the same Indian man smiling beatifically. We PAN DOWN to find Carl among the crowd. Carl sits down next to a WIRY, CRUNCHY WOMAN. WIRY, CRUNCHY WOMAN Is this your first time at one of Sanji's lectures? CARL -LRB- SCOFFING. -RRB- Uh, yeah. -LRB- THEN. -RRB- Have you been to this before? WIRY, CRUNCHY WOMAN Only like fifty - eight times. Sanji's a genius. Like seriously. he will blow your mind all over the goddamn room. He's like a mind grenade. CARL I do n't know if I want that. WIRY, CRUNCHY WOMAN Oh you do not. But you need it. And that's why you are here. CARL Cool. Do you want anything from the refreshment area? WIRY, CRUNCHY WOMAN You kidding? That processed shit will kill you faster than a pleasure cruise to Chernobyl. Carl heads over to the refreshment table. Once he's out of her sight, he sits down alone in a corner of the conference room. Ethereal music begins to play over the loudspeakers. People begin to sit. Carl sits down in the back. SANJI -LRB- V.O. -RRB- Life. We are all living it. Carl laughs. No one else does. The lights get rosier. SANJI -LRB- V.O. ; cont'd. -RRB- Or are we? Change does n't start on the surface. It's generated from consciousness. But where is consciousness generated from? Carl looks around. Everyone is nodding along with it. SANJI -LRB- cont'd. -RRB- From the external. And the external is manipulated through our choices. And our choices start with one word. The music ABRUPTLY SWITCHES to the opening beats of `` Jump'' by the Pointer Sisters. The rosy colored lights FLIP TO BRIGHT WHITE and SWEEP ACROSS THE CONVENTION CENTER ROOM. It is suddenly like a rock concert. SANJI -LRB- 50s -RRB- BUSTS THROUGH THE GIANT BANNER. The whole crowd starts CHEERING. SANJI -LRB- cont'd. -RRB- Yes! Instead of `` Jump'', Sanji's yelling `` Yes!'' SANJI -LRB- cont'd. -RRB- Say yes! For your life! Yes! Change starts now! Yes! Yes! Yes! Say it with me! SAY YES! Sanji pumps his fist in the air as lame indoor fireworks GO OFF. The crowd JUMPS ON THEIR FEET. SANJI -LRB- cont'd. -RRB- Are you ready to open the door to yes? CROWD Yes! SANJI I am sorry, my friends. But I can not hear you? CROWD Yes! SANJI Shhhhhhh. The crowd quiets. SANJI -LRB- cont'd. -RRB- Now is the time when we must greet our new members. Who here is new? Please, do not be shy. WIRY, CRUNCHY WOMAN He is! The woman POINTS AT Carl. The spotlight SWINGS OVER to Carl. He is annoyed. SANJI Come on up, Future Yes Man! CARL That's OK. I'm just auditing. SANJI You ca n't audit life! Now get on up here! CARL I'm cool right here. SANJI Then I will come to you! Sanji runs off the stage and joins Carl in the back of the conference hall. The spotlights follow him. SANJI -LRB- cont'd. -RRB- What is your name? CARL Carl. SANJI Let me guess, Carl. This was not your idea to come here, Carl. CARL I would n't say that. SANJI You can tell me, Carl. We are all alone, Carl. The crowd laughs. CARL It was n't exactly my idea. SANJI That's what I thought, Carl. And you think this is all bullshit, Carl, is n't that right, Carl? CARL Honestly? SANJI Is there any other way? CARL This whole thing seems retarded. SANJI But you are stuck in your life, Carl? Am I right? CARL I would n't necessarily - SANJI You once had a dream? You wanted to own a boat? A house? A fancy car? You wanted to a doctor, a lawyer. a business man? Carl nods, surprised at Sanji's incisiveness. SANJI -LRB- cont'd. -RRB- You wanted to be more than you are. And yet you have suddenly woken up to find life is passing you by. Am I right, Carl? Sanji's suddenly getting to Carl. As Sanji talks to him, the moment between them becomes more and more intimate. It should feel like the rest of the crowd has disappeared. CARL A little. SANJI It's odd that ten years can pass just like that. Sanji snaps. SANJI -LRB- cont'd. -RRB- Is n't it, Carl? CARL It is. SANJI I want you to do something for me, Carl. Tomorrow, I want you only to say yes. Can you do that for me? For one day, Carl? CARL I'm not sure - SANJI Please, Carl. Do it for me and you will be doing it for yourself. If you do n't have the best day in ten years then I am the uncle of a monkey. Will you do it for me Carl? Just for a day? CARL Yes? Sanji grabs Carl hand and PULLS HIM to his feet. We PULL BACK and the crowd CHEERS. SANJI Welcome to the world of yes! Fireworks and confetti go off. The Wiry, Anxious Woman Gives Carl a creepy thumbs up.", "INT. CARL'S APARTMENT - MORNING Carl's asleep. The phone starts ringing. Carl sleepily grabs the phone. CARL Yello. PETER -LRB- V.O. -RRB- -LRB- on the phone. -RRB- Carl, it's Peter. I just wanted to apologize about barging in yesterday. You were right. It's your life to live. CARL Do n't worry about it. PETER -LRB- V.O. -RRB- -LRB- on the phone. -RRB- Me, Lucy and Kath are all going out for brunch. You have any interest in joining? CARL Oh, thanks for the invite, but. FLASH OF SANJI LOOMING LARGE IN CARL'S EYES. SANJI Will you do it for me Carl? Just for a day? BACK TO CARL AND PETER. We CLOSE IN ON CARL'S MOUTH. CARL -LRB- in slo - mo. -RRB- Yes. PETER Excuse me? CARL -LRB- clearly not wanting to. -RRB- Yes. I will come to brunch.", "EXT. STACKERS - MORNING Stackers is a cutesie brunch place. Carl walks up to Peter, Lucy and Kath. KATH -LRB- AWKWARD. -RRB- Morning, Carl. This is a surprise. CARL Why? KATH Because I've never seen you at brunch. Like ever. CARL You kidding? I love brunch.", "INT. STACKERS - LATER Carl, Peter, Lucy and Kath are still waiting with a big crowd of people to sit down for brunch. CARL Why do people wait an hour for breakfast? It's so hot and bright and we have n't even had coffee yet. PETER If you do n't want to be here, you do n't have to be. CARL Of course I want to be here. I love waiting an hour for eggs. It's fun. Although I will point out that you have sunglasses which is probably making this wait a lot easier. PETER Oakleys, polarized lenses, indestructible. Two fifty but worth every penny. The Waitress comes up. WAITRESS Lowell, party of five. A group of four people get up to be seated. CARL We were definitely before those Lowell people. KATH I hate when people jump ahead. CARL Why does no one ever say anything? PETER If you want to be sitting so bad, why do n't you say something? CARL Yes. I will. Carl walks up to the Waitress. CARL -LRB- cont'd. -RRB- Excuse me, but we were here before those people. WAITRESS No you were n't. CARL Yes, we were. WAITRESS I have the list, dude. The list does n't lie. Meanwhile, the customers the Waitress was going to seat are looking away, trying not to get involved. CARL Well, this time the list lied. LUCY It's OK, Carl. It's just brunch. CARL -LRB- to the people who are being seated. -RRB- You all know that we were up before you! And you have to live with that knowledge through your delightful brunch! Peter pulls Carl away from the Waitress. PETER What's going on with you? CARL I just want transparency in terms of the brunch seating order. One of the customers who was being seated heads over. KATH Great. Now we're going to get into a fight. BRUNCH DUDE We talked about what you said. you're right. You guys were here before us. Sorry we did n't pipe up sooner. We cool, brother? CARL -LRB- SURPRISED. -RRB- Yeah. We cool. Carl and the Brunch Dude punch fists and hug.", "INT. STACKERS - LATER Carl and his friends are sitting at a table. Carl's slightly bored as his friends discuss real estate. LUCY It's a two bedroom duplex with harbor views. It'd be perfect for you Kath. KATH Washer/Dryer in the building? CARL -LRB- JEALOUS. -RRB- I did n't realize you were looking to buy a place. I thought you and I would be renters to the end. PETER She's a fancy lawyer making bank. It's about time she was buying. KATH -LRB- PLAYFUL. -RRB- Shut up. The Brunch Dude is seated near Carl. He gives him a thumbs up. Carl gives a thumbs up right back. PETER -LRB- re : the menus. -RRB- What're you looking at? CARL Bacon and eggs. KATH How unadventurous. CARL I do n't want an adventure first thing in the morning. The Waitress comes over. WAITRESS I just want to tell you about my specials. We have a double fruit burnt sugar waffle. Any of you interested in that? Beat. CARL Yes. WAITRESS Alrighty. Then, on the savory side, we have a smoked whitefish omelet with hash browns on the side. Any takers? Beat. CARL Yes. WAITRESS -LRB- SURPRISED. -RRB- You want both? CARL Yes. The Waitress writes that down. WAITRESS Would you like toast with that? CARL Yes. WAITRESS Any side? Bacon. CARL Yes. WAITRESS Sausage. CARL Yes. WAITRESS Turkey sausage? CARL Yes. WAITRESS A side of our famous maple pancakes - CARL Yes. WAITRESS Wow. Someone's really hungry. CARL Yes. WAITRESS Coffee or juice? CARL Coffee. And juice. WAITRESS We also have smoothies? CARL Yes. Carl's friends look at him like a freak. WAITRESS Is that all? CARL -LRB- RELIEVED. -RRB- Yes. WAITRESS -LRB- turning towards his FRIENDS. -RRB- What would you all like to order? His friends are all looking at Carl.", "INT. STACKERS Carl has six dishes in front of him. The Waitress comes over with a pepper mill. WAITRESS Would you like some pepper? CARL Yes. The Waitress starts grinding pepper onto Carl's meal. It's starting to take a long time. She's grinding and grinding and grinding. WAITRESS Would you like more? CARL Yes. She keeps grinding. A pile of pepper's growing on his food.", "INT. STACKERS - LATER All of Carl's food is covered piles of pepper. PETER I do n't think I've ever seen a waiter tap one of those pepper mills. CARL I'm just addicted to the stuff. Chinese cultures say it's good for digestion. -LRB- THEN. -RRB- You're all welcome to have some. LUCY That's. OK. Do you want a bite of mine? CARL -LRB- BEGRUDGINGLY. -RRB- Yes. Carl takes a bite of Lucy's. He then sips his coffee. CARL -LRB- cont'd. -RRB- Uch. Brunch coffee. Why ca n't they make it black without all this frothy shit? PETER Because you ordered a latte. Carl's phone rings. He answers it. NORMAN -LRB- O.S. -RRB- Hey, Carl. We're a little short on our Saturday staff. I know this is going against ten years of precedent, but you have any interest in coming in today? CARL I do n't think. there's any reason why I should n't? On a Saturday there's nothing I like more than the inside of a bank. NORMAN -LRB- O.S. -RRB- There really is something magical about this place.", "INT. DUNKIN DONUTS Carl walks into Dunkin Donuts. DUNKIN DONUTS CASHIER Would you like an Italian - inspired coffee flavoring? Beat. CARL Yes. DUNKIN DONUTS CASHIER Sugar, Splenda or Nutrasweet? CARL All of them please. The confused Dunkin Donuts cashier loads up Carl's coffee. DUNKIN DONUTS CASHIER We're having a special on Munchkins?", "EXT. STREET Carl walks out of Dunkin Donuts, carrying a giant coffee and several boxes of Munchkins. He walks by Renee, the cute girl who hands out band fliers. RENEE Want a flier? Oh, it's you. Never mind. CARL Of course I'll take a flier. Carl takes a flier. Renee's surprised Carl's taking a flier. CARL -LRB- cont'd. -RRB- -LRB- READING. -RRB- The Flying Buttresses. RENEE I knew after a year and a half of wearing you down, you'd give in. I'm Renee by the way. Renee holds out her hand. CARL Carl. RENEE Carl. Cool. I like to thank everyone personally who comes to our performances. It gives it a nice intimate touch. See you soon Carl. Carl turns away, nervous that he's accepted her invitation. He takes a sip of his giant coffee and grimaces.", "INT. SOUTHWEST BANK Carl STUMBLES INTO work, hyper from the giant coffee. NORMAN Morning, Carl. Thanks for coming in and being part of the Saturday banking experience. Oooh, Munchkins. Are those for the office, you dirty devil? CARL Yeah. I just though it would be a fun way to lighten things up. NORMAN -LRB- deadly serious. -RRB- You did n't approve this with petty cash. CARL I spent my own money on them. NORMAN Kidding! Munchkins are always approved. Although, I ca n't reimburse you. -LRB- over the intercom. -RRB- Today is free Munchkin day. That's right! Free Munchkin day! Instantly Carl's cubicle is surrounded by fellow workers. BANK EMPLOYEES Carl rules. / You're the best. / Finally I have a reason to live today.", "INT. SOUTHWEST BANK LOUNGE Carl's greeting. A MIDDLE - AGED MOTHERLY CUSTOMER comes in. CARL How may I help you? BANK CUSTOMER I need to speak to a loan specialist. Beat. CARL While loans are n't normally in my jurisdiction, I'd be happy to help you.", "INT. SOUTHWEST BANK - LOAN DESK Carl's trying to keep up as the customer launches into intense finance - speak. BANK CUSTOMER I want to refi my house and spend the capital on my personal business. I see you've got a 5.25 7 year ARM, but over at Chase they're offering 5.00 7 year ARM. Can you refi lower, like at 4.85 par example, or am I going to have to bring my beeswax elsewhere? CARL Yes. BANK CUSTOMER Yes? That's it? CARL Yup. What's your business? BANK CUSTOMER Selling beanie babies online. CARL Adorable. BANK CUSTOMER More like highly profitable. I've crunched the numbers. The woman hands over a scrapbook that's been decorated with construction paper and pictures of beanie babies. Carl opens the scrapbook. It's filled with numbers. CARL Let me just get final approval on this. Carl gets up and walks over to Norman. ANGLE ON NORMAN'S OFFICE Carl stands before Norman. NORMAN You're a teller, not a loan specialist. CARL No, I know, so if you think this is a bad idea for a loan that's fine but can you please tell her yourself? NORMAN What's this? CARL Her business plan. Norman grabs the business plan and starts reading it. NORMAN Inta - maresting. My grandma loves beanie babies. Although unfortunately, we have a minimum loan floor of ten thousand dollars. She only wants five. CARL That's silly. How're you supposed to start a tiny business if you ca n't get a tiny business loan? NORMAN I do n't make the rules, I just break ` em. -LRB- THEN. -RRB- I do n't break them. I just wanted to rhyme. If she wants us to loan her ten thousand or more, great. Otherwise, I think her only option is a loan shark. ANGLE ON LOAN DESK Carl sits back down. BANK CUSTOMER -LRB- NERVOUS. -RRB- So, what'd he say? CARL Do you maybe have any interest in borrowing ten thousand? BANK CUSTOMER I ca n't afford the payments on ten. You ca n't do five thousand? This is the fifth bank I've been to. Please? CARL Of course we can. One moment please. Carl gets up. He heads over to the soda machine and buys a Diet Coke. He then heads over to Norman's desk. CARL -LRB- cont'd. -RRB- Diet Coke? NORMAN Oooh, thank you. Feed the addiction, am I right? They clink Diet Cokes. Norman DOWNS his entire Diet Coke in one swallow. Carl then heads over to the photocopier. He watches Norman out of the corner of his eye. After a couple minutes, Norman gets up and HEADS INTO THE BATHROOM. Carl heads back over to Norman's desk and SWIPES THE LOAN APPROVAL STAMP. ANGLE ON THE LOAN DESK Carl returns to the loan desk and STAMPS HER FORM. CARL It's approved. The Bank Customer HUGS Carl. BANK CUSTOMER Thank you so much! I promise I wo n't let you down, Mr. Kendall. On me. The Bank Customer hands Carl a panda beanie baby. CARL Thanks, Marge. We do n't like to make other customers jealous so can we keep this between you and I? BANK CUSTOMER Of course. Are n't you just a dear? The Bank Customer leaves. Carl ca n't help but be touched.", "INT. SOUTHWEST BANK - LOAN DESK Carl's at the loan desk. Norman comes over, looking grave. NORMAN Carl, could I see you for a moment? Carl nervously walks into his office.", "INT. NORMAN'S OFFICE Carl nervously sits before Norman. NORMAN Earlier today, you showed some initiative. And I loved it. What do you say to a permanent spot at the loan desk? CARL That seems like a lot of responsibility. NORMAN We need a loan specialist a lot more than we need a teller and greeter. Besides, you'd have a starting salary of 52. CARL Grand? NORMAN No, dollars. What is this Darfur? -LRB- waving to an African - American employee. -RRB- Sorry, Patricia, that was inappropriate. -LRB- then, back to Carl. -RRB- Of course grand. To celebrate, next Saturday, I'm throwing a party. Dress up as your favorite character from Heroes. -LRB- WHISPERING. -RRB- Save the cheerleader, save the world. CARL Next Saturday. sounds great. NORMAN Do n't dress as Hiro. I got dibs. CARL Would n't think of it. Carl heads back to the loan desk, happy about his promotion.", "INT. RUDY'S Carl walks in the door. Peter, Lucy and Rooney, who's clearly been there for a little while, comes up to him. ROONEY Carl Kendall? Out in the world? Are you some kind of ghost? Am I having a religious vision? CARL Believe it. Because this guy just got a promotion. LUCY Congrats, Carl! ROONEY Well let's get you a beer. You want a 20 ouncer? I'm just joking - CARL Yes. Rooney looks at Peter and Lucy. PETER A normal - sized beer is fine with me. LUCY I think I'm done actually. ROONEY Two twenty ouncers and one tiny, little beer, barkeep. BARTENDER Please do n't call me that. We're not in the middle ages. ROONEY -LRB- to Carl. -RRB- I ca n't believe you're out here. I'm giddy. I feel like a child whose best friend has strict Chinese parents who never let him come out and play but now his Chinese parents are away for the Chinese New Year. You have any interest in pounding this shit? CARL Why not? Rooney picks up his beer and begins pounding the twenty ouncer. Carl reluctantly pounds it as well. Rooney slams his on the table. Carl puts it on the table. ROONEY What do you say we have another? CARL Yes. ROONEY You are a beast! LUCY Well, it's been fun watching you guys recreate freshman year, but Peter and I have some furniture errands to run. Carl's a little drunk now. CARL Have a good day yuppifying your lives. PETER We need a sofa, Carl. We're not buying a second home. ROONEY Whatever, yuppy sellouts. LUCY It was good seeing you. You should come out more often. CARL -LRB- kind of pleading. -RRB- Please do n't leave me here with him. Peter and Lucy laugh, not realizing that Carl is serious. They leave.", "INT. RUDY'S - NIGHT Carl and Rooney are really drunk. CARL I have not been this drunk in years! The room is spinning in a bad way! ROONEY Barkeep! Two more double pints s ` il vous plait! BARTENDER That was the last ` barkeep.' I am cutting you off. ROONEY Well fortunately you're not the only game in town! Let's go to some place with class.", "INT. SENOR FROG'S - NIGHT Rooney and Carl are in a Senor Frogs. CARL Where's the class? ROONEY They wear uniforms here. A SENOR FROG'S WAITRESS comes over. SENOR FROG'S WAITRESS Jello shot? CARL Yes. Carl and Rooney do jello shots. - Carl and Rooney downing more jello shots. - Carl and Rooney drinking beers. - Carl and Rooney are drunkenly staring at a nearby group of girls. CARL -LRB- cont'd. -RRB- That girl is hot. Or at least she seems hot. I'm kind of too drunk to tell. Right now, honestly, you seem hot. ROONEY I am hot. SENOR FROG'S WAITRESS Another jello shot? CARL Yes. ROONEY I think I'm done. Carl downs the jello shot. He stumbles a little. SENOR FROG'S DJ Senor Frog's famous karoake contest is starting now! Sign up and sweep us off our feet! ROONEY You got ta do karoake. Carl STUMBLES over to the Senor Frog's DJ. He's losing control and he likes it. CARL Sign me up, bitch. SENOR FROG'S DJ We've got our first victim. I mean, singer. MUSIC CUE : The opening notes of White Town's `` Your Woman'' Carl grabs the microphone and heads out into the crowd. -LRB- NOTE TO READER : As you read this part, I recommend listening to White Town's `` Your Woman.'' It will bring it to life in a way that words on a page can not do it justice. -RRB- CARL -LRB- singing/talking with an odd English accent. -RRB- Just tell me what you've got to say to me, I've been waiting for so long to hear the truth, It comes as no surprise at all you see, So cut the crap and tell me that we're through. Now I know your heart, I know your mind, You do n't even know you're being unkind, So much for all your highbrow Marxist ways, Just use me up and then you walk away, Boy you ca n't play me that way. Carl heads over to the HOT GIRL and begins SERENADING HER. She thinks it's kind of funny. CARL -LRB- cont'd. -RRB- Well I guess what you say is true, I could never be the right kind of girl for you, I could never be your woman. Carl gets really close to the Hot Girl's face and then COYLY pulls away for the bridge of the song. During the awesome bridge, Carl does some fantastic dance moves. Or rather, moves that you think are fantastic when you're drunk out of your mind. The Hot Girl laughs at his antics. CARL -LRB- cont'd. -RRB- Well I guess what they say is true, I could never spend my life with a man like you, I could never be your woman. I could never be your woman. I could never be your woman. Carl lands on one knee in front of the Hot Girl. The crowd CHEERS FOR HIM. The Hot Girl's LARGE BOYFRIEND gets up close to Carl. Everyone is very, very drunk. BRUTISH BOYFRIEND Were you just flirting with my girlfriend? CARL -LRB- re : the Hot Girl. -RRB- It depends - is that your girlfriend? BRUTISH BOYFRIEND Yes. CARL Then yes. HOT GIRL Hey, c'mon. Be cool. He was just screwing around. BRUTISH BOYFRIEND Let me handle this, Crystal. -LRB- to Carl. -RRB- So, you want to have sex with my girlfriend? CARL Yes, I do. Very much. BRUTISH BOYFRIEND Are you starting a fight? ROONEY C'mon, Carl, let's go - CARL Yes, I am. BRUTISH BOYFRIEND Then bring it. CARL I will. Beat. Carl does n't really know what to do so he slaps him across the face the way a woman would slap a man. BRUTISH BOYFRIEND What was that? CARL Me bringing it. The Brutish Boyfriend PUNCHES Carl in the head. CARL -LRB- cont'd. -RRB- I'm too drunk to feel! I'm like Darkman! Carl HEADBUTTS the guy. They get into a dirty, drunken tussle. Both of them are trying to hit the other one in the groin region. Bouncers DESCEND ON THEM and PULL THEM APART.", "EXT. SENOR FROG'S Carl and Rooney are outside. Carl's nursing his wounds. They are very, very drunk. ROONEY You popped that guy! He did n't know what hit him. CARL You do not cross Carl Kendall. The Hot Girl STUMBLES out of Senor Frog's. HOT GIRL Hey. I'm sorry about Domingo. He likes to think he's my boyfriend but he's not. You're cute. The Hot Girl KISSES Carl. HOT GIRL -LRB- cont'd ; CONT'D. -RRB- Want to go some place private? CARL Yes.", "INT. CARL'S APARTMENT - MORNING Light is streaming in through the window. Carl opens his eyes. He's in bad shape. He looks over to see the Hot Girl finishing getting dressed. HOT GIRL My fiance called. He was like really sorry about last night. I have to go. CARL Your fiance? HOT GIRL Domingo. The guy who punched you in the face. CARL I thought you said you two were n't even dating? HOT GIRL We were broken up last night. It was fun hanging out. The Hot Girl kisses Carl on the forehead. HOT GIRL -LRB- cont'd. -RRB- I made some coffee. It's in the kitchen. Sorry for leading you on. The Hot Girl LEAVES. Carl smiles. That was awesome.", "INT. HOLIDAY INN CONFERENCE ROOM Carl runs to the conference room. The Just Say Yes seminar has been packed up.", "INT. HOLIDAY INN LOBBY Carl walks up to the counter. CARL Hi. is there a Sanji Gupta staying here? RECEPTIONIST Room 125.", "INT. HOLIDAY INN HALLWAY Carl walks down the hallway. He knocks on Room 125. After a couple minutes of shuffling around, Sanji opens the door. CARL I'm Carl. The guy from yesterday. SANJI Of course, of course! Please come in! Carl comes into Sanji's hotel room. SANJI -LRB- cont'd. -RRB- Would you like a cup of coffee? CARL No thanks. I just wanted to thank you for that inspiration. SANJI Fantastic. So how do you plan on continuing with your journey? CARL You know, just living every day to it's fullest. And, like, learning to continue to experience life or whatever. SANJI Outstanding, Carl. Except for one THING :. -LRB- suddenly intense. -RRB- You are completely bullshitting me! CARL I just said I'm going to keep experiencing life. I thought you'd be happy. SANJI You're like a cigarette addict, Carl. Except you're addicted to boredom. On the way in here, Carl, I offered you a coffee and you refused. Perhaps that would have been the most delicious cup of coffee you would have ever had. Who's to say? Not you, Carl, because you said no! Anyone can quit smoking for a day. But for a lifetime? No. CARL So what should I do? Sanji PULLS OUT a contract. SANJI Behold, Carl, - the Maniyesto. Carl takes the Maniyesto. CARL -LRB- reading the document. -RRB- 1. -RRB- Until New Year's Eve, I must say yes. 2. -RRB- The yes can not distort the truth. SANJI -LRB- EXPLAINING. -RRB- You can not say `` Yes, the world is flat'' because that is an untruth. CARL -LRB- reading the document. -RRB- 3. -RRB- If someone discovers you are a yes man, you do not have to say yes to them. 4. -RRB- To avoid yes, you can not avoid contact. Therefore, you must always answer your phone, the door, your postal mail, your email, etc and so on and so forth. 5. -RRB- You must choose a yesponsor to keep you on the straight and narrow. -LRB- to Sanji. -RRB- Who should that be? SANJI A close friend who will not tell a soul. CARL -LRB- reading the document. -RRB- 5. -RRB- I hereby void the `` do you want'' loophole. -LRB- to Sanji. -RRB- What is that? SANJI If someone asks you `` do you want to go to the art museum'' and you do not want to, you may not use this lack of desire as an excuse to not go. And finally, a warning. -LRB- SPOOKILY. -RRB- If you say ` no', even once, even for a cup of coffee, be prepared to lose every single little thing you've gained. -LRB- THEN. -RRB- So what do you say, Carl? -LRB- WHISPERING. -RRB- What do you say? CARL I say. yes. Carl signs the Maniyesto. SANJI And here. Carl signs again. SANJI -LRB- cont'd. -RRB- And here. Carl signs again. SANJI -LRB- cont'd. -RRB- And initial here. And here. CARL Is this like a legal document? SANJI Kind of. And finally, my friend, please hold out your hand. Carl holds out his hand. Sanji PULLS OUT an iron brand that's been heating over a hot pot and BRANDS CARL'S PALM. CARL AHHHHHHHH! SANJI That should heal by New Year's. Until then, you are a Yes Man. Carl looks at his palm. In the center of the palm, Sanji's branded a ` YES.'", "INT. RUDY'S Carl is sitting across from Peter. PETER For a whole year? CARL Yesterday I got promoted and beat up and hooked up with this chick and I have a massive headache today and I still might throw up, but I do n't care because it was the best time I've had in like forever. Not to mention finding out that, despite what you might think, smoked whitefish in an omelette is delicious, even if covered in a thick layer of pepper. PETER But for a whole year? CARL You do n't understand. I got promoted. Do you know how long I've been waiting for some kind of financial step forward? I said ` yes' and it arrived. PETER Well, someone sounds like they're yuppifying their life. CARL Excuse me for wanting an appliance in my kitchen besides a hot pot. PETER There's no way you can do this for a whole year. CARL That's where you come in. You're my `` Yesponsor.'' PETER Yesponsor? CARL Like in AA. I need you to hold me to it. PETER You are n't going to last for more than a week. CARL I look forward to proving you wrong. Peter and Carl shake hands. CARL -LRB- cont'd. -RRB- Nice suit. If I move up anymore at the bank, I might need a few. PETER Cavalli. Silk and cotton blend. Seven fifty. Lucy comes over and kisses Peter. LUCY My girlfriends are being such bitches. It's been two weeks and no one's offered to throw me a wedding shower. PETER That's too bad. I'm sure someone will offer. LUCY -LRB- SARCASTIC. -RRB- Hey, you want to throw my wedding shower? Peter turns to Carl, smiling. CARL -LRB- dreading it. -RRB- I'd be happy to. LUCY I was kidding. Wedding showers are thrown by girls. CARL That's sexist. Please. I insist. LUCY Thanks. That means a lot to me. Lucy hugs Carl. Carl looks over Lucy's shoulder at Peter and shakes his head. Rooney comes over. ROONEY That was some good times last night. You back for more? CARL Yes. ROONEY I've got no cash. You mind spotting me and my buddies? Rooney points to FOUR BARFLIES sitting at the bar. PETER Sorry, did n't bring my wallet. Peter turns to Carl. CARL -LRB- BEGRUDGINGLY. -RRB- Yes. Carl walks up to the bar. Peter's snickering behind him. CARL -LRB- cont'd. -RRB- What kind of beer do you guys want? ROONEY'S FRIENDS/ROONEY As long as you're buying, I want a Grey Goose straight up. / Kir Royale/Whatever's in that dusty bottle back there that you never take down.", "INT. CARL'S APARTMENT - MORNING Carl wakes up. He looks at the tattooed `` Yes'' on his hand.", "INT. CARL'S APARTMENT Carl goes through a series of junk mail flyers for credit cards. He VERY CAREFULLY fills each one of them out.", "INT. DUNKIN DONUTS Carl walks into Dunkin Donuts. Before the cashier can say anything. CARL Black coffee, large. DUNKIN DONUTS CASHIER Would you like. CARL -LRB- cutting her off. -RRB- To have a wonderful day? I would. Carl turns to see a giant poster with the words `` DO YOU WANT A MOCHA CARAMEL COOLATA?'' Carl turns back to the cashier. CARL -LRB- cont'd. -RRB- -LRB- RESIGNED. -RRB- And could I also have a Mocha Caramel Coolata. DUNKIN DONUTS CASHIER With whipped cream?", "EXT. STREET Carl walks out of Dunkin Donuts, carrying a frozen coffee drink and several boxes of Munchkins. He walks by Renee and wordlessly takes a flier. RENEE Hey, give that back. You already took one. CARL What's the hurt in taking another? RENEE Destroys the Earth. Also, they cost me ten cents a copy. Besides, are you even going to come? CARL Of course. I could n't say ` no.' As he walks away. CARL -LRB- cont'd. -RRB- Even if I wanted to. RENEE See you tonight, Carl!", "INT. SOUTHWEST BANK Carl sits at his cubicle, and flips on his email. In the background, we see various SUPER HAPPY EMPLOYEES eating the Dunkin Donuts that Carl has brought. We see on the screen another email from the King of Nigeria. CARL Dear deposed King of Nigeria. I would love to help you anyway I can with your confidential transaction. Please let me know what I can do. Yours, Carl Kendall. He checks the next email. CARL -LRB- cont'd. -RRB- Would I like Viagra? Yes, I would. Carl writes back to the Viagra. ANGLE ON THE SCREEN : The next email is from PERSIANWIFEFINDER.COM. CARL -LRB- cont'd ; CONT'D. -RRB- Do I want a Persian wife? Perhaps I do. Carl clicks onto the Persianwifefinder.com and starts uploading his profile. Norman walks by. CARL -LRB- cont'd. -RRB- Norman, would you say I prefer Iranian, Pakistani, Bangladeshi or no preference?", "INT. SOUTHWEST BANK - LOAN DESK Carl's reading his email when a HIGH SCHOOL GIRL sits down. HIGH SCHOOL GIRL You Carl Kendall? CARL Yeah. HIGH SCHOOL GIRL I hear that you do small loans. CARL Where did you hear that? HIGH SCHOOL GIRL Marge. The lady my mom buys her beanie babies from. CARL I told her not to say anything. HIGH SCHOOL GIRL I only need five hundred bucks. I'm starting college next year and I need it for books. I ca n't afford them now but I can pay them off over the course of the year. Carl looks to make sure Norman's not around then he stamps her form. HIGH SCHOOL GIRL -LRB- cont'd. -RRB- Thank you so much, Mr. Kendall.", "EXT. STREET Carl walks down the street, taking fliers from anyone who passes them out. We do QUICK CUTS of him with various people as he walks down the street. CARL I might have some stuff to pawn. / I will definitely check out your gun selection. / I would like to learn Korean. BERLITZ FLIER GUY If you're interested, intro to Korean is starting right now.", "INT. BERLITZ CLASS - DAY Carl's sitting in a Korean class with several businessmen. CARL -LRB- in Korean, with SUBTITLES. -RRB- -LRB- Hello, my name is Carl. What is your name? -RRB-", "INT. THE NOTE BAR AND PERFORMANCE SPACE - NIGHT Carl stands at the back of a basically empty dive bar, nursing a beer. There's a makeshift stage at the front of the bar. `` The Flying Buttresses'' are setting up their equipment, including a giant clear plastic harp. Renee steps up to the microphone. RENEE Hello Jake, Penelope, Carl and Rodrigo. We are the Flying Buttresses! Their four audience members cheer. The drummer bangs his sticks together and the band launches in. They are terrible. Like really terrible. Renee sings in a high - pitched voice that she probably thinks sounds like Tori Amos, but sounds more like a dog whistle. If you've heard the singer, Joanna Newsom, well that's who she's emulating. RENEE -LRB- cont'd. -RRB- -LRB- SINGING. -RRB- Everyday, the unicorns they play/Among lingonberry fields/They silently bay/The king has no crown/Just a vest of grass/The queen loves the Jester/The Jester has the last laugh. -LRB- CHORUS. -RRB- You are my minotaur/With your cloven hooves! / Half man, half horse/You are all boy to me Carl looks at the three other audience members. They are nodding along. Also, one of them is dressed like a Court Jester. CUT TO LATER Renee's whisper singing. RENEE -LRB- cont'd. -RRB- A witches cauldron/burns hot as hell/As her crooked hand/Brews a love spell. CUT TO LATER Renee's singing a power ballad. RENEE -LRB- cont'd. -RRB- I! Am! A! Fairy! / I! Like! To Fly! The four people in the audience clap hard as she finishes. Renee takes a huge bow and motions to her fellow band mates. Carl, not knowing how to politely react to the horror show he just witnessed, claps along. Renee gets off the stage and walks over to the bar, right next to Carl. BARTENDER Nice, show Renee. One virgin mint soda coming right up. RENEE I do n't think I hit a high enough octave in Fairy Dream Song. CARL I disagree. I think you hit some pretty high octaves. RENEE But I can hit like way higher. -LRB- as she speaks her voice goes higher and higher. -RRB- Like check this out. I think this tone might be more appropriate for my water nymph song? CARL -LRB- speaking in a low voice. -RRB- I do n't know - I've known some water nymphs with big balls. -LRB- no reaction. -RRB- From the high level of testosterone. An awkward moment where Renee does n't react and Carl thinks he may have offended her. Suddenly she starts laughing spazzily hard. Carl smiles. RENEE I've got to write a song about that. I could call it. CARL `` Big Balled Water Nymph''? It's a working title. RENEE I like it. I can work with that. The drummer, a guy named LEEORE, shouts down to Renee from the stage. LEEORE Um, excuse me, but we have to clear the stage. RENEE I got ta clear. -LRB- JOKING. -RRB- Unless of course, you want to help? CARL Sure. I love clearing stages. Carl helps a surprised Renee clear the stage.", "EXT. THE NOTE BAR AND GRILL Carl has helped Renee fit the giant harp into the back of her ancient Volvo. RENEE Well, thanks for coming, Carl. I must bid good night. CARL So early? It's only 8:00? RENEE I lead a jogging, photo group for people who want to both exercise and practice photography. CARL You're a photographer too? RENEE Amateur, but yeah. I show every Friday. If you want to do some artistic calisthenics join us tomorrow. CARL What time do you leave? RENEE Five. So we can see the sunrise. CARL Wow. I have n't seen the sunrise maybe ever. -LRB- RESIGNED. -RRB- I guess now I'll be doing that tomorrow. RENEE Oh, it's beautiful. Makes great photos. Nice meeting you, Carl. Renee gets in her Volvo and drives off. Carl walks off. FLIER GUY You interested in learning Spanish? Carl takes the flier from the Flier Guy.", "EXT. STREET Carl walks down the street, now holding a zillion fliers. Carl gets a tap on the shoulder. REVEAL Kath standing there. KATH -LRB- O.S. -RRB- Thinking of learning a couple foreign languages? CARL Hey, Kath. Would you like one? I'm going to learn Swahili. KATH Maybe next week. There's someone you should probably meet. Carl, this is Seb. A very tall, very blond, Nordic looking man approaches Carl. CARL Seb? What is that? Swedish? SEB Yes. Beat. Seb puts his hand on Kath's back. Carl notices this and is not particularly happy. SEB -LRB- cont'd. -RRB- I've heard a lot about you, Carl. Seb's phone rings. SEB -LRB- cont'd. -RRB- Sorry, sweetie. I've got to take this. Seb walks off and answers his cell. CARL You're on a date then? KATH Yeah. Met him at my firm. CARL He's very tall. KATH I guess so, yeah. Seb returns. CARL Well, it was nice meeting you, Seb. So I'll be going. Carl starts to walk off. SEB Unless. you'd like to join us? Carl stops in his tracks. He mouths the word `` fuck.'' Carl turns. Kath nods at Carl as in, `` You do n't have to join us.'' SEB -LRB- cont'd. -RRB- It was good meeting you - CARL I'd love to. Join you guys. KATH What?", "INT. ROMANTIC RESTAURANT - LATER Seb, Carl and Kath are sitting at dinner. It is incredibly awkward. Kath and Seb are clearly incredibly pissed off. CARL So, how did you guys meet? KATH I told you. Through the firm. A waiter arrives. WAITER Would you like to order some wine? KATH/CARL/SEB Yes. CUT TO LATER - Carl, Kath and Seb are now slightly drunk. However, it is a quiet, angry drunk, not a fun - loving drunk. They are still sitting in silence. Seb turns to Kath and starts saying something quietly to her. CARL Oh, this is good. -LRB- CHUCKLING. -RRB- I was walking past Pizza Hut the other day, and for a second I was sure the sign said `` Pizza Hat.'' And then I thought, would n't it be funny if there was a shop that sold hats shaped like pizzas? -LRB- beat, weakly. -RRB- You know. Because it sounds like `` Pizza Hut'' only it's a hat shop. SEB Look, Carl, why do n't you just eat your fish and fuck off? Carl puts the rest of his meal in his mouth, gets up from the table and walks out of the restaurant. As he leaves, he smiles to himself. His phone rings. He sees it's Rooney on the Caller ID. CARL Shit. Carl answers the phone. ROONEY -LRB- O.S. -RRB- What's up Carl? It's Rooney! What do you say we grab a couple brewskis?", "INT. CARL'S APARTMENT - LATE NIGHT Carl flips on his computer. He's trashed. He has a bunch of emails. He clicks on the email. NIGERIAN KING -LRB- V.O. -RRB- Dear brother Carl, Thank you for your last note you sent me. But we must move quickly. I must have your bank details right now. Send them to me. Your Associate, Omar, King of Nigeria CARL -LRB- while typing. -RRB- Dear Omar, While I appreciate the gravity of your situation, perhaps a goodwill branch is in order. Could you perhaps loan me a million and take it out of my final cut? Then I will happily send you my bank details. Sincerely, Carl. Carl then flips on persianwifefinder.com. A PERSIAN CARTOON GENIE comes onto the screen. PERSIAN CARTOON GENIE Sa ` laam, Carl. You have sixty - five winks. Allah Akbar. The screen is suddenly filled with pictures of Persian women.", "INT. CARL'S APARTMENT - PRE-DAWN Carl's alarm goes off. Carl hits it and sits up. He grabs his head and then runs to the bathroom and throws up.", "EXT. PARK - PRE-DAWN Renee, along with several other amateur photographers in sweat suits, have gathered. They all have big cameras around their necks. Carl walks up to them. He does not look good. CARL Good morning. RENEE Wow. You look tired. CARL Well, it is five in the morning. RENEE Mammals are meant to be up at dawn. It's how we're built biologically. Where's your camera? Carl realizes he forgot his camera. CARL I thought I'd use my phone. Carl pulls out his camera cell phone. RENEE Awesome idea. So light. CARL That's what I thought. RENEE Let's hit it. Renee, Carl and the group of amateur jogging photographers start jogging. Carl can barely keep up with them. RENEE -LRB- cont'd. -RRB- Oooh, pretty. As she passes a flower, Renee snaps a photo of it.", "EXT. LAKE - DAWN The group reaches the lake as the sun rises. They all snap photos. Carl finds himself snapping photos on his camera. He accidentally snaps one of Renee with the sun behind her. She looks pretty in the photo. RENEE Alright! Enough standing around! Renee starts jogging again. Carl starts after her and then abruptly doubles over and throws up on the ground. Renee and the other jogging/photographers snap photos of him.", "INT. CAFE - MORNING Carl sits across from an Iranian women. IRANIAN WOMAN It was delightful meeting you, Carl. CARL As it was meeting you Farinoush. IRANIAN WOMAN Although I must say I was surprised to discover that you are in no way Persian. Nor are you six foot two. You should change that on your profile. CARL Will do. Should I call you? IRANIAN WOMAN Sorry, I want a tall guy. The Iranian Woman leaves, passing Lucy. LUCY Who was that? CARL Farinoush Azzam. Great girl, but I do n't think we're right for each other. LUCY How'd you meet? CARL PersianWifeFinder.com. -LRB- ignoring her odd look. -RRB- Let's talk wedding shower. LUCY So, I know it's just a wedding shower, so who cares really? And it's like so lame? But I've made an appointment at a stationery store. Are you going to totally kill me? CARL -LRB- dripping with sarcasm. -RRB- You kidding? I love stationery. Lucy gets up. Carl follows her. He does not look happy.", "INT. STATIONERY STORE - LATER Lucy and Carl are looking over a book of stationery with the STATIONERY PROPRIETESS. Carl ca n't concentrate. STATIONERY PROPRIETESS This one is nice. I especially love it in cream. LUCY Ooooh, pretty. What do you think? CARL Looks good to me. LUCY -LRB- sarcastic annoyance. -RRB- Thanks for your opinion. STATIONERY PROPRIETESS It's always difficult to get the husband - to - be's opinion. LUCY -LRB- derisive laughter. -RRB- I'm not marrying him. CARL I'm just helping throw the shower. STATIONERY PROPRIETESS Oh. What's the party going to be like? Sometimes it helps to know that before you pick an invitation. LUCY Nothing special. Just hors d'oeuvres and wine. Carl, meanwhile, is looking through the book of invitations. CARL Look at this - Bridal Bingo. What's Bridal Bingo? STATIONERY PROPRIETESS It's bingo, except you yell out embarrassing facts about the bride and whoever fills their card first wins. CARL That sounds fun. LUCY I'm not doing Bridal Bingo. CARL How about a calendar shower? LUCY Can we concentrate at the task at hand? CARL Do you even know what a calendar shower is? Maybe a calendar shower is awesome. STATIONERY PROPRIETESS Every guest gets assigned a month and brings a gift that the bride and groom can use during that month. LUCY That's kind of cute. CARL I think that's really cute. Carl's starting to get really into it. He turns the page and sees an invitation decorated with animals labeled `` Knights in White Armor.'' CARL -LRB- cont'd. -RRB- Look at this one - `` Knights in White Armor.'' STATIONERY PROPRIETESS The bride and groom ride in on a white stallion. CARL You have got to do that. Like it's not even a choice. LUCY That seems a little extreme. CARL You only get married once. STATIONERY PROPRIETESS Your friend happens to be right. LUCY You're really good at this. You mind helping me with the wedding invitations?", "INT. SOUTHWEST BANK - LOAN DESK Carl's sitting across from an Arab Guy at the loan desk. ARAB GUY I love cell phones. I breathe cell phones. I own, myself, thirty - five cell phones. My brother is an idiot and he's selling cell phones hand over fist. What do you have? A Nokia 9850? The Arab Guy goes to grab Carl's phone. He sees the photo of Renee on the phone's wallpaper. ARAB GUY -LRB- cont'd. -RRB- Oooh, pretty lady. Carl grabs his phone back. CARL How much do you need? ARAB GUY Eighty five hundred. CARL Done. Carl stamps his form. TEN YEAR OLD GIRL I was with my sister? And we had this lemonade stand? And we sold like a hundred cups of lemonade in two days? And so I want to expand? All I need is three thousand dollars? Carl stamps her form. CUT TO A JITTERY GUY. JITTERY GUY Just give me the cash. CARL You promise you'll pay it back? JITTERY GUY Basically. Carl stamps his form. Norman comes over. NORMAN May I speak to you, Carl?", "INT. NORMAN'S OFFICE Norman sits across from Carl. NORMAN I know what you're doing. CARL What am I doing? NORMAN You're loaning below our minimum. Carl does n't know what to say. NORMAN -LRB- cont'd. -RRB- You thought I would n't notice the paperwork? I'm not the regional manager because I ignore the details. CARL I'm sorry, but it's absurd that if you need a small amount of money you have to go to a loan shark. Only rich people can pay back loans over ten grand. A bank's job is not to just help the rich. It's to help anyone with a dream achieve it. NORMAN I know. These microloans are pretty interesting. So I'll you spearhead a little pilot program at the bank. CARL Thank you so much. NORMAN If corporate finds out, you're the one who's getting fired. So keep it quiet. Carl mimes zipping up his mouth and throwing away the key. QUICK CUTS OF CARL STAMPING LOTS OF FORMS Rooney sits down across from Carl. CARL What do you need a loan for? ROONEY I do n't. I was wondering if you were around tonight to help me move? CARL Why do n't you hire movers? ROONEY Because it's cheaper to ask you.", "INT. ROONEY'S MOM'S HOUSE Rooney and Carl are looking at a fridge. ROONEY Can you carry the fridge alone? CARL -LRB- SCARED. -RRB- Yes. MOMENTS LATER Carl is carrying the fridge down the stairs. He FALLS down the stairs with the fridge. Carl looks up at Rooney who's at the top of the stairs. ROONEY You OK? CARL Yes. Do you want to help at all? ROONEY I wish I could, but I hurt my back trying to move that fridge.", "EXT. ROONEY'S MOM'S HOUSE Carl has put the last box into the moving van. Rooney and his mom are hugging. ROONEY'S MOM I'm going to miss you, baby. ROONEY And I'm going to miss you, ma. ROONEY'S MOM I ca n't watch you go. His mom goes into her house. CARL Where are you moving? Rooney looks at Carl and smiles. Carl's eyes go wide. MUSIC CUE : `` JUMP'' by the Pointer Sisters YES MONTAGE - Carl's taking Korean. CARL -LRB- cont'd. -RRB- -LRB- in Korean. -RRB- -LRB- What is the weather like in Pyongyang? -RRB- - At Southwest Bank. NORMAN We need a volunteer to think up local marketing ideas Carl raises his hand. CUT TO LATER Carl has put up signs on the bank window that say `` Pet - a - Puppy'' day. There's a box of puppies in the bank. Customers are streaming into the bank to pet puppies. - We see Carl's CALENDAR filling up. - A ton of different kinds of credit cards are POPPING THROUGH HIS MAIL SLOT. - Carl's taking Spanish. CARL -LRB- in Spanish. -RRB- -LRB- I like to drive with my mother. -RRB- The door to the language center opens. - Carl walks towards work. He sees the same group of flyer guys and DUCKS DOWN an alleyway. We now see that to avoid the flyer guys he uses a series of alleys and fire escapes, crossing roofs, even jumping between two buildings so he can avoid being approached. - At Southwest Bank. NORMAN We need someone to be a weekend cashier. Carl's hand shoots up. - Carl walks out of a movie with a woman who's in a head scarf. He awkwardly hugs her. REVEAL that the movie they watched is Saw III. - Carl's at THE NOTE singing along to Renee's band's songs. He and the `` Jester'' audience member do shots together. - Carl's walking around a florist shop with Lucy. She points to a small bouquet of white flowers. Carl points to a giant heart - shaped ice sculpture. - We see Carl having to write in tiny letters on his calendar because it's so full. - At Southwest Bank. NORMAN -LRB- cont'd. -RRB- We need a volunteer - Carl's hand shoots up. NORMAN -LRB- cont'd. -RRB- - to be in charge of day care. - CUT TO Carl with a bunch of kids. All the kids are folding brand new dollar bills into paper airplanes - CUT TO Carl walking down the street, a big smile on his face, taking everyone's fliers as per usual. He walks past a CULTY GUY named TONY who's passing out books. TONY Do you want to change your life through Mahayana Buddhism? Carl takes one of the books. TONY -LRB- cont'd. -RRB- Would you like to have tea and discuss? CARL I'm kind of in a rush. TONY My place is right around the corner.", "INT. TONY'S APARTMENT - DAY Carl's sitting awkwardly on the floor across from Tony. They are both drinking tea. TONY It is only through the four noble truths and the destruction of desire that we can end suffering. CARL Well, that's really neat. -LRB- awkward beat. -RRB- So, thanks for the books and the jasmine tea and the vegan curry, but I have to go - TONY Do you like Dionne Warwick? Tony flips on Dionne Warwick's `` I Say a Little Prayer.'' TONY -LRB- cont'd. -RRB- Now she had style. CARL It was really great meeting you - TONY C'mon, Carl. Shake your groove thang. Tony pulls Carl up. Carl starts to awkwardly shake his groove thing. TONY -LRB- cont'd. -RRB- I like big guys. CARL I really have to go. Tony grabs Carl and kisses him full on the lips. TONY Want to go into my bedroom? CLOSE IN on Carl's face. He looks down on the `` Yes'' that's on his palm. CARL -LRB- very quiet. -RRB- Yes. Carl and Tony head into his bedroom.", "INT. TONY'S BEDROOM CARL Do you have any candles? I just love candles. TONY Sure. Tony instantly pulls out candles and lights them. CARL How about wine? Like a bottle of Beaujolais? TONY I only have Beaujolais Nouveau. Tony pulls out a bottle of wine and two glasses. Tony goes in to kiss Carl. CARL I have herpes. TONY Upstairs or downstairs? CARL Downstairs? TONY Front door or back door? CARL It's a swinging door! TONY Just give it! Tony pushes Carl down onto the bed.", "INT. PETER'S LAW OFFICE Carl's sitting across from Peter in Peter's fancy law office. They're each eating burgers. PETER What's with the kitten? PULL BACK to reveal a kitten on Peter's desk. CARL I just adopted her. If you're interested, they're giving them away in front of Petco. PETER I do n't want a kitten. CARL Neither did I. PETER'S SECRETARY Andy Solomon on line two. Peter picks up the phone. PETER Hey, asshole, we're not talking until you sign that goddamn contract. Peter hangs up. PETER -LRB- cont'd. -RRB- -LRB- totally normal. -RRB- I spoke to Kath. I hear you met her boyfriend, Seb. CARL Seems like a nice guy. PETER She was upset you went on her date. CARL He asked me to join them. PETER I think you're taking this too far. CARL I have no choice. I'm a yes man. I must say yes. If Seb asks me to join them on their date, I must. If some dude asks me for a loan I have to give it to them even if it's clearly never going to be paid back. If a guy asks me into his bedroom, I must hook up with him. PETER You hooked up with a dude? CARL It's like hooking up with a strong woman. I honestly do n't see what the big deal is. -LRB- back on his yes rant. -RRB- I am guided by yes. Yes has become my superpower. And let me tell, yes is turning out to be a pretty sweet deal. Now if you'll excuse me I'm late for Korean class. PETER You hate Korean food. CARL That's no reason to write off an entire, vibrant culture. See you later, buddy. Carl heads off, the kitten under his arm.", "INT. GALLERY Carl walks around a photography gallery. Renee's photos are up. They are terrible photos, since they were taken while she was jogging. Their subjects are blurry. Some of them are half in the photo and half out. The featured photo is of Carl throwing up on the ground. CARL You really are displaying that. RENEE That's probably my best photo ever. My collages are n't bad. But personally, I think I excel at pottery. Renee POINTS to a LARGE, BROWN PLATE that looks like poo. CARL Wow. That's really big. How do you have time for all this stuff? RENEE How do you have time to come to every one of my rocks shows even the one in Fairfield county that was seventy - five miles from here? I almost skipped that one. CARL You gave me the flier, so I had to go. RENEE At first I thought you were a weird stalker and I was scared. But now I think you're just a really shy dude with a crush. And while it's been suspenseful to see when/if you'd ask me out - CARL Do you want to go out sometime? RENEE Yes, I would. CARL By the way, I do other stuff besides follow you around. RENEE Like what? CARL I take Korean. RENEE In that case, what do you say we do Korean?", "INT. KOREAN RESTAURANT - LATER Carl's eating across from Renee. He ca n't stand the food. He grimaces with every bite, but manages to choke it down. RENEE Do you want any more squid hot pot? It's really good here. CARL I think I'm good. To have some more. Renee spoons a huge amount of squid onto both their plates. CARL -LRB- cont'd. -RRB- So, all this art you create. What do you want to do with it? RENEE What do you mean? CARL Like, do you want to open a store? RENEE Where I can sell my photos and pottery? Of course not. They're terrible. Carl's surprised that she knows this. CARL They're not terrible. RENEE Yeah, they're awful. CARL I think you're being hard on yourself - RENEE I'm not asking for sympathy. My voice is way too high - pitched, my pottery looks like poo, and my photos are blurry and subjectless. But who gives a shit? Not everything needs a goal. The world is a playground. You know that as a kid but then somewhere along the way everyone forgets. -LRB- as if telling a secret. -RRB- Besides, I ca n't open a store. My big master plan is to take a trip around the world. CARL When? Like in a couple years? RENEE I bought a ticket for four months from now. CARL People always talk about that, but you're actually doing it. RENEE Honestly, I'm terrified. -LRB- THEN. -RRB- How about you? Do you like the bank? CARL It's lame, but you know, it's pretty funny. My boss Norman always throws theme parties. RENEE So if it's lame why do you work there? CARL Because. it's actually not lame. -LRB- REALIZING. -RRB- I just gave the answer I've automatically given for years. I'm actually enjoying the bank for the first time maybe ever. I started this pilot program that gives out microloans. RENEE What's that? CARL Like say you need three hundred bucks to pay for paint so you can start a house painting business. Rather than paying a loan shark who charges you 300 %, now you can come to Southwest Bank. Whatever. It's kind of dorky. RENEE That actually sounds really cool. The waitress comes over. RENEE -LRB- cont'd. -RRB- I'm stuffed. But I would love to wrap this up. CARL -LRB- in Korean, with SUBTITLES. -RRB- -LRB- We are very fat. But can I please have this food made mobile? -RRB- RENEE So, what do you say we hit this crazy party? CARL Funny, not crazy. My boss is white noise. RENEE White noise? CARL You know, like totally boring. RENEE I do n't know anyone who's totally boring. Crack a person's shell - there's always something creepy underneath.", "INT. NORMAN'S APARTMENT - NIGHT Norman opens the door. He's dressed as the Japanese character Hiro from the show Heroes. NORMAN Carl! Welcome. Or should I say, uerukamu! RENEE What's going on? CARL I would n't bother. NORMAN You did n't tell her? This is a dress - up as your favorite character from Heroes. Do you watch? RENEE I currently do n't have a television. Norman stares at her. NORMAN I do n't know what to do with that information. There are drinks, chips, dips, various and sundry noshes. I entreat you to make friends. Let's get this party started!", "INT. NORMAN'S APARTMENT It's very quiet. A couple people mill about. CARL We do n't have to stay long. RENEE It's a party. Let's socialize. Carl and Renee walk up to a MOUSEY GIRL. CARL I'm Carl. This is Renee. KHATOON Hey. I'm Khatoon. It's complete silence. Beat. KHATOON -LRB- cont'd. -RRB- Do I know you from somewhere? CARL I do n't think so. KHATOON Are you listed on Persianwifefinder.com? Renee laughs. Carl fake laughs with her. KHATOON -LRB- cont'd. -RRB- Seriously, though, are you? CARL So, how do you know Norman? KHATOON Karate Club. Norman comes in with more chips. There are now about ten times as many snacks as guests. NORMAN Baked Lays people! It is on! CARL You're in a karate club?", "INT. NORMAN'S APARTMENT Everyone's standing around Norman. They've laid several pieces of wood out over a coffee table. PARTY GUESTS Norman! Norman! Norman! Norman KARATE CHOPS the wood in half. The guests cheer. Norman takes a big bow. RENEE -LRB- whispering to Carl. -RRB- Told ya there was something weird under that white noise shell. Renee leaves Carl. KHATOON You're totally on persianwifefinder.com. SultanCarl. Carl turns to Norman. CARL -LRB- changing the subject. -RRB- Khatoon, Norman! You guys should spar! Khatoon and Norman start to spar. Carl sits back, smiling. JASON, a cynical guy who's slightly drunk, sidles up beside Carl. JASON Well, is n't that cute? We've got a full match on. Hey, I'm Jason. They shake hands. CARL I'm Carl. What do you do? JASON Work for the INS. CARL Cool. JASON I hate it. Everyday I have to dash some poor guy's dream. I'm a professional dream dasher. CARL It ca n't be that bad. JASON The other day, I turned down a guy who had literally been a professor at the University of Cuba. FLASHBACK OF JASON'S INS OFFICE Jason's sitting across from a CUBAN PROFESSOR. CUBAN PROFESSOR What? But I've already lived here for five years. I've received a steady paycheck and paid taxes for five years. I speak fluent English. I ca n't go back. JASON I'm sorry but no can do. CUBAN PROFESSOR I've passed the citizenship test ten times. I bet you could n't pass that test. JASON You're probably right. CUBAN PROFESSOR Do you know the location of the Spanish - American war? JASON Spain? CUBAN PROFESSOR No. JASON America? CUBAN PROFESSOR No. JASON -LRB- SARCASTIC. -RRB- Spainerica? CUBAN PROFESSOR You are an insult to your country. BACK TO THE PARTY. CARL So did you let him in? JASON I sent him back to Cuba. I send them all back. CARL If you hate your job so much, why do you do it? JASON Because I have to eat. CARL -LRB- to himself, in wonder. -RRB- You're a no man. JASON Excuse me? Beat. Carl makes a difficult decision. CARL -LRB- WHISPERING. -RRB- I'm not supposed to tell anyone this except for my Yesponsor, but you can change your life. I've changed mine. If I tell you how, will you promise not to tell anyone? JASON -LRB- sarcastically whispering BACK. -RRB- Yeah, sure, whatever. CARL I say yes. To everything. Say Yes More. It's that simple. Dramatic beat. Jason finishes his drink. JASON That's the most retarded idea I've ever heard. Jason heads off. Renee returns. RENEE What did I miss? CARL -LRB- THROWN. -RRB- Nothing. Do you want to go?", "INT. CARL'S APARTMENT Carl and Renee walk into Carl's apartment. Ten kittens and puppies come running up to them as they enter. RENEE You work for the ASPCA? CARL I just love pets. This is Veronica, King George, Owen, Carl jr., Carl the III, Carl IV, Bubbles, Greedo, Cat 1, Cat 2 and Cat 3. At the end there, I got kind of bored of naming them. They walk into Carl's living room/bedroom.", "INT. CARL'S LIVING ROOM/BEDROOM The room is piled floor to ceiling with boxes. Renee starts to go through the boxes. CARL You do n't need to do that. RENEE You have a lot of Mexican Viagra. CARL I have a congenital heart thing it helps. And it's cheaper than the stuff that's made here. RENEE You better not be a criminal. Because one time I dated this guy who jacked cars for a living and I did not enjoy living on the edge as much as I thought I would. CARL It's cheaper to buy in bulk. Is that a crime? RENEE A hundred boxes of Mexican prescription drugs borders on something vaguely criminal. Beat. RENEE -LRB- cont'd. -RRB- Well, are you going to make out with me or what? CARL Yes. Carl grabs Renee and starts making out with her. They fall onto the bed. REVEAL Rooney watching them. ROONEY You must be Renee. I have heard so much about you. Can I watch? Carl does n't know what to say. Before he has to say yes. RENEE No, you ca n't watch.", "INT. CARL'S BEDROOM - LATER Renee and Carl lie next to each other. RENEE You know what I would love? A massage. CARL I give great massages. Carl starts massaging her. RENEE Oooh. Yeah. Oooh, right there. Carl stops. RENEE -LRB- cont'd. -RRB- Do n't stop. Carl continues massaging her. CHYRON : HALF HOUR LATER Carl's still massaging her. He stops. RENEE -LRB- cont'd. -RRB- Can you please keep massaging? Carl starts massaging again. CHYRON : AN HOUR LATER Carl's massaging. His hands are really cramping up. She's asleep. He stops massaging. RENEE -LRB- cont'd. -RRB- -LRB- while asleep. -RRB- Please keep massaging, please? Carl starts massaging again, wincing while he does it.", "INT. SOUTHWEST BANK - LOAN DESK Carl's sitting across from a LARGE MAN. Carl's hands are like claws. A line of people waits to speak with him. CARL How much does a Schwinn cost? LARGE MAN Three hundred fifty three dollars. It'll really help me get my one hour delivery business off the ground. I've tried on foot. I only have a two mile radius. CARL Done and done. Carl stamps the package. Norman comes over to the loan desk. NORMAN Hey, the boys upstairs are here to speak with you. CARL Really? Because I have a thing at one. NORMAN He asked for you specifically. Ixnay on the small loans - ay. Carl looks over. He sees the President -LRB- from the beginning of the movie -RRB- sitting in the conference room. Carl gets nervous.", "INT. SOUTHWEST BANK - CONFERENCE ROOM Carl walks into the conference room. The bank president, CHRIS PARKER, motions to a seat. CHRIS PARKER Carl Kendall? I'm Chris Parker. President of Southwest Bank. CARL I actually met you when I was just a teller. CHRIS PARKER -LRB- no recollection of it at ALL. -RRB- Of course! -LRB- reading from a binder. -RRB- Pet - a - Puppy day. Free cookie day. Free half hour on the bank's punching bag day. You've upped walk - in traffic by 35 %. Not only that - you've also taken charge of corporate day care. I like a team player. Carl's phone buzzes. The caller ID says LUCY. CARL Thank you. CHRIS PARKER But then I got suspicious. What drives a man in his mid to late thirties who's still at the absolute lowest level of our corporate family? Generous helpfulness? Or raging revenge? CARL Generous helpfulness? CHRIS PARKER Which is when I got the numbers from your loan desk. Carl turns white. Carl's phone buzzes again. The text says LUCY : `` WHERE ARE YOU?'' CARL Uh huh. CHRIS PARKER You've given out over 682 below minimum loans. One of them was literally for fifteen dollars and eighty seven cents. CARL Janice Peabody's ant farm rental business. CHRIS PARKER How do you explain yourself? CARL I've started a microloan project. I figure that if someone needs less than ten grand why should they go to a loan shark when they can come to a legitimate banking institution? CHRIS PARKER Because the paperwork makes any profit moot. Unless you're raiding our coffers. CARL No. I would n't do that. CHRIS PARKER I would if I could, so why would n't you? Chris laughs. Carl laughs. Chris abruptly stops laughing. So does Carl. Carl's phone buzzes again. The text says LUCY : `` I THOUGHT WE WERE MEETING AT ONE. PLEASE CALL BACK.'' CHRIS PARKER -LRB- cont'd. -RRB- But then I looked closer at the numbers. 85 % of the loan recipients have been paying them off according to the bank's schedule. Not just that, but 72 % of that group have returned as regular full loan customers. This is both a moneymaker and good for the community. That like never happens! CARL Thank you. CHRIS PARKER You're the kind of person we want in corporate. We're taking some clients on a golfing trip. You golf? CARL Yes. CHRIS PARKER You free tomorrow? CARL Yes. CHRIS PARKER Of course you are. I better watch my back around you, Carl Kendall. Soon you'll be taking my job. See you on the links. Chris Parker grabs Carl's hand and shakes it. Carl RUNS out of the office.", "EXT. SUGAR DREAMS BAKERY Carl RUNS up to the bakery. Lucy's outside. LUCY What happened? CARL I'm sorry - bank meeting stuff.", "INT. SUGAR DREAMS BAKERY Lucy and Carl wander around a fancy bakery. LUCY I've never heard of a Wedding Shower cake. CARL You have to have one. Modern Bride calls them a necessity. Carl's phone rings. CARL -LRB- cont'd. -RRB- Sorry, Luce. Work stuff. -LRB- sotto into phone. -RRB- Yeah, I can definitely be at the blood bank in twenty minutes. Carl hangs up. Lucy suddenly starts crying. CARL -LRB- cont'd. -RRB- Are you OK? LUCY I'm sorry, it's just you've been so great at all this while my husband - to - be has been completely absent. Do you have time to grab a cup of tea?", "INT. DEPARTMENT STORE TEA ROOM Carl and Lucy are each drinking tea. The only other people in the tea room are groups of women. LUCY Is he scared to get married? Is that why he does n't care? CARL You know Peter. He's a man's man. He cares, he just does n't know how to show it. LUCY You know how to show it. A wedding is a huge deal. I'm so scared. CARL You guys are perfect for each other. LUCY I know that and yet I'm still so scared. CARL Maybe if you're just honest with him about how you're feeling it'll be OK. LUCY He can be just so closed off. Carl's phone rings. CARL Sorry, the bank, you know? -LRB- sotto into phone. -RRB- The UFO conference is tonight? No, that's fine, I'll definitely be there. Carl hangs up. CARL -LRB- cont'd. -RRB- I'm sorry. LUCY You've been so good to me. I've really come to depend on you. I want to pay you back. CARL Not necessary. LUCY Peter tells me you might have some disposable income these days. CARL For some reason, the bank keeps promoting me. LUCY If you want to look at some open houses, I'm happy to waive my fee.", "INT. LUXURIOUS APARTMENT - DAY Carl and Lucy walk into a luxurious apartment. Gourmet kitchen, floor to ceiling windows, giant media center. LUCY So this is at the very top end of what you could probably afford. Are you interested? Carl hits a button. A GIANT TELEVISION SCREEN DESCENDS. CARL Yes. LUCY Are you sure? I mean, this is the first place you've looked - CARL Yes. I've got to run. LUCY I'm looking forward to meeting Renee tonight. CARL What? LUCY We're all having dinner. Tonight. Remember? CARL Right. Of course. Carl runs out.", "INT. BLOOD BANK Carl giving blood while on the phone. CARL -LRB- on the phone. -RRB- I just think if we're going to be rolling out a no interest financing campaign we should commit hard. He checks his watch. The NURSE walks by. CARL -LRB- cont'd. -RRB- -LRB- covering the phone. -RRB- Can you unhook me? I have a really important meeting. NURSE If you're interested in donating plasma, feel free to sign up.", "INT. UFO CONFERENCE Carl's listening to a lecture. WEIRD PROFESSOR Between 1996 and 2000 England's Ministry of Defence paid security cleared experts to research UFOs. This classified study was code named Project Condign. Carl's phone rings. People look angrily at him. He stands and PASSES OUT in the aisle.", "EXT. FANCY RESTAURANT Carl PULLS UP and RUNS inside.", "INT. FANCY RESTAURANT His friends are all waiting. Carl pulls Renee aside. CARL I'm sorry I'm late. RENEE That's fine. It's only the very first time I've met your friends. CARL It was work, it went crazy late. Carl takes a breath. He's about to pass out. RENEE What's with the `` They're Out There'' and `` I Gave'' button? REVEAL Carl's sporting buttons that say `` They're Out There'' and `` I Gave.'' CARL Long story. -LRB- to the hostess. -RRB- Miss, could I have an orange juice? Like fast?", "INT. FANCY RESTAURANT - NIGHT Renee, Carl, Kath, Seb, Peter and Lucy sit around a table at a nice restaurant. As per usual, Carl has several different meals in front of him. He also has a martini, a glass of water, and a glass of orange juice. Carl's showing off to his friends. As he shows off, Renee looks irritated. CARL -LRB- showing off, to Peter. -RRB- Your wife found me a really great place. Built in Bose surround sound, a 100 inch LCD flat screen TV, roof deck with jacuzzi. LUCY Least I could do. At least he's involved with our wedding. PETER -LRB- ignoring Lucy's tone. -RRB- I likey your suit - ey. Hugo Boss? CARL Oh, this old thing? Prada, I think. RENEE You think? We went to three different Prada stores to find the right fit. LUCY What do yo do for a living, Renee? RENEE I paint. I'm in a band. I do volunteer work at a shelter. I teach ESL. I do balloon animal art. You know, a little of this, a little of that. CARL You should check out her pottery. It's really big. RENEE It is big. How about you guys? LUCY Real estate broker. PETER/KATH/SEB Lawyer. Quiet beat. The conversation's not exactly flowing easily. PETER If you'll excuse me. Peter leaves. The waiter comes over. WAITER Have you made a decision about the wine? CARL Well, we're kind of in a celebratory mood. WAITER In that case, may I suggest a 97 Petit Rothschild? The Waiter points at a wine that costs $ 400 a bottle. CARL Maybe we should wait for Peter to decide. LUCY He does n't know crap about wine. Just pick one, Carl. Carl is sweating bullets. CARL Why not? Let's celebrate. WAITER With six people, I'd recommend two bottles.", "INT. FANCY RESTAURANT - LATER Everyone's drinking the wine. Carl's terrified of the bill. LUCY Do you rent or own? RENEE I sublet. I have this corner of a loft. CARL It's a really nice corner though. LUCY If you're ever interested in buying, you should ring me up. RENEE I hate owning things. Because when you own something, you suddenly are invested in that thing not breaking. And I break everything. I've gone through three TVS in three years. SEB How did you break them? RENEE I smashed one with a hammer, dropped one off my roof and the third one just went on the fritz. So I set it on fire. Carl's friends do n't really know what to say. The check comes. Carl grabs it before anyone else can. It's a $ 1500 bill. He drops several credit cards down on the table. CARL It's on me! -LRB- quietly to the waiter. -RRB- I'd like to split it between an Advanta Blue Business, Mastercard, a Diners Club and my South Dakota Bank Visa Check card.", "EXT. FANCY RESTAURANT Carl's outside with Peter. PETER Nice job with Renee. She's definitely odd, but that's not necessarily - CARL I just spent $ 1500 on dinner. PETER What? Why? CARL Because the waiter asked me if I wanted the expensive wine and you were n't there to stop me! PETER Do n't get mad at me about it. You can just stop. CARL No I ca n't. If I did n't say yes to the band flier, I never would have met Renee. If I had n't said yes to taking charge of bank day care and then yes to becoming a loan specialist and then yes to the president's golf trip, I would n't be moving up. Each yes leads to the next one. If I stop, it could all fall apart. PETER You've gone from a passive guy who always said no to a passive guy who always says yes. Just saying yes is not a legitimate life philosophy. CARL I do n't know why I should be taking advice from a guy who's wife is pissed he's not involved at all with the wedding planning. PETER I'm involved. CARL You told her you do n't care whether the invite's cream or ivory. PETER I ca n't see the difference. -LRB- opening up. -RRB- Honestly, I'm terrified. CARL What? Why? PETER It's marriage, you know? The biggest thing ever. CARL But you guys have dated for years. PETER I know. CARL You're perfect for each other. PETER I know. CARL She's terrified too. PETER Really? CARL Of course she is. I think you'll both be a lot less terrified if you're terrified together. PETER But what if I really ca n't tell the difference between ivory and cream? Does that make me a bad husband? CARL What matters is that you pretend you can see the difference. The girls and Seb come out from the restaurant with their coats on. There's a silent beat. GIRLS -LRB- high pitched goodbyes. -RRB- It was wonderful meeting you! / I loved it! / Let me know when you throw your next art thing! Everyone gets into their cars. Carl and Renee walk off. RENEE It was great meeting your friends. CARL They're a little stiff. Beat. RENEE They are a little stiff. What do you feel like doing? CARL I'm actually going rollerblading with Ralph. RENEE Ralph? CARL You know, crazy rollerblading guitar man. RENEE The guy who plays at the promenade? CARL Any interest? RENEE No. It's ten on a Friday night. And that guy's crazy. Do n't you want to go home and make out? CARL Yes.", "INT. CARL'S APARTMENT Carl and Renee are making while Carl surreptitiously checks his watch. Finally, Renee stops kissing him. RENEE -LRB- ANNOYED. -RRB- Just go.", "EXT. STREET Carl and CRAZY ROLLERBLADING GUITAR MAN rollerblade down the street while guitar man plays guitar. CRAZY ROLLERBLADING GUITAR MAN Which is why the merman is not to be trusted, especially with the fisherman's computer brain. CARL That is really good to know. CRAZY ROLLERBLADING GUITAR MAN You want to come see the merman? CARL -LRB- RELUCTANT. -RRB- Yes.", "INT. COUNTRY CLUB - DAY Carl dashes in, covered in spots of paint. Chris appears. CHRIS PARKER What happened to you? FLASHBACK : CHYRON : TEN MINUTES AGO Carl's playing really intense, terrifying paintball with Norman and Rooney. CARL I do this whole Habitat for Humanity Thing. CHRIS PARKER I love the concept of charity. It's awesome. A group of KOREAN GENTLEMAN approach Carl and Chris. CHRIS PARKER -LRB- cont'd. -RRB- This is Carl Kendall. This is Jin Kim, Joo - Chan Park, Soo Lee and Seung Kim. Seung's the CEO of Korean Bank International. The Koreans shake Carl's hand. CARL -LRB- in Korean, with SUBTITLES. -RRB- -LRB- It is an honor to meet you. Do you like America? -RRB- The Koreans all start speaking Korean at Carl. Carl clearly does n't understand what they're saying.", "EXT. COUNTRY CLUB Chris and Carl follow the Koreans. CHRIS PARKER You speak Korean? CARL Just a little. CHRIS PARKER You sneaky devil. I knew I should watch my back around you. CARL Is it a problem if I've never played golf before? CHRIS PARKER You're a funny one, Carl Kendall. Remember, they have to win. In Asian cultures, there's a concept called Saving Face. You have to let them win. But if they smell for a second that you have n't tried your hardest, they'll commit hari kari. CARL Metaphorically? CHRIS PARKER Who knows? It's a delicate balance, Kendall. Like two little girls on a see saw with a crocodile beneath them. Make the wrong move, and the little girl will end up in the croc's maw.", "EXT. GOLF COURSE Carl stands with the Koreans. Seung Kim is speaking very rapidly at Carl. Carl has no idea what he's saying. Seung Kim laughs. Carl laughs along with him. Chris hits a beautiful shot. His ball lands almost on the green. The Koreans notice and nervously chatter. Chris approaches Carl. CHRIS PARKER Alright, buddy. It's all you. Carl grabs a nine iron from the golf bag. Everyone seems very impressed. CHRIS PARKER -LRB- cont'd. -RRB- You must have quite a powerful stroke. CARL I do. SEUNG KIM -LRB- in Korean, to Carl. -RRB- -LRB- Good luck, my friend. -RRB- CARL -LRB- in Korean. -RRB- -LRB- I shall need the luck. This is my first time playing. -RRB- Seung Kim laughs. CARL -LRB- cont'd. -RRB- -LRB- under his breath. -RRB- Why does everyone think I'm joking? Carl gingerly places the golf ball on the tee. He looks towards the hole. CARL -LRB- cont'd. -RRB- That's really far. Carl lines up his shot. He swings back, then forward, and PLOWS the club into the grass, knocking the ball off the tee. The ball rolls down a slight incline resting just a couple feet from where Carl hit it. CARL -LRB- cont'd. -RRB- -LRB- in Korean, to Seung Kim. -RRB- -LRB- You're up, Seung Kim. -RRB- Carl walks back to where Chris is at. CHRIS PARKER What was that? CARL Just keeping them on their toes. Reverse psychology. Tiger Woods does it. Seung Kim raises his club back. He too dubs it, driving the club deep into the grass. His ball rolls just a couple feet past Carl. GOLF MONTAGE WHEREIN CARL AND SEUNG KIM COMPETE TO NOT BE THE ABSOLUTE WORST GOLF PLAYER EVER - Carl hits the ball straight into a group of trees. - Seung Kim, standing right in front of a pond, delicately taps his ball right into the pond. - Carl keeps divoting the grass. He divots so many times that he has to move the ball out of the hole's he's accidentally dug. - Seung Kim hits his ball out of the sand trap. It rolls back in. He tries again. It rolls back in. He's about to try again when Carl picks up his ball and tosses it over the lip of the sand trap. Carl holds his finger up to his lips : `` Shhh.'' - Carl's about to hit the ball when his phone rings. He answers it. CARL -LRB- cont'd. -RRB- Of course not. The other golfers look really impatient. CARL -LRB- cont'd. -RRB- Male. -LRB- BEAT. -RRB- Apartment. -LRB- BEAT. -RRB- I prefer light beer. -LRB- BEAT. -RRB- Three to five times a week. -LRB- BEAT. -RRB- Orlando. Carl holds up his finger. Only one moment. - It's getting late. Now both Carl and Seung Kim are hitting their balls at once to save time. They are both running and hacking at their balls across the fairway as if they're playing a deranged game of field hockey.", "EXT. GOLF COURSE - EARLY EVENING Carl is counting up the scores. CARL Chris, you hit a 90. Nice one. CHRIS PARKER I bogied the fifth hole. I'm still pissed about that. CARL Joo - Chan hit a 95. Nice work. As for Seung Kim. You hit 453. Seung glowers at Carl. CARL -LRB- cont'd. -RRB- And as for me, I hit. -LRB- doing some computations. -RRB-. 503. SEUNG KIM Yes! Seung Kim pumps his fist. CARL I'm sorry to say that team Korean Bank International has won. Seung Kim slaps five with his compatriots.", "INT. COUNTRY CLUB - POST GOLF Carl, Chris and the Koreans are all hanging out. Carl is alone in the corner of the conference hall. A PRETTY FEMALE KOREAN BANKER approaches Carl. PRETTY KOREAN BANKER -LRB- in Korean. -RRB- -LRB- You are quite the golfer. -RRB- CARL -LRB- in Korean. -RRB- -LRB- I golf from crotch noodle. -RRB- Beat. She laughs. He laughs along with her. PRETTY KOREAN BANKER -LRB- in Korean. -RRB- -LRB- I have a business proposition for you. My marriage is not a happy one. I often find my needs are left unsatisfied. -RRB- CARL -LRB- in Korean. -RRB- -LRB- I agree. The weather is sunny. -RRB- PRETTY KOREAN BANKER -LRB- in Korean. -RRB- -LRB- I wish that was so. -RRB- -LRB- in English. -RRB- Kiss me? Please? Carl does n't know what to do. CARL -LRB- NERVOUSLY. -RRB- Yes. She kisses him passionately. Carl breaks away from the kiss. PRETTY KOREAN BANKER Am I not sexy? Have you not heard of saving face? CARL You're very sexy. Carl and the Korean Banker kiss more. Carl looks guilty.", "EXT. COUNTRY CLUB Carl's shaking hands with the Korean Bank Representatives. Chris shakes Carl's hand. CHRIS PARKER I'm promoting you to bank manager. -LRB- pulling Carl close. -RRB- I've got my eye on you, boy. Do n't you forget it. Chris laughs. Carl nervously laughs along with him. The Pretty Korean Banker walks by and waves at him. Carl waves back. He looks very guilty.", "INT. POTTERY STUDIO Carl walks into the pottery studio, looking guilty. Renee is making a giant piece of pottery. RENEE What's up, chicken butt? -LRB- off his guilty look. -RRB- Are you OK? Did everything go OK at golf? Carl considers whether he should say anything about the kiss. CARL I just got promoted to bank manager. RENEE Congratulations! Renee kisses Carl. RENEE -LRB- cont'd. -RRB- Oooh, we should do some sexy pottery. Like you can rub the clay all over me. CARL OK. Carl goes to grab some clay. RENEE I was kidding. Not as sexy as it seems. It gets in like everywhere. -LRB- awkward beat. -RRB- What should we do to celebrate? CARL Have dinner? RENEE How about Korean? Oh, no, you probably already had some today. CARL -LRB- NERVOUSLY. -RRB- No, we just had American food, American fare. RENEE You've just been so busy - it'd be fun to have a night just the two of us. I wish we could just go to the airport and hop on the first flight outta here. Carl's eyes light up. CARL Yes.", "INT. AIRPORT - TICKET COUNTER Renee and Carl are in line at the ticketing counter. RENEE -LRB- with an English accent. -RRB- I think we're going to London. CARL -LRB- with a Spanish accent. -RRB- Oaxaca, senorita. RENEE -LRB- with a Russian accent. -RRB- Moscow, Russia, comrade. CARL -LRB- with an unidentifiable ACCENT. -RRB- Singapore. RENEE What was that? CARL My Singaporean accent. Pretty good, right? They get to the front of the line. CARL -LRB- cont'd. -RRB- -LRB- PROUDLY. -RRB- We want two tickets on the next plane out of here. AIRLINE REP Two tickets to. Lincoln, Nebraska. Have a good time. Carl and Renee take the tickets. CARL -LRB- acting positive. -RRB- Lincoln, Nebraska! Here we come, baby! AIRLINE REP That'll be twelve hundred and thirty three dollars. RENEE Maybe we should n't do this. CARL I've been promoted. I've got money to burn. Carl nervously hands the Airline Rep his credit card.", "INT. AIRPORT - OUTSIDE SECURITY Carl's walking towards security when he runs into TONY, the homosexual guy he hooked up with. Tony's handing out his books. TONY Do you want to change your life through Mahayana Buddhism? Carl takes one of the books. TONY -LRB- cont'd. -RRB- Carl? Carl realizes who he is. Suddenly they are in the middle of an awkward ex - lover interaction. CARL Tony. TONY How've you been? You. never called. CARL I'm sorry. I've been busy. TONY Yeah, well, I've been busy too. Renee comes up and grabs Carl's arm. RENEE Hey, who's your friend? Tony looks at Renee and realizes that she's Carl's girlfriend. RENEE -LRB- cont'd. -RRB- I'm Renee. TONY I'm Tony. I'm an old, close friend of Carl's. ANNOUNCER Flight 2036 to Lincoln, Nebraska, now boarding. CARL That's our flight. We should probably get going. RENEE It was nice meeting you. CARL See you soon. TONY -LRB- dripping with bitterness. -RRB- Have fun. You abigail. Carl and Renee head off.", "INT. PLANE Renee and Carl have the aisle and window on the plane. A YOUNG WOMAN comes up to Carl. YOUNG WOMAN Hi, there. Would you mind switching places with me? I want to be across the aisle from my mom. Her MOM is indeed across from Carl. RENEE We're actually flying together. YOUNG WOMAN It would really mean a great deal. She's very scared of flying. CARL Where's your seat? The YOUNG WOMAN points at her seat. It's a couple rows up in the middle. Her middle seat's BOOKENDED by a MOM with a SCREAMING BABY and an ENORMOUS MAN. CARL -LRB- cont'd. -RRB- This is an aisle. That's a middle. Renee looks at Carl like, why wo n't you just refuse? MOM I'm really scared of flying. CUT TO MOMENTS LATER Carl between the crying baby and the ENORMOUS MAN. Renee turns and waves to him from a couple rows up. Carl puts on a saccharin smile and waves back.", "INT. LINCOLN AIRPORT - LATER Carl and Renee are in the airport. RENEE So, now that we're here, what should we do? CARL Well, clearly we should go there. Carl points to an advertisement for a telephone museum : `` Come to the Frank H. Woods Telephone Pioneer Museum.''", "INT. FRANK H. WOODS TELEPHONE PIONEER MUSEUM Carl and Renee are looking at MANNEQUINS OF NINETEENTH CENTURY SWITCHBOARD OPERATORS. It's incredibly quiet. CARL I had no idea that the earliest switchboard operator headsets weighed ten and a half pounds. That is fascinating. RENEE It is? CARL Not at all. Renee laughs. An ELDERLY TOUR GUIDE dressed as a telephone operator approaches. ELDERLY TOUR GUIDE -LRB- in character. -RRB- I'll connect you to the coast in an instant with Alexander Graham Bell's brand new invention - the telephone! Just a haypenny per ten minutes. -LRB- out of character. -RRB- This place is boring as shit. Check out the Lester F. Larsen Tractor Test & Power Museum. Now that's an attraction. Ask for Billy. She hands Carl a brochure.", "EXT. LESTER F. LARSEN TRACTOR TEST AND POWER MUSEUM Carl and Renee stand outside. RENEE We do n't have to do this. CARL We're here. We might as well.", "EXT. FIELD - MOMENTS LATER Carl and Renee RIDE A TRACTOR. Renee's taking photos as they BUMP OVER THE FIELD. CARL THIS IS AWESOME! TRACTOR DRIVER WANT ME TO OPEN THIS SUCKER UP? CARL/RENEE YES! The driver TURNS UP THE SPEED. They're suddenly going crazy fast. TRACTOR DRIVER TAKE THE WHEEL! FEEL THE POWER OF JOHN DEERE! Carl takes the wheel. The tractor IMMEDIATELY GETS AWAY FROM HIM. They SWERVE STRAIGHT and CRASH THROUGH THE WALL OF AN OLD BARN. The DRIVER kills the engine. Renee, Carl and the Driver catch their breath. CARL There's, uhh, no power steering. TRACTOR DRIVER It's a tractor, not a Toyota. CARL I'm sorry about the barn. TRACTOR DRIVER Been meaning to tear this sucker down anyway.", "EXT. ANTELOPE PARK AND SUNKEN GARDENS Carl and Renee walk around a surprisingly pretty city park. RENEE I think I might have whiplash from that tractor ride. CARL Just do n't sue me. RENEE Watch your back, Carl. I mean it. I'm very litigious. CARL This day has been so randomly incredible. RENEE Would you. want to. travel around the world with me? -LRB- THEN. -RRB- I mean, I know we have n't really been seeing each other for that long, but I do n't know. CARL Yes. RENEE Yes? CARL Definitely. RENEE I think I'm falling, you know. Are you? CARL Yes. They kiss. RENEE Before our flight, what do you say we grab a couple Nebraskan steaks? CARL I'm definitely falling for you.", "INT. LINCOLN AIRPORT Carl's sitting in the lounge at the Lincoln Airport. An OLD WOMAN comes up to him. OLD WOMAN Excuse me. Would you mind bringing this to my son? The Old Woman hands Carl an UNMARKED, SHADY - LOOKING PACKAGE. CARL Like you want me to bring it with me? On the plane? OLD WOMAN Fedex is so expensive and this needs to get to him today. CARL -LRB- very nervous. -RRB- Yeah. Sure. I'd be happy to. OLD WOMAN He's a tall, blond fellow named Sheldon Winkleton. He'll be holding a sign in the terminal with his name on it. You are a dear. The Old Woman shuffles off. Carl looks at the box. Renee returns. RENEE I got US Weekly, Star and, for a little culture, the National Enquirer. CARL National Enquirer? RENEE They have movie reviews. What's in the package? CARL Just a gift for some buddies back home.", "INT. AIRPORT - SECURITY Carl walks through security. He puts the package on the conveyor belt. They do n't notice anything odd.", "INT. PLANE Carl and Renee sit next to each other on the plane. RENEE I'm sorry, I have to go to the bathroom. Renee heads to the bathroom. Carl takes the package out from under the seat in front of him. He starts to breathe really hard. He very gingerly opens the package. He pulls back the packing peanuts revealing. a box of homemade chocolates. Carl breathes a SIGH OF RELIEF.", "INT. AIRPORT Carl and Renee walk off the plane, Carl carrying the package under his arm. Carl sees a tall blond guy holding a sign that says `` SHELDON WINKLETON.'' He heads towards the guy but before he can several DEA AGENTS with ADORABLE, DRUG SNIFFING DOGS surround Carl. The dogs start BARKING LIKE MAD. DEA AGENT Put the package down! Put it down! Carl looks up to see `` Sheldon'' WALKING SWIFTLY OUT THE SLIDING DOORS of the airport. DEA AGENT -LRB- cont'd. -RRB- Get on the ground! Both of you! The DEA AGENTS KICK the box open. Chocolates spill out over the ground. They crack open the chocolates to reveal TINY BAGGIES OF COCAINE. RENEE What the hell is that? CARL I do n't know! As Carl is dragged out by the cops, he passes Tony, standing near the exit, shaking his head.", "INT. JAIL - INTERROGATION ROOM Carl's sitting across from two DEA Agents, Good Cop Bob and Bad Cop Bob. GOOD COP BOB I'm Bob. BAD COP BOB And I'm Bob. Carl ca n't help but laugh. BAD COP BOB -LRB- cont'd. -RRB- Do you find that funny? Carl sees his hand with `` Yes'' on it. CARL Yes. I'm sorry. Just let the girl go. She does n't know anything. BAD COP BOB We'll see about that, Carl. CARL Some old lady gave me a package in the Lincoln airport to deliver to her son, Sheldon Winkleton. That was really stupid of me and I realize that now. I do n't know anything about anything. GOOD COP BOB Just answer a few questions and I'm sure we'll get this all sorted out. Have you ever used illegal drugs? Carl stares at them. He should probably lie. CARL Yes. GOOD COP BOB Pot? CARL Yes. But that's all. BAD COP BOB How about shrooms? Carl nods. CARL But that's the only bad shit I've done. I swear. BAD COP BOB Never cheated on a girlfriend? CARL -LRB- WEEPING. -RRB- Yes, I have. But I was in high school. I was a mess. She had cheated on me - The Bad Cop SLAMS his fist down on the table. BAD COP BOB You disgust me. The Good Cop restrains the Bad Cop.", "INT. JAIL - OUTSIDE THE INTERROGATION ROOM The two cops DISCUSS Carl. We see Carl freaking out through the one - way mirror behind them as they talk. GOOD COP BOB He's a moron. But I think he's telling the truth. BAD COP BOB I agree. No one ever admits to the cheating question.", "EXT. POLICE STATION Carl's sitting on the steps. Renee comes out of the station. RENEE What the hell happened? CARL I can explain. RENEE So explain. Are you a drug smuggler? CARL Look, when the nice lady asked me to take them on the plane, I thought they were chocolates. RENEE You expect me to believe a nice lady asked you to bring chocolates on a plane? CARL I know how it sounds. RENEE I do n't think you do. Carl just looks at her. RENEE -LRB- cont'd. -RRB- If you ca n't be honest with me, then you and the nice lady can have a fun life in Candyland. Renee starts off. CARL Wait! I'll explain better. She turns back around.", "INT. COFFEE SHOP Carl sits across from Renee. RENEE So you've just been saying yes to everything. CARL Yes. -LRB- THEN. -RRB- Pardon the pun. RENEE Oh. CARL See? Do you get it now? It's nothing, just a glitch really. RENEE I thought we had so much in common but if you just yes to everything I do n't know that we do. How do I know if you even like Korean food? Beat. CARL I do n't. RENEE Do you even want to travel around the world at all or do you want to work at that bank and buy a lot of Prada suits? CARL -LRB- CONFUSED. -RRB- Yes. And yes. Something registers in Renee. RENEE When I asked if you were falling for me all you said was yes. She rises, shaking her head, and heads for the door. CARL It was n't a lie. RENEE Yes. It was.", "INT. BLOOD BANK Carl's strapped to a giant plasma donation machine. It's horrifying. As he donates plasma, he could not look more depressed. NURSE It'll be over soon. CARL I do n't care. Just take it all.", "INT. SOUTHWEST BANK CORPORATE OFFICES Carl stumbles into the lounge outside Chris's office. SECRETARY Chris will be with you in a moment. Would you like something to drink?", "INT. CHRIS PARKER'S OFFICE - DAY Carl walks into Chris's office carrying a cup of coffee a Diet Coke, and a bottle of water. CHRIS PARKER So I got a call from the police department. CARL I'm not a drug dealer - Chris closes the door to his office. CHRIS PARKER I spent a couple years in prison myself. So I backdated some stock options. Excuse me for trying to help our bottom line, right? CARL You got to do what you got to do to help Mr. And Mrs. Shareholder. CHRIS PARKER We are their slaves. CARL Totally. CHRIS PARKER Honestly, I prefer for all my top guys to have been in the Big House. We've all eaten the slop. There's a trust there you ca n't break. Chris holds out his hand. CHRIS PARKER -LRB- cont'd. -RRB- So, what do you say to being a VP and expanding your microloan program bankwide? CARL -LRB- SURPRISED. -RRB- Yes. Carl shakes Chris's hand.", "INT. CARL'S NEW OFFICE Carl's office has VIEWS of other corporate parks. Despite the fancy digs, Carl's depressed. Chris pokes his head in. Carl's on the phone. CARL -LRB- on the phone. -RRB- That's right, we're dropping the minimum loan to one dollar, bank - wide. CHRIS PARKER Could you look through these numbers and let me know which of our five branches have been lagging behind in profit? Chris dumps a folder on Carl's desk. CARL I thought I was just implementing the microloan program. CHRIS PARKER You're a VP, buddy. You do it all now.", "INT. POTTERY STUDIO Carl's taking a pottery lesson. He is sadly going through the motions of making a pot. He checks his watch and departs, leaving the unfinished pot spinning on the pottery wheel.", "INT. SOUTHWEST BANK CORPORATE OFFICES The VPs are sitting around the board room. Carl comes in, late, still covered in clay. CARL Sorry about that. CHRIS PARKER Carl, I'm glad you could join us. So, to keep you all updated, we should be merging with Korean Bank International within the year. Everyone claps. CHRIS PARKER -LRB- cont'd. -RRB- As per our argument with KBI, we'll be shoring up our bottom line. Carl Kendall's done us the honor of drawing up a preliminary list of the branches that are on the chopping block. Nice work, Carl. Carl looks horrified.", "INT. CHRIS PARKER'S OFFICE Carl's in the middle of a heated discussion with Chris. CARL You ca n't close the Maple Branch! CHRIS PARKER I know that Maple's where you got your start, but if I do n't lay those people off then I get laid off. It's a vicious cycle. CARL You do n't have to if you do n't want to. CHRIS PARKER -LRB- deadly serious. -RRB- If we do n't close these branches than KBI will buy our competitor instead of us and put us all out of business. If you want to be an executive and get to do fun stuff like your microloan project, then you also have to be the bad guy who lays people off. That's why we get paid the big bucks. To make the hard decisions.", "INT. CARL'S APARTMENT Norman's crying. Rooney's getting worked up. NORMAN The bank's all I've got. Every morning I restock the hard candy, polish the safe, write today's interest rates on the board. CARL There are other banks. ROONEY We have to protest the merger. Get some grassroots action going. Grass looks weak, but it grows everywhere. CARL You do n't even work at the bank. NORMAN You should protest with us! ROONEY Yeah! Protest with your employees! It will only make you more popular!", "EXT. SOUTHWEST BANK CORPORATE OFFICES Southwest Bank employees and Carl stand in a picket line outside the corporate offices. EMPLOYEES Hell no! We wo n't go! Hell no! We wo n't go! Chris gets out of his car and heads to the office. Carl hides his face from Chris so that Chris wo n't recognize him. ROONEY Throw a rock at him. NORMAN Yeah, throw a rock! Carl grabs a rock and VERY DELICATELY LOBS IT in Chris's direction. He then TAKES OFF RUNNING in the opposite direction. He then CIRCLES AROUND and runs into the back entrance of the bank.", "INT. SOUTHWEST BANK CORPORATE OFFICES We FOLLOW Carl as he runs up the service entrance to the corporate offices.", "INT. CARL'S NEW OFFICE Carl then RUNS into his office and sits down at the desk. He's covered in sweat and is breathing heavily. Chris pokes his head in. CHRIS PARKER Some asshole protestor threw a rock at my head. CARL Those dicks. CHRIS PARKER I wish using hoses was n't such bad PR. Chris leaves his office.", "INT. PETER'S LAW OFFICE Carl sits across from Peter. CARL I think I made a mistake letting Renee go like that. What if I'm supposed to go on that trip? PETER You own an apartment because of that job. People do n't generally leave good jobs. CARL But the bank does n't feel right. Peter's phone rings. Peter picks it up. PETER Hey, honey. I think we should go with the tulips. I know roses are more romantic, but they're also much more clich\u00e9d. Babe, can you wait a second? -LRB- covering the phone. -RRB- I'm going to be on for a while. Ask your guru. He's the one who sent you on this retarded quest in the first place.", "INT. MARRIOTT CONFERENCE CENTER Sanji's SIGNING BOOKS. Carl gets to the front of the line. CARL Hi, Sanji. I'm Carl. Kendall. SANJI -LRB- no memory of Carl. -RRB- Of course! Would you like to purchase my new book, `` The Power of Yes : Life is Yessy''? CARL Actually, I had a question for you. SANJI Well, this line is for book customers only.", "INT. MARRIOTT COFFEE SHOP - LATER Sanji's eating by himself. Carl comes up to him. CARL I'm sorry to bother you again - SANJI Ca n't you see that I'm eating? CARL I have a really important question. I have to choose between traveling around the world with a girl I'm really into or choosing a job that will make me pretty well off. I do n't know which yes to take. SANJI How well off? CARL I do n't know why that's important. SANJI I should know all the data. CARL A lot, OK? SANJI This is what I recommend. Every winter, I throw a two week long seminar in Aspen. It's only ten grand a week and it will open your mind up - CARL I do n't want to go to a seminar. I just need help with this question. SANJI For you, eight grand a week. I have helped celebrities like Cher and Jack Welch. You will love it - CARL -LRB- REALIZING. -RRB- You're a total con artist. SANJI I am not a con artist. Have I not set you on the life path you desire? CARL -LRB- PANICKING. -RRB- I've put my life into the hands of a con artist! And because of you I have this retarded yes branded on my hand for life! -LRB- yelling to the RESTAURANT. -RRB- This man is a con artist! Do n't listen to this man! He is a con artist! Carl runs out of the restaurant.", "INT. CARL'S APARTMENT Carl returns home. Rooney's on the couch, wearing a headset playing Xbox Live. ROONEY -LRB- into the headset. -RRB- You are dead, AnalDestroyer832! Carl PULLS the xBox cord out of the law. CARL Out! ROONEY What? Why? CARL You've slept on my couch for four weeks. You're a grown man. Now sack up and get the hell out of here. ROONEY Will you let me stay here please? CARL Are you deaf? ROONEY You have to say yes if I ask you. CARL You knew? ROONEY I may not seem like I get it, but I get everything. Lucy and Kath? Made out one time in the bathroom at Rudy's. CARL Get the hell out of here.", "INT. CARL'S LIVING ROOM/BEDROOM Carl's in front of his computer. There are a bunch of emails selling Viagra. He angrily deletes them all. He gets a letter from the King of Nigeria. NIGERIAN KING -LRB- V.O. -RRB- Dear Carl, It is vitally important you send me your bank account information. The government will be closing in on my account in the very near future. Your good friend, Omar, Former King of Nigeria. Carl starts typing fast. As Carl writes the following email, we cuts of him THROWING AWAY THE BOXES OF STUFF HE BOUGHT OVER THE INTERNET and GIVING AWAY THE SIX KITTENS HE GOT TO THE ASPCA. CARL -LRB- V.O. -RRB- Omar, Let's cut the crap. You are not a king. You're probably just a teenage con artist jerking off somewhere in Russia. Write me again and I will find you and beat your stupid lying face in. Dick. Sincerely, Carl Kendall. Carl angrily flips off his computer.", "INT. CARL'S APARTMENT - NIGHT CLOSE ON THE ALARM. His alarm goes off. Carl HITS IT off. It's now DAYTIME.", "INT. CARL'S APARTMENT - DAY Carl gets dressed. He puts on his suit and tie. His apartment is noticeably nicer than the last time we saw it.", "EXT. STREET Carl drives down the street in a FANCY CAR. He PULLS INTO DUNKIN DONUTS. He gets out of the car and passes a guy handing out fliers. FLIER GUY You want to pawn - CARL No. Carl walks into Dunkin Donuts.", "INT. DUNKIN DONUTS The Dunkin Donuts Cashier hands Carl his coffee. DUNKIN DONUTS CASHIER Would you like an - CARL No. Carl hands the Cashier the money.", "INT. CARL'S NEW OFFICE Carl sits in his office. Lucy walks in. CARL Hey, Luce. What're you doing all the way over here? LUCY It's been hard to reach you. CARL I've been a little swamped. LUCY Everything OK? CARL Yeah. Things are great. LUCY I was wondering when you want to meet with the florist. CARL Sorry, but I'm too busy these days. Do n't have time to help with the party anymore. Good luck. LUCY You're just stopping, just like that? CARL I'm not the one marrying you. Maybe you should ask him for some help. LUCY He is helping. Here I was thinking we were actual friends. Lucy leaves, upset. Carl does n't move.", "INT. SOUTHWEST BANK CORPORATE OFFICES - CONFERENCE ROOM Carl, Chris and the other VPs sit around the conference table. CHRIS PARKER -LRB- with great importance. -RRB- What is the best way for us to enter the teenage credit card market? VP Give away a free iPod. CHRIS PARKER Yes. ANOTHER VP Include one with cans of Mountain Dew Code Red. CHRIS PARKER Nice. Anyone else? Carl? CARL Have you guys thought that teenagers do n't have the financial knowhow to use a credit card? CHRIS PARKER That's why they're such a ripe market. Any ideas on how to pick that low hanging fruit? CARL Include a Mastercard with every xBox. CHRIS PARKER I like that. I like that a lot. Chris SLAPS FIVE with Carl. CHRIS PARKER -LRB- cont'd. -RRB- Now remember, tomorrow's our official merger ceremony with KBI. So wear your nice suits. I'm talking to you, Feldman. All the VPs laugh. Carl fake laughs along with them.", "INT. CARL'S APARTMENT Carl gets home. He hits play on his answering machine. PETER -LRB- V.O. -RRB- -LRB- over the answering MACHINE. -RRB- Hey, Carl. Peter here. Long time no see. Sorry to hear you wo n't be planning our engagement party. Although I guess that makes you less gay than I thought you were. We'll be watching the game at Rudy's tonight, if you're interested. Carl DELETES the message. He FLIPS ON Survivor and starts to absentmindedly sort through his mail. He throws away junkmail until he gets to a postcard that catches his eye. He reads the postcard. JASON -LRB- V.O. -RRB- Dear Carl. I know this is kind of random, but I thought I should write you. We met at that party at Norman's apartment. I was the INS guy who hated his life and hated you. I just wanted to tell you that I took your advice. I quit my job and have founded a home in Botswana for elderly orangutans. I've never been happier. You told me to say `` yes'' and it has turned out to be incredible. Thank you. Yours truly, Jason Newmark Carl TURNS OVER the post card. On the cover of the card is a picture an orangutan.", "INT. CARL'S APARTMENT Carl's alarm goes off. He opens his eyes. He's PROPPED the post card up next to his alarm clock. The orangutan seems to be staring into his soul.", "INT. CARL'S NEW OFFICE Carl's writing a list of names. The post card lies on the desk nearby. His secretary pops her head in. CARL'S SECRETARY The executives are gathering in the conference room to officially greet the KBI Officials. -LRB- re : the post card. -RRB- Cute gorilla. CARL It's an elderly orangutan actually. -LRB- handing her the list. -RRB- Could you please call everyone on this list and tell them to show up at Rudy's Bar & Grille this evening at 9PM? CARL'S SECRETARY Will do. Carl starts to head out and then turns around. CARL I just want to say, it was really great having you as my first secretary. CARL'S SECRETARY You're not firing me, are you? CARL I do n't think I'm going to be working here much longer.", "INT. SOUTHWEST BANK - CONFERENCE ROOM Carl walks into the crowded room. Korean executives and Southwest Bank executives mingle. Carl heads towards Chris. CARL I need to talk to you. CHRIS PARKER And I need to talk to you. You mind doing a little ceremonial translating? CARL I do n't know if I'm good enough at Korean - CHRIS PARKER Believe in yourself and the world believes in you. SEUNG sees Carl and bows to him. Carl bows back. The Pretty Korean Banker sees Carl and coquettishly waves to him. Chris TAPS the microphone. The crowd sits down. CHRIS PARKER -LRB- cont'd. -RRB- I'd like to welcome our new partners into the Southwest family. Chris nods to Carl. CARL -LRB- in Korean, with SUBTITLES. -RRB- -LRB- Welcome. You will be my partner. -RRB- SEUNG KIM -LRB- in Korean. -RRB- -LRB- Thank you. -RRB- CHRIS PARKER KBI is the at the forefront of the financial world. With your help, Southwest will be as well. Carl takes a beat. Chris looks at him, expectantly. CARL -LRB- in Korean, with SUBTITLES. -RRB- -LRB- He says that you are a son of a dog and like to have the dirty sex. -RRB- SEUNG KIM -LRB- in Korean. -RRB- -LRB- What? -RRB- CHRIS PARKER We look forward to working together and extending our reach across the globe. CARL -LRB- in Korean, with SUBTITLES. -RRB- -LRB- He says in Korea you poop on the ground and that here you can not poop on the ground. -RRB- SEUNG KIM -LRB- in Korean. -RRB- -LRB- That is factually inaccurate. -RRB- CARL -LRB- in Korean. -RRB- -LRB- I know. But it's what the bigot believes. -RRB- CHRIS PARKER So with this hand shake, I make official the acquisition of Southwest by Korean Bank International. Chris holds out his hand. CARL -LRB- in Korean. -RRB- -LRB- Although you have poop on your hand, I am willing to shake it so I can steal all your money, you stupid Korean. -RRB- SEUNG KIM No. CHRIS PARKER Excuse me? SEUNG KIM -LRB- perfect English with a British accent. -RRB- We have a traitor in our midst. This man just called me a son of a dog and informed me that my hand is covered in fecal matter. He is clearly trying to sabotage the merger. CARL You speak English? SEUNG KIM You think an international bank financier would n't speak fluent English? For whom do you work, traitor? Shanghai Bank? Chinatrust? CARL For myself. SEUNG KIM Fine. Keep it secret. Unfortunately, I can not approve a merger with a company so incompetent as to have a business saboteur this high up. Good day. Seung Kim walks out, followed by all his employees. Before Chris can say anything. CARL I quit. Carl leaves.", "INT. RUDY'S - NIGHT Peter, Lucy, Rooney, Norman, Tony, Loan Recipients, several Persian Woman - all of Carl's friends along with everyone that he's met on his Yes journey have gathered at Rudy's. PETER Why does he want us here? LUCY I have no idea. Kath and Seb walk in. KATH -LRB- to Lucy. -RRB- You guys get the call as well? PAN OVER to Rooney standing alone. Farinoush, the Persian woman, walks over to him. IRANIAN WOMAN I'm Farinoush. ROONEY I'm Rooney. IRANIAN WOMAN You're tall. Just then the lights go down. MUSIC CUE : Rocky Theme. CARL -LRB- over the loudspeakers. -RRB- Announcing the pending marriage of Peter Carlton and Lucy Giuliano! Carl RIDES INTO THE BAR on a WHITE STALLION as WHITE BALLOONS FALL FROM THE RAFTERS. Carl JUMPS OFF the horse, and puts a CROWN on Peter's and a TIARA on Lucy's. CARL -LRB- cont'd. -RRB- Congratulations on your engagement! PETER Wow. There's a horse in here. LUCY Who are all these people? CARL I did n't have much time to throw this together. I got a stallion, did n't I? LUCY Thanks, Carl. MUSIC CUE : The Black - Eyed Peas `` My Humps'' Lucy KISSES Carl on the cheek. Everyone starts dancing.", "EXT. RUDY'S Carl's standing outside. Peter comes outside. He's drunk and is still wearing the crown. PETER What're you doing out here? Carl hands Peter a set of keys. CARL I entrust you to sell all my shit. PETER What're you talking about? A cab PULLS UP. Peter realizes Carl's leaving. PETER -LRB- cont'd. -RRB- Say hello to her when you see her. Where is she by the way?", "EXT. WINDY STREET IN BANGKOK - DAY Carl's in a tuk tuk being driven at breakneck speed down the windy streets of Bangkok. MUSIC CUE : ABBA's `` One Night in Bangkok''", "EXT. BANGKOK ROOF BAR - NIGHT Carl gets up to the roof. Renee's looking out over Bangkok. He taps her on the shoulder. She turns. RENEE What're you doing here? CARL Yes. RENEE I did n't ask you a question. CARL Well, if you do that's what my answer will be. RENEE Are you here because you want to be here? CARL I just flew twenty - two hours. What do you think? Now can I please kiss you? Renee nods. They kiss.", "INT. CARL'S MICROLOAN OFFICE CHYRON : SOME TIME LATER Carl has set up a makeshift loan office. He's sitting across from a YOUNG THAI MAN. YOUNG THAI MAN -LRB- in Thai, with subtitles. -RRB- -LRB- I need ten thousand bhat to get my first tuk tuk. If I get a tuk tuk I no longer have to mop the ping pong show floor and clean the snake. -RRB- CARL -LRB- in Thai, with subtitles. -RRB- -LRB- What snake? -RRB- YOUNG THAI MAN -LRB- in Thai, with subtitles. -RRB- -LRB- You do n't want to know. -RRB- PULL BACK TO REVEAL that Norman sits at the table next to Carl working with an OLD THAI MAN. NORMAN -LRB- in Thai, with subtitles. -RRB- -LRB- You guys do n't have Heroes? I do n't know you, but I think you would love it. -RRB- OLD THAI MAN -LRB- in Thai, with subtitles. -RRB- -LRB- If I like it will you give me money to fix my fishing boat? -RRB- EPILOGUE : EXT.. NIGERIAN PALACE CHYRON : Makurdi, Nigeria Carl and Renee get out a dusty minivan. A dirty, rundown palace rises before them. Carl HEADS to the front door and hits the BUZZER. A guard with a MACHINE GUN opens up. MACHINE GUN GUARD What do you want? CARL I'm here to see Omar. The former King of Nigeria. OMAR, THE FORMER KING OF NIGERIA, a large, boisterous man, comes up from behind the guard. OMAR, FORMER KING OF NIGERIA Is that Carl Kendall? CARL Omar! It's wonderful to meet you in person Carl and Omar hug. OMAR, FORMER KING OF NIGERIA And this must be Renee? What a delight! Omar bends on one knee and kisses Renee on the hand. RENEE Thank you, your majesty. OMAR, FORMER KING OF NIGERIA Please, call me Omar. CARL I'm sorry for calling you a masturbatory Russian teenager. OMAR, FORMER KING OF NIGERIA Water under the bridge. What do you say to having a feast? Carl, Omar, Renee and the guard go into Omar's palace. The door CLOSES BEHIND THEM. THE END"], "labels": [1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 1.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0], "summary": "Bank loan officer Carl Allen (Jim Carrey) has become withdrawn since his divorce from his former wife Stephanie. He has an increasingly negative outlook on his life and routinely ignores his friends Pete (Bradley Cooper) and Rooney (Danny Masterson). An old colleague, Nick Lane (John Michael Higgins) suggests that he goes to a motivational \"Yes!\" seminar with him, which encourages its attendants to seize the opportunity to say \"Yes!\". Carl attends and meets inspirational guru Terrence Bundley (Terence Stamp). Bundley publicly forces a reluctant Carl to promise to answer \"Yes!\" to every opportunity, request, or invitation that presents itself. Later, Carl says yes to a homeless man's request for a ride and his car runs out  of gas, leaving him stranded in Elysian Park. Disillusioned, he hikes to a gas station where he meets Allison (Zooey Deschanel), an unorthodox young woman. She gives him a ride back to his car on her scooter and kisses him before leaving. After this positive experience, Carl feels more optimistic about saying yes. However, he refuses oral sex from his elderly neighbor Tillie (Fionnula Flanagan), and then falls down the stairs and is nearly attacked by a dog. Seeing the repercussions of saying no, he goes back to Tillie and to his surprise, enjoys the moment. Carl starts to seize every opportunity that comes his way. He renews his friendships with Pete and Rooney; builds a bond with his boss, Norman (Rhys Darby); assists Pete's fianc\u00e9e, Lucy (Sasha Alexander), with her bridal shower; attends Korean language classes; and much more. He earns a corporate promotion at work and, making use of his guitar lessons, plays Third Eye Blind's song \"Jumper\" to persuade a man not to commit suicide. Accepting a band flyer outside of a coffee shop, he sees an idiosyncratic band called Munchausen by Proxy; the lead singer is Allison. He is charmed by her quirkiness; she is charmed by his spontaneity and the two begin dating. Carl and Allison meet at the airport for a spontaneous weekend excursion. Having decided to take the first plane out of town, regardless of its destination, they end up in Lincoln, Nebraska, where they bond more. Allison then professes her love to Carl and asks him to move in with her, to which he hesitantly agrees. While checking in for the return flight, Carl and Allison are detained by FBI agents who have profiled him as a potential terrorist because he has taken flying lessons, studied Korean, approved a loan to a fertilizer company, met an Iranian, and bought plane tickets at the last minute. Pete, his attorney, travels to Nebraska to explain Carl's odd habits, lessons, and decisions. As she finds out about Carl's motivational covenant, Allison begins to doubt whether his commitment to her was ever sincere. Deciding that she can no longer trust him, Allison leaves Carl and refuses to return his phone calls. Carl's life takes a turn for the worse and he almost forgets about Lucy's shower. He manages to arrange a major surprise shower, set his friend Norm up with Soo-Mi (Vivian Bang), a Korean girl, and Rooney with Tillie. After the party, Carl receives a tearful phone call from Stephanie, whose new boyfriend has walked out on her. When Carl goes to Stephanie's apartment to comfort her, she kisses him and asks him to spend the night with her. After Carl emphatically says no, his luck takes a turn for the worse and he decides to end his commitment to the covenant. Carl goes to the convention center and hides in the backseat of Terrence's convertible so that he can beg to be released from the covenant. Carl emerges as Terrence drives off, and an oncoming vehicle collides with Terrence, resulting in the two being taken to a hospital. After Carl recovers consciousness, Terrence tells Carl that the covenant was not real, but it was merely a starting point to open Carl's mind to other possibilities, not to permanently take away his ability to say no if he needed to. Freed from this restraint, Carl finds Allison teaching a sports-photography lesson and admits that he is not ready to move in with her just yet, but that he genuinely loves her, and they reconcile with a kiss as Allison's students take pictures. Later, they work together on the homeless clothes sale. At the convention center, Terrence enters the stage for his next \u201cYes!\u201d seminar, while he does, he is shocked to see that his next audience are nudists. As the credits roll, Carl and Allison ride on skateboard suits down the road.", "name": "Yes_Man_(film)"}
{"scenes": ["INT. A BEDROOM - NIGHT It is dark ; we do n't see clearly. a man and woman make love on a brass bed. There are mirrors on the walls and ceiling. On a side table, atop a small mirror, lines of cocaine. A tape deck PLAYS the Stones `` Sympathy for the Devil.'' Atop him. she straddles his chest. her breasts in his face. He cups her breasts. She leans down, kisses him. JOHNNY BOZ is in his late 40's, slim, good - looking. We do n't see the woman's face. She has long blonde hair. The CAMERA STAYS BEHIND and to the side of them. She leans close over his face, her tongue in his mouth. she kisses him. she moves her hands up, holds both of his arms above his head. She moves higher atop him. she reaches to the side of the bed. a white silk scarf is in her hand. her hips above his face now, moving. slightly, oh - so slightly. his face strains towards her. The scarf in her hand. she ties his hands with it. gently. to the brass bed. his eyes are closed. tighter. lowering hips into his face. lower. over his chest. his navel. The SONG plays. He is inside her. his head arches back. his throat white. She arches her back. her hips grind. her breasts are high. Her back arches back. back. her head tilts back. she extends her arms. the right arm comes down suddenly. the steel flashes. his throat is white. He bucks, writhes, bucks, convulses. It flashes up. it flashes down. and up. and down. and up. and.", "EXT. A BROWNSTONE IN PACIFIC HEIGHTS - MORNING Winter in San Francisco cold, foggy. Cop cars everywhere. The lights play through the thick fog. Two Homicide detectives get out of the car, walk into the house. NICK CURRAN is 42. Trim, good - looking, a nice suit ; a face urban, edged, shadowed. GUS MORAN is 64. Crew - cut, silver beard, a suit rumpled and shiny, a hat out of the 50 ` sa face worn and ruined the face of a backwoods philosopher.", "INT. THE BROWNSTONE There's money here - deco, clean, hip - That looks like a Picasso on the wall. They check it out. GUS Who was this fuckin' guy? NICK Rock and roll, Gus. Johnny Boz. GUS I never heard of him. NICK -LRB- grins. -RRB- Before your time, pop. -LRB- a beat. -RRB- Mid - sixties. Five or six hits. He's got a club down in the Fillmore now. GUS Not now he do n't. Past the uniformed guys. nods. waves. past the forensic men. past the coroner's investigators. they get to the bedroom.", "INT. THE BEDROOM They walk in, stare - it's messy. It's like a convention in here. LT. PHIL WALKER, in his 50's, silver - haired, the Homicide guys ; JIM HARRIGAN, late 40's, puffy, affable ; SAM ANDREWS, 30's, black. A CORONER'S MAN is working the bed. LT. WALKER -LRB- to Nick and Gus. -RRB- You guys know Captain Talcott? They nod. GUS What's the Chief's office doin' here. CAPT. TALCOTT Observing. LT. WALKER -LRB- to the Coroner's Guy. -RRB- What do you think, Doc? THE CORONER'S GUY The skin blanches when I press it - this kind of color is about right for six or eight hours. LT. WALKER Nobody say anything. The maid came in an hour ago and found him. She's not a live - in. GUS Maybe the maid did it. LT. WALKER She's 54 years old and weighs 240 pounds. THE CORONER'S GUY -LRB- deadpan. -RRB- There are no bruises on his body. GUS -LRB- grins. -RRB- It ai n't the maid. LT. WALKER He left the club with his girlfriend about midnight. That's the last time anybody saw him. NICK -LRB- looks at body. -RRB- What was it? THE CORONER'S GUY Ice pick. Left on the coffee table in the living room. Thin steel handle. Forensics took it downtown. HARRIGAN There's come all over the sheets - he got off before he got offed. GUS -LRB- deadpan. -RRB- That rules the maid out for sure. CAPT. TALCOTT This is sensitive. Mr. Boz was a major contributor to the mayor's campaign. He was Chairman of the Board of the Palace of Fine Arts - GUS -LRB- to Nick. -RRB- I thought you said he was a rock and roll star. LT. WALKER He was a retired rock and roll star. CAPT. TALCOTT A civic - minded, very respectable rock and roll star. GUS What's that over there? We see the white powder laid out in lines on the small mirror on the side table. NICK -LRB- deadpan. -RRB- It looks like some civic - minded, very respectable cocaine to me, Gus. CAPT. TALCOTT -LRB- evenly, to Nick. -RRB- Listen to me, Curran. I'm going to get a lot of heat on this. I do n't want any. mistakes. Nick and Talcott look at each other a beat, then - NICK Who's the girlfriend? Lt. Walker looks at the notepad in his hand. LT. WALKER Catherine Tramell, 162 Divisadero. Nick writes it down. He and Gus turn, leave. Captain Talcott watches them. He looks disturbed.", "INT. THE LIVING ROOM As they head out - NICK Talcott does n't usually show up at the office'till after his 18 holes. What are they nervous about? GUS They're executives. They're nervous about everything. LT. WALKER Nick! He stops, turns, sees Walker behind them. Walker comes up to them. LT. WALKER -LRB- to Nick. -RRB- Keep your three o'clock. NICK Do you want me to work the case, Phil, or do you want me to - LT. WALKER I said keep it.", "EXT. A VICTORIAN ON DIVISADERO - DAY It is more a mansion than a house. They ring the bell. An Hispanic MAID answers. They flash their badges. NICK I'm Detective Curran, this is Detective Moran. We're with the San Francisco Police Department. We'd like to speak to Ms. Catherine Tramell. THE MAID -LRB- after a beat, an accent. -RRB- Just moment. Come in. She leads them into a lavish, beautifully done living room that offers a sweeping view of the Bay. THE MAID Sit, please. Just moment. They look around, impressed. There is a Picasso on the wall here, too. GUS Ai n't that cute? They got his and her Pig - assos, son. NICK -LRB- smiles. -RRB- I did n't know you knew who Picasso was, Gus. GUS -LRB- grins. -RRB- I'm a smart sonofabitch. I just hide it. Nick smiles - and at that moment a beautiful BLONDE walks into the room. She looks like she has been asleep. She is in her early 20's. She wears a very sheer robe. NICK We're sorry to disturb you, we'd like to ask you some - THE WOMAN Are you vice? GUS -LRB- after a beat. -RRB- Homicide. THE WOMAN What do you want? GUS When was the last time you saw John Boz? THE WOMAN Is he dead? NICK -LRB- after a beat. -RRB- Why do you think he's dead? THE WOMAN You would n't be here otherwise, would you? GUS Were you with him last night? THE WOMAN You're looking for Catherine, not me. NICK Who are you? THE WOMAN I'm Roxy. -LRB- a beat. -RRB- I'm her - friend. She looks at them a beat. ROXY She's out at the beach house at Stinson. Seadrift. 1402. NICK Thanks. They start to head out. ROXY You're wasting your time. Catherine did n't kill him. A beat, they look at her, and go.", "EXT. SEADRIFT - STINSON BEACH - DAY Foggy. Cold. It is an expensive spit of land on the ocean. Multi - million dollar `` beach houses'' with gardens and swimming pools. There are two Ferraris in the driveway - one black, one white. They get out of the car in front of the house. They see a woman in back of the house, sitting on a deck chair, staring at the sea, a blanket around her. As they get to her - NICK Ms. Tramell? She takes a long look a Nick, then looks away. CATHERINE TRAMELL is 30 years old. She has long blonde hair and a refined, classically beautiful face. She is not knockout gorgeous like Roxy ; there is a smoky kind of sensuousness about her. NICK I'm De. CATHERINE -LRB- evenly. -RRB- I know who you are. She does n't look at them. She looks at the water. CATHERINE How did he die? GUS He was murdered. CATHERINE Really. Maybe that's why you're from Homicide. How? Nick glances at Gus. NICK With an ice pick. She closes her eyes a beat and then, still staring out, we see a thin smile. They see it, too, and glance at each other. NICK How long were you dating him? CATHERINE I was n't dating him. I was fucking him. They glance at each other again. GUS What are you - a pro? Catherine looks at him - that thin smile again. CATHERINE No. I'm an amateur. She looks away. NICK How long were you having sex with him? CATHERINE About a year and a half. NICK Were you with him last night? CATHERINE Yes. NICK Did you leave the club with him? CATHERINE Yes. NICK Did you go home with him? CATHERINE No. We had a drink at the club. We left together. I came here. He went home. NICK Was there anyone with you last night? CATHERINE -LRB- looks at Nick. -RRB- No. I was n't in the mood to have sex with anyone last night. They look at her a beat. NICK Let me ask you something, Ms. Tramell? Are you sorry he's dead? Catherine looks at him. CATHERINE Yes. I liked fucking him. They stare at her. She looks out at the water. CATHERINE I do n't really feel like talking anymore. GUS Listen, lady, we can do this downtown if you - CATHERINE Read me my rights and arrest me and I'll go downtown. She does n't even look at them. CATHERINE -LRB- quietly. -RRB- Otherwise, get the fuck out of here. Please. A long beat as they look at her.", "INT. A CORRIDOR - POLICE HEADQUARTERS The door says Dr. Elizabeth Gardner, Counseling. Nick opens the door, peeks in. The receptionist is not there. A clock says 3.", "INT. THE COUNSELING OFFICE He walks in - sees the inner door open, walks in. NICK I'm sorry, Beth. I - I got hung up in Stinson. DR. ELIZABETH GARDNER, the police psychologist, is a very good - looking, dark - haired woman. She is 30. BETH -LRB- smiles. -RRB- How are you, Nick? NICK I'm fine. Come on, Beth! You know I'm fine! How the hell long do I have to keep doing this? BETH As long as Internal Affairs wants you to, I suppose. Sit down, Nick. NICK It's bullshit. You know it is. BETH -LRB- smiles. -RRB- I know it is - but sit down anyway so we can get it over with, okay? He sits down. BETH So - how are things? NICK -LRB- after a beat. -RRB- Things are fine. I told you. They're fine. She watches him closely. BETH -LRB- after a beat. -RRB- How is your - personal life? NICK My sex life is fine. -LRB- a beat. -RRB- My sex life is pretty shitty actually since I stopped seeing you - maybe I should think about my Electrolux again. That embarrassed her ; she looks away from him. NICK -LRB- after a beat. -RRB- Sorry. She shrugs. A beat. BETH How about the booze? NICK It's been three months. BETH -LRB- after a long beat. -RRB- How about the coke? NICK No. BETH No? NICK -LRB- hard. -RRB- No! I'm working my tail off. I'm off the sauce, I'm not even smoking anymore. She smiles. BETH How's not smoking? NICK It's fucked - now will you please tell I.A. that I'm just you average healthy totally fucked - up cop and let me get out of here? BETH -LRB- after a beat ; smiles. -RRB- Yes. NICK Thank you. And he starts heading out. BETH -LRB- behind him. -RRB- I still miss you, Nick. He does n't even turn, pretends he did n't hear.", "INT. THE DETECTIVE BUREAU He walks in. Gus Moran gets up from his desk as soon as he sees him. GUS Talcott's in there. They're waiting. They start heading for Lt. Walker's office. GUS How'd it go, son? NICK She misses me. GUS -LRB- grins. -RRB- Hallelujah.", "INT. LT. WALKER'S OFFICE He and Gus sit there with Lt. Walker, Harrigan, Andrews and Captain Talcott. HARRIGAN Sixteen stab wounds to the chest and neck. No usable prints, no forcible entry, nothing missing. No prints on the ice pick, either - it's available at any Safeway. The scarf is Hermes, expensive - they sell about 20,000 a year worldwide. ANDREWS The powder was cocaine, high - quality, high - content. He inhaled it ; there were minute quantities on his lips and penis. Mr. Boz leaves five million dollars, no insurance, no direct survivors. He liked his coke, he liked his girls, and he liked rock and roll. NICK He liked the mayor, too, right? Talcott gives him a look. GUS What about his girlfriend? TALCOTT Is she relevant here? I did n't know she was a suspect. LT. WALKER She's a suspect. TALCOTT On what basis? LT. WALKER -LRB- looks a notes. -RRB- Catherine Tramell. Age 30. No priors, no convictions. Double major, magnum cum laude, Berkeley, 1980. Literature and Psychology. Daughter, sole survivor - Marvin and Elaine Tramell, killed in a boating accident, 1978, Catherine Tramell sole heir. Estimated assets $ 110 million. It hangs there. NICK Are you kidding me? LT. WALKER -LRB- continues. -RRB- Formerly engaged to Roberto Vasquez, deceased - ANDREWS Bobby Vasquez? LT. WALKER Bobby Vasquez, former middleweight contender, killed in the ring Atlantic City, 1984. NICK -LRB- smiles. -RRB- I love it. She's got a hundred million bucks. She fucks fighters and rock and roll stars. And she's got a degree in screwing with peoples' heads. LT. WALKER You forgot her degree in literature. She's a writer. She published a novel last year under a pen name. Do you want to know what it's about? They just stare at him. LT. WALKER It's about a retired rock and roll star who is murdered by his girlfriend. It hangs there a long beat.", "INT. NICK'S APARTMENT - NIGHT His apartment is very bare - very few things - with wide open spaces. There is a lot of chrome. He sits on the couch, reading a book. It is a paperback. We see the title - Love Hurts, by Catherine Adams. He puts the book down a beat, then picks the phone up, dials. NICK Page 67, pop. Do you know how she does the boyfriend? With an icepick, in bed, his hands tied with a white silk scarf.", "INT. A POLICE DEPARTMENT CONFERENCE ROOM - DAY Nick, Gus, Lt. Walker, Harrigan, Andrews, Captain Talcott - and Beth Gardner. With them is an older, white - haired man, DR. ANDREW LAMOTT. There are copies of `` Love Hurts'' around the table. LT. WALKER Dr. Gardner? BETH I've asked Dr. Lamott to consult with us. This is n't really my turf. Dr. Lamott teaches the psycho - pathology of psychopathic behavior at Stanford and is also a member of the Justice Department's Psychological Profile team. Dr. Lamott? DR. LAMOTT There are two possibilities. One. The person who wrote this book is your murderer and acted out the killing described in ritualistic, literal detail. Two. Someone who wants to do the person who wrote this book harm read the book and enacted the killing described to incriminate the writer. NICK -LRB- after a long beat. -RRB- What if the writer did it? What are we dealing with? DR. LAMOTT You're dealing with a devious, diabolical mind. This book must have been written at least six months, maybe years before it was published. That means the writer planned the crime, at least in the subconscious, back then. The fact that the writer carried it out indicates psychopathic obsessive behavior in terms not only of the killing itself but in terms of applied advance defense mechanism. A long beat. GUS Most times I ca n't tell shit from shinola, Doc. What was all that you just said? Some grins, titters. BETH She anticipates the book to be her best alibi. DR. LAMOTT Correct. BETH She's going to say Do you think I'd be dumb enough to kill anyone in the exact way I've described in my book? I would n't do that because I'd know I'd be a suspect. A long beat - as they think about it. NICK What if it's not the writer? What if it's someone who read the book? DR. LAMOTT You're dealing then with someone so obsessed that he or she is willing to kill an irrelevant and innocent victim to place the blame on the person who wrote this book. We are talking about deep - seated, obsessional hatred ; an utter lack of sense of proportion or perspective. GUS We've got a top - of - the - line, once - in - a - lifetime loony - tune either way you cut it - that's what you're saying, right, Doc? DR. LAMOTT You're dealing with someone very dangerous and very ill.", "INT. THE PROSECUTOR'S OFFICE - DAY PROSECUTOR JOHN CORRIGAN, a big man in his 50's, with Captain Talcott, Lt. Walker, Nick, and Gus. Corrigan is reading a file. He gets up, yawns, goes to his window, looks out. CORRIGAN Come on, you know there's no case here. There's no physical evidence - okay, she does n't have an alibi but there's no motive. Her defense would just beat us to death with the copycat thing. Anybody who read the book could have done it. A long beat ; no one says anything. NICK So what do we do - nothing? LT. WALKER -LRB- after a beat. -RRB- We bring her in for questioning. TALCOTT She's got enough money to burn this whole department down. LT. WALKER She was the last person seen with the guy - I'll take the responsibility. TALCOTT It's yours. CORRIGAN It wo n't do any good. She'll come in with Lee Bailey and Mel Belli trailing behind her on a solid gold chain from Tiffanys. TALCOTT Yes she will. NICK -LRB- after a beat. -RRB- No she wo n't. They look at him. NICK -LRB- smiles. -RRB- I do n't think she's going to hide behind anybody. I do n't think she's going to hide at all. TALCOTT -LRB- after a beat. -RRB- I think you're as crazy as she probably is, Curran. Nicks says nothing. GUS You know what they say : It takes one to know one. Nick looks a Gus, grins.", "EXT. HER HOUSE IN STINSON - DAY They walk from the car to the door of the big beach house. They ring the bell. They hear typing inside. The typing stops. She comes to the door in jeans and a tight - fitting sweatshirt. NICK Ms. Tramell, we'd like you to come downtown and answer some questions for us. CATHERINE Are you arresting me? NICK If that's the way you want to play it. They look at each other a beat. CATHERINE -LRB- smiles. -RRB- Can I change into something more appropriate? It'll just take a minute. He nods. CATHERINE Come in.", "INT. THE HOUSE It is beautifully done in a Santa Fe motif. She goes to a bedroom of the living room. Nick sits down on a couch facing the bedroom she's walked into. Gus sits across from him, his back to the bedroom. There is a coffee table between them. She leaves the bedroom door halfway open. An old newspaper is on the coffee table. Nick reaches for it. The headline says VICE COP CLEARED IN TOURIST SHOOTINGS. A headline underneath says GRAND JURY SAYS SHOOTINGS ACCIDENTAL. There is a photograph of Nick. He stares at the paper. CATHERINE How long will this take? Nick puts the paper down on the coffee table. He is lost in his thoughts. Gus picks the paper up. NICK -LRB- looks up. -RRB- I do n't know. Nick, facing the half open bedroom door, sees a mirror near the wall of the bedroom. The mirror reflects her in the other corner of the bedroom. She is taking her clothes off. He stares. She strips down. He sees her back. She has a beautiful body. Naked, she puts a dress on. She does n't put any underwear on. NICK Do you always keep old newspapers around? CATHERINE Only when they make interesting reading. And she is suddenly out of the bedroom. She stands there, smiles. They look at each other a long beat. CATHERINE -LRB- finally. -RRB- I'm ready. They get up, head out. GUS You have the right to an attorney. CATHERINE Why would I need an attorney?", "INT. THE CAR - DAY They sit in the front ; she is in the back. The car goes over the winding, two - lane Mt. Tamalpais road. The fog is heavy. It's starting to rain. We see the beach far below. CATHERINE Do you have a cigarette? NICK I do n't smoke. CATHERINE Yes, you do. NICK I quit. She smiles, looks at him. A beat, and he turns away. Another beat, and she lights a cigarette up. NICK I thought you were out of cigarettes. CATHERINE I found some in my purse ; would you like one? He turns back to her. NICK I told you - I quit. CATHERINE It wo n't last. A beat, as she looks at him, and then he turns away. GUS You workin' on another book? CATHERINE Yes I am. GUS It must really be somehtin' - makin' stuff up all the time. He watches her in the rearview mirror. CATHERINE It teaches you to lie. GUS How's that? CATHERINE You make it up, but it has to be believable. They call it suspension of disbelief. GUS I like that. `` Suspension of Disbelief.'' He smiles at her in the mirror. NICK What's your new book about? CATHERINE A detective. He falls for the wrong woman. He turns back to her. NICK What happens to him? She looks right into his eye. CATHERINE She kills him. A beat, as they look at each other, and then he turns away from her. Gus watcher her in the rearview mirror.", "INT. A POLICE INTERROGATION ROOM - DAY It is large, fluorescent - lighted, antiseptic. She walks in with Nick and Gus. In the room are prosecutor John Corrigan, Lt. Walker, Captain Talcott, Harrigan, and Andrews. There is a police stenographer a plain young woman in her 20's. As soon as she comes in - CORRIGAN I'm John Corrigan. I'm an assistant district attorney, Ms. Tramell. Can we get you anything? Would you like some coffee? CATHERINE No thank you. TALCOTT Are your attorneys - NICK -LRB- hiding a smile. -RRB- Ms. Tramell waived her right to an attorney. Corrigan and Talcott glance at Nick. She sees the look. CATHERINE -LRB- smiles. -RRB- Did I miss something? NICK I told them you would n't want an attorney present. LT. WALKER Why have you waived your right to an attorney, Ms. Tramell? CATHERINE -LRB- to Nick. -RRB- Why did you think I would n't want one? NICK I told them you would n't want to hide. CATHERINE I have nothing to hide. The two of them keep their eyes on each other. She sits down. They sit around her. Nick sits directly across from her. She lights up a cigarette. They watch her. She is poised, cool, in complete command of herself. CORRIGAN There is no smoking in this building, Ms. Tramell. CATHERINE What are you going to do? Charge me with smoking? Ever so casually, she blows her smoke across at Nick.", "INT. THE INTERROGATION ROOM - LATER CORRIGAN Would you tell us the nature of your relationship with Mr. Boz? CATHERINE I had sex with him for about a year and a half. I liked having sex with him. She has control of the room ; she looks from one man to the other as she speaks. CATHERINE He was n't afraid of experimenting. I like men like that. I like men who give me pleasure. He gave me a lot of pleasure. A beat, as they watch her. She is so matter - of - fact. CORRIGAN Did you ever engage in sado - masochistic activity with him? CATHERINE -LRB- smiles. -RRB- Exactly what do you have in mind, Mr. Corrigan. CORRIGAN -LRB- after a beat, little flustered. -RRB- Did you ever tie him up? CATHERINE No. ANDREWS You never tied him up. CATHERINE No. Johnny liked to use his hands too much. I like hands and fingers. They stare at her.", "INT. THE INTERROGATION ROOM - LATER LT. WALKER You describe a white silk scarf in your book. CATHERINE I've always had a fondness for white silk scarves. -LRB- she smiles. -RRB- I have a very vivid imagination. NICK But you said you liked men to use their hands. CATHERINE No. I said I liked Johnny to use his hands. -LRB- she smiles. -RRB- I do n't give any rules, Nick. I go with the flow. They have their eyes on each other.", "INT. THE INTERROGATION ROOM - LATER CORRIGAN Did you kill Mr. Boz, Ms. Tramell? CATHERINE I'd have to be pretty stupid to write a book about a killing and then kill him the way I described in my book. I'd be announcing myself as the killer. I'm not stupid. She smiles. TALCOTT We know you're not stupid, Ms. Tramell. LT. WALKER Maybe that's what you're counting on to get you off the hook. NICK Writing a book about it gives you an alibi for not killing him. CATHERINE Yes it does, does n't it? She holds his eyes a second, then - CATHERINE The answer is no. I did n't kill him.", "INT. THE INTERROGATION ROOM - LATER GUS Do you use drugs, Ms. Tramell? CATHERINE Sometimes. HARRIGAN Did you ever do drugs with Mr. Boz? CATHERINE Sure. GUS What kind of drugs? CATHERINE Cocaine. She looks directly at Nick. CATHERINE Have you ever fucked on cocaine? -LRB- she smiles. -RRB- It's nice. He watches her.", "INT. THE INTERROGATION ROOM - LATER NICK You like playing games, do n't you? CATHERINE -LRB- smiles. -RRB- I've got a degree in psych. It goes with the turf. Games are fun. They are holding each other's eyes. NICK How about boxing? That's a game. Was that fun for you? They do n't take their eyes off each other for a second. TALCOTT I think that's irrelevant to this inquiry. CATHERINE -LRB- to Nick. -RRB- Yes it was. Bobby died. NICK How did you feel when he died? CATHERINE I loved him. I hurt. Their eyes are still on each other. NICK How did you feel when I told you Johnny Boz had died - that day at the beach. CATHERINE I felt somebody had read my book and was playing a game. NICK But you did n't hurt - CATHERINE No. NICK Because you did n't love him - CATHERINE That's right. Their eyes are digging into each other. NICK Even though you were fucking him. CATHERINE -LRB- after a beat. -RRB- You still get the pleasure. Did n't you ever fuck anybody else while you were married, Nick? A beat ; he stares at her, expressionless. LT. WALKER How did you know he was married? CATHERINE -LRB- watching Nick. -RRB- Maybe I was guessing. What difference does it make? She lights a cigarette. He stares at her. CATHERINE Would you like a cigarette, Nick? He just stares at her, expressionless. CORRIGAN Do you two know each other? NICK No. CATHERINE No.", "INT. THE INTERROGATION ROOM - LATER ANDREWS How did you meet Mr. Boz? CATHERINE I wanted to write a book about the murder of a retired rock star. I went down to his club and picked him up. Then I had sex with him. LT. WALKER You did n't feel anything for him. You just had sex with him for your book. She looks at Nick. CATHERINE In the beginning. Then I got to like what he did for me. GUS That's pretty cold, ai n't it, lady? CATHERINE I'm a writer, I use people for what I write. You write what you know. Let the world beware. She and Nick have their eyes on each other, then - CATHERINE -LRB- to Corrigan, smiles. -RRB- Would you like me to take a lie detector test?", "INT. THE POLICE BUILDING - NIGHT We see her in a glass - enclosed cubicle with a polygraph EXAMINER. Nick stands outside watching her with Gus and Lt. Walker. Her back is to them. The Examiner shuts the machine down, gathers rolls of papers, and comes out of the cubicle. THE EXAMINER No blips, no blood pressure variations, no pulse variance. Either she's telling the truth or I've never met anyone like her. A long beat, then - LT. WALKER Well, I guess that's it. A long beat, Nick watches her as she sits inside. NICK How does somebody beat this machine? THE EXAMINER Ninety - nine point nine percent of the cases, they do n't. You'd have to be able to mask the truth from your own central nervous system, your circulatory system, your adrenal glands. In my opinion, this woman is telling the truth. The Examiner walks away. They stand there. Catherine stands at the door of the cubicle behind them - CATHERINE Can I go now? LT. WALKER -LRB- after a beat. -RRB- Yes. Thanks for coming in, Ms. Tramell. I'm sorry to inconvenience you. She says nothing, has a thin smile. CATHERINE Can I ask one of you for a ride? They look at her a beat. NICK Sure. CATHERINE -LRB- smiles. -RRB- Thanks. And he and Catherine walk away. Gus and Walker watch them.", "INT. HIS CAR - NIGHT It is an old, mint - condition silver Porsche. It is pouring rain ; the wind is blowing a San Francisco winter storm. Nothing is said a long beat as he drives. She yawns. Stretches. He looks at her. CATHERINE -LRB- smiles. -RRB- I'm tired. NICK It's got to be tiring to beat that machine. She looks at him and looks away. A beat. CATHERINE If I were guilty, and if I wanted to beat that machine, it would n't be tiring. It would n't be tiring at all. NICK Why not? CATHERINE Because I'm a professional liar. I spend most of my waking hours dwelling on my lies. -LRB- a beat. -RRB- For my writing. He looks at her. CATHERINE -LRB- smiles. -RRB- I love the rain, do n't you? He says nothing, does n't look at her. CATHERINE You took a polygraph after you shot those two people, did n't you? He looks at her now. NICK I passed. CATHERINE You see? We're both innocent, Nick. He pulls up in front of her house on Divisadero, stops. He sees the white Ferrari in the driveway. NICK How do you know all this stuff about me? CATHERINE You know all about me. NICK I do n't know anything that is n't police business. CATHERINE -LRB- after a beat. -RRB- You know I do n't like to wear any underwear, do n't you, Nick? They look at each other a beat. CATHERINE -LRB- smiles. -RRB- Thanks for the ride. And she's out of the car. He watches her as she hurries in the rain - his eyes on her until the moment she opens the door and is inside.", "INT. THE TEN-FOUR - NIGHT It is a police bar, San Francisco style. Ferns Joe Montana and Will Clark posters. The jukebox has a lot of Tony Bennett. He walks in. He sees Lt. Walker at a back booth with Gus, goes to them, sits down. LT. WALKER What is all this `` Nick'' stuff - Nick would you like a cigarette. Nick can you give me a ride. NICK She did n't ask me for the ride. She asked anybody. LT. WALKER And you volunteered. A BARTENDER stays behind the bar, but yells to him. THE BARTENDER Perrier, Nick? NICK Double Black Jack rocks, Harry. GUS -LRB- with concern. -RRB- What you doin', son? NICK It's my first drink in three months. That okay with you, pop? -LRB- to Lt. Walker. -RRB- She does n't know me. I never saw her before Gus and I talked to her. THE BARTENDER Here you go, Nick. He gets up, gets his drink - NICK Thanks, Harry. He sits back down. He takes a big slug. They watch him. LT. WALKER You sure? NICK I'm sure. He takes another big slug. NICK Now what? LT. WALKER What now what? Now nothing. She passed the polygraph. That's it. NICK She knew she could beat it. That's why she asked to take it. LT. WALKER How the fuck do you know? What is it with you and this broad anyway? NICK Come on, Phil. You're not gon na let this slide. What about her parents? What about what else she's published? At least we should get the stuff to see if we find anything else that's an amazing real - life coincidence. LT. WALKER Her parents died in an accident. I do n't care what else she's written. What are you - a book critic? NICK How did they die? Was there an investigation? LT. WALKER How you're saying she killed her parents? Did she kill Bobby Vasquez, too? GUS Not unless she got up in the ring and turned into one mean sonofabitch. LT. WALKER Maybe she did, Gus. Maybe she grew herself an Afro and learned a left hook and put shoe polish on her face. Let's polygraph her again and ask her about it. NICK -LRB- casually. -RRB- Fuck you, Phil. LT. WALKER Fuck you, too Nick. A beat, then - NICK -LRB- calls to the Bartender. -RRB- Can you get me another double Black Jack, Harry. Gus looks at him with concern. A man in his 50's - LT. MARTIN NILSEN is suddenly there. He is overweight, florid. NILSEN -LRB- to Nick. -RRB- Hey, shooter - You back on the Black Jack, Shooter? He grins. Nick does n't look at him. LT. WALKER We're discussing a case, Marty. NILSEN I know that. I had no doubt of that. THE BARTENDER Here you go, Nick. Nilsen takes the drink, hands it to Nick. NILSEN -LRB- grins. -RRB- Double, huh, Shooter? Nick turns to him. He's sitting in the booth ; Nilsen is standing there. Nick looks like he's barely restraining himself. NICK I'm off - duty, Nilsen. You hear me? I'm off - duty discussing a case. Internal Affairs should n't have any trouble with that. Maybe I should put in for overtime. NILSEN -LRB- grins. -RRB- You do that, Shooter. Why do n't you send it to me? I'll give it special attention. A beat, and then Nick gets up, faces him. NICK I'm gon na tell you once more, Nilsen - Lt. Walker and Gus get up and hold Nick back. Beth Gardner, the police psychologist, is suddenly there. BETH What's the problem? NILSEN -LRB- grins. -RRB- No problem, Doctor. Here comes the Doctor just in time to save her patient. Take care, Shooter. And he walks away. Nick still looks like he wants to go after him. Beth pulls him away from the booth. BETH You okay? NICK -LRB- after a beat. -RRB- Yeah. BETH -LRB- smiles. -RRB- You do n't look so okay. Nick looks at her a beat. NICK -LRB- smiles. -RRB- What are you doing here? BETH -LRB- smiles. -RRB- Baby - sitting. -LRB- she shrugs. -RRB- Rookie cop. NICK -LRB- smiles. -RRB- What else is new? A beat. He looks at her again. NICK You want to get out of here? She looks at him a beat. BETH -LRB- smiles. -RRB- Yes. At the booth, Gus and Lt. Walker watch the two of them leave. GUS Maybe it's for old - time's sake. LT. WALKER -LRB- watches them go out. -RRB- Sometimes I think he started banging her just to get himself off the hook with Internal Affairs. GUS -LRB- after a beat, smiles. -RRB- He ai n't that way. He's got heart. LT. WALKER -LRB- smiles. -RRB- Yeah. I know.", "INT. BETH'S LIVING ROOM - NIGHT He is kissing her - hard, rough. He forces her against the wall. BETH Do n't - please, Nick - We hear her dress RIP. He kisses her harder - we hear her panties RIP. He gets the dress off, pushes his hands under her bra - BETH Please do n't - do n't - He puts his mouth to her shoulder, bites it - as they move down to the floor.", "INT. BETH'S LIVING ROOM - LATER It is dark. The are still partially dressed. They are on the floor. He lies on his back, staring at the ceiling. She lies next to him - the torn dress wound around her. There is a bite mark on her shoulder. A long beat, silence - then - BETH What was she like? NICK Who? BETH Catherine Tramell. NICK -LRB- after a beat. -RRB- She said what you said she'd say. She sits up, looks away. He looks at her, puts his finger on the bite mark idly, gently. A beat, and he kisses her shoulder gently, then lies back down. BETH I met her at Berkeley. He looks at her. BETH We were in some of the same classes. NICK -LRB- after a beat. -RRB- Why did n't you tell me? She looks at him. BETH I'm telling you. They look at each other a long beat. BETH -LRB- with difficulty. -RRB- You've never been. like that. before. He says nothing, looks away from her. BETH Why? He does n't look at her a long beat, says nothing. NICK You're the shrink. She keeps looking at him. He wo n't look at her. BETH You were n't making love to me. A beat ; he looks at her. NICK Who was I making love to? She looks at him a long beat. BETH You were n't making love. They look at each other, a long beat, then away. He lies back down. Beth does n't look at him, keeps sitting up. NICK -LRB- finally. -RRB- I need a cigarette. BETH -LRB- after a beat. -RRB- I thought you quit. He says nothing. BETH Top drawer in the foyer. -LRB- a beat. -RRB- Get it on your way out. He looks at her ; she wo n't look at him.", "INT. THE DETECTIVE BUREAU - MORNING He walks in. He looks hung - over. He sees Gus with Harrigan and Andrews and Lt. Walker in Lt. Walker's glass - enclosed office at the end of this big room. They look at him when they see him. LT. WALKER You look like dogshit. GUS -LRB- grins. -RRB- He looks a little shrunk, that's all. ANDREWS -LRB- after a beat. -RRB- We got a call from Berkeley P.D.. There was a killing. A professor. Icepick. In his bed. Multiple stab wounds. 1977. NICK -LRB- a thin smile. -RRB- She was there, was n't she? LT. WALKER University records say she was there. He and Nick look at each other a long beat, then - LT. WALKER -LRB- suddenly. -RRB- Gus - go over to Berkeley. Harrigan - find out what else she's published. Andrews - get the files on her parents' accident. Carbon Beth on everything. I want some psychological input on this Andrews and Harrigan go ; Nick is left there with Gus. NICK What about me? GUS You're already gettin' psychological input, son. LT. WALKER -LRB- to Nick. -RRB- Go stick your head in a tub of ice water. -LRB- a beat ; then seriously. -RRB- See where she leads.", "EXT. THE BEACH HOUSE AT STINSON - DAY The black Ferrari is in the driveway. He sits in an unmarked police car on a hillside above the house, watching. It is a bleak, leaden gray day. Catherine comes out of the house. She is dressed casually. She gets into the Ferrari.", "INT. HIS POLICE CAR He stays behind her at a safe distance on the winding panoramic highway - a two - lane mountain road which leads from Stinson Beach into Marin County. She suddenly starts speeding up on this dangerous road, cutting in and out, passing cars very fast. He has to start cutting around cars to keep up. This woman really drives. He cuts out and can barely pass a car without hitting a Grey Lines Tour Bus head - on. Close call : sheer drops on either side. He looks frazzled.", "INT. HIS POLICE CAR He is behind her at a distance on a hilly Mill Valley road - little streets, terraced hillsides, sharp turns. He goes slowly, looks around, thinks he's lost her. And then he sees the black Ferrari parked in front of a house obscured by hedges. He parks the car a distance behind the Ferrari, sits there a long beat. He gets out, goes carefully up to the hedges, looks. A small, nondescript house. He watches. He ca n't see anything inside the house. A beat, he reaches over to the mailbox and opens it. He takes an envelope out, looks at the name Hazel Dobkins.", "INT. HIS POLICE CAR - NIGHT He watches as she comes out of the house. A frail old woman in her 70's is with her. She hugs the old woman, gets into the Ferrari, STARTS it up. He waits a beat and then STARTS after her. He stays behind her at a distance - she is going slowly. And then she suddenly GUNS it, cuts her lights - her wheels SCREECH. He GUNS his car after her. He makes a turn. She is gone. There is a fork in the road. He turns one way, goes a few hundred feet. Nothing. Blackness. He stops. NICK -LRB- quietly. -RRB- Shit.", "INT. HIS POLICE CAR - NIGHT He pulls his car up to her house at Stinson Beach. The black Ferrari is in the driveway. A light goes on in an upstairs bedroom. The curtain is drawn. He sees the outline of her body now. She starts to take her clothes off - there in the window, behind the curtain. He watches her body as she does an almost languorous strip. His eyes are intense. ravishing.", "INT. THE DETECTIVE BUREAU - NIGHT He is alone, nobody else in the big room. He sits in front of a computer. We see the screen. He has punched in HAZEL DOBKINS, WF, 145 ALBION RD., MILL VALLEY. He is waiting for a response. We see it come on screen NOTHING CURRENT. A long beat, as he stares at the screen, and then we see these words RELEASED, SAN QUENTIN, JULY 7, 1965. We see him type in the words PRIOR ARREST RECORD. A long beat, and then it comes up HOMICIDE, JANUARY 10, 1956 - SAN FRANCISCO He stares at the screen a long beat. GUS -LRB- behind him. -RRB- Ai n't you go nothin' better to do than to come in here and jack off the damn machine? NICK -LRB- after a beat ; lost in his thoughts. -RRB- What are you doing here, Pop? GUS -LRB- grins. -RRB- I came in here to jack off the damn machine. -LRB- a beat. -RRB- One dead psychology professor. Noah Goldstein. Dr. Noah Goldstein. And guess what? He was her counselor. Nick looks at him a beat. NICK Was she ever suspect? GUS No, sir. They never even got a statement from her. Nick sits back a long beat, his eyes off somewhere. NICK -LRB- slowly. -RRB- Do you remember a case - 1956 - Hazel Dobkins? GUS -LRB- grins. -RRB- Hell yes! Could n't get it outta my head for years. Still ca n't. Nice little kids - nice husband, was n't porkin' around - no financial problems. One day - outta the clear blue sky - she does'em. All of'em. Used a knife. He got for a wedding present. Did n't even deny it. Sweet as honey. Said she did n't know why she done it. Nick just stares at him.", "EXT. THE STINSON BEACH HOUSE - NEXT DAY He pulls up to the house, gets out of his unmarked police car. He stands there a beat, thinking. He walks down to the beach entrance of the house. He hears a Rolling Stones SONG playing inside. He stands there. The door suddenly opens. Catherine stands there, smiles. She wears very tight - fitting spandex leotards. CATHERINE Hi. He looks at her a beat, then - NICK Am I. disturbing you? CATHERINE No. Come in. They have their eyes on each other. A beat, and she turns to go in.", "INT. THE STINSON BEACH HOUSE She goes in ahead of him - he follows her inside. He watches her body. His movements are tentative, off - balance. She turns the Stones DOWN. On a table by the window, he sees a word processor. Spread around it are newspaper clippings. They are all about him. We see the headline on one KILLER COP TO FACE POLICE REVIEW. She sees him glancing at the clips. CATHERINE I'm using you for my detective. In my book. You do n't mind, do you? She smiles. He looks at her, expressionless. CATHERINE Would you like a drink? I was just going to have one. NICK No, thanks. She goes to the bar. CATHERINE -LRB- smiles. -RRB- That's right. You're off the Jack Daniels too, are n't you? She is making herself a drink. She takes the ice out and then opens a drawer and gets an icepick. It has a fat wooden end. She uses the icepick on the ice, her back to him. He watches her. NICK I'd like to ask you a few more questions. CATHERINE I'd like to ask you some, too. She turns to him, icepick in hand, smiles. CATHERINE For my book. She turns back to the ice, works on it with the pick. She raises her arm, plunges it. Raises it, plunges it. He watches her. NICK -LRB- wary. -RRB- What kind of questions? She puts the icepick down, pours herself a drink, turns to him. CATHERINE How does it feel to kill someone? He looks at her a long beat. NICK -LRB- finally. -RRB- You tell me. CATHERINE I do n't know. But you do. Their eyes are on each other. NICK -LRB- finally. -RRB- It was an accident. They got in the line of fire. CATHERINE Four shootings in five years. All accidents. NICK -LRB- after a long beat. -RRB- They were drug buys. I was a vice cop. A long beat, as they look at each other. NICK Tell me about Professor Goldstein. BEAT. CATHERINE There's a name from the past. NICK You want a name from the present? How about Hazel Dobkins? She looks at him a long beat, sips her drink, never takes her eyes off him. CATHERINE Noah was my counselor in my freshman year. -LRB- she smiles. -RRB- That's probably where I got the idea for the icepick. For my book. Funny how the subconscious works. -LRB- a beat. -RRB- Hazel is my friend. NICK She wiped out her whole family. CATHERINE Yes. She's helped me understand homicidal impulse. NICK Did n't you study it in school? CATHERINE Only in theory. -LRB- she smiles. -RRB- You know all about homicidal impulse, do n't you, shooter? Not in theory - in practice. He stares at her a long beat. CATHERINE -LRB- quietly. -RRB- What happened, Nick? Did you get sucked into it? Did you like it too much? NICK -LRB- after a beat. -RRB- No. He stares at her, almost horrified. CATHERINE -LRB- quietly. -RRB- Tell me about the coke, Nick. The day you shot those two tourists - how much coke did you do? She steps closer to him. CATHERINE Tell me, Nick. She puts her hand softly on his cheek, He grabs her hand roughly, holds it. NICK I did n't. CATHERINE Yes, you did. They never tested you, did they? But Internal Affairs knew. They are face to face. He is still holding her roughly by the hand. CATHERINE Your wife knew, did n't she? She knew what was going on. Nicky got too close to the flame. Nicky liked it. He twists her arm back behind her - their bodies are pressed against each other - their eyes digging into each other. CATHERINE -LRB- in a whisper. -RRB- That's why she killed herself? He is twisting her arm, staring at her, pulling her against him. We hear the DOOR behind them. A beat, and he lets her go, turns away from her. Roxy stands there, staring at them. Her hair is up. She wears a black motorcycle jacket, a black T - shirt, and black jeans and cowboy boots. CATHERINE -LRB- brightly. -RRB- Hiya, hon. You two have met, have n't you? Roxy looks at Nick. Catherine goes to her, kisses her briefly on the lips, stands there with her arm around her - both of them looking at Nick. He walks by them, opens the door to go, his face a mask. CATHERINE You're going to make a terrific character, Nick. He does n't look at her ; he's gone.", "INT. BETH GARDNER'S OFFICE - DAY He comes in. He looks like he's going to kill someone. A RECEPTIONIST sits there. RECEPTIONIST She's on the phone - she'll be right with you, detective - He sweeps by her into Beth's inner office. She hangs up when she sees the look on his face. NICK Who has access to my file? BETH What are you talking about, Nick - what's wrong with you? NICK Who's got access to my goddamn file? She gets up - he goes closer to her ; she backs away from him. BETH Nobody. He goes closer to her ; she backs away. BETH It's a confidential psychiatric record, it'd be illegal - She backs into a wall. She looks very scared. He comes very close to her - puts an arm behind her to the wall. NICK Do n't, Beth. Do n't lie to me. She says nothing, looks scared. NICK -LRB- suddenly. -RRB- It's Internal Affairs, is n't it? BETH No, Nick, please - NICK -LRB- loud, hard. -RRB- Who? BETH -LRB- blurts it. -RRB- Nilsen.", "INT. THE INTERNAL AFFAIRS DIVISION - DAY He storms into the big room. He sees MARTY NILSEN. He is sitting behind his desk in his glass - enclosed office inside this big room. About a dozen plainclothes policemen are in the big room. He goes by them into Nilsen's office.", "INT. MARTIN NILSEN'S OFFICE He closes the door. Nilsen sees the look on his face, backs his chair away towards the wall. NILSEN What do you want, Curran? He goes to him, picks him up by his lapels, slams him against the wall. NICK -LRB- out of control. -RRB- You sold her the file, did n't you? NILSEN -LRB- scared. -RRB- What are you talking about? NICK -LRB- out of control. -RRB- What'd she pay you? He slams him against the wall again. The glass EXPLODES behind them - a chair comes into the room. Nick is frozen, holding Nilsen by the throat against the wall. ONE OF THE I.A. GUYS Let him go, Curran. Nice and easy. He looks back, sees two Internal Affairs men with their guns drawn, pointed at him. A beat, and he lets Nilsen go. He turns calmly and starts to walk out. NILSEN You're on sick leave, Shooter. As of right now. Pending the outcome of a psychiatric evaluation.", "EXT. THE POLICE PARKING LOT - DUSK He gets into his old Porsche. He STARTS the car up. Gus Moran comes up to the window. They look at each other a GUS What's goin' down, son? NICK Nothin'. -LRB- a beat. -RRB- I'll be okay, pop. They look at each other a long beat. GUS No, sir. You wo n't. There's smoke off yonder on the horizon. They're gon na want your badge. NICK -LRB- after a long beat. -RRB- I got tired of being played with. GUS -LRB- after a beat. -RRB- You sure got real conclusive ways of demonstrating that. They almost smile at each other, then - NICK -LRB- almost to himself. -RRB- She knows where I live and breathe. She's coming after me. GUS -LRB- after a long beat. -RRB- What is it you got between you? NICK -LRB- after a beat ; to himself. -RRB- I do n't know. GUS Somethin', though. A beat, and then Nick looks at him. NICK Yeah. -LRB- a beat. -RRB- Somethin'.", "INT. HIS APARTMENT - NIGHT He sits in front of the TV, watching a lame sitcom. A bottle of Jack Daniels is half - empty in front of him. He is smoking a cigarette. BETH -LRB- behind him. -RRB- I still have my key. He looks at her, looks away at the sitcom. NICK I do n't want to see you, Beth. He keeps watching the sitcom. A long beat. BETH -LRB- suddenly angry. -RRB- Damnit! Do n't shut me out! You owe me more than that? He goes to the TV, shuts it off. NICK I do n't owe you anything ; you do n't owe me anything. -LRB- he looks at her. -RRB- We went to bed - what was it? - ten or fifteen times? -LRB- he smiles. -RRB- It was n't memorable enough to carry any obligations. BETH -LRB- after a long beat. -RRB- Sometimes I really hate you. NICK -LRB- smiles. -RRB- Yeah? Well why do n't you find some friendly therapist and work some of that hostility out. -LRB- a beat. -RRB- But take my advice. Put a little more life into it than you usually do. A beat, and she suddenly hurls herself at him in absolute fury, trying to claw at his face. He grabs her, blocks her. They look at each other a long beat and then he lets her go. The emotion of the moment is gone now - they turn away from each other. BETH -LRB- finally. -RRB- I'm sorry. I do n't usually. act like that. Nick looks at her a beat. NICK How could you let him have my file, Beth? A long beat, then - BETH -LRB- not looking at him. -RRB- He was going to recommend your discharge a behavioral disability. I made a deal with him. He could review the session notes himself. It was the only way I could keep you on the force. She looks at him. He looks away from her. NICK You did it for me. BETH Yes. I care about you. I did it for you. He turns away from her. NICK -LRB- quietly. -RRB- Get out of here, Beth. -LRB- a beat. -RRB- Please? He goes to the Jack Daniel's, pours some more. She looks at him pour it and turns to go.", "INT. HIS APARTMENT - NIGHT He is asleep on the couch - the TV is on to a blank screen. The Jack Daniel's is mostly gone. The phone on the coffee table RINGS. It RINGS again. He wakes, picks it up, listens. NICK Yeah. -LRB- a beat. -RRB- Okay. He hangs it up. He sits there a long beat, staring. He looks disturbed.", "EXT. THE ALLEY BEHIND THE TEN-FOUR BAR - NIGHT He walks down the alley. There are lots of police cars, flashing lights, uniformed men, coroner's men. As he walks down the alley, he sees Lt. Walker, Gus, and several of the Internal Affairs men we saw earlier in Nilsen's office. They are standing around a Lincoln Town Car. They look at him as he comes closer to them - then move aside. He can see into the car now. Martin Nilsen lies against the front seat. He has been shot in the head. Nick stares. GUS One shot. Close range. Probably a.38 caliber revolver. Nick stares at Nilsen's body. They watch him. LT. WALKER Give me your gun, Nick. A beat, and then Nick gives him his gun. Walker smells it, shakes his head, gives it to one of the Internal Affairs men. NICK -LRB- to Walker. -RRB- You think I - GUS I do n't son, but I got the minority opinion.", "INT. POLICE INTERROGATION ROOM - NIGHT He sits in the same room that Catherine sat in - surrounded by four or five Internal Affairs men, Lt. Walker, Gus, and Captain Talcott. Lt. Walker and Gus sort of sit back - I.A. is running the investigation. The same police stenographer - the same plain young woman - is sitting in the room who was there with Catherine. NICK Okay. I went after him. I lost my temper. AN I.A. MAN Do you have any evidence that he showed your psychiatric file to anyone? NICK -LRB- after a beat. -RRB- No. Beth Gardner comes into the room. They look at her. AN I.A. MAN We'll speak to you afterwards, Dr. Gardner. Nick gives her a look. BETH I'd like to sit - in if you do n't mind. THE I.A. MAN I'd really rather - TALCOTT I do n't see anything wrong with Dr. Gardner sitting - in if Detective Curran does n't object. Nick looks at her, shrugs. AN I.A. MAN Where were you tonight? NICK Home. Watching TV. AN I.A. MAN All night? NICK Yeah. AN I.A. MAN Were you drinking? He looks at Beth. NICK Yeah, I was drinking. AN I.A. MAN When did you start drinking again? NICK -LRB- after a beat. -RRB- A couple days ago. BETH I saw Detective Curran at his apartment around ten o'clock. He was sober and lucid. I asked him in my capacity as his departmental therapist about his altercation with Lt. Nilsen. He expressed regret and displayed no hostility. AN I.A. MAN -LRB- to Beth. -RRB- How long were you at his apartment? BETH About fifteen minutes. I saw there was no reason for my concern and left. She and Nick look at each other. He looks away and lights a cigarette. AN I.A. MAN There's no smoking in this building. NICK -LRB- after a beat. -RRB- What are you gon na do - charge me with smoking? It is the exact line that Catherine used. A long beat. LT. WALKER I'll ask you once, Nick - for the record did you kill him? NICK No. They look at him a beat. NICK Come on - I'm going to storm into his office in front of everybody in the afternoon and then that night I'm going to kill him? I'd have to be really dumb to do that. AN I.A. MAN Going after him before gets you off the hook for killing him that's your alibi. LT. WALKER Like writing a book about killing a guy gets you off the hook for killing him. AN I.A. MAN -LRB- to Walker. -RRB- I do n't understand. What are you talking about? What book? LT. WALKER -LRB- to Nick. -RRB- Private joke. NICK I do n't think it's funny. GUS -LRB- grins. -RRB- Well, hell, son, it's got a certain ring to it, I'll say that.", "INT. POLICE DEPARTMENT - NIGHT He is by the elevators with Gus and Lt. Andrews. He spots Beth going for the stairway. NICK -LRB- to Lt. Andrews. -RRB- I'll get my stuff tomorrow.", "INT. THE STAIRWAY NICK Beth. She stops. He catches up to her. They walk down the flights together. They speak quietly. NICK Thank you. She looks at him, smiles. They keep walking down the steps. BETH It's the least I could do. considering I got you into this mess with those reports. NICK -LRB- smiles. -RRB- No. I mean it, thank you. She looks at him, smiles. BETH How do you know Catherine Tramell saw my reports? NICK She knows stuff about me that only you know. BETH -LRB- after a beat. -RRB- She must really be something. -LRB- she smiles. -RRB- From a clinical point of view. NICK What was she like in school? BETH I hardly knew her. She gave me the creeps, though. I do n't know why.", "EXT. THE BUILDING - NIGHT They get outside. Beth kisses him quickly, softly on the cheek. BETH Get some rest. Promise? He nods. She starts walking toward her car. NICK Beth. I did n't mean what I said. About - BETH -LRB- smiles. -RRB- Yes you did. I'm a big girl. I can handle it. She goes to her car.", "INT. THE DETECTIVE BUREAU - NEXT DAY He is cleaning his desk out, putting things into a duffel bag. Only Andrews is in the room. We see Lt. Walker sitting in his glass - enclosed office. He closes the duffel bag, looks at the place a long beat. Andrews is watching him. He goes up to Andrews ANDREWS -LRB- after a beat. -RRB- Take care, you hear? NICK -LRB- after a beat. -RRB- Did you find out about her parents? ANDREWS You're on leave, man. -LRB- a beat. -RRB- You're on psycho leave. I'm talking to a possible whacko here. NICK You know I'm whacko, Sam, what'd you find? A beat, and Andrews opens the file. ANDREWS The boat blew. There was a leak in the gas line. There were two previous repairs. There was a five - mil policy on both of'em. A real heavy investigation. Zilch. Goose - egg. It was an accident. NICK -LRB- after a beat. -RRB- Thanks. He sees Lt. Walker looking at him. He goes into Walker's office. LT. WALKER I.A.'s going to talk to you more about Nilsen. They're handling the investigation, we're not. Stay in touch with Dr. Gardner, it'll help on the evaluation. NICK -LRB- after a beat. -RRB- She killed him. LT. WALKER Beth? Now you've got Beth killing people? NICK Catherine Tramell. It's part of her game. LT. WALKER First you've got her buying your file. Now you've got her killing Nilsen. Forget her, willya? Go someplace. Sit in the sun. Get away from this goddamn fog. Get her out of your system. NICK You do n't but it, do you? She knew nobody would but it. -LRB- he smiles. -RRB- She knew I'd say she did it. And she knew nobody would buy it. Lt. Walker looks at him a long beat. LT. WALKER She's screwing with your head, Nick. Pretty soon you're gon na look in the mirror and think you're seeing her.", "EXT. HIS APARTMENT It is in the Marina District ; on a street like Cervantes. He gets out of his old Porsche ; he sees her black Ferrari there. She is sitting on the front stoop. She wears an Indian jacket, jeans and a T - shirt. He goes up to her. She looks at him a beat. CATHERINE I heard about what happened. What good's a shooter without his gun? She smiles. NICK -LRB- a beat. -RRB- How exactly did you hear? CATHERINE -LRB- after a beat. -RRB- I have attorneys. They have friends. I have friends. Money buys you a lot of attorneys and friends. NICK -LRB- after a beat. -RRB- I do n't know about that I do n't have any money I do n't have any attorneys Gus is my only real friend. CATHERINE -LRB- smiles. -RRB- I was n't talking about real friends. Why does n't Gus like me. NICK -LRB- after a beat. -RRB- I like you. CATHERINE Do you? NICK -LRB- smiles. -RRB- Yeah. Would you like to come up and have a drink? She looks at him a beat. CATHERINE I did n't think you'd ask me. He looks at her a beat. NICK -LRB- smiles. -RRB- I'm not that easy to figure. They start walking inside. She walks ahead of him. He watches her. She turns suddenly. CATHERINE You're not easy to figure. I'm just very good at figuring. NICK -LRB- after a beat. -RRB- Do n't get too cocky. CATHERINE Why not? NICK You can make a mistake. CATHERINE -LRB- smiles. -RRB- Not me. And she turns, heads inside ; he follows her.", "INT. HIS APARTMENT - DAY They walk in. She looks at the bareness of the place. CATHERINE You should put some warmth into it. You do n't want it to reflect on your personality. She turns, smiles at him. He looks at the bottle of Jack Daniel's ; there's not much left. NICK Jack Daniel's okay? It's gon na have to be. CATHERINE Fine. NICK Ice? CATHERINE -LRB- smiles. -RRB- Please. There is a palpable tension between them. He takes the ice out, opens a drawer, takes out an icepick. CATHERINE Let me do that. You like to watch me doing it, do n't you? She smiles ; a beat and he hands her the icepick. She takes it, starts to us the icepick, her back to him. He lights a cigarette. CATHERINE Can I have a cigarette, please? I told you you'd start smoking again. He watches her working on the ice. CATHERINE Light it for me, will you? He does, steps to her. She parts her lips - he puts it on her lip, watches it. Their eyes are on each other. CATHERINE Thank you. She works on the ice again, opens the cabinets for glasses. NICK What did you pay Nilsen? CATHERINE -LRB- does n't look at him. -RRB- Is n't he the policeman that you shot, Shooter? She makes the drinks. NICK What if I asked you not to call me Shooter? CATHERINE What if I call you Nicky? NICK -LRB- after a beat. -RRB- My wife used to call me that. CATHERINE -LRB- smiles. -RRB- I know, Nicky, but I like it. She hands him his drink, holds hers. CATHERINE Cheers. My friends call me Catherine. NICK What did Bobby Vasquez used to call you? CATHERINE Bitch mostly, but he meant it affectionately. You do n't have any coke, do you? I love coke and Jack Daniel's. NICK -LRB- after a beat. -RRB- There's Pepsi in the fridge. CATHERINE -LRB- smiles. -RRB- It's not the same thing, is it? They look at each other a long beat, their eyes very involved. NICK -LRB- quietly. -RRB- Where's it going? What do you want from me? Their faces are close together. CATHERINE Say - `` What do you want from me, Catherine?'' NICK -LRB- after a beat, quietly. -RRB- What do you want from me, Catherine? A beat, and she suddenly turns away. CATHERINE -LRB- brightly. -RRB- I brought you something. She goes to her purse, takes a paperback book out of it. We see it - The First Time, by Catherine Smith. He looks at it. CATHERINE -LRB- smiles. -RRB- Are n't you going to thank me? NICK What's it about? CATHERINE A boy kills his parents. They have a plane. He makes it look like an accident. He stares at her. A long beat, then - NICK Why does he do it? CATHERINE To see if he can get away with it. They look at each other a beat. NICK When did you write it? CATHERINE -LRB- after a beat. -RRB- You mean did I write it before my parents died? NICK Yes. CATHERINE No. I wrote it years afterwards. He watches her ; she has turned away from him - and then she turns back to him in a different mood. CATHERINE -LRB- smiles. -RRB- You're not going to stop following me around now just because you're on leave - are you? NICK -LRB- after a beat. -RRB- No. CATHERINE Good. I'd miss you. -LRB- a beat. -RRB- You can get into trouble, though. You're not really a cop anymore. NICK I'll risk it. CATHERINE Why take the risk? NICK To see if I can get away with it. She looks at him ; she smiles. NICK How's your new book? CATHERINE I'm getting deeper and deeper into my character. They look at each other a long beat. CATHERINE Thanks for the drink. He nods, say nothing as she goes to the door - CATHERINE I'm leaving the house around midnight. In case you're going to follow me. -LRB- a beat. -RRB- I'm going down to Johnny's club. NICK -LRB- after a beat. -RRB- I'll meet you there. She looks at him a long beat ; and she's gone.", "INT. THE STAIRWAY As she is going down the stairs, Gus Moran is coming up. He does a real double - take as he goes by her. CATHERINE -LRB- smiles. -RRB- Hi, Gus. He looks at him a long beat, and he goes upstairs, into Nick's apartment.", "INT. NICK'S APARTMENT Nick stands at the window, watching her outside. A long beat, and he looks at Gus. GUS -LRB- after a beat. -RRB- Forgive me for askin', son, and I do n't mean to belabor the obvious, but why is it that you've got your head so far up your own ass? NICK -LRB- after a beat. -RRB- She want to play? Fine. I can play. GUS -LRB- after a beat. -RRB- Everybody that she plays with dies. NICK -LRB- after a beat, quietly. -RRB- I know what that's like.", "INT. JOHNNY BOZ'S CLUB - NIGHT It is dark, cavernous there are a thousand people in here. The MUSIC is ear - splitting, pulsing. Lights flash. The floor is huge. At one time, this club was a church. He walks around the sides, a drink in his hand, looking for her. He does n't see her. The he catches a glimpse of Roxy. She is dancing with another woman. He watches her. She is wearing pants and a jacket, her hair off to the side. She looks very masculine tonight. Roxy laughs at the other woman, leaves her on the floor, starts moving through the sea of dancers. He follows her through the press of bodies. She goes towards the men's room. She walks in.", "INT. THE MEN'S ROOM It is large, dark, shadowy It was once the sacristy. A crowd scene men and women. Roxy presses through them. A haze of crack smoke ; we see people doing poppers. She opens the door to a toilet stall, walks in. Nick is behind her. As the door opens, he sees Catherine. She wears a black motorcycle jacket, a very short skirt, stiletto heels. Her hair is up. He make - up is severe, In the darkness, in the shadows she looks about 19. A hot 19. A hot flash - trash 19. She is in there with two men - one of them is a big, body - built black guy. She has a vial of something near her face. She sees Nick watching her. She whispers something to the tall black guy. He looks at Nick, smiles a condescending smile. The door to the stall closes", "INT. THE CLUB He is walking along the side, watching the floor, a drink in his hand. The song ends and it seques right into the Stones's `` Miss You.'' He sees her. Her black leather jacket is off. She wears a very tight, flimsy top, the short skirt, the heels. She is dancing with Roxy and the black guy. He watches her move. watches her body. She turns, sees him, dances, watches him. gets between Roxy and the black guy. they sandwich her with their bodies. keeps moving, turning. eyes on him. playing to him with her body. He watches. A long beat, and he goes up to them. His movements are almost trance - like. They look at each other. A long beat. Catherine stops dancing. he reaches for her. She moves away. A beat their eyes are on each other. She moves a step towards her. A beat, as they look at each other. and they start to move together. Their eyes are on each other as they move, the eyes burning. the movements tighter, hotter. and he suddenly grabs her and kisses her. as they keep moving. the song seques into the Stones's `` Gim me Shelter.'' She is melting into him now, kissing him. Tex watches, expressionless. the black guy is gone. he holds her by the back of the neck, kissing her. their bodies pressed into each other. his hands are on her butt now, pulling her into him now, almost holding her up now. and then under her skirt, under her panties. as he kisses her neck. People around them stare. he moves his hands under her top as she keeps moving with the song, her head back, her back almost arching. cups her breasts now. she keeps moving. the song sweeping them into its rhythm `` it's just a shot away, it's just a kiss away, a kiss away.'' They devour each other. Right there on the floor. Barely able to hold it back. As Tex watches expressionless. As people stop dancing and stare.", "INT. HER BEDROOM It is dark. We ca n't see clearly. A side table, lines of cocaine on a small mirror. A CD player The Stones play `` Love In Vain.'' There are mirrors all over the walls and ceiling. They are in bed. The bed is big and brass. Atop her. he kisses her neck. his hands under her, raising her. he moves down, kisses her breasts. puts his mouth around a breast. she arches, moves. he kisses her shoulder. biting into it. she opens her mouth. we hear no cry. we hear the Stones.", "INT. HER BEDROOM - LATER The Stones play `` Monkey Man.'' Atop him. she kisses his chest, licks it, lowers her head. lower. lower. he arches his back. her mouth comes up. her mouth on his lips again. he turns her. Atop her. he moves her legs apart. -LRB- the CAMERA is behind them -RRB-. she holds his back. digs in her nails. rakes his back with them. digs in again. his back bleeds. he moves inside her. harder. the nails dig. blood trickles down his back.", "INT. HER BEDROOM - LATER The Stones play `` Wild Horses.'' He is behind her. she is on her stomach. he rises her by her hips. kisses her back. races her spine with his tongue. traces her lower back. he kneels. moves into her. kisses her neck. his fingers are in her mouth. as he moves.", "INT. HER BEDROOM - LATER The Stones play `` Sympathy for the Devil.'' Atop him. she leans close over his face, her tongue in his mouth. kneeling over him. she moves his arms above his head. moves higher atop him. her breasts in his face. she reaches over to the side. a white silk scarf is in her hand. she moves higher above him. kneeling over his face. moving oh - so - slightly. his face strains towards her. The scarf in both hands now. she starts to tie his hands with it. his eyes are open, watching her. she ties it loosely, gently. it is n't tight. but his hands are tied to the brass bed. She kisses him. moving her hips lower now. over his chest. lower. And he is inside her. her arms above him. his eyes open. she kisses his neck. bites but not hard. moves. grinding hard against him now. she is on her knees. head arches back. her breasts high. still grinding. Her back arches, strains. he strains toward her. she holds her arms high. she comes out of the arch. shivering. falling over him. the scarf loosens. his arms come forward and hold her close. closer. closer. as she moves with slight. shivery. movements.", "INT. HER BEDROOM - NIGHT It is dark, quiet. Pindrop quiet. He is sitting on the side of the bed, his head down. his back a line tracing of dried blood. She is asleep nest to him, naked. He looks around the room. The white scarf around the bedpost. the coke on the side - table. clothes all over the floor. He gets up, walks into the bathroom.", "INT. HER BEDROOM - NIGHT The light is too bright. He looks at himself in the mirror. He pours the water, lowers his head, puts cold water on his face. A long beat, he comes back up, opens his eyes. Roxy is in the mirror behind him. She startles him. He looks at her in the mirror a long beat, does n't turn. She is expressionless ; she wears the same thing she wore at the club. He lowers down into the basin again, puts more water on his face, comes back up, uses a towel this time, finishes with the towel. She is still looking at him in the mirror the same way. He looks at her in the mirror, does n't turn. ROXY -LRB- quietly. -RRB- If you do n't leave her alone, I'll kill you. He looks at her a beat, then turns - NICK Tell me something, Rocki. Man - to - man. -LRB- he smiles. -RRB- I think she's the fuck of the century, do n't you? For a second, she looks like she's going to spring at him, then controls it and turns to go. NICK How long you been here, Rock? You like to watch, do you? ROXY -LRB- after a beat, looks at him. -RRB- She likes me to watch. And she turns and she is gone.", "INT. HER BEDROOM - NIGHT He lies on the bed in the dark, quiet room. He is on his back, his eyes open. He has his arm around her. She is asleep. CATHERINE -LRB- murmurs. -RRB- Nicky. He looks at her.", "INT. HER BEDROOM - MORNING He wakes up. She is not there. He looks around. The white scarf is gone. The coke on the side table is gone. In its place, a scrawled note `` The Beach - C.''", "EXT. HER STINSON BEACH HOUSE - DAY A cold and foggy day. He gets out of his old Porsche, walks down the driveway. He sees her out on the beach by the water. A small bonfire is near her. He walks towards her. Roxy watches him, expressionless, from an upstairs window of the house. He does n't see her. He walks up to Catherine. She has an Indian blanket over her and is wearing a black felt English derby hat, her hair loose underneath. NICK -LRB- expressionless. -RRB- ` Morning. She does n't look at him - he smiles slowly. She does n't smile and she does n't seem to like his smile, either. She walks along the beach. He walks with her. A long beat. NICK I think Roxy got jealous. She looks at him. He looks like he is trying to hide a smile. CATHERINE -LRB- after a beat. -RRB- She's seen me fuck plenty of other guys. That wipes the hidden smile off his face. He looks at her, walks with her. A long beat. NICK Maybe she saw something she did n't see before. CATHERINE She's seen everything before. She looks at him ; he's smiling now. NICK She's never seen us before. He's serious. She looks at him. She smiles slowly. CATHERINE Did you think it was so special? NICK I told her it was the fuck of the century. He ca n't hide his smile anymore. She says nothing, keeps walking. NICK -LRB- after a beat. -RRB- What did you think? CATHERINE I thought it was a pretty good beginning. They look at each other. They keep walking. A long beat. NICK How about Roxy? Is she a fuck to the century, too? CATHERINE -LRB- after a beat. -RRB- Do you want her to join us sometime? He looks at her : she's serious. NICK I did n't mean for me - I meant for you. She looks at him. CATHERINE I'm not as judgmental about women as I am about men. They keep walking. A long beat. NICK How's your shoulder? CATHERINE Fine. How's your back? NICK It hurts. She stops, looks at him. A long beat. CATHERINE We're alike, you know. A beat, he looks at her - NICK Are you kidding? You think this is my idea of morning - after conversation? CATHERINE -LRB- keeps walking. -RRB- Do you want personal insights and adolescent secrets? I do n't do those. The keep walking. NICK You mean getting inside you is n't going to get me any deeper into your character. She looks a him. A beat. She smiles slowly. CATHERINE Not unless you confuse my character with my body parts. They keep walking. A long beat. CATHERINE Were you frightened, Nicky? He looks at her. NICK -LRB- after a beat. -RRB- I thought that business with the scarf was pretty nifty. CATHERINE I told you I had a vivid imagination. They look at each other. A long beat. CATHERINE You should n't play this game. NICK -LRB- after a beat. -RRB- I do n't have a choice. Their eyes are into each other. CATHERINE -LRB- after a beat. -RRB- You're in over your head. NICK -LRB- after a beat. -RRB- I know. A long beat. They look at each other. CATHERINE I've got a book to write. I'll see you around, Shooter. A beat, and she walks away towards the house. He watches her.", "INT. A COUNTRY AND WESTERN BAR - NIGHT Nick walks in. Waylon Jennings is on the JUKEBOX. Gus is sitting at the bar wearing jeans, a cowboy shirt, and a cowboy hat. Nick goes, sits next to him. NICK -LRB- grins. -RRB- What is this place? Hillbilly heaven? He glances around. GUS -LRB- loud. -RRB- Where in the fuck you been? I went over to your place. He is drunk, slurring. Nick sees it. NICK Easy there, partner - I was n't there. GUS I went over last night, too. NICK -LRB- grins. -RRB- I was n't there last night, either. Gus takes a long, drunken look at him. GUS You. fucked her! Goddamn dumb sonofabitch. You fucked her! Goddamn, you are one dumb sonofabitch - NICK -LRB- trying to quiet him. -RRB- I'm not gon na get AIDS, pop - do n't worry about it. I always use a rubber. GUS -LRB- loud. -RRB- I do n't give a. flyin'. chili - bean. fart about AIDS! NICK -LRB- grins ; quietly. -RRB- You oughta use a rubber, pop. You really should. GUS -LRB- loud. -RRB- What in the hell for? You think I'm gettin' any at my age? I do n't like blue - haired women. I do n't like'em. NICK -LRB- straight. -RRB- You do n't like punk rockers? GUS -LRB- loud. -RRB- Say what?", "INT. A DINER - NIGHT Gus is eating chili, drinking coffee. Hick keeps pouring him more coffee. NICK -LRB- grins. -RRB- You feeling better? GUS -LRB- loud. -RRB- I feel fine! Nick pours him more coffee ; Gus guzzles it. GUS -LRB- loud. -RRB- How could you fuck her? It gets some looks from the other people in her - Nick shushes him, pours him more coffee. He drinks it. GUS -LRB- quietly. -RRB- You wan na die, son? What is it - those goddamn tourists - you still feel so bad about that you're wigglin' your way into an icepi -. -LRB- suddenly louder. -RRB- We got too many goddamn tourists comin' here anyway - plenty more goddamn tourists where they goddamn came from. Some people here really give him the looks now. Gus looks angrily away from them, drinks more coffee. NICK -LRB- after a beat ; quietly. -RRB- I'm not afraid of her. GUS -LRB- loud. -RRB- Why the hell not? NICK I do n't know. I'm just not. GUS -LRB- loud. -RRB- That's her pussy talkin' - He gets a real nasty look from a very fat woman eating a cheeseburger. He winks at her. The woman looks away from him, shaking her head. GUS -LRB- smiles ; to Nick. -RRB- It ai n't your brain. They look at each other a long beat. Gus drinks more coffee. He sits back, pulls his cowboy hat over his eyes. A long beat. GUS -LRB- quietly. -RRB- I.A. done did a track on Lt. Martin D for Dickhead Nilsen. They found a safety deposit box with fifty - thousand dollars in it, taken out three months ago, used that one time. He looks at the fat woman again - leers at her obscenely. She looks away. NICK -LRB- after a long beat. -RRB- It does n't make sense. She did n't know me three months ago. GUS Maybe it was n't her that paid him. Maybe the money was for somethin' else. How the fuck do I know? I'm just an old city cowboy tryin' not to fall outta his saddle. Nick looks at him and smiles a thin smile ; he's not there, he's completely preoccupied.", "INT. A CAR - NIGHT Someone is watching as he and Gus come out of the diner.", "EXT. THE STREET - NIGHT He stands by Gus as Gus gets into his battered, rusted, vintage Cadillac. NICK You all right, pop? You want me to drive you? GUS In that little pissant car of yours? Hell, no. I ai n't gettin' no back pain disability retirement - I'm gettin' me a full pension and a real gold - plate Seiko watch. NICK Come on, I'll drive you in this thing. GUS You think I'd let you drive my Cadillac car? I ai n't lettin' no hear - up - his - ass person drive my Cadillac car. And he steps on the gas and ROARS out of there, forcing Nick to get out of the way. Nick looks after him a long beat, shakes his head.", "INT. A CAR - NIGHT Someone is following him slowly as he walks down the street. He turns a corner, walks down the alley towards his Porsche, parked behind the country and western bar. The car suddenly speeds up - ROARS down on him from the back, full bore.", "EXT. THE ALLEY He hurls himself across the Porsche's hood. barely avoiding the car. He sees the car at the end of the alley, turning out It is a black Ferrari.", "INT. HIS PORSCHE He GUNS it down the alley, makes a wild turn in the direction the Ferrari turned.", "EXT. THE STREET The Porsche dodges around cars very fast, almost side - swiping them, looking almost out of control, its MOTOR screaming.", "INT. THE PORSCHE He sees the Ferrari turn ahead. When he gets to where it turned, he turns wildly.", "EXT. THE STREET The Ferrari is making fast, wild turns into little streets in North Beach, its MOTOR screaming - the Porsche is gaining ground behind it, making turns.", "INT. THE PORSCHE The Ferrari is up ahead and makes a wild right turn onto a road going up a hillside. He yanks the wheel hard.", "EXT. THE STEPS The Porsche rockets up the steps - bouncing high into the air, almost out of control.", "INT. THE PORSCHE As it crests the steps and gets to the street. Nick GUNS it and it looks like it flies high down the hill - side into blackness.", "EXT. THE STREET But it lands on more steps - heading downward - bucking, almost spinning, it bounces onto the next street.", "INT. THE PORSCHE Another set of steps leading up he GUNS it, it rockets up, ROARS, bucking -", "EXT. THE STREET And lands on the next street. Nick makes a wild right turn onto the street. And the black Ferrari appears from around a curve to the right, heading right for him.", "INT. THE PORSCHE Nick steps on the GAS and heads head - on for the Ferrari. The Ferrari SCREAMS head - on for him.", "EXT. THE STREET And at the last moment, in the game of chicken, the Ferrari tries to swerve around him on this narrow road, goes out of control and over the side, turning over and over as it rolls down the hillside.", "EXT. THE HILLSIDE The Ferrari has landed right - side up. He runs down the hillside and gets to it. A beat, and he opens the car door. Roxy lies hunched over the wheel, her eyes open. Her neck is broken. She is dead.", "EXT. THE HILLSIDE - NIGHT Police lights have been set up. He stands there with Lt. Walker and several of the Internal Affairs men. LT. WALKER Tell me again. I want to hear you say it again. NICK -LRB- after a beat ; sheepish. -RRB- It was an accident. LT. WALKER You're driving around North Beach for no particular reason and this car wo n't get out of the way - NICK I do n't think she meant to go off the hill, do you? LT. WALKER -LRB- quietly. -RRB- Do n't fuck with me, Nick. I do n't need a reason to put your ass in a sling. He and Nick look at each other a long beat. Andrews comes up to them with a piece of paper in his hand. ANDREWS Full name, Roxanne Hardy. Last address - Cloverdale, California. No priors, no convictions. The car is registered to Catherine Tramell. Lt. Walker looks at Nick like he's going to kill him. Nick looks calmly away. LT. WALKER You knew her, did n't you? NICK Gus and I talked to her at Tramell's house. All we did was write her name down. LT. WALKER -LRB- after a beat. -RRB- I told you to stay away from Tramell. NICK -LRB- after a beat ; smiles. -RRB- Yeah. But you did n't tell me to stay away from her car. Walker looks at him in absolute disbelief. AN I.A. MAN I want you in Dr. Gardner's office at nine o'clock. You're out of control, Curran. NICK -LRB- to the I.A. Man. -RRB- Who are you guys gon na sell my file to this time? They stare at him. He watches as Roxy's body is taken away.", "INT. A POLICE CONFERENCE ROOM -DAY He walks in. He looks good, in control. Beth Gardner is sitting there with two middle - aged MEN, both of them wearing suits, who smile and scrutinize him the instant he walks in the door. BETH Hello, Nick. This is Dr. Myron and R. McElwaine. They've been asked to consult with me on this evaluation. They shake hands with him. DR. MYRON Sit down, Nick. Nick gives him a look : What did he think he was going to do - stand there? He sits down, looks at them. A beat, as they look at him, then - DR. MCELWAINE -LRB- courtly. -RRB- Nick - when you recollect your childhood, are your recollections pleasing to you? Nick looks at them a long beat in disbelief. NICK -LRB- calmly, directly. -RRB- Number one I do n't remember how often I used to jack off, but it was a lot. Number two I did n't get pissed off at my dad - even after I was old enough to know what he and mom were doing in the bedroom. Number three I do n't look in the toilet before I flush it. Number four I do n't wet the bed and have n't for some time. Number five You can go fuck yourselves because I'm out of here.", "INT. THE CORRIDOR He is walking away quickly. Beth is with him, trying to keep up. She is very angry. BETH What is your problem? I'm trying to help you. Why wo n't you let me help you? NICK I do n't need any help. BETH Yes you do. Something's on with you. -LRB- a beat. -RRB- You're sleeping with her, are n't you? A beat, he stops looks at her, then keeps walking. NICK What is this interest you've got in her? BETH My interest is in you, not in her. She seduces people, she manipulates - NICK I thought you hardly know her. BETH I know the type. I'm a psychologist. He stops, looks at her. NICK -LRB- after a beat. -RRB- That means you manipulate people too, does n't it, Beth? You're a practicing psychologist - that means you're better at it than she is. She looks at him a long beat. BETH -LRB- quietly. -RRB- I feel sorry for you, Nick. A beat, and she turns and walks away.", "EXT. ROAD TO STINSON HOUSE - DAY Nick is driving down winding road to Stinson house. He is driving very fast, passing other cars on the winding and twisting road.", "INT. THE STINSON BEACH HOUSE - DAY Nick enters and shuts door. Looking around, he does not see her. NICK Catherine! -LRB- after a beat. -RRB- Catherine! Finally he sees her sitting by the window. He walks over to her. CATHERINE -LRB- near tears. -RRB- I should have known. I came into the house when you were down on the beach. She looked at me so strangely. She left right after you. -LRB- a beat. -RRB- I should n't have let her watch us. She wanted to watch me all the time. She tried to kill you, did n't she? NICK -LRB- a beat. -RRB- Did you like her to watch? CATHERINE -LRB- a long beat. -RRB- Do you think I told her to kill You? NICK -LRB- softly, with intensity. -RRB- No. CATHERINE -LRB- after a beat, near tears. -RRB- Everybody that I care about dies. She is about to break into uncontrolable sobbing. Nick puts his arms around her. NICK -LRB- soothing. -RRB- It's OK. It's OK. CATHERINE -LRB- quietly, almost begging. -RRB- Make love to me.", "INT. BEDROOM - NIGHT They are seen rolling and turning around on each other. Their love making is sensual, sincere. Later in bed. NICK -LRB- calmly, but seriously. -RRB- Do you think she killed Johnny Boz? CATHERINE -LRB- surprised, startled. -RRB- For what. to set me up? She loved me she would n't frame me. NICK -LRB- a beat. -RRB- Maybe she got jealous of Johnny Boz, too. CATHERINE -LRB- after a beat. -RRB- No, she did n't. she never got jealous before. she got excited. -LRB- a beat. -RRB- I do n't have luck with women. There was this girl I met while I was in college. I slept with her once. She started following me around, taking my picture. She dyed her hair, copied my clothes. Lisa something. Oberman. It was awful. A long beat, he looks at her. NICK I thought you did n't do adolescent secrets. CATHERINE -LRB- after a beat. -RRB- I never have before.", "EXT. THE DECK - MORNING It is a bright, sunshiny day. He is out there looking at the water. She comes up behind him, hugs him. CATHERINE -LRB- full of life. -RRB- Is n't it just beautiful? I love it here like this. He looks at her. NICK -LRB- cold. -RRB- We're still playing games, are n't we? She looks hurt. CATHERINE No. NICK -LRB- cold. -RRB- No? CATHERINE No more games, Nick. I'm tired of playing games! They have their eyes on each other. NICK Then tell me about Nilsen. She turns away from him. He watches her. CATHERINE You wo n't believe me. NICK Try me. A beat, she looks at him. CATHERINE I paid him $ 50,000 in cash for your psychiatric file. NICK -LRB- after a beat. -RRB- When? CATHERINE About three months before I met you. NICK Why? She turns away from him. CATHERINE I'd read about your shootings in the papers. I decided to write a book about a detective. I wanted to know my character. NICK You paid $ 50,000 for your character? CATHERINE I would've paid more. I wanted to know everything about you. Then you came down here after Johnny got killed. it gave me a chance to get to know my character better. NICK -LRB- after a long beat. -RRB- What about the other night. What about last night? Was that to get to know your character? CATHERINE -LRB- after a beat. -RRB- Maybe I'm losing interest in my book. Their eyes are on each other. CATHERINE Do you believe me? NICK -LRB- after a beat. -RRB- I do n't know. CATHERINE I'll convince you. And she kisses him slowly, with more and more heat, on the lips. The cordless phone on the deck table goes off. It keeps RINGING. She breaks finally from the kiss, picks it up. CATHERINE Hello? She listens a beat, then hands him the phone. CATHERINE It's Gus - who - does n't - like - me. He takes the phone. NICK Catherine says you do n't like her.", "INT. THE DETECTIVE BUREAU - DAY GUS -LRB- on the phone. -RRB- She's right. You got an icepick in you yet?", "EXT. HER DECK - STINSON Catherine sees him smile. CATHERINE What did he say? NICK He asked if I had an icepick in me yet. CATHERINE -LRB- smiles. -RRB- Funny.", "INT. THE DETECTIVE BUREAU - DAY GUS -LRB- on the phone. -RRB- You know that stuff they say about how you can judge people by their friends?", "EXT. HER DECK NICK I do n't believe it.", "INT. THE DETECTIVE BUREAU - DAY GUS Why not? NICK -LRB- smiles. -RRB- You're my friend, Gus. She watches him.", "INT. THE DETECTIVE BUREAU - DAY GUS -LRB- seriously. -RRB- I'm gon na make you believe in it, friend.", "INT. CLOVERDALE POLICE DEPARTMENT - DAY In CLOSEUP : We see a large, glossy photograph of Roxy. She looks about thirteen. She has braces in her teeth. Nick is looking at the photo - it is in a file in his hands. He sits there with Gus in front of a woman juvenile officer. He turns the file and we see a glossy of a little boy in a pool of blood. Nick looks up at the woman. NICK -LRB- after a beat. -RRB- How old was she when this happened? THE WOMAN Fourteen. We seal juvenile records until they're deceased. That's why you did n't find it in your computer. GUS What was the motive? THE WOMAN She said she did n't know herself, just sort of did it on impulse. -LRB- she shrugs. -RRB- The razor just happened to be there. They stare at her. THE WOMAN That's what she said.", "INT. CLOVERDALE POLICE DEPARTMENT - DAY It is a small, old, rural buildinga lot of Four - H type stuff on the walls. NICK I do n't understand what the hell's going on here, pop. GUS Ai n't that hard, son. This young farmgirl, she got tired of all that attention goin' to her little brothers - she fixed'em. Just like ` ole Hazel Dobkins fixed her whole family - except young Roxy here, she did n't use a wedding present. She used Daddy's razor.", "EXT. THE CLOVERDALE POLICE DEPARTMENT They are going to their cars, parked side by side. The Porsche looks pretty badly banged up. GUS It sure makes you wonder what they talked about when they set themselves down in front of the campfire at night. You ever met any of her friends who has n't killed somebody. Nick looks at him. GUS It musta beat your ordinary everyday girl talk. Nick get into his car, sits there a beat. NICK I'm not sure anymore she did it. GUS -LRB- after a beat. -RRB- Which one you talkin' about now, son? We know ole Hazel did it ; we know young Roxy did it - and the other one Well, hell, she's got that magna come lawdy pussy on her that done fried up your brain. Nick looks at him.", "INT. THE REGISTRAR'S OFFICE - U.C. BERKELEY A young woman is checking a computer. Nick is with her. THE WOMAN Anderson. Jack W. Donald M. I'm sorry. No Lisa. NICK Did you check all four years? THE WOMAN Yes I did. NICK -LRB- in disbelief. -RRB- Can you check again? She gives him a look, but punches it in again. THE WOMAN No Lisa Anderson, detective. NICK -LRB- after a beat. -RRB- Can there be some mistake? THE WOMAN -LRB- straining patience. -RRB- Only if you're making it. He looks at her.", "EXT. CATHERINE'S HOUSE ON DIVISADERO - DAY He gets out of the Porsche, starts to go in. He looks disturbed Catherine comes out of the house with Hazel Dobkins, the old woman we saw with her in Mill Valley. Nick watches them a beat, then goes up to them. CATHERINE Hazel, this is Nick. I told you all about him. This is Hazel Dobkins. HAZEL -LRB- smiles. -RRB- You're the Shooter, are n't you? How are you? He looks at her a long beat. NICK Fine. Thank you. He looks at her sort of warily. NICK -LRB- to Catherine. -RRB- Can I talk to you a minute? CATHERINE -LRB- to Hazel. -RRB- Honey, why do n't you go in the car? I'll be right there. The old woman starts going to the Ferrari. HAZEL -LRB- brightly. -RRB- Goodbye, Shooter. Nick looks at Hazel a beat, then at Catherine. NICK You like to hang out with murderers or what? Did you know Roxy - CATHERINE Of course I knew. He looks at her a long beat. CATHERINE -LRB- casually. -RRB- Look. Sometimes when I do my research, I get involved with people. It happened with you, too. She smiles. He looks at her, does n't know what to say. CATHERINE Killing is n't like smoking. You can quit. He looks at her What did she say? CATHERINE -LRB- preoccupied. -RRB- I've go to go. I promised to get her home by six o'clock. She just loves `` America's Most Wanted.'' America's Most Wanted? She turns to go. NICK There was no Lisa Anderson at Berkeley when you were there. She stops, looks at him a beat. CATHERINE What were you doing, checking up on me? What for? He says nothing. A long beat, she looks hurt. CATHERINE -LRB- after a beat. -RRB- Henderson. And she's gone.", "INT. A PHONE BOOTH - DAY He is on the phone. NICK Henderson. Lisa Henderson. With an H. He waits. NICK You do?", "INT. THE DETECTIVE BUREAU - NIGHT He sits in front of a computer screen with Andrews. ANDREWS I can get my butt kicked for this. You're not supposed to be in here. NICK It's not gon na take long, Sam. We see the computer screen. The screen says LISA HENDERSON DMV LICENSE CHECK We wait and then we see the words 1983 RENEWAL - ELIZABETH GARDNER, 147 QUEENSTON DRIVE, SALINAS, CAL. Nick stares at the screen. NICK Bring it up, will you, Sam? A beat, and then we see the license itself It is Beth Gardner on the photo. Nick stares. ANDREWS Hey, that's Dr. Gardner, is n't it? NICK Bring 1976 up. A beat, and the license comes up. We see a young Beth Gardner on the photo. She has blonde hair. Nick stares.", "INT. BETH GARDNER'S APARTMENT - NIGHT She walks in. The apartment is dark. NICK You should n't leave your door open. She is startled. BETH -LRB- after a beat. -RRB- I did n't. Something's wrong with my lock. A beat, she looks at him. BETH -LRB- cold. -RRB- What do you want, Nick? NICK -LRB- quietly. -RRB- Tell me about Catherine. She looks at him a long beat, then turns away - BETH She told you, did n't she? NICK -LRB- after a beat. -RRB- What did she tell me, Beth? BETH -LRB- after a long beat. -RRB- I slept with her once in school. -LRB- a beat. -RRB- I was just a kid. I was experimenting. It was just that one time. -LRB- a beat. -RRB- She developed a. fixation. on me. She styled her hair like mine. She wore the same kind of clothes I did. It scared me. She looks at him, sees his look. BETH Is n't that what she told you? He looks at her a long beat. NICK She told me it was you. You wore the same kind of clothes. You dyed your hair blonde. A long beat as they look at each other. BETH I did dye my hair. It did n't have anything to do with her. I was a redhead for a while, too. NICK -LRB- after a beat. -RRB- Did you know Noah Goldstein? BETH I had him in two classes. NICK You saw all the reports, Beth! Phil had you copied. You never said anything! BETH -LRB- after a beat. -RRB- What do I say - Hey, listen, guys, I'm not gay, but I did fuck your suspect. -LRB- she turns away. -RRB- I was embarrassed. It's the only time I've been with a woman. She turns to him. BETH She's really sick you know. Do n't you know what she's doing? She knows I went to Berkeley. She knows I knew Noah. She makes up that story about me. She's handing you somebody who's obsessed with he her. NICK She did n't hand you to me. She does n't even know who you are. She told me about Lisa Henderson. BETH She knew you'd find out who Lisa Henderson is. You're a good cop - what did she do? Tell you casually and make it seem irrelevant? -LRB- she smiles. -RRB- Did she tell you in bed, Nick? That's how I'd do it. Nick looks at her a long beat. NICK Why did you change your name? BETH I got married. -LRB- a beat. -RRB- He was on staff at the clinic. I was down in Salinas. It did n't. last long. He gets up. He looks at her a long beat. BETH Nick - Do you really think I. that I could kill someone. I never even met Johnny Boz. What about Nilsen? What possible motive would I have to kill him? He turns to go. NICK You should do something about this lock. BETH She's evil. She's brilliant. Be careful, Nick. He looks at her.", "EXT. HIS APARTMENT - NIGHT He gets out of his Porsche. He walks toward the door.", "INT. HIS APARTMENT HOUSE - THE STAIRWAY He starts going up the dark stairway. There is a hand on his neck. He spins. CATHERINE -LRB- smiles. -RRB- Do I scare you, Nick? He looks at her, does n't say anything. CATHERINE -LRB- smiles. -RRB- I just thought I'd surprise you. -LRB- a beat. -RRB- What's the matter? NICK -LRB- after a beat. -RRB- I found Lisa Henderson. CATHERINE Did you? What's she doing? He looks at her, does n't say anything. CATHERINE You're not going to tell me what she's doing. -LRB- a beat. -RRB- I thought we were n't playing games anymore. NICK -LRB- after a beat. -RRB- I did, too. -LRB- a beat. -RRB- She told me it was backwards - she said you even styled your hair the way she did. Catherine looks at him a beat, then smiles. CATHERINE And you believed her? I even went down to the campus police and made out a report about her. He just looks at her. CATHERINE You still think I kill people, do n't you? NICK -LRB- after a beat. -RRB- No. CATHERINE Liar. And she's gone.", "INT. CAMPUS POLICE RECORDS ROOM - BERKELEY - DAY He stands with an old CAMPUS COP. He is going through files. CAMPUS COP Who'd you say you were with? NICK Homicide. San Francisco. He stops at a file, opens it. CAMPUS COP Do n't you guys communicate over there? You must be the same way we are. Nick does n't get it. CAMPUS COP There was a report about Lisa Henderson - January, 1977 - the file's not here. NICK What do you mean it's not here? CAMPUS COP San Francisco P.D. Detective Nilsen. Internal Affairs. You know him? Tell him we want it back. He's had it a whole year. Nick says nothing.", "INT. HIS APARTMENT - DAY He and Gus sit there - they look tired, upset. GUS So Nilsen had a report on her - so what. You do n't know what the hell was in it? NICK Catherine told me what was in it. GUS If she's telling you the truth. NICK Do n't you get it, Gus? If Beth killed Johnny Boz to frame Catherine - she would n't want anyone to know what happened at Berkeley. It gives her the motive to kill Nilsen. GUS How did she know Nilsen knew about it - if it happened? NICK He was I.A.. He probably asked her about it. Gus thinks about it. GUS She'd have to be nuttier than a twenty - pound Christmas fruitcake. She's not the one who hangs out with multiple murderers - your girlfriend is. NICK She's a writer - it's part of what she does. GUS -LRB- irate. -RRB- Goddamn writers - all they do is use up trees and ruin people's eyes. -LRB- a beat. -RRB- There's got ta be somebody at Berkeley who knows what the hell happened. NICK I know what happened. Catherine told me what happened. GUS -LRB- after a beat, quietly. -RRB- You got goddamn tweety - birds flutterin' around your head, that's what you got. You think you're gon na fuck like minks, raise rugrats, and live happily ever after? Oh, man.", "INT. THE STAIRWAY - HIS APARTMENT HOUSE - NIGHT He has his key out to open his door. He hears MUSIC inside. A beat, and he opens the door.", "INT. HIS APARTMENT It is dark. We hear a Rolling Stones SONG. He sees Catherine standing by a window, watching him. She wears black jeans and the black motorcycle jacket. They look at each other a long beat. NICK How'd you get in here? CATHERINE I decided to give you one more chance. -LRB- a beat. -RRB- I missed you. NICK You did n't not see me long enough to miss me. CATHERINE Did you miss me? NICK No. CATHERINE Come over here and tell me no. He walks up close to her. NICK No. She unzips her motorcycle jacket slowly. She wears nothing underneath it. NICK That's below the belt. She reaches for him. CATHERINE Not yet it is n't. She pulls him close. CATHERINE But we're getting there.", "INT. HIS LIVING ROOM - NIGHT They sit in the window seat, naked. His back is against the wall. She sits against him. He has his legs around her. They do n't look at each other. She is smoking. NICK I have to do some research tomorrow. CATHERINE I'm very good at research. I'll help you. NICK No thanks. CATHERINE What are you researching? NICK I'm writing a book. CATHERINE -LRB- smiles. -RRB- Really. What are you writing about. NICK A detective. He falls for the wrong girl. CATHERINE -LRB- smiles. -RRB- What happens to them? NICK -LRB- after a beat. -RRB- They fuck like minks, raise rugrats, and live happily ever after. CATHERINE -LRB- after a beat. -RRB- It wo n't sell. NICK Why not? CATHERINE -LRB- after a beat. -RRB- Somebody has to die. NICK Why? CATHERINE Somebody always does.", "EXT. THE SALINAS CLINIC - DAY He walks in ; it is a small valley hospital. He goes up to the desk. There are two women there. NICK Hi, I'm looking for a Dr. Gardner? ONE WOMAN -LRB- after a beat. -RRB- We do n't have a Dr. Gardner on staff here. THE OTHER WOMAN Dr. Joseph Gardner? NICK -LRB- after a beat. -RRB- Yeah. THE WOMAN He died - about five or six years ago. NICK -LRB- after a beat. -RRB- He was shot.", "INT. SALINAS SHERIFF'S OFFICE - DAY Nick sits with a sheriff's DETECTIVE. DETECTIVE He was walking home from work. They only lived a coupla blocks from the clinic. Somebody drove by and shot him. NICK What was the weapon? DETECTIVE 38 revolver. Never recovered. NICK Were there ever any suspects? DETECTIVE No suspects, no motive. Unsolved. NICK -LRB- after a beat. -RRB- Was his wife ever a suspect? DETECTIVE -LRB- after a beat. -RRB- I had another one of you guys down here from Frisco - about a year ago - he asked me the same question. What's this about anyway? NICK Routine. DETECTIVE Yeah, he said it was routine too. Now it's two guys saying it's routine. NICK Do you remember his name? DETECTIVE -LRB- after a long beat. -RRB- Nope, ca n't say that I do. NICK Nilsen? DETECTIVE That's him. A long beat, then - NICK Was she ever a suspect? DETECTIVE Nope. -LRB- a beat. -RRB- There was some talk ; it never panned. NICK What kind of talk? DETECTIVE The usual - a girlfriend. NICK He had a girlfriend? DETECTIVE Nope. She did. -LRB- a beat. -RRB- Like I say. It never panned. NICK -LRB- after a beat, gets up. -RRB- Thanks. DETECTIVE I hope I helped you out. NICK -LRB- after a beat. -RRB- You did.", "EXT. HER HOUSE IN STINSON - AFTERNOON He walks around the house ; he sees her sitting out on the deck, a portable word - processor in front of her. She is smoking. He goes up to her. NICK -LRB- smiles. -RRB- Hi. I missed you. I finished my research. He moves toward her. She moves away, kills her cigarette. CATHERINE I finished my book. NICK How did it end? CATHERINE -LRB- after a beat. -RRB- I told you. She kills him. They look at each other a long beat. CATHERINE -LRB- quietly. -RRB- Goodbye, Nick. He stares at her. A long beat. CATHERINE I finished my book. -LRB- a beat. -RRB- Did n't you hear me? *. -LRB- a beat. -RRB- Your character's dead. -LRB- a beat. -RRB- Goodbye. He stares at her. He ca n't believe what she is saying. CATHERINE What do you want, Nick? Flowers? I'll send you some flowers. NICK -LRB- after a beat. -RRB- What is this - some kind of. Joke? -LRB- a beat ; he almost smiles. -RRB- Are we playing games again? CATHERINE -LRB- after a beat. -RRB- The games are over. You were right. It was the fuck of the century, Shooter. He stares at her. A VOICE INSIDE Catherine? Nick looks - Hazel Dobkins is there. Catherine still has her eyes on him. CATHERINE Right there. A beat, and then she turns to go inside. Hazel Dobkins smiles slowly at him.", "EXT. THE POLICE PARKING LOT - DUSK He sits in his Porsche, staring ahead. He is parked next to Gus' Cadillac. Gus is suddenly there, onway to his car. GUS -LRB- excited. -RRB- Catherine Tramell's roommate her freshman year. I got a call from her. I've been calling people who were in her dorm all day. She must've heard I was trying to talk to her. She says she knows all about Catherine and Lisa Henderson. She's over in Oakland. You wan na come with me? Nick just stares ahead. GUS You look like you seen a ghost, son? Nick looks at him.", "INT. GUS' CADILLAC - NIGHT Gus drives. GUS -LRB- excited. -RRB- Johnny Boz's psychiatrist has an office on Van Ness. Guess who he shares office space with? Dr. Elizabeth Gardner. Nick does n't even respond. Gus looks at him. GUS What in hell's the matter with you? Nick does n't say anything, stares ahead.", "EXT. AN OFFICE BUILDING - OAKLAND - NIGHT Gus gets out with Nick. It is an old building. GUS Where the hell you goin'? NICK -LRB- after a beat. -RRB- I'm going with you. GUS She said alone - suite 405. It ai n't gon na take long. A beat, and Nick gets back in the car.", "INT. THE OFFICE BUILDING - NIGHT Gus is on the first floor. There is no one around. He hits the elevator button. A beat, and it comes. He steps in.", "INT. THE ELEVATOR - NIGHT He hits the button for the fourth floor. The elevator rises a floor, stops. The door opens. There is no one there. Then it starts going up again. It rises to the third floor. It stops. The door opens. There is no one there. Then it starts to rise again.", "EXT. GUS' CADILLAC - NIGHT Nick sits there, staring ahead. NICK -LRB- suddenly, screaming. -RRB- Gus!", "INT. THE ELEVATOR As it goes up. It stops. The door starts to open. As it does - a figure in a hooded raincoat sweeps into the elevator. It happens very fast. We see blonde hair around the face. But we do n't see the face itself - the head is down, the hood up. There is an icepick in the figure's hand. The figure explodes into Gus. The icepick goes into his neck.", "INT. THE STAIRWAY Nick tears desperately up the stairway - he hits the fourth floor door. It explodes open.", "INT. THE FOURTH FLOOR He stands there a beat, sees the elevator door open. He runs there, He sees Gus, crumpled into the corner of the elevator.", "INT. THE ELEVATOR He goes into the elevator - holds Gus. He is dead. A long beat. He sees the gun in Gus' hand - he takes the gun out of his hand. He runs out of the elevator.", "INT. THE FOURTH FLOOR He hears something. Gun in hand, he runs towards the SOUND. He stops, gun in hand, listens again. He runs again, hears nothing. Behind him, we see a figure. He spins suddenly, gun, in hand. Beth Gardner is there. She wears a windbreaker. She has her hands in the pockets. BETH What are you doing here? NICK -LRB- screaming. -RRB- Put your hands up! She stares at him. NICK -LRB- screams. -RRB- Put your fucking hands up! Do n't move. BETH I got a message on my machine to meet Gus here. Where is he? She smiles a strange smile. She takes a step toward him. NICK -LRB- screams. -RRB- Do n't! -LRB- a beat. -RRB- I know about your husband. You still like girls, Beth? BETH What? She smiles strangely again, takes a step toward him. NICK -LRB- screams. -RRB- Take your hands out of your pockets! She moves a hand in a pocket and moves towards him fast - BETH What is wrong with you? And he FIRES the gun. She is hit in the chest, goes down. A long beat, and then he goes to her. He gets down on the ground. Her eyes are open. He empties the pockets of the windbreaker - first one, then the other the pockets are empty. BETH -LRB- in a whisper. -RRB- I loved you. And she dies.", "INT. THE FOURTH FLOOR - LATER A lot of policemen, coroner's guys, photos being taken. Nick stands there with Lt. Walker, Harrigan, and some of the Internal Affairs guys. LT. WALKER -LRB- upset. -RRB- What made you think she had a gun? Nick says nothing ; he looks like a zombie. LT. WALKER What the hell was she doing here? What was Gus doing here? Andrews yells to them from the stairway door. ANDREWS Lieutenant.", "INT. THE STAIRWAY A FORENSICS MAN very carefully handles a hooded rain coat in a stair landing. He wears gloves. Nick is there with Lt. Walker. The Forensics Man picks the raincoat up - a long blonde wig falls out of it. There are flecks of blood on it. He reaches into the pocket and pulls out an icepick. It has a thin steel handle and is bloody. He hands the icepick to an assistant. He looks at the raincoat. It has blood on it. THE FORENSICS MAN It's departmental issue. LT. WALKER -LRB- quietly. -RRB- Jesus.", "INT. BETH GARDNER'S APARTMENT - NIGHT Nick with Lt. Walker. Nick looks like a zombie. Andrews comes up to them. He has a gun in his hands. ANDREWS Thirty - eight caliber revolver. Bottom drawer, bureau in the bedroom. LT. WALKER Have ballistics check it for Nilsen. Harrigan comes out. HARRIGAN Lieutenant, you'd better come in here. Lt. Walker goes into the kitchen. Nick follows him. There are several cops around a kitchen cabinet. A drawer is open. Walker looks - we look with him. We see a copy of Love hurts, Catherine's paperback book, and a stack of photos of Catherine. Walker picks the photos up, goes through them - we see shots of Catherine in college - Catherine at a fight - Catherine with Johnny Boz - Catherine with Roxy. He hands the photos to Nick. Nick stares at them. LT. WALKER I guess that's it.", "INT. THE DETECTIVE BUREAU - NIGHT Nick sits, his feet up. He looks like a zombie. With him are Lt. Walker, Andrews, and Captain Talcott. We see other plainclothesmen in the b.g. - a flurry of activity, people on phones. A long beat. LT. WALKER She must've heard you on the stairway and dumped the stuff. Nick says nothing, stares off. A DETECTIVE comes over to them. DETECTIVE There was no suite 405 in that building. Catherine Tramell's roommate in her freshman year is dead. She died of leukemia two years ago. An INTERNAL AFFAIRS MAN comes over to them. INTERNAL AFFAIRS MAN Our files on Dr. Gardner show nothing about a police report in Berkeley - nothing related to Salinas, either. A long beat - the phone RINGS. Andrews picks it up, listens. ANDREWS Thanks. He hangs up. ANDREWS Ballistics says the.38 we found in her apartment matches Nilsen. No registration. They're checking with Salinas. The icepick is the same brand and model as the Boz weapon. A long beat - Nick just stares. Harrigan comes up to them. HARRIGAN We checked the tape machines at Dr. Gardner's apartment and at her office - both here and the one on Van Ness. No message from Gus on any of'em. The one at her apartment was broken. -LRB- a beat. -RRB- Johnny Boz's psychiatrist says he thinks he remembers Dr. Gardner and Boz meeting at a Christmas party at his house a year ago. A long beat. LT. WALKER -LRB- after a long beat, sadly. -RRB- You just ca n't tell about people, can you. Even the ones you think you know inside - out. He and Nick look at each other a beat. CAPTAIN TALCOTT Congratulations, Curran. Nick looks at him, expressionless.", "EXT. HIS APARTMENT - NIGHT He parks his car. It is dark. Foggy. He starts heading inside.", "INT. HIS APARTMENT - NIGHT He goes in. He starts to walk up the dark stairway, we see him walking up several flights of steps.", "INT. THE CORRIDOR TO HIS APARTMENT He opens his door with his key.", "INT. HIS APARTMENT He walks in. The apartment is dark. A VOICE -LRB- behind him. -RRB- Hi. It is a whisper, almost a hiss. He spins, fast. Catherine stands there, pressing herself against a wall. They look at each other a long beat. She looks like she is almost in a trance. CATHERINE I heard about it. on TV. He looks at her, expressionless. A long beat, their eyes are into each other. She looks like she is almost shivering. CATHERINE I ca n't allow myself to care about you - I ca n't allow myself to care - I ca n't - I ca n't - She looks very emotional. He moves towards her, puts his arms around her, holds her very close. CATHERINE -LRB- in a whisper. -RRB- I do n't want to do this - please - I do n't want to do this - I lose everybody - I do n't want to lose you - I do n't want to - He presses her closer and closer to himself, holds her.", "INT. HIS BEDROOM - NIGHT It is dark ; we ca n't see clearly. Atop her. he makes love to her. gently. tenderly. hardly moving inside her. there are tears in her eyes.", "INT. HIS BEDROOM - LATER Atop him. she is on her knees, straddling him. he is on his back, his eyes are closed. her head arches back. her breasts high. he strains toward her with his body. she holds her arms high. her right hand is in a fist. -LRB- we only see the back of her hand and arm -RRB-. it comes down suddenly. he bucks. writhes. then her whole body falls on top of him. A very long beat. We ca n't see him. her body completely covers him. And then finally he moves. turns her to the side. kisses her.", "INT. HIS BEDROOM - LATER The Stones play `` Sympathy For The Devil'' in the b.g. ; the MUSIC is low. They lie next to each other on the bed. The CAMERA faces them. He lies, staring at the ceiling, on the left side of the bed, smoking a cigarette. She is curled away from him toward the right side of the bed. A long beat, then - CATHERINE What do we do now, Nick? NICK -LRB- after a long beat. -RRB- We fuck like minks. We raise rugrats. We live happily ever after. We see her right arm go to the side of the bed and then over. He stares at the ceiling. CATHERINE I hate rugrats. NICK -LRB- after a long beat. -RRB- We fuck like minks. We forget the rugrats. We live happily ever after. We see from an ANGLE to the left side of the bed now Her face is expressionless. Her right arm dangles over the right side of the bed. Her right hand is clenched. Is she holding something in it against her arm? We see them from an ANGLE to the left side of the bed now : He turns his body away from her to put out his cigarette. We see her behind him slowly turning towards him and the CAMERA. A beat, and he turns towards her. They look at each other. A long beat as the SONG gets louder. We see them in CLOSEUP. We do n't see her right arm. CATHERINE -LRB- in a whisper. -RRB- I love you. A beat, and he kisses her. The CAMERA BACKS AWAY from them slowly to the right side of the bedroom as they kiss, and we - FADE TO BLACK. A long beat, as the SONG keeps playing. and we. We see them from the right side of the bedroom. And then the CAMERA LOWERS SLOWLY as they kiss with more and more passion. It keeps going LOWER. There is something under the bed. The CAMERA MOVES CLOSER towards it as `` SYMPATHY FOR THE DEVIL'' plays louder. We see it now in CLOSEUP as the bed rustles above. It is a thin, steel - handled icepick. The SONG plays LOUDER and LOUDER, and we - FADE OUT THE END"], "labels": [0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 0.0, 1.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 1.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0], "summary": "In San Francisco, homicide detective Nick Curran investigates the murder of retired rock star Johnny Boz, who has been brutally stabbed to death with an ice pick during sex with a mysterious blonde woman. Nick's only suspect is Boz's bisexual girlfriend, crime novelist Catherine Tramell, who has written a novel that mirrors the crime. It is concluded that either Catherine is the murderer or someone is attempting to frame her. Catherine is uncooperative and taunting during the investigation, smoking and exposing herself during her interrogation. She has an alibi and passes a lie detector test. Nick discovers Catherine has a history of befriending murderers, including her girlfriend Roxy, who killed her two younger brothers, on impulse, when she was 16, and Hazel Dobkins, who killed her husband and children for no apparent reason. Nick, who accidentally shot two tourists while high on cocaine during an undercover assignment, attends counseling sessions with police psychologist Dr. Beth Garner, with whom he has an on and off affair. Nick discovers that Catherine is basing the protagonist of her latest book on him, wherein his character is murdered after falling for the wrong woman. Nick also learns Catherine has bribed Lt. Marty Nielsen of Internal Affairs for information from Nick's psychiatric file and that Beth had previously given it to Nielsen after he threatened to recommend Nick's termination. Nick assaults Nielsen in his office, and later becomes a prime suspect when Nielsen is killed. Nick suspects Catherine, and when his behavior deteriorates, he is put on leave. Nick and Catherine begin a torrid affair with the air of a cat-and-mouse game. Nick arrives at a club and witnesses Catherine doing coke with Roxy and another man. Nick and Catherine dance and make out, and are later observed having violent sex in Catherine\u2019s bed by Roxy. Catherine ties Nick to the headboard with a white silk scarf, just as Boz was by the mystery blonde, but does not kill him. Roxy, jealous of Nick, attempts to run him over with Catherine's car, but dies when the car crashes. Catherine grieves over Roxy's death and tells Nick about a previous lesbian encounter at college that went awry. She claims the girl became obsessed with her, causing Nick to believe that Catherine may not have killed Boz. Nick identifies the girl as Beth, who acknowledges the encounter, but she claims it was Catherine who became obsessed. Additionally, Nick discovers that Beth and Catherine's college professor was also killed with an ice pick in an unsolved homicide, and that the events inspired one of Catherine's early novels. Nick comes across the final pages of Catherine's book in which the fictional detective finds his partner's body in an elevator. Catherine then breaks off their affair, causing Nick to become upset and suspicious. Nick later meets his partner Gus Moran, who has arranged to meet with Catherine's college roommate at an office building, hoping to find out what really went on between Catherine and Beth. As Nick waits in the car, Gus is stabbed to death with an ice pick in the elevator. Recalling the last pages of Catherine\u2019s book, Nick runs into the building, only to find Gus' body in a manner similar to the scene described. Beth turns up as if out of nowhere and explains that she received a message to meet Gus. Nick suspects Beth has murdered Gus and, believing she is reaching for a gun, shoots her, but discovers that Beth was only fingering an ornament on her key chain. Evidence collected in Beth's apartment points to her as the killer of Boz, Nielsen, Moran, and her own husband, along with collections of photos and newspaper clippings of Catherine that imply an obsession with her. Nick is left confused and dejected. He returns to his apartment where Catherine meets him. She explains her reluctance to commit to him and the two have sex. As they discuss their future, an ice pick is revealed to be under the bed.", "name": "Basic_Instinct"}
{"scenes": ["TITLES The screen is composed of large, straight - edge areas of black and white that rest against each other in a manner that suggests some kind of pattern, without making a final sense ; it is as if we are too close to something that, could we see it from a distance, would be clear to us. These areas shift and change - both their own shape and their relationship to their neighbors. New patterns are being made, new solutions found - but they are just beyond our comprehension. The effect should be aesthetically pleasing but simultaneously frustrating and, perhaps, a little unsettling. Shortly into this sequence, and subsequently inter - cut throughout, we begin to see, in FLASHBACK, the story of HELLRAISER. Arriving first as very short shock - images, these brief sections eventually convey to the audience all the necessary emotional and narrative information they will need to understand the background to HELLBOUND. Meanwhile, the black and white shapes are still moving, the unseen patterns still shifting. Over this constantly mobile background, the TITLES begin to appear. As the TITLES unroll, another change comes over the puzzle pieces behind them. Where before they moved and related only in two dimensions, gradually we see that they are now claiming depth as well. The puzzle we are looking at is now a three - dimensional one. The pieces are now solid blocks of various geometric shapes, locking together, moving apart, finding their final position. Finally, as the TITLES come to their conclusion, the camera pulls back until we can see clearly what we have been looking at. As the final piece clicks into positions we see it is THE LAMENT CONFIGURATION from HELLRAISER. The closed box rests before our eyes a moment and then the circle in the centre of the side that faces us gives way to an image of a dusty street with a market. Simultaneous to this, the camera TRACKS into this image until it fills the screen", "EXT.   A STREET BAZAAR   DAY The TRACK continues up through the market and then turns through the stalls to find a store behind them. As we TRACK through the store's doorway, we pass through a beaded curtain that momentarily reminds us of the TORTURE ROOM in HELLRAISER.", "INT.   STORE   DAY Once we are in the store itself, though, this impression disappears. It is an ordinary, slightly seedy, junk shop. The stall seems to sell an odd mixture of items ; native trinkets share space with second - hand items from European colonists. These second - hand goods give us some sense of period. They suggest the late ` twenties/early ` thirties. This is reinforced by the sounds coming from one of them, an old - fashioned mahogany - cased wireless. A foreign voice speaks from it in a language we do n't understand, though perhaps the words `` BBC world service'' are discerned in the middle, and then a dance - hall tune of the period begins to play. -LRB- Depending on availability, it would be nice to have something relevant - ` I'll follow my Secret Heart', perhaps, or ` Dancing in the Dark'. -RRB- Into shot comes an ENGLISH OFFICER. His uniform, too, suggests the ` twenties, the last days of Empire. He is tall, thin, and dark - haired, but at no stage do we see his face clearly. He stands in front of the stall. The TRADER suddenly stands behind the counter. He has been crouched beneath it, as if checking or preparing something. He is a big, impressive - looking black man. His face is totally impassive as he stares at his customer. Neither of the men speak. Obviously, a deal has already been struck and today is the pay - off. The OFFICER, a little arrogantly - suggesting racist contempt, slaps down a bag of gold on the stall's counter. Keeping his eyes firmly on the OFFICER, he reaches beneath him and brings something up from under the counter and places it In the OFFICER'S outstretched hand. He is holding a LAMENT CONFIGURATION. The OFFICER turns and leaves. The camera TRACKS out of the store, looking at the TRADER as he watches the departing OFFICER.", "INT.   THE OFFICER'S QUANSETT HUT   DAY It is typical of temporary military quarters, complete with a curved ceiling of corrugated material. It is stripped of furniture. The blinds are down. The OFFICER, still in uniform, sits cross - legged, the BOX held before him. He is already well into the solving process and very soon after the shot begins the BOX begins to speed its own solution. Finally, two sections of the BOX shoot upwards and begin to peel apart from each other, ready to reveal its secret. The OFFICER, suddenly nervous, drops the BOX and scuttles back across the floor to stare at it. The BOX lands upright, its extended parts still open above it. For a beat of two, nothing happens. We become aware of the OFFICER'S pulse, throbbing excitedly on the soundtrack.", "INT.   THE OFFICER'S QUANSETT HUT   DAY    OFFICER'S P.O.V. Slowly we, the camera, and the OFFICER, move towards the still, silent, but menacing BOX. We approach it until finally we are above it, looking down into the opening it has made in itself. There is undefined movement inside. Suddenly, something flies up directly at us. We glimpse it only briefly, but enough to see its nature. Unlike the hooks that flaw at FRANK in HELLRAISER, this is more organic than metallic. Pink and flesh - like but on a long gray - blue stalk, it flies upward, its lips peeling apart gapingly to reveal scores of yellow, discoloured, and viciously sharp teeth - like hooks. The OFFICER screams and the screen begins to take on a red tint so that, just as the thing is about to fill the screen with its hungry mouth, the entire screen turns red. The red screen is held for a second and then suddenly becomes complete blackness.", "INT.   BLACK SPACE The black screen continues and, rising slowly from it and falling back slowly into it, in a dream - like, surrealistic manner, come various images of the OFFICER'S torment/pleasure in Hell. By various camera tricks, such as step - printing or optical blurring, his face is still not clearly seen, but is seen enough for us to see his sensual, almost orgasmic responses to what is being done to him. Cuts appear spontaneously across his face, leaving a grid like crisscross pattern of wounds. Finally, a disembodied hand gripping a hammer drives nails into each corner formed by these wounds and, as the face comes into full view for the first time, we realize who this is. It is PINHEAD from HELLRAISER. PINHEAD'S completed face floats on the blackness and stares out at us. PINHEAD -LRB- echoed & slow. -RRB- Kirsty, come to daddy The tiny silence following PINHEAD's words is shattered by a piercing and terrified scream.", "INT.   HOSPITAL ROOM    NIGHT The scream continues, but the blackness is replaced by KIRSTY's anguished face ; it is she who is screaming. The scream subsides, replaced by breathless panting accompanied by rapid eye movement. RONSON -LRB- off camera. -RRB- Ah, you're awake. Good. We pull out to see that KIRSTY is sitting up, fully dressed, on a hospital bed. RONSON, a police detective, sits on a plain wooden chair, which is the only other piece of furniture in the room. The walls are bare save for a piece of primitive art on one wall, and, on another, a circular barred window looking out. RONSON stands up and walks to the foot of the bed. He rests his hand on the bed's metal frame and smiles a perfunctory smile. RONSON Tell you what - we'll make a deal. I'll tell you what I know, then you tell me what you know. O.K? KIRSTY is still re - orienting herself. She blinks a few times and then focuses on RONSON's hands gripping the bed. RONSON O.K? KIRSTY looks up at RONSON's face and then around at the room. KIRSTY Where am I? RONSON You're in the Malahide Institute. It's a psychiatric hospital. But, hey, do n't feel judged - it was just the nearest place to bring you. Remember? You and your boyfriend? KIRSTY Steve. RONSON Do n't worry. He's O.K.. We sent him home hours ago. Jeez, what a story. He puts a cigarette in his mouth and lights it. RONSON What was it, kid? Smack? Angel dust? Do n't tell me acid's back in fashion? KIRSTY What are you talking about? Who are you? RONSON Oh, excuse me. RONSON reaches in his jacket and flashes an I.D. RONSON Ronson. Homicide. I'm this district's slash and dash expert. Made a career of the nasty ones. That's why I was at your Dad's house. Jesus, what a mess. KIRSTY'S eyes prick with tears. She looks away from RONSON. KIRSTY -LRB- to herself. -RRB- Daddy.", "INT.   JUNK ROOM LODOVICO STREET   NIGHT CORTEZ, a POLICE OFFICER, shifts some unpacked crates to allow a closer look at the shriveled and deformed corpse of one of FRANK and JULIA'S victims. CORTEZ Jesus. CORTEZ prods at the corpse with his night - stick, attempting to turn it over. A stream of maggots pours from the mouth and the cavity that used to be its throat. CORTEZ jumps back in disgust and knocks against one of the several wardrobes in the cluttered room. Another corpse flies out at him, as decayed and flvblown as the first. CORTEZ draws his gun and empties it blowing the corpses head off, scattering flesh, mucus, and bone - but no blood - everywhere before realizing it is already dead. He realises what he has done and lowers his weapon sheepishly. CORTEZ Oh. shit.", "INT.   HOSPITAL ROOM   DAY RONSON is sitting back in the chair, looking at the now slightly calmer KIRSTY. RONSON We got two missing people and a house full of corpses. He holds out his hand towards KIRSTY in a theatrical manner. RONSON Talk to me. KIRSTY swings her legs off the bad, but remains sitting on it, her feet on the floor. She does n't look directly at RONSON but begins to take in the -LRB- few -RRB- details of the room for the first time. KIRSTY I thought Steve had talked to you? RONSON Oh, pardon me. I obviously did n't convey my hesitation to take his story at face - value. No, YOU talk to me. But - do me a favor? - none of this DEMONS crap. KIRSTY closes her eyes, almost wincing, as memory comes. KIRSTY opens her eyes. Consciously, she slows the rhythm of the dialogue down. KIRSTY He talked about Demons, huh? RONSON Yeah. KIRSTY turns her head to look directly at RONSON. KIRSTY It's true. All of it. It's all true. RONSON stares at her, impressed by her conviction and intensity. There is a second of shared silence. Suddenly, a shocking ELECTRONIC CRACKLE shatters the mood. RONSON starts, then realises it is the radio at his belt. He snatches it up and speaks into it. RONSON Ronson.", "INT.   BEDROOM  LODOVICO STREET   NIGHT Another OFFICER, KUCICH, is standing, radio in hand, by the blood - stained mattress. CORTEZ stands beside him, gun now safely re - holstered. KUCICH Kucich here, sir. We just found another one, though it suffered a little. KUCICH looks at CORTEZ, who looks embarrassed. KUCICH er, accidental damage in discovery. Anyway, just about the only portable evidence we've got here - apart from human remains - is the mattress. Looks like someone was messed up real bad on it.", "INT.   HOSPITAL ROOM   NIGHT KUCICH -LRB- off - camera. -RRB- Can we send it downtown? RONSON throws KIRSTY a look of exasperation with his colleague. The camera stays on KIRSTY's face as RONSON speaks. RONSON What the hell are you asking me for? Tag it. Move it. KIRSTY -LRB- to herself. -RRB- The mattress. The mattress. JULIA. Without waiting for a reply, RONSON switches the radio off and clips it back to his belt.", "INT.   BEDROOM   55 STREET   NIGHT We are looking at the mattress. KUCICH has left the room. CORTEZ draws a pad from his packet. The pad is stapled, and the staple has been badly inserted and is not closed property. In the act of tearing a label from the pad, CORTEZ catches his thumb on the staple. OFFICER Shit! The label is adhesive - backed. CORTEZ licks it and presses it on the mattress. He writes on it - 55L/E1. As he stands up from doing this, a single drop of blood from his thumb lands on the mattress. -LRB- It is important that we see it is only a single drop - and nothing like the amount LARRY spilled on the floorboards. -RRB- CORTEZ leaves the room to fetch a colleague to help him move the mattress. We move in to see the drop of blood disappear very quickly into the mattress, as if it is being sucked in. As this happens, we hear on the soundtrack the faintest RUMBLE.", "INT.   OPERATING ROOM   NIGHT A somewhat antiquated and frightening operating room, filled with machines, monitors, and surgical instruments. The corners of the room fall away to shadow. Sitting upright in the centre of the room is a FEMALE PATIENT. She is awake and staring out at the camera. Twin probes/clamps are in each of her ears to hold her in place. Her head is shaved and the skin on the back of her head has been cut open and peeled apart. The flaps of the skin are held away from the area being worked on by four clamps. -LRB- we never actually see round to the exposed brain itself -RRB- Immediately behind her, and probing with professional skill and coolness into her exposed brain, is DOCTOR MALAHIDE. He is in his late forties and looks like all the great doctors look - rational, civilized, competent, and powerful. There is an intensity in his eyes and the lines of his face though that suggests something more than normal. The room has several attentive listeners and observers, but the one nearest to MALAHIDE is his personal student/assistant KYLE MACRAE, young, conventionally good - looking, with an open, friendly, face. MALAHIDE is holding forth on the secrets of his trade, several times looking away from his patient while still working on her, to make sure his audience understand his points. MALAHIDE We can bring them back properly more often than scientific orthodoxy dictates, ladies and gentlemen. And the knife, far from the enemy of of analysis, is often its greatest ally in solving the puzzles of psychosis. Analysis isolates and massages. Surgery pinpoints and corrects. though you've got to know what you're doing, of course. Polite laughter from several students. MALAHIDE Some things are obvious. Here, for example,. He prods in at a specific area. MALAHIDE are the optical motor nerve control centers. The PATIENT begins to blink in time with MALAHIDE'S prodding. The affect is half - comical, half - distressing. Perhaps MALAHIDE carries it on just that half - second too long for innocent demonstration. But the students give impressed murmurs anyway. MALAHIDE Now. This case. A deeply - buried psychosis severe enough to produce frighteningly frequent hysteria and aggression. Incurable. Say others. Not so. Analysis isolates. The knife exposes. Medication controls. As he speaks, MALAHIDE injects a syringe directly into the PATIENT's brain. Her face spasms momentarily. MALAHIDE stands back slightly. His face is serene, calm, and confident. He takes a small, motorised drill and sets to work on the brain. MALAHIDE And then, ladies and gentlemen, we REBUILD. With all the care and knowledge that our years of training have given us. He looks around at them all, smiling slightly. MALAHIDE WE BRING THEM BACK. The students murmur their approval. Perhaps they even applaud. MALAHIDE acknowledges their reaction with a modest nod. Suddenly, an intercom on the wall cuts in. INTERCOM Dr. Malahide, the new arrival is awake, and appears very distressed. MALAHIDE steps back briskly and begins to peel his cloves off. He nods at a nearby student. MALAHIDE My part in this is over. You may tidy up for me. Kyle, you come with me. MALAHIDE and KYLE leave the room.", "INT.   HOSPITAL ROOM   NIGHT KIRSTY has her hands over her face and is shaking. RONSON stands and crosses to her. He takes her hand from her face and calms her. RONSON Easy, easy. Whatever happened, whatever you saw, it's not here now. KIRSTY I saw it. him. But I got away. And I took the box. And I solved it. And they came. RONSON Who? KIRSTY The Cenobites. She stares directly at RONSON, daring him to disbelieve. KIRSTY The Demons. RONSON stares back, perhaps a glimmer of belief in his eyes. On the soundtrack, the sudden and shocking sound of a door being slammed open and hitting the wall. KIRSTY screams. Even RONSON is startled. In the doorway are DOCTOR MALAHIDE and KYLE. MALAHIDE advances into the room, smiling apologetically as he does so. MALAHIDE Sorry. Must get that door fixed. Detective Ronson? MALAHIDE holds his hand out, as RONSON nods in response. MALAHIDE I am Doctor Malahide. The man shake hands. MALAHIDE gestures behind him. MALAHIDE My assistant, Kyle Macrae. And this must be Kirsty? MALAHIDE speaks quickly, as if to get the formalities out of the way. As he says her name, he smiles benignly at KIRSTY who, still distraught from her memories and shocked at the slamming of the door, simply stares at him. MALAHIDE turns his attention back to RONSON, drawing him away and speaking to him in a lower voice. Meanwhile, KYLE walks over to KIRSTY and smiles at her - long enough to embarrass her into smiling back. MALAHIDE I've read the boy's statement. Quite the adventure they believe they had. I'd like to talk to her alone. Do you think? RONSON looks over his shoulder at KIRSTY. He then looks carefully at MALAHIDE and then nods slowly. RONSON Mmmm. O.K. Frankly, I think she's more your territory than mine. Shame. RONSON looks back at KIRSTY. RONSON Kirsty. Doctor Malahide's going to look after you now. Maybe we could talk some more tomorrow. KIRSTY nods vaguely and then, just as RONSON reaches the door, calls out to him. KIRSTY Wait! The mattress. You've got to destroy it. She DIED on it, you see. The mattress. It's haunted now. She can come back. like Frank. SHE CAN COME BACK. RONSON smiles helplessly at her, then glances at MALAHIDE with a `` you see what I mean'' expression, and leaves the room. KIRSTY -LRB- to herself. -RRB- The mattress. MALAHIDE stares at her briefly, with a strange expression on his face and then abruptly follows RONSON through the door. KIRSTY is too absorbed to notice this odd behavior, but KYLE stares incredulously as MALAHIDE leaves the room. KYLE Uh. excuse me a moment. He follows to the door and stands in the doorway, looking down the corridor.", "INT.   HOSPITAL CORRIDOR    NIGHT RONSON stands before a set of double - doors, talking to a UNIFORMED OFFICER. MALAHIDE comes into view, walking swiftly, and instantly talks over their conversation. MALAHIDE Detective. I'll be able to help this girl. But I need your assistance.", "INT.   HOSPITAL CORRIDOR   NIGHT Looking back at the corridor, we see the door to KIRSTY'S room ajar, and KYLE standing by it looking down.", "INT.   HOSPITAL CORRIDOR   NIGHT  (KYLE' P.O.V) A LONG SHOT of MALAHIDE and RONSON. KYLE, and we, are too far away to hear what is said, but MALAHIDE in nodding and gesturing emphatically, as if persuading RONSON of something.", "INT.   HOSPITAL ROOM NIGHT KYLE returns into the room and closes the door. His expression is puzzled, troubled. Then he remembers there is a patient here and he smiles. KYLE So. You're Kirsty, huh? KIRSTY You a doctor, too? KYLE smiles again. KYLE Nearly a doctor. I'm Kyle Macrae. Call me Kyle. KIRSTY draws a deep breath, temporarily calmed. She even manages a smile. KIRSTY Hi, Kyle. MALAHIDE re - enters the room. MALAHIDE Now, Kirsty. KIRSTY looks at him warily. KIRSTY The cop. He did n't believe me. MALAHIDE I suspect not. But that does n't necessarily mean you're wrong, does it? KIRSTY Do you believe me? MALAHIDE offers a re - assuring laugh. MALAHIDE Well, I do n't know yet. However, you're not lying. YOU believe this is the truth. KIRSTY It IS the truth. Suddenly, the door opens again. An INTERN is standing there. For the briefest of moments, MALAHIDE looks furious and then, catching himself, assumes his calm demeanor. MALAHIDE Well? INTERN Sorry, Dr. Malahide. But it's Tiffany. She's escaped. again. MALAHIDE sighs. MALAHIDE Very Well. He looks down at KIRSTY. KIRSTY I'm sorry, Kirsty. Kyle will come back with something to help you sleep. We shall speak tomorrow. MALAHIDE and KYLE follow the intern from the room, KYLE giving a last friendly smile as the door closes behind them.", "EXT.   CARNIVAL   NIGHT We are staring down the midway of a deserted carnival. On either side, stalls and rides beckon to pleasures that their locked doors and tarpaulin - draped entrances deny. A light rain is falling. A huge wooden cut - out of a grinning clown dominates one stall while the sign beneath him seems to state the ethos of the whole place ; LOTS ` O' FUN. Another has a banner proclaiming FREAK SHOW, with the subheading YOU'LL GASP AT THE GEEK! On the horizon in the distance, almost denying the reality of what we are seeing, tower vast cranes of unimaginable height while beyond them impossibly huge oil - drums squat against the moon - bright but cloudy sky. Into shot, and running down the midway, comes a girl, TIFFANY. TIFFANY is a girl in her early teens but looks younger then her years due to her boyish figure and her slightly over - delicate features. For the last months, TIFFANY has been finding ways out of the institute and making her way here, where she has one special obsession, which we will soon see. Following her into shot, but many yards behind, come two INTERNS from the Institute. They contrast each other almost comically, one being tall and plump while the other is smaller and thinner. They're not quite the Stan and Ollie of the medical world but with some serious rehearsal they could get there. 1st INTERN Oh, Jesus - she's gon na make it. Even as the first INTERN says this, we see TIFFANY make a sharp left turn into a stall entrance.", "EXT.   HALL OF MIRRORS   ENTRANCE   NIGHT A front view of the stall into which TIFFANY has run. The large sign above it proclaims ` HALL OF MIRRORS' and a smaller sign perched above a distorting mirror to one side of the entrance says ` YOU'LL BE AMAZED'. The two INTERNS enter at a run.", "INT.   HALL OF MIRRORS    NIGHT There follows a hopelessly one - sided pursuit through the mirror maze as TIFFANY effortlessly eludes the two INTERNS. There are three major facets to this sequence ; 1 -RRB- Comic relief - as the two interns make fools of themselves. There could even be a room of distorting mirrors where the thin INTERN becomes fat and the fat one thin. 2 -RRB- TIFFANY'S ease and expertise with patterns and puzzles. 3 -RRB- Confusion of the audience's sense of the real and the unreal. This goes on long enough for us to realise the 1ST INTERN was right to worry, how long TIFFANY could elude them. Then, jarringly, as the screen is full of reflected TIFFANYS there suddenly appears amongst them a single image of MALAHIDE. Everything stops. The image of MALAHIDE -LRB- and we should n't he sure yet if we're looking at a reflection or the real man -RRB- puts its hands out, palms up. MALAHIDE Tiffany. Come. All the TIFFANYS move quietly toward him until they all disappear from view. Then the real TIFFANY comes into shot, her back to us, and walks toward what we now see to be the real MALAHIDE, who is standing in a doorway deliberately framed like a mirror to confuse the customers. TIFFANY places her hands docilely on to MALAHIDE's outstretched ones.", "INT.   HOSPITAL ROOM   NIGHT KIRSTY has been dozing fitfully, but is awakened by strange noises. At first terrified, she slowly realises it is simply someone being put in the room next door. She waits until activity has ceased and then moves to her door. It is unlocked. She moves out into the corridor.", "INT.   HOSPITAL CORRIDOR   NIGHT Looking warily from side to side, KIRSTY edges out into the corridor, along it, and then stops by the door of the adjoining room.", "INT.   TIFFANY'S ROOM   NIGHT   C.U. A hand fits a piece of jig - saw puzzle into the space it belongs. We know it is a jig - saw by the shape of the pieces, but it is clearly not the conventional type - a picturesque photo - because all we can see at this close - up angle are large areas of black and white.", "INT. TIFFANY'S ROOM   NIGHT We now see that the puzzle is on the floor of a room of a similar size to KIRSTY'S. It is slightly more decorated ; It has curtains and wallpaper. And a tiled floor. Sitting cross - legged on the floor next to the puzzle is TIFFANY. The puzzle, which we can now see more clearly, is an intricate abstract design in black and white. There are several pieces still un - fitted but TIFFANY is working steadily, efficiently, and with complete concentration. On a wall behind her there is a visual record of her progress over the last few months. Sealed in plastic by staff members are. Puzzles she has solved, with dates marking her advancement. They begin with the simplest wood block animals usually given to very small children. passing through photo - puzzles of increasing difficulty, and culminating in one or two other examples of the kind of complicated pattern - work she is involved in now.", "INT.   HOSPITAL CORRIDOR   NIGHT We pull out to see that this is KIRSTY'S P.O.V. from the glass panel in the door of TIFFANY'S room. TIFFANY looks up at one point and eye - contact is made. KIRSTY gives a tentative smile and a small wave. TIFFANY stares at her. The stare is long but unresponsive and finally TIFFANY returns to the puzzle. KIRSTY has her back to us and the camera is quite close in when a hand suddenly moves into shot and touches her shoulder. KIRSTY jumps back in alarm, fear on her face. But it is only KYLE. KYLE raises his hand in apology. KYLE Oh, Jesus, I'm sorry. God, if anyone should know not to do that, it's me. I'm sorry. O.K? KIRSTY nods and gives a nervous smile. KYLE, still embarrassed by his foolishness and eager to change the subject, nods towards the glass panel. KYLE Sad, huh? She's been here six months. Her name's TIFFANY. KIRSTY What's the matter with her? KYLE Almost complete withdrawal. She has n't said a word for nearly two years. KIRSTY God, that's terrible. KYLE Yeah. Doctor Malahide's got her doing these jig - saws and things, though. Says it's helping to bring her out. KYLE ushers KIRSTY back into her own room.", "INT.   HOSPITAL ROOM   DAY As he closes the door to KIRSTY's room, KYLE reaches into the pocket of his lab - coat and produces a small box of pills. KYLE Anyway, let's concentrate on you for a moment. Wan na suck on this for me? KIRSTY looks up at him sharply. He is proffering a pill and grinning facetiously. KIRSTY Hey, good joke, Kyle. Do you always come on to the mentally ill? KYLE's face falls. He blushes. Pressing the pills into KIRSTY's hand, he backs off to the door, apologising. KYLE Shit. Sorry. Here's the pills. Red face. Door. Bye. He exits hurriedly, closing the door behind him. KIRSTY grins despite herself. She looks at the pill for a second or two and then puts it firmly back in the box. Realising there is no bedside table, she puts the box on the wooden chair. KIRSTY Jesus, I'm glad I'm not paying for this place. She is about to lie down on the bed, when she senses something is wrong in the room. KIRSTY is instantly tense again. She swings her head to the side and tenses in horror, stifling a scream. In the corner of the room, against the wall lying in a pool of blood, is her skinned father LARRY. KIRSTY emits a pained moan of pure anguish as she realises what she is looking at. KIRSTY -LRB- under her breath. -RRB- Daddy. The thing in the corner raises its arm weakly from its side and begins to write on the wall in its own blood. It writes : I AM IN HELL ; HELP ME. KIRSTY covers her eyes with her hands and begins to sob. KIRSTY takes her hands from her eyes. The figure has gone. The pool of blood has disappeared. But, on the wall the words remain. KIRSTY makes herself rise from the bed and walk slowly across the room. Her eyes full of tears, she stretches out her arm and touches the word ` I'. As her fingers make contact, the words instantly disappear. She presses her bloodied finger quickly to her lips before that last trace of her father can vanish, too.", "INT.    TIFFANY'S ROOM  NIGHT TIFFANY is still sitting up cross - legged, weeping. Her puzzle is completed.", "EXT.    THE INSTITUTE   DAY Basically an establishing shot to show it is the next morning but it also serves to show MALAHIDE walking briskly to work. His suit is tasteful and simple, but discreetly expensive - looking. He walks with purpose and looks straight ahead, acknowledging only with polite nods the respectful greetings of various JUNIOR DOCTORS and NURSES he passes on his way. He enters the institute. We should also see several patients being walked, or wheeled, around by STAFF during this shot. MALAHIDE -LRB- off - camera. -RRB- And how are we feeling today?", "INT.   LARGE WARD   DAY This is a large, traditional hospital ward with a line of beds down each long wall and a wide central aisle. Nearly all of the beds are occupied and, at the far end of the ward, there is a male patient in a wheelchair. All the PATIENTS' eyes turn immediately and happily to MALAHIDE as he crosses the room, continuing his speech. MALAHIDE Better? Good. He - does n't stop his progress but walks straight through the room and into the corridor. As the door closes behind him the WHEELCHAIR PATIENT scowls. W/CHAIR PATIENT 105 years and he still does n't know my name.", "INT.   HOSPITAL CORRIDOR   DAY MALAHIDE walks swiftly down the corridor in which we saw him talk to RONSON earlier, but this time the camera follows him through the double doors and further down the corridor. He enters an elevator and the doors close in front of him.", "INT.  BASEMENT CORRIDOR   DAY MALAHIDE exits the elevator into a lower corridor, one not so carefully decorated. We are in the area in which the more deeply disturbed of the Institute's patients live. The rooms are smaller, closer together, and there is an observation panel set in each door. MALAHIDE looks into the first four rooms. In the first, a middle - aged, overweight woman sits completely motionless in the middle of the floor. She is dressed in a shapeless white robe and is sitting crosslegged. Her head is shaven, her eyes are rolled completely up into the sockets so that only white shows. In the second, a very thin man of about thirty is pressed as tight as he can be into one corner of the room. His hair is long and he has a full beard. He is naked but not unadorned - his body and much of his cell wall is smeared in excrement. In the third, a man of about MALAHIDE'S age - stands in the centre of the room. He is of normal build but his head is shaved. His face, scalp, and hands are covered in self - inflicted and amaterurish tattoos - all of crosses. He is dressed in T - shirt and jeans. With both hands he holds aloft a silver crucifix, pointing it in all directions, as if under constant siege by Devils. He mutters prayers and invocations constantly. In the fourth, a man in his early twenties restrained in a strait - jacket. He shuffles around on the call - floor, his eyes twitching and flitting from one part of his body to another. BROWNING -LRB- muttering. -RRB- Get them off me. Get them off me. Off - camera, we hear the sound of KIRSTY's sobbing - which bridges the CUT TO : 33 INT. HOSPITAL ROOM DAY KYLE enters, having heard KIRSTY crying. She is sitting with her legs over the side of the bed with her face in her hands. KYLE immediately sits next to her and puts an arm around her shoulder. He does n't force her to speak. He lets her let the tears out. Finally, she looks up. KIRSTY I. I had a visitor. KYLE What? KIRSTY Oh, Jesus. I ca n't explain. It's. it's. I do n't know how to help! I have to save him and I do n't know how to help! KYLE -LRB- Carefully. -RRB- Kirsty, I'm sorry. do n't understand. I. KIRSTY I know. No - one can. But I have to save him. Where's the other doctor? He said He'd listen. He promised. KYLE responds quickly to this. His faith in MALAHIDE is strong, despite that curious incident of the previous night when MALAHIDE followed RONSON out of the room. KYLE Dr. Malahide. Yes. Look, I'll fetch him. You take it easy. I'm sure he can help. KYLE stands up, making soothing motions with his hands, and heads for the door. KIRSTY Help. No, no - one can help. I just want someone to listen or I WILL go crazy. KYLE If anyone can help, HE can. KIRSTY turns and gives KYLE a strange look as he opens the door. KIRSTY Yeah? He got a ticket to Hell?", "INT.    HOSPITAL CORRIDOR     DAY We TRACK with KYLE down the corridor, eventually reaching an impressive door, which is slightly ajar. Even before we reach it, we hear MALAHIDE's voice. He is clearly on the phone. Because of the nature of what he is hearing, KYLE pauses when he reaches the door, listening with a confused expression on his face. MALAHIDE -LRB- off - camera & gradually fading up. -RRB- Officer Kucich? Yes, Doctor Malahide. You've spoken to Ronson? Yes. That's right. The mattress. No, I'll meet you by the side entrance. No, no, my HOUSE. Yes, let me make that clear. The house, NOT the hospital. Yes. Fine, and thank you. We hear the phone click. KYLE waits a moment and then walks swiftly through the door, speaking as he does so. KYLE Doctor Malahide?", "INT.   HOSPITAL ROOM    DAY KIRSTY'S face fills the screen. Her voice is slightly dreamy, as if she is still trying to understand herself the story she is about to tell. KIRSTY It must have been going on forever. Her voice trails off. We pull out to see KIRSTY sitting up on her bed. MALAHIDE on the wooden chair, and KYLE standing by the door. MALAHIDE's voice pulls her back. MALAHIDE Kirsty? KIRSTY snaps back and continues to speak in a more normal voice. KIRSTY But the part I know about, That must have started with my Uncle Frank. MALAHIDE Then let us speak of it. DISSOLVE TO", "EXT.   MALAHIDE's HOUSE  TWILIGHT We TRACK in slowly towards a modern house that we will learn is MALAHIDE'S, up the drive, towards the front door. DISSOLVE TO", "INT.  MALAHIDE'S HALLWAY  TWILIGHT The TRACK continues along the hallway and into the OBSESSION ROOM.", "INT.   OBSESSION ROOM   NIGHT The TRACK continues. The room is dim, lit only by stray shafts of moonlight. On the floor in the centre of the room is the mattress. The TRACK stops. A main light is clicked on and MALAHIDE moves into shot. MALAHIDE pours himself a scotch from the decanter that sits on the writing table and approaches the mattress. He is clearly very, excited. He walks around the mattress two or three times, never taking his eyes off it. He walks back to the writing table, throws his drink back, puts the glass down and leaves the room.", "EXT.   MALAHIDE'S HOUSE  NIGHT MALAHIDE leaves through his front door and walks toward the hospital.", "INT.   OBSESSION ROOM NIGHT After a few seconds silence we hear a repeated clicking sound, as if something is being forced, followed by a louder snap and the sound of a sash window being opened. The curtains balloon inwards, part, and KYLE steps into the room. He stands still for a moment, as if making sure he is alone, and then begins to take in his surroundings. The room is entirely devoted to MALAHIDE'S secret obsession - with the Paranormal in general and the Lament Configuration in particular. It is a fair - sized, square shaped room. Prints, paintings, and photographs cover the walls. All of these pictures relate in some way to his obsession ; photographs of ghost - sightings ; portraits of magicians from Cagliostro to Crowley ; prints of arcane symbols and pentagrams, etc.. Specifically, we recognize a print that resembles very closely the jigsaw he has had TIFFANY recently solve. Also, there are framed diagrams -LRB- which look very old -RRB- of the Lament Configuration - Both open and closed. On a long, low table there are three glass cases. In each of these cases is a Lament Configuration. On each case is a small label giving a location, a date of acquisition, and a number - which we may assume to be the number of deaths attributable to that specific box. These labels read : CAIRO 3/4 /'59 7 LYONS 6/2/'72 4 NEW YORK 12/3/'81 5 There are also, on a small desk - top bookshelf on a writing table, editions of MALAHIDE'S own books. He seems to have spent his career publicly denying what he is privately obsessed with - because the books titles include ` Possession : Not Demons but Disease', ` The Myth of the Diabolic', and ` The Internal Inferno'. KYLE Jesus Christ. Jee - sus - kerr - ist! We assume he has visited MALAHIDE'S house before, but he has clearly never seen this room. He stares at the mattress with incredulity, as if he still ca n't believe his superior has had it brought here. Then he begins to look around the room in more detail. He approaches the glass cases and bends slightly to look at their contents. KYLE shakes his head. KYLE Oh, shit.", "INT.   BASEMENT CORRIDOR NIGHT MALAHIDE walks past a bank of meters and huge circuit breakers on his way to the lower and of the corridor, by the cells of the very disturbed. He stops by the cell of the man in the strait - jacket. We hear from the outside the familiar muttering of BROWNING. MALAHIDE enters the call.", "INT.   BROWNING'S CELL   NIGHT As MALAHIDE enters, BROWNING looks at him. His eyes demand, not plead, and he speaks through clenched teeth. BROWNING Get them off me. Get. Them. Off. Me.", "INT.   OBSESSION ROOM   NIGHT KYLE is rooting through the drawers in the writing table. Generally the contents are unremarkable - handwritten notes, a few patients case - files etc.. - but in one of the drawers he finds a black ring - binder which he takes out and lays on the table. It is a book of faces. There are about fifteen sheets in the binder. Some of them are genuine photographic prints, some photocopies of original photos. They range widely in age, race, and sex. They are all full - face portraits. Chronologically, the range is extensive too. Some pictures -LRB- generally photocopies -RRB- appear to date from the earliest days of photography, the late 1880's, others have an Edwardian appearance, or suggest the 1920's. Only one or two seem to be less than thirty years old. KYLE flicks back and forward in the book, wondering on the significance of these people. He is lost in the musings when the click of the front door tells him MALAHIDE has returned. KYLE closes the book and quickly slips it back into the drawer. He heads rapidly for the window he came in through but realises MALAHIDE is too close for him to open it and make good his escape. Instead he stands between the window and the curtains, pulling the latter closed over him. MALAHIDE enters the room, leading BROWNING who is still strait - jacketed.", "INT.    BEHIND THE CURTAIN        NIGHT We see KYLE standing very still in the limited space behind the curtains. It is clearly seen that, given the thoroughness with which he closed the curtains and his immobile position, he is unable to see what is happening in the room. He can hear, but not see.", "INT.   OBSESSION ROOM    NIGHT MALAHIDE leads BROWNING across to the mattress. Standing beside it, he unbuckles and removes the strait - jacket from his patient. BROWNING, beneath the strait - jacket, is naked to the waist. His arms and cheat are a mass of scars of various age and size. MALAHIDE gestures to the mattress. Now that his arms are free, BROWNING is scratching furiously. MALAHIDE Mr. Browning. Please, lie down. BROWNING lies down, still scratching, trust and hope in his eyes.", "INT.   OBSESSION ROOM   BROWNING'S DELUSION  (BROWNING'S P.O.V.) As if looking through BROWNING's eyes, we see his body stretched out before us on the mattress. The naked chest and arms are covered with raised lumps, red and painful - looking. As his scratching arms attack these lumps, they break open, revealing vile black insects that have hatched beneath his skin. BROWNING brushes these away while he scratches at the remaining lumps.", "INT.   OBSESSION ROOM   NIGHT BROWNING has already re - opened some of the more recent scars, and blood slowly rises to the surface of his skin. MALAHIDE walks over to his writing tableland goes into one of the drawers. He produces an old - fashioned cut - throat razor and walks back to BROWNING MALAHIDE Here. This will help. He proffers the razor. BROWNING siezes it. MALAHIDE steps back quickly, a mixture of anticipation and apprehension on his face. BROWNING slashes at his body and left arm with a short, sharp, slicing motions. In his mind, he is lancing the cysts that contain the tormenting insects. In reality, he is inflicting horrifying damage on himself. Blood pours from the multitude of wounds, running over his body and down onto the mattress. Suddenly, without any preliminaries, two painfully thin, flayed, mucus - covered arms shoot out of the mattress, one on either side of the still - busy BROWNING. They wrap themselves tightly across his chest and crush him tightly to the mattress, as a head, similarly wasted, oozes out of the mattress to the side of BROWNING's head. Beneath his delusions, BROWNING suddenly has an inkling of what is happening to him. His eyes widen and his mouth opens ready to emit a scream but the monster beneath him forces a hand over his mouth as it buries its face into the soft flesh of his neck. Two legs now rise from the oozing slime that the bloodstains on the mattress have become. They too wrap themselves around BROWNING so that he is held tight. Finally, with titanic effort, he gathers enough momentum to roll completely free of the mattress and falls to the floor beside it. The thing on his back now is pulling free from the bed of bubbling, frothing slime that the mattress now is with a sliding, slurping sound. The monster's face is now deep in the flesh of his throat, and even as BROWNING forces himself up first onto one knee and then, very unsteadily, onto his feet, we can see him wasting away - his face losing its fullness and colour, his chest sinking in on itself. The creature, which is still wrapped around him and clinging tight is, unlike him, growing in stature by the second. Muscles are inflating, arteries pumping more vigorously, and flesh itself filling out. Its horrific thin - ness when it first appeared effectively unsexed it but now, as its regeneration continues, the fullness of its hips, the roundness of its thighs, and the sacs of fat and muscle that bloom above its ribs confirm its female nature. If there was any doubt that this was JULIA, it is now disappearing. BROWNING is now nearly a walking corpse and it is the strength of his will alone that allows him to take a few faltering steps with JULIA still enveloping him. With the desperate strength with which she clings to him and the way her legs are wrapped around his hips, it is like an obscenely perverse parody of sexual passion. MALAHIDE has been watching all this with an incredible mix of emotions playing across his face. Still human enough to feel both fear and disgust at what is happening he is nevertheless awe struck and exhilarated. He has waited all his life for such an irrefutable demonstration of the power and the truth of the supernatural. Similarly, the scientist in him is fascinated by the living anatomy lessons that JULIA's regeneration and BROWNING rapid decay offer. With one last dying effort, the now - almost - husk - like BROWNING breaks JULIA'S grip and makes a futile step forward as she falls from him. He totters towards the curtains. Just as the audience think he will pull them down with him, revealing KYLE, JULIA grabs his ankle and pulls. He falls back to the floor.", "INT.   BEHIND THE CURTAINS   NIGHT The loud noise of BROWNING's fall renews KYLE's resolve to see what is going on. Carefully, he shifts his position so that he can see through a small gap in the curtains.", "INT.   KYLE'S P.O.V.   NIGHT KYLE may have heard one or two strange and unpleasant noises but BROWNING has not screamed nor JULIA spoken ; nothing has prepared him for what he sees - a skinned woman sucking out what life remains from the dried husk of a psychotic man.", "INT.   BEHIND THE CURTAINS   NIGHT KYLE's head jerks back, shaking as if he's just had an electric shock. His mouth moves but no sound emerges. KYLE -LRB- mimed. -RRB- Jesus Christ! His terror simultaneously urging speed and silence, KYLE gingerly maneuvers himself out of the window.", "INT.   OBSESSION ROOM   NIGHT JULIA lies back satisfied on the floor. She looks up weakly at MALAHIDE. JULIA Help me. Her voice is perfect. MALAHIDE stares at her, his fascination intense. He crosses the few yards that separate them. He looks at her, lying beside the hollow shell that was CHEYNEY. Her eyes stare back, brilliant, sparkling, alive. JULIA Help Me. MALAHIDE realises her temporary vulnerability ; all the life force she has absorbed from BROWNING has made up her body, but it will take some moments for the strength to return to her. Fascinated and sympathetic as he is however he can not yet quite brine himself to touch this creature. Instead he moves the mattress nearer to her, allowing her to crawl back onto it and lie down again. MALAHIDE stares down at her. He attempts a smile, but is too nervous to make it convincing. He is trembling slightly. This contact with the beyond is something he has dreamt of for years, but nevertheless the physical reality is overwhelming. JULIA treats him to the approximation of a smile. She is far from nervous. She studies herself. Her figure is fully formed, her womanliness undeniable. All she is missing is a skin. She stretches her arms. She lifts her legs. She writhes on the bed in pleasure, like an X - ray photograph of a calendar girl. MALAHIDE stares at her, following the sensual movements of her body. He swallows, a little embarrassed by his response to the naked display he is privileged to watch. JULIA'S eyes twinkle at him. JULIA Do n't be embarrassed. You're my friend. She looks away and continues her stretching and wiggling, more conscious of it now as an erotic display. The strength has flooded through her body as she rises to her feet, and stops off the mattress, smiling at MALAHIDE. MALAHIDE backs away from her as she moves towards him, doing his best to return her smile. After a few steps, JULIA stops and simply stares into MALAHIDE'S eyes. He too stops and returns the gaze. The camera circles them slowly several times, studying them - the dressed, nervous man and skinned, confident woman. JULIA Well? MALAHIDE says nothing. Perhaps he swallows nervously. The camera continues its circling movements. The scene FADES TO BLACK and JULIA begins to laugh, small, sensual giggles at first building finally as the blackness comes into an almost hysterical crescendo of raucous joy.", "INT.   HOSPITAL ROOM   NIGHT KIRSTY is again lying on her back on top of the bed. She is a stark contrast to JULIA. No display. No laughter. Her eyes are open and red - rimmed from weeping now. There is also complete silence. All the more jarring, then, the sudden sound of someone fumbling at the handle of KIRSTY'S door. Her eyes widen in alarm and she flings herself off the bed, scanning the room for anything that can be used as a weapon. There is nothing but the chair and she she has all but lifted it aloft when she sees that it is KYLE, who comes into the room. KIRSTY Shit, Kyle. This is getting to be a habit. What is it, some kind of shock - therapy? She was angry, relieved, and amused when she realized it was KYLE and all these showed in her voice and face. Now they drop away completely, replaced by a nervous apprehension as she becomes aware of the blank horror on his face. KIRSTY Oh, Jesus. What is it? KYLE opens his mouth a few times, as if unsure what to say. KYLE It's all true.", "INT.   TIFFANY'S ROOM   NIGHT TIFFANY walks around her room, staring at her completed puzzles - those on the wall and the one on the floor - and waiting for the next one. FADE OUT FADE IN", "EXT.   MALAHIDE'S HOUSE   DAY A simple shot tells us it is the next morning.", "INT.   OBSESSION ROOM   MALAHIDE'S HOUSE   DAY MALAHIDE, dressed in a black suit, is in the room, staring at the empty mattress. We TRACK with him through to his LIVING ROOM.", "INT.   LIVING ROOM  MALAHIDE'S HOUSE   DAY In contrast to the secret and private obsession room, this room is the tasteful and upmarket room of the successful professional. It is a long spacious room with modern furniture and white walls. The walls are mostly free of decoration save for two or three large canvases of abstract art. The longest wall is broken up only by a low circular table, which rests against it about half way down. On this table is a very simple black vase containing a spray of beautiful white lilies. Above this vase on the wall is a large frameless mirror. As MALAHIDE enters, the first thing he sees is a bloody palm - print on one of his white walls. He blinks at it and looks down into the room. We CUT TO ; JULIA. At first it seems she is staring at the lilies, but as we TRACK around her, we realise she is staring at the reflection of her skinned self. Her face snarls at herself, she roars with rage, forms her hand into a fist and shatters the mirror. MALAHIDE rushes towards her. She swings round and freezes him with a glance. They hold their positions for a moment, MALAHIDE nervous and JULIA furious, and then JULIA makes herself relax. She sighs, takes a few deep breaths, and then speaks. JULIA I'm cold. TIME CUT", "INT.   LIVING ROOM   MALAHIDE'S HOUSE   DAY CLOSE UP on a strangely Art Deco electric fan heater, with bright red coils emitting waves of heat. We pull out to see MALAHIDE standing by the table with the flowers. There is now a half - full glass of wine on the table, along with an ashtray where a cigarette burns away ignored. A pack of cigarettes is now visible in the breast pocket of MALAHIDE's jacket. JULIA enters the room and closes the door behind her. She is dressed in one of MALAHIDE'S suits. It is a light weight suit of white linen, a suit for expensive holidays in hot countries. She crosses the room to the table ; pausing slightly in the centre of the room, to allow MALAHIDE to look at her. JULIA Well? MALAHIDE'S nervousness has retreated a little, he manages to smile. He nods his head slowly a few times. MALAHIDE Yes. Yes. You look. JULIA Surreal? Strange? Nightmarish? MALAHIDE No. You look. He pauses, lost for words. JULIA does n't wait for an answer. She crosses to the table and takes up his glass of wine. She downs it in one. MALAHIDE stares at her, a little surprised. JULIA Yes, I still like WINE. She smiles strangely at him and then moves closer. Slowly, keeping her eyes on his, she reaches into his breast pocket for his packet of cigarettes and places one in her mouth. JULIA and more. For a moment, MALAHIDE's face is stone. Then, slowly, he returns her smile and, drawing his lighter, lights her cigarette.", "INT.   SHOPPING MALL   DAY A large multi - level shopping complex obviously up - market and expensive. We see MALAHIDE, riding up one on the central escalators, looking around him as he does so, as if searching for a specific shop. He reaches the next level and begins to walk along one of the several avenues that lead away from the central square containing the escalators. He walks past several shops, looking in their windows ; a chic specialty shop, a window full of clocks, a cutler's. Finally, he stops in front of one. He stares at its display window. The window is classily minimal. There is in fact only one dress in it. It is an exquisite white cocktail gown. The gown is full length but quite tight - fitting, merely flaring a little from below the knee, and has a halter - neck. MALAHIDE walks into the shop.", "INT.   MALAHIDE'S BEDROOM   DAY We are looking at a reflection of MALAHIDE in the large mirror that covers the inside of his wardrobe door. His real hand and his reflected hand come together at the edge of the door and tip it slightly, changing the image that the mirror shows us. Now we see JULIA. She is in the dress from the shop in the mall. It is a perfect fit and shows her figure off very well. Being a halter - neck, however, her skinned arms and shoulders are completely bare. Also, it is quite low cut at the front, exposing a fair degree of visceral cleavage, and at the back. JULIA turns fully around in front of the mirror examining herself from every angle. Her mood is unreadable until she speaks. JULIA Close it. MALAHIDE does so. He understands and tries to console her. MALAHIDE It's a beautiful dress. JULIA I know. TIME CUT", "INT.   LIVING ROOM   MALAHIDE'S HOUSE   DAY CLOSE UP MALAHIDE'S hands applying wide, white, surgical bandages to JULIA. We pull out as MALAHIDE steps away from JULIA. They are both standing in the middle of the living room floor. JULIA'S arms, torso, and head are now completely enclosed in neatly and professionally applied bandages. There are three slits for her eyes and mouth but apart from these she is completely covered. Over these she is still wearing the white dress. MALAHIDE There. JULIA lifts her arms slightly to look at them and then touches her bandaged face. She turns towards MALAHIDE. The camera begins the same circling movement it made around them the previous night. MALAHIDE'S nervousness has practically disappeared. He has helped this woman. He has bandaged her and dressed her. He is slightly in awe of her, but it is now tinged with excitement, not fear. The camera's circling grows faster. MALAHIDE Well? JULIA walks towards him, slowly raising her hands. When she is close enough her hands cup his cheeks. She pulls him towards her, and, tipping her head to one side, kisses him. Her body moulds itself to his. She leans her head back. Were they have kissed blood has pressed up onto the bandage from her skinned flesh. It looks like smeared lipstick. JULIA Well? MALAHIDE puts his arms around her waist. They kiss tenderly. Slowly, almost nervously, he lowers his hands until they rest on her buttocks and presses her in towards him. They begin to spin themselves now, echoing the camera movements. They cross the room, kissing blindly, until they come to rest against the wall that bears JULIA's bloody palm print. JULIA twists their bodies so that MALAHIDE is pressed against the wall, and begins to move her hips forcefully and sensually against MALAHIDE. The camera is stationary now, watching without movement as MALAHIDE begins to raise JULIA's dress up her legs, her hand on his wrist, helping and encouraging. About halfway up the thigh, the bandaging disappears and the raw flesh is exposed. The kissing and the fumbling continue until they are making fast and violent love against the wall. His hands clutch tightly at her hips and he pulls his face away from the kissing to loan it on her shoulder so that we see his face as it grimaces in ecstasy. He cries out and shudders and slowly both their movements stop. He strokes at her back gently and their bodies relax. JULIA -LRB- almost coyly. -RRB- Now all we need is a skin.", "INT.   BATHROOM KYLE'S APARTMENT   DAY CLOSE UP on shower jets hitting KIRSTY's face and naked shoulders. Her eyes are closed, but she smiles in pleasure as the water refreshes her. A knocking is heard. KIRSTY moves her head out of the water's path and shouts. KIRSTY Yeah?", "INT.   KYLE'S APARTMENT   DAY It is basically a studio apartment - everything except the bathroom facilities is in the one room. There is a sofa - with sheets and blankets on it - a bed, a dining/all - purpose table with two chairs, shelves full of records and books, and a small working desk against one of the walls. The desk is weighed down by text books and notes and, tacked to the wall above it, are medical prints, some of the brain and central nervous system, but also two fullcoloured anatomical prints - one of a man and one of a woman. They could almost be portraits of JULIA and FRANK. KYLE, fully dressed, is standing by the bathroom door, his hand still in a knocking position. KYLE You O.K? Silence. KYLE Kirsty? You 0. K? The bathroom door opens and KIRSTY Comes into the main room, dressed in a toweling robe that is clearly a ` hers' not a ` his'. She crosses the room to a mirror, rubbing at her wet hair with a towel. KIRSTY No bad dreams. KYLE So you slept O.K? KIRSTY gestures at the sofa. KIRSTY As much as that bed of nails allowed. KYLE glances meaningfully at the bed as he replies. KYLE Well, the sofa is n't often used for sleeping on. KIRSTY Oh yeah? On your own a lot, Huh? KYLE grins. KYLE Like the robe? KIRSTY returns the smile via the mirror. KYLE crosses the room to sit at his dining table. Empty coffee cups, the remnants of a loaf and some cheese suggests their breakfast was simple and finished some time ago. KIRSTY gathers her clothes from by the sofa and moves back into the bathroom to dress. KYLE waits a few moments and then speaks. KYLE I think I need to talk. About what I saw. KIRSTY emerges, fully dressed, her hair still damp. KIRSTY You thought I was crazy, did n't you? KYLE spreads his hands wide. KYLE Jesus, yes! What do you expect. I mean, God, I still do! It's just that now I'm crazy too. He grins wryly. KIRSTY moves to the sofa and sits down. KIRSTY And you're sure it was a woman? KYLE God, I wish I could say no. This is going to do terrible things to my attitude, you know. KIRSTY grins at him. KIRSTY Do n't worry about it. Your attitude sucks anyway. KYLE Hey, so for it. Do n't let pity stop you. I'm down. Nail me. For a moment, they laugh together but then stop. KIRSTY stares downward and then suddenly bursts into tears. KIRSTY What can I do? How can I save him? KYLE joins her on the sofa. He offers an arm but she shakes it off. KIRSTY The box. I need the box. KYLE The box? Like in your story? Like in his house? KIRSTY's tears suddenly stop. She looks at KYLE. KIRSTY -LRB- sharply. -RRB- What? KYLE The Boxes. In the House. I told you. KIRSTY What do you mean? KYLE The boxes! I TOLD you. KIRSTY You DID N'T tell me. Do you mean Malahide's got. KYLE Yeah. The things you were talking about. KIRSTY heads instantly for KYLE'S door. KIRSTY I'm going. KYLE runs across the room and puts a restraining hand on his door. KYLE Wait a minute. What do you mean, ` I'm going?' TO the HOUSE? KIRSTY nods and pulls at the door handle. KIRSTY Get out of the way. KYLE Are you crazy? KIRSTY I do n't know, Kyle. You're the fucking expert. Now get out of the way! KYLE WHY? KIRSTY -LRB- shouting. -RRB- Because I'm going to get my father! Tears start to her eyes and she stares at KYLE defiantly. Then she repeats, more softly ; KIRSTY I'm going to get my father. There is a two - second silence between them as they stare at each other. Finally, Kyle backs away from the door, raising a finger. KYLE Two seconds. Just two seconds. Do n't move. He rushes across the room, grabs a jacket, and moves back to the door. KYLE O.K. Let's go. KIRSTY Kyle, you do n't have. KYLE I KNOW I do n't have to. It's just my time of the month to be a complete fucking idiot. O.K? KIRSTY stares at him, her face at first blank then suffused with emotion. She leans across and plants a chaste kiss on his lips then pulls back. There is a beat while they simply stare at each other and suddenly they are tight in each other's arms, kissing fervently. But the kiss is fuelled, not by passion, but by fear and their mutual need for human solace in the face of the unknown. As the kiss continues, the camera pulls back from them.", "INT.   THE BLOOD-BOUDOIR   DAY CLOSE UP as JULIA -LRB- still bandaged -RRB- and MALAHIDE come together for a kiss. They part and, as JULIA moves across the room, the camera begins a long TRACK around the room. First, it reaches a naked GIRL. As catatonic as TIFFANY, she says nothing but her eyes betray her terror. Her hands are tied above her. JULIA moves in towards the girl, her eyes glittering with an alien hunger beneath their gauze mask. As she nears the girl, the TRACK passes them and moves through the room. MALAHIDE has done his mistress proud. It had been an empty upstairs room -LRB- no furniture, bare floorboards -RRB- but now it resembles a nightmarish cross between a butcher's shop and a bordello. The camera slowly reveals, as it TRACKS, that there are seven more people in the room. Seven dead people. Dried - out husks. The TRACKING is now completing its circle around the room. After the corpses, we return to JULIA and the GIRL - but the GIRL too is now a hollow, dried - out shell. JULIA moves back into the centre of the room and stands still. MALAHIDE crosses the room to her quickly, drawing a wicked - looking kitchen knife from his pocket as he does so. He reaches JULIA and raises the knife to her face. With one swift, precise movement, he slices the bandages across the side of her face. JULIA raises her hand and pulls the mask away. The camera sweeps in toward her as she does this until her face is in CLOSE UP as the bandage - mask is pulled aside. Her face is perfect.", "EXT.   MALAHIDE'S HOUSE   DAY MALAHIDE emerges from his front door. He is still in his black suit and looks every inch the respectable professional. He looks neither left nor right but moves straight off, a busy man with things to do. A few seconds after he has gone off - camera, KYLE and KIRSTY emerge from around the corner of the house. KYLE gestures to KIRSTY to follow him and leads her around to the window he broke in through on the previous night.", "INT. OBSESSION ROOM   DAY The room is much as we saw it last. The window slides up and KYLE pulls himself into the room. He looks around it carefully. Sure that the monster he saw the previous night is no longer in the room, he helps KIRSTY in through the window. KIRSTY's eyes go at once to the three LAMENT CONFIGURATIONS in the glass cases. She crosses the room eagerly. KYLE rushes after her and stops her opening one of the cases. KYLE Wait! The. thing. I want to be sure it's not here. KIRSTY nods and KYLE leaves the room.", "INT.   STAIRS/LANDING MALAHIDE'S HOUSE   DAY KYLE advances carefully, and slowly, from the stairs onto the landing. He looks about him at every step he takes. Ahead of him on the landing is a door, which is very slightly ajar. He advances gingerly down the landing to the door. When he reaches it, he pauses. We see his face working as he ponders his choices - should he push it open inch by slow inch, or slam it inwards quickly? Very slowly he moves his hand towards the door. The camera matches his movement, moving in on his hand, the door, and the space between. His fingertips are less than an inch from touching the door when another hand shoots into view and grabs his wrist. JULIA has crept up beside him on the landing while all his attention was on the door. KYLE swings round in horror, his mouth opening to scream when he sees that JULIA has her other hand to her mouth, her finger at her lips in a silencing gesture. There is of course, nothing for him to recognize from the monstrous vision of the previous night. JULIA's arms, chest, and face are completely re - skinned now. All KYLE sees is a beautiful stranger in a white dress. JULIA Sssh. I think it's still here. KYLE What? The. The thing? JULIA nods. JULIA Yes. I had to stop you going in there because I knew you'd cry out. Any normal person would. It. It's just TERRIBLE. KYLE Is it in there? JULIA No. Not now. KYLE swallows, nods, and gently, pushes the door open. He walks into the room.", "INT.   THE BLOOD-BOUDOIR   DAY The camera follows KYLE into the room. He reaches the middle before horror and disgust stop him. He hears a click behind him and turns to see JULIA has come into the room and closes the door behind her. She looks at KYLE. JULIA Was I right? Is it terrible? KYLE stares all around him. All eight victims have been sucked dry. He is surrounded by dead husks. His face is ghastly. He looks like he is about to faint. He nods. His voice is a cracked whisper. KYLE Yes. Yes, it's terrible. JULIA crosses the room rapidly towards him. Her face is a picture of concern. JULIA Oh. You look awful. You poor boy. Come here. As she speaks, JULIA's arms are opening out to him. KYLE sees the comfort offered and advances towards her, too. As they come together, the camera moves around them and we see, for the first time, that JULIA is still incomplete ; Her entire back is still glistening raw flesh, the naked bones of the spine still clearly visible. Their arms go around each other just as JULIA completes her speech ; JULIA Come to Mother. As KYLE's hands touch the sticky, mucoid meat of her shoulders, it is instantly clear to him what has happened. For a moment he freezes in terror. His arms fly from her and he throws his head back. But JULIA is very strong now and her grip does not relax. Kyle's expression is a mixture of terror and confusion as he stares into the beautiful face of the monster. JULIA smiles at him, a hungry, aroused smile. JULIA What's your name? KYLE can hardly speak for fear. KYLE Kyle. JULIA I'm JULIA. She raised one hand from his back to the back of his head and presses his face to hers. JULIA plays it exactly as a sensual, passionate kiss, her mouth wide open, her head moving rhythmically and sinuously. KYLE's reaction is somewhat different ; his arms flail in panic -LRB- though only from the elbow - JULIA'S grip prevents anything more -RRB- and his head makes jerking, backward movements against her pressing hand. The camera moves around the embracing couple until it is behind JULIA. The back of her gown, as we know, is extremely low. As the kiss continues, we see skin creeping above the line of the gown at the base of her spine and gradually flowing up her back until finally it meets and blends perfectly with ragged and raw edges of the skin at her neck and shoulders. JULIA is complete again. While this process has been going on, KYLE has been dying slowly and horribly in her arms, his lifeforce being sucked into her through their open mouths. His body, by the time her back is completely formed, is shrunken, hollow, and dried up. JULIA takes her arms from around the corpse of KYLE and steps back, allowing the husk to fall to the floor. JULIA licks her lips and looks down, not without affection, at the dead KYLE. She smiles. JULIA Thank you, Kyle.", "INT.   OBSESSION ROOM   DAY KIRSTY has found the black ring - binder and laid it on the writing table. She has separated one of the photographs from the others and laid it out on the table beside the binder. It is the ENGLISH OFFICER from the opening sequence. KIRSTY has obviously recognized something familiar in it but she ca n't quite grasp it completely. She is still puzzling over it when she suddenly realises that several minutes have elapsed since KYLE left her there. Her head straightens up and her puzzled look is replaced by a slightly worried one. KIRSTY -LRB- to herself. -RRB- Kyle? She folds up the photograph and puts it in her pocket. She crosses to the door and opens it. She does not go through it immediately but stands in the doorway for a moment, her hand still on the door, cocking her head slightly as if listening. KIRSTY -LRB- slightly louder. -RRB- Kyle? She ca n't hear anything, but she regards that as a bad sign, not a good one. She leaves the room.", "INT.   STAIRS/LANDING   DAY KIRSTY makes her way up the stairs. Unlike KYLE a little earlier she moves up them quite quickly and advances onto the landing. When she is on the landing and looking at the closed door to JULIA's Boudoir she stops, standing still and staring at the door. KIRSTY suppresses a shudder. She bites her lip, takes two or three deep breaths, crosses to the door firmly, and flings it open, moving into the room even as she does so.", "INT.  THE BLOOD-BOUDOIR   DAY KIRSTY moves three or four steps into the room and then stops dead. The door swings shut behind her. KIRSTY's eyes flick left and right, taking in the sickening details of the room's contents, and then stare straight ahead, focusing on the figure in white which is turning around to face her. JULIA completes her turn and looks at KIRSTY completely impassively for a moment. Then her mouth opens up into a smile of welcome - but there is nothing but hate in her eyes. JULIA Kirsty! How nice of you to drop in. JULIA glances meaningfully at the dead thing that lies beside her feet and then back at KIRSTY. JULIA You have surprisingly good taste in men. KIRSTY's fear and disgust are momentarily displaced by a furious rage as she realises what JULIA has done. Her face erupts into anger and she screams out. KIRSTY Kyle! No! I'll kill you, you. She flings herself across the room at JULIA even as she speaks. JULIA is completely unphased by this attack and simply raises one arm. She siezes the wrist of the arm that KIRSTY has raised into a clenched fist and effortlessly throws KIRSTY bodily back across the room. We realise for the first time the immense physical strength that JULIA now possesses. KIRSTY smashes into the door and falls to a sitting position against it. She is shaken and slightly hurt enough not to get to her feet immediately but she stares at JULIA with undimmed hatred. JULIA throws a look halfway between a smile and a sneer. JULIA Oh, you can try it, you little bitch. I'd love you to try it. But I'm not just the woman I was. KIRSTY What, you mean you're something more than a whore with a vicious streak? JULIA I mean I'm something more than human, you little shit! JULIA snaps this first line but then holds her anger in check. She shakes her head and an amused smile plays across her lips. JULIA Oh, Kirsty. They did n't tell you, did they? I'm afraid they've changed the rules of the fairy tale ; I'm no longer just the wicked step - mother. The smile disappears and she delivers the next line with an utterly straight face. It is, after all, the truth. JULIA Now I'm the Evil Queen. The hatred and the heat returns to her voice. JULIA So come on ; Take your best shot, Snow White. KIRSTY scrambles to her feet and again charges at JULIA. JULIA steps forward to meet her advance and delivers a single back - handed swipe across KIRSTY's face with such force that not only is the girl knocked off her feet but is actually knocked unconscious. KIRSTY rolls onto her back and lies at JULIA's feet. JULIA stares down at the unconscious body. When it was awake, it was KIRSTY and her attitude to it was based on personal enmity. Now, it is simply another body and she judges it differently ; it is firm, full, healthy, and young. We see the expression on her face change from hatred and triumph to pure appetite. She licks her lips and her eyes glisten. She begins to bend slightly towards it. MALAHIDE -LRB- off - camera. -RRB- Julia! The door to the room opens. JULIA straightens up and looks as MALAHIDE stands in the doorway. Her eyebrows question this interruption. A second later, and it is explained. He leads TIFFANY into the room. TIME CUT", "INT.   OBSESSION ROOM   DAY TIFFANY sits cross - legged in the middle of the floor. She appears to be alone in the room. Cradled in her lap is a Lament Configuration, taken from one of the glass cases on the low table. On a wall behind TIFFANY, one of the large prints that previously hung there has been taken down. Revealed in the space behind it is a large mirror. The camera moves in towards this mirror.", "INT.   OBSESSION ROOM   ALCOVE   DAY MALAHIDE and JULIA stand in a tiny and completely bare room. On the wall in front of them is a large window through which we see a back - view of TIFFANY in the obsession room.", "INT.   OBSESSION ROOM    DAY TIFFANY looks around the room generally and then turns her attention completely to the LAMENT CONFIGURATION. She picks it up and turns it around in her hands, studying each of its faces intently. She begins trying to move the interlinked pieces within it. At first she has no success ; the box appears to be one solid construction with no internal movement possible. She stops her attempts and studies it again for a moment, her face still impassive. Then she gives a tiny smile and begins again. Her movements are faster now, less tentative. Suddenly, there is a click and one of the panels on - the box slides out slightly. The little music - box tune begins to play. To TIFFANY this is a marvelous reward - something the jigsaw never offered - and she lets out a little sound in response, somewhere between a sigh and a delighted giggle. It tempts her to even greater skill and her delighted fingers fly over the box. Another panel moves. Then two more. The tune is prettier and fuller.", "INT.   OBSESSION ROOM   ALCOVE   DAY MALAHIDE stares fixedly through the window, nervous but terribly excited. He is breathing rapidly and shallowly. Through the glass, TIFFANY's success continues. Small flashes of intense blue light begin to buzz around the box. The room grows darker and cracks begin to appear in its walls. JULIA seems quietly amused - both by what is going on in the room and by MALAHIDE's heated response to it. She glances from one to the other, her eyes twinkling. JULIA You're sure this is what you want? MALAHIDE does n't take his eyes from the window. MALAHIDE It's what I've ALWAYS wanted. A view of. beyond. He pauses. Perhaps he is being ungallant. He turns slightly towards JULIA and takes her hand. MALAHIDE You were almost enough, Julia but. I have to see. I have to KNOW. JULIA smiles indulgently. She nods. JULIA Oh, I quite understand.", "INT.   OBSESSION ROOM     DAY TIFFANY is completely engrossed in the box. She seems blissfully unaware of the changes taking place in the room. The cracks have widened in the walls and, in some places, pieces of plaster have fallen away, revealing the slats beneath. Blue light begins to stream into the room, ignoring the geography of what should lie beyond its walls. Where the light comes through the slats, it is as broad beams of light, given contrast by the shadows of the slats. But it also comes through the smaller cracks and enters the room in intensely bright and very thin beams that criss - cross through the room almost like a laser display. Suddenly, TIFFANY's solution is complete. The central core of the box rises up and twists itself around into its final position.", "INT.   OBSESSION ROOM   ALCOVE   DAY MALAHIDE takes an almost involuntary step backward. His excitement has now reached the pitch where it is beyond obvious physical manifestation. He is perfectly still, his face perfectly impassive. MALAHIDE She's done it. JULIA She certainly has. MALAHIDE It's coming. JULIA It certainly is. MALAHIDE turns away to meet her eyes. There is a beat or two where absolutely nothing happens. The mirror explodes inwards into the alcove.", "INT.   OBSESSION ROOM   DAY The room is filled with smoke and suffused with blue light. Two of the walls simply part physically, revealing entrances into the corridors of Hell. These corridors are lined with gray walls and seem to run for a great distance. TIFFANY still sits cross - legged in the middle of the floor, staring about her in astonishment. Surrounding her, in various parts of the room, are the four CENOBITES from HELLRAISER. The FEMALE CENOBITE smiles and advances towards TIFFANY. The leader of the CENOBITES, PINHEAD raises a hand. PINHEAD Wait. The FEMALE stops and looks questioningly at PINHEAD. PINHEAD, at a more leisurely pace, crosses towards TIFFANY and looks down at her. She stares back at him, the remnants of her insanity a temporary defense against fear, her face registering nothing. PINHEAD looks up. PINHEAD No. The FEMALE looks across at him. CENOBITE No? PINHEAD shakes his head. PINHEAD No. He glances down at TIFFANY again. PINHEAD It is not HANDS that call us. He looks up and stares directly at the shattered two - way mirror. PINHEAD It is DESIRE.", "INT.   OBSESSION ROOM   ALCOVE   DAY The wall opposite the shattered mirror has also opened up to reveal a way into Hell. MALAHIDE and JULIA are no longer in the alcove. We hear the ringing of their footsteps. They are making their way down the corridor.", "INT.   OBSESSION ROOM   DAY The four CENOBITES have gone. TIFFANY looks around the room again. She stares from one entrance to the other. Her manner is reminiscent of when she is making decisions during her solving of puzzles.", "INT.   BLOOD-BOUDOIR   DAY KIRSTY is still on the floor in the boudoir of blood. This room too is now suffused with blue light and smoke. There are no gateways to Hell in the walls but there are several cracks in the plaster and these appear to be spreading. KIRSTY moans and opens her eyes gingerly. She puts a hand to her face, rubbing at the place where JULIA hit her. Still a little groggy, she lifts herself slowly to a sitting position, her legs stretched out. Only when she has blinked a few times, shaken her head, and rubbed her jaw again, does full consciousness return - at which point she looks quickly about the room -LRB- possibly expecting another attack from JULIA -RRB- and notices the light and the smoke. She has been in this atmosphere before. She knows precisely what it means. Her mouth opens and her eyes grow nervous again. KIRSTY Oh, shit. KIRSTY scrambles quickly to her feet and rushes through the door to the stairs.", "INT.   OBSESSION ROOM    DAY KIRSTY enters the room just as TIFFANY is about to go down one of the corridors. KIRSTY screams at her. KIRSTY NO! TIFFANY stops, startled, and looks at the doorway and KIRSTY. KIRSTY raises her hands in a placatory gesture and speaks more softly. KIRSTY Wait. Wait. KIRSTY begins to move into the room slowly and shakes her head gently. KIRSTY Hey, remember me? From the hospital? I was in the next room? KIRSTY is rewarded with a small recognizing smile from TIFFANY, KIRSTY returns the smile. KIRSTY You do n't want to go down there. You REALLY do n't want to go down there. TIFFANY turns her head once more to look down the corridor and then turns back to KIRSTY. For a second it looks as if KIRSTY's persuasions have succeeded, but MALAHIDE's training has been too thorough ; TIFFANY knows a puzzle when she sees one. She smiles once more at KIRSTY and then suddenly turns and disappears into the corridor. KIRSTY stands still for a moment, as if she ca n't quite believe that TIFFANY has done it. She shakes her head - half in disbelief and half in despair. KIRSTY Jesus Christ. Pausing only to pick up the LAMENT CONFIGURATION from where TIFFANY has left it on the floor, She heads straight for the corridor and follows TIFFANY in.", "INT.   CORRIDORS/LABYRINTH We are looking straight down one of the very long corridors of Hell. It has the same architecture as the corridor that appeared in the hospital room in HELLRAISER ; walls of stained gray stone broken up by vaguely medieval - looking arches. KIRSTY comes into view, walking away from the camera. Ahead of her, at an illogically far distance given that she entered the corridor only seconds before KIRSTY, is TIFFANY. KIRSTY breaks into a slight run, and calls out to the girl. KIRSTY Tiffany. Wait! Her voice has an unpleasant ring in the acoustics of these corridors and echos horribly. KIRSTY pulls a face and does n't shout again. She increases her pace slightly. Suddenly TIFFANY makes a sharp turn and enters an intersecting corridor. KIRSTY is forced to increase her speed even more. KIRSTY too makes the turn into another corridor. Even as she does so, she sees TIFFANY disappearing again into yet another intersection. KIRSTY follows and, again, the same thing happens. This happens several times and, always, KIRSTY never quite loses sight of TIFFANY but never quite catches up with her either. In short, TIFFANY's instincts were absolutely right ; this too is another puzzle. The girls are lost in a concrete maze, full of twists and turns and labyrinthine windings. After enough turns have been made to completely confuse KIRSTY's sense of direction, she makes a final turn into one corridor and sees something different. At the end of this corridor is a blinding white light. As soon as KIRSTY sees the light, the air is filled with beautiful birdsong. TIFFANY disappears into the light as soon as KIRSTY sees it. Despite the light, despite the birdsong, KIRSTY is still suspicious and shouts out. KIRSTY Tiffany! Do n't trust it! Do n't Trust it! But it is too late. The girl is gone. KIRSTY follows - and vanishes into the light.", "INT.   CORRIDORS/LABYRINTH JULIA and MALAHIDE are seen in the corridors of the labyrinth. MALAHIDE's face is full of delight. He is absolutely the enchanted visitor. JULIA, on the other hand, walks with the brisk assurance of one on familiar territory. The corridors that MALAHIDE sees are different to KIRSTY'S ; they are grotto - like, dotted with stalactites and stalagmites and not immediately unattractive. The walls contain portals of a glass - like substance at random intervals that emit blooming lights of different colors and MALAHIDE peers eagerly into several of these. In one, the view is like an aquarium. An alien fish swims past his eyes. Its body resembles a human brain but it has pincer - like claws. MALAHIDE presses his hand against the glass as the thing comes nearer. Suddenly, from within its body, the thing produces a perfect human forearm and hand and meets MALAHIDE's hand on the other side of the glass. MALAHIDE starts slightly but then keeps his hand there. He is turning his head to call JULIA's attention to this marvel when the thing suddenly forms a fist and begins to beat against the glass with tremendous force. MALAHIDE jumps back sharply, but the thing shatters the glass and leaps out at him. He gasps and runs up the corridor, the thing hopping after him on its one hand. As they pass JULIA, she tuts with the slightly exasperated but indulgent tone of a parent or a teacher. She steps on the thing, squashing it flat. It emits a horrible death - cry. JULIA Do be careful.", "INT.   HELL'S SITTING ROOM   DAY White light fills the screen and KIRSTY steps through it into view. Instantly the White light contracts and disappears. KIRSTY finds herself standing in a beautiful family sitting room. The room is bathed in the warm light of a perfect summer's day. The birdsong KIRSTY heard earlier continues but is, if anything, even more melodic, even more sweet. The room is vaguely Edwardian in its decor ; real wood furnishings and decorative porcelain ornaments. There is a large wooden dresser, on top of which are many photographs in old - fashioned brass frames. Despite herself, KIRSTY can not resist a smile of pure pleasure at the appearance of the room. She touches some of the furniture, as if to assure herself it is real. She approaches the dresser and picks up one of the large framed photographs. She gasps in pleasure. We see the photograph. It is a family group and looks to be have been taken ten to twenty years ago. It is of a man, a woman, and a young girl of four or five. The man is clearly LARRY, albeit a younger version, and the little girl has dark, thick, slightly curly hair - just like KIRSTY'S. The woman is beautiful and has similar hair to her daughter. KIRSTY's eyes prick with tears - but they are clearly tears of happy memories. She smiles. KIRSTY Mommy. KIRSTY puts down the photograph of her family and looks around the room again. A troubled look crosses her face. Despite the aparent Summer light in the room, KIRSTY suddenly realises what it is that is odd. She looks from wall to wall with mounting distress on her face. There are no windows in the room. And no door. At this point, the odd discordant note in the birdsong becomes apparent. It is nothing too obvious at the moment - the total effect is simply less sweet than it was. KIRSTY looks back at the photograph and snatches it up, with a look of concern. The photograph has changed. It is now a wedding photo. The wedding of LARRY and JULIA. Suddenly the photograph begins to bleed. Blood pours from the paper itself, pressing up and smearing against the glass - so that it is momentarily framed blood, without a single trace of the picture showing. The blood begins to escape out of the frame, trickling over the lip that holds the glass in place and dripping onto KIRSTY's fingers. With a cry of horror, KIRSTY drops the frame. It lands on the floor and the glass shatters. The blood continues to flow. In fact, now that the glass does not restrain it, it fairly fountains out, spreading across the floor. KIRSTY steps back and glances at the dresser. Blood is flowing from every frame, pooling on the dresser and overflowing onto the floor. By now, the discordant elements in the birdsong are very much predominant and, as KIRSTY sweeps all the frames off the dresser and onto the floor with a scream of anguish, the birdsong gives way completely to a hideous, dissonant shrieking. KIRSTY throws her hands to her ears. KIRSTY Nooooo! She rushes at one of the walls and begins beating it with her fists. The walls are soft and pulpy and give slightly as her fists strike, like flabby flesh. KIRSTY stands back in disgust. The wall visibly bruises before her eyes, swelling and purpling. The light in the room, like the birdsong, has changed utterly. It is not dark, but simply dull, featureless, and depressing. KIRSTY turns away in disgust and finds that the whole room has given in to decay. The sofas and chairs are mildewed and rotten, the wooden furniture is ridden with woodworm and rot. A skinned rat runs across the room beside the buckled and chipped skirting board. A rotten leg gives way under a small chest and the bottom drawer spills out, freeing a whole family of quite large spiders which run wildly across the floor. Suddenly the room begins to fill with smoke, churned up by an ever - increasing intensity of wind. The smoke obscures the screen.", "INT.   BARE CHAMBER   HELL The smoke and wind subside but not entirely. KIRSTY is standing in exactly the same position in a room of exactly the same proportions, but which is completely empty and which has walls of the same gray stone that the corridors do. Suddenly, rising up from behind KIRSTY, comes PINHEAD. PINHEAD Ah, Kirsty. And we thought we'd lost you. KIRSTY swings round in terror. As the mist continues to clear, she sees, advancing to join PINHEAD, the FEMALE CENOBITE and the CHATTERER. Beyond them, it is now revealed, that this chamber has no fourth wall ; it gives directly onto the corridors FEMALE CENOBITE So sweet of you to come back. KIRSTY begins to work furiously at the BOX she has brought from MALAHIDE's house. It sent them away at the end of HELLRAISER. She obviously hopes it will work again. PINHEAD raises a hand and the box simply flies out of KIRSTY's hands and hovers in the air between them. KIRSTY stares, open - mouthed. PINHEAD How can it send us back, child? We're already here. And so are you. Suddenly PINHEAD works at the box himself - by remote control and with dazzling skill. He turns the box rapidly through positions KIRSTY and we have never seen before - even opening it out at one stage into a large, two - dimensional square. Finally, it closes itself down - but in a wholly new shape ; a white, multi - faceted, diamond shape - and drops back into KIRSTY's hands. He stares at KIRSTY and makes a small gesture with his brow. It is ALMOST cute. If anything, it resembles the cocky, are n't - I - clever look STEVE gave KIRSTY after swallowing the cigarette in HELLRAISER. Then his face assumes its normal deadly blankness. KIRSTY shakes her head dumbly and begins to back into a corner, hoping that if they converge on her, she might just be able to slip around them and get back to the labyrinth. KIRSTY No! You. You ca n't! It was n't me. I did n't do it! I did n't open the box! FEMALE CENOBITE Did n't open the box. And what was it last time? Did n't know what the box was. And yet we DO keep finding each other, do n't we? PINHEAD Oh, Kirsty ; so eager to play, so reluctant to admit it. FEMALE CENOBITE Perhaps you're teasing us. Are you teasing us? To some extent, KIRSTY's ploy is working. The CENOBITES are moving closer together as they advance to the corner in which she stands. KIRSTY But I did n't open it! I did n't! PINHEAD Then why are you here? KIRSTY I've come for my father! KIRSTY shouts this with brave defiance. PINHEAD laughs in response, a very unattractive sound. PINHEAD But he's in his own Hell, child And quite unreachable. Suddenly KIRSTY makes her break shouting out as she does so. KIRSTY I do n't believe you! It seems for a moment she has succeeded. She swings around the side of the CENOBITES and begins to run across the chamber. The CENOBITES do not move but suddenly, from nowhere a hook flies across the room, attached to a metal chain. The hook buries itself in the wall only inches in front of KIRSTY's face, the chain pulled tight and barring her path. The wall begins to bleed. KIRSTY screams. The CENOBITES turn to face her, but make no attempt to cross the room to her new position. PINHEAD But it's true, He is his own Hell. Just as you are in yours. KIRSTY And what about you? PINHEAD almost smiles at the naivete of the question. PINHEAD It's different for us. FEMALE CENOBITE We've always been here. PINHEAD We have no more surprises. Suddenly, as quickly as it came, the hook withdraws from the wall and flies back into nothingness. PINHEAD puts out his hand in an expansive gesture. PINHEAD But, please ; feel free. Explore. We'll always be here.", "INT.   CORRIDOR KIRSTY ca n't quite believe this but she has no intention of questioning it. She runs into the corridor and away, with PINHEAD's last words echoing after her. PINHEAD we have Eternity to know your flesh! Delighted CENOBITE laughter follows her back into the labyrinth. KIRSTY drops the transformed BOX into her pocket as she begins running through the corridors again. The labyrinth seems tighter now - the corridors shorter, the turns sharper. Corner after corner we see KIRSTY turn. Accompanying this tightening, the light in the corridors becomes gradually murkier - not quite dark, more like the oppressive colourlessness that descends before a thunderstorm breaks. Occasionally there are little hissing noises from the walls themselves, which are accompanied by small jets of dull and heavy smoke escaping between the bricks. Over all this, there grows in volume on the soundtrack a rhythmic, labored, resonant sound - a sound somewhere between breathing and machinery. Suddenly, as KIRSTY turns one more corner, a hand reaches out to touch her. KIRSTY throws herself back against the far wall of the corridor, unsure whether to fight or flee. Then her face relaxes. It is TIFFANY.", "INT.   CORRIDORS/LABYRINTH In another corridor within the labyrinth, MALAHIDE and JULIA are walking. They too have found their way into the inner sections. They too are in tighter, sharper corridors where the light is distressing. They too hear the machine - like breathing noise. And what is revealed behind the portals in the corridor walls is less ambiguous in its unpleasantness ; in one we see CHATTERER in some Hell's equivalent of a beauty salon. He is being re - made. This involves the scar tissue being manually peeled from the upper part of his face to reveal beneath small, vicious, human eyes. MALAHIDE's attitude has begun to change, as well. His nervousness now clearly outweighs his delight. He' rushes on to the next portal. If the last room was a beauty salon, this is the orgy room. But the orgy is very strange. It is a very dark room, filled with a faint layer of smoke. In the background, a bound man is having his chest licked by a kneeling woman. She pulls her face back for a moment. Her tongue is horrifically long and studded with short, sharp blades. The man's chest is stripped of skin where she has been attending him. His face is a picture of ecstasy. In the foreground, three people are buried up to their waists in the floor. They are naked. The one in the middle is a woman, the other two, men. The one in front of her faces her, the one behind has his back to her back. They are all very, close. The men have various hooks in their chests, connected by chains to the unseen walls and their faces are impassive. The woman is unwounded and her head flicks back and forth, as if in the grip of a sexual climax of stunning ferocity. The movements of her head keep the details of her features blurred until, finally, it turns to give MALAHIDE a three - quarter profile and holds its position, its mouth open, its eyes half - closed in pleasure. It is JULIA's face. MALAHIDE gasps and pulls back from the portal. The camera TRACKS back to reveal that JULIA is still in the corridor, just a few yards in front of him JULIA Come. I have such sights to show you. MALAHIDE shakes his head crazily from side to side and begins to back away. JULIA looks at him and walks toward him slowly. She smiles. She strokes his cheek. She moves closer, gently slipping her arms around him and molding her body to his. She extends her tongue and licks lightly at his lower lip. He opens his mouth and returns the kiss, pressing her body more firmly to him. The kiss becomes quite passionate.", "INT.   CORRIDORS/LABYRINTH KIRSTY and TIFFANY are now walking together. KIRSTY is talking to her as calmly as her sense of urgency will allow. KIRSTY Do you see? You were RIGHT. This IS a puzzle, too. But WE'RE CAUGHT in the puzzle. KIRSTY stops walking and catches hold of TIFFANY's arm. TIFFANY stops, looks at the hand holding her arm, and then looks into KIRSTY's eyes. KIRSTY Yeah? TIFFANY smiles directly at KIRSTY and then returns her nod. KIRSTY Yeah? TIFFANY nods again, more emphatically. KIRSTY Yeah! KIRSTY throws her arms around TIFFANY and hugs her.", "INT.   CORRIDORS/LABYRINTH JULIA is leading MALAHIDE down a corridor which has intersections every few yards on both of its sides. JULIA walks past these shadowed entrances without pause, without a single sidelong glance. She is clearly confident, clearly back on her own turf. MALAHIDE, on the other hand, glances nervously into every one before moving on. There is also one last portal he looks into. He is gazing into a room where the floor is a vast, seething pool of maggots. Suddenly, something breaks the surface. It would doubtless scream were its mouth not full of maggots. It is BROWNING. His nightmare has come true ; his skin is producing the maggots in a constant, spewing flow from numerous sores that pack his face. MALAHIDE turns away and calls to JULIA. MALAHIDE Enough. God, that's enough. We HAVE to go back. JULIA smiles at him. JULIA Go back? What an earth makes you think we can go back? MALAHIDE's jaw drops. MALAHIDE I want to go back! JULIA Sorry, friend. No day trips to Hell. Here you are. Here you stay. And forward the only way to go. JULIA turns back and walks an down the corridor. MALAHIDE, with a glance back at the maggot pool, turns after the now departing JULIA.", "INT.   CORRIDORS/LABYRINTH KIRSTY and TIFFANY are walking warily along a corridor when, suddenly, the corridor wall parts with a roar. Both girls jump, and TIFFANY cries out. A new, and very narrow corridor has been revealed. The GIRLS stare down it. It culminates in a door. Despite being set in a blank gray stone wall, the door is normal. But frightening - because it is an exact replica of the front door of 55 LODOVICO STREET, LARRY's house. Before KIRSTY can react to this, a voice issues from beyond the door. VOICE Kirsty! KIRSTY stops dead in her tracks. She looks at the door and moves toward it, walking slowly down the corridor. TIFFANY follows. KIRSTY -LRB- Very Tentatively. -RRB- Daddy? Only a low moan comes from behind the door. KIRSTY Tiffany. Wait here. If I'm not back real soon - get out. Get home. Leaving TIFFANY in the corridor, KIRSTY opens the door and steps in.", "INT.   THE BROTHERS' ROOM The door that KIRSTY opens gives directly on to a room. Like the SITTING ROOM earlier this appears to be an ordinary room and not a stone wall chamber. It's wall - papered walls were once white but are now yellowed and old. Overhead there is an equally ancient four bladed wooden fan that turns sluggishly. In the middle of the floor is a small low table of vaguely Eastern design. On this table lie a hand of cards, face down, an empty and cloudy tumbler, and a soiled ashtray. Over by the far wall -LRB- the wall opposite to that containing the door -RRB- there is a mattress on the floor. A body like shape on this mattress is obscured by a heavy blanket that covers it. To the side of the mattress a latticed wooden screen stands, hiding whatever is behind it from those entering the room. If the atmosphere of the room reminds us of anything it is of the seedy bazaar where FRANK first bought the LAMENT CONFIGURATION. We are looking at the door as it opens inwards and KIRSTY slowly and nervously walks into the room. KIRSTY advances into the room. She stares at the mattress ahead of her. Above it written in blood on the wall, is the message she saw in her vision. I AM IN HELL : HELP ME. KIRSTY daddy. A low moan comes from the far end of the room. KIRSTY assumes it issues from the figure hidden beneath the blanket and walks nearer, lifting her arm in readiness to remove the blanket. KIRSTY Daddy. It's Kirsty. There is no response. KIRSTY arrives at the mattress and pulls the blanket back. She leaps backwards, her hand at her mouth stifling a scream. Lying on the bed is a husk like figure, vaguely female in shape. Despite its appearance of long decay, it is dressed in vaguely sexual garments of leather. Suddenly, the eyes pop open, revealing a vague remnant of life. KIRSTY Oh God. KIRSTY hurriedly, throws the blanket back over it. A voice issues into the room. It sounds like LARRY but, as we shall see, it is not. VOICE No. Over here. Behind the screen. KIRSTY walks carefully around the screen, giving it a wide berth in case of a trick. There is a figure standing against the wall behind the screen. It is deeply shadowed by the screen itself but is clearly male. KIRSTY gulps back a sob and her eyes fill with tears. KIRSTY Daddy? The figure leans slowly into the light, speaking as he does so. FRANK That's it, baby. Come to Daddy. KIRSTY stands still. There is a second where her face registers nothing. Then she screams. KIRSTY NO! it is her UNCLE FRANK, back in his skin and dressed in white shirt and jeans. FRANK chuckles. KIRSTY backs away from him into the room. FRANK puts out his right hand in a placatory gesture. KIRSTY realises he is not moving after her. She also sees that his body is curiously angled, the left side still in the deep shadow cast by the screen. Is there something else there? Something she ca n't quite see? FRANK's voice stops her wondering. FRANK What's the matter, Kirsty? It's only Frank. It's only Uncle Frank. KIRSTY's anger at being tricked wins over her fear and distress and she shouts at FRANK in fury. KIRSTY I should have known! I should've known he would n't be here! This place is only for filth like you! FRANK sneers. FRANK Oh, right. Daddy's died and gone to heaven, eh? KIRSTY Yes! FRANK Shit. Bull. Shit FRANK pauses and smiles. Then he begins to move more fully into the room, shifting his weight as he does so and dragging what was hidden into the light. KIRSTY screams again. FRANK's white shirt is cut off at the left shoulder. His arm is bare and, from the elbow down to the wrist, joined to another forearm. The flesh is completely fused, like that of siamese twins. As FRANK moves into the room, the owner of the other arm is revealed. It is his brother, LARRY. KIRSTY's father. LARRY, like his brother, is dressed in a white shirt -LRB- cut off at one shoulder -RRB- and jeans and, like his brother, has his skin back. His face is frozen into a permanent expression of terror and he seems incapable of any independent movement, simply being pulled along by FRANK. KIRSTY steps back in horror. FRANK See? He's here. You should learn to believe your Uncle Frank. KIRSTY No! He SHOULD N'T be here! It SHOULD'VE been a trick! FRANK ` Fraid not, baby. He belongs here. With me. We're the same. Brothers. Equal and opposite. Pure appetite. Pure banality. Too much feeling. None at all. KIRSTY's fear of FRANK is now outweighed by her contempt for his argument. KIRSTY You're full of shit, Frank Cotton. My Dad was n't like that at all. He could feel. He could love. He loved ME. KIRSTY's voice breaks. KIRSTY He. he loved me. FRANK Do n't waste your tears. Look at him! Her hatred for FRANK gives KIRSTY her strength back. KIRSTY He loved me, you bastard! He Loved me, he loved my mother. He even loved that bitch you betrayed him with! FRANK begins to move towards KIRSTY again, LARRY dragging behind him. FRANK Ah, Julia. She has n't been to see me recently. That's why it's so nice to have you here, baby. Daddy's little girl. So pretty when she's upset. Come to Daddy, FRANK is very close to her, now. KIRSTY attempts to run across the room. FRANK siezes her arm and throws her back against the wall. He moves in close and presses against her. His voice is midway between arousal and anger. FRANK Now do n't be naughty, Kirsty. Or I'll have to punish you first. Perhaps you'd like that. Would you like that? KIRSTY screams and stares pleadingly, at the still frozen LARRY. KIRSTY Daddy! Daddy! I love you! Help me! FRANK I'm your Daddy now, Kirsty. FRANK leans in to kiss the terrified KIRSTY. Suddenly, a hand appears at FRANK's throat and hurls him off KIRSTY. It is LARRY, roused by his daughter's cries. LARRY Get your fucking hands off my daughter, you bastard! Suddenly, the room, previously full of slow movements and tension, is full of furious, violent action as the fused brothers kick, tear, and punch at each other in a paroxysm of killing hatred.", "INT.   THE CENTRE OF HELL MALAHIDE and JULIA are at the end of a corridor. They turn into an open space. A vast open space. It is desert - like in its expanse, almost vanishing into infinity at its furthest reaches. It is criss - crossed by catwalks, on one of which MALAHIDE and JULIA now stand. Beside these catwalks, the ground falls away into mile - deep, dark, abysses. Above the catwalks, dominating the huge space, is the master of the labyrinth. The master, LEVIATHAN, is a monumentally huge, white, multi - faceted diamond, spinning on its own axis, entirely unsupported by any physical means, above its territory. Apart from its very immensity, the most unsettling thing about LEVIATHAN are the beams of black light that shine out from the corners of all its many facets. Due to the fast spinning, these beams shoot and swoop around the chamber, like a negative laser display of dazzling complexity. The sound that has been in the corridors is now magnified. It is the sound of LEVIATHAN's breath. MALAHIDE has walked the last few yards like a man in shock. Now a black beam strikes his face and images of horror flash before his eyes at almost subliminal speed. His face suddenly crumbles into an expression of incredulous terror, he makes a noise halfway between screaming and retching, and drops to his knees by the edge of the catwalk. Unfortunately, this allows him to look down into LEVIATHAN's pit. Looking down with him, we are given a sudden and vertiginously sickening realization of Hell's immensities. There is a drop of miles visible down the pit and, all the way down, as far as the eye can see, there are other catwalks cutting across the pit at various angles. MALAHIDE looks back up, his scream renewed by his sight of the pit. Two or three of the beams of black light flit across his face, filling his eyes with more subliminal images of horror as they pass ; a child, a knife, and a dead animal ; a naked woman whose private parts are made of sharp, oily, metal ; perfect hands ending in crumbling, leprous fingers. Suddenly, LEVIATHAN stops spinning. Effortlessly. Instantly. Two more beams are projected at MALAHIDE but, as they come within a few yards of him, they become writhing pink limbs that fly out, sieze MALAHIDE and lift him into the air. He screams out. MALAHIDE No! No! Julia! Help me! MALAHIDE is held in the air as JULIA replies. JULIA But you WANTED this. You wanted to SEE. You wanted to KNOW. And here it is. The heart of Hell. Leviathan. As she says this two of the thing's facets part to reveal a raw and gaping cavity lined with angry, sore - looking purple flesh directly behind the dangling MALAHIDE. The purple and pink walls of this flesh gash peel apart and open in various places to reveal blades, hooks and needles at the end of various vestigial limbs. The limbs holding MALAHIDE draw him back inexorably into this cavity. He has one last moment to meet JULIA's eyes. JULIA Why do you think I was allowed to go back? For YOU? No, it wanted souls. And I brought you. And you wanted to KNOW. Now you're both happy. MALAHIDE is now held within the walls of the gash. He opens his mouth for one final scream but one of the tiny needle - topped limbs flies at his mouth and sews his lips together with heavy blue wire before he can utter it. His eyes widen in both agony and horror. JULIA smiles. JULIA Goodbye, Doctor. It's been real. The gash heals itself, closing MALAHIDE within. Despite the gash having closed over MALAHIDE, the leathery flesh that covers that area is a mass of movement, ripples and bumps. Small rips and gashes appear and disappear on its surface, allowing us occasional and partial glimpses of MALAHIDE and what is happening to him. At one stage MALAHIDE's hand and forearm appear. A long deep, running cut has been made down the arm and the flesh peeled and folded back, revealing the meat and the muscle beneath. As we watch, two of the tiny operating limbs sew the flaps of flesh, still folded back, to the rest of the arm, leaving the wound open and un - healable. Another gash opens and MALAHIDE's face is visible. Here too the needles are at work, diving into and out of his flesh in a complicated sewing pattern that is finally pulled together beneath one ear, leaving MALAHIDE's features permanently pulled out of shape and decorated with running stitches of metal wire. Again, MALAHIDE's torso appears, naked. Two large triangular blades make deep parallel slashes down his chest. Two different limbs appear but these have sucker - like tips rather than metallic ones. They fasten onto the new cuts, as if battening. Instead they are injecting - as becomes apparent when MALAHIDE's skin turns blue. The blueness, the conscious disfigurement, and the almost decorative open wounds should serve to convey that what is happening to MALAHIDE is not simply torture ; he is being transformed into a CENOBITE. JULIA watches with avid interest.", "INT.   BROTHERS' ROOM LARRY and FRANK are fighting furiously, tumbling around the room. LARRY is fuelled by righteous anger and revenge but FRANK has had more experience of dirty fighting. At one stage their free hands each have hold of the other man by the throat and are rolling along one of the walls, each trying to establish the dominant grip. They smash violently against one of the walls in the room. It gives and they fall through into the next room.", "INT.   KNIFE ROOM This is a small square room. With the exception of the doorway to the BROTHERS ROOM, every inch of the walls is covered with sharp and deadly - looking double - bladed knives - ie One blade is buried in the wall up to a central hilt/handle and the other blade juts out menacingly into the room. The two brothers tumble into the room. Their grips loosened by their fall through the wall, they land on the floor and rise to their feet, staring at each other but taking in the vicious nature of the room as well. FRANK How convenient. KIRSTY comes through and gasps as she sees the walls. LARRY Stay there, baby. Do n't come in. FRANK Yes. Stay there. I'll be with you in a minute. LARRY and FRANK trade blows. FRANK lands a powerful blow to LARRY's jaw. It straightens LARRY up and FRANK slams the flat of his hand against his brother's chest. LARRY flies backwards. He flings out his arm to balance himself but he is nearer to the wall than he thinks and the impetus of his fall drives his arm onto the knives. LARRY cries out. FRANK grins and prepares to force his wounded brother completely onto the knives. Suddenly KIRSTY flies across the room at FRANK and beats at his back with her fists. FRANK snarls and, without turning around completely, flings her away from him. KIRSTY goes flying but lands just safely short of the deadly walls. LARRY, in the pause KIRSTY gave him and galvanized by her example, has found more strength. He pulls his arm painfully forward, clear of the knives, and throws himself to the side, forcing FRANK onto the knives. With a vicious push, LARRY impales his brother completely. FRANK howls, loud and long. Without pausing, LARRY pulls a knife free from the wall and, with one vicious slice, separates himself from his brother. LARRY rushes to KIRSTY and helps her to her feet. They embrace. There is a cry of horror off - camera. We pull out. TIFFANY has followed her friend. She stares in shock at LARRY's wounded arm and at the impaled FRANK.", "INT.   THE CENTRE OF HELL JULIA is being given more glimpses of the transforming MALAHIDE. The major surgery seems to be complete. There are no spinning blades of needles in sight as the gashes open. MALAHIDE's head is completely bald and his face, like the rest of his skin is blue. The only new sophistications are that his upper and lower eyelids have been stretched wide and stapled to his face and forehead, and that a new mouth has been sliced into what was his cheek before his features were pulled permanently to one side. Over the sound of LEVIATHAN's breath and the CENOBITE machinery still at work on MALAHIDE, FRANK's howl is heard. JULIA's head turns to the direction of this new sound. JULIA Frank. She turns away without a backward glance and moves back into the corridors.", "INT.   THE KNIFE ROOM FRANK is still impaled on the knives, but his anguished howl has Become small whimpers of complaint -LRB- with, given his history with the CENOBITES, perhaps the tiniest note of pleasure in there, too -RRB- KIRSTY, LARRY and TIFFANY are now gathered together to one side of the room near the door that leads to the corridor. They should leave, but a kind of sick fascination keeps them watching FRANK. FRANK realises only leverage will pull him free of the knives and lifts his forearms up as much as they are free to. He turns his palms to face the knives and, with a growl of self - encouragement, drives them deeply onto the knives so that he can begin to push the rest of his impaled body backwards. It takes several seconds and much pain for him to succeed, but succeed he does. He flops backwards into the room. Several of the knives have stayed in him, rather than the wall - his chest is decorated, or armed, with many blades. Just as FRANK begins to stand, and just as LARRY and the girls snap out of it and are about to leave, the door from the CONVEYOR BELT ROOM opens and JULIA walks into the room. KIRSTY and LARRY gasp. FRANK gives a slow smile. JULIA Well, well. All my family together again. How very sweet. FRANK -LRB- delighted/flattered. -RRB- Julia. JULIA -LRB- Flatly. -RRB- Frank. FRANK I knew you'd come. JULIA You knew? FRANK Yes. You're a girl who remembers her promises. JULIA Oh, I do. I do. FRANK grins, his grin taking in LARRY, KIRSTY and TIFFANY as well as JULIA. He extends an arm to JULIA. FRANK And I know how much I mean to you. Come here. JULIA does not move. FRANK Come here. Kiss me. And then. He glances meaningfully at the others, perhaps stroking a blade of one of the knives in his chest. FRANK we'll have a real family re - union. Suddenly, surprisingly, LARRY laughs. He is genuinely amused. LARRY Jesus Christ, FRANK. I do n't believe you. You do n't know her at all do you? You still think you're in charge. JULIA still has not moved. FRANK Of course I am. She BELONGS to me. JULIA begins to cross the room to him. KIRSTY For God's sake! He KILLED you! JULIA does n't pause. FRANK grins. FRANK She's forgiven me that. Have n't you? JULIA is now next to him. JULIA Do you really need to ask? FRANK laughs. FRANK Show them. JULIA glances at the knives. FRANK shrugs. FRANK Just a small inconvenience, babe. JULIA shifts position so she is standing behind him. She wraps her arms around him, one stroking his belly, the other across his shoulders. FRANK leans his head back and twists it slightly. They kiss. JULIA removes her arm from his stomach and slips it behind him. Nothing happens for a second and then, suddenly, FRANK's whole body spasms. We almost think it may be with pleasure until he breaks from the kiss and we see the confused expression on his face - and the blood bubbling at his mouth. There is a ripping, bursting sound and JULIA's hand emerges from his chest, covered in his blood. Clutched in her hand is his ruptured, still pumping heart. LARRY Jesus! Out. Out! He shepherds the girls quickly through the door to the corridor. FRANK's body begins to twitch. JULIA holds it tightly.", "INT.  CORRIDORS/LABYRINTH They reach the end of the corridor. It terminates in a T - junction. TIFFANY automatically heads in one direction. KIRSTY makes to follow, but LARRY hesitates. LARRY Wait a minute. Why are we following her? Who is this? KIRSTY This is Tiffany KIRSTY shrugs. KIRSTY She's good at puzzles. LARRY Fine. They take the turn TIFFANY has indicated.", "INT.  THE KNIFE ROOM JULIA still holds FRANK tight. Slowly, she raises the hand which holds his heart until it is in front of his face. FRANK's eyes are glassing over but he can still see. JULIA Nothing personal, babe. Without ceremony, she bursts the heart with one quick squeeze.", "INT.  THE CENTRE OF HELL LARRY, KIRSTY and TIFFANY come running toward the camera. Initially oblivious to the fact that the corridor they were running along has widened and the walls retreated. Suddenly, they come to a stunned halt together, staring ahead of them with awestruck faces. KIRSTY Oh. My. God. The camera moves around them to take in what they see. They are of course in the central chamber of LEVIATHAN. LEVIATHAN is spinning again, the black beams flying around the chamber. TIFFANY screams. KIRSTY grabs her. KIRSTY Tiffany, listen. You've solved it. But we've got to solve it the OTHER way. See? See? We've got to get out. TIFFANY is frozen. LARRY Come on! LEVIATHAN spins, the beams fly. KIRSTY Please! Tiffany, Please! Get us out! Take us home, please! TIFFANY nods. They are just about to leave when LEVIATHAN stops spinning. A large beam flies down, carrying an object which lands on the catwalk before the HUMANS, who all take a step or two backwards. The beam withdraws. The object at first resembles a large and bloody plastic bag, but then internal movement begins to rip at this covering. Hands appear out of the rips and complete the removal. We realise that the bag - like thing was a kind of caul, a membranous after - birth that some creatures produce their young in. The thing inside completes its escape and stands clear of the shredded caul. Like a new - born child, it is stained and soiled with amiotic fluids and blood. But it is not a new born child. It is a NEW CENOBITE. And it used to be MALAHIDE. The transformation we caught glimpses of is now complete. Its skin is entirely blue, its head entirely bald. The decorative wounds and tortures we saw being applied are all present ; its flesh is peeled back in various places, its features are threaded and distorted by, wire, its eyelids are stapled open. For a second it stands and regards the HUMANS before it. TIFFANY gasps in recognition. KIRSTY too knows what it was. KIRSTY Malahide. For some reason, KIRSTY draws from her pocket the photo she took from the OBSESSION ROOM. She stares at it. KIRSTY Jesus Christ! Of course. The MALAHIDE CENOBITE stretches its arms and flexes its fingers. MALAHIDE And to think I hesitated. It looks at the HUMANS again, its gaze finally settling on the still shocked TIFFANY. MALAHIDE Tiffany. Come. I have a whole new world of puzzles for you to enjoy. It reaches out its hand to her. MALAHIDE A whole new world of pleasures for you to endure. TIFFANY, confused and used to obeying her doctor's voice, tentatively stretches out her arm to meet the MALAHIDE CENOBITE's. LARRY suddenly walks between TIFFANY and MALAHIDE. The expression on his face is strange ; it is not fear, nor defiance. It is simpler than that. He is really, really pissed off. LARRY No. I've had enough of this shit. Who the hell are you? KIRSTY It's. LARRY waves a hand at her, but keeps his eyes on MALAHIDE. LARRY Never mind. Never mind. He points a finger at MALAHIDE's face, which is attempting a version of PINHEAD's imposing glacial stars, but frankly, is n't quite making it. LARRY Fuck you and the horse you rode in on. Suddenly, he forms a fist with his unwounded arm and smashes it straight into MALAHIDE's face. MALAHIDE is completely decked. LARRY grabs TIFFANY by the shoulders and speaks urgently to her. LARRY O.K. You've done it before. You can do it again. GET US OUT OF HERE! The three of them run back up the catwalk. LEVIATHAN spins wildly and a myriad of black beams flow from it. As they shine into the catwalk they become limbs like those that captured MALAHIDE, but all with different tips ; some are organic, vicious mouths, some are hooks or blades, some are faces, some are -LRB- as if LEVIATHAN Is too angry to be thinking straight -RRB- beautiful flowers. The limbs fly up the catwalk, but the HUMANS have gained too great a start. The limbs retract rapidly into the black lights. MALAHIDE staggers to his feet, just as LEVIATHAN re - directs its energy into forming and projecting one much fatter limb. It is dirty pink and segmented, like a vast earthworm. The end peels back as it flies toward MALAHIDE, revealing a cruel, metallic, and rapidly - spinning surgical saw. Just as MALAHIDE stands up straight, the limb smashes into the back of his skull. There is a distressing WHIRRING noise as the limb seals itself fleshily to MALAHIDE's skull and the former surgeon twitches and dances in horrible involuntary movements as LEVIATHAN takes over what little mind remains.", "INT.  CORRIDORS/LABYRINTH KIRSTY, TIFFANY and LARRY are running, TIFFANY making the decisions as to direction. Down one corridor, blades and knives jut out from the opposite walls at random intervals and they have to weave at high speed between them. They negotiate the corridor successfully but, just as KIRSTY, bringing up the rear, emerges from it, she stumbles and half - falls. The re - structured BOX falls from her pocket and rolls back a few feet up the corridor. TIFFANY, who is nearest to her, helps her to her feet and, as she does so, catches sight of the BOX -LRB- or white diamond, as it is now -RRB-. She makes as it to go and get it. KIRSTY holds her arm. KIRSTY No. Come on. We have to get out of here. TIFFANY moves away with KIRSTY, but not without a backward glance and a puzzled expression. They all make another turning. Suddenly, when they are about halfway down this next corridor, a new gap opens up behind them in the wall and a terrible sucking noise is heard. Corridor debris disappears into the vacuum. Luckily, LARRY has reached the end of the corridor and grasps the corner with one hand, seizing KIRSTY's hand with the other. KIRSTY grabs TIFFANY and the three of them flatten themselves against the wall, fighting against the suction. The force is tremendous and LARRY's finger are slowly losing hold.", "INT.   CORRIDORS/LABYRINTH CLOSE UP on a hand picking up the re - structured BOX from the corridor floor they have just left.", "INT.   CORRIDORS/LABYRINTH The sucking force is growing stronger by the second. Not only is LARRY's right hand losing its grip on the edge of the wall, but his left arm - stretched tight as it clings to KIRSTY and, via her, TIFFANY - is bleeding profusely again. Suddenly, JULIA appears at the top of the corridor next to LARRY. In her hand is the white diamond BOX that KIRSTY had let drop. She stays just out of range of the sucking wind. She stares at LARRY's weakening fingers and smiles. JULIA Oh, poor Larry. You never could hold on to anything for very long, could you? Suddenly, audaciously, his face set in a scowl of anger, LARRY lets go of the wall. Before she realises what is happening, he has grabbed JULIA's wrist and pulled her off her feet into the corridor. He lets go almost immediately and with a superhuman effort grabs at the corner again before the wind can claim him and the girls. JULIA is not so lucky ; without support or foothold, she is seized by the wind and hurtles to the gap in the wall. She manages to brake herself by flinging her arms out to either side of her. For a moment she is hold there and then the pressure begins to draw her in. In her left hand she still holds the BOX, but her right hand is only a few inches from TIFFANY's left. TIFFANY reaches her hand to her, not knowing JULIA as the others do. Their fingers just manage to interlock when JULIA's face registers a disbelieving shock. There is a terrible ripping sound. JULIA's new skin, so recently gained, is giving up its hold and has ripped right up the spine. JULIA is drawn from it. JULIA NOOOOOOOOOO! With a final, slurping sound, the skinned woman slips from the skin and disappears down the new corridor. The momentary break in tension allows LARRY to make one last effort. He rounds the corner and pulls the girls after him. TIFFANY, finally, realising what has happened, screams in terror and disgust, especially when she looks at what she has brought round the corner in her hand. She drops JULIA's skin to the floor as the three of them scramble to their feet and begin to run again. Still clutched in the skin's hollow fingers is the white diamond BOX. As they turn another corner, they see, very far in the distance, a glimmer of light. TIFFANY points excitedly. KIRSTY My God, it's her room! LARRY Let's go! He starts urging the girls down the corridor - a long and very narrow one - but KIRSTY shows some resistance. KIRSTY No. No, there's something wrong. Before they can discuss it, a new rushing sound is heard. They look back. Hurtling towards them is the ENGINEER from HELLRAISER. TIFFANY screams. LARRY Jesus. O.K. No more arguments. Just RUN! They begin one last panic - fuelled run down the narrow corridor, the ENGINEER at their heels. The sequence is equivalent to KIRSTY's pursuit by the ENGINEER in HELLRAISER, the twist here being that as they approach the entrance into TIFFANY's room the walls of the corridor, already thin, begin to close together. LARRY is bringing up the rear -LRB- the corridor is now so narrow only single file is possible -RRB- and he can almost feel the ENGINEER'S breath on his neck. LARRY Go. Go. Go. Go. Go! Finally, almost impossibly, they reach the gap in the wall. TIFFANY tumbles through, then KIRSTY, and finally LARRY. Less than a micro - second after LARRY has made it, the walls seal themselves.", "INT.   TIFFANY'S ROOM    (2nd VERSION)   DAY As we see clearly the room they have come into, we perhaps share the feeling that KIRSTY expressed in the corridor ; Something Is Wrong. The tiles that make up the floor are patterned as before but the individual tiles are larger. The room itself seems more spacious, the ceiling higher. There is a bowl of flowers by the window. The flowers were in full bloom before their trip to Hell but now they seem long dead. The audience have to notice most of this for themselves because LARRY, KIRSTY, and TIFFANY are too relieved by, and tired from, their escape to take this in immediately. LARRY seats himself in the chair, KIRSTY perches on the end of TIFFANY's bed. TIFFANY however walks straight across to her window. She is the first to notice anything. She stares at the flowers. KIRSTY Tiffany? KIRSTY rises from the bed and joins TIFFANY by the window. KIRSTY But these were. Daddy? LARRY rises to his feet. Just as he stands, a fleeting expression of bewilderment crosses his face. He strokes at his right arm with an unconscious gesture as he crosses the room. KIRSTY does n't look at her father right away. KIRSTY These flowers. I saw them just. She looks at her father. A sea of sweat has broken out on his brow and face as he stares intensely at the flowers. KIRSTY's voice slows, begins to trail off. KIRSTY the day. before. yesterday Daddy? Daddy! LARRY's eyes close. His entire face screws up as if an excruciating pain just hit him. He clamps his arm across his chest, the hands clutching his shoulders. He opens his eyes and looks at KIRSTY for a second, his expression one of surprise. Then his eyes roll up into the sockets and he collapses to the floor. TIFFANY has hardly had time to turn from the bowl of flowers before KIRSTY is kneeling by her father. KIRSTY Daddy! LARRY is unconscious. TIFFANY gasps. KIRSTY looks up at her. KIRSTY Get help. TIFFANY's eyes widen. She rushes to the door and disappears into the corridor. Within two seconds we hear an emergency alarm go off and TIFFANY re - enters the room. KIRSTY Pass me a pillow. TIFFANY does so and KIRSTY places it under the head of LARRY, whose lips are now blue and who is breathing very shallowly. KIRSTY looks up at TIFFANY, despair in her eyes. KIRSTY What do you do? I just do n't know what to do. TIFFANY shakes her head helplessly. Suddenly, the door to the room flies open and two INTERNS - maybe Stan and Ollie from the carnival sequence - come in, complete with stretcher and gurney. They assess the situation with a glance and it is serious enough to make one of them break their professional silence. INTERN Coronary arrest. Let's be quick. They are good at their job - within seconds LARRY is secured on the gurney and they head for the door, KIRSTY and TIFFANY behind them. The following exchanges are spoken on the move. KIRSTY Is he going to be 0. K? INTERN We just ca n't say. O.R.'s on standby. They'll do what they can. KIRSTY But it's bad? The INTERNS exchange a glance and decide honesty is best. INTERN -LRB- gently but flatly. -RRB- Yeah. It's bad.", "INT.   ELEVATOR   DAY The elevator is uncomfortably full, KIRSTY and TIFFANY squashed up against the back while the INTERNS hold the gurney in the centre. The elevator is descending. The ride seems to take longer than it should, even though they are going to basement level ; like the look of TIFFANY's room, it's ALMOST normal but just different enough to make us slightly uneasy in an un - focused way. Eventually, though, it does come to a stop. TIFFANY squeezes KIRSTY's shoulder sympathetically -LRB- NOTE. RE : TIFFANY's character - it should be clear to the audience by this stage that, though she is still mute, TIFFANY is now a responsive, more rounded character -RRB- The INTERNS wheel the gurney out of the elevator and the girls follow.", "INT.   BASEMENT CORRIDOR   DAY The basement corridor is long, cavernous, and not very pleasant. It has a grimier, more uncared - for look than the upper floors and the high ceiling is covered with an intricate system of naked pipes and conduits. The INTERNS wheel LARRY down this corridor, going so fast that KIRSTY and TIFFANY are continually breaking into a trot to keep up with them. At the far and of the corridor are a set of double doors. The nearer they all get to these doors, the tackier the corridor seems to become. The walls now have pipes running over them, as well as the ceiling, and several of these pipes are dripping water into small pools on the corridor floor. The sound of these drips is artificially loud on the soundtrack. Finally, the doors are reached and the INTERNS, LARRY, KIRSTY and TIFFANY disappear through them.", "INT.   PRE-OP ROOM    DAY This is a small ante - room to the operating room which is beyond a further set of double doors. Without ceremony the two INTERNS pass straight across this room to those doors and wheel the gurney through, one of them throwing back a parting remark to KIRSTY. INTERN Wait out here. A doctor will talk to you when we know more. The double doors part and close, giving just a glimpse of the operating room beyond, all lights, monitors and whirring machinery, and the several gowned and masked experts attending to LARRY. As the doors close, KIRSTY turns to TIFFANY, expecting a long wait before anyone comes to speak to them. Surprisingly, though, the doors open again almost immediately and two figures step through. They, too, are masked and gowned in surgical green and very little of them is visible. KIRSTY Is he going to be all right? 1st GOWNED FIGURE -LRB- matter of factly. -RRB- No. He's not going to be all right. KIRSTY staggers visibly, shocked by this bluntness. KIRSTY Wh. 1st GOWNED FIGURE No. He's going to die. He's got a ruptured aorta. He's going to die in agony. As he makes this speech, the mask of his colleague stains rapidly with blood, as if it is literally pouring from its mouth. Simultaneously, his own mask is slowly pierced by a score of nails bursting through from beneath. TIFFANY screams. The 1st GOWNED FIGURE pulls the mask and cap away from its face - It is PINHEAD. His colleague does the same. It is the FEMALE CENOBITE. KIRSTY Oh, Fuck. She's had too much experience with these two to hesitate. She grabs TIFFANY's arm and bursts through the double doors to the corridor.", "INT.   BASEMENT CORRIDOR   DAY We are now looking along the corridor in the other direction - back towards the elevator. KIRSTY and TIFFANY come into shot, running rapidly along the corridor. As they make their way, a rumbling, flatulent sound is heard from the overhead pipes and they all begin to drip blood not water. We hear the sound of the doors flying open behind them. KIRSTY and TIFFANY reach the elevator. KIRSTY presses frantically on the call button, while TIFFANY looks behind them with frightened eyes. KIRSTY C'mon. C'MON! The sound of steadily - pacing, purposeful feet is heard coming up the corridor, getting louder, coming closer. KIRSTY begins hammering on the closed elevator doors. TIFFANY stifles a cry with her hand. KIRSTY COME ON! Suddenly, the doors fly open. KIRSTY and TIFFANY tumble into the elevator.", "INT.   BASEMENT CORRIDOR   DAY   (GIRLS' P.O.V.) We see the door - frame of the elevator and the floor buttons beside it and, looking down the corridor through the open elevator doors, PINHEAD and the FEMALE CENOBITE marching towards us. We also see KIRSTY'S finger jabbing frantically at the floor buttons. The doors are not closing. The CENOBITES are getting very close. Finally, just as PINHEAD breaks from his determined but medium - paced stride and speeds up eagerly for the last two or three yards, extending his arm as he does so, the door slams shut across our vision and we hear the elevator machinery start up.", "INT.   ELEVATOR   DAY KIRSTY leans against the back wall of the elevator, breathing heavily. TIFFANY stands very still in the middle, a frozen expression of fear on her face. KIRSTY Faster, you bastard, faster! She slams her fist against the elevator wall. The elevator stops. Its lights flicker. KIRSTY Oh, Jesus. I'm sorry. I'm sorry. I did n't mean it. The elevator starts again. KIRSTY It's 0. K. They ca n't beat an elevator. Not upstairs. It'll be O.K. The lift stops, but this time it's where they want it. KIRSTY's finger hesitates over the DOOR OPEN button. KIRSTY It'll be O.K. She presses the button.", "INT.   HOSPITAL CORRIDOR   DAY   (GIRLS P.O.V.) We are looking at the closed elevator door. When it opens we will be looking down the corridor on the main hospital floor - the floor with the girls' rooms on. The door flies open. CHATTERER II lunges in at them. KIRSTY screams, but because of the eagerness of his lunge they are able to get around him as his impetus carries him to the back of the elevator.", "INT.  HOSPITAL CORRIDOR      DAY The door begins to close as the girls straighten up in the corridor and as CHATTERER II turns around to come back out at them. He tries to put his hand out to stop the door closing, but succeeds only in trapping his fingers in the door. KIRSTY, as soon as the doors began to close, had hit the DOWN button. Now, she squeals with horror as she realises what is about to happen. The elevator begins to descend - we can tell this because CHATTERER II's fingers move down to the floor and are then sliced off. The GIRLS run off down the corridor. KIRSTY This way. Short cut. They turn into a set of double doors leading to a large ward.", "INT.   LARGE WARD   DAY KIRSTY and TIFFANY enter the ward at a run and then slow down to a confused and horrified walk. Every bed in the ward is occupied, some by men, some by women, and every patient has in their hands, and is busily working on, a LAMENT CONFIGURATION. Despite this collective work - in, the BOXES obviously still have the vicious characteristics they have previously demonstrated when used individually - as is witnessed by the ten or so patients who are struggling on with their work despite having one or two hooks and chains connecting their flesh to their BOX. KIRSTY and TIFFANY move slowly down the room, a look of incredulity on both their faces. KIRSTY Oh, Christ. This is n't just personal anymore. TIFFANY nods slowly, her eyes flicking back and forth across the ward. Suddenly, the wheelchair patient from the earlier scene in this ward, who has been between two of the beds on one side of the ward, cuts across the GIRLS' path. He too has a BOX on his lap. As he passes in front of them, he looks at them, giggles in an unmistakably insane fashion, and gives them a conspiratorial wink. Then he simply proceeds to the other side of the ward. A second or so after this, as the GIRLS edge down the middle of the room, they hear a rushing sound behind the double doors they are heading towards. Suddenly, the doors slam open and revealed in the doorway is MALAHIDE. But he is not standing there. He is hovering about two feet off the floor. The umbilical limb that connects him to LEVIATHAN is still at the back of his skull. His face is contorted in a grin of manic glee as he floats three or four feet into the ward. MALAHIDE The Doctor is in! He laughs, and the sound is far from human. KIRSTY and TIFFANY stare at him. TIFFANY Oh, shit. KIRSTY looks sharply at TIFFANY for a second, as if she is about to comment on her re - found voice, but instead simply nods. She takes her friend's hand and the GIRLS begin to walk very slowly backwards to the far end of the ward. MALAHIDE is too enraptured of his new power to pay attention to specific victims and so makes no move to stop the GIRLS' slow retreat. Suddenly his palms erupt into a writhing mass of tentacle - like limbs as his head tips back to emit a wide band of LEVIATHAN's black light at the ceiling, accompanied by, renewed inhuman laughter. Taking this as their cue, the GIRLS turn and bolt for the doors at the far and of the ward and exit through them. The limbs extrude from MALAHIDE's palms only twelve inches or so and are all quite thin, but they all have independent movement and they all have various surgical - like, gleaming tips. MALAHIDE floats over to the nearest bed. He looks at the patient and then looks at the bladed tips of his new limbs and, as if addressing them, speaks. MALAHIDE I recommend amputation. There is another burst of laughter as the limbs fly at the patient, writhing, twitching, slashing, and slicing.", "INT.   HOSPITAL CORRIDOR  DAY The GIRLS run wildly along the corridor, not knowing MALAHIDE is working his way through his former patients. They come to another door and pause. They look back down the corridor to ensure they are not visible as they hide and KIRSTY pushes the door open with the flat of her hand behind her. Carefully, still looking down the corridor, they back into the room and let the door close.", "INT.   HOSPITAL/TORTURE ROOM  DAY CLOSE UP on the GIRLS' faces as the door closes in front of them. KIRSTY lets out a breath. Then they hear the rattling sound behind them. They swing round and the camera pulls out to take in the room. It is like the TORTURE ROOM in HELLRAISER. The walls are black, the floor slimy, and the room filled with chains, hooks, and torture - pillars. And, in the room and staring at the GIRLS, are the four CENOBITES. PINHEAD glances theatrically around the room, as if checking something. PINHEAD Oh. No Boxes. Such a shame. FEMALE CENOBITE No more delays, Kirsty. No more teasing. Time to play. PINHEAD Time to play. KIRSTY looks at his unforgiving face and then her eyes suddenly widen as she thinks Of something. KIRSTY Wait! PINHEAD No more deals, Kirsty. It's your flesh we want to experience, not your skill at bargaining. KIRSTY No deals! Just information. Information. Free of charge. No strings. Just information. PINHEAD Go on. But trick us again, child, and your suffering will be legendary even in Hell. Carefully, making no fast movements, KIRSTY reaches into her pocket where she placed the photograph from MALAHIDE's OBSESSION ROOM. She brings out the picture that she realized earlier was of PINHEAD and hands it to him. He takes hold of it and looks, his face registering nothing. PINHEAD What is this? Someone else you think escaped us, like Frank? KIRSTY No, No, this one did n't escape. You told me you'd always been in Hell. You were wrong. Look at it. LOOK. IT'S YOU. PINHEAD Nonsense, I. KIRSTY It's you! You HAVE N'T always been as you are. You were HUMAN. Remember. Remember all your confusions. Think! The FEMALE CENOBITE strides across the room. FEMALE CENOBITE Enough! She raises her hand towards KIRSTY. PINHEAD's arm flies out and stops her. PINHEAD Wait! He is staring at the photograph, that great immobile brow finally puckering, as if something is stirring. PINHEAD I. remember. KIRSTY You were ALL human! The other three CENOBITES stop moving and stare at KIRSTY. Any advances they were making on KIRSTY or TIFFANY stop as the same dim, distant, recollection begins to stir within them. Suddenly, the door bursts open. MALAHIDE is there, still floating, his voice still a mixture of hideous threat and insane joy. MALAHIDE Tiffany. Come. He turns his palms downwards, mirroring his gesture in the hall of mirrors. TIFFANY lets out a moan of terror and shakes her head. One of the snake - like limbs from MALAHIDE's palms flies towards TIFFANY's face. Before anybody can react, its scalpel tip has sliced an inch or so off several strands of her hair. MALAHIDE Tiffany. Come. KIRSTY throws her arms around the cowering TIFFANY and snarls at her tormentor. KIRSTY Leave her alone, you asshole! MALAHIDE makes no reply, but suddenly several more limbs fly towards the GIRLS and begin to weave in front of KIRSTY's face like snakes awaiting their moment. At this stage, the camera CUTS TO the watching PINHEAD. He lets the photograph of his past life flutter to the floor. MALAHIDE looks up at the tiny noise this makes and his eyes meet PINHEAD'S. He turns more fully to face PINHEAD and the other CENOBITES who are now standing with their leader, and a strange smile crosses his face MALAHIDE Oh, good. A fight. Suddenly, the air is full of flying chains. MALAHIDE is hooked everywhere. It is like a high - speed version of FRANK's final re - capture in HELLRAISER. The chains start tugging almost instantly. Is MALAHIDE about to be ripped apart? With contemptuous, dismissive speed, the limbs that ooze from MALAHIDE's palms have sliced the chains to pieces and, almost before we have time to realise that, three of them have lengthened, thickened, and hardened and have skewered the FEMALE CENOBITE, CHATTERER II, and BUTTERBALL to the walls. The three limbs detatch themselves from MALAHIDE. The three CENOBITES are all well above the floor, pinned and twitching like the rats in FRANK's attic. As they die, they suddenly revert ; there are three human corpses on the walls of the room. A woman, a fat man, and a little boy. MALAHIDE smiles. Be looks at PINHEAD again and advances. Suddenly a heavy torture pillar smashes into him, knocking him slightly off - balance. PINHEAD is backing across the room, weaving pillars in front of him as he moves. MALAHIDE moves forward, knocking them out of the way. As each pillar is knocked aside, PINHEAD's face is more and more human. Finally, when the face we see is nearly that of the ENGLISH OFFICER from the opening, he turns his head slightly away from the advancing MALAHIDE and finds KIRSTY's eyes. A look passes between them. Understanding? Gratitude? Friendship? Whatever emotion lies beneath it, it is clearly a cue and KIRSTY and TIFFANY make a break for it, bursting through the door. Simultaneously to this, MALAHIDE and PINHEAD find each other's eyes a final time. For a second, everything is still then a single bladed limb flies across the space between them and neatly and calmly slices PINHEAD's throat open. The thin red line becomes a torrent of blood and the former lord of Hell falls dead at the feet of his successor.", "INT.   HOSPITAL CORRIDOR   DAY KIRSTY and TIFFANY burst out into the corridor and almost fall over the PATIENT IN THE WHEELCHAIR. PATIENT So what, girls? It's O.K. for an ego - trip but it does n't got the job done. Shaking their heads at the insanity, they run up the corridor. TIFFANY looks slightly distracted and when she speaks it is half to herself. TIFFANY I have to go back. Or it'll never stop. KIRSTY -LRB- Confused. -RRB- What are you talking. TIFFANY -LRB- to herself. -RRB- I've got to finish it. KIRSTY Finish what? Even as KIRSTY says this, TIFFANY has moved past her and is resuming her run down the corridor. KIRSTY Tiffany! Wait! KIRSTY starts after her friend. They turn back into the main section of the corridor that contains their own rooms, TIFFANY still four or five yards in front of KIRSTY. TIFFANY reaches her room. The door is open. She goes in. A second later, KIRSTY follows.", "INT.   TIFFANY'S ROOM   DAY KIRSTY enters the room. It is as we last saw it except that the walls have re - parted to give onto the corridors of Hell. Carefully and slowly, KIRSTY moves across to the entrance and looks down it. She is rewarded with the sight of TIFFANY just disappearing at the far end of the first corridor. With a grimace, KIRSTY follows her in.", "INT.   CORRIDOR/LABYRINTH TIFFANY's skill at finding her way through puzzles means the GIRLS are soon in the murkier corridors close to the Centre. Hell seems angrier now, steam is issuing in jets from the corridor walls, the cries of children are heard faintly on the soundtrack, LEVIATHAN's breathing is more dominant, perhaps the light is even pulsing in time with it. KIRSTY is still several yards behind TIFFANY. TIFFANY takes a corner and is out of sight for a second or so. KIRSTY dashes around the corner to find TIFFANY staring with distress at something on the floor. It is the skin ripped off JULIA by the vacuum tunnel earlier. KIRSTY Oh, gross. TIFFANY bends down and retrieves the white diamond BOX from the empty fingers. KIRSTY What are you doing? What are WE doing? TIFFANY looks at the BOX in her hand. When she speaks, it is not to KIRSTY but to herself. TIFFANY I ca n't do it here. I have to go to it.", "INT.   THE CENTRE OF HELL LEVIATHAN spins and fires light in the centre, his machine - like breathing drowning all other sound. We are looking down the catwalk as KIRSTY and TIFFANY approach its edge. The beams of black light wash across their faces, as they passed over MALAHIDE's in the earlier scene. Images of horror freeze momentarily before them and then pass on, only to be replaced by others. TIFFANY I'm scared. KIRSTY No. Do n't let it. You've come this far. The GIRLS press on. Whether LEVIATHAN is oblivious to their presence or simply does n't consider them a threat, the beams stop striking the GIRLS' faces. Nevertheless, the mood remains ominous. The audience should feel something is about to happen. They are six feet from the lip of the catwalk. TIFFANY kneels and, holding the white diamond BOX in front of her, begins to move her fingers over it. The music box tune begins to play as the BOX begins to move. That ` something' that the audience was waiting to happen, suddenly does ; MALAHIDE flies up from the abyss beside the catwalk. The vastness of the limb that seals him to LEVIATHAN is now directly apparent ; instead of merging into black light, the limb itself trails through the air over the huge distance to LEVIATHAN itself. One of the limbs from MALAHIDE's palms flies out and knocks the BOX from TIFFANY's hands. It rolls perilously close to the edge of the catwalk. KIRSTY grabs TIFFANY and, dragging her to her feet, pulls her further back down the catwalk as MALAHIDE floats to a landing between them and the BOX. MALAHIDE Ah, girls. And how are we feeling today? The blades on the end of his limbs twitch eagerly. MALAHIDE You have your whole lives behind you now. The limbs fly forward. KIRSTY screams and both girls run up the catwalk. About halfway back up, however, TIFFANY stops, turns around, and begins to walk back. KIRSTY calls out. KIRSTY Tiffany! No! The camera stays with TIFFANY as she makes her way back. KIRSTY's voice stays on the soundtrack for a time, imploring her friend to turn back and then simply stops. This should be abrupt enough to make the audience notice but smooth enough to avoid their attention leaving TIFFANY. MALAHIDE waits, happy to see a patient so keen on the knife. Very slowly, TIFFANY moves forward, inch by slow inch. This is something she HAS to do ; the expression on her face is not determination but terror. And MALAHIDE is very happy to encourage this. MALAHIDE Surgery is open, Tiffany. What was today's agenda? His scalpels flick in the air, making small slicing motions. MALAHIDE Ah, yes. Evisceration. Still TIFFANY comes forward, closer and closer until she is surely close enough to be grabbed. Suddenly, she is grabbed. But from behind, and by a human hand. TIFFANY gasps, and turns to see who has seized her. She screams. It is JULIA. The limbs retract into MALAHIDE's palms. He smiles. JULIA Doctor. I've missed you. JULIA, having presumably just replaced her skin, is not quite as perfect as before ; there are bloody lines like scars beneath her ears and chin as if the skin required some adjustment before being put on. JULIA moves forward, her left arm still holding TIFFANY, her smile returning MALAHIDE'S. MALAHIDE I knew you'd come back. JULIA I'm a girl who keeps her promises. JULIA is right next to MALAHIDE now. Smoothly, she releases her grip on TIFFANY and embraces MALAHIDE sensuously. He returns the embrace. They kiss. Unseen, TIFFANY moves to the edge of the catwalk and picks up the BOX. Her fingers move over it, finding its solution. Suddenly, LEVIATHAN's breath becomes a roar of anger and fear. MALAHIDE breaks away from his kiss, his face a mixture of confusion and rage. JULIA plants both hands in the middle of his chest and pushes. He falls over the lip of the catwalk but, almost before he drops from sight, he is suddenly pulled backwards through the air, screaming, as LEVIATHAN's limb retracts. JULIA jumps back. shouting. JULIA Do it, Tiffany! Do it! TIFFANY's fingers fly over the BOX and suddenly we see what is happening. The mountain - like LEVIATHAN is following the movements of the small replica in TIFFANY's hands. As TIFFANY inverts the new configuration back towards a closed BOX, LEVIATHAN too is being twisted and turned. Being closed. The whole centre of Hell shakes as if suffering a mild earthquake. JULIA and TIFFANY almost lose their footing, but TIFFANY continues working. She is nearly, there. LEVIATHAN is halfway between its white diamond, majesty and a huge closed BOX. TIFFANY takes her hands from the BOX. It is done. The larger BOX operates a few seconds behind it's control, so that we can inter - cut the final sliding and creaking into position with the following human drama ; As LEVIATHAN makes its final closing, the mild tremors of before become larger. Hell shakes violently and this time TIFFANY does lose her footing. She looks set to tumble into the vast abyss to the side of the catwalk but just manages to catch hold of the edge with one hand. The small BOX flies from her hand and hurtles down into the miles of blackness below. TIFFANY dangles over the edge, her feet kicking wildly for a foothold that does n't exist. Suddenly, a hand extends to her. She looks up. It is JULIA. For a second, nothing happens. JULIA Trust me. TIFFANY lifts one hand off the edge and grabs at JULIA's proffered wrist. JULIA begins to pull up and for a moment it seems the crisis is over. Then a terrible and familiar ripping noise is heard : The skin of the arm that TIFFANY clings to begins to rip free at the shoulder. Gradually, like a shirt's threads unraveling, it comes off. TIFFANY's weight pulls it clear like a very long and very tasteless evening glove and it seems she will finally make the long drop. At the final second, as the arm - skin comes off, the entire skin flies from the body and falls with its arm into the abyss. TIFFANY screams. She is going to die. But suddenly the two arms that have Just lost their skin fly out again and catch her fingers. TIFFANY is hauled over the edge and staggers to her feet, staring into the - bloodied face of KIRSTY, who had donned JULIA's skin to help her friend. The two girls share a quick and joyous embrace and then run rapidly up the catwalk. The camera stays with LEVIATHAN. The rumbling stops. And the mountainous BOX creaks into its final, sealed position. FADE OUT FADE IN", "INT.  RECOVERY ROOM  DAY CLOSE UP on a bowl of beautiful flowers, sitting on a shelf in the recovery room. The camera TRACKS out to let us see LARRY, pale, drawn, but basically okay, in the room's single bad. He is wired up to various drips and monitors. Sunlight is flooding into the room from a window and the camera continues its TRACK up to and through this window to ;", "EXT.   HOSPITAL MAIN ENTRANCE  DAY KIRSTY is kissing TIFFANY on the cheek. TIFFANY is dressed in smart clothes and has a small traveling bag in her hand. KIRSTY So. What're you going to do? Open up a games - shop somewhere? Sell jigsaw puzzles? TIFFANY gives a smile. TIFFANY Oh, yeah. There is a slightly awkward pause. KIRSTY Well. G'bye. TIFFANY It's been Hell. They share a rueful knowing smile, like the smile of soldiers back from a war who say goodbye on a dockside and know they will never meet again. TIFFANY turns and walks down the long path to the hospital gates. KIRSTY watches her for a few moments and then turns and re - enters the institute. The camera TRACKS back to the window of the RECOVERY ROOM and we watch through the window as KIRSTY enters the room. She bends to kiss her father's cheek. LARRY slips an arm around her shoulders and they embrace. The camera moves away again.", "INT.   HALLWAY  MALAHIDE's HOUSE  DAY The camera TRACKS slowly up MALAHIDE's hallway. The hallway is lined with packing cases filled with items from the house. A WORKMAN is shoving something into one of the cases. As the camera moves past him, he speaks. WORKMAN So whose was all this shit? The camera reaches the doorway of the OBSESSION ROOM as an answering voice is heard. 2nd. WORKMAN WORKMAN says. Not our problem. The TRACK continues into -", "INT.   OBSESSION ROOM  DAY and we see the 2nd. WORKMAN. He is crouching over the mattress which is still in the middle of the floor of the otherwise empty room. 2nd. WORKMAN WORKMAN says. Gim me a hand with this. Almost faster than the eye can register it, a hand shoots out from the mattress and grabs his wrist. He has about half a second to issue a strangled shout and then, hideously quickly, a matter of two seconds or so, his body is drained of all life and the dried husk collapses to the floor. The first WORKMAN appears hurriedly in the doorway and then freezes, an awestruck expression on his face. JULIA is rising, headfirst and upright, from the centre of the mattress. The movement is smooth, magical, unsettling. It is graceful but not slow. JULIA is fully fleshed, fully skinned, and fully dressed. She is in a replica of the dress MALAHIDE bought for her, but this one is jet black. She looks fabulous. As the WORKMAN stands open - mouthed, her feet clear the mattress. But they do n't stop there. She slows to a graceful halt about six inches above the mattress. She stretches and flexes her arms sensually. Than her head swivels and her excited, aroused eyes meet those of the WORKMAN. JULIA I'm Julia. Love me. Suddenly, her head tips back and, accompanied by JULIA's delighted laughter, a wide beam of Hell's black light flies at the ceiling from her open mouth. Instantaneously, it spills across the ceiling and falls, like a fountain of blood, across the screen. COMPLETE BLACKNESS. THE CREDITS ROLL"], "labels": [0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 1.0, 0.0, 1.0, 0.0, 1.0], "summary": "In the past, British military officer Elliot Spencer is transformed into the Cenobite \u201cPinhead\u201d after opening the Lament Configuration. Shortly after her father is killed by Frank Cotton, Kirsty Cotton is admitted into a psychiatric hospital. Interviewed by Doctor Channard, and his assistant Kyle MacRae, she tells her account of the events, and pleads with them to destroy the bloody mattress her murderous stepmother, Julia Cotton, died upon. After hearing Kirsty's story, Dr. Channard, who is secretly obsessed with the Lament Configuration, has the mattress brought to his home, and convinces a mentally ill patient to lie on it and cut himself with a straight razor. The resulting bloodflow frees a skinless Julia from the Cenobite dimension. MacRae, having snuck inside Dr. Channard's house to investigate Kirsty's claims, witnesses the event and flees. Kirsty meets a young patient named Tiffany, who demonstrates an amazing aptitude for puzzles. Later that night Kirsty is awakened in her room by a vision of her skinless father, who tells her in writing that he's in Hell and to help him. MacRae arrives back at the hospital and informs Kirsty he believes everything is true. The two decide to return to Dr. Channard's house. Meanwhile, Dr. Channard, seduced by Julia, has brought more mentally ill patients to his home for her to feed on and regenerate. Kirsty and MacRae arrive at Channard's home. MacRae is killed by a now fully regenerated Julia, and Kirsty is knocked unconscious. Channard and Julia kidnap Tiffany and force her to unlock the Lament Configuration so they can enter the labyrinth-like world of Pinhead and the Cenobites. They enter, followed by Kirsty, who now possesses the Lament Configuration. Pinhead and the other Cenobites find Kirsty and tell her she is free to explore. Julia betrays Dr. Channard and leaves him to be transformed into a Cenobite by the god of hell, Leviathan. Kirsty encounters Frank Cotton in the labyrinth, who reveals that he tricked her by pretending to be her father. Julia appears and destroys Frank in revenge for killing her, allowing Kirsty to escape. Julia is then killed by a vortex that opens within the labyrinth, leaving only her skin behind. Kirsty and Tiffany reconnect and attempt to escape, but are ambushed by Channard, now having become a Cenobite. Kirsty and Tiffany flee and encounter Pinhead and the other Cenobites.  Kirsty shows Pinhead a photograph of Elliot Spencer that she took from Channard's study, and he gradually remembers that he was human. Suddenly, Channard appears. Pinhead and the other Cenobites attempt to fight him, but Channard easily overpowers and kills them all. Channard traps Kirsty and Tiffany.  Kirsty finds Julia's skin and wears it to distract Channard, giving Tiffany enough time to once again solve the Lament Configuration. Channard is killed and the door to hell is finally closed. Kirsty and Tiffany leave. Elsewhere, two moving men are removing Dr. Channard's belongings from his home.  One is pulled inside of the mattress, and the other witnesses a mysterious pillar rise from within it.", "name": "Hellbound:_Hellraiser_II"}
{"scenes": ["EXT. COLORADO MOUNTAIN (U.S.A.) - DAY - L.S. Lake and Mountains. CAMERA TRACKS FORWARD past island in lake.", "EXT. ROAD - DAY - L.S. High Angle V.W. Car moving along road - CAMERA TILTS UP with it.", "EXT. COLORADO MOUNTAINS & ROAD - DAY - L.S. Mountains and Road - V.W. Car moves away along road - CAMERA TRACKS after it. L.S. V.W. Car moving away along road - CAMERA TRACKS after it and passes car - TRACKING FORWARD to Mountains in b.g. M.L.S. High Angle V.W. Car moves away along road - CAMERA TILTS UP with it. Car goes into tunnel and comes out other side. CAMERA TRACKS after car. L.S. V.W. Car moves along road. CAMERA TRACKS after it. Mountains in b.g. L.S. High Angle V.W. Car moving away along road. Mountain in b.g. CAMERA TRACKS after car. L.S. Mountain - CAMERA TRACKS IN on Hotel. Black Frames. THE INTERVIEW.", "INT. OVERLOOK HOTEL/LOBBY - DAY - M.L.S. Jack walks L - R across Lobby. CAMERA TRACKS BACK & PANS with him to RECEPTIONIST behind desk. JACK Hi, I've got an appointment with Mr. Ullman. My name is Jack Torrance. RECEPTIONIST His office is the first door on the left. JACK Thank you. JACK moves away R - L. CAMERA PANS with him and TRACKS IN after him through Secretary's office to open door of ULLMAN's office - revealing ULLMAN seated at desk with SECRETARY standing beside him. JACK Mr. Ullman? ULLMAN Yes? JACK I'm Jack Torrance. ULLMAN Oh, well - come on in Jack. ULLMAN stands up and hands book to SECRETARY, walking round side of desk. JACK moves into office. CAMERA TRACKS IN after him. He shakes hands with ULLMAN. ULLMAN Very nice to meet you. JACK Nice to meet you, Mr. Ullman. ULLMAN points to SECRETARY. ULLMAN This is my secretary, Susie. SECRETARY Hallo. JACK Susie, how do you do? ULLMAN Have any trouble finding us? JACK Oh, no problem at all. I made the trip in three and a half hours. ULLMAN Well, that's very good time, very good. Please sit down a minute. ULLMAN points to chair cam.R. JACK sits cam.R.f.g. ULLMAN walks behind desk. ULLMAN JAck, just make yourself at home. Would you like some coffee? JACK Well, if you are going to have some, I would n't mind. Thanks. ULLMAN Susie. SECRETARY Sure. ULLMAN Oh, and would you ask Bill Watson to join us? SECRETARY Yes, I will. ULLMAN sits behind desk. SUSIE walks forward to R.f.g.", "EXT. APARTMENT BUILDING/BOULDER - DAY - L.S. Apartment Building - cars parked in front of it. Mountain in b.g. CAMERA TRACKS IN on Apartment Building.", "INT. JACK & WENDY'S APARTMENT IN BOULDER (USA) / LIVING ROOM - DAY - M.L.S. DANNY is sitting at table eating a sandwich. WENDY sitting cam.R reading book. DANNY Mom. WENDY Yeah. DANNY Do you really want to go and live in that hotel for the winter? WENDY Sure, Danny, it will be lots of fun. DANNY Yeah, I guess so. Anyway, there's hardly anybody to play with around here. WENDY Yeah, I know. It always takes a little time to make new friends. M.S. DANNY eating sandwich. DANNY Yeah, I guess so. M.S. WENDY WENDY What about Tony? He's looking forward to the hotel, I bet. M.S. DANNY while eating sandwich wiggles forefinger of his L.hand and speaks with different voice. TONY NO, I ai n't Mrs. Torrance. M.S. WENDY WENDY Oh come on, Tony. Do n't be silly. M.S. DANNY wiggles forefinger of L.hand and speaks with different voice. TONY I do n't want to go there, Mrs. Torrance. M.S. WENDY WENDY Well, how come you do n't want to go? M.S. DANNY wiggles forefinger of L.hand and speaks with different voice. TONY I just do n't. M.S. WENDY. WENDY Well, let's just wait and see. We're all gon na have a real good time.", "INT. OVERLOOK HOTEL/ULLMAN'S OFFICE - DAY - M.L.S. JACK over ULLMAN seated at desk. BILL WATSON enter office. JACK rises and shakes hands with him. ULLMAN Bill, I'd like you to meet Jack Torrance. WATSON How do you do? JACK Bill, how do you do? WATSON Pleased to meet you. JACK Pleasure to meet you. ULLMAN Grab a chair Bill, and join in. WATSON & JACK sit down. ULLMAN Jack is going to take care of the Overlook for this winter. I would like you to take him around the place as soon as we are through. WATSON Fine. ULLMAN Jack is a schoolteacher. M.C.S. JACK. JACK Eh - formerly a school - teacher. WATSON -LRB- OFF. -RRB- What line of work are you in now? JACK I'm a writer um. Teaching has been more or less a way of making ends meet. M.C.S. WATSON. WATSON Well this ought to be quite a change for you. M.C.S. JACK JACK Well, I'm looking for a change. ULLMAN -LRB- OFF. -RRB- Our people in Denver recommended Jack very highly, and, for once, I agree with them. M.S. ULLMAN ULLMAN Let's see, where were we? Yes. I was about to explain that eh. our season here runs from oh May 15th to October 30th and then we close down completely until the following May. M.C.S. JACK JACK Do you mind if I ask why you do that? It seems to me that the skiing up here would be fantastic. ULLMAN -LRB- OFF. -RRB- Oh, it sure would be M.S. ULLMAN ULLMAN -LRB- CONT'D. -RRB- but the problem is the enormous cost it would be to keep the road to the Sidewinder open. It's a. It's a 25 mile stretch of road - gets an average of 20 feet of snow during the winter, and there's just no way to make it economically feasible to keep it clear. When the place was built in 1907, there was very little interest in winter sports, and this site was chosen for its seclusion and scenic beauty. M.L.S. ULLMAN over WATSON & JACK. JACK Well, it's certainly got plenty of that. JACK laughs. ULLMAN That's right. And did they give you any idea in Denver about what the job entails? JACK Only in a very general way. ULLMAN Well. M.S. ULLMAN ULLMAN -LRB- CONT'D. -RRB- the winters can be fantastically cruel, and the basic idea is to. to cope with the very costly damage and depreciation which can occur. And this consists mainly of running the boiler, heating different parts of the hotel on a daily rotating basis, repairing damage as it occurs and doing repairs, so that the elements ca n't get a foothold. M.C.S. JACK JACK Well, that sounds fine to me. ULLMAN grunts off. M.S. ULLMAN ULLMAN Physically, it's not a very demanding job. The only thing that can get a bit trying up here during the winter is eh. the tremendous sense of isolation. M.C.S. JACK JACK Well, that just happens to be exactly what I'm looking for. I'm eh. I'm outlining a new writing project, and eh. five months of peace is just what I want. M.S. ULLMAN ULLMAN That's very good Jack, because eh. for some people eh solitude and isolation. M.C.S. JACK. ULLMAN -LRB- OFF ; CONT'D. -RRB- can of itself be a problem. JACK Not for me. M.S. ULLMAN. ULLMAN How about your wife and son? How do you think they'll take to it? M.C.S. JACK. JACK They'll love it. ULLMAN -LRB- OFF. -RRB- Great. M.S. ULLMAN ULLMAN Well, before I turn you over to Bill, there is one other thing I think we should talk about. I do n't want to sound melodramatic, but it is something that's. been known to give a few people second thoughts about the job. M.C.S. JACK JACK I'm intrigued. M.S. ULLMAN. ULLMAN I do n't suppose they eh told you anything in Denver about the tragedy we had up here during the winter of 1970? M.C.S. JACK shakes his head. JACK I do n't believe they did. M.S. BILL WATSON. ULLMAN -LRB- OFF. -RRB- Well, my predecessor in this job M.S. ULLMAN. ULLMAN -LRB- CONT'D. -RRB- hired a man named Charles Grady, as the winter caretaker. He came up here with his wife and two little girls of about eight or ten. And he had a good employment record, good references and from what I've been told, I mean, he seemed like a completely normal individual. But at some point during the winter, he must have suffered some kind of a complete mental breakdown. He ran amok and eh. killed his family with an axe, M.C.S. JACK ULLMAN -LRB- OFF ; CONT'D. -RRB- stacked them neatly in one of the rooms in the West Wing, and then he um. then he put eh both barrels of his shotgun in his mouth. M.S. ULLMAN sitting behind desk. ULLMAN -LRB- CONT'D. -RRB- The police eh. they thought that it was what the old - timers used to call cabin - fever, a kind of claustrophobic reaction which can occur when people are M.C.S. JACK ULLMAN -LRB- OFF ; CONT'D. -RRB- shut in together over long periods of time. JACK Well, that is eh quite a story. M.S. ULLMAN laughs. ULLMAN Yes, it is. Oh, it's still hard for me to believe that it actually happened here, but it did and eh. I think you can appreciate why I wanted to tell you about it. M.C.S. JACK. JACK Ah, I certainly can, and eh. I also understand why your people in Denver left it for you to tell me. JACK laughs. U.S. ULLMAN laughing. ULLMAN Well, obviously some people can be M.C.S. JACK. ULLMAN -LRB- OFF ; CONT'D. -RRB- put off by the idea of staying alone in a place where something like that actually happened. JACK Well, you can rest assured Mr. Ullman, that's not going to happen with me, and eg as far as my wife is concerned, I am sure she'll be absolutely fascinated when I tell her about it. She's a confirmed ghost story and horror film addict.", "INT. BOULDER APARTMENT/BATHROOM - DAY - M.S. Shooting through open door - DANNY standing on stool at basin. DANNY Tony, do you think Daddy will get the job? TONY -LRB- OFF. -RRB- Yeah, he did. He's gon na phone Wendy up in a few minutes to tell her.", "INT. BOULDER KITCHEN/LIVING ROOM - DAY - M.S. WENDY back to camera washing dishes at sink. PHONE RINGS OFF. She dries her hand and puts carton in fridge. Then moves L - R into Living Room - CAMERA PANS with her. She picks up telephone receiver. WENDY -LRB- into phone. -RRB- Hello.", "INT. HOTEL - LOBBY - DAY - M.L.S. JACK leaning on counter at reception desk, speaking into phone. JACK -LRB- into phone. -RRB- Hi, babe. WENDY -LRB- over phone. -RRB- Hi, hon. How's it going? JACK -LRB- into phone. -RRB- Great. Look, I'm at the hotel and I still have an awful lot to go through. I do n't think I can get home before nine or ten.", "INT. BOULDER APARTMENT/LIVING ROOM - DAY - M.S. WENDY sitting on back of chair phone to ear. WENDY -LRB- into phone. -RRB- Sounds like you got the job?", "INT. HOTEL - LOBBY - DAY - M.L.S. JACK leaning on reception desk with phone to ear. JACK -LRB- into phone. -RRB- Right it's a beautiful place. You and Danny are gon na love it.", "INT. BOULDER APARTMENT/BATHROOM - DAY - M.S. DANNY standing on stool by basin. He is reflected in mirror. CAMERA TRACKS IN on his reflection in mirror. DANNY Tony, why do n't you want to go to the hotel? DANNY wiggles forefinger. TONY -LRB- OFF. -RRB- I do n't know. DANNY You do too know, now come on tell me. DANNY wiggles forefinger. TONY -LRB- OFF. -RRB- I do n't want to. DANNY Please. DANNY wiggles forefinger. TONY -LRB- OFF. -RRB- No. DANNY Now Tony, tell me.", "INT. HOTEL - LOBBY - M.L.S. Shooting towards doors of lifts. Blood gushes in from L.side of lift and in from corridors L. and R. of lift doors - surging towards camera.", "INT. HOTEL/CORRIDOR - M.S. Two Little GRADY girls holding hands.", "INT. HOTEL/LOBBY - M.L.S. Blood gushing in from corridors L - R of lift doors and surging towards camera.", "INT. BOULDER APARTMENT - M.C.S. DANNY screaming.", "INT. HOTEL/LOBBY - M.L.S. Blood gushing in from corridors L - R of lift doors and surging forward. The blood gushes up into camera lens causing black out. DOCTOR -LRB- OFF. -RRB- Now hold your eyes still so that I can see.", "INT. BOULDER APARTMENT/DANNY'S BEDROOM - DAY - M.S. DOCTOR bending over DANNY lying on top of his bed. She is examining his eyes. WENDY standing at foot of bed. DOCTOR That's good, now the other one. Good boy. DOCTOR straightens up. She puts instrument away in case and closes it. Then she sits on bed beside DANNY. DOCTOR Now Danny, when you were brushing your teeth, do you remember if you smelled anything funny, or saw any bright flashing lights, or anything at all strange? M.C.S. DANNY. DANNY No. DOCTOR -LRB- OFF. -RRB- Do you remember when you were brushing your teeth? DANNY Yes. M.S. DOCTOR sitting on bed beside DANNY. WENDY standing at foot of bed. DOCTOR What's the next thing you remember after you were brushing your teeth? M.C.S. DANNY. DANNY Mommy saying, ` Wake up, wake up, wake up Danny, wake up.' M.S. DOCTOR sitting on bed beside DANNY. WENDY standing at foot of bed. DOCTOR Now Danny, can you remember what you were doing just before you started brushing your teeth? M.C.S. DANNY DANNY Talking to Tony. M.C.S. DOCTOR DOCTOR Is Tony one of your animals? M.C.S. DANNY DANNY No. It's the little boy that lives in my mouth. M.C.S. WENDY WENDY Tony is his imaginary friend. DOCTOR -LRB- OFF. -RRB- Oh, M.C.S. DOCTOR DOCTOR -LRB- CONT'D. -RRB- if you were to open your mouth now, could I see Tony? M.C.S. DANNY DANNY No. M.C.S. DOCTOR DOCTOR Why not? M.C.S. DANNY DANNY Because he hides. M.C.S. DOCTOR DOCTOR Where does he go? M.C.S. DANNY DANNY To my stomach. M.C.S. DOCTOR DOCTOR Does Tony ever tell you to do things? M.C.S. DANNY DANNY I do n't want to talk about Tony anymore. M.S. DOCTOR sitting on bed beside DANNY. She pats his leg and stands up. WENDY at foot of bed. DOCTOR Okay. That's fine. All right Danny. DOCTOR puts case and stethoscope in her shoulder bag. DOCTOR Now I'm going to ask you to do me a favor, and stay quietly in bed for the rest of the day. Okay? DANNY Do I have to? DOCTOR Yes, I'd like you to. WENDY We're just going to go into one of the other rooms for a few minutes and talk - then I'll come back and check on you, okay? DANNY Okay. DOCTOR Goodbye. WENDY & DOCTOR move R - L to open door. DOCTOR goes into the corridor.", "INT. CORRIDOR/LIVING ROOM - DAY - M.S. DOCTOR standing in corridor. WENDY moves out of DANNY's room and closes the door. She turns to DOCTOR. WENDY Shall we go into the living room? DOCTOR Yes. DOCTOR & WENDY walk forward along the corridor - CAMERA TRACKS BACK before them and PANS R - L with them to Living Room. WENDY points to sofa. WENDY Please. DOCTOR Thank you. DOCTOR moves to sofa and sits down - WENDY sits in chair cam.R. DOCTOR Mrs. Torrance, I do n't think you have anything to worry about. I'm quite sure there is nothing physically wrong with Danny. M.C.S. WENDY. WENDY Oh, yeah. Oh, yeah, he seems absolutely fine now, but you should have seen him. M.S. DOCTOR over WENDY. DOCTOR leans back on sofa. DOCTOR Oh I know. Kids can scare you to death, but believe me these episodes are not at all uncommon, and they look much worse than they are. M.S. WENDY over DOCTOR. WENDY But eh what was the matter with him? DOCTOR Mrs. Torrance, most of the time these episodes with kids are never explained. They are brought on by emotional factors, and they rarely occur again. M.S. DOCTOR. DOCTOR They're more akin to auto - hypnosis, a kind of self induced trance. If it re - occurs which I doubt M.S. WENDY takes cigarette out of packet. DOCTOR -LRB- OFF ; CONT'D. -RRB- you can always think about having some tests done. WENDY holds cigarette packet out towards DOCTOR. DOCTOR -LRB- OFF. -RRB- No thank you. She puts packet down on table. WENDY Oh, I'm. I'm sure you're right. She lights cigarette from lighter. M.S. DOCTOR. DOCTOR Have you been in Boulder long, Mrs. Torrance? M.C.S. WENDY. WENDY Only about three months. Eh we're from Vermont. My husband was teaching school there. M.S. DOCTOR DOCTOR Did the appearance of Danny's imaginary friend? M.S. WENDY over DOCTOR. WENDY Tony. DOCTOR Did Tony's first appearance happen to coincide with your arrival here? M.C.S. WENDY WENDY No, um let's see I guess Danny started talkin to Tony about the time we put him into nursery school. M.S. DOCTOR over WENDY. DOCTOR Did he adjust well to school? M.C.S. WENDY - she shakes her head. WENDY No. He did n't like it too much at first, and then he had an injury, so we kept him out for a while, and, yeah, I. I guess that's about the time when I first noticed that he was talking to Tony. M.S. DOCTOR over WENDY. DOCTOR What sort of injury did he have? M.C.S. WENDY WENDY Ah he dislocated his shoulder. WENDY inhales. DOCTOR -LRB- OFF. -RRB- How did he manage to do that? WENDY Well it's just one of those things. You know. purely an accident, um. My husband had oh. been drinking, and he came home about three hours late, so he was n't exactly in the greatest mood that night. And well Danny had scattered some of his school papers all over the room. and my husband grabbed his arm, you know, and pulled him away from them. It's. it's just the sort of thing you do a hundred times with a child - you know, in a park or on the streets - but on this particular occasion my husband just. used too much strength and he injured Danny's arm. M.S. DOCTOR WENDY -LRB- OFF ; CONT'D. -RRB- Anyway, something good did come out of it all because he said : M.C.S. WENDY WENDY -LRB- CONT'D. -RRB- `` Wendy, I'm never gon na touch another drop and if I do you can leave me'', and he did n't and he has n't had any alcohol in eh five months. BLACK FRAMES. Superimposed Title over : CLOSING DAY.", "EXT. COLORADO MOUNTAINS - DAY - L.S. High Angle Trees on side of Mountain - CAMERA TRACKS FORWARD over them to Jack's car moving away along road.", "INT. JACK'S CAR - DAY - M.S. WENDY sitting beside JACK as he drives along Mountain Road. DANNY, between them, is leaning on backs of their seats. WENDY yawns. WENDY Boy, we must be really high up. The air feels so different. JACK Uh. huh. DANNY Dad? JACK Yes? DANNY I'm hungry. JACK Well you should have eaten your breakfast. WENDY We'll get something as soon as we get to the hotel, okay? DANNY Okay, Mom. WENDY Hey, was n't it around here that the Donner party got snowbound? JACK I think that was farther west in the Sierras. DANNY What was the Donner party? JACK There were a party of settlers in the covered wagon times. They got snowbound one winter in the mountains. They had to resort to cannabilism in order to stay alive. DANNY You mean they ate each other up? JACK They had to, in order to survive. WENDY Jack. DANNY Do n't worry, Mom. I know all about cannabilism, I saw it on T.V. JACK See, it's okay. He saw it all on the television.", "EXT. COLORADO MOUNTAINS - DAY - L.S. High Angle JACK's car moving away along road on side of mountain - CAMERA TRACKS after it.", "EXT. OVERLOOK HOTEL - DAY - L.S. Cars parked in front of Hotel.", "INT. OVERLOOK HOTEL/LOBBY - M.L.S. Man cleaning floor. CAMERA TRACKS L - R. WATSON & ULLMAN walk forward from b.g. ULLMAN What time does the plane leave? WATSON Eight thirty. ULLMAN Well, that still gives up plenty of time to go over everything first. Two Girls carrying luggage enter cam.R and walk away to b.g. GIRLS Goodbye Mr. Ullman. ULLMAN Goodbye. ULLMAN & WATSON walk L - R to JACK sitting in chair. ULLMAN Good morning Jack. I hope you have n't been waiting too long. JACK No problem. In fact we had time to grab a bite to eat. JACK stands up. ULLMAN Good. Glad you made it before they shut down the kitchen. Is your family having a look around? JACK No, my son's discovered the games room. ULLMAN Oh. Has your luggage been brought in? JACK points to luggage. JACK Right there. ULLMAN Oh fine. Well in view of all the ground that we to cover today, I suggest we go and have a quick look at your apartment and then get started straight away. ULLMAN turns to WATSON. ULLMAN Bill, would you have the Torrances' things brought in their apartment. WATSON Fine. WATSON walks out cam.L. JACK I'd better collect my family first. ULLMAN Oh. ULLMAN laughs and they move out cam.L.", "INT. HOTEL/COLORADO LOUNGE - DAY - M.L.S. ULLMAN, followed by WENDY, JACK & WATSON, moves out of lift cam.R. They walk R - L across Lounge. CAMERA TRACKS with them. ULLMAN This is our Colorado Lounge. WENDY Oh, it's beautiful. -LRB- to Jack. -RRB- My God, this place is fantastic, is n't it hon? JACK Sure is. WENDY God, I've never seen anything like this before. Are all of these Indian designs authentic? ULLMAN Yes, I believe they are based mainly on Navajo and Apache motifs. WENDY Oh well they're really gorgeous. As a matter of fact this is probably the most gorgeous hotel I've ever seen. ULLMAN laughs. ULLMAN Oh this old place has had an illustrious past. In its heyday it was one of the stopping places for the jet set, They reach corner and turn, walking towards camera. ULLMAN -LRB- CONT'D. -RRB- even before anybody knew what a jet set was. We've had four presidents who stayed here, lots of movie stars. WENDY Royalty? ULLMAN All the best people.", "INT. HOTEL GAMES ROOM - DAY - M.C.S. DANNY throwing darts - CAMERA TRACKS BACK & PANS L - R with him as he walks to the dartboard. He climbs up on chair and pulls two darts out. He looks cam.L. CAMERA ZOOMS IN on him. M.S. Two GRADY girls, holding hands, standing near open door. M.C.S. DANNY. M.S. Two GRADY girls, holding hands. They look at one another, then turn and exit out through open doorway. M.C.S. DANNY.", "INT. HOTEL/CARETAKER'S APARTMENT CORRIDOR - DAY - M.S. ULLMAN leads WENDY & JACK forward along corridor to Caretaker's Apartment. ULLMAN This is the staff wing of the hotel. None of the other bedrooms are heated during the winter. WENDY Oh! Two Girls carrying bags enter from cam.L. GIRLS Goodbye Mr. Ullman. ULLMAN Goodbye girls. ULLMAN waves to Girls and moves cam.R into JACK's apartment. WENDY & JACK follow him. ULLMAN And here are your quarters.", "INT. HOTEL/JACK'S APARTMENT - DAY - M.S. ULLMAN, followed by WENDY and JACK, move up steps. ULLMAN points to open door cam.R. ULLMAN Living Room, bedroom, bathroom, and a small bedroom for your son. JACK leans forward and looks in small bedroom cam.L. He turns and looks cam.R. at ULLMAN. JACK Perfect for a child. WENDY Yeah. ULLMAN Yes. They move into apartment. JACK & WENDY move away through living room into bedroom - CAMERA TRACKS FORWARD after them. ULLMAN -LRB- OFF. -RRB- Well the place is very nicely self - contained, easy to keep. JACK feels bed. JACK Cosy. JACK & WENDY move away and enter bathroom - CAMERA TRACKS after them. ULLMAN -LRB- OFF. -RRB- Yes, very cosy for a family, and if you feel like spreading out you have the rest of the hotel to move around in. JACK Well, it's very. homely. WENDY Yeah.", "EXT. HOTEL/THE MAZE - DAY - L.S. ULLMAN leading WENDY, JACK & WATSON R - L along outside of Maze. CAMERA TRACKS & PANS with them. ULLMAN This is our famous hedge maze. It's quite an attraction around here. The walls are thirteen feet high and the hedges are about as old as the hotel itself. It's a lot of fun, They walk from end of Maze towards Hotel in b.g. ULLMAN -LRB- CONT'D. -RRB- but I would n't go in there unless I had an hour to spare to find my way out. Laughter. WENDY When was the Overlook built? M.L.S. ULLMAN leads WENDY, JACK & WATSON L - R along front of Hotel - CAMERA TRACKS with them. ULLMAN Ah. construction started in 1907. It was finished in 1909. The site is supposed to be located on an Indian burial ground, and I believe they actually had to repel a few Indian attacks as they were building it. ULLMAN points to red Snowcat at entrance of garage. ULLMAN That's our Snowcat. Can you both drive a car? JACK & WENDY -LRB- together. -RRB- Yes. They walk towards SNOWCAT. ULLMAN That's fine because basically the Snowcat operates very much like a car and it wo n't take you long to get the hang of it.", "INT. HOTEL BALLROOM/CORRIDOR - DAY - M.S. ULLMAN, JACK, WATSON & WENDY walk forward along corridor - CAMERA TRACKS BACK before them. ULLMAN As a matter of fact we eh. brought a decorator in from Chicago just last year to refurbish this part of the hotel. WENDY Oh well he sure did a beautiful job. Pink and gold are my favorite colors. ULLMAN leads WENDY, JACK & WATSON L - R into Gold Ballroom - CAMERA TRACKS with them. Men in b.g. cleaning Ballroom. ULLMAN Oh. well this is our gold ballroom. WENDY Oh, I'll say. ULLMAN leads them L - R across Ballroom to closed bar. ULLMAN We can accommodate up to three hundred people here very comfortably. WENDY Boy, I bet you we could really have a good party in this room, huh hon? ULLMAN I'm afraid you're not going to do too well here unless you've brought your own supplies. We always remove all the booze from the premises when we shut down : He points to shuttered bar. ULLMAN that reduces the insurance that we normally have to carry. DICK HALLORAN walks forward from b.g. JACK We do n't drink. ULLMAN laughs. ULLMAN Well then, you're in luck. ULLMAN waves to HALLORAN / ULLMAN Oh Dick, come on over and say hello to Mr. and Mrs. Torrance. HALLORAN Sure. ULLMAN This is Dick Halloran, our Head Chef. JACK shakes hands with DICK. JACK Mr. Halloran, I'm Jack, and this is my wife, Winifred. HALLORAN Glad to meet you, Jack. HALLORAN shakes hands with WENDY. HALLORAN Glad to meet you, Winifred. WENDY Nice to meet you. ULLMAN The Torrances are going to take care of the Overlook for us this winter. HALLORAN Oh, that's just great. How do you folks like our hotel so far? WENDY Oh it's just wonderful. WENDY waves out cam.L. WENDY Hi Danny!", "INT. HOTEL - BALLROOM - DAY - M.S. SUSIE holding DANNY's hand. They walk L - R across Ballroom. CAMERA TRACKS with them to JACK, HALLORAN, WATSON, WENDY & ULLMAN. SUSIE I found him outside looking for you. JACK -LRB- OFF. -RRB- Danny, did you get tired. -LRB- IN SHOT. -RRB- of bombing the universe? DANNY Yeah. WENDY Danny, come on over here. DANNY walks L - R from SUSIE to WENDY. WENDY looks at SUSIE. WENDY Thanks. ULLMAN Thank you, Susie. SUSIE exits cam.L. ULLMAN turns to HALLORAN. ULLMAN Dick, if you're ready to do it now, I think it would be a good idea if you could show Mrs. Torrance the kitchen, while I continue on with Jack. HALLORAN It will be a pleasure. Right this way Mrs. Torrance. WENDY Great. See you later, hon. HALLORAN walks away to b.g. WENDY & DANNY follow him. JACK Bye darling. ULLMAN, JACK & WATSON move out cam.L.", "INT. HOTEL - KITCHEN - DAY - M.S. WENDY holding DANNY's hand walks forward into kitchen with HALLORAN. CAMERA TRACKS BACK before them. HALLORAN Mrs. Torrance, your husband introduced you as Winifred. Now are you a Winnie or a Freddie? WENDY I'm a Wendy. HALLORAN Oh Wendy. That's nice. That's the prettiest. WENDY God. This is the kitchen, huh? HALLORAN Yeah, this is it. How do you like it, Danny? Is it big enough for you? DANNY Yeah, it's the biggest place I've ever seen. HALLORAN laughs. WENDY Yeah. This whole place is such an enormous maze, I feel I'll have to leave a trail of breadcrumbs every time I come in. HALLORAN laughs. HALLORAN Do n't let it get you down Mrs. Torrance - it's big but it still ai n't nothing but a kitchen. a lot of the stuff you'll never have to touch. WENDY I would n't know what to do with it if I did. HALLORAN Well one thing for sure, you do n't have to worry about food because you folks could eat up here a whole year and never have the same menu twice. HALLORAN points to cam.L and leans to cam.L taking hold of door handle. HALLORAN Now right here is our walk - in freezer.", "INT. HOTEL - FREEZER - DAY - M.S. HALLORAN opens door and steps into freezer. WENDY & DANNY stand in doorway. HALLORAN points to various items. HALLORAN Now this is where we keep all of out meat. You got fifteen rib roasts - thirty ten pound bags of hamburgers. You got twelve - turkeys, two dozen pork roasts and twenty legs of lamb. -LRB- to Danny. -RRB- Do you like lamb, Doc? DANNY No. HALLORAN You do n't? Well what's your favorite food then? DANNY French Fries and Ketchup. HALLORAN laughs. HALLORAN Well I think we can manage that too, Doc. Come along now. Watch your step. HALLORAN points to step by door.", "INT. HOTEL - KITCHEN - DAY - M.S. DANNY & WENDY, followed by HALLORAN, come out of Freezer. WENDY Mr. Halloran, HALLORAN closes the door and turns to WENDY. WENDY -LRB- CONT'D. -RRB- how did you know we called him ` Doc'? HALLORAN, DANNY & WENDY walk forward - CAMERA TRACKS BACK with them. HALLORAN Beg pardon? WENDY Doc. You called Danny ` Doc' twice just now. HALLORAN I did? WENDY Yeah. We call him Doc sometimes, you know, like in the Bugs Bunny cartoons. But how did you know that? HALLORAN Well I guess I probably heard you call him that. WENDY Well, it's possible, but I honestly do n't remember calling him that since we've been with you. They all stop walking. HALLORAN Well anyway, he looks like a Doc, does n't he? HALLORAN bends down to DANNY. HALLORAN -LRB- clicks his tongue. -RRB- Me ah - what's up, Doc? HALLORAN laughs and turns away to door cam.L. He opens door. HALLORAN Now this is the storeroom.", "INT. HOTEL - STOREROOM - DAY - M.S. HALLORAN moves forward into Storeroom, followed by DANNY & WENDY. Groceries stacked on shelves. HALLORAN In here, Mrs. Torrance, is where we keep all the dried goods and the canned goods. We got canned fruits and vegetables ; canned fish and meats ; hot and cold cereals. HALLORAN & WENDY move L - R - CAMERA TRACKS with them past shelf in f.g. HALLORAN Post Toasties, Cornflakes, Sugar Puffs, Rice Krispies, Oatmeal, Wheatina and Cream of Wheat. M.S. DANNY standing by cardboard boxes. CAMERA TRACKS IN on him. HALLORAN -LRB- OFF. -RRB- We got a dozen jugs of black molasses, we got sixty boxes of dried milk, thirty twelve pound bags of sugar. M.S. HALLORAN talks inaudibly to WENDY, back to camera. CAMERA TRACKS IN on HALLORAN. HALLORAN -LRB- thought transfer. -RRB- How'd you like some ice cream, Doc? M.C.S. DANNY. HALLORAN -LRB- OFF. -RRB- sociables, finger rolls and seven kinds of what - have - you. M.S. HALLORAN & WENDY move R - L to DANNY by open door. CAMERA TRACKS with them. HALLORAN Now we got dried peaches, dried apricots, dried raisins and dried prunes.", "INT. HOTEL KITCHEN - DAY - M.S. HALLORAN, followed by WENDY & DANNY move out of Storeroom cam.R.f.g. HALLORAN You know, Mrs. Torrance, you got ta keep regular, if you want to be happy. HALLORAN laughs as he closes Storeroom door. JACK, ULLMAN & WATSON walk forward from b.g. ULLMAN Hi. WENDY Hi. ULLMAN How're you getting on? HALLORAN & WENDY Just fine. ULLMAN Dick, can we borrow Mrs. Torrance for a few minutes? We're on our way through to the basement - I promise we wo n't keep her very long. HALLORAN No problem, Mr. Ullman. I was just getting to the ice cream. HALLORAN leans down to DANNY. HALLORAN Do you like ice cream, Doc? DANNY Yeah. HALLORAN laughs. HALLORAN I thought you did. HALLORAN straightens up and looks at JACK. HALLORAN You folks do n't mind if I give Danny some ice cream, while we're waiting for you? JACK Not at all. WENDY No, we do n't mind. HALLORAN Good. WENDY Sound good to you, Danny? DANNY Yeah. WENDY Okay. You behave yourself. HALLORAN takes hold of DANNY's hand as ULLMAN, JACK, WENDY & WATSON move away to b.g. HALLORAN Now what kind of ice cream do you like Doc? DANNY Chocolate. HALLORAN Chocolate it shall be. Come on son. HALLORAN & DANNY move out cam.L.", "INT. HOTEL - GREEN CORRIDOR - DAY - M.S. ULLMAN, JACK & WENDY - followed by WATSON - move forward. CAMERA TRACKS BACK before them. WENDY It's amazing how much activity is going on today. ULLMAN Yes, well the guests and some of the staff left yesterday, but the last day is always very hectic - everybody wants to be on their way as early as possible. They turn corner and walk away along corridor. ULLMAN By five o'clock tonight, you'll never know anybody was ever here. WENDY Just like a ghost ship, huh? ULLMAN Yes.", "INT. HOTEL - KITCHEN - DAY - M.C.S. HALLORAN looking down cam.R. HALLORAN Do you know how I knew your name was Doc? M.C.S. DANNY over HALLORAN - DANNY looking at HALLORAN. M.C.S. HALLORAN HALLORAN You know what I'm talking about, do n't you? M.C.S. DANNY over HALLORAN. DANNY looking at HALLORAN. M.C.S. HALLORAN HALLORAN I can remember when I was a little boy, my grandmother and I could hold conversations entirely without ever opening our mouths. She called it shining, M.C.S. DANNY HALLORAN -LRB- OFF ; CONT'D. -RRB- and for a long time I thought it was just the two of us that had the shine to us. M.C.S. HALLORAN. HALLORAN Just like you probably thought you was the only one. But there are other folks, though mostly they do n't know it, or do n't believe it. M.C.S. DANNY M.C.S. HALLORAN HALLORAN How long have you been able to do it? M.S. HALLORAN & DANNY sitting at table. HALLORAN Why do n't you want to talk about it? M.C.S. DANNY DANNY I'm not supposed to. M.C.S. HALLORAN HALLORAN Who says you ai n't supposed to? M.C.S. DANNY DANNY Tony. M.C.S. HALLORAN HALLORAN Who's Tony? M.C.S. DANNY DANNY Tony's the little boy who lives in my mouth. M.C.S. HALLORAN HALLORAN Is Tony the one that tells you things? M.C.S. DANNY DANNY Yes. M.C.S. HALLORAN HALLORAN How does he tell you things? M.S. HALLORAN & DANNY sitting at table. DANNY It's like I go to sleep, and he shows me things but when I wake up, I ca n't remember everything. M.C.S. HALLORAN HALLORAN Does your Mum and Dad know about Tony? M.C.S. DANNY. DANNY Yes. M.C.S. HALLORAN HALLORAN Do they know he tell you things? M.C.S. HALLORAN HALLORAN Has Tony ever told you anything about this place? About the Overlook Hotel? M.C.S. DANNY over HALLORAN DANNY I do n't know. M.C.S. HALLORAN. HALLORAN Now think real hard, Doc. Think. M.C.S. DANNY over HALLORAN. DANNY Maybe he showed me something. M.C.S. HALLORAN. HALLORAN Try to think what it was. M.C.S. DANNY over HALLORAN. DANNY Mr. Halloran, are you scared of this place? M.S. Shooting across table onto HALLORAN & DANNY. HALLORAN No, I'm scared of nothing here. It's just that you know some places are like people, some shine and some do n't. I guess you could say the Overlook Hotel here has something about it that's like shining. DANNY Is there something bad here? M.C.S. HALLORAN. HALLORAN Well, you know Doc, when something happens it can leave a trace of itself behind. say like is someone burns toast. M.C.S. DANNY HALLORAN -LRB- OFF. -RRB- Well, maybe things that happened. leave other kinds of traces behind. M.C.S. HALLORAN HALLORAN Not things that anyone can notice, but things that people who shine can see. Just like they can see things that have n't happened yet. Well, sometimes they can see things that happened a long time ago. I think a lot of things happened right here in this particular hotel - over the years, and not all of them was good. M.C.S. DANNY DANNY What about Room 237? M.C.S. HALLORAN HALLORAN Room 237? M.C.S. DANNY DANNY You're scared of Room 237, ai n'tcha? M.C.S. HALLORAN HALLORAN No I ai n't. M.C.S. DANNY DANNY Mr. Halloran, what is in Room 237? M.C.S. HALLORAN HALLORAN Nothing. There ai n't nothing in Room 237, but you ai n't got no business going in there anyway, so stay out! You understand, stay out! M.C.S. DANNY. BLACK FRAMES. Superimposition over : A MONTH LATER", "EXT. OVERLOOK HOTEL - DAY - M.L.S. Hotel. Mountain in b.g.", "INT. OVERLOOK HOTEL - LOBBY - DAY - M.S. WENDY pushing trolley forward along corridor. CAMERA TRACKS BACK with her. She turns to cam.L and enters Lobby. CAMERA TRACKS R - L with her across lobby.", "INT. HOTEL - KITCHEN & LOUNGE - DAY - M.S. DANNY sitting on tricycle. He pedals out of Kitchen into Lounge, across it and back into Kitchen. CAMERA TRACKS FORWARD after him.", "INT. HOTEL - CORRIDOR TO TORRANCE'S APARTMENT - DAY - M.S. WENDY enters cam.L pushing trolley. She pushes it forward along corridor. CAMERA PANS L - R with her to door of their Apartment.", "INT. HOTEL - TORRANCE'S APARTMENT - DAY - M.C.S. JACK asleep in bed, reflected in mirror. CAMERA TRACKS BACK. WENDY enters cam.R carrying tray. She walks forward. CAMERA TRACKS BACK with her. She puts tray down on table. WENDY Good Morning, hon. Your breakfast is ready. JACK What time is it? WENDY It's about eleven thirty. CAMERA TRACKS FORWARD to JACK & WENDY reflected in mirror. JACK Eleven thirty - Jesus! WENDY I guess we've been staying up too late. JACK I know it. JACK sticks his tongue out. WENDY picks up plate and glass of orange juice. WENDY I made'em just the way you like'em, sunny side up. JACK Hmm, nice. WENDY walks forward to JACK and puts plate down cam.L. She hands him glass of orange juice and he drinks it. WENDY It's really pretty outside. How about taking me for a walk after you've finished your breakfast? JACK Oh I suppose I oughta try to do some writing first. He puts empty glass down cam.L and picks up plate of eggs and bacon. WENDY Any ideas yet? JACK Lots of ideas. No good ones. WENDY sits down cam.R. WENDY Well, something'll come. It's just a matter of settling back into the habit of writing every day. JACK Yeah. that's all it is. JACK starts to eat bacon. WENDY It's really nice up here, is n't it? JACK I love it. I really do. I've never been this happy, or comfortable anywhere. M.C.S. WENDY WENDY Yeah. It's amazing how fast you get used to such a big place. I tell you, when we first came up here, I thought it was kinda scarey. WENDY laughs. M.C.S. JACK over WENDY. JACK I fell in love with it right away. When I came up here from my interview, it was as though I had been here before. We. we all have moments of deja vu, but this was ridiculous. It was almost as though I knew what was going to be around every corner. Ooohhhhh. WENDY laughs.", "INT. HOTEL - LOUNGE - DAY - M.S. Typewriter with sheet of paper in it. CAMERA TRACKS BACK and TILTS UP onto JACK throwing ball against wall. M.S. JACK back to camera throwing ball against wall.", "EXT. HOTEL - MAZE - DAY - M.L.S. WENDY running after DANNY from Hotel to Maze - CAMERA PANS L - R & TRACKS with them to entrance to Maze. WENDY The loser has to keep American clean, how's that? DANNY All right. WENDY And you're gon na lose. And I'm gon na get you - you betta run fast! Look out - I'm coming in close. All right? DANNY & WENDY run into Maze. CAMERA TRACKS L - R onto plan of Maze on board. DANNY -LRB- OFF. -RRB- You'll have to keep America clean.", "INT. MAZE - DAY - M.S. DANNY & WENDY walking forward in Maze - CAMERA TRACKS BACK before them. WENDY Okay Danny, you win. Let's take the rest of this walking, huh? DANNY Okay. oh! WENDY Give me your hand. Oh, is n't it beautiful. DANNY Yeah. M.S. WENDY & DANNY backs to camera walking away through Maze - CAMERA TRACKS FORWARD after them. WENDY Here's a dead end. WENDY & DANNY turn at dead end and walk away along Maze. CAMERA TRACKS after them.", "INT. HOTEL - LOBBY - DAY - M.L.S. JACK back to camera bounces ball on floor and catches it. Then he throws it away to b.g.. He walks away to model of Maze on table by window. CAMERA TRACKS FORWARD after him. He stops by model and leans on table. M.S. Shooting over model of Maze on table to JACK looking down at it. M.C.S. JACK looking down.", "EXT. MAZE - DAY - L.S. High Angle shooting down on Maze. WENDY & DANNY move through it. CAMERA TRACKS DOWN on Maze. WENDY Oh what a Maze. Is n't it beautiful. DANNY Yeah. M.S. DANNY & WENDY walk forward through Maze - CAMERA TRACKS BACK before them. WENDY It's so pretty. DANNY Yeah. WENDY I did n't think it was going to be this big, did you? DANNY No. BLACK FRAMES. Superimposition over : TUESDAY.", "EXT. HOTEL - DUSK - M.L.S. Hotel. Mountain in b.g.", "INT. HOTEL - KITCHEN - DUSK - M.C.S. WENDY's hands taking lid of can. CAMERA TRACKS BACK to table with portable T.V. Set on it. The set is switched on. WOMAN ANNOUNCER -LRB- OFF. -RRB- Rutherford was serving a life sentence for his conviction in the 1968 shooting and the search continues in the mountains near Uray today for that missing Aspen woman, WENDY carries tin to bowl on table. WOMAN ANNOUNCER -LRB- CONT'D. -RRB- twenty - four year old Susan Robertson has been missing ten days. She disappeared while on a hunting trip with her husband. They have good weather right now, but they may have to call off the search if the predicted snowstorm moves in tomorrow. Picture on T.V. Set changes to MAN & WOMAN. WOMAN ANNOUNCER But it's so beautiful here in Denver today, it's hard to believe a snowstorm could be that close. MAN ANNOUNCER I know. I want to go outside and lie in the sun. Yet to our north, to our west, it is snowing and cold, and it's moving SOUND OF CLICKS. MAN ANNOUNCER -LRB- CONT'D. -RRB- right here towards Colorado, right now as we talk. It's incredible. WOMAN ANNOUNCER I know.", "INT. OVERLOOK HOTEL - CORRIDORS - M.S. DANNY back to camera on tricycle pedals away along corridors - CAMERA TRACKS after him. He looks at door cam.L and slows down, stopping. M.S. DANNY in f.g. Number 237 on door in b.g. M.C.S. DANNY looking at number. M.S. DANNY in f.g. Number 237 on door in b.g. M.L.S. Corridor. DANNY in f.g. gets off tricycle, and moves R - L to door of room 237. He looks up at number - then reaches out to door handle and turns it. Door does n't open. He looks up at number. M.S. Two GRADY Girls holding hands. M.S. DANNY looking up at number on door. He moves L - R to his tricycle. CAMERA PANS with him. He sits on tricycle and pedals fast away along corridor.", "INT. HOTEL - LOUNGE - NIGHT - M.L.S. Lounge. JACK sitting back to camera typing at table. CAMERA TRACKS FORWARD onto him. M.C.S. JACK typing. M.L.S. JACK back to camera typing at table in f.g. WENDY enters cam.R.b.g. and walks forward to JACK. WENDY Hi, hon. How's it going? WENDY stops cam.R of him. JACK pulls page from typewriter. JACK Fine. WENDY kisses him. WENDY Get a lot written today? M.S. JACK looking up cam.L at WENDY. JACK Yes. M.C.S. WENDY WENDY Hey, the weather forecast said it's going to snow tonight. M.S. JACK looking up cam.L at WENDY. JACK What do you want me to do about it? M.C.S. WENDY WENDY Ah, come on hon. Do n't be so grouchy. M.S. JACK looking up cam.L at WENDY. JACK I'm not being grouchy. I just want to finish my work. M.C.S. WENDY WENDY Okay. I understand. I'll come back later on with a couple of sandwiches for you and. maybe you'll let me read something then. M.C.S. JACK. JACK Wendy. -LRB- clears throat. -RRB- let me explain something to you. Whenever you come in here and interrupt me, you're breaking my concentration. JACK hits his forehead with his hand. JACK -LRB- CONT'D. -RRB- you're distracting me, He picks up sheet of paper and tears it up. Then he throws the pieces down. JACK -LRB- CONT'D. -RRB- and it will then take me time to get back to where I was, understand? M.C.S. WENDY. WENDY Yes. M.C.S. JACK JACK Fine. Now we're going to make a new rule. Whenever I am in here and you hear me typing, JACK taps typewriter keys. JACK -LRB- CONT'D. -RRB- or whether you do n't hear me typing, whatever the fuck you hear me doing in here, when I am in here that means that I am working - that means do n't come in. Now do you think you can handle that? M.C.S. WENDY WENDY Yes. M.C.S. JACK JACK Fine. Why do n't you start right now and get the fuck out of here, hmm? M.C.S. WENDY. WENDY Okay. M.L.S. WENDY standing cam.R of JACK back to camera sitting at table. She turns and walks away to b.g. CAMERA TRACKS BACK. M.S. JACK starts to type. Black Frames. Superimposition over : THURSDAY.", "EXT. HOTEL - DAY - M.L.S. WENDY running R - L being chased by DANNY carrying snowballs. AD LIB SHOUTS & LAUGHTER. CAMERA TRACKS R - L with them past Hotel in b.g. WENDY I know you've got some.", "INT. HOTEL - LOUNGE - DAY - M.S. JACK at window watching WENDY & DANNY playing in the snow. CAMERA TRACKS IN to M.C.S. BLACK FRAMES. Superimposition over : SATURDAY", "EXT. HOTEL - DAY - M.L.S. HOTEL in b.g. Trees and snow in f.g.", "INT. HOTEL - LOUNGE - DAY - M.L.S. High Angle JACK sitting at table in b.g. typing.", "INT. HOTEL - LOBBY & OFFICE - DAY - M.S. WENDY standing at switchboard with headset on her L.ear and putting plugs into switchboard. WENDY Oh no! WENDY puts socket into various plugs. WENDY I knew it! WENDY puts headset and plug down and turns away from switchboard. She walks R - L to door. M.L.S. WENDY walks out of switchboard - round counter and moves forward R - L across Lobby. CAMERA TRACKS BACK before her. She moves R - L into Office. CAMERA PANS with her. She stops at radio set and switches it on. She pulls microphone towards her. WENDY -LRB- into mike. -RRB- This is KDK 12 calling KDK 1.", "INT. RANGER'S OFFICE - M.L.S. RANGER seated at radio cam.L. MAN standing at filing cabinet cam.R. GIRL seated at desk cam.R. WENDY -LRB- OFF. -RRB- -LRB- over radio. -RRB- KDK 12 to KDK 1. RANGER -LRB- into mike. -RRB- This is KDK 1. We're receiving you. Over.", "INT. HOTEL - OFFICE - DAY - M.S. WENDY picks up microphone. WENDY -LRB- into mike. -RRB- Hi. This is Wendy Torrance at the Overlook Hotel.", "INT. RANGER'S OFFICE - DAY - M.S. RANGER seated at radio speaking into mike. RANGER -LRB- into mike. -RRB- Hi. How are you folks getting on up there? Over.", "INT. HOTEL - OFFICE - DAY - M.S. WENDY, holding mike, seated on cabinet with foot up on desk. WENDY -LRB- into mike. -RRB- Oh we're just fine, but our telephones do n't seem to be doing too well. Are the lines down by any chance? Over.", "INT. RANGER'S OFFICE - DAY - M.S. RANGER seated at radio, speaking into mike. RANGER -LRB- into mike. -RRB- Yes. Quite a few of them are down, due to the storm. Over. WENDY -LRB- over radio. -RRB- Any chance of them being repaired soon? Over. RANGER -LRB- into mike. -RRB- Well, I would n't like to say. Most winters they stay that way until spring. Over.", "INT. HOTEL - OFFICE - DAY - M.S. WENDY, holding mike, seated on cabinet with foot up on desk. WENDY -LRB- into mike. -RRB- Boy, this storm is really something, is n't it? Over.", "INT. RANGER'S OFFICE - DAY - M.S. RANGER sitting at radio - speaking into mike. RANGER -LRB- into mike. -RRB- Oh yes. It's one of the worst we've had for years. Is there anything else we can do for you, Mrs. Torrance? Over.", "INT. HOTEL - OFFICE - DAY - M.S. WENDY holding mike seated on cabinet with foot up on desk. WENDY -LRB- into mike. -RRB- I suppose not. Over.", "INT. RANGER'S OFFICE - DAY - M.S. RANGER seated at radio - speaking into mike. RANGER -LRB- into mike. -RRB- Well, if you folks have any problems up there just give us a call, and Mrs. Torrance.", "INT. HOTEL - OFFICE - DAY - M.S. WENDY holding mike - seated on cabinet with one foot up on desk. RANGER -LRB- over radio. -RRB- I think it might be a good idea if you leave your radio on all the time now. Over. WENDY -LRB- into mike. -RRB- Okay. We'll do that. It was real nice talking to you. Bye. Over and Out. WENDY puts down mike.", "INT. HOTEL - GREEN CORRIDOR - M.L.S. DANNY pedals away along corridor on his tricycle. CAMERA TRACKS after him. He exits cam.R at the end of corridor. CAMERA TRACKS FORWARD along empty corridor.", "INT. HOTEL - CORRIDOR - M.S. DANNY pedals away along corridor. CAMERA TRACKS after him. He turns corner and stops as he sees the two GRADY Girls at the end. M.C.S. DANNY. M.L.S. DANNY back to camera in f.g.. The two GRADY Girls at end of corridor. GRADY GIRLS Hullo, Danny. M.C.S. DANNY GRADY GIRLS -LRB- OFF. -RRB- Come and play with us. M.L.S. DANNY back to camera in f.g.. The two GRADY Girls at end of corridor. GRADY GIRLS Come and play with us, Danny. M.S.. The two GRADY Girls laying on floor covered with bloodstains. Bloodstained axe on floor in f.g. Walls covered with bloodstains. M.L.S. Two GRADY Girls, holding hands and standing at end of corridor. GRADY GIRLS For ever. M.S.. The two GRADY Girls lying on floor, covered with bloodstains. Bloodstained axe on floor in f.g. Wall covered with bloodstains. M.C.S. DANNY reacts. M.S. Two GRADY Girls holding hands and standing at end of corridor. GRADY GIRLS and ever. M.S.. The two GRADY Girls lying on floor covered with bloodstains. Bloodstained axe on floor in f.g. Wall covered with bloodstains. M.S. Two GRADY Girls holding hands standing at end of corridor. GRADY GIRLS and ever. M.S. Two GRADY Girls lying on floor covered with bloodstains. Bloodstained axe on floor in f.g. Wall covered with bloodstains. M.C.S. DANNY reacts. He puts hands over his eyes. Then he opens his fingers and looks through them. M.S. DANNY's P.O.V. Empty corridor. M.C.S. DANNY looking through his open fingers. He lowers his hands from his face. M.L.S. DANNY back to camera in f.g. in empty corridor. M.C.S. DANNY. DANNY Tony, I'm scared. He raises up his R.hand and wiggles his forefinger as he speaks. TONY Remember what Mr. Halloran said. It's just like pictures in a book, Danny. It is n't real. BLACK FRAMES. Superimposition over : MONDAY.", "INT. OVERLOOK HOTEL - LOBBY - DAY - M.S. Play on Television set, CAMERA TRACKS BACK from set to reveal WENDY, seated on sofa cam.L, watching set, DANNY seated on floor watching set also cam.R. DOROTHY -LRB- on T.V. -RRB- Please let me give you some money. HERMIE -LRB- on T.V. -RRB- Oh I would n't think of it. DOROTHY -LRB- on T.V. -RRB- Well how can I repay you? HERMIE -LRB- on T.V. -RRB- It's okay, really. DOROTHY -LRB- on T.V. -RRB- Well I'm going to have some coffee. Would you like some? HERMIE -LRB- on T.V. -RRB- Sure. DOROTHY -LRB- on T.V. -RRB- Great. Sit down. Oh these marvellous doughnuts, help yourself. Coffee will be ready in a few minutes. Play on Television continues inaudibly in b.g. DANNY Mom? WENDY Yes? DANNY Can I go to my room and get my fire - engine? WENDY Not right now, Daddy's asleep. DANNY I wo n't make any noise. WENDY Come on, Doc. He only went to bed a few hours ago. Ca n't you wait till later? DANNY I wo n't make a sound, I promise. I'll tip - toe. WENDY Well all right. But really do n't make a sound. DANNY I wo n't, Mom. DANNY stands up and runs out cam.L. WENDY Make sure you come right back,'cause I'm going to make lunch soon. Okay? DANNY -LRB- OFF. -RRB- Okay, Mom.", "INT. HOTEL - JACK'S APARTMENT - DAY - M.C.S. Door opens and DANNY appears. He enters room - CAMERA TRACKS BACK with him as he walks forward up steps. He looks to cam.R. CAMERA PANS L - R to JACK sitting on edge of bed. JACK looks towards camera. M.L.S. JACK seated on bed cam.R.f.g. DANNY standing at open door in b.g. DANNY Can I go to my room and get my fire - engine? JACK Come here for a minute, first. JACK holds out his hand to DANNY, who walks forward. M.S. JACK sitting on bed. DANNY enters cam.L.f.g. and stops cam.R of JACK. JACK sits DANNY on his knee and puts his arms round him, kissing him. JACK How's it going, Doc? DANNY Okay. M.S. JACK over DANNY seated on his knee. JACK Are you having a good time? DANNY Yes, Dad. JACK Good. I want you to have a good time. DANNY I am, Dad. Dad? JACK Yes. DANNY Do you feel bad? JACK shakes his head. JACK No. I'm just a little tired. DANNY Then why do n't you go to sleep? JACK I ca n't. I have too much to do. DANNY Dad? JACK Yes? DANNY Do you like this hotel? JACK smiles and looks at DANNY. JACK Yes I do. I love it. Do n't you? DANNY I guess so. JACK Good. I want you to like it here. I wish we could stay here for ever, and ever. ever. DANNY Dad? JACK What? DANNY You would n't ever hurt Mummy and me, would you? JACK What do you mean? M.S. DANNY over JACK. JACK Did your mother ever say that to you - that I would hurt you? DANNY No, Dad. JACK Are you sure? DANNY Yes, Dad. M.S. JACK over DANNY. JACK I love you, Danny. I love you more than anything else in the whole world, and I'd never do anything to hurt you, never. You know that, do n't you, huh? DANNY Yes, Dad. JACK Good. BLACK FRAMES Superimposition over : WEDNESDAY", "EXT. HOTEL - L.S. Shooting across snow to Hotel in b.g. Three lit windows.", "INT. HOTEL - CORRIDOR TO ROOM 237 - M.C.S. High Angle - DANNY playing on floor with toy cars and trucks. CAMERA TRACKS UP & BACK - yellow ball rolls in from f.g. and stops by one of DANNY's trucks. DANNY looks up. M.L.S. DANNY, back to camera, in f.g. looking away along empty corridor. M.S. DANNY kneeling on the floor by his toys. He stands up. DANNY Mom? M.L.S. DANNY, back to camera, in f.g. Empty corridor in b.g. M.S. DANNY walks forward along corridor - CAMERA TRACKS BACK with him. DANNY Mom? M.L.S. Empty corridor. CAMERA TRACKS FORWARD to open door of Room 237. DANNY -LRB- OFF. -RRB- Mom, are you in there? CAMERA TRACKS FORWARD into room.", "INT. HOTEL - BOILER ROOM - M.S. WENDY, holding clipboard. She looks at dials on boiler - then moves R - L to second boiler. CAMERA PANS with her. She looks at dials - then moves R - L to switchboard and presses two switches. She reacts as she hears JACK off groaning in his sleep. She puts down clipboard and moves L - R. CAMERA PANS with her. She starts to run away to entrance.", "INT. HOTEL - LOUNGE - M.S. JACK leaning forward in chair with head resting on table. He groans and cries out as he sleeps. CAMERA TRACKS IN on them.", "INT. HOTEL - CORRIDOR TO LOUNGE - M.S. WENDY running away along corridor - CAMERA TRACKS after her. WENDY Jack. WENDY turns corner to entrance to Lounge. WENDY Jack. Jack. WENDY runs forward into Lounge and goes to JACK asleep at table. CAMERA TRACKS FORWARD. WENDY Jack, honey, what's wrong? She puts her hands on his arm and back. JACK stirs and falls off chair onto floor. M.S. JACK groans as he lies on floor. WENDY enters cam.R and takes hold of his arm, assisting up onto his knees. He groans and gasps. WENDY What happened, honey? Hon? What's wrong? Jack! She smoothes his hair with her hand. JACK I had. I had the most terrible nightmare I ever had. It's the most horrible dream I ever had. WENDY It's okay. It's okay, now. Really. M.S. JACK & WENDY JACK I dreamed that I. that I killed you and Danny. M.S. JACK over WENDY. JACK But I did n't just kill you, I cut you up into little pieces. He puts his hand up to his eyes. JACK Oh. M.S. JACK handed up to his eyes - and WENDY. JACK My God, I must be losing my mind! He lowers his hand. WENDY Every. everything is just going to be all right. Come on. Here let's get up off the floor. WENDY puts hand under his arm and he starts to rise.", "INT. OVERLOOK HOTEL - LOUNGE - M.L.S. DANNY back to camera in f.g. walks into Lounge. In b.g. WENDY helps JACK up into his chair. INAUDIBLE DIALOGUE. WENDY turns to DANNY and throws up her arm. CAMERA TRACKS FORWARD with DANNY. WENDY Danny! Everything's okay. Just go play in your room for a while. Your Dad's just got a headache. Danny - mind what I say. Go play in your room! WENDY bends down to JACK. WENDY Hon, let me just go and get him out of here. I'll be right back. WENDY moves R - L behind table and moves forward to DANNY in f.g. WENDY Danny, why do n't you mind me - huh? Danny. She crouches down before DANNY and turns him cam.L to face her, and the window. He is sucking his thumb. She sees mark on his neck and tilts his head over sideways. WENDY Oh my God! Danny what happened to your neck? Danny. She pulls DANNY's thumb out of his mouth. WENDY -LRB- CONT'D. -RRB- what happened to your neck, huh? She puts her arms round him. M.L.S. JACK, back to camera, leaning back in chair in f.g. WENDY kneeling with her arms round DANNY in b.g. M.C.S. JACK sitting in chair with his hand up to his head. M.L.S. JACK back to camera leaning back in chair in f.g. WENDY kneeling with her arms round DANNY in b.g.. She stands up and lifts DANNY up in her arms. M.S. WENDY holding DANNY in her arms. WENDY You did this to him, did n't you? M.C.S. JACK. WENDY -LRB- OFF. -RRB- You son of a bitch! You did this to him, He shakes his head. WENDY -LRB- OFF ; CONT'D. -RRB- did n't you? He shakes his head. M.S. WENDY with DANNY in her arms moves backwards. WENDY How could you? How could you? She turns and runs away to entrance in b.g. M.C.S. JACK. He lowers his hand.", "INT. HOTEL BALLROOM CORRIDOR - M.L.S. JACK enters cam.L in b.g. and walks forward. CAMERA TRACKS BACK before him. He mutters and flings his arms about. He stops and looks at notice on trestle - `` THE GOLD ROOM.'' JACK moves L - R into entrance of Ballroom. He reaches out cam.L and switches on lights - then moves away to lit bar in b.g.", "INT. HOTEL - BALLROOM - M.L.S. JACK walks L - R across Ballroom - CAMERA TRACKS & PANS with him to bar. M.L.S. JACK leans over counter and looks down. JACK -LRB- to himself. -RRB- God, I'd give anything for a drink? JACK sits down and puts his hands up to his face. JACK My goddam soul, just a glass of beer. M.S. JACK with his hands up to his face. He lowers his hands and looks - he lowers hands to bar and smiles. JACK Hi Lloyd. JACK looks cam.R then back at camera. JACK A little slow tonight, is n't it? JACK laughs. M.S. LLOYD standing behind bar. LLOYD Yes, it is, Mr. Torrance. LLOYD moves forward - CAMERA TRACKS BACK revealing JACK seated at bar. LLOYD What'll it be? M.C.S. JACK JACK Now I'm awfully glad you asked me that, Lloyd, because I just happen to have two twenties and two tens right here in my wallet. I was afraid they were going to be there until next April. So here's what : you slip me a bottle of Bourbon, a glass and some ice. You can do that, ca n't you, Lloyd? You're not to busy, are you? M.S. LLOYD LLOYD No, sir. I'm not busy at all. LLOYD turns away to bottles of shelf. JACK -LRB- OFF. -RRB- Good man. LLOYD turns with bottle and glass to counter. JACK -LRB- OFF. -RRB- You set them up, and I'll knock them back, Lloyd, one by one. M.S. JACK sitting at bar. LLOYD puts bottle and glass down on bar. LLOYD puts ice in glass and fills it from bottle. JACK White man's burden, Lloyd my man. White man's burden. JACK looks at his wallet then at LLOYD. JACK Say, Lloyd, it seems I'm temporarily light. JACK laughs. JACK How's my credit in this joint anyway? M.C.S. LLOYD LLOYD Your credit's fine, Mr. Torrance. M.C.S. JACK JACK That's swell. I like you, Lloyd. I always liked you. You were always the best of them. Best goddamned bartender from Timbuctoo to Portland Maine - Portland Oregon for that matter. M.C.S. LLOYD LLOYD Thank you for saying so. M.C.S. JACK looks at his glass. JACK Here's to five miserable months on the wagon and all the irreparable harm that it's caused me. He drinks and lowers his glass - then looks at LLOYD. M.S. JACK sitting at bar. LLOYD behind bar. LLOYD How are things going, Mr. Torrance? JACK Things could be better, Lloyd. Things could be a whole lot better. LLOYD I hope it's nothing serious. JACK taps on bar and LLOYD fills up his glass. JACK No, nothing serious. M.C.S. JACK JACK Just a little problem with the. old sperm bank upstairs. JACK laughs. JACK Nothing that I ca n't handle though, Lloyd. Thanks. M.C.S. LLOYD LLOYD Women! Ca n't live with'em. Ca n't live without'em! M.S. JACK over LLOYD. He points finger at LLOYD. JACK Words of wisdom, Lloyd. Words of wisdom. JACK drinks - then swirls drink round in glass, putting glass down on counter. JACK I have n't laid a hand on him. Goddam it, I did n't. I would n't touch one hair of his goddam little head. I love the little son - of - a - bitch. JACK laughs. JACK I'd do anything for him. Any fucking thing for him. M.C.S. LLOYD JACK -LRB- OFF. -RRB- That damn bitch. M.C.S. JACK JACK As long as I live she'll never let me forget what happened! He looks cam.L then cam.R - throwing his hands out and sighing. JACK I did hurt him once, okay? It was an accident, complete unintentional. It could have happened to anybody. He raps on counter with hand. JACK And it was three goddam years ago. The little fucker had thrown all my papers all over the floor. All I tried to do was to pull him up. A momentary loss of muscular coordination. I mean. A few extra foot pounds of energy, per second. per second. JACK gestures with his hands. WENDY -LRB- OFF. -RRB- Jack.", "INT. HOTEL - BALLROOM CORRIDOR - M.L.S. WENDY, sobbing, runs forward along corridor. CAMERA TRACKS BACK with her and PANS L - R into Ballroom. She runs away to JACK sitting at bat in b.g. WENDY Oh Jack! -LRB- sobs. -RRB- Thank God you're here.", "INT. HOTEL BALLROOM - M.S. JACK sitting back to camera at bar. WENDY enters cam.R. WENDY -LRB- OFF. -RRB- Jack. -LRB- IN SHOT. -RRB- Jack, there's someone else in the hotel with us. There's a crazy woman in one of the rooms. She tried to strangle Danny. M.C.S. JACK JACK Are you out of your fucking mind? M.S. WENDY over JACK. WENDY No. It's the truth, really. I swear it. Danny told me. He went up into one of the bedrooms, the door was open, and he saw this crazy woman in the bath - tub. She tried to strangle him. M.C.S. JACK. JACK Which room was it?", "INT. MIAMI APARTMENT - M.C.S. Montage of shots on T.V. Set for program `` NEWSWATCH.'' DISC JOCKEY -LRB- OFF. -RRB- -LRB- on T.V. -RRB- From Channel 10 in Miami, this is Newswatch - with Glen Rinker and Bishop, and the award winning Newswatch team. CAMERA TRACKS BACK to reveal T.V. Set. HALLORAN's bare feet and legs on bed in f.g. Shot of GLEN RINKER on T.V. Set with superimposed title :'10 GLEN RINKER WPLG MIAMI' GLEN RINKER -LRB- on T.V. -RRB- Good evening. I'm Glen Rinker Newswatch 10. While Miami continues to swelter in a record winter heatwave bringing temperatures to the mid and upper nineties, the Central and Rocky Mountain States are buried in snow. In Colorado ten inches of snow has fallen in just a few hours tonight. Travel in the Rockies is almost impossible. M.C.S. HALLORAN - CAMERA TRACKS BACK to reveal him lying on bed, watching T.V. GLEN RINKER -LRB- OFF. -RRB- -LRB- on T.V. -RRB- Airports are shut down stranding thousands of passengers. Highways are blocked by snowdrifts. Railroad tracks are frozen. Officials in Colorado tell Newswatch at least three people have been killed by exposure to freezing winds. The Governor of Colorado is expected tomorrow to declare a weather emergency. The National Guard might be called out to clear streets and roads. Weather forecasters predict more snow and heavy winds tonight and tomorrow, with temperatures dropping well below zero. M.S. HALLORAN's feet and legs on beg in f.g. GLEN RINKER on T.V. Set at foot of bed. GLEN RINKER -LRB- on T.V. -RRB- Back here in South Florida, we've got just the opposite problem ; the heat and humidity are supposed to climb. M.S. HALLORAN lying on pillows. CAMERA TRACKS IN to C.S. his face, as he reacts. GLEN RINKER -LRB- OFF. -RRB- -LRB- on T.V. -RRB- Local beaches should be jammed. Our weather expert Walter Cronice will have the local forecast later on. COMMENTATOR continues inaudibly in b.g.", "INT. OVERLOOK HOTEL - CORRIDOR - M.S. Open door of Room 237.", "INT. HOTEL - DANNY'S BEDROOM - M.C.S. DANNY, his head shaking.", "INT. HOTEL - ROOM 237 - M.S. Mantlepiece and fireplace. CAMERA PANS R - L across room to open door. Then TRACKS FORWARD through doorway to slightly open door of bathroom. CAMERA STOPS TRACKING. Door swings open to reveal YOUNG LADY seated in bath behind curtain. M.C.S. JACK M.S. YOUNG LADY seated in bath behind curtain. She draws curtain aside with hand. M.C.S. JACK - he smiles. M.S. YOUNG LADY stands up in bath. M.C.S. JACK M.S. YOUNG LADY steps out of bath. M.C.S. JACK - he smiles. M.S. YOUNG LADY walks forward from bath and stops in f.g. M.C.S. JACK - he moves forward. M.S. JACK moves forward to YOUNG LADY - she puts her arms round his neck. He puts his arms round her and they kiss. M.C.S. JACK over YOUNG LADY as they kiss. He opens his eyes and reacts. He pulls back from YOUNG LADY - CAMERA PANS L - R onto mirror. JACK & WOMAN reflected in it. He sees that she is covered with scars. He takes his arms away from her - she starts to laugh.", "INT. HOTEL - DANNY'S BEDROOM - M.C.S. DANNY - he is shaking his head. WOMAN LAUGHING OFF.", "INT. HOTEL - ROOM 237 - BATHROOM - M.S. ELDERLY WOMAN lying in water in bath. WOMAN LAUGHING OFF. M.S. JACK shaking his head as he backs out of bathroom. M.S. Naked ELDERLY WOMAN laughing as she walks forward with outstretched arms.", "INT. HOTEL - DANNY'S BEDROOM - M.C.S. DANNY shaking his head. WOMAN LAUGHING OFF.", "INT. HOTEL - ROOM 237 - M.S. Naked ELDERLY WOMAN lying in water in bath. WOMAN LAUGHING OFF. M.S. JACK backs down steps into living room - WOMAN LAUGHING OFF. M.S. Naked ELDERLY WOMAN laughing, as she walks forward with outstretched arms.", "INT. HOTEL - DANNY'S BEDROOM - C.S. DANNY shaking his head. WOMAN LAUGHING OFF.", "INT. HOTEL - ROOM 237 - M.S. Naked ELDERLY WOMAN lying in water in bath. She starts to sit up. WOMAN LAUGHING OFF.", "INT. HOTEL - CORRIDOR - M.S. JACK backs out of Room 237 into corridor. He closes the door and locks it - then backs away along corridor. He exits cam.L. WOMAN LAUGHING OFF.", "INT. MIAMI APARTMENT - NIGHT - M.S. HALLORAN telephone up to ear. He dials number, then picks up phone and walks R - L to window. He turns and walks back L - R. He puts phone down. OPERATOR -LRB- over phone. -RRB- We are sorry your call can not be completed as dialed. If you need assistance, please call the operator. He puts telephone down.", "INT. HOTEL - JACK'S APARTMENT - M.S. WENDY moves R - L in b.g. sobbing. KNOCK ON DOOR OFF. She reacts and runs forward. WENDY Jack? JACK -LRB- OFF. -RRB- Yes, it's me. She moves R - L. CAMERA PANS with her down steps to front door. CAMERA TRACKS FORWARD after her. WENDY Oh, thank God! WENDY takes chain off door and opens it. JACK enters apartment. WENDY Did you find anything? JACK No, nothing at all. JACK closes front door. JACK I did n't see one goddam thing. JACK & WENDY walks forward and move up steps to DANNY's bedroom. CAMERA TRACKS BACK before them. WENDY You went into the room Danny said - to 237? JACK Yes, I did. WENDY And you did n't see anything at all? JACK Absolutely nothing. How is he? JACK moves R - L and looks into darkened bedroom. WENDY He's still asleep. JACK Good. JACK closes bedroom door and turns to WENDY. JACK I'm sure he'll be himself again in the morning. They move L - R into Living Room. CAMERA PANS with them and TRACKS after them across room. WENDY Well, are you sure it was the right room? I mean, maybe Danny made a mistake? WENDY & JACK move into their bedroom. JACK He must have gone into that room - the door was open and the lights were on. WENDY sits on bed. WENDY Oh, I just do n't understand. JACK sits down on bed beside her. M.C.S. WENDY sobbing. WENDY Well what about those bruises on his neck? M.C.S. JACK over WENDY. WENDY Somebody did that to him. JACK I think he did it to himself. M.C.S. WENDY shakes her head. WENDY No! No, that's not possible. M.C.S. JACK over WENDY. JACK Wendy, once you rule out his version of what happened, there is no other explanation - is there? It would n't be that different from the episode that he had before we came up here, would it?", "INT. OVERLOOK HOTEL - DANNY'S BEDROOM - M.S. DANNY lying awake on his bed. CAMERA TRACKS IN on him. WENDY -LRB- OFF. -RRB- Jack, whatever the explanation is, M.S. Low Angle Door with word `` MURDER'' written backwards across it. M.C.S. DANNY lying awake on his bed. CAMERA TRACKS IN on him. WENDY -LRB- OFF. -RRB- I think we have to get Danny out of here.", "INT. JACK'S APARTMENT - BEDROOM - M.C.S. JACK over WENDY. JACK Get him out of here? WENDY Yes. JACK You mean just leave the hotel? WENDY Yes.", "INT. DANNY'S BEDROOM - M.C.S. DANNY with his mouth wide open.", "INT. HOTEL - LOBBY - M.S. Blood gushing forward from lifts and surging up into camera lens.", "INT. HOTEL - JACK'S APARTMENT - M.C.S. JACK over WENDY. JACK It is so fucking typical of you to create a problem like this when I finally have a chance to accomplish something. When I'm really into my work. I could really write my own ticket if I went back to Boulder now, could n't I? M.S. WENDY & JACK sitting on bed - JACK stands up and turns to her. JACK Shovellings out driveways, work in a car wash - any of that appeal to you? WENDY Jack. JACK Wendy, I have let you fuck up my life so far, but I'm not going to let you fuck this up! He starts to move away. M.L.S. JACK walks forward from WENDY, sitting on bed. He crosses living room and CAMERA PANS R - L with him to steps leading to front door. He walks away down steps, opens front door and walks away along corridor. M.S. WENDY sitting on bed, starts to cry. She leans forward and buries her face in her hands.", "INT. HOTEL - KITCHEN - M.L.S. JACK moves forward in kitchen. He sweeps coffee pot off table onto floor. CAMERA TRACKS BACK before him. He kicks coffee pots on floor, then sweeps rings off stove onto floor. He kicks rings as he leaves kitchen, moving into corridor. CAMERA TRACKS BACK before him. He stops and looks ahead.", "INT. HOTEL CORRIDOR LEADING TO BALLROOM - M.L.S. Empty corridor. Balloons and streamers strewn about. CAMERA TRACKS FORWARD.", "INT. MIAMI - HALLORAN'S APARTMENT - NIGHT - M.S. HALLORAN standing, phone up to ear. RANGER -LRB- over phone. -RRB- Good evening. Forest Service. HALLORAN -LRB- into phone. -RRB- Hallo. My name's Dick Halloran. I'm the Head Chef up at the Overlook Hotel. RANGER -LRB- over phone. -RRB- Good evening, Mr. Halloran. What can I do for you? HALLORAN -LRB- into phone. -RRB- Sir, I've been trying to make an urgent phone call up there, He picks up phone and walks R - L to window. CAMERA PANS with him. HALLORAN -LRB- CONT'D. -RRB- -LRB- into phone. -RRB- but the operator said that the phone lines are down.", "INT. RANGER'S OFFICE - M.S. RANGER sitting at radio with phone to ear. RANGER -LRB- into phone. -RRB- Yes, I'm afraid a lot of lines around here are down, due to the storm.", "INT. MIAMI - HALLORAN'S APARTMENT - M.S. HALLORAN, phone to ear, at window. HALLORAN -LRB- into phone. -RRB- Well, look sir, I hate to put you to any trouble, but there's a family up there all by themselves with a young kid, and with this storm and everything. HALLORAN moves L - R. CAMERA TRACKS with him. He puts phone on table. HALLORAN -LRB- into phone. -RRB- I'd sure appreciate it if you'd give them a call on your radio just to see if everything is okay.", "INT. RANGER'S OFFICE - M.S. RANGER sitting at radio, phone to ear. RANGER -LRB- into phone. -RRB- I'd be glad to do that, sir. Oh why do n't you call me back in about eh twenty minutes? HALLORAN -LRB- over phone. -RRB- Thank you very much. I'll do that. RANGER -LRB- into phone. -RRB- All right, sir. RANGER puts phone down.", "INT. HOTEL CORRIDOR & BALLROOM - M.L.S. JACK walks forward along corridor to Ballroom. He turns L - R into Ballroom - CAMERA TRACKS with him revealing crowded Ballroom. MAITRE D standing at entrance. MAITRE D Good evening, Mr. Torrance. JACK Good evening. JACK moves L - R across crowded Ballroom - CAMERA TRACKS with him to LLOYD serving behind bar. JACK sits at bar. LLOYD moves to him. JACK Hi Lloyd. I've been away. Now I'm back. LLOYD Good evening Mr. Torrance. LLOYD puts dishes of olives and peanuts on bar before JACK. M.S. JACK over LLOYD. LLOYD It's good to see you. JACK It's good to be back, Lloyd. M.C.S. LLOYD LLOYD What'll it be, sir? M.S. JACK over LLOYD JACK Hair of the dog that big me. M.C.S. LLOYD LLOYD Bourbon on the rocks. M.S. JACK over LLOYD JACK That'll do her. JACK takes handful of peanuts and empties them into his mouth. LLOYD puts ice into glass. M.C.S. LLOYD preparing drink. M.S. JACK over LLOYD. LLOYD pouring drink. JACK takes out his wallet, takes out note and holds it out to LLOYD. LLOYD holds up his hand. LLOYD No charge to you, Mr. Torrance. JACK looks down at note and up to LLOYD. JACK No charge? M.C.S. LLOYD LLOYD Your money's no good here. M.S. JACK over LLOYD. JACK looks down at his note then up at LLOYD. M.C.S. LLOYD LLOYD Orders from the house. M.S. JACK over LLOYD. JACK puts note back into his wallet. JACK Orders from the house. He puts wallet away. M.L.S. LLOYD LLOYD Drink up, Mr. Torrance. M.S. JACK over LLOYD. JACK tucking wallet into his hip pocket. JACK I'm the kind of man likes to know who's buying their drinks, Lloyd. M.C.S. LLOYD LLOYD It's not a matter that concerns you, Mr. Torrance - at least not at this point. M.S. JACK over LLOYD. JACK smiles and picks up his drinks. JACK Anything you say, Lloyd. Anything you say. JACK turns away from bar. M.L.S. JACK moves away from bar. He dances forward to center of room - CAMERA TRACKS after him. WOMAN enters cam.R.f.g. and walks away. WAITER -LRB- GRADY -RRB-, carrying tray of drinks, walks forward from b.g.. He bumps into WOMAN. GRADY Oh! GRADY staggers forward, colliding with JACK and spilling drinks down front of JACK's jacket. GRADY Oh dear, oh dear. I'm so sorry, sir. Oh! He puts down tray and takes advocaat glass from JACK. GRADY Oh dear oh dear. I've made an awful mess of your jacket, sir. GRADY puts glass on tray. JACK Oh eh that's all right. I've got plenty of jackets. GRADY mops JACK's jacket with his serviette. GRADY I'm afraid it's advocaat sir. It tends to stain. JACK Advocaat is it? GRADY Yes sir. Look um. I think the best thing is to come along to the gentlemen's room, sir, and eh. GRADY bends down and picks up his tray. GRADY we'll get some water to it, sir. JACK & GRADY start to walk away to the Gentlemen's. CAMERA TRACKS after them. JACK Looks as though you might have got a spot of it on yourself there, Jeevesy old boy. JACK pats GRADY on his back. GRADY That does n't matter, sir. You're the important one. JACK Awfully nice of you to say. Of course I intend to change my jacket this evening before the fish and goose soiree. JACK & GRADY enter Gentlemen's Toilet. GRADY Very wise, sir. Very wise. JACK exits cam.R behind door. JACK -LRB- OFF. -RRB- Here, I'll just, eh.", "INT. MEN'S TOILET - M.L.S. Men's toilet. JACK moves in from cam.L.b.g. He holds door open. JACK hold this for you there, Jeevesy. GRADY enters cam.L. GRADY Thank you, sir. Thank you. GRADY walks forward and puts his tray down on basins cam.R. JACK walks forward. GRADY Now let's see if we can improve this with a little water, sir. GRADY soaks his serviette under tap. JACK puts glass down cam.L and turns to GRADY cam.R. JACK Right, I'll just set my bourbon and advocaat down right there. JACK laughs. GRADY starts to sponge JACK with serviette. GRADY Wo n't keep you a moment, sir. JACK Fine. GRADY sponges JACK. JACK What do they call you around here, Jeevesy? GRADY Grady, sir. Delbert Grady. M.S. JACK over GRADY. GRADY sponging JACK's jacket. JACK Grady? GRADY Yes, sir. JACK Delbert Grady. GRADY That's right, sir. GRADY sponges JACK's trousers. JACK Eh, Mr. Grady. JACK clears his throat. JACK -LRB- CONT'D. -RRB- have n't I seen you somewhere before? GRADY Why no, sir. I do n't believe so. GRADY turns cam.L to basins to rinse serviette under tap. He turns back to JACK and sponges his jacket. GRADY Ah ha, it's coming off now, sir. JACK Eh. Mr. Grady. were n't you once the caretaker here? GRADY Why no, sir. I do n't believe so. GRADY sponges JACK's trousers. JACK You er a married man, are you, Mr. Grady? GRADY sponges JACK's jacket sleeve. GRADY Yes, sir. I have a wife and eh two daughters, sir. JACK And, er. where are they now? GRADY Oh, they're somewhere around. I'm not quite sure at the moment, sir. JACK takes serviette away from GRADY and wipes his hand with it. JACK Mr. Grady, you were the caretaker here. I recognize you. I saw your picture in the newspapers. You eh. chopped your wife and daughters up into little bits, and eh. and you blew your brains out. JACK throws serviette into basin cam.L. M.L.S. GRADY over JACK. GRADY That's strange, sir. I do n't have any recollection of that at all. Mr. Grady, you were the caretaker here. M.S. JACK over GRADY. GRADY I'm sorry to differ with you, sir, but you are the caretaker. You have always been the caretaker, I should know, sir. I've always been here. M.C.S. JACK laughs. M.C.S. GRADY GRADY Did you know, Mr. Torrance, that your son. is attempting to bring an outside party into this situation? Did you know that? M.C.S. JACK. He shakes his head. JACK No. M.C.S. GRADY GRADY He is, Mr. Torrance. M.C.S. JACK JACK Who? M.C.S. GRADY GRADY A nigger. M.C.S. JACK JACK A nigger! M.C.S. GRADY GRADY A nigger cook.", "INT. MEN'S LAVATORY - M.C.S. JACK JACK How? M.C.S. GRADY GRADY Your son has a very great talent. I do n't think you are aware how great it is, but he is attempting to use that very talent against your will. M.C.S. JACK JACK Well, he is a very willful boy. JACK smiles. M.C.S. GRADY. GRADY Indeed, he is, Mr. Torrance. A very willful boy. A rather naughty boy, if I may be so bold, sir. M.C.S. JACK. He looks about. JACK It's his mother. JACK looks about. JACK She eh. interferes. M.C.S. GRADY. GRADY Perhaps they need a good talking to, if you do n't mind my saying so. Perhaps a bit more. M.C.S. JACK. GRADY -LRB- OFF. -RRB- My girls, sir, they did n't care for the Overlook at first. One of them actually stole a packet of matches M.C.S. GRADY GRADY -LRB- CONT'D. -RRB- and tried to burn it down. But I corrected them, sir. And when my wife tried to prevent me from doing my duty I corrected her. M.C.S. JACK smiles. M.C.S. GRADY.", "INT. HOTEL - JACK'S APARTMENT - M.S. WENDY, crying and holding cigarette, walks R - L from Living Room into Bedroom. CAMERA PANS with her. WENDY -LRB- to herself. -RRB- We have the Snowcat. If the weather breaks, we might just be able to get down the mountain in that. WENDY turns and walks L - R back into LIVING ROOM - CAMERA TRACKS IN and PANS with her. WENDY -LRB- to herself. -RRB- I could call the Forest Rangers first and then tell them that we're coming so that they could start searching for us, in case we did n't make it. WENDY turns and walks R - L into Bedroom - CAMERA PANS with her. WENDY -LRB- to herself. -RRB- If Jack wo n't come with us, we'll just have to tell him that we are going by ourselves. That's all there is to it. DANNY -LRB- OFF. -RRB- Red Rum. Red Rum. WENDY reacts and turns to cam.R. She runs away to DANNY's bedroom door in b.g. DANNY -LRB- OFF. -RRB- Red Rum. Red Rum.", "INT. DANNY'S BEDROOM - M.S. WENDY opens door and stands in doorway. WENDY Danny? DANNY -LRB- OFF. -RRB- Red Rum. Red Rum. Red Rum. WENDY moves R - L from door. CAMERA PANS with her and TRACKS BACK to reveal DANNY sitting up in bed. WENDY sits beside him. DANNY Red Rum. WENDY Danny. what's the matter, hon? DANNY Red Rum. WENDY Are you having a bad dream? M.C.S. DANNY over WENDY WENDY Danny? Hon? TONY Danny's not here, Mrs. Torrance. M.C.S. WENDY over DANNY WENDY Come on, hon, wake up. You just had a bad dream. Everything's okay. M.C.S. DANNY over WENDY. TONY Danny ca n't wake up, Mrs. Torrance. M.C.S. WENDY over DANNY. WENDY Danny, wake up! Come on, right now, M.C.S. DANNY over WENDY. WENDY Wake up. TONY Danny's gone away, Mrs. Torrance. M.C.S. WENDY over DANNY. WENDY Danny. She leans forward and puts her arm round him. She strokes his hair.", "INT. HOTEL LOBBY - M.L.S. JACK walking L - R past reception desk. CAMERA TRACKS with him to office. He goes in and switches on lights. RANGER -LRB- over radio. -RRB- This is KDK 1 calling KDK 12. KDK 1 calling KDK 12. Are you receiving me? This is KDK 1 calling KDK 12. KDK 1 calling KDK 12. Do you read me?", "INT. HOTEL - OFFICE - M.L.S. JACK walks from office into inner office. CAMERA TRACKS after him. He stops by radio set. RANGER -LRB- over radio. -RRB- This is KDK 1 calling KDK 12. KDK 1 calling KDK 12. Are you receiving me? M.S. JACK looking down at radio set. He tries to take the cover off. RANGER -LRB- over radio. -RRB- KDK 1 calling KDK 12. KDK 1 calling KDK 12. Do you read me? JACK unscrews back of set and lifts cover off radio. He drops it on floor. RANGER -LRB- over radio. -RRB- This is KDK 1 calling KDK 12. KDK 1 calling KDK 12. He reaches out to the set with his hand. M.C.S. JACK's hand touches component in set. He pulls it out. RANGER -LRB- over radio. -RRB- Are you recei. He pulls two more components out of set. He rattles them in his hand, then moves out cam.L.", "INT. MIAMI - HALLORAN'S APARTMENT - NIGHT - M.S. HALLORAN, phone to ear, walks R - L towards window. CAMERA PANS with him. RANGER -LRB- over phone. -RRB- Good evening. Forest Service. HALLORAN -LRB- into phone. -RRB- Hallo, this is Dick Halloran again. I called a while ago about the folks at the Overlook Hotel.", "INT. RANGER'S OFFICE - NIGHT - M.S. RANGER sitting at radio, phone to ear. RANGER -LRB- into phone. -RRB- Oh yeah. We tried to contract them several times by radio, but they did n't answer. MAN enters from cam.R.f.g. and walks away to b.g. RANGER -LRB- into phone. -RRB- Now, maybe they've got their radio turned off or they're in a place where they ca n't hear it. If you like me to, I'd be glad to try them again later on.", "INT. MIAMI - HALLORAN'S APARTMENT - NIGHT - M.S. HALLORAN, phone to ear. HALLORAN -LRB- into phone. -RRB- Oh, that's very nice of you. I'll call you back later. Bye. He walks L - R. CAMERA TRACKS & PANS with him. He puts phone down on receiver, and puts his hand up to his head. BLACK FRAMES. Superimposition : 8 a.m.", "EXT. SKY - DAY - L.S. D.C. 10 in flight.", "INT. D.C.10 - M.C.S. HALLORAN sitting in seat. CAMERA TRACKS BACK to reveal other passengers in their seats. HALLORAN turns in his seat and looks cam.L. STEWARDESS enters from cam.L and stops beside HALLORAN. HALLORAN Pardon me, miss. What time will we get to Denver? STEWARDESS We're due to arrive at 8:20, sir. HALLORAN Thank you very much. STEWARDESS walks out cam.R. HALLORAN looks at his wristwatch.", "INT. HOTEL - LOUNGE - L.S. Shooting through entrance onto JACK seated, back to camera, typing at table in b.g. CAMERA TRACKS FORWARD onto JACK.", "EXT. AIRPORT - DAY - L.S. D.C. 10 moves away along flare path, as it lands.", "EXT. DURKIN'S GARAGE - M.L.S. DURKIN at car by petrol pump. He moves away R - L to office.", "INT. DURKIN'S GARAGE - M.S. MAN standing cam.L. MAN sitting reading magazine. DURKIN enters. He stamps snow off his feet and moves L - R. CAMERA PANS with him behind counter. He picks up ringing phone. DURKIN -LRB- into phone. -RRB- Durkin's garage. HALLORAN -LRB- over phone. -RRB- Hello, can I speak to Larry? DURKIN -LRB- into phone. -RRB- Speaking.", "INT. AIRPORT - M.S. HALLORAN at telephone booth, phone to ear. HALLORAN -LRB- into phone. -RRB- Hello Larry. This is Dick, Dick Halloran.", "INT. DURKIN'S GARAGE - M.S. DURKIN, phone to ear, behind counter. DURKIN -LRB- into phone. -RRB- Dick, how are you doing? How's the weather down there?", "INT. AIRPORT - M.S. HALLORAN, phone to ear. HALLORAN -LRB- into phone. -RRB- I'm not in Florida, Larry. I'm calling from Stapleton Airport.", "INT. DURKIN'S GARAGE - M.S. DURKIN, phone to ear, leaning on counter. DURKIN -LRB- into phone. -RRB- What the hell are you doing down there?", "INT. AIRPORT - M.S. HALLORAN, phone to ear. HALLORAN -LRB- into phone. -RRB- Well, I just got in from Miami, and I've got to get up to the Overlook today. What's the weather like up there?", "INT. DURKIN'S GARAGE - M.S. DURKIN, phone to ear. DURKIN -LRB- into phone. -RRB- Well, the snow ploughs are keeping things moving in town, but the mountain roads are completely blocked.", "INT. AIRPORT - M.S. HALLORAN, phone to ear. HALLORAN -LRB- into phone. -RRB- That means I'm going to need a snowcat to get up there, Larry. Can you fix me up with one?", "INT. DURKIN'S GARAGE - M.S. DURKIN, phone to ear. DURKIN -LRB- into phone. -RRB- What's the big deal about getting up there today, especially in this kind of weather?", "INT. AIRPORT - M.S. HALLORAN, phone to ear. HALLORAN -LRB- into phone. -RRB- Larry, just between you and me, we've got a very serious problem with the people who are taking care of the place. They've turned out to be completely unreliable assholes. Ullman phoned me last night, and I'm supposed to go up there and find out if they have to be replaced.", "INT. DURKIN'S GARAGE - M.S. DURKIN, phone to ear, looks at his watch. DURKIN -LRB- into phone. -RRB- How long is it going to take you to get up here?", "INT. AIRPORT - M.S. HALLORAN phone to ear. HALLORAN -LRB- into phone. -RRB- Oh about five hours. I'm gon na rent a car here at the airport.", "INT. DURKIN'S GARAGE - M.S. DURKIN, phone to ear. DURKIN -LRB- into phone. -RRB- Okay, Dick - I'll take care of it.", "INT. AIRPORT - M.S. HALLORAN phone to ear. HALLORAN -LRB- into phone. -RRB- Oh thanks a lot, Larry. I really appreciate that.", "INT. DURKIN'S GARAGE - M.S. DURKIN phone to ear. DURKIN -LRB- into phone. -RRB- That's all right. Drive carefully. He puts phone down.", "EXT. ROAD - NIGHT - M.L.S. HALLORAN's car moving forward along snow covered road. CAMERA TRACKS BACK with it. VOICE OVER RADIO Well, good morning to you, Hal and Charlie on Radio 63, KHOW Denver", "INT. HALLORAN'S CAR - NIGHT - M.C.S. HALLORAN sitting behind wheel as he drives along road L - R. VOICE OVER RADIO -LRB- CONT'D. -RRB- and, Charlie, we have what you call your bad day out there. What you call your heavy snow, snowing hard throughout the eh Denver metro area. Many of the mountain passes - Wolf Creek, and Red Mountain passes are already closed. M.S. Shooting from behind HALLORAN through windscreen as he drives along road, passing overturned truck cam.L. VOICE OVER RADIO -LRB- CONT'D. -RRB- and the chain law is in effect right now at the Eisenhower Tunnel. I guess as we've just heard from the news forecast, Charlie, a few of the flights are still landing out at Stapleton International Airport, and, with these early storms like this, I guess the entire airport will probably be closed within the hour. Yeah, they're just not prepared. The storm will continue throughout the day, and the national weather service. has declared a stopmans and travelers advisory. for all areas outlying the Denver metro region - get the cows in the barn. There you go. Many businesses.", "INT. OVERLOOK HOTEL - JACK'S APARTMENT - M.S. DANNY & WENDY sitting at table watching T.V. Set cam.L. WENDY inhales cigarette and looks at her watch. She puts cigarette out cam.R. WENDY Hon, WENDY strokes his hair, then takes hold of his chin and turns his face to her. WENDY -LRB- CONT'D. -RRB- listen to me for a minute, will you, hon? She lowers her hand from his chin and strokes his hair. WENDY I'm just going to go and talk to Daddy for a few minutes and I'll be right back. I want you to just stay here and watch your cartoons, okay? She strokes his hair. WENDY Okay, hon? DANNY holds up his forefinger and wiggles it. TONY Yes, Mrs. Torrance. WENDY kisses DANNY's head. WENDY All right. Now I'll be back in just about five minutes. I'm gon na lock the door behind me. She kisses his head and strokes his hair - then stands up and walks away to door. She stops and picks up a baseball bat from cam.R. She walks away through open doorway, and exits cam.R.", "INT. HOTEL LOUNGE - M.L.S. WENDY, carrying baseball bat, walks away into Lounge. As she goes, she turns and looks about her - CAMERA TRACKS after her. WENDY Jack? She looks about and then moves L - R past table, with his typewriter on it. She walks L - R behind pillar and appears again on the other side. CAMERA TRACKS with her. WENDY Jack? WENDY stops and looks about. M.L.S. WENDY, holding bat, in f.g.. She turns and walks away to JACK's typewriter on table in b.g. M.S. Low Angle - JACK's typewriter in f.g. WENDY moves forward into shot. She looks down at sheet of paper in typewriter. M.C.S. Sheet of paper in typewriter with repetition of line on it, reading : `` ALL WORK AND NO PLAY MAKES JACK A DULL BOY.'' Sheet of paper is turned up, showing repetition of line. Again sheet of paper is turned up showing repetition of line. M.S. Low Angle - WENDY looking down at sheet of paper in typewriter. She looks cam.R - then moves to cam.R. M.S. Sheets of paper, filling cardboard box. CAMERA TRACKS IN on top sheet, showing repetition of the line `` ALL WORK AND NO PLAY MAKES JACK A DULL BOY.'' filling sheet. M.S. Low Angle WENDY looking down at box of paper in f.g.. She holds up top sheet and looks at it - then puts it down in box. M.C.S. Sheets of paper filling box. WENDY's hand enters cam.L.f.g. She flicks through sheets of paper and sees they are all filled with repetition of line : `` ALL WORK AND NO PLAY MAKES JACK A DULL BOY.'' M.S. Low Angle - WENDY flicking through sheets of paper in box. M.S. Pillar. CAMERA TRACKS R - L revealing WENDY, back to camera, looking through sheets of paper in box on table in M.L.S. JACK enters cam.R.f.g. JACK How do you like it? WENDY SCREAMS and turns round to face JACK. WENDY Jack! JACK How do you like it? JACK moves away towards table. WENDY walks R - L along table. M.S. JACK moves forward. CAMERA TRACKS BACK before him. JACK What are you doing down here? He stops by chair and puts his hand on back of it. M.S. WENDY holding bat. WENDY I just eh. wanted. M.S. JACK - hand on back of chair. WENDY -LRB- OFF. -RRB- to talk to you. JACK moves R - L to table. CAMERA TRACKS BACK. JACK Okay. Let's talk. JACK flicks through sheets of paper in box - then looks towards WENDY. JACK What do you want to talk about? M.S. WENDY holding bat. WENDY I. M.S. JACK WENDY -LRB- OFF. -RRB- I ca n't really remember. JACK You ca n't remember. JACK moves forward L - R. CAMERA PANS with him. WENDY -LRB- OFF. -RRB- No, I ca n't. M.S. WENDY, holding bat, moves L - R. CAMERA PANS with her.", "INT. HOTEL - JACK'S APARTMENT - M.S. DANNY sitting at table. CAMERA TRACKS IN on him. JACK -LRB- OFF. -RRB- Maybe it was about Danny. Maybe it was about him.", "INT. HOTEL - LOBBY - M.S. Blood clear from camera lens revealing furniture floating about on river of blood. JACK -LRB- OFF. -RRB- I think we should discuss Danny.", "INT. HOTEL - CORRIDOR - M.S. Low Angle Door with word `` MURDER'' scrawled in reverse on door.", "INT. HOTEL - LOBBY - M.S. Furniture floating on river of blood towards camera. JACK -LRB- OFF. -RRB- I think. we should discuss what should be done with him.", "INT. HOTEL - LOUNGE - M.S. JACK moves forward. JACK What should be done with him? M.S. WENDY holding bat gives nervous laugh. M.S. JACK moves forward R - L - CAMERA PANS & TRACKS BACK with him. WENDY -LRB- OFF. -RRB- I do n't know. JACK I do n't think that's true. I think you have some very definite ideas about what should be done with Danny. and I'd like to know what they are. M.S. WENDY holding bat moves back R - L. CAMERA PANS with her. She weeps. WENDY Well I. I think maybe he should be taken to a doctor. M.S. JACK JACK You think maybe he should be taken to a doctor? M.S. WENDY WENDY Yes. M.S. JACK JACK When do you think maybe he should be taken to a doctor? M.S. WENDY holding bat. WENDY As soon as possible? M.S. JACK JACK As soon as possible. WENDY -LRB- OFF. -RRB- Jack. M.S. WENDY holding bat. WENDY please. M.S. JACK moves forward - CAMERA TRACKS BACK before him. JACK You believe his health might be at stake? M.S. WENDY holding bat moves back. WENDY Ye. yes. M.S. JACK moves forward. CAMERA TRACKS BACK before him. JACK And you are concerned about him? M.S. WENDY holding bat moves back. WENDY Yes. M.S. JACK points to himself as he moves forward. JACK And are you concerned about me? M.S. WENDY holding bat moves backwards. WENDY Of course I am. JACK -LRB- OFF. -RRB- Of course you are. M.S. JACK moves forward. CAMERA TRACKS BACK before him. He points to himself and gestures. JACK Have you ever thought about my responsibilities? WENDY -LRB- OFF. -RRB- Oh Jack, what are you talking about? JACK Have you ever had a single moment's thought about my responsibilities? Have you ever thought for a single solitary moment about my responsibilities to my employers? M.S. WENDY holding bat moves backwards. M.S. JACK moves forward - CAMERA TRACKS BACK before him. JACK Has it ever occurred to you that I have agreed to look after the Overlook Hotel until May the first? Does it matter to you at all that the owners have placed their complete confidence and trust in me, and that I have signed a letter of agreement, a contract, in which I have accepted that responsibility? M.S. WENDY holding bat moves backwards L - R to foot of stairs. CAMERA PANS with her. She moves onto first step. JACK -LRB- OFF. -RRB- Do you have the slightest idea what a moral and ethical principal is? Do you? M.S. JACK moves forward L - R. CAMERA PANS with him. JACK Has it ever occurred to you what would happen to my future, if I were to fail to live up to my responsibilities? M.S. WENDY holding bat backs up stairs. JACK -LRB- OFF. -RRB- Has it ever occurred to you? JACK moves in cam.R.f.g. JACK Has it? WENDY swinging bat before her backs up stairs. JACK moves after her. CAMERA TRACKS FORWARD after them. WENDY Stay away from me! JACK Why? WENDY I just want to go back to my room. JACK Why? WENDY sobs. WENDY Well. I'm very confused, and I just need a chance to think things over. M.S. High Angle JACK over WENDY. He moves forward up stairs. She backs away. CAMERA TRACKS BACK and UP before them. JACK You've had your whole fucking life to think things over - what's good a few minutes more going to do you now? WENDY Jack. stay away from me. please. JACK reaches up to her. WENDY Do n't hurt me! Do n't hurt me! JACK I'm not going to hurt you. WENDY swings bat in front of her as she backs up stairs. WENDY Stay away from me, JACK Wendy! WENDY Stay away! JACK Darling, light of my life, I'm not going to hurt you. You did n't let me finish my sentence. I said ` I'm not going to hurt you. I'm just going to bash your brains in!' I'm going to bash them right the fuck in. WENDY waves bat in front of her. JACK laughs. WENDY Stay away from me! M.S. Low Angle WENDY swinging bat in front of her, backs up stairs. JACK follows her - CAMERA TRACKS FORWARD after them. WENDY Stay away from me! JACK I'm not going to hurt you. WENDY Stay away from me! M.S. High Angle JACK over WENDY. She swings bat in front of her, as she backs away and he follows her. WENDY Stay away from me! Please. JACK Stop swinging the bat. WENDY Stay away from me. JACK Put the bat down, Wendy. WENDY Stop it! JACK Wendy give me the bat. WENDY Stay. stay away! JACK Give me the bat. M.S. Low Angle WENDY over JACK. CAMERA TRACKS FORWARD as they come up stairs. WENDY Stay away from me. JACK Give me the bat. WENDY Jack, stay away from me! JACK Stop swinging the bat. WENDY Get down. M.S. High Angle JACK over WENDY. She swings bat in front of her as they move up stairs. CAMERA TRACKS with them. JACK Give me the bat. WENDY Go away from me. JACK Wendy. WENDY Go away. JACK Give me the bat. WENDY Go away. JACK Give me the bat. JACK reaches up with hand. WENDY hits his hand with bat. SHE SCREAMS. HE YELLS and grabs his wrist. M.S. Low Angle WENDY over JACK. JACK Goddamn! WENDY hits JACK on head with bat. M.S. High Angle JACK over WENDY - he throws up hand and leans back. M.L.S. Low Angle WENDY over JACK. He falls backwards down stairs. CAMERA PANS L - R with him as he somersaults down stairs, stopping face down on half landing. M.L.S. High Angle WENDY back to camera at top of stairs. JACK lying facedown on half landing. WENDY Oh. oh!", "INT. HOTEL - KITCHEN - M.C.S. JACK lying on his back on floor. He GROANS as he is dragged along R - L. CAMERA TRACKS with him.", "INT. OVERLOOK HOTEL - KITCHEN - M.S. WENDY, holding JACK's ankles, drags him backwards to food store door. She undoes bolt, then tries to open door. JACK GROANS. M.S. Low Angle WENDY tugging at handle. JACK GROANS OFF. M.C.S. WENDY tugging at handle. She looks down cam.R. M.C.S. JACK, lying on his back on the floor GROANING, starts to come to. His eyes open and he lifts his head up. M.C.S. WENDY, tugging at door handle. M.C.S. WENDY's hand on handle. She takes out pin on chain in handle and tugs handle open. M.S. WENDY swings door open. Then she takes hold of JACK's ankles. M.C.S. JACK. JACK Hey. what are you doing? M.S. WENDY pulling JACK by the legs into food store. JACK Ohhh. what are you doing? M.S. High Angle JACK on his back being dragged through door into food store. JACK Hey, wait a minute. What are you doing? WENDY puts his feet down and moves away to door. JACK What are you doing? M.S. Low Angle WENDY's feet and legs move forward from JACK - She exits cam.R.f.g. JACK rolls over onto his elbow. Door closes in f.g. M.S. JACK on floor in f.g. WENDY in b.g. closes the door. JACK gets onto his feet. He GROANS and grips his R. ankle, staggering against cardboard boxes. They fall down onto him.", "INT. HOTEL KITCHEN - M.S. WENDY puts pin in handle, and backs L - R away from door. CAMERA PANS with her. JACK -LRB- OFF. -RRB- Hey, wait a minute! WENDY turns away and looks about. JACK -LRB- OFF. -RRB- What are you doing? WENDY sees knife in rack on wall and lifts it out of rack. She turns to face food store door. JACK -LRB- OFF. -RRB- Open the door. WENDY backs away to table. JACK -LRB- OFF. -RRB- Goddamit! Let me out of here! Open the goddam door. WENDY, resting one hand on table, weeps as she sinks to her knees.", "INT. HOTEL - FOOD STORE ROOM - M.C.S. Low Angle - JACK. JACK Wendy, listen. Let me out of here and I'll forget the whole goddam thing. It'll be just like nothing ever happened.", "INT. HOTEL - KITCHEN - M.S. WENDY kneeling by table. She is weeping and puts her hand up to her head.", "INT. FOOD STORE ROOM - M.C.S. Low Angle JACK listens to her weeping. JACK Wendy, baby. He puts hand up to head. JACK I think you hurt my head real bad. He takes his hand away from his head. JACK I'm dizzy. I need a doctor.", "INT. KITCHEN - M.S. WENDY weeping as she kneels by table. JACK -LRB- OFF. -RRB- Honey. do n't leave me in here. WENDY stands up. CAMERA TILTS UP with her. WENDY I'm gon na go now - WENDY walks R - L. CAMERA PANS with her to food store room door. WENDY I'm going to try and get. get Danny down to the Sidewinder. in the Snowcat today. She weeps. WENDY I'll bring back a doctor.", "INT. FOOD STORE ROOM - M.C.S. JACK JACK Wendy. WENDY -LRB- OFF. -RRB- I'm gon na go now. JACK Wendy.", "INT. KITCHEN - M.S. WENDY weeping turns to food store door. WENDY Yes?", "INT. FOOD STORE ROOM - M.C.S. JACK smiling. JACK You've got a big surprise coming to you. He laughs. JACK You're not going anywhere. He laughs.", "INT. KITCHEN - M.S. WENDY by food store door. JACK -LRB- OFF. -RRB- Go check out the Snowcat and the radio and see what I mean. He laughs off. JACK -LRB- OFF. -RRB- Go check it out! He laughs off. WENDY exits cam.L.", "INT. FOOD STORE ROOM - M.C.S. JACK laughing. JACK Go check it out! He laughs. JACK Go check it out! He laughs.", "INT. HOTEL - CORRIDOR - M.L.S. WENDY carrying knife runs forward - CAMERA PANS L - R with her as she runs to door. She forces it open.", "EXT. HOTEL - M.L.S. WENDY forces door open against snow and walks out on snow. CAMERA PANS L - R with her to edge of porch. She runs away to b.g. M.L.S. WENDY runs L - R along front of hotel - CAMERA TRACKS with her.", "INT. HOTEL - GARAGE - M.S. Snowcat in garage. WENDY seen through open doorway. She runs forward and enters garage, carrying knife. She stops at entrance. Then she moves L - R towards Snowcat, and picks up distributor cap. CAMERA TRACKS IN on her, reacting to damaged distributor cap. BLACK FRAMES. Superimposed over : 4 p.m.", "EXT. HOTEL - L.S. Overlook Hotel in b.g. Snow and trees in f.g.", "INT. HOTEL - FOOD STORE ROOM - M.C.S. JACK asleep on sacks. CAMERA TRACKS BACK. KNOCK ON DOOR OFF. JACK stirs and rubs his eyes. KNOCK ON DOOR OFF. Jack sits up. JACK Wendy? CAMERA TRACKS BACK as JACK feels his R. ankle. GRADY -LRB- OFF. -RRB- It's Grady, Mr. Torrance. Delbert Grady. JACK Grady. oh. JACK puts his hand up on shelf. JACK Oh Grady. right. Grady. er. JACK stands up and moves R - L behind shelves towards door. CAMERA TRACKS with him. JACK Hullo Grady. JACK moves R - L to door and leans on it with his hand. GRADY -LRB- OFF. -RRB- Mr. Torrance, I see you can hardly have taken care of the. M.C.S. JACK by door. GRADY -LRB- OFF. -RRB- business we discussed. He moves back R - L from door. JACK No need to rub it in, Mr. Grady. I'll deal with that situation as soon as I get out of here. GRADY -LRB- OFF. -RRB- Will you indeed, Mr. Torrance. He puts his hand up to his head. GRADY -LRB- OFF. -RRB- I wonder. I have my doubts. He lowers his hand from his head. GRADY -LRB- OFF. -RRB- I and others have come to believe. that your heart is not in this, that you have n't the belly for it. JACK laughs. JACK Just give me one more chance to prove it, Mr. Grady. That's all I ask. GRADY -LRB- OFF. -RRB- Your wife appears to be stronger than we imagined, Mr. Torrance. Somewhat more resourceful, she seems to have got the better of you. JACK For the moment, Mr. Grady. Only for the moment. GRADY -LRB- OFF. -RRB- I fear that you will have to deal with this matter in the harshest possible way, Mr. Torrance. I fear that is the only thing to do. JACK There's nothing I look forward to with the greater pleasure, Mr. Grady. GRADY -LRB- OFF. -RRB- You give your word on that do you, Mr. Torrance? JACK nods his head. JACK I give you my word. SOUND OF BOLT BEING DRAWN & HANDLE BEING UNFASTENED OFF.", "EXT. ROAD - NIGHT - L.S. HALLORAN driving Snowcat forward along snow - covered road between banks of trees.", "INT. HALLORAN'S SNOWCAT - M.C.S. HALLORAN driving Snowcat L - R along road. M.S. Shooting from behind HALLORAN sitting cam.L through windscreen, with wipers working, as he moves forward along snow - covered road. Trees on either side of road.", "INT. HOTEL - JACK'S APARTMENT - NIGHT - M.C.S. DANNY moves away R - L towards his MOTHER asleep in bed. CAMERA PANS with him. TONY'S VOICE Red Rum. Red Rum. Red Rum. Red Rum. DANNY stops beside WENDY asleep in bed. TONY'S VOICE Red Rum. WENDY stirs in bed. DANNY reaches out with his hand for knife on table cam.R of bed. TONY'S VOICE Red Rum. DANNY holds up knife. TONY'S VOICE Red Rum. Red Rum. He feels blade. TONY'S VOICE Red Rum. Red Rum. He takes hand away from blade. TONY'S VOICE Red Rum. He turns away from bed and holding knife up walks L - R. CAMERA PANS with him. TONY'S VOICE Red Rum. Red Rum. Red Rum. Red Rum. Red Rum. He stops by dressing table. TONY'S VOICE Red Rum. He picks up lipstick from dressing table. TONY'S VOICE Red Rum. Red Rum. He turns away from dressing table. TONY'S VOICE Red Rum. DANNY walks R - L away to door - CAMERA PANS with him. TONY'S VOICE Red Rum. Red Rum. Red Rum.", "INT. OVERLOOK HOTEL - JACK'S APARTMENT - NIGHT - M.S. DANNY holding knife and lipstick at door. WENDY asleep in bed in b.g. TONY'S VOICE Red Rum. Red Rum. He starts to write with lipstick the word `` MURDER'' IN reverse on the door. TONY'S VOICE Red Rum. Red Rum. Red Rum. Red Rum. Red Rum. Red Rum. He finishes writing word and looks at word. TONY'S VOICE Red Rum. Red Rum. He turns and walks away to WENDY asleep in bed. TONY'S VOICE Red Rum. Red Rum. Red Rum. WENDY wakes and sits up with a SHRIEK. M.S. DANNY beside WENDY in bed. DANNY Red Rum. Red Rum. Red Rum. WENDY gets out of bed and takes knife away from him. WENDY Danny. Danny, stop it. Danny! DANNY Red Rum. Red Rum. Red Rum. Red Rum. WENDY puts her arms round DANNY and pulls him towards her. She looks over his shoulder. WENDY Eh. She reacts - CAMERA ZOOMS IN on her face. M.S. WENDY's P.O.V.. The word `` MURDER'' written by DANNY on door - reflected in mirror. CAMERA ZOOMS IN on word. SOUND OF AXE STRIKING DOOR OFF. M.C.S. WENDY shrieks and looks cam.L. She puts her hand up to DANNY's head.", "INT. HOTEL - CORRIDOR - M.S. JACK swings axe at front door of his apartment.", "INT. JACK'S APARTMENT - M.S. WENDY holding DANNY in her arms gets up off bed.", "INT. HOTEL - CORRIDOR - M.S. JACK swings axe at front door of apartment.", "INT. JACK'S APARTMENT - M.S. WENDY, with DANNY in her arms, looks about, then moves to door with `` MURDER'' in reverse written on it. She opens door and goes into bathroom, with DANNY, closing door behind her.", "INT. BATHROOM - M.S. WENDY, with DANNY clinging to her, closes the door. Then she bolts and locks it.", "INT. HOTEL CORRIDOR - M.S. JACK swings axe at door and splinters a panel.", "INT. BATHROOM - M.S. WENDY & DANNY move R - L from door to window. She drops knife in basin as she passes it. CAMERA PANS with them. WENDY unbolts window and raises the bottom part.", "EXT. HOTEL - M.S. WENDY tries to force bottom part of window higher up.", "INT. BATHROOM - M.C.S. DANNY clinging to WENDY looks over his shoulder as he hears axe splintering door OFF.", "INT. HOTEL CORRIDOR - M.S. JACK swings axe at splintered panel on door.", "EXT. HOTEL BATHROOM WINDOW - M.S. WENDY looking out of window. L.S. HOTEL. WENDY at bathroom window. She draws back into bathroom.", "INT. HOTEL CORRIDOR - M.S. JACK swings axe at splintered panel on door.", "INT. JACK'S APARTMENT - M.S. JACK pulls piece of wood away from splintered panel, and looks through gap. M.C.S. JACK at gap in panel. JACK Wendy, I'm home. He looks down. CAMERA TILTS DOWN - he removes a piece of wood with hand and then reaches in and unlocks door.", "INT. BATHROOM - M.S. WENDY, back to camera, lifts DANNY up to open window.", "EXT. HOTEL - L.S. WENDY pushes DANNY out through open window onto snow. She lets him go and he slides L - R down snow. He stands up at the bottom, and looks up at WENDY at window. M.S. WENDY struggling to get out of open window.", "INT. JACK'S APARTMENT - M.S. JACK, carrying axe, moves up stairs from open front door. CAMERA TRACKS BACK with him.", "EXT. HOTEL - M.S. WENDY struggling to get out of bathroom window. She goes back into bathroom. M.S. DANNY looking up cam.L at bathroom window.", "INT. JACK'S APARTMENT - BEDROOM - M.S. JACK, carrying axe, walks away across Living Room into Bedroom. CAMERA TRACKS after him. JACK Come out, come out, wherever you are!", "INT. BATHROOM - M.S. WENDY trying to force window up higher. She looks over her shoulder, then puts her head down to open window.", "EXT. HOTEL - M.S. WENDY tries to get out of open window.", "INT. BEDROOM - M.C.S. JACK enters cam.R. He stops at Bathroom door. HE RAPS ON DOOR.", "EXT. HOTEL - M.S. WENDY with head out of open Bathroom window. WENDY Danny, I ca n't get out! L.S. WENDY at Bathroom window cam.L. DANNY at foot of slope of snow looking up cam.L. WENDY Run, run and hide. Run, quick! DANNY runs away L - R.", "INT. BEDROOM - M.C.S. JACK at Bathroom door. JACK Little pigs, little pigs, let me come in!", "INT. BATHROOM - M.S. WENDY by open window. She moves L - R to basin. CAMERA PANS with her. She picks up knife and moves R - L to side of door. CAMERA PANS with her.", "INT. BEDROOM - M.C.S. JACK at Bathroom door. JACK Not by the hair on your chiny, chin, chin. Then I'll huff, and I'll puff M.S. JACK holding axe back to camera at Bathroom door. JACK -LRB- CONT'D. -RRB- and I'll blow your house in. He swings axe back. M.S. JACK swings axe twice at Bathroom door. WENDY SCREAMS OFF.", "INT. BATHROOM - M.S. WENDY standing at side of door. JACK's axe appear through door. WENDY SCREAMS. JACK's axe repeatedly appears and splinters door. WENDY screams. WENDY Jack. Please. Do n't. Do n't. Head of axe appears through splintered door. WENDY SCREAMS. WENDY Do n't! Oh! Please Head of axe appears again through door. WENDY SCREAMS. WENDY Stop! M.C.S. Splintered door panel. WENDY -LRB- OFF. -RRB- Jack! JACK in b.g. swings axe at door and smashes away the splintered wood. WENDY -LRB- OFF. -RRB- Stop it! Stop it!", "INT. BEDROOM - M.S. JACK swings axe at splintered door. WENDY -LRB- OFF. -RRB- Stop it! JACK moves L - R to gap in splintered door. WENDY SCREAMS OFF.", "INT. BATHROOM - M.C.S. JACK's face at gap in splintered door. JACK Here's Johnny! M.C.S. WENDY holding knife SCREAMS. M.C.S. JACK's smiling face at gap in splintered door. He moves backwards and reaches in through gap. M.C.S. JACK's hand in through gap in door to key on inside of door. M.S. WENDY strikes down with knife. M.C.S. JACK's hand on key. WENDY's knife slashes across back of his hand, and withdraws cam.R. JACK's hand moves to gap in door. JACK YELLS OFF. M.C.S. JACK's face at gap in door. HE IS YELLING. He looks down and turns away from door.", "EXT. ROAD - NIGHT - M.S. Shooting from behind HALLORAN sitting back to camera L.f.g. through windscreen as he drives along snow - covered road.", "INT. BATHROOM - M.S. WENDY at side of door. She looks cam.R as she hears HALLORAN's Snowcat approaching OFF.", "INT. BEDROOM - M.C.S. JACK at Bathroom door - he turns round as he hears HALLORAN's Snowcat approaching OFF. He looks down cam.L.", "EXT. HOTEL - NIGHT - L.S. HALLORAN's Snowcat moves R - L along snow - covered road. CAMERA TRACKS with it revealing Overlook Hotel in b.g.", "INT. BEDROOM - M.C.S. JACK looking cam.R. He turns away to splintered door. SOUND OF SNOWCAT OFF.", "INT. BATHROOM - M.C.S. WENDY at side of door listening.", "EXT. HOTEL - L.S. HALLORAN's Snowcat moves R - L along front of Hotel. CAMERA TRACKS with it. Snowcat stops.", "INT. HOTEL CORRIDOR - KITCHEN - M.L.S. DANNY runs forward along corridor. CAMERA TRACKS BACK before him. He runs into kitchen - stops and moves L - R to oven. He kneels down beside it. CAMERA PANS with him. DANNY slides oven door open R - L and crawls into it. M.C.S. DANNY in oven slides door R - L. M.S. Oven door sliding L - R. M.S. JACK holding axe limps R - L through kitchen. CAMERA TRACKS with him.", "INT. BATHROOM - M.S. WENDY sobbing at side of door - then she moves to door and slashes at it with knife.", "EXT. HOTEL - M.L.S. HALLORAN walking R - L. CAMERA TRACKS with him. He moves to door left open by WENDY. He pulls it open wide and exits into Hotel.", "INT. HOTEL - LOBBY - M.S. JACK holding axe moves forward - CAMERA PANS R - L and TRACKS with him. He moves away up stairs. HALLORAN -LRB- OFF. -RRB- Hallo! JACK at top of stairs. HALLORAN -LRB- OFF. -RRB- Anybody here? JACK moves away from stairs CAMERA TRACKS after him. JACK moves R - L and looks down at Lobby. CAMERA TRACKS after him. HALLORAN -LRB- OFF. -RRB- Hallo! Anybody here? M.L.S. HALLORAN moves forward along corridor. CAMERA TRACKS FORWARD. HALLORAN Hallo! HALLORAN moves R - L to entrance to Lobby. HALLORAN Anybody here? HALLORAN moves away into Lobby. CAMERA TRACKS FORWARD after him. HALLORAN Hallo! Hallo! Anybody here? JACK, holding axe, YELLS as he steps from behind pillar cam.R and moves towards HALLORAN. M.S. JACK YELLING as he swings axe at HALLORAN. M.C.S. HALLORAN's chest - axe pierces raincoat and blood oozes out. M.C.S. DANNY, with his mouth wide open. M.S. JACK over HALLORAN. JACK holding onto shaft of axe. M.C.S. HALLORAN, with his mouth wide open. M.C.S. DANNY, with his mouth wide open. M.S. JACK over HALLORAN, holding onto shaft of axe. M.C.S. HALLORAN, with his mouth wide open, sinks down out of shot. M.C.S. DANNY, with his mouth wide open. M.C.S. JACK rises up into shot. M.L.S. JACK holding axe standing beside body of HALLORAN on floor. JACK limps forward. CAMERA TRACKS BACK before him. JACK Danny! Danny boy! He stops at corridor to kitchen. JACK Danny! M.L.S. JACK back to camera in R.f.g. DANNY climbs out of oven in b.g. JACK moves forward. DANNY exits cam.R.f.g. JACK limps away. CAMERA TRACKS IN after him. JACK Danny! Danny!", "INT. HOTEL - STAIRS - M.S. High Angle WENDY runs up stairs L - R. She pauses on landing. WENDY Danny! CAMERA TRACKS BACK before WENDY as she goes up next flight of stairs. She stops at top of stairs and looks along landing. M.L.S. WENDY'S P.O.V. Shooting along landing into open doorway of bedroom. MAN, dressed in Dog's costume, kneeling at foot of bed. He leans back and looks towards her. MAN, in evening dress, leans forward and looks at WENDY. CAMERA ZOOMS IN on them. M.S. WENDY, holding knife, at top of stairs backs away - then turns and runs away along corridor, exiting cam.L at end.", "INT. LOBBY - M.L.S. JACK, holding axe, limps forward and moves L - R through entrance. He walks away to open door. CAMERA TRACKS after him. He stops in doorway.", "EXT. OVERLOOK HOTEL - NIGHT - M.L.S. Shooting from door. HALLORAN's Snowcat in b.g. CAMERA PANS L - R.", "INT. HOTEL - LOBBY - M.S. JACK, holding axe, at open doorway. He comes in and moves L - R to switch panel on wall. He opens cover and presses switches down. He leans towards open doorway and watches lights going on outside.", "EXT. HOTEL - M.S. DANNY crouched behind track of HALLORAN's Snowcat. He peers round corner.", "EXT. HOTEL - M.S. JACK limps to open doorway and stops. JACK Danny!", "EXT. HOTEL - M.S. DANNY by track of HALLORAN's Snowcat. He moves away L - R. M.L.S. JACK limps away from door. JACK Danny! M.S. DANNY runs L - R and exits cam.R. M.S. JACK limping L - R from Hotel. CAMERA TRACKS with him. JACK Danny! M.L.S. DANNY running away L - R across snow. CAMERA PANS with him. He runs into Maze. M.S. JACK limping L - R. CAMERA TRACKS with him. Hotel in b.g.", "EXT. HOTEL - MAZE - M.S. DANNY running away through Maze. CAMERA TRACKS after him. He looks back over his shoulder. M.S. JACK in the Maze. He limps forward. CAMERA TRACKS BACK before him. JACK Danny! I'm coming. I'm coming Dan! He looks down. M.C.S. DANNY's footprints in snow. CAMERA TILTS UP & TRACKS FORWARD along DANNY's footprints. M.C.S. DANNY's feet and legs running away through Maze. CAMERA TRACKS FORWARD.", "INT. HOTEL - M.L.S. WENDY, carrying knife, runs forward into kitchen. She looks towards stairs in b.g. WENDY Danny! WENDY stumbles forward through coffee pots and rings on floor. CAMERA TRACKS BACK before her. WENDY Oh! WENDY turns R - L. CAMERA TRACKS with her. She moves away along corridor. CAMERA TRACKS after her. She stops at corner. CAMERA CONTINUES PAST her revealing HALLORAN lying dead on floor of lobby. M.C.S. WENDY reacts. M.L.S. HALLORAN's body lying on floor. CAMERA ZOOMS IN on it. M.C.S. WENDY looks about. She moves away R - L. CAMERA PANS with her. She SCREAMS and turns to cam.R. CAMERA WHIP PANS L - R onto M.L.S. INJURED GUEST. M.S. WENDY reacting - knife trembles in her hand. M.C.S. INJURED GUEST, with scar running down his head and face. He raises glass he is holding. INJURED GUEST Great party, is n't it? M.S. WENDY SCREAMING turns and runs away.", "EXT. HOTEL - MAZE - M.L.S. DANNY running away through Maze. CAMERA TRACKS after him. JACK -LRB- OFF. -RRB- Danny! Danny! I'm coming! M.S. JACK limps forward in Maze. CAMERA TRACKS BACK before him. JACK You ca n't get away. I'm right behind you.", "INT. HOTEL - CORRIDOR & LOUNGE - M.L.S. WENDY runs forward. WENDY Danny! WENDY runs forward and then moves R - L. CAMERA PANS with her - she stops cam.R.f.g. and SCREAMS. M.C.S. WENDY looking about. M.L.S. SKELETONS sitting in chairs. Bottle of champagne on table in f.g. M.S. SKELETONS sitting at table with bottle and glasses on it. M.L.S. SKELETONS sitting in chairs round tables with bottles on them.", "EXT. HOTEL - MAZE - M.L.S. JACK limps away through Maze. CAMERA TRACKS FORWARD after him. M.S. DANNY steps backwards in his footprints in snow. M.S. JACK limps forward laughing. JACK Danny! M.L.S. DANNY stepping backwards in his footprints in snow. He jumps L - R landing in snow, and crawls L - R - brushing his traces in the snow out with his hands.", "INT. HOTEL - CORRIDOR - M.L.S. WENDY holding knife runs forward. She slows down as she nears f.g.. She moves R - L. CAMERA PANS with her to open door. She stops by doorway and looks along corridor towards lift doors in b.g. M.S. Lift doors. Blood gushes in cam.L and surges forward along floor. M.C.S. WENDY reacts. M.S. Lift doors. Blood gushes in cam.L and cam.R - surging forward in wave towards camera.", "EXT. HOTEL - MAZE - M.S. DANNY sitting leaning against side of Maze. CAMERA TRACKS R - L revealing JACK, holding axe, cam.R.b.g. He limps R - L and moves away along Maze. M.S. DANNY's footprints in the snow - CAMERA TRACKS FORWARD and stops when footprints end. CAMERA TILTS UP to snow without footprints. M.C.S. JACK - he looks about then back and forwards - and finally cam.R. JACK Danny! He looks cam.L. M.C.S. DANNY crouched against side of Maze. JACK -LRB- OFF. -RRB- Danny! M.S. JACK - he looks about then cam.L. JACK Danny! M.L.S. JACK limps L - R and exits cam.R. M.S. DANNY appears from behind mound of snow and moves forward R - L. M.L.S. DANNY's P.O.V. Empty Maze. M.S. DANNY moves away R - L from mound of snow. CAMERA PANS with him. He runs away along Maze. M.S. Footprints in snow in Maze. CAMERA TRACKS FORWARD along footprints. M.L.S. JACK, back to camera, limping away along Maze. CAMERA TRACKS after him. M.S. JACK limps forward along Maze. CAMERA TRACKS BACK before him. M.S. CAMERA TRACKS FORWARD along Maze. M.S. DANNY runs forward along Maze. CAMERA TRACKS BACK. M.L.S. JACK moves to opening cam.R. CAMERA TRACKS FORWARD - he turns and moves R - L to opening cam.L. CAMERA PANS with him. He stops and turns - then moves L - R. CAMERA PANS with him and TRACKS after him as he limps along MAZE.", "EXT. HOTEL - M.L.S. WENDY sobbing and holding knife runs away to HALLORAN's Snowcat in b.g. CAMERA TRACKS FORWARD after her. She stops by Snowcat and looks about.", "EXT. HOTEL - MAZE - M.S. DANNY runs forward in Maze. CAMERA TRACKS BACK. DANNY looks over his shoulder and falls down in snow at entrance.", "EXT. HOTEL - M.S. WENDY standing by HALLORAN's Snowcat. She throws down knife. WENDY Danny! Danny! She runs forward and out cam.R.f.g. M.L.S. DANNY lying on snow at entrance to Maze. He gets up and runs R - L. CAMERA PANS with him. DANNY Mommy. WENDY -LRB- OFF. -RRB- Danny, come here! DANNY Mommy. Mommy! WENDY -LRB- OFF. -RRB- Danny! DANNY runs R - L into WENDY's arms as she kneels on snow. DANNY Mommy! WENDY Oh! WENDY hugs and kisses DANNY. WENDY Oh Danny!", "EXT. HOTEL - MAZE - M.S. JACK holding axe limps forward - CAMERA TRACKS BACK. JACK Danny! Where. JACK GROANS.", "EXT. HOTEL - M.L.S. WENDY holding DANNY moves R - L to HALLORAN's Snowcat. CAMERA PANS with them. WENDY opens door of Snowcat and lifts DANNY up to cab.", "EXT. HOTEL - MAZE - M.L.S. JACK GROANING staggers away along Maze - CAMERA TRACKS after him. JACK Danny! He stumbles and lies in snow. He struggles up to his feet.", "EXT. HOTEL - L.S. Snowcat with lights on moves R - L in front of Hotel, then turns to cam.R. JACK SHOUTS INAUDIBLE OFF.", "EXT. HOTEL - MAZE - M.S. JACK staggers forward. CAMERA TRACKS BACK - INDISTINCT SHOUTS. He GROANS as he moves forward R - L.", "EXT. HOTEL - L.S. Snowcat drives away down road. JACK INAUDIBLE SHOUTS OFF.", "EXT. HOTEL - MAZE - M.S. JACK staggers forward along Maze. CAMERA TRACKS BACK - INDISTINCT MOANS & GROANS. M.L.S. JACK staggers away along Maze. CAMERA TRACKS after him. INDISTINCT MOANS. He slumps down cam.L against side of Maze.", "EXT. HOTEL - MAZE - DAY - M.C.S. JACK sitting up to his chest in snow dead. Snow and icicles on his face.", "INT. HOTEL - GOLD BALLROOM - M.L.S. Entrance to Gold Ballroom - CAMERA TRACKS FORWARD through entrance to photographs on wall. CAMERA TRACKS IN close on photograph of Guests at Ball. M.S. Photograph of Guests at Ball. M.C.S. Photograph of YOUNG MAN in dinner jacket. CAMERA OVERLOOK HOTEL, JULY 4th BALL, 1921. FADE OUT. BLACK FRAMES."], "labels": [0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0, 0.0, 1.0, 0.0, 1.0, 0.0, 1.0, 0.0, 1.0, 0.0, 1.0, 1.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0], "summary": "School-teacher-turned-writer Jack Torrance arrives at the remote Overlook Hotel in the Rocky Mountains to be interviewed for the position of winter caretaker. The hotel, which opened in 1909 and was built on the site of a Native American burial ground, closes during the snowed-in months. Once hired, Jack plans to use the hotel's solitude to write. Manager Stuart Ullman tells Jack about the hotel's history and warns him about its reputation: a previous caretaker, Charles Grady, supposedly developed cabin fever and killed his family and himself. Despite the troubling story, Jack is impressed with the hotel and gets the job. In Boulder, Jack's son, Danny, has a terrifying premonition about the hotel, and Jack's wife, Wendy, tells a doctor about Danny's imaginary friend, Tony. When the family moves into the hotel on closing day, head chef Dick Hallorann surprises Danny by telepathically offering him ice cream. Hallorann explains to Danny that he and his grandmother shared this telepathic ability, which he calls \"shining\". Hallorann tells Danny that the hotel has a \"shine\" to it along with many memories, not all of which are good. He tells Danny to stay away from room 237. A month passes; while Jack's writing goes nowhere, Danny and Wendy explore the hotel's hedge maze and Hallorann goes to Florida. Wendy learns that the phone lines are out due to the heavy snowfall, and Danny has frightening visions. Jack behaves strangely and becomes prone to violent outbursts. Danny's curiosity about room 237 overcomes him when he sees the room's door open. Later, Wendy finds Jack screaming during a nightmare while asleep at his typewriter. After she awakens him, Jack says he dreamed that he killed her and Danny. Danny arrives, visibly traumatized and bruised. Wendy accuses Jack of abusing him, which Jack denies. Jack wanders into the hotel's Gold Room and meets a ghostly bartender named Lloyd, to whom he complains about his marriage. Wendy tells Jack that Danny told her a \"crazy woman\" in room 237 attempted to strangle him. Jack investigates room 237 and encounters a dead woman's ghost, but he tells Wendy that he saw nothing. Wendy and Jack argue over whether Danny should be removed from the hotel, and Jack angrily returns to the Gold Room, which is now filled with ghosts attending a ball. While participating, he meets a ghostly waiter who identifies himself as Delbert Grady. Grady informs Jack that Danny has reached out to Hallorann using his \"talent\", and says that Jack must \"correct\" his wife and child. Hallorann grows concerned about what is going on at the hotel and flies back to Colorado. Danny calls out \"redrum\" and goes into another trance, referring to himself as \"Tony\". While searching for Jack, Wendy discovers that her now-deranged husband has been typing pages filled with the phrase \"All work and no play makes Jack a dull boy\". She begs Jack to leave the hotel with Danny, but he threatens her. Wendy knocks him unconscious with a baseball bat and locks him in the kitchen pantry, but she and Danny are both trapped as Jack has disabled the hotel's two-way radio and snowcat. Jack converses through the pantry door with Grady. Moments later the door is unlocked, freeing Jack. Danny continues chanting and drawing the word \"REDRUM\". When Wendy sees the word reversed in the bedroom mirror, the word is revealed to be \"MURDER\". Jack hacks through the quarters' main door with an axe. Wendy sends Danny through the bathroom window, but it will not open sufficiently for her to pass. Jack breaks through the door, but retreats after Wendy slashes his hand with a knife. Hearing Hallorann arriving in a snowcat, Jack ambushes and murders him in the lobby, then pursues Danny into the hedge maze. Wendy runs through the hotel looking for Danny, encountering ghosts, a cascade of blood Danny envisioned in Boulder, and Hallorann's corpse. Danny lays a false trail to mislead Jack and hides behind a snowdrift. Danny escapes from the maze and reunites with Wendy; they leave in Hallorann's snowcat, while Jack freezes to death after losing Danny's trail. In a photograph in the hotel hallway, Jack is pictured standing amid a crowd of party revelers from 1921.", "name": "The_Shining_(film)"}
{"scenes": ["INT./EXT. NYFD FIREHOUSE - VARIOUS SHOTS - NIGHT One A.M. on a hellish summer night in Spanish Harlem. FIREFIGHTER snores like a chainsaw in the upstairs sleeping quarters.", "INT. LIVING AREA A FAN WHINES as a firefighter channel surfs. TRUCK BAY A rookie firefighter shines chrome on the pumper. BAY'S OPEN DOORWAY A firefighter plays chess with a neighborhood kid. SALSA BLASTS from somewhere. OLD FIREHOUSE spills light onto a street of aging, neglected buildings as people beat the heat in open windows, on stoops and street corners. FIREHOUSE DALMATION laps water from a dripping hydrant.", "INT. FIREHOUSE - KITCHEN - NIGHT NYFD Lt. GORDY PITT strains as he works the handle of an old - time, hand - cranked ice cream maker. It's a tough job requiring strength, patience and determination. In a nutshell, that's Gordy. Firefighter JUNIOR MONTINE, black Panamanian descent, watches Gordy crank away. JUNIOR Hear the big news, Lieutenant? It's the twenty - first century. We got electricity now. Gordy keeps cranking. JUNIOR Got these supermarkets, too. Big places, freezers full o' ice cream. Gordy stops. Pops the lid. Spoons out a dollop. GORDY Open up. He sticks the spoon in Junior's mouth. Junior eats. Junior loves it. Gordy smiles. GORDY Screw the twenty - first century. The FIRE BELL SOUNDS.", "INT. FIREHOUSE - VARIOUS SHOTS Everyone scrambles. The choreography's practiced, automatic. It's achieved without conversation. The channel surfer slides down the fire pole. He's followed by the man who was upstairs snoring. Junior rips a sheet from the teleprinter. He hands the printout to the snorer, the company's `` chauffeur.'' Feet jam into boots. Yellow trousers are hauled up and hitched with suspenders. Yellow jackets are whipped on. The chauffeur TURNS OVER the PUMPER'S huge MOTOR. Firefighters take their stations on the truck. Headsets go on. As the fire company's lieutenant, Gordy rides shotgun. The chauffeur hands him the printout. As the engine moves out under lights and SIREN, Gordy speaks to the men over the headsets - GORDY Second alarm. Multiple dwelling between Third and Lex.", "EXT. SPANISH HARLEM - STREETS - NIGHT The ENGINE SCREAMS and HONKS through the city.", "EXT. SPANISH HARLEM - TENEMENT - NIGHT FLAMES ROAR from the upper stories of this slumlord's shitbox. An engine and ladder company are on - scene attacking the fire with hoses. Neighbors gawk. Gordy's engine company arrives. Gordy hits the ground, moves to a battalion chief. The chief's terse orders are drowned out by the NOISE of the EQUIPMENT, fire and men. Gordy moves back to his company, who have already hooked the engine up to water. GORDY Top story's fully involved. We're supporting inside. Two lines up the stairs. He points to Junior and then to the channel surfer, MIKE SHEA, a veteran firefighter of Irish descent. GORDY Junior and Mike - He points to the chess player, SAL DIBIASE, another FD veteran, Mediterranean descent, and then to the rookie, RONNIE BOOK, a New York melting pot mutt. GORDY - Sal and Ronnie. The chauffeur, ART WESTPHAL, German - Irish, stays with the engine as Gordy grabs a fire axe and leads his two two - man hose teams into.", "INT. TENEMENT Gordy and his men charge the stairs dragging the heavy hoses. Rats head past in the opposite direction, deserting the burning building. THIRD FLOOR They meet fire on the third floor. On goes the water. Gordy quickly checks rooms on the floor for occupants, using the axe to open locked doors, then taps Junior and Mike, indicates `` up.'' Begins leading the hose team up the stairwell. Sees something and yells a warning - GORDY Stairs're screwed. Hug the wall. FOURTH FLOOR They reach the fourth floor. There's fire everywhere. And then. They see a FIREFIGHTER from the other company. He has fallen through a gaping hole in the floor of the hallway above. He's pinned under a large section of heavy debris, coughing and screaming for help as fire rages around him. To Junior and Mike - GORDY Knock it back! They turn the hose on the flames as Gordy moves to the trapped firefighter. Gordy tries lifting the debris, ca n't budge it. He starts chopping at it with the axe. Chunks of plaster fly as the axe bites again and again. Gordy hacks off a large piece of debris. He levers his axe under the portion still trapping the firefighter. Mike moves to help. Gordy heaves up on the axe. The debris lifts. He heaves harder. It lifts more, until. Mike slides the firefighter out. Gordy yanks his axe free. The debris collapses. Gordy moves to the firefighter. FIREFIGHTER #1 Two floors up. I heard screaming. Could n't get there. GORDY Where? FIREFIGHTER #1 End of the hall. GORDY takes off. Charges the next flight of stairs. Reaches the fifth floor. Tries to reach six, but there's too much fire. He's beaten back. but not before he hears the FAINT sound of SCREAMING. NEW ANGLE Gordy looks down the fifth floor hallway to an apartment door at the end. Between him and the door is the gaping hole in the floor. It's too big to jump. He starts running. He's gon na jump it. Gordy reaches the edge of the hole. Leaps with all he's got. At the same time, he swings the axe, point - first. Slams it into a spot high on the wall, and. Gordy swings over the hole on the axe handle. He hits the other side running. Drives a shoulder into the door at the end of the hall.", "INT. TENEMENT APARTMENT Gordy bursts in. It's an inferno. He looks up. Knocks his axe on the ceiling. Hears desperate POUNDING back. Gordy climbs a table. Starts whacking upward with the axe, attacking the peeling, crumbled plaster overhead. Gordy is trying to hack a hole into the room above, but he's not doing it fast enough. He wo n't beat the fire.", "INT. TENEMENT - HALLWAY Gordy calls down to his men. GORDY Give me the hose! MIKE This place is gone! It could flashover any second! GORDY Give me the goddamn hose! Beat. Mike and Junior pass the hose up.", "INT. TENEMENT APARTMENT Gordy aims the nozzle at the hole he started in the ceiling. Turns it on full jet. Gordy's barely able to hold the hose as the high - pressure stream bites into old, decayed plaster. Bit by bit the ceiling falls away. Gordy's almost through to the room above, when. Falling debris severs the hose. Gordy's lost pressure. He has n't broken through. The building's coming down. He's got ta get outta there. Gordy's not going anywhere. Picks up the axe. Attacks the hole again furiously, until finally. GORDY breaks through! A small hole, which he quickly widens, to reveal. a terrified Latino family gaping down at him, their room ablaze around them. Gordy reaches up. Speaks to them in Spanglish - GORDY It's okay. Esta bien, esta bien. Come with me. Con mio.", "INT. TENEMENT HALLWAY Gordy lowers the family through the floor hole.", "EXT. TENEMENT Gordy carries the family's small child outside. He passes the child to its grateful parents, while. The rescued Firefighter sits on a curb looking at a hero and shaking his head in disbelief and admiration.", "INT. UPPER WEST SIDE APARTMENT - BEDROOM - MORNING ANNE PITT, thirties, reaches out and KILLS the ALARM. She rolls over. The other half of the bed's empty. We hear a CHILD'S VOICE from another room.", "INT. MATT'S BEDROOM Anne opens the door to find an exhausted Gordy sitting on the floor with their four - year - old son, MATT. They're building a K'nex spaceship. MATT Look what we made! ANNE Nice rocket. That took a while. GORDY He was awake when I got home. His throat still hurts. ANNE Shit. MATT That's a bad word. GORDY You're right. ANNE Sorry. She feels Matt's forehead. Gordy's done it already. GORDY No fever. ANNE -LRB- to Matt. -RRB- You better see Dr. Bob. -LRB- to Gordy. -RRB- And this time, no opening fire hydrants to play in till he's completely well. GORDY Yes, ma'am. She leans down and kisses him. There's passion in it. ANNE How was your shift? GORDY -LRB- shrugs. -RRB- The usual. She yawns. Starts heading out. ANNE Dreamed I did a triple axel in an ice skating championship. GORDY -LRB- beat ; calls after her. -RRB- Come back and let me see those legs again.", "INT. BATHROOM - DAY Gordy holds Matt in his arms as water pours over them. It's the second child he's held in the last few hours. This one is his, this one is safe at home and unafraid : what a father wants for his child. We see the deep affection Gordy has for his son. He holds Matt tightly, skin to skin, and kisses the boy's wet head. Anne opens the shower door. She's on the phone. ANNE Dr. Bob can squeeze him in at twelve. I have a patient relations meeting at twelve - fifteen. Can you take him? GORDY I have a game. But yeah, if we do the handoff at the doctor's. ANNE -LRB- into phone. -RRB- Yes, he'll be there. Thanks. -LRB- hangs up ; to Gordy. -RRB- Five - of in front of Dr. Bob's. Do n't be late. -LRB- to Matt. -RRB- Let's get you out, sweetie. Your father just ca n't keep you dry. She leads Matt out. Closes the shower door. Gordy sticks his face into the water. Looks back, finds. Two bare butts, Anne's and Matt's, are pressed against the shower door's foggy glass. OFF Gordy, laughing -", "EXT. SPANISH HARLEM - BASKETBALL COURT - DAY It appears the entire neighborhood's crammed against the chain - link fence around the court, yelling and cheering as a team of local kids from the NYFD Athletic League plays a team of local kids from the NYPD Athletic League. Gordy's an NYFD coach, exhorts his team at the top of his lungs. The rivalry's intense. The game close. The noise deafening. Bets are going down. NYFD goes up by one in the final minute. Gordy disses a cop coaching the opposing team. LUIS is one of Gordy's kids. A small but talented fifteen - year - old. Luis steals the ball. Drives for an unguarded lay - up to put the team up by three. And misses. An opponent recovers the ball. The flow shifts toward the other end, but Luis is slow adjusting, devastated at missing the easy `` two.'' Gordy yells at him to defend. GORDY Luis, get back! Pick up your man! Luis shakes it off. Hustles back on `` D'' as his man gets the ball. The opponent's a step ahead. Goes up. And Luis gets there to reject him. The crowd loves it. The BUZZER SOUNDS. NYFD wins. SAME SCENE - GORDY AND LUIS - MOMENTS LATER In the game's immediate aftermath. NYFD celebrating around them. Gordy's proud of Luis. GORDY We lose, win, whatever. But one thing we never do. We never, ever give up. Right? OFF Gordy, smiling at Luis. SAME SCENE - LATER The crowds are gone. Gordy checks his watch and starts off, when a SOUND draws his attention. GORDY'S POV Luis walks along the inside of the chain - link fence around the court. A neighborhood gangbanger and his crew match Luis step for step outside the fence, rattling the fence, clearly trying to intimidate him. BACK TO SCENE Gordy stalks walking toward them. Calls - GORDY Luis. Seeing Gordy approach, the gangbanger and crew drift off. Reaching Luis - GORDY What was that about? LUIS Told'em I would n't play with'em anymore. But Gordy sees Luis is scared. And he sees the gangbanger and crew hovering nearby waiting for Gordy to go.", "EXT. SPANISH HARLEM - BODEGA - DAY THROUGH the window, we see Gordy delivering Luis to a Latin man, clearly Luis's father and the bodega's owner. We do n't hear the words, but we can tell Gordy's complimenting the boy to his dad. Gordy emerges. Checks his watch. Whistles up a taxi.", "INT. TAXI - DAY Traffic jam on Park Avenue South. Gordy's anxious. Checks his watch. He's late. To the cabbie - GORDY Try Fifth.", "EXT. 68TH AND MADISON - DAY Anne waits on the corner with Matt, playing with his spaceship. She checks her watch. It's five of twelve.", "INT. TAXI - DAY Fifth Avenue's also a parking lot. GORDY Shit. He jams money in the pay dish. GORDY I'm getting outta here.", "EXT. FIFTH AVENUE Gordy exits the cab and takes off running. ANNE checks her watch again. She's pissed now. In b.g., a cop leaves his police cart to write a ticket. A caravan of Lincoln Navigators passes Anne and turns east on 68th. GORDY turns onto 68th. As he runs, he jumps, trying to see Anne and Matt over other pedestrians. ANNE In b.g., the Navigators pull up at a building flying the Colombian flag. Latin and American men in suits get out of the Navigators.", "EXT. 68TH - BETWEEN FIFTH AND MADISON Gordy dodges pedestrians. Still trying to get a glimpse of Anne and Matt. The cop we saw writing tickets earlier is walking the other way. Gordy nearly collides with him. At the last moment, the traffic cop shuffles Gordy aside. GORDY Sorry. Gordy reaches the corner. Sees Anne and Matt. Whistles. In b.g., behind Gordy, we see the cop get into a brown Ford. ANNE AND MATT hear the WHISTLE. Matt sees Gordy. MATT There he is. Matt waves. GORDY waves back, shrugs an apology to Anne as he starts across the street, when. INTENSE FLASH suddenly lights up the intersection. In SLOW MOTION : SHOCK WAVE wave rolls up 68th past Madison. HUGE BALL OF FLAME erupts behind Anne and Matt. We hear the ENORMOUS BANG of the explosion. WINDOWS are sucked into millions of fragments, a hailstorm of glass. GREAT CHUNK OF METAL - an engine block - flies from the ball of flame. ANNE instinctively pulls her child to her. GORDY sees the engine block tumbling through the air toward his wife and son. His scream is lost in the thunderous ROAR all around. GORDY'S POV - IN SLOW MOTION The engine block is about to hit Anne and Matt, when. A FedEx TRUCK, WINDOWS SHATTERED, SKIDS past, wiping out Gordy's line of sight. When the truck clears. Anne and Matt are gone. The corner's empty. Just Matt's spaceship, slowly falling to the ground. BACK TO SCENE There's a horrible SCREECH. A TAXI SKIDS sideways to avoid the FedEx truck and hits Gordy. He's in the air, tumbling, then smacks to the ground. Gordy looks up, through the smoke and falling debris. Then struggles to his hands and knees. GORDY Anne! He tries to stand, then falls down, screaming in pain, a large shard of glass embedded in his leg. People come to help him, but Gordy only cares about finding Anne and Matt. He looks around desperately but ca n't see them, when. His eyes go to the spaceship, in pieces on the pavement. Gordy screams out his agony - GORDY Noooooo!", "EXT. COLOMBIAN CONSULATE The blast detonated here. Some men from the Navigators are dead. MIKE BRANDT is not. Rises from the devastation, gun in hand, as SIRENS wail in the distance.", "EXT. 68TH AND MADISON - LATER Emergency personnel - EMS, NYPD, NYFD - swarm the area. Two white plastic sheets cover two bodies. Across the street, PARAMEDICS work on Gordy's leg. PARAMEDIC #1 We're gon na give you a shot. Gordy's oblivious to the pain. Shoves him away. GORDY I need to see them! PARAMEDIC #1 We got ta help you right now. PARAMEDIC #2 We've done all we can for'em, Gordy. ANOTHER ANGLE FBI agent JOE PHIPPS ducks under the police tape. REGGIE DRAY, a young agent, meets him. As they walk - DRAY Device functioned in front of the Colombian Consulate just as a motorcade full of brass arrived. PHIPPS Who were the brass, and why were they here? DRAY No one's talking yet, but it smells high - level. There were Colombians and Americans in the cars. Three of'em ate it. Guy on the phone - He indicates Brandt, talking on a cell phone. DRAY - is one of the survivors. Name's Brandt. C.I.A. That gets Phipps' interest momentarily. Then, as they continue toward the consulate, he notices security cameras on the building. PHIPPS Check the surveillance cameras? DRAY We're pulling up the video now. PHIPPS -LRB- stops ; looks around. -RRB- Where's N.Y.P.D. on this? DRAY They know it's ours. They're helping with shoe - leather. Phipps' eyes go to the white sheets up the street. DRAY We got two dead bystanders, a mother and four - year - old son. The father's over there with a leg wound. -LRB- indicates Gordy. -RRB- Guy's a lieutenant with the New York F.D. PHIPPS Anybody talk to him yet? DRAY We've been giving him room. BACK TO GORDY In b.g., Mike, the veteran firefighter in Gordy's engine company, looks under the sheets with a cop. Junior puts a gentle hand on Gordy's shoulder. JUNIOR Gordy. Gordy looks up him, meets his eyes. JUNIOR Me and Mike are here. GORDY I was late. They should n't have been there. JUNIOR It's not your fault. GORDY I need to see them. Mike has walked up, lays a comforting hand on Gordy. MIKE No. You do n't need to see'em that way, Gordo. Junior spots a news camera crew focusing on Gordy's grief, calls at a cop. JUNIOR Get those goddamn people outta here! Phipps, approaching with Dray, addresses the same cop. PHIPPS Put that tape out fifty more feet. The cop begins moving the camera crew back. Phipps continues to Gordy. A Paramedic looks up at Mike. PARAMEDIC #1 He needs to go to the hospital. We ca n't take that glass out. MIKE If he's not bleeding to death, leave him. He's not moving till they do. Phipps has heard and understands. To Dray, re : bodies - PHIPPS Chalk'em and move'em. Dray goes. Phipps turns to Gordy and the two firefighters standing with him. Addresses Mike - PHIPPS We got ta get on this quick. I need to talk to him. Beat. Mike nods. To Gordy - PHIPPS Mr. Pitt, if you can you tell me. What'd you see? GORDY -LRB- looks up ; beat. -RRB- What'd I see? I saw my family die. Mike puts a restraining hand on Gordy. MIKE This guy did n't do the bombing, Gordo. He's just trying to get the people who did. Beat. Gordy eases up. Then, after a moment, defeated - GORDY I did n't see anything except the explosion. Beat. Phipps sees that's all he's gon na get. PHIPPS I know this is hard. I'm sorry I had to bother you. Phipps goes. Gordy looks over as the bodies of Anne and Matt are placed on gurneys and rolled away. Chalk outlines are all that remain of his family. Beat. MIKE We're gon na roll you to the hospital now and get that glass out. ANGLE - PHIPPS Walking back to the consulate. He approaches Brandt. PHIPPS Joe Phipps. F.B.I. Counter - terrorism task force. BRANDT Mike Brandt. PHIPPS What got this place blown up? BRANDT We'll have this discussion somewhere else more secure, after I get your clearance. PHIPPS Whatever it takes. But I got a bomber in the wind. I need everything you can give me, and I need it now.", "INT. HOSPITAL EMERGENCY ROOM - NIGHT Gordy's on a gurney on an I.V., his thigh heavily bandaged. Junior and the rookie, Ronnie, are with him, but there's no chatter - Gordy's shut down, oblivious to everyone around him. ANOTHER ANGLE Mike is on a cell phone nearby as Sal, the other veteran from the engine company, enters and approaches him. Into the phone - MIKE Hang on. Mike turns his attention to Sal, who's clearly blown away by the bad news that brought him here - SAL Dammit. MIKE Tell me about it. SAL How's he holding up? MIKE He's shut down. We were hoping they'd keep him here, and he would n't have to go home right away, but they're cutting him loose. SAL Want me to stay at home with him? MIKE Rookie's taking the first shift. I'm just getting the schedule at the firehouse rearranged now. Mike goes back to the phone, and Sal crosses to Gordy. He puts a hand on Gordy's shoulder, grips it firmly. SAL Hey. Got here as fast as I could. Gordy sees him, but says nothing. SAL I know it sucks. It really sucks. Gordy ca n't go there. Beat. Sal releases his grip. SAL How's the leg? RONNIE Cut's deep, but no major vessels were severed. He's got a load' o silk holding it all together. Junior, who stepped off to talk to a cop, now comes back. JUNIOR Just came over the police radio. Consulate surveillance cameras caught the bomber in the act. He was disguised as a cop. Gordy looks over. What Junior just said has triggered something. GORDY I saw him. I saw a cop. Gordy yanks out his I.V., and starts to get up. SAL Christ. Gordy. But Gordy's already on his feet, already moving. GORDY I got ta help'em get the bastard.", "INT. UNDERGROUND GARAGE - FBI INCIDENT CENTER - NIGHT A well - lit, sectioned - off area of the garage secured by a chain - link fence. Phipps enters. As he passes Dray, already there - PHIPPS How long before we have a secure computer network? DRAY An hour. They're building it now. Phipps moves to a FORENSIC EXPERT hovering over a table of small fragments. PHIPPS What do you got? FORENSIC EXPERT #1 Pieces of a pager oxidized with trace elements of Semtex. Probably the triggering device. They dial it up, probably from a cell phone, and boom. He picks up a microchip. FORENSIC EXPERT #1 This is the memory chip. I can build it into a working pager and maybe get a number readout. PHIPPS Do it. Phipps moves to the next work area, where another FORENSIC EXPERT studies video from a consulate surveillance camera. ON SCREEN in super slow - mo, we see a cop - the one who later bumped into Gordy - in front of the consulate. His hat is pulled down over his eyes, almost concealing his tinted glasses. As the cop faces more toward the camera, the expert freeze - frames. To Phipps - FORENSIC EXPERT # 2 FORENSIC EXPERT #2 That's as much face as we get. He was careful to duck the camera. PHIPPS Run a total analysis. I want to know if this asshole's right or left - handed. I want everything you can get outta this film. Phipps keeps moving, enters an eerie recreation of the blast site. Streets, buildings, etc. are marked out on the garage floor. Pieces of the Navigators rest in front of the area marked `` consulate ;'' parts of an NYPD traffic scooter rest in front of the Navigators ; `` X's'' mark where Anne and Matt were standing. Phipps crosses to another AGENT. PHIPPS Any helpful information coming outta Colombia? AGENT Not yet. Sat - Intel has n't picked up any related data - traffic, either. Dray walks up. DRAY Gordon Pitt's here. He says he saw a cop at the scene. SAME SCENE - LATER Gordy, accompanied by Mike and Ronnie, sits in front of a video monitor. Phipps and Dray look on. ON SCREEN a police cart pulls up outside the consulate. PHIPPS The cart was stolen from the Central Park Precinct yesterday. The cop gets out of the scooter. GORDY That's him. That's the son of a bitch I bumped into. The cop tickets a vehicle, then walks west out of frame. PHIPPS The bomb's in the cart. PHIPPS reverses the video, freeze - frames on the cop. PHIPPS We think the bomb was triggered by a cell phone. The guy does n't have one in his hands here. Did you see a cell phone when you ran into him? GORDY No. PHIPPS How much time passed between then and the explosion? GORDY Seconds. Five, ten. PHIPPS We think maybe he got into the brown Ford. You see him then? GORDY All I cared about was getting to my wife and boy. DRAY -LRB- to Phipps. -RRB- Guy still had enough time to get out a phone and dial it in. PHIPPS -LRB- beat, then, by way of ending it. -RRB- We might need to call you in again to look at some photos. Beat. Gordy looks back at the grainy image of the cop. GORDY I touched him.", "EXT. CEMETERY - DAY A bagpiper plays `` Amazing Grace.'' REVEAL Gordy holding Matt's small coffin as Anne's is lowered into the ground. Gordy's men are around him, along with many other NYFD personnel, family and friends. A second bagpiper farther away in the cemetery, picks up the song, begins playing it in a round with the first. Matt's coffin is taken from Gordy. As it is lowered. A third bagpiper, farther away still, begins playing the song with the other two. One by one the first and second bagpipers finish their rounds, until there is just the third - a haunting, mournful wail off into the distance. And then. There's only silence.", "INT. GORDY'S APARTMENT - MATT'S BEDROOM - NIGHT Gordy stands at an open closet door. He leans in, buries his face in Matt's clothes and smells them. Smells his son.", "INT. LIVING ROOM - NIGHT The TV is ON LOW, tuned to the NEWS. Gordy is alone, slumped in a chair. NEWS ANCHOR NEWS ANCHOR -LRB- V.O. -RRB- The bombing that left a mother and son dead and New York City numb took on a new dimension today when a notorious Latin American terrorist took credit for the attack. GORDY has roused from his despondency, TURNS UP the VOLUME as the report -LRB- containing visuals -RRB- continues - NEWS ANCHOR NEWS ANCHOR -LRB- V.O. -RRB- In an e - mail to the New York Times, a Marxist extremist known only as ` The Wolf,' states that the bombing was, quote, ` not an act of terror but an act of war, aimed at stopping your C.I.A. murderers and their fascist puppets from committing further acts of repression against the people of Colombia,' unquote. Two Colombian officials and an American military officer died in last Thursday's blast. Also killed were Anne Pitt, wife of a New York City firefighter, and their only child, four - year - old Matt. The President has vowed that the United States will avenge what he called ` this monstrous act of barbarism and cowardice'. Intelligence sources say the identity and whereabouts of The Wolf remain a mystery. They believe he has worked closely with radical elements in Latin America for more than twenty years and have linked him to numerous terrorist bombings, including the 1983 downing of a Peruvian airliner, which killed forty - two people, eleven of them Americans. The head of the Latin America Indigenous People's Committee, a group known to be sympathetic to the radicals in Colombia, talked to News Six in Queens. GORDY watches as Ephraim Ortiz - Dominguez a Latin man in his forties, comes on the screen. ORTIZ - DOMINGUEZ ORTIZ-DOMINGUEZ -LRB- V.O. -RRB- I can not speak for The Wolf or his actions. I would only repeat that the leftist guerrillas in Colombia are not terrorists but freedom fighters in a war being waged against them by the U.S. and Colombian governments. Governments who wish only to protect a system that lines the pockets of corrupt politicians and multi - national profiteers. -LRB- jump cut. -RRB- The deaths of the woman and little boy are regrettable, but your government inflicts them all the time. Yugoslavia, Iraq. You call it ` collateral damage'.", "INT. VACANT SECOND-FLOOR OFFICE (QUEENS) - NIGHT An FBI SURVEILLANCE TEAM has taken over the office. Three agents work video and audio recording devices. A camera points out the window to a line of storefronts across the street. The lights are on in one building with a sign reading `` IPC'' -LRB- Indigenous People's Committee -RRB-. The FBI agents listen to live audio from the IPC office. ORTIZ-DOMINGUEZ -LRB- V.O. -RRB- Rosetta, I said mustard on the side. You'll have to go back. FBI SURVEILLANCE AGENT Know what cracks me up about commies? They're all ` equality this, equality that,' and they're all chauvinists. Listen to that fucking guy. What they hear, however, is ROSETTA SCREAM as a DOOR CRASHES open. ORTIZ-DOMINGUEZ -LRB- V.O. -RRB- What do you want? GLASS SHATTERS. THINGS are BROKEN. VIDEO MONITORS The video monitors show Gordy wrecking the IPC office with a baseball bat.", "INT. IPC OFFICE - NIGHT Gordy smashes office equipment left and right. ORTIZ - DOMINGUEZ and ROSETTA cower as Gordy vents his pent - up, end - of - the - world rage using the bat the way we saw him use a fire axe. Gordy approaches Ortiz - Dominguez with the bat. Backs him up against a desk. ORTIZ-DOMINGUEZ Please. The FBI agents crash in. FBI SURVEILLANCE AGENT Mr. Pitt! Gordy just stares down at Ortiz - Dominguez. FBI SURVEILLANCE AGENT This is n't the way to do things. Gordy still does n't move. FBI SURVEILLANCE AGENT These guys're only mouthpieces. Beat. Then Gordy swings the bat. Hard. And. Destroys the computer monitor next to Ortiz - Dominguez. Gordy tosses the bat aside. To the shaking Latin - GORDY How's that for collateral damage?", "INT. FBI (NEW YORK) - PHIPPS' OFFICE - NIGHT Gordy sits across from Phipps. Dray is present. PHIPPS Mr. Ortiz - Dominguez has agreed not to press charges if you make full restitution. GORDY I've already paid. With my family. Beat. Phipps sees it's pointless to insist. To Dray - PHIPPS Take care of it. Dray heads out, passing Mike Brandt, who enters. PHIPPS Gordy, this is Mike Brandt. BRANDT Mr. Pitt. Gordy just looks at him. BRANDT I'm very sorry for your loss. I lost people, too. PHIPPS Mike was in the motorcade that day. He's the chief U.S. intelligence officer overseeing Colombia. BRANDT Do n't worry, Mr. Pitt, we're gon na get the son - of - a - bitch. GORDY You know where he is? BRANDT We believe The Wolf's in hiding in an area of Colombia controlled by the E.L.C., extreme Marxist guerrillas. He thinks he's in a safe haven. Brandt lets `` thinks'' sink in. PHIPPS I know it's hard for you right now, Mr. Pitt. We're all sorry. But why do n't you go home. We're taking care of things. Beat. Brandt proffers a business card. BRANDT Here's my card. Call me any time. Gordy takes it. Just sits there a long moment, then - GORDY What kind of twisted people do things like this? Beat. Brandt and Phipps do n't have an answer.", "INT. NEW YORK TIMES - BULLPEN - DAY Gordy talks to a Latin reporter, ERNIE OROSCO. OROSCO You interested in the big picture or all the unpleasant details? GORDY My family died because of what's going on down there. I want to know all I can. Orosco searches for a starting point. Then - OROSCO Well, basically, the situation in Colombia sucks. As Orosco continues. MONTAGE - DAY/NIGHT Over the course of a week : 1. Gordy takes pictures, etc., off a wall in his home. He pins up photos of Anne and Matt at the top of the wall. Beneath them he pins up a large map of Colombia. OROSCO -LRB- V.O. -RRB- The government's been fighting different Marxists factions for over thirty - five years. For most of that time, it was winning. NEW YORK PUBLIC LIBRARY 2. At the New York Public Library, Gordy uses microfilm files and computer access to the web to search out information on Colombia and The Wolf. OROSCO -LRB- V.O. -RRB- Suddenly the guerrillas began chopping'em up. High - tech weapons and equipment, well - trained troops, aggressive hit - and - run tactics, all financed by extortion, kidnapping and collecting taxes from dope growers. It's big money, and they put it to use. GORDY 3. Gordy pins up various Colombia - related articles and pictures on the wall, including the surveillance camera still of The Wolf from the front page of The New York Post. OROSCO -LRB- V.O. -RRB- The government got scared. In 1998, to jump start peace talks, it gave a coalition of guerrilla groups temporary control over much of southern Colombia. The first communist stronghold on an American continent. GORDY 4. Gordy draws a line around the guerrilla zone. OROSCO -LRB- V.O. -RRB- But there've been few talks and no peace. And the Colombian military ca n't get near the guerrilla zone, especially around the town of Caguan, where the E.L.C. kicks ass and takes no prisoners. GORDY 5. Gordy circles and labels the ELC - controlled area. OROSCO -LRB- V.O. -RRB- And that's where we come in. Supposedly, to help eliminate narcos operating in the guerrilla zone. But some well - informed people think that's just an excuse to hit the guerrillas themselves, since they're wrapped around the drug trade. We're there, we're involved. If we stay, the only real question is which Vietnam War we're gon na have. The one some feel we could've won or the one we lost. GORDY 6. Gordy watches a documentary about Colombia which shows rebels, army troops, death squads, firefights, and with atrocities and bodies on both sides. OROSCO -LRB- V.O. -RRB- Bottom line? The place is as dangerous as a snakepit. You've got the different guerrilla groups, C.I.A., F.B.I., D.E.A., Colombian military, U.S. military, right - wing death squads - and the only thing they've all managed to do is destroy a beautiful country and inflict suffering on the real people. Hey, I'm Colombian, and I'll never go back. OFF Gordy's packed wall. SAME SCENE - ANOTHER DAY As Gordy closes the front door, REVEAL Mike, the firefighter, who's just come in and now stands staring at the wall, clearly whelmed by the level of compulsion this must have required. MIKE Have n't heard from you in a couple days. GORDY Been busy. MIKE Yeah. I can see that. Gordy's obsessed, totally consumed by his project. He points at a picture of heavily - armed guerrillas. GORDY E.L.C. attack platoon. These assholes kill innocent people all the time in Colombia. Gordy indicates a newspaper article. GORDY Thirteen dead in a bus. -LRB- indicates another. -RRB- A market. Twenty - seven dead. -LRB- another. -RRB- A whole family. Anne and Matt did n't mean shit to them. -LRB- indicates The Wolf. -RRB- Or him. Mike interrupts, trying to divert him to something else. MIKE Hey, we never turned down free beer, and rookie's buying, you believe that? He certified today, he's off probation. GORDY -LRB- still looking at wall. -RRB- Ronnie could n't find a fire with both hands. MIKE -LRB- smiles. -RRB- Yeah. Let's go tell him that. Gordy does n't react. Beat. More serious now - MIKE C'mon, Gordo. Gordy hears the tone. Looks over and meets Mike's eyes, seeing the genuine concern there. MIKE We are n't gon na let'em drink all the beer, are we? OFF Gordy.", "INT. BAR - DAY TV ON in b.g. Gordy's with Mike, Sal, Junior and Ronnie. They've emptied a few pitchers. MIKE Low on beer, Ronnie. RONNIE Yeah. I'll get more. He gets up and heads for the bar. To Gordy - MIKE I'll tell you what'll be great : when you get back to work with us. JUNIOR Yeah, how long is it? SAL Week, two weeks? GORDY Shrinks say ten more days. SAL Like I said. MIKE Fucking doorknob they put in temporary command. GORDY Morgan, the guy from 23, right? JUNIOR What a jerkoff. SAL Even makes you look good, Gordo. Ronnie yells over from the bar - RONNIE Hey, Gordy - The guys look over as the bartender TURNS UP the VOLUME on the TV. ON SCREEN we see the President's National Security Advisor step up to a podium to give a statement. NATIONAL SECURITY ADVISOR -LRB- V.O. -RRB- Today, at 0700 hours Eastern Daylight Time, a joint United States/Colombian strike force launched a full - scale assault at a base camp of the Army of Colombian Liberation, or E.L.C., in Southern Colombia. The purpose of the mission was to punish the people behind the brutal bombing in New York City ten days ago. We are presently evaluating after - action reports from Special Operations Group, but feel confident that we have accomplished our mission. Cheers throughout the bar. Mike quiets them. NATIONAL SECURITY ADVISOR -LRB- V.O. -RRB- At this time, we believe the man responsible for carrying out the New York bombing, the terrorist known as The Wolf, is among the enemy dead. NEW ANGLE Big cheers now. Toasts all around. Everyone in the place is happy for Gordy, who sits there a moment trying to absorb the news, then buries his face in his hands.", "INT. FIREHOUSE - TRUCK BAY - NIGHT The Dalmatian whizzes on the hydrant outside. Sal plays chess in the open door with the neighbor kid. Ronnie polishes chrome on the truck. Gordy holds up the broken remains of his ice cream maker as Junior looks on. GORDY I'm gone three weeks and this place falls apart. JUNIOR The temp lieutenant put it out back, and Art hit it with his truck. RONNIE -LRB- calls to Gordy. -RRB- We're having problems with the portable pump again, too. GORDY Who backed over that? My tools still here? SAL Upstairs in your locker. GORDY Figured you guys would've sold my stuff at a yard sale by now.", "INT. SLEEPING QUARTERS - NIGHT Art's sleeping. Gordy opens his locker. There are old pictures of Anne and Matt still taped inside. He glances at them quickly, then pulls out his tools.", "INT. LIVING AREA - NIGHT Mike's channel - surfing again. Gordy goes by the door, carrying his tools and looks in. GORDY You ever stay on one channel long enough to hear what they're saying? Whereupon Mike lands on CNN. CNN ANCHOR -LRB- V.O. -RRB- - a surprise today - And then we're on another channel. GORDY Go back! Go back! MIKE What? But Gordy has charged in and grabs the remote from Mike, switches channels back to CNN. ON SCREEN we see a CNN anchor with an over - the - shoulder graphic showing the still of the cop from the consulate surveillance camera with `` The Wolf'' superimposed. CNN ANCHOR -LRB- V.O. -RRB- videotape from the terrorist who calls himself The Wolf. On screen, we now see a homemade video of a masked figure wearing a camo floppy hat and a hunter's mesh face mask with a strange - smiling face painted on it in camo earth tones. The Wolf's body is hidden shadow, the voice digitally altered to a deep bass growl. THE WOLF -LRB- V.O. -RRB- You thought you killed me. You did n't. I'm still here. We see Gordy's demeanor shift, retreating to the obsessive, seething hatred he showed before. THE WOLF -LRB- V.O. -RRB- I swear that for every freedom fighter you killed, ten Americans will die. And I will pick the time and the place. And I will enjoy it. The Wolf slaps his palm for emphasis. THE WOLF -LRB- V.O. -RRB- Venceremos. The tape ends. Mike shakes his head. MIKE This guy, Quaddafi, that Bin Laden. We never get these assholes. OFF Gordy, his spark of life suddenly extinguished.", "EXT. ROW OF TOWNHOUSES (WASHINGTON, D.C.) - DAY The four connected townhouses sit behind gates on a tree - lined street in Georgetown. A sign reads : Latin American Institute.", "INT. LATIN AMERICAN INSTITUTE - BRANDT'S OFFICE - DAY Brandt's on the phone. He's pissed. BRANDT Senator, the failure of one operation should n't cause your committee to question financing everything else we're doing down there. DONALD UPDEGRAF, Brandt's number two, enters. BRANDT I know it looks bad, and I appreciate your support. Together we'll get it done. Yeah. ` bye. -LRB- hangs up ; to Updegraf. -RRB- Without his father's money, that asshole'd be keeping bees for a living. What? UPDEGRAF Gordy Pitt's on the phone. BRANDT No. UPDEGRAF He's called every day. BRANDT I do n't need it. Beat. Updegraf picks up the phone. UPDEGRAF Mr. Pitt, Mr. Brandt'll have to get back to you.", "INT. GORDY'S APARTMENT - LIVING ROOM - DAY Gordy's mood is dark. It's not improved by hearing the bullshit in Updegraf's reply. GORDY Tell him not to bother. He slams down the phone. Rips up Brandt's business card. He's alone with his frustration, with his rekindled hatred and rage. OFF Gordy, glaring at the photo of The Wolf on his wall.", "INT. AEROPUERTO EL DORADO (BOGOTA) - IMMIGRATION AND CUSTOMS AREA - DAY Armed police lead Rottweilers through the newly - arrived passengers. FIND Gordy in line. He wears jeans, polo shirt, Timberlands, carries a backpack. Gordy advances to an IMMIGRATION OFFICER, hands over his documents. The agent studies Gordy's passport. IMMIGRATION OFFICER Business or pleasure, senor? GORDY Pleasure. The agent looks up at Gordy. Looks back at the passport. Beat. IMMIGRATION OFFICER One moment, senor. The agent gets the attention of an IMMIGRATION SUPERIOR, and the two of them confer out of earshot a moment. The Superior looks over at Gordy. Then approaches. IMMIGRATION SUPERIOR If you would come with me, please.", "INT. IMMIGRATION AND CUSTOMS - OFFICE - DAY GORDY Is there a problem? The customs Superior closes the door. Beat. IMMIGRATION SUPERIOR We know who you are, Mr. Pitt. GORDY Says so right there in my passport. IMMIGRATION SUPERIOR We're aware your wife and child were killed in the bombing in New York. -LRB- off Gordy's look. -RRB- We have C.N.N. here, too. -LRB- then. -RRB- It's better for you to visit another country. For your own sake. GORDY You giving me a choice? IMMIGRATION SUPERIOR Yes. But not about staying in Colombia. He opens the door, addresses two armed policemen in Spanish. Turning back to Gordy - IMMIGRATION SUPERIOR These men will escort you onto whatever flight you wish. He holds out Gordy's passport. Beat. Gordy takes it, starts out. As he goes - IMMIGRATION SUPERIOR It's The Wolf you're after, yes? Gordy stops, turns back. He says nothing, but the look on his face speaks volumes. IMMIGRATION SUPERIOR Then I've just done you a bigger favor than you know. Gordy does n't respond. Just turns and goes.", "INT. IMMIGRATION AND CUSTOMS AREA - OUTSIDE OFFICE  DAY Gordy's flanked by the armed policemen, one with a Rottweiler. As they walk, a PA announcement in Spanish is repeated in English. PA ANNOUNCEMENT -LRB- V.O. -RRB- Avianco flight 42 to Panama City is now open for boarding. Avianca flight 42 to Panama City is now open for boarding. OFF Gordy, having heard the announcement -", "EXT. PAN AMERICAN HIGHWAY (PANAMA) - DAY The highway terminates here, far short of Colombia. The idea is to inhibit the northbound migration of people and drugs. From this point south lies the Darien Gap, a thick rain forest traversed only by rough trail. A cab with a Panama City logo pulls up at road's end. Gordy gets out with the Panamanian CAB DRIVER. The Cab Driver indicates a Panamanian man waiting there with a.9 mm on his hip. CAB DRIVER My cousin, Ever. Ever and Gordy exchange nods. GORDY How far's Colombia? The Cab Driver indicates distant mountains. CAB DRIVER Beyond those mountains. The trail is very dangerous, but do not worry, Ever will get you there. You can pay him then. You can pay me now. Gordy pulls out his wallet, pays the Cabbie. CAB DRIVER Gracias, senor. The Driver gets back inside the cab. Out the window - CAB DRIVER Que la vaya bien. He drives off. Gordy looks to Ever. Ever smiles, motions him to follow, then turns south and starts walking. As Gordy falls in behind.", "EXT. DARIEN GAP - VARIOUS SHOTS - DAY Gordy and Ever pass through pristine tropical rain forest. NEAR STREAM rushing fiercely through the jungle, Ever uses his machete to cut two lengths of bamboo. He hands one to Gordy and indicates how they'll ford the stream. Gordy nods, then follows Ever's lead into the perilous, belly - deep water. They struggle to maintain their balance, even with the sticks. When they reach the opposite bank, Ever signs okay to Gordy and smiles. HELICOPTER CARCASS They pass the carcass of a crashed and burned - out helicopter, when. Two dangerous - looking men armed with assault rifles step out of nowhere onto the path ahead of Gordy and Ever. Gordy and Ever stop. Gordy glances at Ever. Ever's focused on the men and clearly does n't like what he sees. Gordy looks back. The armed men advance toward them carefully, rifles in the ready position. Gordy watches them approach, wondering who they are and what they're going to do. Ever, frightened, takes a half - step back, then swings the length of bamboo fast and hard, and. He smashes it into the base of Gordy's head, knocking Gordy out. The men run up. One man covers Gordy, while Ever and the other man rifle his pack and toss his pockets. They take his passport, wallet, and an NYFD T - shirt. And then they're gone. CLOSE ON HUMMINGBIRD Hovering over Gordy as he comes to. As it flies off. GORDY sits up. Feels the bloody lump on his head. It hurts, but it's not serious. He searches his pockets and backpack, realizes the passport and wallet are missing. Gordy stands. Looks around. He's alone. He's in the jungle. He keeps heading south.", "EXT. DARIEN GAP - VARIOUS SHOTS - DAY Gordy trudges on. The thick jungle's hot and humid, full of STRANGE SOUNDS and shadowy animal movements. Gordy's going uphill, when he rounds a bend in the trail, and. He meets a man coming the other way. Alarm gives way to the realization that the man is followed by a number of people, including women and children. As they pass Gordy, it's apparent they're refugees from their haunted expressions and crude backpacks heavy with possessions. Gordy addresses the passing people. Indicates where he's standing. GORDY Aqui? Colombia? No one replies. Then a small COLOMBIAN GIRL comes up and gets his attention. She runs back up the trail a short distance and stops. She draws a line in the dirt. COLOMBIAN GIRL Panama. She jumps backward over the line. COLOMBIAN GIRL Colombia. She does it again. COLOMBIAN GIRL Panama. Colombia. She smiles. At the sound of a sharp WHISTLE, however, she runs back quickly, passing Gordy and rejoining her family. Her father hands her a machete and a Zippo lighter, says something to her. Whereupon the little girl returns to Gordy and holds the items out to him. Beat. Gordy takes them. GORDY Gracias. The little girl runs back again, and Gordy watches the refugees disappear around the bend. Then turns back uphill and approaches the line the little girl drew in the dirt. Looks down at it. Crossing over means he walks into a world dangerous enough to cause these people to flee for their lives, and. Just as Gordy charged into the fire - engulfed tenement past a tide of more sensible rats going the other way, he now steps over the line and advances into Colombia.", "EXT. PARQUE NACIONAL LOS KATIOS (COLOMBIA) - DAY/NIGHT Where the rain forest of Darien continues in Colombia. Darkness sets in as Gordy follows the trail downhill. At night, the JUNGLE'S EVEN NOISIER. When. EVERYTHING GOES QUIET. Gordy slows. And suddenly, AUTOMATIC WEAPONS begin to POP somewhere. Not close, but not far, either. A FEW BURSTS, some SINGLE SHOTS - the call and response of an ambush - and then SILENCE. And then the nighttime JUNGLE NOISES return. As Gordy walks on.", "EXT. PARQUE NACIONAL LOS KATIOS - MORNING The sun is already cooking the jungle as Gordy reaches a break in the trees, sees a small town ahead. NEARBY - MOMENTS LATER Gordy has left the trail. He lowers his pants just enough to expose his injured thigh. A bandage covers the wound made by the glass shard. Gordy unwraps the bandage, revealing. A wad of cash is hidden inside, along with a photo of Anne and Matt. A long, livid scar marks the wound. Gordy studies the photo of Anne and Matt a moment, then removes some cash from the wad and re - wraps the money and photo inside the bandage. BACK ON TRAIL Gordy heads into the town.", "EXT./INT. CHIVA - NIGHT One of the colorful, wretchedly overcrowded buses that ply Colombia's back - country roads. As the chiva jolts and shudders over the dirt road, Gordy sleeps. He's an object of some curiosity - not only a gringo, but a virtual Gulliver in comparison to the small - statured Colombians pressed in around him.", "EXT. FINCA (COLOMBIA) - DAY A sprawling farm/estate deep in the countryside. Beyond the hacienda, we see a military compound containing tents and three heavily camouflaged helicopter shelters. A recently arrived Light Observation Helicopter -LRB- LOH -RRB- sits on a chopper pad with its rotors still turning.", "INT. HACIENDA - DAY Full of manned hi - tech command - and - control and surveillance equipment. A Colombian military operations officer, ROCHA, waits with an aide. Brandt arrives with Updegraf. BRANDT Find your fucking leak? ROCHA Not yet. And it could be your fucking leak. BRANDT All due respect, Noel, it's not likely. And we do n't need the whole world looking into what we're doing down here. We find the son - of - a - bitch again, we're bypassing protocols. Updegraf has had papers handed to him and interrupts - UPDEGRAF Check this out. He hands a paper to Brandt. Brandt reads it. BRANDT Jesus Christ. UPDEGRAF -LRB- to Rocha. -RRB- The man whose wife and son died in New York. One of your units found his passport and credit cards on some gunrunners near Panama. Gunrunners say they left him alive. BRANDT What, he thinks he can get The Wolf himself? ROCHA We have too much time and too many people invested to have a loose cannon walking around. BRANDT -LRB- beat ; hands papers to Rocha. -RRB- Throw out the net. Have him picked up. Just make sure no one kills him. EXPLOSION Boom! An ENORMOUS EXPLOSION. And.", "EXT./INT. CHIVA - NIGHT Gordy bolts awake from the nightmare with a scream. He looks around at the startled faces in the crowded bus, unsure where he is for a moment before he gets his bearings. The dream lingers, depressing him. ANGLE - AHEAD OF CHIVA An oncoming bus flashes its headlights. As the buses pass, the ONCOMING DRIVER yells to Gordy's chiva driver. ONCOMING DRIVER Inspecion militar. Chequeo de papeles. SECOND CHIVA keeps going. Gordy's chiva slows to a crawl, and the Driver calls back. GORDY'S CHIVA DRIVER Inspecion militar. Chequeo de papeles. Various passengers gather their things and begin to disembark in a hurry. To anyone who'll answer - GORDY Habla Ingles? Que pasa? A MAN IN A YANKEES CAP is among the people getting off. He answers in accented English. MAN IN YANKEES CAP There is a military checkpoint up the road. They inspect everyone's papers. BUS starts to pick up speed again. Gordy gets off just in time. To the Man in the Yankees Cap - GORDY Where are all of you going? MAN IN YANKEES CAP We walk around. The man heads into the forest. Beat. Gordy follows.", "EXT. FOREST - NIGHT To the Man in the Yankees Cap as they walk - GORDY None of these people have papers? MAN IN YANKEES CAP Some have the wrong papers. Some have none. The man puts a finger to his lips, hushing Gordy. They've come abreast of the checkpoint, which can be seen in the distance through the trees. Colombian soldiers have the chiva blocked as they perform their inspection. The chiva's DIESEL GROWLS loudly. When suddenly. FIGURES We see figures moving in the forest between the group and the checkpoint. And then. The forest erupts in a deafening fusillade of AUTOMATIC WEAPONS FIRE being directed at the soldiers at the checkpoint. In the same instant, an RPG takes out a Colombian Army humvee in a bright, fiery EXPLOSION. MAN IN YANKEES CAP Alsuelo! MAN The man pulls Gordy down as the group hits the dirt. The GUNFIRE continues. On the ground, to Gordy - MAN IN YANKEES CAP Guerrilleros. The attack rages furiously for twenty seconds, then wanes to sporadic GUNFIRE. Other WEAPONS are FIRING now, too - clearly the Army is finally mounting a defense. And then. FOREST We hear the sound of PEOPLE CRASHING through the forest. They're running toward Gordy and the group. The CRASHING GETS CLOSER. And now Gordy begins to hear the BREATHLESS PANTING of the guerrillas in retreat. BOOTS THUD past Gordy's head. When suddenly. One of the running guerrillas trips over Gordy and goes sprawling. The guerrilla, wearing the motley uniform of an irregular soldier, whips a look back, and. Gordy finds himself staring into the battle - hardened eyes of a fierce young woman. In a heartbeat. The woman jumps back to her feet, and joins her comrades laying down a suppressing FIRE at the soldiers. Spent cartridges rain down around Gordy, as the AK - 47 ON FULL AUTO chops loudly over his head. And then. NEW ANGLE The guerrillas are gone. The Man in the Yankees hat hauls Gordy up, yells - MAN IN YANKEES CAP Vaya! The group is in the greatest danger now - caught between the fleeing guerrillas and the soldiers, who are giving chase and will shoot anyone or thing in front of them. Everyone in the group scrambles to his or her feet and begins to run. And. Soldiers do notice them and begin to FIRE. FOLIAGE BULLETS SHRED the foliage around Gordy, whipping past his head. He and others keep running. A man goes down when a BULLET BITES into his leg. Gordy slows, but the Man in Yankees Cap wo n't let him stop to help. Slams him hard on his back. Keeps pushing Gordy forward. A few moments later, we hear M - 16's on FULL AUTO back where they left the man. MAN IN YANKEES CAP His trouble is over.", "EXT. SMALL RIVER The powerful TORRENT ROARS through the forest. Gordy and the others reach the near bank, where the path drops into the water to reappear on the opposite bank. The Man in the Yankees Cap is in the lead. He plunges into the fast water up to his waist. Gordy and the rest splash in behind, struggling to cross against the swift current. The Man in the Yankees Cap reaches the far bank. Takes two steps, and. EXPLOSION BOOM! An EXPLOSION rips into him. GORDY AND OTHERS stop mid - stream, but one of the group, a young woman, believing the blast was caused by the pursuing military, continues struggling to cross. An OLDER MAN looks, sees the blast - hole. OLDER MAN Mina. Gordy realizes the old man's saying `` land mine.'' To the young woman - GORDY No! Gordy moves to catch her. Just manages to stop her as she reaches the far bank. Gordy points to where the land mine detonated. GORDY Mina. Mina. Beat. Slowly, the terrified young woman responds to the strong, calm tone of command in Gordy's voice and the unpanicked, reassuring look on his face. Gordy brings her back to the group, which fights to stand in the rushing river. He indicates for them to hold hands for stability. Motions for them to stay. GORDY Alto. GORDY leaves the group in the middle of the river. The GUNFIRE is now FAR - OFF AND SPORADIC. He crosses to the water's edge on the far bank. Pulls the Zippo from his pack and leans over. Uses the flame to illuminate the mud and rock immediately in front of him. Scratches lightly at the ground with the machete, searching for mines. Finds nothing in that spot. And steps onto it. Searching the ground and scratching at it with the machete before each step, Gordy inches toward the Man in the Yankees Cap. Three steps from the river. He finds a small, round anti - personnel mine the size of a hockey puck. He inches past it. Moves past another. And another. To the writhing Man in the Yankees Cap - GORDY Do n't move. Do n't move. NEW ANGLE Finally, Gordy reaches him. One of the man's legs is missing below the knee. He's bleeding from various other wounds as well. Gordy uses the Zippo to inspect the area for more mines. Then kneels in a footprint. GORDY You'll be okay. You'll be okay. He takes a bandanna from the man and ties a tourniquet around his thigh. By way of distracting him - GORDY Guerrilla bastards. MAN IN YANKEES CAP No. Military. To stop guerrillas. Beat. Gordy finishes the tourniquet, when he sees. YOUNG MAN has left the group and emerged from the river in a different place to avoid the mines. Gordy's eyes go to something glistening in front of the young man - a taut nylon line ten inches off the ground. The kid's about to hit it. Gordy shouts - GORDY No! Alto! The young man hears the alarm in Gordy's voice and stops. But not before he plants his next step, and. The trip wire bows against his shin, and. Gordy ducks, covers the Man in the Yankees Cap, and. Nothing happens. The young man just stands there, frozen in position, his leg still bowing the line. Using the Zippo again to light his way, Gordy advances to the young man. He follows the trip wire to where a Coca - Cola can hangs from a nearby tree. On closer inspection, Gordy can see the can is sleeved around a grenade. There's no pin in the grenade. The can keeps the grenade's arming spoon in place. The trip wire's designed to yank the can off, allowing the grenade to explode at chest level. And the can's almost off. Gordy burns through the monofilament trip wire. Then carefully slides the Coke can back over the grenade. MAN IN YANKEES CAP - MOMENTS LATER When Gordy returns, the man's dead. OFF Gordy, looking down at the NY logo on the cap.", "EXT./INT. ANOTHER CHIVA - DAY Gordy sees a sign for a town as the chiva rumbles along. He pulls out his map. INSERT - MAP Gordy finds the town, which lies along a river. He traces a road from the town. The road runs south through the town of Mompos, and eventually reaches Caguan, the ELC capital. BACK TO SCENE A COLOMBIAN WOMAN is looking over Gordy's shoulder. COLOMBIAN WOMAN No autobusses para este lugar. Solamente el barco en el rio. She leans over, traces the river, which also runs to Caguan. COLOMBIAN WOMAN El rio.", "EXT. FERRY DOCK - DAY The FERRY'S WHISTLE TOOTS. Lines are cast off. Two plainclothes federales have been watching the ferry load and now relax their vigil. One man holds a Xerox of Gordy's passport photo. The other bites into an empanada, which breaks open and spills its contents down the front of his shirt. His partner finds it funny. He does n't. And while their attention's occupied. Gordy hurries by, oblivious to the federales' presence, and just manages to hop onto the ferry as it pulls away.", "EXT. FERRY - DAY The ferry's the only means of travel south, and it's packed. Gordy picks his way through. The only other gringo on the boat is a geek in a plaid shirt and gim me hat that says `` Deerborn.'' The geek, PHILIP ARMSTRONG, looks like a talker, and Gordy tries to avoid eye contact. He's too late. ARMSTRONG Hey, yo, dude, here's a seat, man! GORDY No, that's okay - But Armstrong's already throwing a bag off the bench. ARMSTRONG I was hoping for someone I could communicate with. He sees Gordy has n't moved. ARMSTRONG Only room's at the back near the bano, and I'd advise against it, unless you like poop. Beat. Gordy sits. Immediately - ARMSTRONG Philip Armstrong. Assiniboia, Sasketchewan, Canada. -LRB- indicates his hat. -RRB- Deerborn Heavy Equipment. GORDY Gordy Pitt. ARMSTRONG Hey, howya doing? I love Germany. GORDY Austria. American now. ARMSTRONG I love America. Never been to Austria. Where from in America would that be? GORDY New York City. ARMSTRONG I do n't like New York City. Buildings're too big. What kinda work you in? GORDY -LRB- hesitates, then. -RRB- Coffee. I buy beans. ARMSTRONG Ca n't drink caffeine. Makes my stomach do the rumba. I like that commercial guy with the sombrero and the mule, though. Headed upstream, eh? Where to? GORDY Caguan. ARMSTRONG You've never been to Caguan, eh? GORDY How do you know? ARMSTRONG'Cause no one in their right mind would ever go back. Caguan's in the guerrilla zone run by the E.L.C. E.L.C. as in ` Extra Loathsome Communists.' They do n't care, and they kill. I'm going there myself. But I have a ` get outta jail free' card. Armstrong doffs his cap, undoes a safety pin securing a card inside the crown. Shows it to Gordy. Sotto - ARMSTRONG E.L.C. travel pass. I can go anywhere I want. -LRB- by way of explanation. -RRB- Everyone needs equipment fixed. Armstrong carefully returns the card to the hat. And now his voice takes on a noticeably more measured tone - ARMSTRONG If you do n't have one of these, you do n't want to be up there, Gordy. Beat. Gordy's contemplating the warning, when his eyes go to a small, sleepy boy standing nearby on the cramped deck, leaning against his father. Gordy reaches over and taps the boy. The boy looks over. Shrinks away at the sight of the large gringo. The father notices and looks at Gordy, who stands, indicates his seat. GORDY Por favor. The father's also apprehensive, does n't move. GORDY Con mucho gusto. Finally, the father accepts, sits down with the sleepy boy on his lap. Nods his thanks at Gordy, who then gazes down at the son. A kid about Matt's age. Armstrong recognizes the look of a caring dad. ARMSTRONG Got kids, eh? OFF Armstrong, as Gordy walks away.", "EXT. JUNGLE - DAY Two Colombian armed man wearing guerrilla uniforms bearing a distinctive ELC patch are walking a trail, when the man in front notices something odd. He stops. Leads the other man back a few steps. Looks into the foliage along the trail. Something does n't seem right. He extends his AK - 47. Prods a hump of greenery with the rifle butt, and in a flash. The greenery suddenly transforms into two men wearing face - paint and full - body military camouflage gear and pointing twin cocked - and - locked CAR - 15 assault rifles at the heads of the startled guerrillas.", "EXT. CIA HACIENDA - DAY Brandt stubs a butt as a Colombian SOG group does killer training nearby. Updegraf opens the door. To Brandt - UPDEGRAF One of Rocha's infiltration teams just radioed in. We got our big break.", "EXT. FERRY - DAY Gordy stands along the rail looking out at the lush, beautiful countryside sliding past. Armstrong joins him. ARMSTRONG That little kid and I had a nice, long snooze. We're almost to Mompos. -LRB- gazing out. -RRB- Beautiful country. GORDY It better be. A lotta people're dying for it. ARMSTRONG -LRB- looks overboard. -RRB- Y' know, I have n't noticed one darn body floating downstream this whole trip, have you? Gordy does n't respond. Beat. GORDY I was thinking. Maybe we could travel together into Caguan. You could show me around. ARMSTRONG -LRB- shakes his head. -RRB- Pass is only good for one person, if that's your idea, which I think it is. Besides, I ca n't risk traveling around up there in the company of a big gringo with a dumb - ass cover story about coffee beans. Gordy looks over. Armstrong smiles back. Beat. GORDY I've got money. I'll buy the pass from you. ARMSTRONG I've worked too hard for it. And you do n't have that kind of money on you. GORDY I'll be getting some life insurance money - ARMSTRONG -LRB- shaking his head. -RRB- It's all cash and carry down here, Gordy. The FERRY WHISTLE TOOTS. ARMSTRONG Mompos. You want to have some fun, we'll hook up later. I always schedule a stopover. To sample the local wares and such. -LRB- winks. -RRB- Life can be what you make it here on the frontier. GORDY No, thanks. ARMSTRONG Got ta get off the boat anyway. Mompos is the last stop. From here into the guerrilla zone you can only travel by panga. If you change your mind, I'll be at the Tropicale later. It's a gringo bar. Just follow the cockroaches. NEW ANGLE They see the beginnings of Mompos. Two 4x4 trucks are parked on the riverbank. Lean, clean - cut men in jeans, tight shirts, cowboy boots and sunglasses lean on the truck and watch the ferry pass. ARMSTRONG Sicarios. Death squads. Avoid those dudes at all costs. SAME SCENE - FEW MOMENTS LATER The ferry pulls up to the dock. The dock street is a culture clash of shanty bars and Amazon Indian traders, of big - wheel SUVs and mule carts. There's a definite air of menace. ARMSTRONG Federales are looking for someone. Gordy follows Armstrong's look to two plain - clothes federales, one fat and one thin, standing near the dock watching the boat pull up. When Gordy glances back, Armstrong is gone.", "EXT. MOMPOS FERRY DOCK - DAY Gordy disembarks amid the throng of passengers, when the FAT FEDERALE confronts him. FAT FEDERALE Senor Pitt? Gordy looks up in surprise at him and the thin federale backing him up. FAT FEDERALE You'll have to come with us. GORDY Why? FAT FEDERALE Come with us, please. He clamps a hand on Gordy's arm. Gordy shakes it off and starts running. Almost immediately, he's tackled to the ground by the thin federale. Two more federales join in. Gordy's not gon na go down easy, though. Even as only one against four, Gordy's a formidable challenge. He's strong, and he's committed all the way. He's not getting kicked out of this country again. It's not a clean or artful fight. There's no karate. It's four men trying to tackle a bull, and. The bull gets away.", "EXT./INT. MOMPOS - VARIOUS SHOTS - DAY Gordy sprints down streets with the federales in pursuit. GORDY jukes into a local bar. ANOTHER ANGLE Gordy pounds out the back of the bar into a littered courtyard, where he's surrounded by ten - foot walls. FEDERALES blast through the bar. GORDY runs, jumps, launches off a beer keg, and. TOP OF WALL He reaches the top of the wall and pulls himself up. He's looking out across a block - long run of corrugated tin roofs. Takes off across the roofs, each step thundering, as. FEDERALES burst into the courtyard. Two men hastily build a stack of boxes, etc., against the wall. GORDY runs as fast as he can across the rooftops, when. A section of roof gives way beneath his feet, just as. NEW ANGLE One of the federales finally mounts the wall, looks across the rooftops. and Gordy's gone. GORDY lands inside a warehouse room amid sacks of rice, beans and coffee. The building is dark and dusty. He lies still and listens. FOOTSTEPS approach across the tin roof overhead. Gordy burrows into the bags of rice, pulls them over him. FEDERALE on the roof peers down through the hole. Scans the warehouse room below with a mini - Mag - Lite. GORDY sees the flashlight beam move past. He holds his breath. Beat. Then the FOOTSTEPS pass on, RECEDE down the roof. And Gordy can breathe again.", "EXT. MOMPOS STREET - NIGHT Gordy makes his way along the main drag of the frontier town. A noisy, neon - lit strip of bars and brothels. Everyone's packing a gun. A new Dodge City, where death squad sicarios cruise past in 4x4's BLARING SALSA.", "INT. TROPICALE - NIGHT In here, the MUSIC'S LOUD ROCK'N' ROLL. Gringo music for a gringo bar. The place is busy, with plenty of local `` hostesses'' for the men. Even Armstrong, standing half - crocked at the bar, is flanked by two scantily - clad women. He's got a spoon hanging off his nose. So does one of the girls. Armstrong's trying to hang a spoon on the other. Gordy slips into the bar. Spots Armstrong through the crowd. Sees Armstrong's not wearing his cap, when. The girl with the spoon on her nose turns slightly, revealing she's wearing the cap. It's on backwards, but now Gordy can see the `` Deerborn'' logo clearly. Gordy wants the guerrilla travel pass inside the cap. It's a desperate move, but he's got no choice. Starts toward the girl, when. Gordy sees the thin federale enter the front door. The thin federale sees him at the same time. Begins moving in on him. Gordy moves faster toward the girl. And. The girl unwittingly does him a favor by taking off the cap and setting it on the bar, where it's easier to grab, and then turns her attention to Armstrong's antics. The thin detective fights through the crowd after Gordy. Gordy's almost to the hat. Armstrong's still having trouble with the second girl's spoon. ARMSTRONG I never met a nose I could n't hang a spoon on. Gordy reaches the bar, snags the cap. Glances back, sees the thin federale closing in, turns to run out the back, when. A strong hand stops him. The hand belongs to the Fat Federale. And now the thin federale's there, too, wielding a stun gun where Gordy can see it. People in the bar fall silent. Everyone but Armstrong, who's finally hung the spoon on the second girl's nose. ARMSTRONG Yahtzee! And now Armstong also realizes something's up. Turns and sees Gordy. Sees the cap in Gordy's hand as the Fat Federale addresses Gordy - FAT FEDERALE Come along, Mr. Pitt. Whereupon Armstrong shouts drunkenly at Gordy - ARMSTRONG Police catch you trying to steal my hat, you asshole?! He staggers toward Gordy. Grabs the hat. ARMSTRONG Fucking hat thief! Armstrong takes a drunken swing at Gordy, but. Instead of hitting Gordy, Armstrong accidentally - on - purpose clocks the fat detective. Then hisses into Gordy's ear, clearly not that drunk - ARMSTRONG Get outta here - But then Armstrong's legs wo n't work as the thin federale jams the stun gun against his neck, and 10,000 volts surprise the Armstrong neural network. Gordy moves against the thin federale in anger, when. The Fat Federale ZAPS him with another STUN GUN, just behind the ear. And Gordy gets to know the floor, too.", "EXT. MOMPOS JAIL - NIGHT The building's ancient, constructed of wood and adobe.", "INT. MOMPOS JAIL - CELL - NIGHT The jail might be old, but the cells are secure enough. They're also unsanitary and thoroughly unpleasant. Gordy and Armstrong are led in by the federales. The Fat Federale has Armstrong's hat. He looks it over, wondering why Gordy wanted it. Then decides he could give a fuck and tosses it to Armstrong. Clangs the cell door shut and locks it. Leaves shaking his head. FAT FEDERALE Gringos. Armstrong's still unsteady on his feet and sits down on the metal bunk. ARMSTRONG That stun gun was n't cool. Armstrong looks down at himself. ARMSTRONG Have n't peed my pants in a real long time. GORDY -LRB- beat. -RRB- You should n't have helped me. ARMSTRONG Yeah, well, I guess all these assholes down here are just starting on my nerves. Gordy's silent. It's over. He's come up short. He's going home. ARMSTRONG So what the hell did you do to land us in here? And do n't jerk me around, eh? Beat. Gordy sits. GORDY The Wolf killed my wife and son in New York. ARMSTRONG Oh, you're that guy, eh? I'm sorry, man. And what, you came down here to even things out? Gordy just looks at him. ARMSTRONG Did you even have a plan? GORDY Yeah. Go to Caguan, find The Wolf and kill him. Armstrong just shakes his head. Beat. DOOR TO CELL AREA BANGS open. Federales lead in two men - the two guerrillas surprised earlier by the heavy - camouflaged infiltrators. The federales are armed with batons and stun guns, taking no chances. It's clear the rebels were n't brought here without a struggle, either - both are cut and bruised. The tougher - looking of the two has taken a real beating. This beaten man is jammed face - first against the bars of Gordy's cell. He makes eye contact with Gordy while the other rebel is unbound and put into a cell. Then the beaten man is shoved into the cell. A solid, brick wall separates them from Gordy and Armstrong. Armstrong's seen the patches on their uniforms. To Gordy, sotto - ARMSTRONG E.L.C. Beat. Armstrong sees the look on Gordy's face. By way of a warning - ARMSTRONG If you ca n't kill them, do n't even talk to them. The GUERRILLAS are MURMURING in the other cell. One of them LAUGHS. OFF Gordy, listening to the LAUGHING.", "INT. GORDY AND ARMSTRONG'S CELL - NIGHT Two or three A.M. Armstrong's dozing. Gordy's still listening to the MURMURING of the REBELS on the other side of the wall, when. There's a flurry of activity outside the cell area. The door opens. Soldiers enter with some federales. Gordy watches the soldiers move past his cell. Rocha is with them. And then. Brandt appears at the bars, looks in at Gordy. BRANDT Enjoy your trip? Gordy stands, approaches. BRANDT We asked you to leave it to us. GORDY And you guys still have n't got him. BRANDT It's not over yet. The guys next door are in The Wolf's elite bodyguard unit. Where he goes, they go. We're gon na ask questions. And we're gon na get answers. And you're staying right here till our bomber's dead. Brandt goes. Moments later, a TORTURED SCREAM is heard on the other side of the brick wall, waking Armstrong with a start.", "EXT. MOMPOS - VARIOUS SHOTS - NIGHT In a field near Mompos, a canopied truck backs into position. Men in guerrilla uniforms with ELC patches get out and pull back the canopy, revealing mortar tubes pointing skyward on a bed of sand. ELC GUERRILLA unit armed with AK - 47s and Light Anti - Tank Weapons -LRB- LAWs -RRB- infiltrates the town. ANOTHER TWO - MAN ELC GUERRILLA TEAM sets up a single mortar position overlooking the town. One of the men checks his watch. Beat. He signals. The other man drops a MORTAR down the tube. WHUMP. TWO MORTARS go in the tubes on the truck. WHUMP, WHUMP. ANOTHER ANGLE BOOM! BOOM! BOOM! A water tower, the Mompos fire station and the town's power supply are direct hits. WHUMP, WHUMP, WHUMP.", "INT. JAIL - CELLS People react to the sounds of the MORTAR ATTACK on the town. The lights go out. Brandt, Rocha and their men quickly lock the guerrillas in their cell and head out.", "EXT. JAIL As MORTARS CONTINUE to fall on the rest of the town, the unit of guerrilla infiltrators open up on the front of the jail with LAW ROCKETS.", "EXT./INT. JAIL KA - BOOM! The front door and wall of the jail disintegrate under the multiple LAW attack. NEW ANGLE Brandt, Rocha and the soldiers, approaching the front door inside, are hammered by the massive concussion of the BLAST and flung across the room, apparently dead. ANOTHER ANGLE The powerful, concussive shock - wave channels into the cell area. Gordy's slightly protected by a wall. Armstrong, standing at the bars, is thrown into the opposite wall and knocked unconscious. GUERRILLAS charge inside with AKs BLAZING. Surviving soldiers and federales SHOOT back. The blasts have caused fires in the building. Severed wires spark, creating more fire. Flames begin to spread through the tinder - dry structure. The guerrillas take out the soldiers and federales, with few casualties to themselves. They make their way toward the cell area. EXPLODING AMMO and stored FUEL CANS accelerate the fire. NEW ANGLE The guerrillas reach the cells. Two men see Gordy and draw down on him. The others move to the next cell. Guerrillas plant small explosive charges on the hinges of the cell containing their two captured comrades. Beat. The HINGES BLOW. The beaten man and the rebel with him are freed, and the guerrillas quickly retreat the way they came. Gordy sees flames spreading into the cell area. GUERRILLAS exit the fiery jail past Brandt. We see Brandt's not dead.", "EXT. MOMPOS STREET - OUTSIDE JAIL A truck pulls up. The guerrillas get in. The TRUCK SCREECHES OUT as. 4X4 full of sicarios SKIDS onto the street, far ahead of the truck. The sicario driving punches it, and. TWO TRUCKS ROAR toward each other. A game of chicken. With GUNS. Men in both vehicles OPEN UP - the sicarios with magnums and Uzis, the guerrillas with AKs. SLUGS RIP through automotive steel. Casualties are taken. When. SICARIO driving the 4x4 receives a round in the forehead, cranks over the steering wheel, and. SPEEDING 4X4 does a Paris - to - Dakar road rally flip, twisting and somersaulting, and. NEW ANGLE The 4x4 catapults completely over the guerrillas' truck, disintegrating into spare parts and dead occupants, as. GUERRILLAS ROAR off.", "EXT./INT. JAIL A severely - dazed Brandt, bleeding from the nose and ears, slowly gets to his knees, crawls out of the burning building and collapses outside.", "INT. GORDY AND ARMSTRONG'S CELL There's fire and smoke everywhere. Gordy picks up the metal bunk and slams it against a wall. Slams it again. Breaks the metal apart. Then levers a long side rail in the cell door. He heaves. Heaves again. The fire's licking at him, but Gordy's undeterred. He heaves again, and. This time, the door gives. Gordy picks up Armstrong's cap, then picks up Armstrong, who's starting to come around. Puts Armstrong over his shoulders in a fireman's carry. GORDY Do n't breathe. ARMSTRONG -LRB- weakly. -RRB- You're not running through the fire, eh? GORDY Close your mouth. Because running through the fire is just what Gordy's gon na do. As he disappears into the flames.", "EXT. JAIL - NIGHT The town's in complete chaos. There are fires everywhere. Still stunned and bleeding, Brandt looks from where he lies on the ground as. Gordy bursts out of the inferno carrying Armstrong. They're singed and smoking, but they're alive. Gordy drops Armstrong, pats himself and Armstrong down, knocking out the burning embers on their clothes and hair, when. Gordy's eyes meet Brandt's. The two men hold the look for a moment. If Brandt could speak, he'd be yelling at Gordy to stop, not to go on. And Gordy knows it. But Gordy's not stopping. Picks up Armstrong again and moves off toward the waterfront.", "EXT. MOMPOS WATERFRONT - NIGHT There's less chaos here. The fires are in the distance. Gordy arrives carrying Armstrong. Sets him down. GORDY I'll find a boat to take us upriver. He starts to go. Armstrong stops him. ARMSTRONG No. I told you. The pass is only good for one person. And you're too dangerous to travel with. Beat. Gordy reaches over and takes Armstrong's cap. He looks inside. There's no pass. ARMSTRONG It has n't been there since we landed. Gordy's at a loss. He tosses the cap back. Just looks at Armstrong. Beat. Armstrong sighs. ARMSTRONG Aw, hell. I was through with this place anyway. He takes off a boot. Shakes out some money and the pass. He hands the pass to Gordy. ARMSTRONG I'll call ahead and tell Felix I'm not coming, and you're my replacement. He'll meet you in Caguan and take you to the plantation. What do you know about diesel engines? GORDY All the fire trucks are diesels. ARMSTRONG You'll have to be Austrian, eh? They hate Americans. Name's got ta change, too, in case they're watching the news. -LRB- beat. -RRB- It'll buy you a little time to look around Caguan. But you'll never find The Wolf. Beat. Gordy sticks out his hand. GORDY Heinrich Beckmann. ARMSTRONG Huh? GORDY My Austrian name. Armstrong shakes hands with Gordy. Armstrong does n't let loose right away. Beat. ARMSTRONG Luck got you this far. But up there, luck does n't make it. I hope you know you're gon na die. OFF Gordy, about to step over another line.", "EXT. RIVER - VARIOUS SHOTS - DAY As dawn breaks over the river, FIND Gordy sitting in a motored panga being steered by a local BOATMAN. Gordy reaches into a pocket and pulls out the photo of Anne and Matt. He looks at it for a few moments. Then pockets it again. SAME SCENE - LATER The panga passes a dead body floating downstream. SAME SCENE - LATER The panga passes revolutionary banners and signs lining the riverbank. BOATMAN La zona guerrillera. SAME SCENE - MOMENTS LATER The panga rounds a bend, and. Two souped - up bass boats filled with heavily - armed ELC guerrillas move to intercept it. The Boatman slows, puts the panga in neutral and keeps his hands in sight. One boat of guerrillas pulls alongside. The other sheers off and stops a short distance away, ready to open fire. Gordy shows the guerrillas his travel pass. One of them takes it. Reads. Looks Gordy over. Then starts to rip the pass in half, when. He stops. Grins. It's a big joke. He hands back the pass, searches the boat quickly and waves the panga on. OFF Gordy's relief as the panga heads on.", "EXT. CAGUAN TOWN DOCK - DAY The panga arrives, and Gordy gets out. He's met by FELIX. Felix has a 9mm in a shoulder holster. Felix does n't look the least bit happy. FELIX Beckmann. GORDY Yeah. FELIX Come with me. Felix leads him towards a Land Cruiser. FELIX Armstrong should have called sooner. We do n't like changes here. If I did n't need the equipment fixed, I'd send you back. They reach the Land Cruiser. FELIX But now we have to see the E.L.C. Supervisor for Caguan. It's a prospect that seems to concern Felix almost as much as Gordy. Off which, as they get into the Toyota.", "INT. ELC SUPERVISOR'S OFFICE - DAY The ELC SUPERVISOR for Caguan may be a Marxist, but the clean, well - ordered office is nicely appointed, with a big - screen Sony and leather furniture. The TV's TUNED TO CNN. A photo on the wall depicts him as a younger man wearing guerrilla cammies bearing with an ELC patch and holding an AK - 47. A brass nameplate reading `` Supervisor'' rests on a neat desk, behind which stands the man himself - a hardened, former guerrilla fighter proud of his position. He's not in cammies now - his uniform now consists of casual but nice tropical clothing and a fat Rolex. Felix is a subordinate here. He and Gordy stand across the desk as the Supervisor examines Gordy's travel pass. Gordy's nervous about what could appear on the TV in the b.g., but tries not to show it. ELC SUPERVISOR Your passport was stolen. GORDY In Mompos. ELC SUPERVISOR Mompos is a shithole. Not like Caguan. Why did n't Armstrong come? GORDY He was arrested in Ecuador. He got drunk and fooled around with a police officer's wife. The Supervisor just looks at him, assessing Gordy's face for signs he's lying. Gordy's expression stays the same. Felix respectfully interjects. It's almost a plea. FELIX -LRB- in Spanish. -RRB- We need to fix the equipment. We have delivery deadlines to meet. A long beat. The ELC Supervisor hands the travel pass back to Gordy. In a hard tone to Felix - ELC SUPERVISOR -LRB- in Spanish. -RRB- He's your responsibility. Do n't let him out of your sight. FELIX Si. Gracias. As Felix leads Gordy away.", "INT./EXT. LAND CRUISER (CAGUAN) - DAY Gordy and Felix pull away from the Supervisor's H.Q. Felix resumes his former tone of command. FELIX The Supervisor made you my responsibility. You do n't go anywhere without me, you understand? GORDY No problemo. Gordy peers out the window intently as they drive, looking for a lucky break, looking for The Wolf, searching the face of every man. He does n't see The Wolf, but what he does see surprises him. The ELC Supervisor was right : Caguan's no Mompos. It's a third - world town, armed troops are visible, and there's a lot of bad shit behind Colombia's revolutionaries, but here the streets are calm and orderly. It's quiet, almost eerie, as people go about their business. OFF Gordy, seeing another side of the guerrillas.", "INT./EXT. LAND CRUISER/COUNTRY ROAD - DAY Felix turns off at the entrance to a lane leading to the plantation. The entrance is guarded by a 4X4 `` Rat Patrol'' assault truck and four heavily armed ELC guerrillas. GORDY The E.L.C. guards your coffee beans? Felix thinks he's joking. Until he looks over and sees Gordy's actually being sincere. FELIX Coffee beans? Shit. Armstrong did n't tell you much.", "INT./EXT. LAND CRUISER - PLANTATION - DAY They approach a hacienda and outbuildings. The accoutrements of agriculture are present - tractors, sheds, cats, etc.. - but clearly, this is no family farm. There are lots of serious - looking men around. More ELC guerrillas stand guard. FELIX stops the car. He and Gordy get out. Felix begins leading Gordy toward two rows of long, open - walled sheds. FELIX The problem's with the diesel generators. The sons - of - bitches keep breaking down. NEW ANGLE They pass four very large pits, where green leaves steep in a thick, foul - smelling liquid. FELIX We're using portables to keep production going, but they do n't supply enough power to the heat lamps, and we have to dry a lot of. ` coffee beans.' ANOTHER ANGLE They're now walking between the two rows of sheds, where portable gas GENERATORS THRUM, and. Gordy can see long, wide platforms inside. Above the platforms are multiple arrays of powerful heat lamps. Spread out and drying beneath them is a half - acre or two of converted cocaine. IN ANOTHER SHED workers pack and wrap one - kilo bricks of coke for shipment. GORDY AND FELIX approach the two giant diesel generators. FELIX We can fix anything, but these keep dying on us. You'll start now. I'll have tools brought to you. -LRB- beat. -RRB- Armstrong's a magician with them. Let's hope you have his skill. Felix walks over to a guerrilla with an AK - 47 and speaks to him. Then goes. Whereupon the guerrilla crosses to Gordy and takes up a sentry position over him. SAME SCENE - LATER Gordy has the diesels partially dismantled. The guerrilla sentry is still right there. Felix returns. FELIX Well? Gordy has to think of something fast. Beat. He throws a machine part against a wall angrily. GORDY I ca n't work with these pieces of junk. FELIX Junk? These generators cost a fortune. GORDY Then treat them that way. FELIX -LRB- beat, then. -RRB- Armstrong always fixes them. GORDY Armstrong wants your money. He makes them work, but he does n't fix them. To do this right, we got ta order parts from Europe. In the meantime, I can make something temporary. There must be a machine shop in town. FELIX Yes. Gordy stands. GORDY Let's go. OFF Felix, forced to acquiesce.", "INT./EXT. LAND CRUISER (CAGUAN) - VARIOUS SHOTS - DAY Felix is driving. Again, Gordy uses the opportunity to look for The Wolf. It's a long - shot, and he knows it. But it's all he can do. EMPTY STOREFRONT They pass an empty storefront. A sign on the large, front plate glass window says `` Cine'' and `` Sabado.'' BAR They pass a bar. Felix watches it go by with something like a look of desire. Gordy registers the look and the connection to the bar.", "INT. MACHINE SHOP - VARIOUS SHOTS - DAY Gordy selects spare parts. A clerk wraps the parts in an old newspaper, and. Gordy realizes his picture is on the paper. He smears grease from his hands over it.", "EXT. MACHINE SHOP - DAY Gordy finishes loading the parts into the Land Cruiser. FELIX Let's get moving. GORDY I'm thirsty. How about you? Want to get something to drink? Felix pauses. We see the look of desire again. Gordy's definitely struck a chord. But Felix quickly stifles it. FELIX We have to get back. GORDY I've been working all day out in the sun. I need a drink. nice cold beer? How about it? I saw a bar in town. Felix really wants to, but still hesitates. GORDY With the spare parts, I'll have the generators running in two hours. We have time for a couple beers. Beat. Finally - FELIX Okay. Just a beer. Maybe two.", "INT. BAR - NIGHT They've had a lot more than two beers. Felix has, anyway. He's drunk. He's also in love with a waitress on his lap, a cute gordita named BERTA. He pats her. FELIX This is mine. This is the reason I come here. right, Berta? Me amas? BERTA -LRB- playing along. -RRB- Si, amor. Somebody whistles for a drink, and Berta goes. FELIX She's hot, is n't she? GORDY Yeah. Long beat. Gordy makes the play he's been contemplating. GORDY Armstrong said to watch my butt around here. I guess the fucking Americans come down and shoot everyone all the time. FELIX Especially now, since the bomb in New York. GORDY Yeah, I heard about it. Who did it? Felix is just loose enough. FELIX The Wolf, and they'll never catch him. GORDY Ever see him? FELIX Once. GORDY Where? FELIX -LRB- beat ; eyes Gordy. -RRB- If you know too much around here, it can get you killed. Gordy's gotten all he'll get from Felix. He feigns nonchalance, smiles. GORDY Tell me what does n't get you killed around here. Gordy takes a swig of beer. When. Gordy sees the Beaten Man from the jail in Mompos. The man has just walked in with another guerrilla. Gordy barely avoids being seen as the guerrillas cross the room. At the bar, the bartender puts out two crates of beer. The guerrillas take the beer and head out. No money's changed hands. When they're gone, to Felix - GORDY We'd better get back, huh? FELIX -LRB- checks his watch. -RRB-. Shit. It's late.", "EXT. BAR - NIGHT The two guerrillas are just driving away in a big - wheeled, high ground - clearance Suburban as Gordy and Felix emerge. Felix is weaving. Gordy keeps his eyes on the Suburban's tail lights and opens the Land Cruiser's passenger door for Felix. GORDY You're too drunk. I'll drive.", "EXT./INT. LAND CRUISER Gordy gets in. Felix hands Gordy the keys. Then slumps against his door and closes his eyes. FELIX One day, I'm going to screw Berta. Gordy STARTS the CAR and drives after the Suburban.", "EXT./INT. LAND CRUISER (CAGUAN) - NIGHT Gordy follows the Suburban as Felix rambles - FELIX I'll take her to a small restaurant. We'll have lobster and drink lots of wine. I'll get her drunk. We'll drive home. I'll carry her inside. I'll kiss her. And then, I'll screw her in my bed. The Suburban pulls up next to a house. There are armed guerrilla guards outside. FELIX And when I am done screwing her, she'll never want to look at another man again. Gordy drives past the house as the Beaten Man and the guerrilla with him get out of the Suburban and start carrying the beer inside. And a moment later. Felix comes around with a start. FELIX What the fuck are you doing?! He unholsters the 9mm and points it at Gordy. GORDY Hey, easy. What's the problem? FELIX You're going the wrong goddamn way! GORDY I am? Looks different in the dark. FELIX Turn around! Gordy turns the car around. Felix keeps the gun on him. FELIX You drive where I say. Or the Supervisor will have us both shot. Gordy drives back. They approach the Suburban and the house once more. This time it's on Felix' side. Felix gives the guerrilla guards a wave as they go by, and. Gordy's eyes go to something he could n't see coming the other way : a large propane tank next to the house.", "EXT. PLANTATION - VARIOUS SHOTS - NIGHT The work in the sheds continues. Heat lamps dry down the long tables of coke. GUERRILLA GUARDS are more vigilant at night, patrolling the grounds with posted teams. WORK LIGHTS illuminate the two big diesel generators as Gordy continues his overhaul. He has two sentries now. One wears a combat vest, and as Gordy works, his eyes go to the grenades hanging on the vest's front.", "EXT. PLANTATION - DIESEL GENERATORS - DAY The sun's over the yardarm now, blazing hot, and Gordy's still working under the watchful eyes of the guards. Nearby, a group of guerrillas is playing soccer, when. A man is injured, and his teammates call for one of Gordy's guards to substitute. The man in the combat vest responds. The game is shirts and skins, and he's joining the skins. Puts down his AK, strips off his combat vest and shirt, and runs in. Gordy's eyes go to the vest and the attached grenades. With the other guard still watching him closely, however, there's nothing Gordy can do. SAME SCENE - LATER The soccer game rages back and forth. Suddenly, an open man gets the ball. Breaks toward the goal. Gordy sees the player about to go one - on - one with the goalie. He cheers the action loudly, whereupon. Gordy's guard turns to see what's happening, and. Gordy grabs a grenade. Almost gets it into a tool box, when. The player kicks wide, the guard looks back, and. Gordy covers the clattering of the grenade's dropping into the tool box by picking up a large wrench. But the grenade's still visible as now. Felix comes around the corner. He's sleepy and hungover. And pissed by Gordy's lack of progress. FELIX It's afternoon. Yesterday, you said it would only take two more hours. Gordy wipes his hands on a rag, throws it on the grenade. GORDY I have this one ready to go. Gordy reaches up and hits the start button on the GENERATOR. It SPUTTERS, but wo n't catch. Felix just looks at him. Gordy makes an adjustment, and. This time, the ENGINE TURNS OVER. PURRS like new. The heat lamps brighten in a row of sheds. Felix winces as the DIESEL ROAR makes the hangover hammers in his head pound even harder. FELIX What about the other one? GORDY I just need another part from town, and it's five more minutes. FELIX Shit. Fine. Let's go. Gordy grabs the tool box. FELIX Why're you bringing the tool box? GORDY The old part's in there. I need to match it, and it's all greasy. Felix buys it and heads off. As Gordy follows him.", "EXT./INT. LAND CRUISER (CAGUAN) - VARIOUS SHOTS - DAY They pass the `` Cine'' in the storefront. The ELC Supervisor's big - screen TV is being wheeled in. GORDY sees an attractive woman playing with some children. GORDY AND FELIX drive past the bar. Gordy notices Felix does n't even glance at it. GORDY Berta working today? FELIX Ha! Puta! We see that, whatever this means, it's an unexpected complication for Gordy.", "INT. MACHINE SHOP - VARIOUS SHOTS - DAY Gordy chooses the spare part. The clerk wraps the part in newspaper.", "EXT. MACHINE SHOP - DAY Gordy loads the part into the Land Cruiser. To Felix - GORDY You as thirsty as I am? FELIX No. Felix gets into the Land Cruiser.", "EXT./INT. LAND CRUISER (CAGUAN) - DAY Gordy climbs in. Felix starts driving. Gordy's down to final straws. GORDY We ca n't stop for one beer? FELIX There's beer at the plantation. GORDY -LRB- thinking fast. -RRB- There's no Berta at the plantation. I like drinking beer around pretty girls, not a bunch of guys with automatic rifles. FELIX To hell with Berta. GORDY What happened? Last night you were in love with her. There's a beat. Felix glances at Gordy. Decides it's safe to confide. FELIX I had a dream. I fed her lobster, got her drunk, and she rejected me for another man. -LRB- off Gordy's look. -RRB- Dreams tell the future. GORDY That was n't a dream, that was the alcohol talking. You saying two men ca n't go have a beer and look at women's breasts because of pink elephants? Nothing makes any sense down here. Felix pulls out his.9 mm. Gordy does n't blink an eye. GORDY Go ahead and shoot me, and you fix the goddamn generator. Part's in the back. Beat. OFF Felix, thinking it all over.", "INT. BAR - NIGHT A replay of last night. Felix is pretty wasted. Berta's in his lap again. In Spanish - FELIX You know I'm your man, baby. Someone whistles for a drink. Berta starts to stand. Gordy slips her twenty US dollars to stay. She does. GORDY I have to piss. Gordy crosses, exits into the bano.", "EXT. BAR - BACK - MOMENTS LATER Gordy drops out the bathroom window.", "EXT./INT. LAND CRUISER - MOMENTS LATER Gordy gets the grenade from the tool box. He slides it just inside the top of his pants, with the spoon hooked over the waistband. He finds some wire. Then searches for something else. Finds a piece of string and checks its length. From Gordy's reaction, we understand it's too short. Gordy opens doors and checks seat pockets. Nothing. He checks the glove box. No long string there, either. But he does find two rubber bands. Gordy studies them a moment, thinking. Tests their elasticity. Then pulls out the Zippo and thumbs it. The lighter still works. As Gordy pockets everything and walks off.", "EXT. CAGUAN - VARIOUS SHOTS - NIGHT Gordy steals through town, hiding when he sees someone coming. He's re - tracing the route he took the night before, when he followed the Beaten Man's Suburban. `` CINE'' He passes the `` Cine'' in the storefront. A movie's beginning to play on the supervisor's big - screen TV. The place is packed. No one sees Gordy, who moves on. GORDY continues to make his way through Caguan, when. He rounds a corner, and there's a four - man ELC patrol, two in a truck and two out. Gordy turns, starts heading back, when. One of the GUERRILLAS calls to him. GUERRILLA Alto! Gordy stops. The two standing men walk toward him. The other two men get out of the truck to provide backup. One guerrilla approaching Gordy stops short and stands off, cocked - and - locked, as the other comes up. Gordy carefully produces the travel pass. The guerrilla looks it over. In butchered Spanish - GORDY Yo trabajo con Felix. Felix -. -LRB- indicates. -RRB- - la cantina. Con Berta. The attractive woman we saw earlier playing with the children now walks up holding the hand of a small boy. A guerrilla waves them on. The woman and boy hustle by, glancing at the face of this big gringo in trouble as they pass. They hurry on toward the nearby `` Cine.'' OFF Gordy, as the guerrilla indicates for him to start walking to the truck.", "INT. BAR - NIGHT The guerrilla patrol has taken Gordy to Felix, still sitting with Berta in his lap. FELIX Are you trying to get us both killed? GORDY I went for a walk. I figured you wanted to be alone with Berta. FELIX -LRB- to the guerrillas ; in Spanish. -RRB- I'll make sure he's on a shorter leash. The patrol leader looks at Felix hard. Then nods. The guerrillas go. Felix dumps Berta onto her feet, stands. Felix looks at Gordy, shakes his head. FELIX Shit.", "INT. LAND CRUISER - NIGHT Gordy and Felix get in. FELIX You're working all night, Beckmann. That generator gets fixed, and you're out of my hair in the morning. Felix jams the car in drive. Gordy looks down, sees the spoon of the grenade exposed. As he readjusts his shirt to cover the spoon.", "EXT. PLANTATION - DIESEL GENERATORS - NIGHT Felix is right there supervising for himself as Gordy finishes working. Gordy stands. He stares hopefully at the MACHINE. Then pushes the starter, and. VRROOM! The heat lights in the second row of sheds brighten. Gordy turns to Felix. GORDY That make you happy? No response. GORDY Where's my money? FELIX You'll get it in the morning.", "INT. HACIENDA - STOREROOM - NIGHT Felix yanks the dangling cord and turns on the lights. The room's a mess. All kinds of rubbish. There's a washtub sink. There's a cot. GORDY This where Armstrong stays? FELIX This is where you stay. A boat will take you down river at seven. Felix closes the door. We hear a LOCK TURNING. Gordy moves to the door and tries it. It's definitely locked. Through a small window, he can see the lights in the sheds and the ever - vigilant nighttime ELC sentries patrolling the grounds. The DIESELS ROAR in the b.g. Gordy turns back. Readjusts the grenade digging into his belly, then hooks it back inside his pants. He turns off the light. Moves to the adobe wall opposite the door. THROUGH another small window, he can see it's dark in this direction. Gordy rummages through the refuse lying around the room. We see some rubber tubing. We see some rope. Gordy finally finds a piece of sharp metal. He moves to the wall with the window. With the DIESELS covering the noise, Gordy starts chiseling away at the adobe.", "EXT. PLANTATION - NIGHT The big - wheeled guerrilla Suburban drives in.", "INT. STOREROOM Gordy is making slow progress through the wall, when he hears the VEHICLE arrive. He moves to the window by the door and looks out. Sees the Suburban. Four guerrillas are getting out, including the Beaten Man. Felix meets them. The Beaten Man exchanges words with Felix. Felix indicates Gordy's room. As the Beaten Man continues to question Felix. Gordy realizes he's fucked. He ca n't get through the wall fast enough. His eyes go to water dripping from a pipe leading to the washtub sink. He moves to it. Finds the water pipe underneath that feeds the tap. Cranks shut the master valve on the pipe. Wraps his hands around the pipe and pulls. Nothing. Jams his feet against the wall for leverage and pulls harder. And this time, he yanks the pipe free from the sink. He finds the rubber hose. Fits an end over the pipe. Quickly lashes it on with some wire. Then cranks on the master valve. High - pressure water streams from the hose. Gordy sneaks a peek out the window. The Beaten Man's still questioning Felix. The sound of the hose water is being covered by the DIESELS. Gordy crosses the room, extending the hose to the hole he's made in the wall. He aims the stream at the hole. Thumbs the end of the hose to make the water jet even harder. And watches the jet begin eating away at the old adobe and brick, just as it ate through the crumbling plaster in the Spanish Harlem tenement.", "EXT. PLANTATION The Beaten Man finishes with Felix. Felix begins leading the guerrillas toward the storeroom.", "INT. STOREROOM Gordy's made progress, but has n't broken through yet. And he wo n't, not in enough time. Under his breath - GORDY Come on, baby. come on, baby. And just then.", "EXT. PLANTATION WHAM - WHAM - WHAM, one of the DIESELS Gordy repaired suffers a spectacularly loud internal breakdown. The heat lights dim in a row of sheds. Felix and the guerrillas stop to see what's happening. At which point, the generator now BURSTS into FLAMES. BACK TO GORDY He smiles. GORDY Just in time. And we realize that he'd planned on the diversion, as. The water jet breaks through. The hole's still small. Gordy begins to widen it.", "EXT. PLANTATION Felix, the Beaten Man and the other guerrillas resume their march toward the storeroom. They reach the storeroom. Water's pouring out under the door. Felix unlocks the door and opens it to find.", "INT. STOREROOM Gordy's gone. The Beaten Man signals two men to go out the hole. To the other man - BEATEN MAN -LRB- in Spanish. -RRB- Organize the others. Find him. The man goes. Outside, we hear him SHOUT orders to the guerrillas guarding the plantation. The Beaten Man turns to Felix. Felix is terrified. In a pleading tone - FELIX -LRB- in Spanish. -RRB- He ca n't be far. You'll catch - BANG! The Beaten Man SHOOTS Felix in the head. Then exits. OFF Felix, dead, his blood mixing with the water still streaming across the floor.", "EXT. PLANTATION - MOMENTS LATER The guerrillas report to the Beaten Man. They ca n't find Gordy. To the men guarding the plantation - BEATEN MAN -LRB- in Spanish. -RRB- Keep looking. He signals his men to come with him. They get into the Suburban. Whereupon we FIND. UNDER SUBURBAN Gordy's hanging onto the chassis. With the large tires and high ground - clearance, there's just enough room to get his legs over the rear axle. He's just finishing rigging up a rope he took from the store room - the rope's slung from one side of the chassis to the other, to support Gordy's back. He hears the ENGINE START, grabs the transfer case, and. SUBURBAN ROARS off with Gordy suspended below. The rear DRIVE SHAFT WHIRS madly, inches from Gordy's face. And, with each bump in the road, even with heavy - duty off - road shocks and springs, the undercarriage of the Suburban comes within inches of crushing Gordy's legs. ROCKS are PINGING everywhere. The dirt and the dust are choking. Even for a short distance, it's going to be a long, dangerous ride.", "EXT. SUBURBAN (CAGUAN) - NIGHT As the TRUCK BLASTS down back roads and through the darkened town. GORDY continues to suffer underneath. Even with the rope supporting him, he has to hold on with two hands. A vicious jolt suddenly loosens a grenade. It starts to slip free. Gordy ca n't stop it without letting go. The grenade falls, and. Gordy shoots out a hand and grabs it. Barely. The spoon just hanging on the end of his fingertips. Gordy ca n't use his other hand to get it. He needs the hand to hold onto the car. The grenade begins to slip. He's going to lose it. And just as it falls. Gordy does the only thing left. He slips a finger through the loops of the grenade pin. Just barely snags the grenade before it drops to the road. And then. Carefully, slowly - praying that each bump does n't jar the grenade off the pin - with his other arm shaking and screaming in pain as he maintains a grip on the transfer case - Gordy eases the grenade back onto his stomach, where he gets a better grip. Jams the grenade back. Then grabs onto the undercarriage once more, in time to relieve the muscle - tearing strain on his arm. ABOVE GORDY'S WORLD the Suburban passes the `` Cine.'' The movie's over, just letting out.", "EXT. GUERRILLA HOUSE - NIGHT The Suburban pulls up to the well - guarded house Gordy saw the night before. The men get out and go inside, leaving the SUBURBAN RUNNING, clearly planning to leave again right away. GORDY carefully lowers himself to the ground. Slides out on the side away from the house. Hides behind a large wheel. The brightly - lit house is surrounded by coconut trees. Gordy watches the guards. When the guards are n't looking, he runs to the nearest tree. The sounds of the SUBURBAN'S ENGINE covers his footsteps. TREES Gordy moves from tree to tree when the guards are n't looking, when he reaches one tree, and. NEW ANGLE THUNK! A coconut hits the ground next to him, and. One of the guards comes to investigate. The guard gets closer. Gordy inches around the tree. He ca n't get away without being seen. He nudges the coconut with his toe. Nudges it harder, causing it slowly to roll away, and. The guard picks it up. Never sees Gordy in the shadow of the tree, pressed against the trunk. The guard shows the coconut to a guard near the house, then walks back. GORDY sneaks to another tree. Then reaches the house. He moves to a window. Peers into a room. No one's there. But we hear the sound of VOICES. Gordy creeps along the wall. Looks into another room, and. INSIDE is a group of ELC guerrillas, including the Beaten Man, packing suitcases, etc.. Leaving in a hurry. GORDY scans the faces. Except for the Beaten Man, no face is familiar. A man with his BACK TO us stands, and there's nothing familiar about him, either. When. ANOTHER ANGLE Directly in front of us, another man emerges from a room. He's also in ELC guerrilla camo. OFF Gordy, looking intently at the man. FLASHBACK - SURVEILLANCE TAPE The face of the cop outside the consulate. MAN -LRB- PRESENT -RRB- in the room. His face looms larger as he ADVANCES TOWARDS us. FLASHBACK - COP'S FACE when he bumped into Gordy on E. 64th Street. CLOSE ON MAN -LRB- PRESENT -RRB- in the room. It's the same face. BACK TO GORDY He's found The Wolf, when. Suddenly, a guard appears, and. Gordy freezes. Eases into the shadows. His dirty face and clothes blend in just enough. The guard moves past. ANOTHER ANGLE When the coast is clear, Gordy moves to the large propane tank. He takes out the grenade. Puts the rubber bands around it, spoon and all. Grips the grenade in his hand, holding the spoon down, and yanks the pin. And then. Slowly, slowly, Gordy begins releasing his grip, allowing the rubber bands to take on the pressure of the spring - loaded spoon. If they'll do it. if the spoon goes now, Gordy's going up in the blast. Gordy continues to relax his grip. The rubber bands stretch. Stretch more. Keep stretching until they're barely holding the spoon. but they're holding it. Gordy quickly, carefully wires the grenade to the propane tank. Then takes out the Zippo, pulls it apart and removes the lighter fluid - soaked cotton. Holds the cotton just above the grenade and squeezes with his fingers. And. Lighter fluid drops onto the rubber bands. Gordy squeezes out as much as he can onto them. Then Gordy gets the hell out of there. He finds cover. Ducks down. And waits. CLOSEUP - GRENADE The lighter fluid is dissolving the rubber bands. BACK TO SCENE Gordy suddenly hears a woman's gentle SINGING. He looks in the direction of the sound, and. Gordy sees the attractive Woman and the boy approaching on the road. She's singing a gentle song in Spanish. Gordy's eyes flash with alarm. He glances at the house. CLOSEUP - GRENADE The lighter fluid continues dissolving the rubber bands, which are now beginning to lose their elasticity and stretch from the pressure of the spoon. BACK TO SCENE Gordy looks back at the Woman and boy, closer now, walking toward the house. FLASHBACK - NEW YORK Anne and Matt wave to him across Madison Avenue. BACK TO SCENE -LRB- PRESENT -RRB- Gordy sees the Woman pull the boy close to her, lovingly. FLASHBACK - NEW YORK The BOMB EXPLODES, and Anne moves to protect Matt. CLOSE ON GORDY -LRB- PRESENT -RRB- He realizes the horror of what will happen. And. WIDER Gordy bursts from his hiding place. GORDY No! Stop! Alto! The Woman and Boy look over in alarm, see Gordy running toward them and yelling. GORDY Get back! INSERT - GRENADE The rubber bands are about to break. BACK TO SCENE The Woman sees Gordy. Screams toward the house - WOMAN Claudio! GUARDS see Gordy running. They OPEN FIRE. MEN pile out of the house. GUARDS STOP FIRING. Gordy's too close to the Woman and Boy now. GORDY reaches the Woman and Boy now. Pulls them down. Covers them protectively with his body, when. NEW ANGLE KA - BOOM! A gigantic EXPLOSION lights up the night and utterly destroys the house. DEBRIS rains down for what seems like forever. Dust fills the air. GORDY opens his eyes. Gets to his hands and knees. Sees the Woman and Boy are safe, when. A vicious kick in the ribs lifts Gordy off the ground, rolling him away from the Woman and child. THE WOLF You bastard! The Wolf's alive and unhurt. Angrily punts Gordy again. THE WOLF You think you can kill The Wolf?! A boot in the face this time. THE WOLF You think you can kill The Wolf?! A piece of paper has fallen from one of Gordy's pockets and fluttered to the ground nearby. The woman picks it up, and we see. It's the photo of Anne and Matt. The woman stares at the photo a moment, as. Gordy absorbs another blow. He tries to stand. GORDY You killed my wife and son - Whack! The Wolf slams the butt of an AK - 47 against Gordy's skull. Gordy drops hard. The Wolf reverses the AK. Points it at Gordy's head, about to pull the trigger, when. The Woman lays a hand on The Wolf's arm. WOMAN Claudio. The Wolf does n't take his eyes off Gordy. The Woman squeezes his arm. Implores him - WOMAN Claudio. The Wolf glances over. Meets her eyes a moment. Sees the photo in her hand. Glances up into her eyes again. They hold the look. A whole conversation exchanged without words. Then The Wolf turns back to Gordy, lying in a pile on the ground. Beat. To Gordy - THE WOLF You were just saved by your guardian angel.", "INT. UNDERGROUND BUNKER - DAY Dark and dank. Excavated clay walls and floor. Heavy door. A bare overhead bulb provides some light. Gordy lies on a metal bed frame. One of his legs is chained to the bed. He's in pain from being kicked - but the physical aches are nothing compared to the anguish he feels for having failed. The door's unlocked and opens. Daylight streams in from above as The Wolf enters with two guerrilla bodyguards. He moves to the middle of the room. Looks at Gordy. THE WOLF One of the men in the jail with you in Mompos is dying. He was burned in your explosion. Gordy just looks at him. The Wolf signals a bodyguard, who crosses to Gordy and frees his leg from the chain. THE WOLF You want to kill me? Come and kill me. The bodyguards are smiling. Gordy hesitates, then springs for The Wolf, and. The Wolf immediately fells him with a choppy - looking karate combination. The Wolf's no Jet Li - his style's a throwback, even ugly, but it's well - practiced and brutally effective. Even still, Gordy springs back right away. and The Wolf drops him again. THE WOLF You Americans think you have all the answers. And really, you're so naive. Gordy comes up swinging. Gordy's a barroom fighter. If he can touch you, you're in trouble. He never gets close. A vicious front kick folds him, and a fist drives him to the floor. The Wolf stands over him. THE WOLF You see one peasant with a gun, and you never ask why he has to have it. You just run to give your billions to the nearest soldiers, no matter how merciless or corrupt they are. The last kick really hurt Gordy. He's slow rising. THE WOLF That's why I'm teaching America a lesson. that's why there'll be more bombs. and more families like yours will pay the price. The Wolf wants to pique him, but this is pouring gasoline onto fire. Gordy explodes off the ground. The suddenness and fury of the rush catch The Wolf off guard. Gordy drives him backward. Slams him against a wall. Then hooks an arm around the back of The Wolf's neck and drives the other fist like a piston into his abdomen. All his weight behind the punches. Trying to break ribs and crush them into The Wolf's heart, when. A bodyguard slams the butt of an AK into Gordy's kidneys. Gordy takes the blow standing. The guard delivers a second, much harder shot, and Gordy drops to his knees in agony. Beat. The Wolf recovers from the hammer - blows to his midsection. And then. He makes Gordy pay for the punches. Lands blow after blow on Gordy's face. Beats the living shit out of him. and leaves him unconscious on the dirt floor. BLACK we hear a gentle CLACKING sound. It's unidentifiable. GORDY'S POV The black becomes a BLUR. The BLUR becomes a hazy glimpse of Selena. She's sitting on the metal bed frame nursing Gordy's wounds. The CLACKING sound CONTINUES - it's made by SEA SHELLS that dangle from a bracelet on Selena's wrist. The shells knock together as she washes Gordy's wounds. SELENA Are you alright?", "INT. UNDERGROUND BUNKER - NIGHT Gordy's still in a deep fog from the beating, barely there at all. GORDY Who are you? SELENA My name is Selena. GORDY His wife? SELENA Yes. Beat. The sea shells clack. Gordy loses consciousness again, and everything goes. BLACK The CLACKING sound CONTINUES. And. GORDY'S POV This time, when Gordy opens his eyes, there's no blurriness. It's a new day. He's better. Selena's walking to him with a tray. The SHELL BRACELET CLACKS as she approaches. SELENA I brought you food.", "INT. UNDERGROUND BUNKER - DAY Gordy slowly sits up. Beat. GORDY Why feed me? Why not just kill me? SELENA Are you so anxious to die? Gordy does n't have an answer. Beat. He tastes the meal. GORDY Thanks. Selena watches him a moment, troubled by something. SELENA The men in jail with you in Mompos. They say you talked to a man from the C.I.A. GORDY I'm not one of them. I'm here for my own reasons. Selena watches him another moment. Decides he's telling the truth. She reaches into a skirt pocket, then extends her hand toward Gordy. He looks up. She's holding the photo of Anne and Matt. Beat. Gordy takes the photo. Looks at his wife and son. Selena sits next to him. Another beat. Then, off the photo. SELENA Claudio used to be a teacher. I was a medical aid worker. We met in Guatemala, in an Indian village called Guamaunco. We were married there. Sophia, our daughter was born there. Claudio was kind and loving, and we were happy. We were there four years when the civil war broke out. The guerrillas were all around us, but left us alone. Then they made an attack on the army nearby. The next night, soldiers came to our village. They were led by American ` advisors'. They accused us of helping the rebels. Our women were raped. Our men were tortured. Our homes were burned. We crawled out into the fields, but they threw grenades, and Sophia. Selena hesitates, choking back her emotions. SELENA my baby girl was hit by shrapnel. she bled to death in Claudio's arms. She looks into Gordy's eyes. The look says she understands and shares Gordy's pain because she's suffered her own painful loss. She looks away again. SELENA Claudio joined the guerrillas. When that war ended, we moved to the next war, and the next. Each fight has only deepened his hatred. And poisoned his soul. -LRB- beat. -RRB- He's unable to love anything anymore. GORDY Why are you still here? SELENA Because I know he was a good man, who's been consumed by rage because of what he lost. Just like you. GORDY I'm not like him. SELENA Not yet. GORDY He kills innocent people. -LRB- then. -RRB- He's planning to kill more. Beat. Selena suddenly stands, uncomfortable, not wanting to discuss it. She goes to the door and knocks. OFF Gordy, as the door opens, and Selena exits. CLOSEUP - SATELLITE IMAGE A laser pointer indicates the photo. UPDEGRAF -LRB- O.S. -RRB- This is a satellite shot of the Caguan region last night. The laser indicates an area of the photo. UPDEGRAF -LRB- O.S. -RRB- Here's Caguan town. FOLLOW the laser TO : SECOND IMAGE the same night shot with a bright spot in the town area. UPDEGRAF -LRB- O.S. -RRB- At 2250, we get a large heat - and - light anomaly consistent with an explosion. FOLLOW the laser TO : THIRD SATELLITE IMAGE a high - resolution, infrared enlargement. UPDEGRAF -LRB- O.S. -RRB- This is the explosive area two minutes later. We got a house blown to shit and burning. We got Colombians in cammies, a gringo down, a woman and kid, and some bodies. This guy - The laser indicates The Wolf. UPDEGRAF -LRB- O.S. -RRB- - is giving all the orders. BRANDT -LRB- O.S. -RRB- I do n't fucking believe it. That lucky son - of - a - bitch found The Wolf. UPDEGRAF -LRB- O.S. -RRB- He's paying for it now. FOLLOW the laser TO : FOURTH SATELLITE IMAGE an infrared shot of people and vehicles near the burning house. UPDEGRAF -LRB- O.S. -RRB- A little later, an E.L.C. convoy arrives, and everyone loads up. The convoy travels thirty - two minutes upriver and stops here. FOLLOW the laser TO : FIFTH SATELLITE IMAGE an infrared night shot of parked vehicles, buildings, people, etc.. BRANDT -LRB- O.S. -RRB- An E.L.C. compound. UPDEGRAF -LRB- O.S. -RRB- More like a small village. It's mobile, and it's not just guerrillas - it's women and kids, too. Here it is by day. FOLLOW the laser TO : SEVENTH SATELLITE IMAGE a day shot of the jungle village. The laser indicates : UPDEGRAF -LRB- O.S. -RRB- Houses, barracks, school for the kids, cooking sheds, H.Q., latrines, gun pits. BRANDT -LRB- O.S. -RRB- They're not just hiding The Wolf. UPDEGRAF -LRB- O.S. -RRB- Here it is on the map. PULL BACK to reveal :", "INT. CIA HACIENDA - DAY Updegraf highlights a map for Brandt, who thinks aloud - BRANDT It's well - sited. ca n't surprise'em, so you got ta outgun'em. -LRB- beat. -RRB- So that's what we're gon na do. UPDEGRAF We're gon na hit it? BRANDT We're not just gon na hit it, we're gon na wipe if off the globe. Cats, rats, dogs and mice. If it's moving, it's dead. UPDEGRAF Hitting the whole village could make for a P.R. problem. BRANDT I do n't care what the Puerto Ricans say. -LRB- then, off Updegraf's look. -RRB- Which part of the word ` war' do n't you understand? Our mission down here is n't just about catching The Wolf. UPDEGRAF What about Gordy Pitt? BRANDT He was told not to be here. The first choppers'll hit it at 2200.", "EXT. ELC JUNGLE VILLAGE - NIGHT It's RAINING buckets. Most of the people inhabiting the village have been driven under roofs or indoors. Guerrillas drag Gordy roughly up out of the bunker into the tropical DOWNPOUR. They march him out into the open. Throw him to the ground. A man draws his pistol as Gordy gets to his hands and knees. The GUERRILLA puts the pistol to Gordy's forehead. GUERRILLA It's time, gringo. Beat. He extends a bar of soap with his other hand. GUERRILLA Bath time. You stink, gringo. The guerrillas laugh. Gordy throws the soap in the mud. Gets to his feet. Points his face up into the soothing rain. When he hears ARGUING and looks over to see. WOLF AND SELENA are inside a small house nearby, obviously fighting about something. Selena emphasizes her argument by slapping her hand. The Wolf storms off, and we hear a DOOR SLAM. Selena is left alone, disconsolate, framed in the window. She looks up and sees Gordy outside. Her eyes meet his. OFF their look.", "EXT. CIA HACIENDA - FRONT PORCH - NIGHT It's POURING here, too. In b.g., assault preparations are underway in spite of the rain. Brandt checks his watch. Then lights another butt from the one he just smoked. Stares off into the distance, his thoughts intense and far away. Updegraf emerges, crosses. UPDEGRAF The weather system's intensifying. BRANDT -LRB- distracted ; beat. -RRB- What? UPDEGRAF The storm's gon na be real bad for at least twelve hours. Here's the data. He hands a paper to Brandt. Cops a puff off Brandt's cigarette while Brandt reads. UPDEGRAF Air ops says it's too heavy for the Blackhawks. Also, Sat - Intel is saying the clouds're too thick, and we're blind. BRANDT -LRB- beat ; pissed. -RRB- Got any good news? UPDEGRAF Yeah. The creeks are rivers around Caguan. Unless The Wolf's a fish, he's not moving. And there's fresh coffee. BRANDT Only good thing down here. Put everyone on red till tomorrow night. And then, I do n't care if there's a typhoon, I want those fucking rotors turning. Beat. Updegraf goes. Brandt crumples the fax and pitches it. Then sees he got fax ink on his hands. OFF Brandt, holding his mitts out in the rain, trying to wash off the stains.", "INT. UNDERGROUND BUNKER - DAY Selena brings Gordy food. She's extremely subdued. Leaves the tray and starts back to the door. Then stops. Turns back to Gordy. SELENA I tried to stop him. She holds Gordy's eyes a moment. Her look is grim, haunted. SELENA He's gone back. GORDY -LRB- beat ; realizes. -RRB- The United States? Another bomb? SELENA Yes. GORDY Where? She does n't answer. GORDY Where? SELENA Washington D.C. GORDY Where in Washington? SELENA He had pictures of a building. GORDY Which building? SELENA I do n't know. GORDY We ca n't let it happen. SELENA It's too late. No one can stop him now. GORDY We'd never make it. SELENA I got down here from New York. Beat. She just looks at him, weighing her chances. GORDY How many more kids have to die? And for what? SELENA I'm his wife. GORDY If you do n't stop it, you're as much to blame as he is. Beat. SELENA I ca n't. She moves to the door and knocks. The door opens. Selena's gone. OFF Gordy, sagging.", "INT. AIRPORT (QUITO, ECUADOR) - DAY Passengers are lined up to board a flight to Mexico City. FIND a man in line wearing a crisp business suit and tie. The clothes, a haircut and horn - rims have made The Wolf nearly unrecognizable.", "EXT. SKY - NIGHT The front's moved through. The night is clear.", "EXT. ELC JUNGLE VILLAGE - NIGHT Water drips from jungle leaves and the eaves of buildings. We see the bustling life of the place, the families, the women and children who live with and support the well - organized and high - tech guerrilla military. The village is simple but decidedly not primitive. These people have generators, a satellite dish and a school with a computer. At night, the school is a TV room. Right now on the tube Daffy's getting his beak blown off. SOLDIER pets his child and kisses his wife as he goes off to guard duty. ELC OFFICER talks on satellite phone inside camp headquarters. MAURO sits next to Selena on the porch of a house. He plays with the shells of her bracelet as she stares off into the night.", "EXT. CIA FINCA - NIGHT The Blackhawks, black and menacing, sit on an illuminated tarmac as : Heavily armed troops in black uniforms and assault vests load up. Door gunners check mini - guns. Ground crews yank arming ribbons on rocket pods. A co - pilot in a specially rigged helmet tests his forward mini - gun : wherever he looks, the gun points. Pilots finish checklists, and. Chopper ENGINES start WHINING. ROTORS begin to TURN. The noise mounts to an incredible ROAR. ANGLE - L.O.H.. The small helicopter's rotors are also turning. Brandt stands at the chopper door with Updegraf. Slams the magazine on a Glock.45, making sure it's in solid, then slides the pistol into his shoulder holster. He checks his watch. Loud, to Updegraf - BRANDT It's time to make The Wolf howl. He takes a last drag on his cigarette, passes the butt to Updegraf to finish and gets in the rear of the L.O.H. as Updegraf scoots clear. L.O.H. THROTTLES UP and SCREAMS away. BLACKHAWKS one by one in quick succession, lift off the deck and follow the L.O.H. into the night sky.", "INT. UNDERGROUND BUNKER - NIGHT Gordy's on the bed. The guard lets Selena in. She crosses toward the food tray near Gordy. but she's not there for the tray. Moves past it to Gordy's leg and, to Gordy's surprise, begins unlocking the shackle. SELENA We're going with you. When Gordy's free - GORDY How do we get out? She hands Gordy a length of pipe secreted in her dress. SELENA The guard is the only one close. When we're past him, we can slip into the jungle. Mauro's waiting for us there.", "EXT. SKY - HELICOPTERS - NIGHT The Blackhawks and L.O.H. fly map - of - the - earth, a few feet over triple - canopy rain forest.", "INT. L.O.H. - NIGHT Brandt's in the rear seat wearing a headset. The L.O.H. PILOT, wearing night - vision goggles, checks his GPS, speaks to Brandt via headset - L.O.H. PILOT Lead chops are twenty seconds out.", "INT. UNDERGROUND BUNKER - NIGHT Selena whispers to Gordy at the door. SELENA He's on the right. No needless killing. Gordy moves to the right side of the door. Selena knocks. The door swings inward to the left. Selena exits with the tray. The guard reaches to close the door, and Gordy brings the pipe down hard on his head, knocking him out. Gordy retrieves the guard's AK - 47.", "EXT. ELC JUNGLE VILLAGE - NIGHT Gordy and Selena ascend the bunker steps. They stop at the top and peer into the village. An armed guerrilla approaches, unaware of their presence. Gordy fumbles with the AK - 47, looking for the safety switch on the strange weapon. Selena reaches over and expertly flicks it off. When. They hear the sound of the CHOPPERS. The guerrilla approaching them stops and looks up. And. ANOTHER ANGLE WHOOM! The first wave of BLACKHAWKS FLASHES OVER the village. Selena and Gordy barely have time to duck as ROCKETS EXPLODE into ground targets, and front and door MINI - GUNS SPIT BULLET - STREAMS that RIP THROUGH people and STRUCTURES. And then the first wave's past. GUERRILLAS In the momentary lull after the first wave, guerrillas run to pre - arranged fighting positions. Women and children are screaming. SELENA pulls Gordy from the steps. They start to run. But not far. Just seconds after the first wave of Blackhawks has left, the second wave hits. BLACKHAWK CO - PILOT'S POV -LRB- NIGHT - VISION -RRB- The village and all its details are visible as different shades of green. We see rockets streak toward parked guerrilla vehicles. We see rockets trail fire toward the TV in the school, which is then obliterated in a FIERY EXPLOSION. Wherever the co - pilot looks, the forward MINI - GUN aims its hellish RAIN OF BULLETS. We TRACK WITH a running guerrilla and see him chopped down, then SWIVEL TO a gun pit and watch the men there eat lead. GORDY He sees the burning school. Watches the continuing slaughter caused by the ROCKETS and MINI - GUNS.", "INT. L.O.H. Circling over the action. Brandt listens to RADIO CHATTER from the Blackhawks. The village is being decimated. Brandt's dream come true. GUERRILLA He LAUNCHES a shoulder - fired SURFACE - TO - AIR - MISSILE -LRB- SAM -RRB- at the L.O.H., just before a MINI - GUN GETS him.", "INT. L.O.H. The Pilot sees the SAM launch. L.O.H. PILOT SAM coming. He hits a button, and.", "EXT. L.O.H. Two thermite parachute FLARES SHOOT from rocket tubes and IGNITE. Immediately after, the L.O.H. banks. And. The SAM ZIPS past the hot, bright flares.", "EXT. ELC JUNGLE VILLAGE The second wave's gone. Gordy and Selena start to run again. Buildings burn. The SCREAMING's endless. Gordy almost trips over the burned body of a child. And now. THIRD WAVE BLASTS in over the treetops. These are the Blackhawks carrying the assault troops. They use a `` skid'n' git'' maneuver to insert the men, coming in hot, MINI - GUNS BLAZING, barely touching down as the soldiers spill out, then tipping forward to gain speed and quick peeling out in a hard right turn. Gordy and Selena hit the dirt again as the choppers come in and land the troops, and the ground BATTLE ERUPTS. The assault team's GROUND COMMANDER, an American Army Captain, radios his men via comm - link - GROUND COMMANDER We're going for body count. GORDY AND SELENA There's a break in the fighting nearest them. They jump up and start running for the trees edging the compound. SOLDIER ON GROUND'S POV -LRB- NIGHT - VISION -RRB- Gordy and Selena sprout from the ground and run. The SOLDIER OPENS FIRE. BACK TO GORDY AND SELENA BULLETS TWITCH the smoke around them. A SLUG PLUCKS the AK from Gordy's hand. They're almost to the trees. SOLDIER ON GROUND'S POV -LRB- NIGHT - VISION -RRB- Gordy and Selena are in his sights. They'll never make the trees. When. The Soldier's head WHIPS AROUND TO FACE a guerrilla FIRING at him. He KILLS the guerrilla. Then looks back at Gordy and Selena, and. They're gone. Into his comm - link - SOLDIER -LRB- O.S. -RRB- Two in the jungle. GROUND COMMANDER -LRB- V.O. -RRB- Hunt'em.", "EXT. JUNGLE Sounds of GUNFIRE. EXPLOSIONS in the compound flicker light through the dense foliage. Selena leads Gordy to a bush and pulls back leaves, revealing Mauro, cowering fearfully, clutching an old leather doll to his chest. Selena takes Mauro's hand, grabs a small pack lying next to him, then leads Gordy off through the jungle. SOLDIER'S POV -LRB- NIGHT - VISION -RRB- He SEARCHES the jungle. Up ahead, Selena, Mauro and Gordy are visible for a split second when they run through a gap between in the foliage. The Soldier moves after them.", "EXT. RIVER Selena, Mauro and Gordy reach the fast - flowing water. SELENA We have to swim. Gordy spies two empty fuel cans nearby. He gets the cans, throws them in. Then picks up Mauro. GORDY Go! Selena jumps in. Gordy and Mauro follow. They swim for the fuel cans. Gordy, with Mauro clinging to his neck and still clutching the doll, gets an arm over one can. Selena just manages to grab the other. SOLDIER'S POV -LRB- NIGHT - VISION -RRB- He REACHES the river. Sees Gordy, Mauro and Selena bobbing downstream hanging onto the cans. OPENS FIRE.", "EXT. RIVER BULLETS WHIP the water around Gordy, Mauro and Selena. They hide behind the cans. BULLETS PING OFF the METAL. They're swept through some rocks, blocking them from the Soldier, who FIRES anyway. BULLETS CHIP the STONE. There's one more clear shot after the rocks. They're almost around a bend. The Soldier aims. BANGS! And. Selena's hit. Gasps. Gordy looks over, calls. GORDY You okay? Selena endures the pain. Hides it behind iron eyes. SELENA Your hired soldiers ca n't shoot.", "EXT. ELC JUNGLE VILLAGE The village is a silent, smoking ruin. Everyone who lived there is dead. Troops check the faces of the bodies of the men against the freeze - frame of The Wolf outside the Colombian consulate in New York. The L.O.H. lands. Brandt's met by the Ground Commander. GROUND COMMANDER No sign of The Wolf. Two people, possibly a third, got away. They're in the river. Brandt moves back to the L.O.H., gets in. A moment later, the chopper's up and away.", "EXT. RIVER Gordy, Mauro and Selena are still floating, hanging onto the cans, when they hear the sound of a HELICOPTER. Gordy looks, sees the L.O.H. flying downstream ten feet off the river. GORDY Under the water! -LRB- to Mauro. -RRB- Uno, dos, tres. He takes a big breath and holds it. Mauro understands and does the same. They go under. So does Selena.", "INT. L.O.H. The Pilot scans the river with his night - vision goggles. Brandt studies the night - vision monitor in front of him. There's nothing but river. They zoom by the two fuel cans, but see nothing.", "EXT. RIVER Gordy, Mauro and Selena surface, gasping for air.", "INT. L.O.H. The chopper rounds a bend in the river. And there are the two armed guerrilla `` customs'' boats. The boats open up, and the L.O.H. Pilot banks away.", "EXT. RIVER The L.O.H. sweeps back in on the customs boats. ROCKETS LAUNCH from the pods. One customs BOAT goes up in a massive EXPLOSION. The other boat scoots.", "INT. L.O.H. The Pilot sees the second boat go. L.O.H. PILOT Not tonight. He sweeps in again. Triggers more missiles. We watch the second customs boat go the way of the first. Brandt only cares about the primary target. BRANDT They could n't have made it this far. Go back upstream. As the chopper banks.", "EXT. RIVER Gordy hears the L.O.H. again. The three of them duck again, and. WHOOM! The CHOPPER ZIPS by just overhead. And continues on. A moment later, Gordy, Mauro and Selena re - surface. OFF them, as the copper recedes upriver.", "EXT. RIVER - DAWN Gordy and Selena float side - by - side, still holding onto the cans. Mauro's asleep on Gordy's back, his arms around Gordy's neck. Weakened by her wound, Selena keeps bobbing below the surface. Gordy pulls her up. GORDY Hang on. We just have to keep floating a little bit more. Suddenly, in the growing light, Gordy sees Selena's blood in the water and realizes she's wounded. GORDY You were shot. SELENA I'm okay. GORDY We got ta get you outta the river. GORDY kicks them all to shore. He climbs out of the river carrying Mauro. As Gordy ascends the bank, Mauro wakes up, terrified. Gordy tries to soothe him. GORDY Esta bien. Esta bien. But Mauro squirms free, and immediately, Mauro runs back to his mother. Selena uses sign language to tell him everything's okay. OFF Gordy's surprised look - SELENA He ca n't hear or speak. Gordy just looks at them a moment. Then moves to Selena. Re : Mauro, as Gordy examines her arm - SELENA He's a war orphan. I adopted him. Beat. Gordy finishes checking the bullet wound. GORDY You're lucky. He uses part of his shirt to make a pressure bandage. As he ties it around Selena's arm, she looks around. SELENA I know where we are. There's a secret trail nearby that leads toward Mompos. GORDY Can you walk? SELENA It's just my arm. Gordy admires this woman's bravery. Selena stands. Mauro's clutching her skirt. Gordy looks at him. GORDY How do you say ` hello'? Selena looks at Gordy a moment. She signs `` hello'' for him, her seashells clacking as she does it. Gordy taps Mauro to get his attention. Tries out the sign for `` hello.'' The boy just looks at him. then reaches out and takes Gordy's hand, shows him the correct way to do it. Gordy tries again. Mauro nods `` yes'' and smiles. Gordy smiles back.", "EXT. JUNGLE - DAY Selena, Mauro and Gordy follow the secret trail, which ends below a large waterfall. Gordy wonders what they do now, when Selena keeps walking, suddenly disappears behind the ROARING CASCADE. Beat. Gordy follows. BEHIND WATERFALL The trail continues, curtained by the falls. Gordy joins Selena and Mauro. Mauro's excited by the experience of being inside the waterfall. Gordy holds him, lets him touch the sheet of water flowing past. They walk to the other side of the waterfall. Gordy follows Selena and Mauro through.", "EXT. JUNGLE Gordy emerges from the waterfall, and. He's surrounded by Colombian soldiers with guns. More soldiers point guns at Selena and Mauro. Gordy raises his arms. GORDY Yo soy Americano. Gordy Pitt. Gordy Pitt.", "INT./EXT. TAXI (WASHINGTON D.C.) - DAY Claudio, The Wolf, rides into the capital from Dulles.", "EXT. JUNGLE CLEARING - DAY A Blackhawk lands in the clearing. The Colombian soldiers escort Gordy, Selena and Mauro to the chopper. The chopper door opens. Brandt's inside.", "INT. BLACKHAWK - MOMENTS LATER Everyone's aboard and buckled in. Everyone's tired. The chopper lifts off. Selena's glaring at Brandt, who pushes a headset at her, shouts over the ENGINE WHINE - BRANDT F.B.I.'s on the radio. Tell'em everything you know. Gordy's her protector, intervenes. Grabs Brandt's arm. GORDY They both get asylum. And she needs a medic. BRANDT On the plane. GORDY What about the asylum? BRANDT -LRB- beat. -RRB- They'll get it. But she's in my custody till we're done with her. Beat. Gordy hates going along with Brandt, but has no choice, nods to Selena. She takes the headset. As she puts it on, Brandt sees her pack. Takes it and opens it. He inspects it, then hands it back. Gordy glares at him. Brandt meets his eyes. A long beat. Then - GORDY He was n't even there. Brandt does n't reply. Just holds the look a moment longer. Then looks out the window and ignores Gordy.", "INT. UNION STATION (WASHINGTON, D.C.) - DAY (AFTERNOON) The daily tide of humanity flows through the railway terminal. We see people in business suits, tourists, families, a group of kids on a field trip. And standing in the middle of it all, we FIND. CLAUDIO Now in casual clothes. He's looking over the beautiful and busy station. Contemplating the devastation and death that a bomb planted here would wreak.", "EXT. ANDREWS AIR FORCE BASE (MARYLAND) - DAWN A Lear stops by a convoy of black government Suburbans parked on the tarmac. FBI agents Joe Phipps and Reggie Dray are among those waiting by the cars. The Lear's door pops, and Gordy, carrying a sleeping Mauro, emerges with Selena. Brandt and a medic follow.", "INT. GOVERNMENT SUBURBAN - MOMENTS LATER Driving. Mauro, still sleeping, is buckled up in the far back seat between Gordy and Selena. Phipps, Dray and Brandt crowd the second row. Phipps extends photos to Selena. PHIPPS These buildings best match what you described to us. Selena leafs through the photos of various Washington monuments, government buildings, etc.. She reaches the last photo. SELENA I do n't recognize anything. I saw only parts of the building. I'm sorry. Phipps wants to keep her positive and willing. PHIPPS That's okay. We'll keep trying. SELENA I think it's a public place. He said he wanted the people of America to feel the terror. ` Terror is all they understand.' He said it over and over. PHIPPS -LRB- to Dray. -RRB- Double up on public venues : museums, theaters, transport. Put in all the extra undercover we can. Selena looks over at her son sleeping in Gordy's arms. She lovingly brushes the hair off his forehead, rattling her seashells. The leather doll is about to fall from Mauro's fingers. Selena takes the doll and puts it into her bag. Then looks out at the passing scenery. OFF Selena, in the land of her husband's enemy -", "EXT. GEORGETOWN STREET - DAY The convoy slows outside the Latin American Institute. An attached garage opens.", "INT. GOVERNMENT SUBURBAN As the Suburban turns into the garage - GORDY Where're we going? BRANDT Inter - agency headquarters for our efforts in Latin America. PHIPPS It's secure, and we can coordinate all departments here. OFF which, as they're swallowed up by the dark garage -", "INT. LATIN AMERICAN INSTITUTE - VARIOUS SHOTS - DAY Brandt, Phipps, Dray, Selena and Gordy - along with the rest of the entourage - walk through the interagency nerve center. Gordy carries Mauro, still asleep. They stop at the door to a large conference room. Selena's ushered in. Gordy starts to follow. Phipps stops him. PHIPPS My people will debrief you in another room. We'll take the boy to a safe house across the street. He'll be well cared for. Gordy exchanges a look with Selena. Beat. She nods her reluctant approval. Gordy hands the boy to an agent.", "INT./EXT. LOCKUP GARAGE - DAY Claudio opens the door of a cheap rental garage in an old commercial strip. He steps inside. There's a rental van and a big Ducati motorbike against a wall. Claudio straps a black bag onto the bike, then rolls it out and shuts the garage. Pulls on helmet and STARTS the BIKE. As Claudio speeds into traffic -", "INT. LATIN AMERICAN INSTITUTE - LARGE CONFERENCE ROOM  DAY Selena is seated at a table covered with photographs, Washington, D.C. coffee table books, guide books, etc.. Brandt, Phipps, et al stand around her. Phipps flips through the pages of a large coffee table book for Selena to see. SELENA No. No. No. That book's done. SELENA I'm sorry. PHIPPS That's okay. He grabs another. Opens it to the first photo. SELENA No.", "INT. LATIN AMERICAN INSTITUTE - \"THE WOLF\" ROOM - DAY A small conference room devoted to everything having to do with the interagency interest in The Wolf. Photos of evidence, time lines, charts, etc. cover the walls. Gordy's tired, being debriefed by two FBI AGENTS. FBI AGENT #1 Did Claudio leave with anyone else? GORDY I was underground. I could n't see anything. FBI AGENT #1 Did you hear anything about his contacts in the United States? GORDY No.", "INT./EXT. WASHINGTON LOCATIONS - MONTAGE - DAY Security tightens all over the city. Among the images we see : A forklift places huge planters - really decorative barricades - to re - route traffic near vital buildings. UNDERCOVER PEOPLE with earpieces patrol public structures. Some lead dogs that sniff for explosives.", "EXT. WASHINGTON, D.C. - STREETS - DAY Claudio weaves the Ducati through heavy traffic.", "INT. LATIN AMERICAN INSTITUTE - LARGE CONFERENCE ROOM - DAY Phipps flips to the last photo in the book. SELENA No. He reaches for another book. As he does, he topples a stack. Selena's eyes fix on one book cover. SELENA He had that book! Let me see it! Phipps hands it to her. It's a guidebook to Washington. Selena flips through it. Stops at a photo. CLOSE ON PHOTO It's of the redesigned lobby of Union Station. BACK TO SCENE Selena glances up. SELENA That's it! BRANDT Union Station. PHIPPS -LRB- to Dray. -RRB- Put it under total surveillance. Get a bomb team in there with dogs. Make'em seeing - eye dogs if you have to. And pull whatever security video they have for the last two days. DRAY Why not just shut it down? PHIPPS If we spook him, we do n't know what his secondary target'll be. Dray gets on the horn. Beat. To Brandt and Phipps - SELENA Please do n't kill him.", "EXT. UNION STATION - DAY A man sits on a bench. He's wearing sunglasses and a baseball cap. He puts a shoulder bag on the bench, takes something out, then gets up and walks away, when. Suddenly, two tourists and a hot dog vendor are right on him. One of'em jams a concealed gun jammed into his ribs, while the other two hustle him forcefully to a van. He's shoved inside. His bag's tossed in. The van drives away.", "INT. VAN Agents press the man hard to the floorboards. His bag's tossed. It's empty. The guy's clean. It's not Claudio. OFF the agents, holding an innocent man.", "INT. LATIN AMERICAN INSTITUTE - LARGE CONFERENCE ROOM - DAY Selena watches as Phipps plays a surveillance video of Union Station. Phipps suddenly freezes the image. Zooms in on a man in the middle of the crowd. Claudio. PHIPPS That's him, is n't it? SELENA -LRB- hesitates, then. -RRB- Yes. PHIPPS He was there yesterday. Just stood there and left. So far, the dogs have n't found anything, so maybe we're ahead of him. BRANDT What's he waiting for? SELENA He takes his time. Like he told you, he enjoys it. Beat. Selena's overwhelmed by the experience of seeing her husband on the tape, by her betrayal of him. She grows queasy. Leans on the table for support. PHIPPS Are you okay? SELENA I'm sorry. I think I'm going to be sick. Brandt opens a door to a bathroom. BRANDT In here. Selena grabs her pack and rushes in. When the door's closed, Phipps turns to Dray, indicates monitor. PHIPPS Get copies of this freeze frame to all the undercover people and the sniper teams. DRAY You got it. PHIPPS And nobody caps him until we get that bomb tagged. After that, I do n't give a shit what happens to him. Dray goes. There's a long beat. Brandt looks at the freeze frame. BRANDT He always hid his face. Why's he giving us a clear picture now? Beat. The bathroom TOILET FLUSHES. Selena emerges. PHIPPS Feeling better? SELENA I think I'd feel better if I could rest a little and see my son. Phipps nods to Brandt, who turns to two of his agents, one a female. BRANDT Escort her.", "INT. LATIN AMERICAN INSTITUTE - \"THE WOLF\" ROOM - DAY Gordy's on his feet, looking at The Wolf evidence, etc., on the walls. He ca n't keep his eyes off it. It's reminiscent of what he constructed on his wall at home. The second Agent's not in the room. FBI AGENT #1 Let's go through it again, Mr. Pitt. GORDY I've told you all I know. FBI AGENT #1 We got ta be sure. Gordy's eyes go to numbered evidence photo. It's a picture of a seashell. He points to it. GORDY What's that? FBI AGENT #1 What's the number on it? GORDY Eleven. The Agent refers to an index sheet as the Second Agent returns. He's holding a document. To Gordy - FBI AGENT #2 Mr. Pitt, you said Selena told you she had a daughter. GORDY She was killed in Guatemala. FBI AGENT #2 According to tests on the blood we drew on the plane, Selena's Rhesus F - six. She's genetically barren. She could n't possibly have had kids. Gordy does n't understand. Why would she have lied? The first Agent finds what he's looking for in the index. FBI AGENT #1 Number eleven, small seashell with a hole in it. That was found in the getaway car used in the bombing in New York. OFF Gordy's face. FLASHBACK - SELENA'S SEASHELL BRACELET There's a gap where one of the shells is missing. BACK TO SCENE -LRB- PRESENT -RRB- GORDY Shit.", "INT. LATIN AMERICAN INSTITUTE - VARIOUS SHOTS Gordy blasts through the building. As he runs. FLASHBACK - ELC JUNGLE VILLAGE Selena expertly flicks the safety off on the AK - 47. FLASHBACK - FBI INCIDENT CENTER Phipps addresses Gordy. PHIPPS We think the bomb was triggered by a cell phone. CONTINUE FLASHBACK PHIPPS Did you see a cell phone when you ran into him? GORDY No. FLASHBACK - ELC JUNGLE VILLAGE Selena and Claudio argue inside the house. Selena slaps the back of one hand into the palm of the other. FLASHBACK - THE WOLF'S VIDEO TAPE The Wolf does the same hand slap.", "EXT. LATIN AMERICAN INSTITUTE - DAY Selena emerges with the two CIA agents. ANGLE - DOWN BLOCK Claudio sits on his parked motorcycle. He sees Selena emerge. Drops his helmet visor and STARTS the BIKE.", "INT. LATIN AMERICAN INSTITUTE - LARGE CONFERENCE ROOM - DAY Gordy bursts in, sees Selena's not there. GORDY Where's Selena?! PHIPPS She went to see her son. GORDY She's lying! She's The Wolf! Gordy runs out. Phipps and others follow. OFF Brandt.", "INT. BATHROOM Brandt bursts in. He searches. Finds Mauro's leather doll behind the toilet. The head's detached. Brandt looks inside, and. We see a block of reddish Semtex plastic explosive and a chemical fuse. BRANDT Everybody out! Clear this floor! Now!", "INT. STAIRWELL Gordy jumps downstairs, four steps at a time.", "INT. CORRIDORS Institute personnel evacuate offices.", "EXT. LATIN AMERICAN INSTITUTE - STREET - VARIOUS ANGLES Selena and the agents cross the street toward the safe house. Claudio GUNS the BIKE toward them. Selena hears the BIKE. Sees Claudio coming. Uses the front edge of her hand to strike the female agent hard in the throat. The agent falls to her knees trying to suck air through a crushed windpipe. Selena whip - kicks the other agent to the ground. Claudio brakes hard next to Selena, who takes the female agent's pistol and spare magazines as. GORDY bursts outside, followed by Phipps et al.. Claudio OPENS FIRE with a MACHINE PISTOL, hitting two agents and scattering Gordy, Phipps and the rest. Selena SHOOTS the two escort people dead, then BLASTS away at the other people pouring out of the institute as she straddles the Ducati behind Claudio, and the powerful BIKE SCREAMS off down the street. Gordy jumps to his feet and runs after them.", "EXT. BUILDING'S TOP FLOOR BOOM! A MASSIVE EXPLOSION spits flame out of the windows of the building's top floor. PEOPLE dive for cover. Debris showers the street. GORDY keeps moving. STREET IN FRONT OF INSTITUTE runs one way in the direction the Ducati's headed. Far down the block, the bike turns right onto another one - way street. GORDY spots an alley on his right and turns into it.", "EXT. ALLEY Gordy's now moving parallel to Claudio and Selena, sprinting hard toward another one - way street, which crosses the alley ahead. He does n't know if he'll intercept the bike, but it's his only shot.", "EXT. STREET Claudio GUNS the BIKE down the second street, parallel to Gordy's alley. He and Selena reach an intersection with the one - way street. A right turn will complete the `` U'' and take them back toward Gordy. Straight ahead, the street they're on is one - way in the opposite direction. Claudio hangs right and cranks on the speed.", "EXT. ALLEY Gordy's almost to the next street. He can hear the WHINE of the DUCATI growing closer. When. A truck stops ahead of him and blocks the alley. Gordy veers into a walkway between buildings.", "EXT. STREET A parked car suddenly pulls out in front of the speeding Ducati. Claudio ca n't swerve around it. SLAMS ON the BRAKES. The car's driver, frightened and flustered by the near collision, is slow moving out of the way.", "EXT. TOWN HOUSE - BACK YARD Gordy bursts through a gate. Sees back steps leading to the open door of a second - story over a garage and charges the steps.", "EXT. STREET The driver of the car finally backs up. Claudio aims the DUCATI through a narrow gap and ZOOMS on.", "INT. TOWN HOUSE GARAGE Gordy blows into the second story of the garage, a converted old - time carriage barn. He's in the old hayloft. On the opposite side of the loft, a double door built for loading in hay is open above the street. Gordy sprints for the opening, and.", "EXT. STREET The Ducati tears around traffic, when. Gordy leaps out of the hayloft, launches himself off a parked car as the DUCATI SCREAMS past, and. He just manages to grab Selena and yank her off the bike. Selena's arms are wrapped around Claudio - when Gordy rips her out of the saddle, Claudio goes, too. The three of them tumble to the ground as the speeding Ducati spins, flips and disintegrates. CLAUDIO in leathers and a helmet. He takes the fall better than Selena. Gets to his feet. Looks for the guns they dropped. Before Claudio can get to a gun, Gordy's on him. They grapple. Gordy pounds Claudio hard. Once. Twice. When. SELENA side - kicks Gordy. He sags. She front - kicks a heel into his spine and between his shoulder blades. Gordy lets go of Claudio and drops. Selena's relentless, kicks Gordy repeatedly as. CLAUDIO gets the pistol. Turns. Aims the gun two - handed at Gordy's head, and BANG! DRAY SHOOTS Claudio dead from the mouth of the alleyway down the block. The first SHOT CRACKS the back of Claudio's helmet. The second SHOT punches through and exits his visor in a bright red mist of blood. SELENA bolts. GORDY goes after her. DRAY EMPTIES a CLIP at Selena, but he does n't have a clear shot and misses. SELENA sees a walkway between houses and turns in. SAME SCENE - BEAT LATER Gordy turns in behind her.", "EXT. WALKWAY Selena has ten yards on Gordy, but he's closing. She knows she ca n't outrun him in a straight line. Jukes through a gate into.", "EXT. ANOTHER TOWN HOUSE - BACK YARD A shovel lies in the grass. Selena scoops it up and in one motion, spins back toward the gate, launches it blade - first with all her strength, timing it perfectly, as Gordy runs through the gate, and. GORDY just barely evades the sharp shovel edge headed for his face. It does n't hurt him, but it stops him, and Selena breaks toward an open door of the house.", "INT. TOWN HOUSE - VARIOUS SHOTS Selena blasts into the bottom floor, runs through a playroom. Gordy's right behind her. SELENA mounts a stairwell. A girl's descending. Selena grabs a pigtail and flings her down the stairs, and. GORDY gets there just in time to keep the screaming girl from falling all the way to the bottom. He sits the uninjured girl down and continues on. SELENA runs toward the living room, which is undergoing a renovation. Without stopping, she tears through the plastic covering the doorway to seal in dust from the rest of the house. She topples what she can into Gordy's way. Throws nails down behind her. Grabs a circular saw and hurls it back at Gordy, just missing him and shattering a large wall mirror. Selena's a soldier, taught to pick up and use whatever weapons she finds as she moves through a battlefield - this battlefield gives her a crowbar, which she keeps as she runs out through plastic covering the other doorway. ARCHWAY leads into the dining room. Selena runs in. Gordy's right on her heels. Selena pulls down dining room chairs in front of Gordy. He vaults one but trips over the second and falls. SELENA blows through a swinging door into the kitchen, slamming into a Hispanic maid, who's coming to investigate all the noise. Both women tumble. Selena gets right back on her feet. She breaks out a window with the crowbar and exits onto a fire escape as Gordy blasts in from the dining room.", "EXT. TOWN HOUSE - FIRE ESCAPE The window Selena slipped through easily is small for Gordy. He gets hung up on the glass, losing precious seconds. Selena's already halfway up when Gordy hits the fire escape steps. The fire escape ends at a top floor window. Selena BREAKS out the GLASS with the crowbar and goes in.", "INT. TOWN HOUSE - VARIOUS SHOTS Selena's in a teenager's bedroom. The teenager's got headphones on, oblivious to everything. Selena darts through a bathroom into a second bedroom. GORDY enters the first bedroom behind her. WOMAN IN GARDENING CLOTHES and holding a digging tool stands on a stairwell landing, alarmed and confused by the chaos she hears in her house. She had started down the stairs but now has turned back at the sound of the WINDOW BREAKING on the top floor. Calls. WOMAN IN GARDENING CLOTHES What's going on? SELENA runs into the hallway at the top of the stairs, above the woman. WOMAN IN GARDENING CLOTHES Who are you? What are you doing in here? SELENA sees an open rooftop door at the top of a flight of stairs and charges upward without answering. GORDY'S in the hallway a second later. Meets the Woman In Gardening Clothes, who's now come up the stairs. She screams. Swipes at him with the digging tool, making three deep scratches in his face. Gordy does n't stop.", "EXT. TOWN HOUSE - ROOF/ADJOINING ROOFTOPS This is where the woman was gardening, tending a rooftop flower bed. Selena emerges, crushes plants as she runs to the next town house roof. Gordy hits the roof behind her. SELENA As Selena runs from rooftop to rooftop along the row of town houses, we see her warrior determination and discipline. She's thinking ahead and she never hesitates. Her big problem is she's being pursued by an equally well - trained and determined firefighter. And he's not far back. One tumble, and he'll catch her. Selena strains harder. SELENA vaults a gap. Moments later, Gordy vaults it. SELENA finally runs out of roof. She looks down. A fire escape ladder leads down to an interior, ground - level courtyard of a small foreign embassy. Still holding the crowbar, Selena takes the ladder down. MOMENTS LATER Gordy reaches the ladder. Selena's ahead of him by a floor, hurrying down two rungs at a time. Gordy does n't fuck with the rungs. Just swings over the edge of the roof, grabs the side - rails lightly with his hands, squeezes the rails with the insides of his boots and lets gravity take over.", "EXT. EMBASSY - COURTYARD The fire escape leads down to a second - story balcony running around the inside wall of the courtyard. Twin staircases lead from the balcony to ground level, where, across the slate - paved car court, a wrought - iron gate opens onto the street. Gordy hits the balcony a half - second after Selena. He grabs her. Selena swings the crowbar to break his arm. Gordy has to let go. Selena heads for the stairs leading to the ground. GORDY'S got one chance to intercept Selena. The balcony's too high for him to jump, but the courtyard's ringed with trees - they're not close, but they're not far, either. Not for a man craving revenge for the deaths of his wife and son, a man who also slides down fire poles for a living. Gordy runs down the balcony. Gains speed. Jumps. Launches off the balcony railing. And hurtles himself at the trunk of a medium - sized tree. He hits the trunk. Hangs on. And slides to the ground. And now. ANOTHER ANGLE He's between Selena and the only way out. And there's no way she's getting past him. But that's not what Selena's thinking. She attacks with the crowbar, and Gordy can only retreat in the face of the vicious onslaught. He finds a nearby garbage can. It's full, heavy, but he manages to lift it, spilling garbage as he uses the can to block the blows from the crowbar. The CROWBAR THWOCKS into the can over and over, the sound ECHOING LOUDLY in the small courtyard. Selena swings again, and Gordy moves to block the hit. It's a feint. She swings under the can and hits a leg. It hurts like hell, he stumbles, but he stays on his feet, still holding the can. Selena goes for his head. Gordy raises the can. Thwock! Thwock! The can's all dents. There's garbage everywhere. She feints high and then swings low again, a wicked blow to the knee. Gordy stumbles badly this time. Selena breaks for the gate. Gordy sees her and, with all his might slings the can across the slate pavers, and. The can takes Selena's legs out from under her. She falls hard. Gets back to her feet quickly and starts to run, when. Gordy hits her like a linebacker. Slams Selena against a brick wall. Gets behind her and slips a mighty arm around her thin neck. Selena squirms hard, kicks backward, going for the balls, kneecaps, insteps, doing whatever she can to hurt Gordy and get free. But she's not in a position to do a lot of damage - and she'd have to kill him before he'd let go. Gordy's got his arm locked in a police chokehold around Selena's neck. Uses his weight to force the smaller woman down onto her knees. Presses her harder, till she's sitting back on her legs. Selena ca n't drop out of the hold, and her legs are immobilized. All she can do is scratch. But Gordy's oblivious. They're alone in the courtyard. Body to body. Head to head. He's pumped with fury and hatred. He tightens the chokehold. Hisses in her ear - GORDY You killed them. SELENA -LRB- beat ; with contempt. -RRB- One woman, one boy - they mean nothing next to the thousands who've been slain. Gordy hears it. It only drives him to a deeper fury. GORDY They were my family. Gordy's blind with rage. Chokes her neck hard. Summoning all the power in him, first to shut off her air and blood, and then to continue squeezing, relishing her every dying moment, until he's snuffed out the life of the person who took Anne and Matt from him. And. He ca n't. it's all he's wanted since he saw Anne and Matt die, but now he ca n't do it. He's a firefighter. He saves lives. If he kills Selena, Gordy crosses into her world, into Brandt's world, into the brutal nightmare destroying Colombia and all the places like it, and becomes part of that sadness and death. And. Gordy relaxes the chokehold enough so she can breathe. Selena gasps for air. The impulse to murder has left Gordy. There's a new resolve. GORDY The killing ends here. Beat. Selena pants. SELENA It will never end. NEW ANGLE Under which an EMBASSY SECURITY GUARD emerges from the building. He sees Gordy and Selena - a large man holding a smaller woman in a chokehold. Draws his gun. EMBASSY SECURITY GUARD Let her go! Gordy looks up at the nervous guard pointing his gun. Selena screams. SELENA Please help me! EMBASSY SECURITY GUARD Let her go! GORDY No. You do n't understand. SELENA He's trying to kill me! EMBASSY SECURITY GUARD Let her go, or you're dead! He's going to shoot. Gordy has no choice. As he lets Selena go and stands - GORDY Hold us both till the police get here. ANOTHER ANGLE It's too late. Selena stomps a heel into the Guard's knee, crushing it, then twists the gun from his hands. She points it at him and pulls the trigger, and. In his agitation, the guard never took the safety off. Selena glances quickly at the gun to find the safety. ANOTHER ANGLE In the same moment, Gordy grabs the crowbar from the ground. SELENA flicks off the safety and points the gun again. GORDY hurls the crowbar with all his might, and. NEW ANGLE The GUN FIRES, just as the crowbar hits Selena, spoiling her aim. The bullet creases the guard's arm. Selena recovers. And the next BULLET. ANOTHER ANGLE Is n't hers. It's from Phipps' GUN. It takes Selena in the middle of the back and explodes her heart on its way through her body. She's dead on her feet. Her body crumples to the ground and empties its blood in a large pool that quickly spreads over the slate. OTHER AGENTS move in to help the guard as Phipps holsters his pistol. He walks to Gordy. The two men share a long, silent look. It's over. Gordy looks again at Selena's body in its pool of blood. Then turns and goes. BRANDT'S entering the courtyard as Gordy walks out. Brandt's seen Selena. He's smiling. BRANDT We got the bitch. Gordy hits him. One of the jackhammer blows he slammed into Claudio in the bunker. A hard fist deep in the gut that drives all the wind from Brandt and drops him to his knees. Beat. Gordy's voice is cold and hard - GORDY You're no better than she is. And Gordy goes.", "INT. FIREHOUSE - KITCHEN - DAY Gordy cranks away on the repaired ice cream maker. He's wearing civvies. He stops cranking, spoons out a huge dollop into a bowl.", "INT. FIREHOUSE - TRUCK BAY Gordy hands the bowl to Mauro, who's playing in the front seat of the pumper. Mauro tastes it. Thumbs up. Gordy smiles. Mike and the other men on Gordy's old shift are watching. To Gordy - MIKE It'll be good to get you back. Gordy turns to them. Looks into the faces of these men, the people closest to him in the world. Beat. Then - GORDY It's good to be home. Gordy's still in pain, still missing the wife and son he'll never see again. But Gordy's gon na be alright. Mauro's gon na be with him. There'll be fires to put out and lives to save and basketball games and the multitude of miseries and joys the firefighters in Spanish Harlem see each and every day. As we PULL BACK, OUT and AWAY from the old brick edifice from which the big red truck will come, bringing help. FADE OUT. THE END"], "labels": [0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 0.0, 1.0, 1.0, 0.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0], "summary": "A bomb detonates in the plaza of the Colombian Consulate building in Los Angeles, killing nine people, including a caravan of Colombian officials and American intelligence agents. Among the civilians killed are the wife and son of LAFD firefighter, Captain Gordon \"Gordy\" Brewer, who was injured in the explosion. A tape is sent to the U.S. State Department, in which a masked man calling himself \"El Lobo\" (The Wolf) claims responsibility, explaining it was in retaliation for the oppression of Colombia by the United States. The FBI believes El Lobo is a Colombian terrorist named Claudio Perrini. CIA Special Agent Peter Brandt, the Colombia Station Chief, is harshly reprimanded for the incident by a Senate Oversight Committee, which promptly terminates all CIA operations in Colombia. Brandt angrily returns to Momp\u00f3s and meets with his paramilitary allies to plan a major offensive to take down Claudio. Frustrated at the political red tape regarding the investigation, Brewer travels to Momp\u00f3s to personally hunt down Claudio but is quickly arrested for illegal entry. The guerrillas stage a prison break to free their comrades and abduct Brewer to demand a large ransom for him. Brandt's unit is alerted to Brewer's presence in Colombia but arrive too late. Brewer escapes the prison, avoids being captured, and secures a guerrilla zone pass from Canadian mechanic Sean Armstrong. Armstrong introduces him to drug runner Felix Ramirez, the manager of the cocaine distribution facility that finances the guerrillas. Pretending to be a mechanic, Brewer rigs several improvised explosives and destroys the facility. Felix is blamed for the destruction of the drug plant and is executed in front of a hiding Brewer's eyes. Brewer infiltrates Claudio's headquarters and plants a bomb to kill him, but he is captured when he tries to prevent a woman, Selena, from being caught in the blast radius along with her son, Mauro. At Claudio's home compound, Selena reveals she is Claudio's wife. She and Claudio once lost their own child during an American attack, which compelled Claudio to become a terrorist; Selena found and adopted Mauro, whose parents were killed in the attack. Nevertheless, Selena sympathizes with Brewer and admits that Claudio is planning another bombing in Washington, D.C.. Meanwhile, Brandt's unit locates Claudio's compound and launches an attack. During the ensuing shootout, Selena helps free Brewer and, along with Brandt, travels back to the State Department in Washington, D.C. to help the search effort for Claudio. Selena identifies Union Station as the target, and the FBI investigates. On the pretense of using the lavatory, Selena excuses herself from the command room and becomes irritated when Mauro refuses to come with her. When Brewer sees Selena make the same gesture as the masked man who claimed to be El Lobo in the tape, he realizes that she was the Wolf all along, and Claudio serves as her figurehead, and that the entire motive behind their cause is personal revenge for the death of their daughter at the hands of the US. Furthermore, Brewer surmises the real target is the State Department, and that he was used to help Selena get past the building's security. Brewer quickly throws Mauro's bomb-laden toy dinosaur out a window moments before it explodes. Brandt, realizing Brewer's suspicions, is shot and killed trying to stop Selena from fleeing the building. Brewer chases Selena to the basement of the building where she and Claudio ride off through the tunnels on a motorcycle. Brewer finds the tunnel control console and shuts the gates, preventing their escape. Brewer chops open some gas lines along the walls of the tunnel and, as they ride back, Selena shoots at Brewer, igniting the gas. Brewer jumps through a doorway just as the entire tunnel explodes. Selena and Claudio survive the blast, however, and attack him simultaneously. After a short, hand-to-hand fight, Selena is electrocuted by being tossed on the exposed circuitry of the control panel, and Claudio is finally killed when Brewer throws an axe into his chest. In the aftermath, Brewer carries Mauro in his arms as they leave the State Department. A newscast voiceover explains that Brewer will receive the Presidential Medal of Freedom for preventing one of the worst terrorist attacks in U.S. history from taking place.", "name": "Collateral_Damage_(film)"}
{"scenes": ["EXT. A HOUSE IN THE HOLLYWOOD HILLS - NIGHT The view of downtown Los Angeles from the enormous, ornate house is extraordinary. A small outdoor dinner party is in progress. A MAGICIAN is entertaining guests. Playing cards and coins appear and disappear in his nimble hands.", "INT. HOUSE STUDY - NIGHT EDWARD HARRIS stands at the window, impassively looking down at the party. Edward is a handsome, well groomed man of around forty. He looks tired ; the kind of fatigue that ca n't be cured by a night's sleep. EDWARD -LRB- a murmur. -RRB- Left pocket. And indeed, down below, the magician pulls the coin from the left pocket of the incredulous WOMAN's silk blazer. More laughter and applause. The study is in keeping with the rest of the house. Luxurious. Everything the best. WILLIAM STUCKEY, Edward's contemporary, is a crafty looking lawyer who is the party host. VANCE is an investment banker. His assistant JAKE, is a financial researcher. The other men are INVESTMENT BANKERS. They are in dark suits and power ties. On the table are stacks of documents and folders, the name `` KROSS INDUSTRIES'' is prominent on many of the folders. INVESTMENT BANKER 1 Our banks certainly does n't want to discourage Harris Enterprises from investing in California. We think this is a great new venue for you but you've got to understand the mergers and acquisitions market is changing. With the upswing in inflation we have to make these offerings tempting to offset the risk. VANCE Look, we're talking about hard assets and a straight liquidation. We have over a thousand man hours in this deal. STUCKEY -LRB- losing patience. -RRB- This is a `` no brainer''. There's no risk for you. No one has ever lost money backing Mr. Harris. INVESTMENT BANKER 2 Not yet. But ship building is a new endeavor for you. STUCKEY -LRB- cuts him off. -RRB- Come on. You know we're not going to go into ship building. Besides, you're the ones with the troubled track record, not us! INVESTMENT BANKER 3 Bill, be reasonable. If you're really going to digest Kross Industries that quickly eighteen should not be such a problem. Besides, I do n't think there's anywhere else you can go for the money in the time you have. EDWARD It's unacceptable. Edward turns from the window. He has n't miss a thing. All eyes are on him. EDWARD Draymen Heux has offered me seventy - five in the pool at sixteen and a half. I can secure the other half personally. You have until tomorrow morning to make me a better offer. The bankers speechlessly stare at him. EDWARD The meeting is over, gentlemen. He turns away. The bankers look at one another. They rise. Silence as they exit. When the door closes. Stuckey explodes with laughter. STUCKEY Hah! Did you see the look on their faces? VANCE You do n't think we pushed too hard? STUCKEY NO way! They'll come back. They ca n't afford not to. Edward, that bluff was beautiful. EDWARD Maybe I should have made it rhyme. The others stare at him, uncertain. Stuckey laughs. The others follow suit. EDWARD -LRB- looking at his watch. -RRB- Well! It's late. We've been at this long enough. Stuckey rises. Edward ushers Vance and Jake toward the door. EDWARD Gentlemen, enjoy the party. The magician's wonderful. Vance and Jake exit. EDWARD -LRB- calling after them. -RRB- Watch your left pocket. A BUTLER has entered the room. BUTLER Phone call, Mr. Harris. It's Miss Charles. STUCKEY Cynthia? Is she coming out? EDWARD We're about to find out. Go on. Take care of your guests. Stuckey exits the room as Edward crosses to the telephone. EDWARD -LRB- into phone. -RRB- Where are you, Cynthia? -LRB- beat. -RRB- I see. -LRB- pausing, getting angry. -RRB- No, I do n't expect you to be at my beck - and - call. Are you coming or not?", "INT. HOUSE - STAIRWAY - NIGHT Edward descends the long, curved stairway. He has Vance in tow. EDWARD -LRB- all business. -RRB- Prepare the filing papers. Have them ready by the middle of the week. I'll tell you when to submit them. The PEOPLE talking and drinking on the stairway gravitate toward Edward. A MAN Edward! EDWARD -LRB- turning on the charm. -RRB- Yes! THE MAN Will we see you at the polo matches Wednesday? EDWARD Would n't miss it. -LRB- abruptly ; to Vance. -RRB- I want this done fast and easy. No slip - ups. I want to be back in New York by Saturday. Got it? He deftly keeps making his way through the crowd.", "INT. HOUSE - THE DOWNSTAIRS HALL - NIGHT Stuckey is sipping champagne and talking to a beautiful WOMAN in a tight sheath of an evening dress. An elegant woman ELIZABETH STUCKEY approaches from behind him. She taps him on the shoulder and he turns, startled. ELIZABETH Bill? STUCKEY -LRB- flustered. -RRB- Oh. Hi, honey. Millicent, uh, uh, Millicent. MILLICENT Lowell. STUCKEY Lowell, right. My wife, Elizabeth. ELIZABETH -LRB- ignoring her. -RRB- Is Edward leaving? Stuckey looks up to see Edward moving quickly toward the door. Stuckey abruptly leaves the two woman together to follow Edward.", "EXT. THE HOUSE - NIGHT Edward comes out of the house. Jags, a limo with waiting DRIVER and two BMW's pack the circular driveway behind a black Ferrari. The limo driver leaps to attention at the sight of Edward. Edward stands, making an obvious effort to keep his impatience under control. Stuckey comes out of the house and down the walk. STUCKEY What's up, where you going? EDWARD Give me your car keys, will you, I'm going back to my hotel. STUCKEY At least stay for a drink. This party's for you. EDWARD Apologize to Elizabeth for me. Stuckey gropes uncertainly in his pocket for keys. STUCKEY Listen, there're some major local talent inside just dying to meet you. EDWARD -LRB- as if delighted. -RRB- Really? Some high class gold digger who speaks French better than I do? -LRB- turning away. -RRB- No, thank you. I just got off the phone with one. STUCKEY Cynthia's not coming? EDWARD No. Edward grabs the keys out of Stuckey's hand. He crosses to a black Ferrari and gets in. STUCKEY Let your driver take you. We'll move the cars. Edward starts the car. STUCKEY Can you drive a stick? The car lurches forward with a squeal of wheels and promptly stalls. STUCKEY Edward, give me a break! With a squeal of tires, the Ferrari bucks out of the driveway and. stalls again. EDWARD Love this car! Is it new? STUCKEY Yes! And you do n't even know where you're going! Edward starts it again and heads uncertainly uphill. Stuckey watching, throws up his hands. STUCKEY That's the wrong way!", "EXT. HOLLYWOOD HILLS - NIGHT The Ferrari, moving fast through the Hollywood Hills, passes large, beautiful homes. Edward shifts, grinding gears.", "EXT. HOLLYWOOD HILLS - NIGHT The Ferrari comes to a red light and pulls up next to a Dodge Colt. The GIRL in the Colt looks at Edward and his car admiringly. Edward feeling confident now, revs the engine. The light turns green. Edward immediately stalls the Ferrari. The Colt leaves him in the dust.", "INT. FERRARI - NIGHT Edward drives. He blinks, shakes his head as if trying to rid himself of his own tired thoughts.", "EXT. HOLLYWOOD HILLS - NIGHT The Ferrari comes to the intersection of OUTPOST and FRANKLIN, stops. Edward gets out of the car. He looks at the street signs. He has no idea where he is. He signs. He gets back in the car and takes off on Franklin heading East.", "EXT. A SIDE STREET IN HOLLYWOOD - NIGHT A crumbling old apartment building. Dark alley ways, deserted parking lot. The Ferrari - blink and you miss it - motors past the building, looking very out of place on the street. PANNING UP A building facade of lit windows and metal fire escape. One window in particular. A GIRL stands there in a short kimono, looking down. And then she turns away.", "INT.  VIVIAN'S APARTMENT - NIGHT A SERIES OF SHOTS to see her dressing.", "INT.  VIVIAN'S APARTMENT - NIGHT VIVIAN turns and stares at herself in a grainy, cracked bedroom mirror. She is twenty years old and a prostitute. Make - up applied to give her a hard, older look does n't quite succeed. She'd be innocently beautiful without it. She is wearing tiny shorts, a tight tube top, thigh high boots. She stares at herself, not really liking what she sees. A moment. She signs, turns off the light and walks out of the bedroom.", "INT. APARTMENT BUILDING HALLWAY - NIGHT Faded, peeling walls. Thread bare, dirty carpet. Vivian locks the apartment door behind her and starts down the dim hallway. A door suddenly opens, startling her. An unshaved, enormously pot bellied MAN in a stained t - shirt stares at Vivian with pig eyes. LANDLORD Vivian. Vivian turns some `` tough'' on him. VIVIAN Yeah, what? LANDLORD Rent. You're late. VIVIAN Do n't give me that. Kit gave it to you yesterday, cash. LANDLORD Kit give me nothin'. VIVIAN -LRB- suddenly uncertain. -RRB- You bullshittin' me? LANDLORD Of rent I do not bullshit. Vivian hurries at a run back down the hallway. LANDLORD By the end of the week or you're otta here. -LRB- a beat. -RRB- By the way, you look very nice tonight!", "INT. VIVIAN'S APARTMENT - KITCHEN Vivian pulls a coffee can off a shelf. She pulls off the top. It's empty. She tosses the can away, starts for the door. She opens it.", "INT. APARTMENT HALLWAY - NIGHT Down the hallway, the landlord is standing in front of his open doorway, talking to a FAT WOMAN. They both glance up. Vivian quickly closes the door. She does n't want to deal with them.", "EXT. APARTMENT BUILDING - NIGHT Vivian comes off the fire escape onto the sidewalk. She hurried away.", "EXT. HOLLYWOOD BLVD. - NIGHT Vivian walks along, urgently looking for something. someone. A BABBLING STREET - TYPE goes by happily talking to himself. He wears an `` I Love Hollywood'' t - shirt. Vivian passes TOURISTS but does n't notice them any more than she pays attention to the VAGRANT she passes further on, huddle in a doorway. A LONG - HAIRED KID on a SKATEBOARD goes by dropping off little bags to various STREET - TYPES. A BARKER - TYPE stands in front of a photo store urging tourists to come in and take a photo with a cardboard cut - out of a movie star. Some go in. Vivian hurries past a group of rubbernecking JAPANESE TOURISTS. A BLACK PROSTITUTE in a mini skirt strolls toward her. A car passes. The DRIVER stares at Vivian with interest. She ignores him. The black prostitute approaches the car. PROSTITUTE Hey, baby, you lookin' for a date? The Driver looks her over. The Black Prostitute gets in the car and it drives away. A GROUP OF MEN, mostly drug dealers, hang out at an all night coffee shop. They WHISTLE and make obscene gestures and SOUNDS as Vivian hurries by. She ignores them and goes next door into a falafel stand. Half a dozen PEOPLE sit at dirty tables inside.", "INT. FALAFEL STAND - NIGHT Behind the counter are a MAN and a WOMAN, Vietnamese cooks frying food, trying to ignore the unsavory crowd camped in the shop. VIVIAN Chan, you seen Kit tonight? COOK 1 Hi, hi! No see nothing. VIVIAN You do, tell her I'm looking for her. COOK 2 Looking good, bay - bee. VIVIAN Yeah, you too, D'Nai. If Kit comes in here, tell her stay. Both of them nod and smile at Vivian. Vivian exits.", "EXT. HOLLYWOOD BLVD. - NIGHT Skateboard zips by a GROUP. We SEE a police car parked at the entrance to an alcove. Also, an ambulance. The bubblegum lights are going. A CROWD has gathered. The happy man with the `` I Love Hollywood'' t - shirt and a POLICE OFFICER are engaged in tense conversation. COP They just pulled her out of a dumpster in the back. Now talk to me. MAN I tell you, man, I do n't know who she hang with. COP She have a pimp? MAN Cocaine her pimp, man. She a strawberry. She be out on these streets, day in, day out, tradin' her sorry ass for crack. And now she dead from it. Vivian rushes up to join the outskirts of the crowd as the body of a YOUNG GIRL is pulled out of an open dumpster and carried towards the waiting ambulance. For a moment Vivian thinks it's. no, Vivian turns grimly away. Vivian surveys the dark street. And suddenly sees who's she's looking for. Walks.", "EXT. HOLLYWOOD BLVD. - WIG SHOP - NIGHT We SEE a young, tough - looking MAN and WOMAN trying on wigs. The STOREKEEPER is a man wearing a dress and wild wig. The girl, KIT, is around 18, is dark haired and thin. The young man, CARLOS, has his arm sloppily draped across Kit's shoulder. They giggle about something, both obviously high. Kit looks up, bleary - eyed. She stops. Vivian is standing in front of her. VIVIAN You spent it on drugs, did n't you? KIT Hi, Viv. Carlos, you know my roommate, Viv. CARLOS Lookin' good, baby. VIVIAN -LRB- ignoring him. -RRB- Did you blow it all, Kit? Is it all gone? KIT Carlos had some great rock. VIVIAN I bet. -LRB- beat. -RRB- That was our rent! Carlos attempts to put an arm around Vivian's shoulders. CARLOS Calm down, Chica. Vivian throws him off. CARLOS Ey! What is it you wan', baby? I can fix you up. VIVIAN Beat it, scum bucket! CARLOS You kiss your mother with that mouth? Your frien' still owes me 200. VIVIAN -LRB- to Kit. -RRB- Let's go. Skateboard appears suddenly, blocking Vivian and Kit's path. VIVIAN Get out of my face or I'll have those cops on your ass in two seconds. Carlos glares at her. He looks down toward the lights of the cop cars. One of the POLICEMEN looks towards them, curiously. Vivian waves at the cop. CARLOS -LRB- threatening to Vivian. -RRB- Do n't take no dates tonight, chica, you got one with me. Vivian grabs Kit by the arm and pulls her across the Boulevard.", "INT. FALAFEL STAND - NIGHT Vivian and Kit sit at a table sipping tea. Vivian is still mad at her. VIVIAN We worked for that money. We were gon na put together enough to get out of that dump we live in, get off this street. KIT Viv. do n't be stupid. We're whores. Vivian looks like she wants to weep. Or scream. She does neither. She slowly nods. Kit's sorry she said that. KIT -LRB- cont'd. -RRB- So I blew our stash. We could make it all back with one good night on the streets. VIVIAN I just saw somebody pulled out of a dumpster. I wonder how much she made tonight? KIT Do n't be mad at me. I'll pay you back. I promise. VIVIAN I thought you were giving up that drug shit. KIT I will. I'm trying. -LRB- a beat. -RRB- Meanwhile I got some crack left, you wan na get high? VIVIAN No, let's go to work. Okay? KIT Okay. -LRB- then touches her hand. -RRB- I'm sorry I said your dream was stupid.", "EXT. HOLLYWOOD BLVD. - NIGHT Edward's Ferrari turns onto Hollywood Blvd., finally out of the Hollywood Hills.", "EXT. HOLLYWOOD BLVD. - NIGHT Vivian and Kit are out trying to hustle John's in passing cars. Vivian strikes a sexy pose at the bus stop. Kit is talking to another prostitute, RACHEL. KIT No no, honey. You see these stars on the sidewalk. Me and Vivian work from Don Ameche all the way up to Roy Rogers. This is our office. We got seniority. Get off our corner. RACHEL I was just taking a rest here. Besides, she's new. -LRB- points to Vivian. -RRB- KIT But I'm old. Go rest up by Monty Hall or Debra Paget where you belong. Rachel walks off. VIVIAN -LRB- looks at passing cars. -RRB- Looks slow tonight. KIT Maybe we should get a pimp. Carlos likes you and - VIVIAN Forget it. We work for it. We keep it. They keep hustling. KIT I ca n't handle this tonight. I'm going home. VIVIAN -LRB- stares at her. -RRB- That crack is burning a hole in your pocket. There is n't even milk in the fridge. The rent's due. Now come on -", "EXT. HOLLYWOOD BLVD. - ANGLE ON FERRARI - NIGHT KIT -LRB- O.S. -RRB- -LRB- suddenly. -RRB- Hey, hey - There's a rent.", "EXT. HOLLYWOOD BLVD. - BACK TO SCENE - NIGHT VIVIAN He's not gon na want us. The Ferrari goes by and stops. EDWARD -LRB- calls out to Vivian. -RRB- Excuse me. KIT -LRB- excited. -RRB- Do n't take less than a hundred. You look hot tonight. And remember, do n't mouth off. They do n't like that. VIVIAN Okay. Go home. But take it easy on that shit. Kit gives Vivian a quick hug. KIT You're the greatest. I'll wait up for you. And then Kit is off, moving quickly away. Vivian turns. She stares at the Ferrari, loathing it and all it represents. And then it's as if Vivian turns a switch. She fluffs her mane of hair, throws her shoulders back, thrusting her breasts out and sashays towards the car, a sexy, friendly smile on her face. In the driver's seat of the Ferrari, Edward is looking furious and distracted. Vivian leans over the passenger window. VIVIAN Hey Sugar, you lookin' for a date? EDWARD What's that? VIVIAN You looking' for some company? EDWARD Uh, no. How do I get to Beverly Hills? VIVIAN What? -LRB- dropping the come on. -RRB- You gon na tell me you're lost? EDWARD Yes. VIVIAN Great. What do I look like a tourguide? Edward takes a good look at her. EDWARD -LRB- a beat. -RRB- No, you look like a hooker. VIVIAN Actually, I'm a movie star out for a walk. EDWARD Good. Can you tell me how to get to Beverly Hills? VIVIAN Sure. For five bucks. EDWARD That's ridiculous. VIVIAN The price just went up to ten. EDWARD Why do n't you just do it out of the kindness of your heart? VIVIAN -LRB- sweetly. -RRB- Sit. and spin. EDWARD Sit - and - spin. -LRB- amused. -RRB- Alright. why not? He pulls out his money clip. Vivian suddenly freezes. On the sidewalk up ahead, Carlos and Skateboard. Carlos flashes an evil, menacing grin. He motions to Skateboard, they start forward. EDWARD -LRB- holding up a bill. -RRB- You have change for a twenty. Vivian pulls open the door of the car and jumps in. VIVIAN For twenty, Ill show you personal. Drive. Edward stares at her. She smiles sweetly. VIVIAN -LRB- cont'd. -RRB- Make a `` U - ee''. Beverly Hills is the other way. The Ferrari pulls away, passing Carlos on the sidewalk.", "INT. FERRARI - MOVING - NIGHT VIVIAN Nice car. Yours? EDWARD -LRB- as he grinds the gears ; wincing. -RRB- No. VIVIAN Stolen? EDWARD Not exactly. He smiles. Vivian smiles back. VIVIAN Mind if I turn on some heat? EDWARD If you can figure it out, be my guest. Vivian reaches out, turns on the heat. EDWARD Very good. You're obviously mechanical. VIVIAN -LRB- laughs. -RRB- You're not from L.A., huh? EDWARD New York. VIVIAN What motel you staying at? EDWARD Hotel. VIVIAN Okay, what hotel? EDWARD Regent Beverly Wilshire. I bet you know it. VIVIAN -LRB- annoyed at his tone. -RRB- Yeah, I peed in the fountain there once. Give me a break. Edward glances over, amused. It hits him that she really is an attractive girl. EDWARD What's your name? VIVIAN What do you want it to be? -LRB- a beat. -RRB- Vivian, my name's Vivian. EDWARD You like being a hooker, Vivian? VIVIAN It pays. EDWARD So do day jobs. VIVIAN -LRB- sarcastic. -RRB- Day jobs, yeah. I've tried them. -LRB- a beat. -RRB- Turn right.", "EXT. SANTA MONICA BLVD. - NIGHT The Ferrari glides along a seedy, West Hollywood section of Santa Monica.", "INT. FERRARI - MOVING - NIGHT EDWARD Must be dangerous. Hooking. VIVIAN Tell me about it. L.A. is suffering from a wacko epidemic. And who knows where half the guys I pick up have been. I mean, I use condoms. Always. And I get checked out once a month at the free clinic. Not only am I better in the sack than an amateur, I'm probably safer. EDWARD Very good. You ought to have that printed up on your business card. VIVIAN -LRB- a moment. -RRB- If you're making fun of me, I do n't like it. EDWARD Sorry. If I did, I did n't mean to. Vivian unconsciously bites her fingernails. EDWARD Ugly habit, biting your nails. VIVIAN You do n't know habits, you think this is ugly. But she puts her hands in her lap. She looks out the window. She's safe from Carlos. VIVIAN Okay, pull over. Let me out. I've got to get back to work. Edward pulls the Ferrari to the curb and stops. VIVIAN -LRB- cont'd. -RRB- Stay on this street and you'll hit Beverly Hills. EDWARD What do you charge for company, Vivian? VIVIAN Company would cost you. a hundred dollars. EDWARD For the whole night? VIVIAN For an hour. EDWARD You're joking. VIVIAN I never joke about money. EDWARD Neither do I. -LRB- a moment ; amused. -RRB- A hundred bucks an hour though. That's pretty stiff. She reaches across the seat. Her hand goes in his lap. VIVIAN No, but it's getting there. EDWARD Vivian, how much to put up with me for the entire night? VIVIAN You could n't afford it. Vivian starts to get out of the car. EDWARD Try me. A moment. Vivian's sexy smile comes on. VIVIAN Three hundred. EDWARD Fine. VIVIAN What's your name, lover. EDWARD Edward. My name is Edward. VIVIAN Edward. you got it! Edward gets out of the car. Vivian looks at him confused. EDWARD Get in. This side. VIVIAN What? EDWARD You know how to drive a stick? Vivian moves around the car. VIVIAN Better believe it. EDWARD Then let's go. It's worth 300 just so I do n't have to drive. They get in the car.", "INT. FERRARI - NIGHT She starts the car, revs it. VIVIAN Here we go Edward.", "EXT. HOLLYWOOD BLVD. - NIGHT The Ferrari peels out, fishtails madly and SCREAMS up the street.", "EXT. REGENT BEVERLY WILSHIRE HOTEL - NIGHT Thousands of tiny white lights sparkle along the walls of the Regent Beverly Wilshire Hotel. Bright flags are illuminated by carefully placed spotlights. The Ferrari SCREAMS into the driveway and comes to a jarring stop by the front door.", "INT. FERRARI - NIGHT Edward takes a moment to get his breath. He gestures toward the back. EDWARD My raincoat's in the back. Put it on. VIVIAN Why? EDWARD You may feel more comfortable. This is not the kind of place that rents rooms by the hour. VIVIAN You mean they do n't have hookers. EDWARD Every place has hookers, but if this hotel has hookers, they do n't look like they're. VIVIAN Off the boulevard. EDWARD Exactly.", "INT. REGENT BEVERLY WILSHIRE HOTEL LOBBY - NIGHT As they walk in, Vivian is tying the trenchcoat. VIVIAN Great. Now I took like a hooker in a trenchcoat. She looks up. She stops in her tracks. The lobby is bright and spacious, filled with thick carved wood paneling. Even at this hour there is a great deal of activity. MEN in business suits and WOMEN in furs and jewels are passing by. Vivian's face quickly conceals the sudden awe she feels at the sight of all this luxury. Vivian matter of factly reaches out and takes Edward's arm. VIVIAN So let's go. Edward guides them across the lobby. They reach the elevators and go inside.", "INT. HOTEL - ELEVATOR - NIGHT The young ELEVATOR OPERATOR is dressed in a clean red uniform that seems just a bit too tight. As the elevator doors close he nods toward Edward. OPERATOR Evening, sir. EDWARD Good evening. Penthouse. VIVIAN Penthouse. My, my. She sees the operator glancing at her. VIVIAN The penthouse. And step on it.", "INT. HOTEL - HALLWAY - NIGHT Edward and Vivian come out of the elevator into a hallway leading to a single doorway with two heavy wood doors. Edward pulls out his key and unlocks the doors. With a gentle push the door slide open in unison. Edward gestures to Vivian to go inside. She does. Edward closes the doors behind her.", "INT. HOTEL - PENTHOUSE - NIGHT As Vivian steps into the room she has the sensation of falling off the top of the building. In front of her is a sunken living room with massive windows revealing the sparkling lights of the city below. For the first time, she is speechless. Edward closes the door and walks past her down the steps to the living room. Edward picks up a phone. Vivian checks out the room. EDWARD -LRB- into the phone. -RRB- Room service. -LRB- to Vivian. -RRB- What do you drink? VIVIAN Diet coke. EDWARD -LRB- into the phone. -RRB- Send up a bottle of Crystal champagne. VIVIAN Can I have some chips? EDWARD -LRB- into the phone. -RRB- - and a bowl of strawberries. Thank you. Vivian makes her way down the steps to the living room. She stares at the view. EDWARD -LRB- to Vivian. -RRB- Impressed? Vivian is impressed but she's not going to admit it. VIVIAN You kidding? I come here all the time. As a matter of fact they do rent this room by the hour. Edward smiles. He sits down in a comfortable chair and leans back. Vivian looks at him. VIVIAN -LRB- cont'd. -RRB- Well, now that you have me for the night, what are you going to do with me? EDWARD Want to know something? I do n't quite know. I had n't planned this. VIVIAN Do you plan everything? EDWARD -LRB- a small smile. -RRB- Always. VIVIAN Well, the meter's running, it's your money. Speaking of which, cash'll do. In advance. EDWARD Fair enough. He rises. Takes out his wallet. Standing over her, he drops THREE crisp, new hundred dollar bills in Vivian's lap. She picks up the bills, stares at them, trying not to be impressed. She puts the money in her jacket. She realizes Edward is standing over her as if waiting. She leans forward, reaches out to unzip his pants. He abruptly turns away. EDWARD Let's talk some more first. VIVIAN Right. -LRB- brightly. -RRB- So! In town on business? EDWARD -LRB- taking off his jacket. -RRB- Uh - huh. VIVIAN Let me guess, you're a. lawyer. EDWARD -LRB- loosening his tie. -RRB- And why do you say that? VIVIAN -LRB- a small smile. -RRB- I dunno. you have that sharp, useless look. Edward almost smiles. He sits across from her again. EDWARD Sounds like you've known a lot of lawyers. VIVIAN I've known a lot of everybody. A chime goes off to indicate there's someone at the door. EDWARD Champagne. He starts to sit up. Vivian motions for him to stay put. VIVIAN Hey. I might as well make myself useful. Edward sits back down. Vivian waltzes up the steps and opens the front door. A WAITER comes into the room with a silver cart ; on it is a bucket of champagne and a covered bowl. WAITER Where would you like it? VIVIAN Where would we like it? EDWARD Where would we like it? Here'll be fine. The Waiter carries it down the steps and sets it in the middle of the living room. He turns and heads back up the stairs and pauses near Vivian, staring. Vivian stares back at him. VIVIAN What are you looking at? The Waiter glances away uncomfortably and exits. Vivian closes the door behind him. Vivian marches back down the stairs. EDWARD I think he wanted you to tip him. VIVIAN Tsk. Excuse me, I did n't think he had change for a hundred. Edward crosses to the silver stand. Vivian watches with interest as he twirls the champagne bottle in the ice bucket. VIVIAN -LRB- cont'd. -RRB- You have a wife? Girlfriend? EDWARD I have both. Edward lifts the bottle out. He deftly pops the cork on the bottle without losing a drop of champagne. VIVIAN Where are they? Shopping together? EDWARD They should be. They're both good at it. Edward pours the champagne into a single long stemmed glass and hands one to Vivian. EDWARD -LRB- cont'd. -RRB- My ex - wife lives in London in what used to be my home. My girlfriend is in New York moving out of my apartment even as we speak. Cheers. He drinks, nods approvingly. EDWARD It's a very good year. VIVIAN Oooh, thank god. Edward laughs softly. She sips it. To her surprise, really likes it. Edward lifts a lid on a silver bowl to reveal a dozen enormous strawberries. EDWARD Try a strawberry. VIVIAN Why? EDWARD Because they bring out the flavor of the champagne. VIVIAN Jesus, you act like you're seducing some Valley girl you picked up in a dance club. EDWARD Vivian. the meter's running. cooperate. A moment. She slowly eats a strawberry. The juice of it stains her lips. Her eyes are like smoke as she takes a sensuous sip of champagne, licks away the stain of the strawberry. His eyes have n't left her. EDWARD -LRB- softly. -RRB- You really are a very beautiful girl. VIVIAN -LRB- husky - voiced. -RRB- Just a romantic, that's you. EDWARD Yes. Her mouth is so wet and inviting. he leans closer. VIVIAN Me too. He's about to kiss her. VIVIAN -LRB- cont'd. -RRB- Not on the lips. He freezes. She pulls his head down to her breast.", "INT. PENTHOUSE BEDROOM - NIGHT Edward and Vivian on the bed. He is on his back, his shoulder and head resting against the headboard. She is astride him, hands resting on his chest, rocking. in control, confident. very much liking the fire she's kindled in his eyes.", "INT. PENTHOUSE BEDROOM - CLOSE ANGLE ON THEIR FACES - NIGHT EDWARD -LRB- touching her breasts. -RRB- What do you like? VIVIAN If I want you to turn me on I'll pay you three hundred. Just lay back and let me drive. Smiling, Vivian reaches behind her, touching him. He tries not to groan. She's moving faster now. Edward suddenly pulls her violently to him, he rolls her over.", "INT. PENTHOUSE BATHROOM - SHOWER - NIGHT A heavy spray of water comes down upon Edward. He stands there quietly letting it wash over him. He turns off the shower, steps out of the stall, picks up a towel and dries himself.", "INT. PENTHOUSE BEDROOM - NIGHT Edward stares. His expensive clothes are on the floor, haphazardly dropped everywhere. Vivian's clothes, as tattered as they are, are neatly folded and piled on a chair. The incongruity of it touches Edward in a sad way. He looks toward the bed. Vivian is fast asleep. Her heavy makeup has long since been rubbed off. Asleep, her wary, smart - ass attitude is gone. She looks like a sweet, gentle girl. He stares at her a moment longer. He turns, goes into the living room. Vivian opens her eyes. Through the open door she sees Edward sitting in a living room chair. He is reading contracts.", "EXT. REGENT BEVERLY WILSHIRE HOTEL - MORNING The sun is coming up as HOTEL EMPLOYEE hoses down the sidewalk in front of the hotel.", "INT. HOTEL LOBBY - MORNING A WOMAN EMPLOYEE is vacuuming the lobby. She sees something and pauses. She pulls a dead leaf from one of the potted plants.", "INT. HOTEL HALLWAY - MORNING The elevator doors open and A WAITER rolls a cart out into the hallway. He takes it to the doors of the penthouse. He rings the bell. EDWARD -LRB- O.S. -RRB- It's open.", "INT. PENTHOUSE LIVING ROOM - MORNING The Waiter wheels in a table of food, coffee, champagne and orange juice. Edward dressed in suit pants, white shirt and suspenders, stands in the living room talking into a cordless phone. Edward points the Waiter to the dining table. EDWARD -LRB- into the phone. -RRB- Sorry. Go ahead.", "INT. STUCKEY'S HOUSE - MORNING - INTERCUT William Stuckey is behind his desk. STUCKEY Kross knows we're after his company. He wants to talk with you. I do n't think you should.", "INT. PENTHOUSE LIVING ROOM - MORNING The Waiter returns. Edward signs the bill. The Waiter exits. EDWARD I want to. STUCKEY Edward, if the three of us sit down together we might as well announce our plans in the Wall Street Journal. EDWARD I'll see him alone. Everyone knows you're my muscle. We'll make it social. Tell Kross I'll meet him for dinner. Tonight if you can arrange it. STUCKEY You should n't go alone. He might claim that you tried to black mail him. EDWARD Bill, we're businessmen, not the damn mafia. I'll see you in the office. By the way, about your car. STUCKEY Oh, god, what? EDWARD -LRB- smiling. -RRB- I'll bring it back. Edward hangs up. He pours a glass of orange juice and takes a sip, thinking. Something makes him turn. Vivian, wearing a monogrammed hotel terry robe, is standing uncertainly in the bedroom doorway. EDWARD Good morning. VIVIAN You did n't wake me. I'll be out of here in a minute. EDWARD No hurry. Would you like some breakfast? She's hungry and the breakfast looks great. VIVIAN Only if you do. Edward sits. Waits. Vivian sits across from him. Edward serves them breakfast. EDWARD Did you sleep well? VIVIAN Yeah. Too good. I forgot where I was. EDWARD Occupational hazard? She looks at him sharply, sees that he means no offense, relaxes. VIVIAN Where'd you go? EDWARD I took the couch. I had some work to do. -LRB- hesitating. -RRB- About last night. VIVIAN Oooh, Baby, you were the best. I was beside myself. EDWARD Mmm, I could tell. VIVIAN I just hope it was worth three hundred bucks. EDWARD I'd say you give a good dollar value. They share a small smile. They eat. EDWARD Do you ever. enjoy it? VIVIAN I like guys if that's what you're asking. Not that I trust'm. EDWARD No? Why's that? VIVIAN `` Occupational hazard''. A moment. Edward chuckles. Vivian grins. VIVIAN -LRB- cont'd. -RRB- what do you do anyway? EDWARD I buy companies. VIVIAN No shit. They expensive? He almost smiles. She almost smiles back. EDWARD The one I'm buying this week will cost around 150 million. VIVIAN dollars? He nods. This time Vivian is impressed. VIVIAN -LRB- cont'd. -RRB- You are major league, baby. Your mother must be very proud. Edward is oddly pleased at her reaction.", "INT. PENTHOUSE BEDROOM - DAY The closet door is open. Edward reaches for a tie. In the closet are about a dozen expensive looking suits, shirts, shoes, etc.. She follows him in. VIVIAN So what a ya do with the companies once you buy'm? EDWARD -LRB- fumbling with the tie. -RRB- I sell them. VIVIAN What? Why? She undoes his knot and starts over. VIVIAN -LRB- cont'd. -RRB- At ease, let me do that. Part of the all night services. EDWARD By breaking up a company's assets - VIVIAN What are assets? EDWARD Vivian - VIVIAN C'mon, I might buy a company some day. EDWARD Assets are anything of value a company owns. Sometimes the pieces are worth more than the whole. By selling them off, I make a profit. VIVIAN Sorta like stealing cars and selling'm for parts, huh? EDWARD Not. quite. VIVIAN There, see? Now the emblem is right in the middle of the knot. EDWARD Where'd you learn to do this? VIVIAN -LRB- sarcastic. -RRB- I fucked the debate team in high school. Tsk. I had a grampa. He liked ties on Sundays. You mind if I take a swim in your bathtub before I hit it? EDWARD Do n't drown. Vivian turns and heads toward the bathroom. He follows her into the bathroom.", "INT. PENTHOUSE BATHROOM - DAY Vivian turns on the water in the tub. It fills the tub in a torrential rush. VIVIAN You could hold a pep rally in here! The phone on the marbled bathroom wall suddenly rings. Edward reaches for it. EDWARD -LRB- into the phone. -RRB- Yes.", "INT.  STUCKEY'S HOUSE - INTERCUT Stuckey is walking around his desk. STUCKEY Edward, it's me. Kross is all set for tonight.", "INT. PENTHOUSE BATHROOM - DAY Vivian stares curiously at the bidet. STUCKEY Listen, I got ta say this again, I do n't like you going alone. She turns it on. The water hits her in the face. EDWARD -LRB- stifling a chuckle. -RRB- I'm a big boy. There are lotions and shampoos and bubblebaths on the edge of the tub. Vivian regards them like a kid in a candy shop. STUCKEY Let me at least get you a date. Keep it social. Edward watches as Vivian smells some bubble bath. She smiles. Her eyes ask Edward if it's okay to? He nods. STUCKEY Edward, did you hear me? EDWARD I'm here. STUCKEY I know a lot of nice girls. Vivian pours the bubblebath into the swirling water. There's something about the look on her face. the way she bites her lower lip. curious, sensual. EDWARD I have one. Edward hangs up the phone as Vivian curiously turns on the television. The sound blares. She fumbles to turn it down. Edward reaches over and turns it off. EDWARD All right. How much for the week? VIVIAN What? EDWARD I'm in town until Saturday. She look at him like he is n't speaking English. EDWARD Do - you - want - to - stay - here - for - the - week? It takes Vivian a moment to respond. VIVIAN It'd cost you. EDWARD Of course. How much? VIVIAN Five full nights. days too? Edward nods. Vivian hesitates. it's got to be enough to really change things. She shoots for the moon again. VIVIAN Four thousand. EDWARD Vivian, may I point out five more nights at three hundred a night is only 1,500. VIVIAN But you want days too. EDWARD All right, two thousand. VIVIAN Three. EDWARD Done. VIVIAN Holy shit. And then, quickly getting herself back together, she flips on the sexy smile. VIVIAN -LRB- cont'd. -RRB- Sugar, you got it. I will treat you like a prince. Anything, anyway you want. EDWARD I'm not just talking about sex. VIVIAN Look butthead, I'll treat you so nice you'll never want to let me go, okay? EDWARD Three thousand for five days. And Vivian, I will let you go.", "INT. PENTHOUSE BEDROOM - MORNING Edward comes out into the bedroom. Vivian quickly follows. They move through the bedroom into the living room. EDWARD I'll be out most of the day. He reaches into his pocket for a money clip. He peels off bills. He hands the cash to Vivian. EDWARD I want you to go out and buy some decent clothes. Vivian's eyes go wide at the amount of money. EDWARD Nothing too flashy, not too sexy. Conservative. Understand?", "INT. PENTHOUSE ENTRANCE WAY - DAY They're at the front door. VIVIAN Yeah, you want me to dress like your high class girlfriend. You're wasting your money though. All I'm gon na do is hang around the hotel. As a matter of fact, I may never get out of that bathtub. Edward opens the door, he starts to exit. He turns back. EDWARD Think again. I'm taking you out to an important dinner with me tonight. The door closes in her face.", "INT. OUTSIDE THE PENTHOUSE DOOR - DAY VIVIAN -LRB- O.S. -RRB- -LRB- from inside. -RRB- What? Are you crazy? Edward smiles to himself. EDWARD Probably.", "INT. PENTHOUSE BATHROOM - DAY Vivian is stretched out in the hot bubble bath. The TV is on. She clicks the remote control in her hand. VIVIAN Three thousand. She lies back into the soapy water and disappears. She suddenly pops back up, laughing. VIVIAN Three thousand! A thought occurs to her. She reaches for the cordless phone. She dials. She waits. She is about to disconnect when the phone is answered. KIT -LRB- O.S. -RRB- ` Lo. VIVIAN Kit! Where've you been? KIT -LRB- O.S. -RRB- I was asleep. You woke me. You okay? VIVIAN Kit, listen, the guy last night, the one in the Ferrari, I'm at this hotel, the Regent Beverly Wilshire, it's this absolutely unbelievable place and he's hired me for a whole week and Kit, listen, he's paying me three thousand bucks! We can get out of the apartment. We can get out of this town. We can do anything! -LRB- silence. -RRB- Kit? Hey, you there? KIT -LRB- O.S. -RRB- Why'd he want you? That hurts. Perhaps because Vivian's been wondering the same thing. VIVIAN He. he just does. KIT -LRB- O.S. -RRB- I'm sorry, Viv'. Carlos has been on my back. -LRB- a beat. -RRB- Did you get the money up front like I taught ya'? VIVIAN Three hundred for last night and he gave me extra to buy some clothes. Now listen, I'm gon na leave an envelope for you at the front desk. Give me two hundred to the scum bucket and the other hundred to that asshole landlord for part of the rent. Spend it on drugs and I'll pull your hair out. KIT I'm getting dressed now. I'll be over. Bye. VIVIAN Hey Kit, where do I go for the clothes? Good stuff on him. KIT -LRB- O.S. -RRB- -LRB- brightening. -RRB- In Beverly Hills? VIVIAN Yeah. KIT -LRB- O.S. -RRB- Baby! Rodeo Drive.", "INT. HOTEL LOBBY - DAY Vivian comes out of the elevator and crosses the lobby. She is back in her hooker clothes. She leaves an envelope at the front desk. MR. THOMAS, the prim, middle - aged hotel manager, steps out from his office. He stares in surprise and displeasure as he sees Vivian exit out the front door. Vivian does n't notice the odd stares she gets from two well - dressed MIDDLE - AGED WOMEN who are just entering.", "EXT. RODEO DRIVE - DAY Vivian is looking wide - eyed and delighted and yes, more than a bit overwhelmed. She passes store windows. and MORE STORE WINDOWS. and still MORE STORE WINDOWS. Each display is more beautiful and expensive than the one before. Vivian is also aware that she is getting odd looks. From PASSERBY'S. Two beautiful dressed GIRLS her own age look at her, turn away and giggle. The uniformed GUARDS that stand at attention in front of many of the stores, stare at her suspiciously. Feeling more and more uncomfortable, Vivian comes to a posh woman's boutique. She hesitates for a moment. She enters.", "INT. BOUTIQUE - DAY Vivian is no sooner in the door than she is subject to the disapproving stare of a SALESWOMAN standing behind the counter. SALESWOMAN -LRB- cooly. -RRB- May I help you? VIVIAN I'm just looking, thanks. Vivian tiptoes through the shop as if it was filled with delicate glass objects. She cautiously examines a dress. The Saleswoman quickly comes around the counter and approaches her. SALESWOMAN Are you looking for something in particular? VIVIAN Yes. Something. conservative. SALESWOMAN Yes. Vivian eyes the Saleswoman, puzzled at her tone. She examines a dress. VIVIAN You have beautiful things. -LRB- no reply. -RRB- How much is this? SALESWOMAN I do n't think it would fit you. VIVIAN -LRB- beginning to get the drift. -RRB- I did n't ask if it would fit. I asked how much it was. SALESWOMAN It's very expensive. Vivian's body tenses as she stares at the Saleswoman. VIVIAN What is with you? SALESWOMAN -LRB- unblinking. -RRB- Excuse me? VIVIAN I'm going to spend money. SALESWOMAN I do n't think we have anything for you here. You're obviously in the wrong place. Vivian is speechless. She turns and stomps toward the door. She stops and spins around staring at the Saleswoman. Vivian flips her off. She throws the door open and storms outside. The Saleswoman calmly strolls back to her counter and returns to her place.", "EXT. RODEO DRIVE - DAY Vivian comes out onto the street and stands, lost. She takes a deep breath, trying to control herself. Two WOMEN, in elegant designer outfits, stroll by, eyeing Vivian as if she were a freak. Vivian suddenly feels naked. She turns and hurries away.", "INT. HOTEL LOBBY - DAY Vivian enters the lobby, upset, nervous and paranoid. She feels an emptiness in her stomach at the sight of all the luxury around her. She hurries toward the elevators. At the front desk, Mr. Thomas, once again spots her. He crosses the lobby and deftly cuts her off from the elevator. MR. THOMAS May I help you Miss? Vivian stops, practically shaking with terror. VIVIAN I'm just going to my room. MR. THOMAS You're a guest here? VIVIAN I'm - I'm with a friend. MR. THOMAS And who is that? VIVIAN I. Edward. Vivian's face is filled with confusion. She does n't know his name. The elevator doors open behind them. She spots the Operator. VIVIAN -LRB- blurting it out. -RRB- He knows me. Mr. Thomas turns and eyes the Operator curiously. The Operator looks back at them innocently. With a smooth gesture Mr. Thomas waves the Operator over. MR. THOMAS Do you know this young lady? The Operator nods. OPERATOR She's with Mr. Harris. MR. THOMAS -LRB- surprised. -RRB- Mr. Harris? OPERATOR She apparently joined him last night. Mr. Thomas waves the Operator away. MR. THOMAS Why do n't you come with me. We'll chat for just a moment. He takes Vivian gently but firmly by the arm and leads her off.", "INT. HOTEL OFFICE - DAY In a richly furnished office, Mr. Thomas places Vivian in a comfortable chair and then leans against the edge of his desk. MR. THOMAS What's your name? VIVIAN Vivian. MR. THOMAS Miss Vivian. things that go on in other hotels do n't happen at the Regent Beverly Wilshire. Vivian says nothing. MR. THOMAS -LRB- cont'd. -RRB- Mr. Harris, however, is a very special customer. And we like to think of our special customers as friends. As a customer, we would expect Mr. Harris to sign in any additional guests. But as a friend, we're willing to overlook it, I'm assuming you're a. relative? Vivian finds herself nodding. MR. THOMAS -LRB- cont'd. -RRB- I thought so. You must be his? VIVIAN Niece? MR. THOMAS Of course. Naturally when Mr. Harris leaves, I wo n't see you in this hotel again. Vivian bites her lower lip, nods. MR. THOMAS -LRB- cont'd. -RRB- Good. We understand one another. -LRB- as a gentle afterthought :. -RRB- I would also encourage you to dress in a more appropriate manner. Vivian's face screws up as she tries hard not to cry. VIVIAN That's what I was trying to do. She ca n't help it, the tears come. Vivian pulls out the money Edward gave her. She drops it on the desk. It's a moist - looking wad now. VIVIAN -LRB- cont'd. -RRB- I was trying to get some other clothes. but. they would n't. they made me feel like shit. She ca n't go on. Mr. Thomas politely glances at the money. He unfolds it, smoothes it and hands it back to her. He sighs. He picks up the phone. He dials. MR. THOMAS -LRB- into the phone. -RRB- Women's clothing. -LRB- beat. -RRB- Bridget, please. Vivian is staring at him. MR. THOMAS -LRB- cont'd. -RRB- Bridget, hello, this is Barnard Thomas over at the Regent Beverly Wilshire. Well, thank you, that's flattering. I'd like to ask a favor of you. I'm going to send someone over. Her name is Vivian. She's a guest of ours. A very special guest. He glances at Vivian. With those simple words, he'd made her feel better. MR. THOMAS -LRB- cont'd. -RRB- She's from out of town and she needs a little help in dressing. Perhaps you could help her out. Thank you very much. She'll be right over. He sets the phone down and smiles patronizingly at Vivian. MR. THOMAS -LRB- cont'd. -RRB- There you are. If you have any other problems, come ask for me personally. I'm Mr. Thomas. VIVIAN Barney. She smiles mischievously.", "EXT. FORT OF LOS ANGELES - DAY A sleek corporate helicopter flies over the port.", "EXT. BUILDING ROOFTOP - DAY Edward, Vance, Stuckey and Jake walk toward the building's edge. They look out over the empty shipyard as Vance describes it. VANCE Okay. this is the jewel in Kross's crown. We can strip out all the heavy equipment. Some of the cranes are very valuable overseas. The Japanese are salivating for them. STUCKEY Prime industrial property straddling the Port of Long Beach and Los Angeles. It gives me a hard - on. Edward points toward one of the edges of the shipyard. EDWARD What's that long building over there? JAKE Storage, I think. EDWARD Not with those smokestacks it's not. VANCE Let me check. Vance pulls out a notebook. JAKE The real estate possibilities are endless. Most of the yard we'll just level. I talked to a couple of developers, under the table, of course, and they said - EDWARD You what? JAKE I talked to some developers about the land. STUCKEY What kind of an idiot are you? You do n't talk about this to anyone. JAKE They're close friends, they'd never breathe a word - STUCKEY -LRB- to Vance. -RRB- Where did you dig this moron up? VANCE He's right, Jake, that was an incredibly stupid thing to do. It wo n't happen again, Edward. I'll pull him off the project immediately. EDWARD Do n't bother. STUCKEY What!? EDWARD We do n't have the time to bring someone new up to speed. Besides. -LRB- not unkindly, to Jake. -RRB- You've already impressed everyone you need to, have n't you? JAKE It wo n't happen again, Mr. Harris. Vance has found what he was looking for in his notebook. VANCE This is interesting. That building is storage now, but it used to be a smelting plant. They closed it down after World War II. EDWARD I want our lawyers to check into the toxic waste licences on them right away. I want to know if the permits are still valid and what kind of limits are on them. STUCKEY Jesus, yes. It's a long shot but if the permits are still in effect, they're worth a fortune. He turns away. The other follow Edward back toward the stairs. EDWARD What time's diner tonight? STUCKEY Eight o'clock. Kross is bringing his son. Very bright kid, watch yourself with him. Who's this girl you're taking? EDWARD No one you know.", "INT. SAKS - SECOND FLOOR - DAY The elevator opens and Vivian walks out and surveys the room nervously. She walks toward the women's clothing section. BRIDGET, a large friendly woman, spots her and quickly approaches. BRIDGET You must be Vivian. Vivian nods. BRIDGET -LRB- cont'd. -RRB- Let's look at you. She steps back, regards Vivian with a professional eye. BRIDGET -LRB- cont'd. -RRB- Where are you from, dear? VIVIAN -LRB- pause. -RRB- Georgia. BRIDGET No wonder. For starts, you should know that hot pants are horrid, even when you do have the legs to carry them off. What are your plans while you're in town? VIVIAN Well. I might be going out to dinner. BRIDGET You'll want a cocktail dress then. Turn. You have a beautiful figure. A little too out in the open but simply lovely. Size six? Do you need shoes? VIVIAN I dunno. Do thigh high, leather boots go with a cocktail dress? BRIDGET -LRB- calling out. -RRB- Philip! We'll need shoes! Bridget leads Vivian towards the racks of clothes. She pulls out a dress. BRIDGET Your uncle will like this. VIVIAN He's not really my uncle. BRIDGET They never are, dear.", "INT. HOTEL LOBBY - LATE AFTERNOON Mr. Thomas is behind the desk. He looks up. Vivian is standing there, a happy look on her face. She holds up a garment bag. VIVIAN I got a dress. MR. THOMAS -LRB- dryly. -RRB- I rather hoped you'd be wearing it. VIVIAN I did n't want to get it messed. I got shoes too. Wan na see? MR. THOMAS That's all right. I'm sure they're quite lovely. VIVIAN They were real nice to me there. They treated me, y' know. nice. Thanks, Barney. Mr. Thomas tries not to wince at the familiarity. MR. THOMAS You're very welcome, Miss Vivian. She smiles at him. He watches as Vivian turns and walks toward the elevator. The provocative way her hips move just naturally attracts the attention of a MALE PASSERBY. And the white gloved ELEVATOR MAN literally leaps to press the elevator button for Vivian who rewards him with a happy smile. Mr. Thomas sighs.", "INT. PENTHOUSE - LATE AFTERNOON The phone is ringing Vivian enters. She hurries to pick it up. VIVIAN Hello? The phone keeps ringing - it has more than one line. Vivian frantically punches buttons. VIVIAN -LRB- cont'd. -RRB- Hello? What? Hello?", "INT. STUCKEY'S OFFICE - LATE AFTERNOON - INTERCUT Edward is in a private office. EDWARD Never answer the phone. Ever. VIVIAN Tsk, believe me, this will be the last time. EDWARD Did you buy some clothes? VIVIAN I got a dress, yeah. EDWARD Just one? Christ. I hope it's appropriate. VIVIAN It's very tasteful. I think you'll especially like the zipper in the crotch. -LRB- silence. -RRB- I'm - joking. EDWARD Let's hope so. You'll get some more clothes tomorrow. I'll be pushed for time so meet me in the hotel lobby at seven forty - five sharp. Got it? VIVIAN No, I do n't `` got it''. Even the farmboys back in Georgia come to the door when they're taking you on a date. EDWARD This is n't a date. VIVIAN Go by yourself then. Where you taking me anyway? EDWARD The Rex. VIVIAN Any good? EDWARD I think you'll approve. VIVIAN all right. I'll meet you in the lobby. But only cause you're paying me to. EDWARD Thank you very much. Vivian slowly sets the phone down. The phone rings again. Vivian, very carefully, punches the flashing button and picks it up. VIVIAN Hello? EDWARD I thought I told you not to answer the phone. VIVIAN Oooh! Edward hangs up. He smiles to himself. Vivian bites her fingernails, looking nervous. The doorbell RINGS. Vivian looks up, startled. She rises, moves to answer it. It's the Spanish MAID. She nods politely at Vivian. MAID Housekeeping. I come to turn down the bed. 5:00, I turn down the bed. VIVIAN What? The Maid points to her hotel badge, trying to explain. MAID Housekeeping. I come to turn down the bed. VIVIAN Okay. The Maid enters. VIVIAN Is there a trick to it?", "INT. PENTHOUSE BEDROOM - LATE AFTERNOON The Maid turns down the bedspread. VIVIAN Is that all? You just fold back the bedspread? MAID I also place las chocolates on the pillow. VIVIAN Oooh, I love those. MAID I leave extras, miss. VIVIAN Thanks! Consuelo, are all rich people so lazy they ca n't do this on their own? Consuelo shrugs.", "INT. HOTEL LOBBY - LATE AFTERNOON Mr. Thomas is still behind the desk, working when a soft voice startles him. VIVIAN Barney. He looks up. He sighs. Vivian still has n't changed. MR. THOMAS What is it, Miss Vivian? VIVIAN Edward is taking me to some fancy place for dinner. The Rex. Ever been there? MR. THOMAS It's a bit beyond my. range, shall we say. VIVIAN Yeah, mine too. Is it like, y' know, normal? MR. THOMAS I think you'll find it normal enough. VIVIAN Will I like it? MR. THOMAS You'll like it fine. VIVIAN Okay. Thanks, Barney. You're the best. She turns away. MR. THOMAS Just mind which fork you use. Vivian turns abruptly back, a horrified look on her face. VIVIAN Fork?", "INT. HOTEL DINING ROOM - LATE AFTERNOON CLOSE ANGLE - PLACESETTING An elegant formal placesetting complete with a myriad of different size forks, spoons, stacked china plates and crystal glassware. ANGLE ON MR. THOMAS AND VIVIAN sit across from one another at a fully set table. MR. THOMAS In fifteen minutes I can teach you everything you need to know to dine with the Queen. First, as you pick up the knife you shift your fork to the left hand. VIVIAN But I always eat like this. MR. THOMAS Either you're European or badly brought up. VIVIAN Hmmm. I vonder vich. -LRB- giggles. -RRB- MR. THOMAS Actually, some of the richest people I know have the worst manners. Of course, Mr. Harris, being of old money, knows his way around a table. All right now, pay attention please. Salad fork. VIVIAN What if they serve soup? MR. THOMAS They will serve salad. VIVIAN But what if they serve soup? MR. THOMAS Then you use your soup spoon. VIVIAN -LRB- smiles. -RRB- I like steak. MR. THOMAS -LRB- picking up the appropriate utensil. -RRB- Then you would use your - VIVIAN Steak spoon! -LRB- laughs. -RRB- Mr. Thomas swallows his exasperation. WE PULL BACK from their table to reveal the cavernous, empty banquets room, each table is set and ready for the dinner service. MR. THOMAS Miss Vivian - VIVIAN Maybe I'll just order a burger, Barney, that way I can eat with my hands. MR. THOMAS Miss Vivian. there's a salon here in the hotel. Instead of worrying unnecessarily about table manners, why do n't you just have your hair done instead? VIVIAN Professionally?", "INT. SALON - LATE AFTERNOON Vivian sits in a salon chair. The last customer, THANE, a young man of about twenty with his long hair pulled back in a pony tail, tilts her head one way and then another, eyeing her professionally. VIVIAN I have a friend who has a friend who does Cher's wigs. THANE I hate him already. -LRB- a beat. -RRB- All set? VIVIAN Yeah. what a ya say we chop it all off and bleach the tips. THANE Darling? Trust me.", "INT. HOTEL LOBBY - EVENING Edward enters and looks around the lobby. No Vivian. Annoyed. Edward crosses to a house phone and picks it up. He's about to dial when : MR. THOMAS Good evening, Mr. Harris. Edward looks at him blankly. MR. THOMAS Barnard Thomas, manager of the hotel. EDWARD Of course, yes. If you'll excuse me just a moment - MR. THOMAS I have a message for you from your `` niece'', sir. EDWARD My what? MR. THOMAS The young lady staying in your room? Edward's eyes narrow. He hangs up the phone. EDWARD I think we both know she's not my niece. Mr. Thomas looks uncomfortable. EDWARD -LRB- cont'd. -RRB- Does this hotel have any problem with that? MR. THOMAS Mr. Harris, a guest of yours, is a guest of ours and shall be treated accordingly. The young lady asked me to tell you that she is waiting for you in the lounge. EDWARD Thank you. He starts towards the lounge. MR. THOMAS Very intriguing young woman, Miss Vivian. His tone stops Edward in his tracks. MR. THOMAS -LRB- cont'd. -RRB- Have a good evening, sir. And off he goes, leaving Edward to wonder what the hell transpired during the afternoon.", "INT. HOTEL LOUNGE - NIGHT Edward enters the lounge. He looks around, not seeing Vivian. And suddenly his eyes go back to. the beautiful girl with the beautifully styled hair in the beautiful black cocktail dress at the piano bar. Edward tries to hide his surprise as Vivian rises, moves elegantly towards him. She smiles. VIVIAN You're late. Such a beautiful woman deserves an apology and so, without thinking : EDWARD I'm sorry. VIVIAN You're forgiven. She waits expectantly. He holds out an arm. She takes it.", "INT. REX RESTAURANT - NIGHT Vivian comes out of the ladies room. She walks forward past the MAITRE'D'S station. She stops. She takes a breath. and then walks forward.", "INT. REX - ANOTHER ANGLE - LOOKING DOWN Vivian moves down a marble starircase, through the elegant restaurant toward a far table. Her beauty and natural grace draw approving stares. She is like a queen moving through a ballroom. At a secluded table, Edward sits in conversation with two men. JAMES KROSS, in his early 70's, a bulky self - made millionaire industrialist. Sitting next to him is his son and second in command, DAVID KROSS, a handsome man in his early thirties. All of them rise as Vivian comes to the table. David Kross holds out Vivian's chair for her. Surprised, she nods her thanks. In front of her is an enormous placesetting. She smiles down at the utensils, filled with confidence. Waiters have placed a delicate salad down in front of each of them. Vivian proudly reaches for her salad fork. But then she sees that Kross has picked up the fork closest to his plate and is digging into his salad with that. Vivian looks to see what Edward will do. He does n't seem interested in eating yet. Neither does David Kross. Feeling a sudden panic, Vivian puts her fork down. KROSS So young man, I understand you are trying to take over my company. A moment. The abruptness of the question takes Edward back for a moment. But then he almost smiles. EDWARD Please do n't patronize me, Mr. Kross. Our ages mean nothing here. Kross and David look at each other. DAVID Mr. Harris, we know you've purchased at least twenty percent of our stock. We also know you plan to file a formal bid for a majority share. EDWARD Twenty - five percent. KROSS Mr. Harris, I built Kross Enterprises myself. I know every man who ever worked there by his first name. I know their wives. and their children. If your intention is to take over my company and turn it into a glorified real estate deal, think again. Edward, thankfully, now reaches for his salad fork and begins to eat. Relieved, Vivian picks up hers. They all eat for a moment. EDWARD What do you suggest, Mr. Kross? WAITERS approach, some to clear the salad plates, some to put down the next course. Vivian, thinking she's got to finish, quickly stuffs her mouth with the rest of her salad. She is reluctant to let the Waiter take her fork. KROSS What would it take to buy our stock back? Name your price. EDWARD To get me in a mood to sell - double what I paid. But your company does n't have enough capital right now to buy anything. DAVID We're on the verge of closing a large navy contract. Double is ridiculous but we can assure you a healthy profit on your shares. We would give you a promissory note. EDWARD You're not getting any navy contracts. Vivian can see that both father and son are stunned by this news. DAVID There's no way you could know that. EDWARD But I do know. I also know your lines of credit are over - extended. If I do n't buy your company, someone else will. -LRB- looking up. -RRB- Ah, the escargot. Escargot are put down in front of everyone. Vivian stares at them dubiously. She picks up what she assumes is the next `` right'' fork. She picks up a snail. The two do not fit. Flustered, she does n't know what to do. No one else seems to be eating. And now a Waiter comes and places escargot forks at each place. Vivian picks it up with a sigh of relief. VIVIAN -LRB- softly, to the Waiter. -RRB- Scume me, what are these things? WAITER -LRB- bending to whisper. -RRB- Escargot, mademoiselle. EDWARD -LRB- leaning close to whisper. -RRB- Snails. Vivian stares at them, horrified. She, like James and David Kross, no longer seem interested in eating. Edward eats with pleasure. EDWARD Mr. Kross, I'm not here to sell you my stock. On the contrary, I'm here to buy yours. KROSS -LRB- angry. -RRB- You've got a lot of nerve. EDWARD No. What I have is a lot of money. KROSS I know all about you, Mr. Harris. When you buy companies, they have a way of disappearing. Even the pension funds are stripped clean. The last three companies you took over were cut up in so many pieces, widows were left without their retirement checks. EDWARD -LRB- calmly. -RRB- What I did with those companies was perfectly legal. KROSS I do n't question the legality of what you do. It's your morality that makes me sick. I will not allow my company to be raped by a man like you. EDWARD -LRB- angry now. -RRB- It is not your company. It's a public company. And I am going to acquire it. Either I buy from the other stock holders, or I buy from you. Vivian struggles with her escargot. EDWARD -LRB- cont'd. -RRB- I would suggest that you and your board cooperate with me, rather than fight a battle you do n't have the ammunition to win. Vivian suddenly ZINGS her snail across the table. Everyone looks to her. VIVIAN Slippery little suckers. Kross rises. KROSS If you'll excuse me young lady, Mr. Harris. -LRB- turns to David. -RRB- Deal with this, David, you know where we stand. I need to go someplace and puke. He rises. He exits. DAVID -LRB- to Edward and Vivian. -RRB- Men like my father built this country. He was no saint. He screwed people. But for every guy he stepped on, he gave a hundred a good job. Edward is silent. VIVIAN He seems like a nice man. David looks at Vivian as if seeing her for the first time. EDWARD We can reach an understanding on this. DAVID I do n't think so. You should know we're going to fight you with every resource we have. EDWARD Do what you have to do. I do n't take it personally. DAVID I do. I take it all very personally. -LRB- to Vivian. -RRB- Very nice meeting you, Vivian. David Kross gets up and leaves. Vivian and Edward sit in silence. EDWARD -LRB- a beat. -RRB- And that's the way the game is played. VIVIAN Some game. Screwin' some poor slob out of his retirement. Edward says nothing. But Vivian can see she's hit a nerve. VIVIAN Snails for dinner. No wonder everybody is in such a bad mood. A Waiter appears at the table. WAITER Are we ready for the next course, sir? EDWARD No. Bring a check, please.", "INT. PENTHOUSE LIVING ROOM - NIGHT Edward's face is pensive and thoughtful as he stares out of the glass window down at the city lights. He quickly drains his champagne glass. Vivian moves to stand next to him. She refills his glass from the bottle. EDWARD Thank you. He drinks. Silence. VIVIAN You're upset, huh? EDWARD Upset. No. I never get upset about business. VIVIAN You liked the guy, though. EDWARD Whether I liked him or not is irrelevant. It's business. There's no emotion involved in business. if you want to survive. VIVIAN -LRB- excited. -RRB- We're the exactly the same! Kit keeps telling me do n't get emotional when you turn tricks - that's why no kissing - it's too personal. The key is like you're saying, stay numb, do n't get involved - when I'm with a guy, I'm a robot, I just do it. -LRB- realizing what she's saying and quickly recovers. -RRB- Except with you. At your price I give my all. Edward laughs. VIVIAN -LRB- cont'd. -RRB- Let's not talks about this heavy stuff. Come on, relax. Vivian comes up behind him. She begins to rub his shoulders. EDWARD That. is very good. A moment. Edward is silent. Turns him, unknots his tie, unbuttons his collar. VIVIAN Know what we're gon na do in a little while then? We're gon na call Domino's and have'm deliver a bigass pizza. We're gon na eat it in bed. We're gon na veg' out and watch television. EDWARD Television? VIVIAN Yeah, it's this box, it has pictures, sound. You do n't have to use your brain at all. EDWARD I have work to do. VIVIAN Uh - uh. No work. Smiling, she softly kisses his throat. VIVIAN -LRB- cont'd. -RRB- See. what you have n't figured out yet. She kissed his neck. She fumbles with his belt. VIVIAN -LRB- cont'd. -RRB- Is that while you're the boss everyplace else. I'm the one in charge here. She kisses his chest. VIVIAN -LRB- cont'd. -RRB- You. just think you are. She starts to kneel down. He stops her. They stare at one another for a moment. He releases her. She smiles. She starts to undress him.", "INT. PENTHOUSE BEDROOM - MORNING Vivian is asleep. She turns over, slowly waking. Her hand goes out to touch Edward and encounters nothing but empty bed. Vivian comes awake with a sudden start. She look around momentarily frightened, not sure where she is. Sighing with relief, she lies back down. She sees Edward's American Express card on the pillow next to her. EDWARD -LRB- O.S. -RRB- Wake up, Vivian. Time to shop. Edward comes out of the bathroom and moves toward the bed. He is tying his tie. Vivian sits up and ties it for him. He smiles at her. EDWARD I still do n't understand why you only bought one dress. VIVIAN I was n't as much fun as I thought it was going to be. EDWARD Why not? VIVIAN Well, you know those cold bitches that work in those stores and try to intimidate you? It works. EDWARD Was someone rude to you? VIVIAN I had a little problem in one store. I was n't dressed right. I do n't know what to say. I do n't belong there. Maybe I'll just go back to Bridget. She was cool. EDWARD Vivian, you belong wherever you are. I do n't care how you were dressed, they were the ones who were wrong, not you. Edward sits on the bed. EDWARD -LRB- cont'd. -RRB- People are n't going to respect you unless you respect yourself. -LRB- a beat. -RRB- The next time someone is rude to you, you stare at them right here. He softly touches her, right between the eyes. EDWARD -LRB- cont'd. -RRB- It's an old trick I use, especially with bankers. Works every time. Will you try it? VIVIAN -LRB- confidently. -RRB- Okay. EDWARD Good. VIVIAN -LRB- a beat. -RRB- Come with me? Edward looks at his watch. Vivian covers it with her hand. VIVIAN Please.", "INT. BOUTIQUE - DAY A beautiful, chic women's shop. The haughty SALESGIRL approaches Vivian near a rack of dresses. Edward hovers in the b.g. VIVIAN -LRB- nervous. -RRB- Hello. Can you help me? The Salesgirl looks Vivian up and down. A Pause. Vivian gives her `` the stare'' and straightens up. We see the Salesgirl's reaction change. VIVIAN -LRB- confidently. -RRB- I'm looking for a dress, nothing too flashy, not too sexy, conservative. In a size six. SALESGIRL -LRB- uncomfortable under Vivian's stare. -RRB- Do. do you have a charge account with us? Vivian smiles and draws out Edward's American Express card. The Salesgirl nods and quickly moves to a rack of dresses to find Vivian's size.", "INT. BOUTIQUE - DAY - IN A SERIES OF CUTS Vivian tries on different clothes under Edward and the Salesgirl's supervision. Vivian comes happily out of the dressing room wearing a low cut, spangled and fringed outfit. Edward shakes his hand. The Salesgirl holds a classic tweed ensemble over Vivian's outfit. Vivian scowls. VIVIAN -LRB- sighing. -RRB- I look like fucking Nancy Reagan.", "INT. BOUTIQUE - ANOTHER ANGLE The Salesgirl shows Edward clothes by Ann Taylor. He turns to find Vivian happily holding up a tiny, low cut leather dress. Edward shakes his head in mock disapproval. Vivian scowls.", "INT. BOUTIQUE - ANOTHER ANGLE - LATER Vivian is wearing an elegant pastel dress. Edward is standing at the store's bar, watching and talking on the telephone.", "INT.  STUCKEY'S OFFICE - DAY - INTERCUT WITH EDWARD Stuckey and Vance are pouring over stock reports, talking to Edward on the speaker phone. VANCE Kross came out of his corner swinging. He started buying up all available stock as soon as the market opened. EDWARD -LRB- almost to himself. -RRB- He's a tough old son of a bitch. Edward is watching Vivian. She pulls the hem of her skirt up to mid thigh. She looks hopefully over to Edward. Edward shakes his head. VANCE It's up to ten and a quarter. EDWARD Offer nine and a half. Bring them back down to earth. STUCKEY Goddamit! Where is he getting the money to fight? EDWARD Someone's loaning it to him. Get on it right away. STUCKEY Our contract guys are working on the Kross pension funds. There's another forty million there. We can bleed'm dry. There is a sudden hesitation in Edward's eyes. He watches as Vivian tries on a hat. She preens for him. He smiles. EDWARD -LRB- to Vance & Stuckey. -RRB- Put the pension funds on hold until I say otherwise. STUCKEY -LRB- surprised. -RRB- We're letting them slide? EDWARD I want the treatment plant licenses to be top priority right now. STUCKEY But, Edward. EDWARD Do it. Edward hangs up and takes a long look at Vivian. She moves to him. EDWARD -LRB- looks at his watch. -RRB- You're on your own now, Vivian. I've got to get to work. Be sensible and you can keep everything. Spend too much and it all goes back. Vivian hugs him again.", "EXT. RODEO DRIVE - DAY Vivian walks along Rodeo Drive. She looks lovely in the pink dress and new, white shoes. A pretty, white hat is the final touch. She carries a bag containing her old clothes. She stops at a trashcan and ceremonially throws the offending items away.", "INT. TORIE STEELE BOUTIQUE - SHOPPING MONTAGE We SEES Vivian in each department within the store with different SALESPEOPLE. She happily and confidently tries on a variety of dresses, hats, shoes, accesarries, etc. 1 -RRB- Vivian is in a dressing stall. She tosses a dress out to a waiting SALESWOMAN. VIVIAN Not me! 2 -RRB- A SALESWOMAN holds a long, purple evening gown. VIVIAN -LRB- imitating Bridget. -RRB- Horrid! 3 -RRB- Vivian is admiring a pair of beautiful suede dress pumps. Her attention is drawn to the SALESMEN'S exotic hand - painted tie. VIVIAN Where'd you get your tie? 4 -RRB- Vivian stands in front of an enormous tie rack with the Salesman, a dozen wild, swirling designed ties are hanging over his outstretched arm. Vivian picks out the brightest one and smiles.", "EXT. RODEO DRIVE - DAY Vivian's arms are filled with clothing boxes and bags. She feels like she owns the block. A well - dressed MAN passes by, smiling politely. Vivian's nose lifts as she happily ignores him. Suddenly Vivian stops. She's about to pass the shop she was thrown out of. Vivian takes a breath and enters the shop.", "INT. BOUTIQUE - DAY Vivian enters. The moment she steps through the door, Vivian's courage leaves her. The saleswoman is waiting on a CUSTOMER. SALESWOMAN -LRB- to the customer. -RRB- Is n't this lovely? I think it would look wonderful on you. Vivian musters her courage. She takes a deep breath and starts forward. SALESWOMAN -LRB- to her customer. -RRB- Would you like to try it on? VIVIAN ` Scume me. Both the saleswoman and her customer look up. The saleswoman smiles pleasantly. SALESWOMAN Yes? VIVIAN Do you remember me? SALESWOMAN No, I'm sorry, I do n't. VIVIAN I was in here yesterday. Vivian slowly raises her middle finger. The recognition starts to dawn in the saleswoman's eyes. Vivian's courage begins to return. VIVIAN Yeah. That's right. It's me. I want you to know something. You made me feel terrible. I was n't dressed right and you said I did n't belong here. Well, I do. You're the one that was wrong, not me. And I want to tell you something else. I'm never gon na shop here again as long as I live. And with that, Vivian turns and walks out. The saleswoman is stunned. A beat. The customer thrusts the dress into the saleswoman's arm as if offended by Vivian's speech and leaves the store also.", "INT. HOTEL LOBBY - DAY Mr. Thomas looks up from the desk. And stares. Vivian and a BELLHOP stroll through the hotel entrance and across the hotel lobby to the elevator. The bellhop's arms are packed with boxes and shopping bags. Mr. Thomas ca n't help it. He smiles to himself.", "INT. PENTHOUSE LIVING ROOM - DAY Vivian opens the front door for the Bellhop who carries in her packages. She motions for him to place them on the couch. He does. Vivian happily tips him with a five dollar bill. He exits. The door closes. VIVIAN Wheee! Vivian does a giddy spin and falls onto the couch.", "INT. BROKERAGE HOUSE MEETING ROOM - DAY Stuckey enters. Edward is standing at the end of a long meeting table. He is serving himself coffee from a tray. STUCKEY -LRB- gloating. -RRB- You were right. Kross mortgaged everything he has down to his grandson's college tuition to secure loans from a bank. Not just any bank. One we do business with. Edward just sips his coffee. STUCKEY -LRB- cont'd. -RRB- It goes without saying that your business means a great deal more to them than our friend Kross's. -LRB- a beat. -RRB- All you have to do is make a call. Edward is silent. Stuckey is again surprised. STUCKEY Excuse me for saying this but what is wrong with you this week? First, you go soft on the pension funds. Now, you're giving him the chance to get away? As of two minutes ago, you are committed to the tune of over fifty million dollars - EDWARD Come on, Bill, do n't talk to me about how much money's involved. It's my money. STUCKEY And some of it's mine. Edward, his jugular's exposed. Edward hesitates. Then : EDWARD Get the bank on the phone for me.", "INT. PENTHOUSE - EVENING Edward enters. He closes the door. He turns. And stops. A beautiful, candlelit, food laden table has been set up in the middle of the room. Champagne and wine chills in a bucket. A fire burns in the fireplace. Music is playing. VIVIAN -LRB- O.S. -RRB- Hi. Edward turns. And stares again. Vivian stands in the bedroom doorway. She is wearing an exquisite silk dressing gown. She looks incredibly beautiful. VIVIAN I thought maybe you'd like dinner. EDWARD Thank you. I would. -LRB- he fingers her dressing gown. -RRB- Nice. VIVIAN Wait till you see what I have on underneath. EDWARD Please. She opens the dressing gown. What she has on underneath is absolutely nothing. Edward crosses to her. Taking her in his arms, he lifts her up and kisses her breasts. VIVIAN What about dinner? EDWARD Dinner can wait.", "INT. PENTHOUSE BATHROOM - NIGHT The bathroom is lit by candles. Vivian and Edward are in the marble tub. Vivian sits behind Edward. She lazily washes his shoulders and back with a large sponge. VIVIAN You always been rich? EDWARD No. VIVIAN Seems like it. I guess it's easy to get used to, huh? EDWARD Easier than learning how to be poor. -LRB- a moment ; and then :. -RRB- My father's family was wealthy. When I was young there were cars and houses, private schools, nannies. But then my father divorced my mother to marry another woman. And he took his money with him. Silence. VIVIAN Keep talkin'. I like hearin'. EDWARD Not much to tell. I went to public school. Went to university on scholarship. Went to work for an investment firm. In eight years I owned it. -LRB- and then ; growing very quiet. -RRB- My father was chairman of the board of the third company I ever went after. I swallowed that company and shit out the pieces. One of the pieces was him. Vivian softly traces small patterns on Edward's shoulders with a finger. VIVIAN You still mad at'm? EDWARD He died a long time ago. She gently rests her head on his back.", "EXT. HOTEL ROOM - DAY PANNING BELLIES People are sunbathing by the pool. Overweight. lobster red. old and stretch - marked. fishy white. and then gorgeous. The gorgeous is Vivian. She is wearing a miniscule bikini and sunglasses. WAITER -LRB- O.S. -RRB- Miss Vivian? She looks up. A young WAITER, looking a little dry - mouthed at the sight of her, is holding a telephone. WAITER You have a call. Mr. Harris. VIVIAN -LRB- taking the phone. -RRB- Hi, baby. -LRB- a moment. -RRB- I'll be ready. Bye. She hangs up. She looks at the Waiter, confused. VIVIAN What do you wear to polo?", "EXT. THE LOS ANGELES EQUESTRIAN CENTER - LATE AFTERNOON Horses and riders crash and careen on the playing field. An enthusiastic crowd cheers. DOWN OFF THE EDGE OF THE FIELD a tailgate party using Cadillacs and Rolls Royces is in progress. Horses and riders thunder by a crowd of very well - dressed, successful - looking people - celebrities, execs, socialites, aficionados - most of whom ignore the game. They are there to see and be seen much more than to watch a polo match.", "EXT. EQUESTRIAN CENTER - LATER AFTERNOON Vivian and Edward make their way towards the party. Edward is wearing his new tie. Vivian is looking very chic and beautiful in one of her new outfits. Not that it's helping - the place, the people, the wealth - everything here suddenly has her overwhelmed. She suddenly stops. VIVIAN You're really pushing it, bringing me here. EDWARD I think it's exciting. VIVIAN What id we run into someone I know? EDWARD I really doubt anyone here frequents Hollywood Boulevard. VIVIAN You did. A VOICE calls out. STUCKEY -LRB- O.S. -RRB- Edward! They turn. William Stuckey is with a group of people. He waves them over. STUCKEY -LRB- cont'd. -RRB- Come on! Over here! Edward takes Vivian's arm and leads her forward.", "EXT. EQUESTRIAN CENTER - LATE AFTERNOON Stuckey grins and shakes Edward's hand. STUCKEY -LRB- looking at Vivian. -RRB- Well, well, well. Vivian dislikes this guy on sight. Dislikes the frosty looking woman at his side. EDWARD Bill, I'd like you to meet Vivian. STUCKEY -LRB- holding out a hand ; smiling. -RRB- Bill Stuckey, Vivian. My wife, Elizabeth. VIVIAN Hi. Elizabeth Stuckey stretches her thin lips in a cold smile. STUCKEY Lots of fun people here. Let me get you two some champagne. He moves quickly away. ELIZABETH STUCKEY Excuse me. She moves to greet someone else. Vivian and Edward survey the milling CROWD. VIVIAN -LRB- sarcastic. -RRB- Real genuine guy. EDWARD He's good at what he does. VIVIAN You could freeze ice on his wife's ass. She anything like your ex? EDWARD -LRB- a small smile. -RRB- Shall we mingle?", "EXT. EQUESTRIAN CENTER - ON THE FIELD - LATE AFTERNOON A goal is scored. IN A SERIES OF CUTS Edward watches and guides her, Vivian sips champagne and meets and chats and wins over different PEOPLE.", "EXT. EQUESTRIAN CENTER - ANOTHER ANGLE - LATE AFTERNOON A group of PEOPLE. WOMAN I simply love your dress, Vivian. VIVIAN This old thing? WOMAN Of course, a figure like yours can wear anything. You must work out constantly. VIVIAN I lead a very physical life. OLDER MAN Are you into running, Vivian? VIVIAN I'm into walking. I walk a lot.", "EXT. EQUESTRIAN CENTER - ANOTHER ANGLE - LATE AFTERNOON In another group of PEOPLE. ANOTHER MAN You look awfully familiar, Vivian. Have n't we run into one another at the spa in La Costa? VIVIAN Well, I do often spa there.", "EXT. EQUESTRIAN CENTER - ANOTHER ANGLE - LATE AFTERNOON Edward and Elizabeth Stuckey watch Vivian laugh and chat with a group of WOMEN. ELIZABETH STUCKEY Edward, she's marvelous. Warm and witty and down to earth. EDWARD -LRB- with pleasure. -RRB- She is, is n't she. ELIZABETH STUCKEY So unlike your usuals. Where on earth did you find her? Edward smiles enigmatically. Taking an hors d'oeuvres off a passing WAITERS's tray, he starts forward.", "EXT. EQUESTRIAN CENTER - ANOTHER ANGLE - LATE AFTERNOON A WOMAN We're good together. He has to admit it. I've been just what he wants me to be. I say the right things, I know the right people, I give wonderful parties. No question, no arguments, no embarrassments. It works for both of us. That makes Vivian think. And then she smiles as she sees Edward approaching. Vivian moves to him. VIVIAN Edward, these women here, I do n't think any of'm like the guys they're with. They're just into it for the money. EDWARD I'm sure that's true for some of them. VIVIAN I thought I was the pro. These women make me feel like an amateur. EDWARD -LRB- a beat. -RRB- Ready to stomp sod?", "EXT. EQUESTRIAN CENTER - ON THE FIELD - LATE AFTERNOON IN A SERIES OF SHOTS TO MUSIC The CROWD engages in sod stomping. They drink champagne. They make a dance out of it. They laugh. Shoes get stuck in the mud. It's ludicrous - these people in their suits and fancy clothes, replacing divots and stepping over the horse shit. In a corner of the field, grazing horses stare, seemingly in disbelief. Vivian is having a wonderful time. And then, as she moves towards the outside of the crowd she sees someone staring at her from over among some of the riders and grazing horses. David Kross smiles at Vivian. She hesitates. and then she crosses towards him.", "EXT. EQUESTRIAN CENTER - ANOTHER ANGLE - LATE AFTERNOON DAVID KROSS Hi. VIVIAN Hi. I never thought stomping in grass could be so much fun. DAVID -LRB- laughs. -RRB- I like your hat. VIVIAN Huh? Oh. yeah. S'okay? -LRB- pleased ; a moment. -RRB- Uhm. how're. business things going. DAVID Let's not talk about it, it's too depressing. Come on, I'll show you Thunder. VIVIAN Please, we hardly know each other. DAVID Thunder's a horse. Come on.", "EXT. EQUESTRIAN CENTER - ANOTHER ANGLE - LATE AFTERNOON They approach the sweating mount. David Kross caresses the horses muzzle. DAVID Hey, big guy, you getting tired, yet? I am. This is Vivian. -LRB- a beat ; and then :. -RRB- You two been together long? You and Edward? VIVIAN No. DAVID Hope to be? To Vivian's surprise, the question causes a pang inside. VIVIAN It's. it's not like that. DAVID I see. Well. Maybe that means you'd have lunch with me sometime then. Vivian is suddenly silent. She looks away. DAVID -LRB- cont'd. -RRB- I'm sorry, am I being too forward? VIVIAN You do n't know anything about me. DAVID I'd like to find out. You do n't know anything about me either. That's why people have lunch. But something holds Vivian back, a feeling.", "EXT. EQUESTRIAN CENTER - IN THE CROWD - LATE AFTERNOON William Stuckey turns. stops. stares. He sees Vivian and David Kross standing together. He stares, his mind racing, and anxious, angry look on his face.", "EXT. EQUESTRIAN CENTER - LATE AFTERNOON Stuckey has Edward off to the side. He is talking to him in a low, earnest voice. STUCKEY Fill me in on this. How'd you and Vivian meet? EDWARD We just did. STUCKEY -LRB- grinning. -RRB- Come on, you can tell me. I sure would like to know where a guy runs into a girl as attractive as this. EDWARD The night I left your house, I was lost. I was looking for directions. STUCKEY And you just happened to run into her. Great. What's she do? She work? EDWARD Yes. STUCKEY Doing what? EDWARD Vivian's in sales. STUCKEY Sales, really? That's great. What does she sell? Edward's eyes narrow. EDWARD Why do you want to know? STUCKEY Hear me out. I've known you a long time. I see a difference in you this week. Like that tie. I'm suddenly wondering if this girl's not the difference. Especially when I see her talking with David Kross.", "EXT. EQUESTRIAN CENTER - ANGLE ON VIVIAN Vivian turns away from the bar, now holding two glasses of champagne. She scans the crowd for Edward.", "EXT. EQUESTRIAN CENTER - ANGLE ON EDWARD AND STUCKEY EDWARD She met him at dinner last night. I like this tie. STUCKEY So now they're best friends? Edward, this girl appears out of nowhere and now I see her talking to a guy whose company we're trying to buy. It's too convenient. EDWARD You're being ridiculous. STUCKEY Industrial espionage is not ridiculous. Edward, how do you know she has n't attached herself to you so she can bring Kross back information? EDWARD Christ, Bill, she's not a spy, she's a hooker. I picked her up off Hollywood Boulevard.", "EXT. EQUESTRIAN CENTER - ANGLE ON VIVIAN as she hear loud sudden LAUGHTER. She turns. She sees that it's Stuckey laughing. Smiling, Vivian starts towards them with two glasses of champagne.", "EXT. EQUESTRIAN CENTER - ANGLE ON STUCKEY AND EDWARD STUCKEY I swear to God, you are the only millionaire I ever heard of who'd go looking for a goddam bargain streetwalker! Edward sees Vivian coming. EDWARD Let's drop it, shall we? Edward turns. He smiles gently as Vivian quietly approaches and hands him his glass of champagne. A group of BUSINESSMEN are standing a short distance away. One of them calls out : MAN Edward! May we have your opinion on something? EDWARD -LRB- to Vivian and Stuckey. -RRB- Excuse me a moment. He moves to join the group of men. Stuckey gives Vivian a broad smile. STUCKEY Having a good time, Vivian? VIVIAN Yeah. Thanks. STUCKEY All this must be quite a change from Hollywood Boulevard. Vivian looks as if she's been struck. VIVIAN What? STUCKEY It's okay. Edward told me. Your secret's safe with me. Stuckey runs his hand up her arm. STUCKEY -LRB- cont'd. -RRB- What do you charge, Vivian? Maybe you and I could get together after Edward leaves. VIVIAN -LRB- forcing a bitter smile. -RRB- Yeah. Sure. Why not. Call me at the Regent Beverly Wilshire. STUCKEY I just might do that. He moves away. Vivian turns. Edward looks up from his conversation, sees her looking at him. He smiles, raises his glass in a small toast. A moment. Vivian toasts him back.", "INT. PENTHOUSE - NIGHT They enter. Edward switches on a light. Vivian comes down the steps into the room. Edward follows after her. EDWARD You're awfully quiet. You have n't said a word since the party. As Edward touches her shoulder, Vivian suddenly spins and explodes with anger. VIVIAN You asshole! I ca n't believe what a -! EDWARD Vivian, what the - Tears well in Vivian's eyes as she yells at him. VIVIAN Clean the slut up, take her out, huh?! What are you trying to prove!? I'm not a piece of meat for you to offer to your friends! EDWARD I do n't know what you're talking about. VIVIAN I've been with stinking old men who've made me want to puke but I've never had anyone make me feel as dirty as you did tonight. EDWARD Would you please calm down. Tell me what happened. VIVIAN Stuckey! He wants an `` appointment'' with me after you leave. You my pimp now or did he think that up on his own? Edward looks guiltily away. EDWARD What was I supposed to do? -LRB- a beat. -RRB- I told the truth. Why should the truth upset you? It's not as if you're from a convent. VIVIAN I want my fucking money. I'm getting out of here. I do n't want anything more to do with you. EDWARD Can we talk about this? Can you just try to calm down? VIVIAN Your goddamned friend, he thinks the only reason I'm with you is for the money. A tear falls from Vivian's eyes. VIVIAN -LRB- defiantly. -RRB- Well, it's true. Just pay me what you owe me and I'm gone. EDWARD Vivian. VIVIAN Pay me! Before I pick up this chair and smash your face in. EDWARD Fine. I'm only here a couple of more days and I'm not going to spend them fighting with you. VIVIAN Fuck off. EDWARD I'll call you a cab. If you want the clothes, pack them up. Vivian stands quietly for a moment. And then she turns and walks into the bedroom.", "INT. PENTHOUSE BEDROOM - NIGHT Vivian starts roughly picking up her clothes in the dim light of the bedroom. As she does she starts crying. With each item of clothing the tears come down harder. Edward appears at the doorway. His face is genuinely concerned. EDWARD Vivian. I'm sorry. I was n't prepared for questions about us. It was an idiotic and insensitive thing I did. I should have known that it would hurt you. VIVIAN I'm not hurt. It does n't hurt you when somebody pisses on you, it just pissed you off. EDWARD I really am sorry. Vivian lets the clothes fall from her arms. Sobbing, she stands limply. VIVIAN You hurt me. Edward goes to her and wraps his arms around her shoulders. She touches his hand. He sits on the bed. He pulls her to him and wraps his arms around her, holds her tight. EDWARD I'll make it up to you.", "INT. BROKERAGE HOUSE - DAY Edward, carrying a briefcase, moves jauntily down a long hallway. Stuckey trails after him. STUCKEY This is no time to disappear. We're in too far. EDWARD Bill? Stop panicking. Kross is n't going anywhere and I do n't need to spend the rest of the day watching his stock go down. I'll be in the office tomorrow. STUCKEY Promise me you'll read those contracts by then. EDWARD Goodbye, Bill. Stuckey stops. He calls after Edward. STUCKEY Shit. By tomorrow, Edward! Edward hurries on.", "EXT. REGENT BEVERLY WILSHIRE - DAY Edward exits out of his limo and walks to the front doors.", "INT. HOTEL LOBBY - DAY Edward smiles, moving jauntily to the elevators. Mr. Thomas at the front desk notices Edward's happy mood. MR. THOMAS Good afternoon, Mr. Harris. EDWARD Afternoon. Edward's attention is taken by the glittering jewelry display in the hotel jewelry store window. He detours from the elevators and moves to the window for a closer look. He thinks a moment and enters the jewelry store.", "INT. PENTHOUSE - AFTERNOON Vivian comes out of the bedroom into the living room wearing an elegant red sequined evening dress. She looks incredibly beautiful. She sees the phone. A thought occurs to her and going to it, she picks it up. Waits. VIVIAN C'mon, Kit. No answer. She hears someone at the door. She hangs up. Edward enters. He is carrying a small case. He stops at the sight of Vivian. VIVIAN Do I look okay? EDWARD -LRB- a small smile. -RRB- Hmm. let's see. no, there's something missing. He holds up the small case. VIVIAN What's that? EDWARD I do n't want you to get too excited. these are on loan. however. Vivian's jaw drops. Edward is holding a diamond and ruby necklace in his hands, holds it as if it might melt if he breathed too hard. Edward behind Vivian, fastens the necklace around her neck. EDWARD This is made for a princess. I think she'd approve of you wearing it tonight. There. Come look. He leads her to a mirror. She stares at her reflection. VIVIAN Edward, I ca n't. EDWARD Shush. Of course you can. VIVIAN What if I lose it? EDWARD You wo n't. VIVIAN What if someone tries to steal it? EDWARD I'll guard them and you with my life. EDT. BURBANK AIRPORT - DAY A limo pulls onto the tarmac at Burbank Airport. A PILOT in a leather jacket and sunglasses hurries forward to open the limo door. Edward - now wearing evening clothes - and Vivian climbs out of the limo. PILOT Your plane is ready to go, Mr. Harris. EDWARD Very good. VIVIAN Plane? Taking her arm, Edward leads her across the tarmac. EDWARD You do n't want to go all the way to San Francisco in a limousine, do you? I do n't. VIVIAN Where are you taking me!? EDWARD To meet some friends. Rudolpho, a poet. Benoit, a landlord. Mimi, a flower maker. VIVIAN Huh? EDWARD The opera. Up ahead is a waiting private jet, its engines already HUMMING. She is speechless. Edward grins, loving the look on her face.", "EXT. BURBANK AIRPORT - DAY The corporate jet takes off down the landing strip.", "INT. CORPORATE JET - DAY Edward and Vivian are alone in the passenger lounge of the jet. Vivian ca n't believe the cabin. It is a comfortable room featuring a long couch that curves across two walls, built in bar, television and stereo. Edward is once again, going over papers. VIVIAN I've never been on a plane before. EDWARD I'm glad you like it. Now be quiet, I've really got to read these. Vivian fluffs her hair up. She makes a happy, excited growling sound - Rrrrr! A wicked gleam comes to her eye. She walks over to Edward and stands in front of him. He looks up. She parts the thigh high slit in her gown to expose silken quarters. She begins to unfasten the garters one at a time. EDWARD Vivian, what do you think you're doing? Edward watches silk stockings slide down Vivian's lovely legs. VIVIAN Being quiet. She reaches out and gently caresses Edward's face. Edward sets down his papers.", "EXT. SAN FRANCISCO - SUNSET The setting sun casts an incredibly glow over the city and the coast. VIVIAN -LRB- O.S. -RRB- You ever been in love with anyone?", "INT. CORPORATE JET - SUNSET Vivian is at the window, looking out. She carefully puts her earrings back on. She stares, mesmerized by the skyline, the golden gate bridge in the distance. She turns. Edward is buttoning his shirt. He is silent. VIVIAN Sorry. You're not paying me to ask you question like that. EDWARD Vivian. I'm paying you to be you. Be you. -LRB- a beat. -RRB- Have you? Ever been in love with anyone? VIVIAN You mean, besides Elvis? -LRB- turning back to the window. -RRB- I'm a human being. Sure. Once. First time I ever ran away from home, I got as far as Atlanta. I met this boy. He'd been with his parents on their way to Chicago. They stopped at a gas station. He went to the john. When he came back they'd split. We sorta started looking out for each other. Aw, he was sweet. And boy, was he good looking, y' know, dark hair and eyes. The chicken hawks were on him all the time. He hated that. Sometimes we'd find a safe place to crash nights and we'd curl up together and we'd talk about all these crazy things. The two of us getting married someday. Having kids. Stupid stuff. EDWARD What happened to him? A moment. Vivian shrugs. VIVIAN My father found me. Dragged me home. I do n't know why, he never seemed to like me much when I was there. -LRB- a bitter smile. -RRB- ` Cept when he was drunk, then he liked me a whole lot. -LRB- a moment. -RRB- I made it back to Atlanta a year later. Andy was gone. Silence. Vivian stares out the window. VIVIAN Aw, but things sure look fine when you're sitting way up high. Edward moves close to Vivian and putting an arm around her shoulders, stares with her out at the view. Vivian rests her head against him.", "EXT. SAN FRANCISCO OPERA HOUSE - NIGHT An airport limo pulls to a stop in front of the San Francisco Opera House. The DRIVER walks around back and opens the passenger door. Edward emerges and helps Vivian out.", "INT. S.F. OPERA HOUSE LOBBY - NIGHT Edward puts his hand on Vivian's elbow as they walk through the elegant lobby. EDWARD Some people say that opera is an acquired taste, but I do n't believe it. You can always tell when someone goes to the opera for the first time. They either love it or hate it. Those who love it will always love it ; those who hate it might come to appreciate it, but they'll never truly love it. Vivian is wide eyed as they walk past a beautifully lit fountain with several graceful statues in its center. Everywhere she looks she sees elegantly dressed WOMEN and prosperous looking MEN. It makes her nervous. Without realizing it, she raises a protective hand up to her necklace. She looks as if she suspects someone is going to step up and steal it. EDWARD Viv? I really doubt if anyone here is going to try and grab it. Vivian reluctantly lowers her hands.", "INT. S.F. OPERA HOUSE LOBBY - ANOTHER ANGLE - NIGHT A crowd of PEOPLE mill around the lobby, heading toward their seats. Vivian is aware of the looks she draws as she passes - curious, even envious looks from the WOMEN, appreciative glances from the MEN. Her hands again rises nervously to her necklace. EDWARD They all think you look very beautiful, Vivian. Vivian gives him a grateful look. Relaxing, she lowers her hand from the necklace. With a flourish, he offers his arm. She takes it. They start forward.", "INT. S.F. OPERA HOUSE BOX - NIGHT Edward and Vivian take their seats in a box high above the stage. VIVIAN If it's in Italian, how will I know what they're saying? EDWARD I'll whisper some of the main parts of the story to you. But you'll be surprised how much you understand. The music conveys the story more powerfully than any words. VIVIAN But do n't they have it in English? EDWARD Vivian, do n't be afraid of what you do n't know. That's the fun of it. The lights dim. VIVIAN -LRB- resigned. -RRB- Okay. Even if I hate it, I'm glad you brought me. The orchestra begins to play. Vivian's eyes focus intensely on the stage, as if a new world is about to be revealed to her.", "INT. S.F. OPERA HOUSE STATE - NIGHT IN A MONTAGE OF IMAGES AND MUSIC - LA BOHEME is performed. The lights from the stage dance across Vivian's face. Edward leans over to translate the tenor's aria. EDWARD What am I? I am a poet. Not a man of wealth but one rich in dreams. You have come to replace my vanished dreams. I dwell now only in your eyes. The MUSIC ebbs and swells. The sets and costumes change. The story continues. Edward again leans close to Vivian. EDWARD And now she asks Rudolpho if he still thinks her beautiful - Vivian raises a hand and gently covers Edward's mouth. Her eyes are fixed on the stage. She does n't need his help. The emotions building inside Vivian swell as the music is reaching its tragic climax. Her lips tremble. Her eyes fill with tears. Edward glances at her. He studies her a long moment, watching the emotions play unashamedly across her face. Strangely moved, he takes Vivian's hand. As the opera ends, they are both swept away by it.", "INT. S.F. OPERA HOUSE BOX - NIGHT As the lights come up, Vivian wipes off her tear - ruined mascara. She sighs, happy. The WOMEN in the next box smile at her. OLDER WOMAN Did you enjoy the opera, dear? VIVIAN -LRB- tearfully. -RRB- It was so beautiful I just about pissed my pants. Edward smiles at the now shocked looking Older Woman and he and the still misty Vivian exit.", "INT. CORPORATE JET - NIGHT - LATER Edward and Vivian sit side by side. EDWARD If you'd gone on about how much you liked it, I'm not sure I'd have believed you. VIVIAN I more than liked it. EDWARD I know. I'm glad. VIVIAN Did you? EDWARD Yes. I've never enjoyed it more. Thank you. Vivian looks at him a moment. And then, leaning slowly forward she kisses him gently on the mouth. He looks at her surprise. He puts his arms around her and kisses her back. It is the first time they've kissed and they make it very special.", "EXT. CORPORATE JET - NIGHT The plane flies in the night. Back to L.A.", "INT. REGENT BEVERLY WILSHIRE PENTHOUSE BEDROOM - NIGHT IN A SERIES OF CROSS FADES Edward and Vivian make love. Equally giving, equally taking. No masks, no shields.", "INT. PENTHOUSE BEDROOM - NIGHT - LATER In the darkened bedroom, Edward and Vivian lie together. Edward cradles Vivian. Her back rests against his chest. His arm is over her body. She takes Edward's hand in her hands and carefully examines it ; marveling at the fingers, the tiny hairs on the back. She gently kisses the palm. VIVIAN Love you. She clutches Edward's hand tightly to her breast. She closes her eyes, ready to sleep now.", "INT. PENTHOUSE BEDROOM - ANGLE ON EDWARD - NIGHT His eyes open. Vivian's whispered endearment has filled with him with sudden confusion and uncertainty. He stares into the dark, wondering what to do with the woman in his arms.", "INT. PENTHOUSE - OUTDOOR PATIO - MORNING The phone rings. Edward immediately reaches out and picks it up. He is dressed in a robe. Breakfast is on the umbrella'd table in front of him. EDWARD Yes?", "INT.  STUCKEY'S HOME - LIBRARY- MORNING - INTERCUT Stuckey, not even dressed yet, paces around his desk. STUCKEY Did I wake you? EDWARD I'm up. STUCKEY I had to call. I jus got off the phone with James Kross. Get this. He wants to see you. Today. EDWARD Why? STUCKEY He would n't say. Edward. I think we got him. His nuts are on the block and we got him. -LRB- silence. -RRB- You there? EDWARD Give me twenty minutes. STUCKEY We'll be there. Listen, if he's really caving in, we'll go from there down to the office. I want him to commit his stock to us this morning. Edward hangs up. His mind seems on other things. He rises.", "INT. PENTHOUSE BEDROOM - MORNING Vivian is still asleep. She is face down on the bed, the sheets just covering her to her waist. Edward stares down at her. He gently reaches out and runs a finger down the soft line of her spine. Vivian murmurs contentedly. VIVIAN Mmm. -LRB- opening her eyes ; looking at him. -RRB- Hi. Edward smiles at her softly. And then : EDWARD Better get dressed. We're having guests.", "INT. PENTHOUSE BEDROOM - DAY Vivian is wearing her yellow dress. She stares at herself in the bedroom mirror. Her hair. her make - up. she realizes how different she is now, realizes that she likes it. Edward comes out of the bathroom. He crosses to the closet for a tie. VIVIAN Here. Let me. She comes over, starts to tie his tie for him. He is very aware of the closeness of her. She smiles at him. He smiles ; puts his hand on her stopping her for a moment. Looking up, she sees that he is serious now ; no more jokes. He releases her hand. EDWARD -LRB- quietly. -RRB- One more night and you're finally rid of me. VIVIAN Yeah, you've been pretty tough to take. EDWARD I have to go to New York tomorrow. Vivian says nothing. EDWARD -LRB- cont'd. -RRB- But I'll be back in Los Angeles. Soon. I'd like to see you again. I thought we could work out something. An arrangement. Vivian is silent. EDWARD -LRB- cont'd. -RRB- I'll get you an apartment, buy you a car - Vivian sighs, letting something go inside. Finished with his tie, she turns away. EDWARD -LRB- cont'd. -RRB- What is it? VIVIAN -LRB- not unkindly. -RRB- What else? You gon na leave some cash by the bed when you pass through town? EDWARD It would n't be like that. I want to get you off the street. You'll have a different kind of life. What's wrong with that? VIVIAN I'm sorry. That's very sweet, Edward, and I know you mean it. She is silent. EDWARD Vivian, I've thought about this a lot. This is the best solution. VIVIAN -LRB- shakes her head `` no,'' then continues tying his tie. -RRB- When I was a little girl, my mother locked me in the attic when I was bad, which was pretty often. I'd stare out the window up there and make believe I was a princess trapped in the tower by the wicked queen. Then suddenly a knight on a white horse with his bright colors flying would ride up. Rescue me from the tower, and then we'd ride off. but never, ever in all the times I had that dream did the knight say, `` Come on baby, I'll put you up in a great condo.'' She finished his tie. EDWARD Vivian, life's not a fairy tale. VIVIAN -LRB- softly ; to herself. -RRB- I know. -LRB- a beat. -RRB- Hey, do n't mind me. I'm being stupid. I'll think about it, okay? It's a real good offer for a whore. EDWARD I've never treated you like a whore. VIVIAN -LRB- not mean. -RRB- You just did. The doorbell suddenly rings in the living room.", "INT. PENTHOUSE LIVING ROOM - DAY Edward enters the living room. Vivian slowly enters behind him. Edward opens the front door. Mr. Kross slowly enters. He looks very old and tired ; so much so that Edward has to mask his surprise. KROSS Mr. Harris. EDWARD How are you, Mr. Kross. KROSS Not bad for a man who has n't slept in four nights. I'll get used to it. An angry, reluctant looking David Kross is behind his father. Stuckey brings up the rear. Edward and David give one another perfunctory nod. Stuckey smugly winks at Edward. Edward closes the door and leads them all down the stairs. Vivian is very troubled at Kross's appearance. He gently nods at Vivian. KROSS Young lady. VIVIAN Hello. -LRB- to David. -RRB- Hi. DAVID Hello, Vivian. STUCKEY Let's not waste time here, shall we? Mr. Kross, you said this morning, you wished to speak with Mr. Harris. Mr. Harris is now listening. Kross has to fight down his humiliation at Stuckey's tone. He turns to Edward. KROSS Yes. I'm here to tell you that I've reconsidered my position on your acquisition offer. EDWARD Expected. offer. KROSS Of course, yes. After the expected filing period is over, I'm going to recommend to the board that we accept your bid. EDWARD -LRB- a moment. -RRB- You're making the right decision, sir. Stuckey glances triumphantly at Edward. He is surprised to see that there does n't seem to be any victory in Edward's face. Edward is silent. Kross interprets his silence as second thoughts. KROSS I'll see you on one condition. I'm not so concerned for me but the people who have worked for me. Vivian is disturbed watching this tired looking man. STUCKEY -LRB- quickly. -RRB- They'll be taken care of. Wo n't they, Edward? Kross ignores Stuckey. He looks to Edward. Edward slowly nods. KROSS I'll sign anything you want then. STUCKEY Today. Kross nods tiredly. His voice is very soft. KROSS Today. Vivian abruptly turns and disappears into the bedroom, obviously upset. The men all watch her go. Edward hesitates. He turns to Kross : EDWARD Excuse me, please? He heads to the bedroom.", "INT. PENTHOUSE BEDROOM - DAY Vivian is sitting on the bed, on the phone. VIVIAN Hello. Is Kit DeLuca there? When she comes in will you have her call Vivian Wells at 560 - 30000. Yes. Okay. She hangs up as Edward comes in. VIVIAN What did you do to him? EDWARD What do you mean? VIVIAN Last time I saw him he was this strong guy. Now he's beaten. And you liked him. EDWARD Vivian, I want you to listen to me. The man realized that it would be better for his future and his son's future, if he cooperated. VIVIAN Right. EDWARD It's not your concern. It's. business, that's all. VIVIAN Business. EDWARD Yes. The man made a business decision. VIVIAN It's all just business to you. Him. Me. Your life. Everything's business. EDWARD It's what I do for a living. It's how I make money. Silence. EDWARD I'll be back in a few hours. We'll talk about this later.", "INT. PENTHOUSE LIVING ROOM - DAY Edward enters the living room. The men look at him expectantly. EDWARD We'll continue this down at the office. He heads for the door.", "EXT. PENTHOUSE PATIO - DAY Vivian stands at the railing, unhappily looking out at the city beyond. The phone RINGS. She turns and hurries inside.", "INT. PENTHOUSE LIVING ROOM - DAY Vivian answers the phone. VIVIAN Lo?", "INT. HOTEL LOBBY - DAY - INTERCUT Mr. Thomas is standing behind the front desk, a rather strained expression on his face. MR. THOMAS Barnard Thomas here. Miss Vivian, I wonder if you might come down to the front desk. There's someone here to see you. VIVIAN Me? MR. THOMAS I'd send them up, but sadly, I do n't trust the young lady to find you on her own. A hand reaches out and wrenches the phone away from Mr. Thomas. Kit, heavy make - up, skimpy outfit, chewing gum, cigarette and all, keeps her voice just below a bellow. KIT Viv? Where are you, babe? -LRB- glaring at Mr. Thomas. -RRB- The sphincter - police wo n't let me through.", "INT. HOTEL LOUNGE - DAY Kit finishes slurping on a big, frosty ice cream soda. She smacks her lips like a happy, little girl. Vivian is n't having anything. VIVIAN Yes, I'm glad you're clean but I've been calling and calling. KIT Was that you? VIVIAN Who did you think? KIT Carlos. I still owe him two hundred bucks. VIVIAN Kit, I left that money for you days ago. KIT Yeah. I just got it. An OLDER COUPLE walk past the table. They stare at Kit. KIT Fifty bucks, grampa. For seventy - five, the wife can watch. Horrified, the elderly couple hurry away. VIVIAN Kit. KIT Everybody keeps starin' at me. VIVIAN Yeah. I know what you mean. KIT What do you know? You look good. All dressed up. -LRB- meaning it. -RRB- You clean up real nice. -LRB- giggling. -RRB- You sure do n't fit in down on the Boulevard, lookin' like you do. Not that you ever did anyway. VIVIAN You think I fit here where they just about chew your food for you? KIT Where do you fit? Vivian is silent, then. VIVIAN -LRB- suddenly. -RRB- I kissed him, Kit. On the mouth. KIT Honey, you're not supposed to do that. VIVIAN I know. I stopped pretending and started liking it with him for real. KIT Oh, my god, you mean it was good? VIVIAN -LRB- miserably. -RRB- It was great. KIT Dummy. VIVIAN He wants to set me up in a place, give me some money. KIT I pray for that. VIVIAN -LRB- nods. -RRB- All I'm doing is feeling lousy about it. I do n't know what to do. What do I do, Kit? KIT Go for the bucks. VIVIAN I do n't care about bucks. -LRB- a beat. -RRB- I might love this guy. KIT Wow, are you in deep shit. -LRB- a sigh. -RRB- You know he'll break your heart. Vivian is silent again. KIT -LRB- cont'd. -RRB- I blame myself here. First time I laid eyes on ya', I knew you were too complicated to be a whore. Vivian nods. Her face is filled with confusion.", "INT. BROKERAGE HOUSE - CONFERENCE ROOM - DAY Edward stands at the window looking out. There is something about his somber demeanor that both reflects the look we've just seen on Vivian and suggests the way we saw him at the top of the story. Jake enters, a pile of papers under his arm. He begins laying them out on the conference table. JAKE Congratulations, sir. EDWARD What? JAKE Mr. Kross is just getting off the phone with his stock broker. It's finished. You've won. Edward says nothing. JAKE Who are you going after next, sir? EDWARD Who indeed. He turns as Stuckey, James and David Kross, and Vance enter the room. They surround a conference table. Kross sits, the papers laid out in front of him. Stuckey hands Kross a pen. A SECRETARY lays out finger food. They wait for her to leave before they speak. STUCKEY If we can get these letters of intent out of the way now. Mr. Harris and I would like to ask you some questions about your company. DAVID Dad, excuse me, but that's inappropriate. You're under no obligation to answer any questions at all. KROSS Could we at least wait till after the filing period? Stuckey glances to Edward for help. Edward is silent ; indeed it's as if something is twisting inside of him. Stuckey plunges ahead. STUCKEY Mr. Harris is preparing a bid based on our speculation of the corporation's net worth. The price he ultimately pays for your father's stock will be based on that bid. The more we know, the higher our bid can be. KROSS It's in my best interest to cooperate, David. DAVID If he throws himself on your sword, you promise to take care of him and his family, huh? David stares at him. STUCKEY That's unfair! DAVID You bed it is. -LRB- to Edward. -RRB- You're everything he said you were. -LRB- to his father. -RRB- Do what you have to do, Dad. Just do n't expect me to watch it. He exits. A moment. Kross looks at Edward with a resigned smile. KROSS He's young. He has n't learned how to lose gracefully yet. I'll sign your papers. And I'll answer your questions. Whatever you want. He sighs. He picks up the pen. He's about to sign. EDWARD Stop. For just a moment. -LRB- a moment. -RRB- Mr. Kross, I'd like to ask you a few questions before you sign. You realize that you're a target. If you were n't mine, you'd be someone elses, correct? KROSS Yes. EDWARD If you had a. reprieve, what would do? STUCKEY -LRB- quickly. -RRB- I do n't think there's any sense in - EDWARD Let him answer. KROSS I. I would take advantage of it. EDWARD How? Kross looks uncertain. He gropes for an answer. KROSS I. I do n't know. There. there was n't time. EDWARD I suppose you'd find out soon enough that you have assets you presently do n't seem aware of, would n't you? The waste processing licenses at that abandoned shipyard of yours, you'd certainly find out about that. Surprise suddenly flares in Stuckey's eyes. STUCKEY Oh, my god. Edward, no! EDWARD I suppose you'd use them as collateral on new loans, would n't you? STUCKEY Have you lost your mind? KROSS -LRB- to Stuckey. -RRB- Quiet. -LRB- to Edward. -RRB- Would I get the loans? EDWARD This time I imagine you would, yes. -LRB- as if thinking about it. -RRB- Hmm. -LRB- a moment. -RRB- With all this in mind, Mr. Kross, I ca n't logically make a formal bid on your company, can I? KROSS -LRB- a small smile. -RRB- You'd be initiating a financial battle you'd ultimately lose, Mr. Harris. EDWARD You're very right. I think the best thing we could all do is go home. STUCKEY What!? EDWARD Have a good day, gentlemen. He exits from the room. Stuckey follows.", "INT. BROKERAGE HOUSE - DAY Edward is walking down the hall. Stuckey comes out of the office and calls after him. STUCKEY -LRB- calls. -RRB- Edward, what happened? What kind of move was that? Edward silently goes into the elevators. The doors close. STUCKEY -LRB- yells. -RRB- Dammit Edward, speak to me. Stuckey heads back to the conference room.", "EXT. OFFICE BUILDING - LATE AFTERNOON Edward comes out of the building. His Chauffeur leaps to open the limo door. EDWARD No. take the car back to the hotel. I need to walk. He sets off across Century Park East.", "INT. PENTHOUSE - EVENING Vivian is in the living room, pacing, edgy, the doorbell rings. She turns. It rings again. She opens it. Stuckey is standing outside with a small briefcase. He looks agitated. He tries to hide it. STUCKEY Well, well. Hello again. I'm looking for Edward. Vivian just stares at him. VIVIAN Edward's not back. I thought he was with you. Stuckey walks past her and down the steps into the living room. STUCKEY No, I'll just have to wait then, wo n't I? There is a bar set up. Stuckey sets his briefcase down. He crosses to the bar. STUCKEY -LRB- cont'd. -RRB- Mind if I have a drink? VIVIAN No. He pours liquor in a glass. He fires it down. It seems to calm him a bit. STUCKEY Do you want to know what he did? Do you want to know what the crazy son of a bitch did? He handed the whole thing back to Kross! On a silver platter. For no reason! What was he thinking, I mean, what was going through his goddam head? Why? -LRB- pours another drink. -RRB- What was all that benevolent crap? What are we going to become, a philanthropic foundation? I'll probably be the director of several worthwhile charities. VIVIAN I think it's great. Stuckey glares at Vivian. STUCKEY I bet. A lousy whore and you're the gum in a hundred million dollar deal. VIVIAN -LRB- mocking. -RRB- Aw, come on, Bill. It's just business. He looks at her a moment. STUCKEY But what do I know, maybe you're worth it. Come on, show me. Let's see your act. He grabs her wrist. VIVIAN Get out! STUCKEY Do n't worry. I'll pay for it. What a you charge? Huh? Twenty, thirty, fifty bucks, maybe? Are you a fifty dollar whore? He tries to kiss her and pulls her down on the couch on top of him. VIVIAN Are you crazy? She bites his hand. Stuckey slaps her. Vivian starts flailing back. But Stuckey is too strong. Vivian staggers back at the force of another slap. Stuckey slams her up against a wall and starts rubbing up against her. STUCKEY You got a mean streak in you, do n't you. He tries to kiss her again. STUCKEY -LRB- cont'd. -RRB- Is that what he likes about you? Huh? Answer me! And suddenly a HAND lands on Stuckey's shoulder. Stuckey turns his head, startled.", "INT. PENTHOUSE - REVERSE ANGLE - STUCKEY'S P.O.V. Edward, murder in his eyes, belts Stuckey across the room.", "INT. PENTHOUSE - NIGHT - BACK TO SCENE Stuckey falls on the ground. Edward rushes forward, berserk with rage, to hit Stuckey again. His fist hits the top of Stuckey's head, hurting Edward's hand more than Stuckey's skull. Vivian rushes out of room to bathroom. Again Stuckey tries to rise. Edward kicks him in the butt, sends him headfirst into the bar. Glasses and bottles CRASH to the floor. Stuckey again tries to rise. And collapses. Edward rubs his fist. They're not used to this violence and both stare at each other panting. STUCKEY You broke my nose. EDWARD I think I broke my hand. -LRB- a beat. -RRB- You're fired. STUCKEY Edward, we've been together ten years. EDWARD And I do n't like what we've become. I'll cover any losses you have on this one. Now get out, you asshole! STUCKEY All this because of that whore! EDWARD Yes. Edward pushes Stuckey out the door and throws his briefcase after him. STUCKEY Edward, think about what you're - Edward slams the door in his face. Edward stands there, reflecting on what he's done. EDWARD -LRB- to himself, almost proud. -RRB- Well, I did n't plan that!", "INT. PENTHOUSE BEDROOM - NIGHT - LATER Edward holds an icepack to Vivian's cheek. VIVIAN Why do guys always know how to hit a woman? Right across the cheek, wham, so it feels like your eye is gon na explode. What do they do, take you all aside in high school and show you how? It pisses me off! EDWARD Not all men hit. And no one is going to hit you anymore. VIVIAN Right. -LRB- softening. -RRB- You're quite the Sir Galahad today, are n't ya'? -LRB- a beat. -RRB- I heard what you did with Kross. EDWARD It was a business decision. Vivian looks at him. EDWARD I got tired of hating my father. VIVIAN -LRB- a small smile. -RRB- It was good. EDWARD It felt good. Edward looks on the bed at her suitcases. EDWARD You're packing. VIVIAN -LRB- nods. -RRB- I'm leaving. -LRB- a moment. -RRB- Do n't ya see? If I stay with you like you want me to, there'll always be some guy, your friends eve, treatin' me like that. thinkin' they're allowed to. What are you gon na do, fight'm all? No. I'll take my money now, please. A moment. Edward reaches for his wallet. He counts out bills. He places them in Vivian's suitcase. He puts his arms around Vivian. VIVIAN Aw, do n't. no. EDWARD Stay with me tonight. Not because you're being paid to. Stay with me because you want to. VIVIAN I do. I do want to. That's why I'm leaving. -LRB- turning to him. -RRB- That's what you given me, see? I know what I want now. I want a guy like you for real. Not because you buy me things and give me money. The nicest thing you ever done for me is hold my hand. You gon na give me that? Edward is silent. VIVIAN I did n't think so. EDWARD Vivian. VIVIAN It's not your fault. You're right. Kit's right. -LRB- looks him right in the eye. -RRB- But I want the fairy tale.", "INT. HOTEL LOBBY - EVENING Vivian comes out of the elevators. A BELLMAN sees her and springs forward, reaching for her bags. BELLMAN Let me take those, miss. VIVIAN Thanks. Vivian sees Mr. Thomas behind the front desk. VIVIAN I'll be out front in a minute. I got a cab comin'. The bellman moves away. Vivian walks to the front desk. VIVIAN Hi, Barney! MR. THOMAS -LRB- looking up. -RRB- Miss Vivian. VIVIAN Look I just wanted to say goodbye. MR. THOMAS Mr. Harris does n't check out until tomorrow. VIVIAN Yeah, well, I check out today. MR. THOMAS You're not accompanying him to New York? VIVIAN -LRB- lightly. -RRB- Come on, Barney, you and me live in the real world. -LRB- a beat. -RRB- You do n't know how to treat a girl like anything but a lady, Mr. Thomas. MR. THOMAS Certain ladies make that very easy. Vivian. -LRB- turning to the desk clerk. -RRB- John, call a limousine for our guest, please. Have it take her anywhere she wishes to go. Bill the hotel. -LRB- turning back to Vivian. -RRB- See you again sometime soon. Vivian smiles softly at him. She turns and walks for the door.", "EXT. HOLLYWOOD BLVD. - DAY A long silver limo drives down Hollywood Blvd..", "INT. LIMO - DAY The LIMO DRIVER pushes the button that rolls down the screen between back and front seats. DRIVER You're sure this is the right street, ma'am? VIVIAN Yes. 1312. It's a big apartment building.", "EXT. VIVIAN'S APARTMENT BUILDING - DAY The limo pulls to a stop in front of a rundown apartment building on a dirty Hollywood side street. The Limo Driver, a large Latino man, steps out of the car and walks around to the passenger door. As he does, he surveys the surroundings uncomfortably. Ths is rough neighborhood. He opens the door. Vivian steps out. LIMO DRIVER Maybe I should go with you. This does n't look like a good place for a lady to be alone. Several PEOPLE pass. All of them stare at the car, at the driver, at Vivian in her lovely clothes. VIVIAN I'll be okay. I'm home. Thank you. The driver, confused, watches her hurry up the steps to the apartment building. He drives off.", "INT. APARTMENT LOBBY - DAY Vivian walks toward her apartment. The Landlord is sitting at the front desk in a dirty undershirt. LANDLORD Hey, we announce guests here. You a relative of somebody? Vivian lowers her sunglasses. LANDLORD -LRB- cont'd. -RRB- Viv - is that you? VIVIAN Yeah, it's me. She keeps walking. LANDLORD You lookin' good, Viv'. Nice threads. I got ta find time to shop.", "INT. PENTHOUSE - DAY Edward stands at the penthouse window, looking out. He is dressed now, ready for travel. There is something about his expression, his somber demeanor that suggests the way we saw him at the very top of the story. A BELLMAN enters from the bedroom, rolling a luggage loaded dolly along in front of him. BELLMAN Is that everything, sir? EDWARD -LRB- turning from the window. -RRB- That's everything. The Bellman exits, closing the door behind him. The phone rings. Edward crosses to it, picks it up. The Maid comes in, looks around. MAID The lady, she go? EDWARD Yes. She go.", "INT. HOTEL LOBBY - DAY Edward with the Bellhop heads to the front door. He's leaving. BELLHOP Do you have a car taking you to the airport, sir? EDWARD Yes.", "INT.  VIVIAN'S APARTMENT - BEDROOM - DAY Vivian, looking fresh scrubbed without make - up, is wearing clean jeans, a nice looking shirt and a suit jacket. Her bureau's are open. She is packing. Kit is watching. She takes the photo of her and Kit dressed up hot in hooker clothes and packs it. KIT So whatta' you going to do in San Francisco? VIVIAN Get a job and probably go back to school. Figure out what I'm gon na be. KIT What kind of school? VIVIAN School, school. Regular. I used to get pretty good grades in school, you know. KIT So did I. I made it with the principal. -LRB- recites. -RRB- Study hard And get a `` B.'' Lift your dress and an `` A'' you'll see. They both laugh but too hard. VIVIAN Want a pair of boots? KIT Do I!? Momma! Taking them, she sits on the bed and puts them on. VIVIAN You sure you wo n't come with me? KIT And leave all this? Not in a million. They laugh together. KIT -LRB- cont'd. -RRB- What time's your bus? VIVIAN Couple a hours. KIT Yeah. Well. I got ta split. Goodbye's make me crazy. VIVIAN Cool your jets a second. -LRB- going to her purse. -RRB- Here's some money. KIT No. You took care of rent, that's enough. VIVIAN I want to. For food, got it? Eat something before the wind blows you away. KIT I'm gon na pay you back next time I see ya, babe. Just wait, I'm gon na do something real nice for you some day. They hug. KIT -LRB- cont'd. -RRB- Shit, I'm gettin' all weepy now. Kit begins backing out of the room. KIT -LRB- cont'd. -RRB- Take care of you, okay? Take care of you. Love ya. Kit turns and hurries out of the apartment.", "EXT. HOLLYWOOD BOULEVARD - DAY Kit enters the falafel stand on Hollywood Boulevard.", "INT. FALAFEL STAND - DAY Kit enters, sits at the counter. KIT Coffee, Chan. And maybe a grilled cheese on white, okay? A very young GIRL is sitting just down the counter from Kit. Kit nods at her. KIT Hey, how you doin'. You new, huh? GIRL Yeah. Got a cigarette? KIT Sure. She passes the girl down the pack. She strikes a match, lights her cigarette for her. The girl inhales deep, lets it out with a sigh. She looks towards the window. GIRL Jeez, did the wacko in the suit. Kit turns to look. KIT'S P.O.V. - HOLLYWOOD BLVD.. Outside, across the street, Edward has accosted two PROSTITUTES ; one blonde, one a red haired black one.", "INT. FALAFEL STAND - DAY - BACK TO SCENE Kit rises. KIT Chan? Keep the sandwich warm, I'll be back. She heads out the door.", "EXT. HOLLYWOOD BOULEVARD - DAY Edward is still talking to the prostitutes. EDWARD I'm looking for a girl, Vivian, young, dark hair, big eyes? They shake their heads. EDWARD She's mouthy. Sort of difficult? PROSTITUTE 1 Ai n't seen her, would n't know her. PROSTITUTE 2 What's wrong with us, man? Two for the price a one, what ya say? EDWARD -LRB- disappointed. -RRB- Thank you. No. They turn and walk away. Edward stands there, not knowing what to do next. He looks discouraged and lost. KIT -LRB- O.S. -RRB- Edward Harris, as I live and breathe! Edward quickly turns to find Kit staring at him. Kit smiles, triumphantly. KIT -LRB- cont'd. -RRB- Yeah. Boy, you're just like she said. She turns and starts away. She stops, turns back. KIT -LRB- cont'd. -RRB- You comin' or not? I do n't got all day, I got a grilled cheese waitin'. Edward follows Kit.", "INT.  VIVIAN'S APARTMENT - DAY Vivian sits on her bed, lost in thought. Her bags are packed, ready to go. With a sigh she rises. She picks up the bags, exits the room. Vivian stands in the dreary living room, looking at it, taking it all in for the last time. She suddenly looks more than a little bit frightened to be leaving. She musters resolve. She goes to the door, opens it and exits, closing it behind her. Silence. Vivian suddenly comes back in. She puts down her bags. She crosses to the kitchen where she takes coffee can/piggy bank from the shelf. She puts some more bills into it, places it back where Kit will find it. She turns and starts again for the door. She stops. She hears something. MUSIC. An aria from La Boheme. Faint. Seemingly coming from nowhere. She dismisses it - she's hearing things. She opens the door. Stops. The music is louder and getting louder now - it's not her imagination. She hurries over to the window.", "EXT. VIVIAN'S APARTMENT BUILDING - DAY Vivian comes out onto the fire escape. She stares in wonder. A snow white limo comes up the street. A necktie has been tied to the antennae like a knight's token. The MUSIC from La Boheme is BLARING from the car's stereo. Edward is standing on the car's seat, his head and body up through the open sunroof. The wind blows at his hair. He is smiling. Everywhere on the street people are staring ; the BUMS, the PUSHERS, the PASSERBY'S, the TOURISTS. Vivian does n't know whether to laugh or cry. The car comes to a stop in front of the Vivian's building. Vivian's landlord comes out the front door. His eyes go wide in disbelief. Edward disembarks from the limo by coming up through the sunroof. He leaps nimbly to the ground. He crosses to the entrance of the alleyway, looking up at Vivian on the fire escape. VIVIAN You are really lost this time. Edward wordlessly holds up a hand for her. With a sudden cry of joy, Vivian comes down the fire escape. She stops at the bottom stair. Edward comes forward and sweeps her into his arms. They kiss. He carries her to the limo as if she's weightless. Her feet never touch the ground. The car door closes behind them. The limo drives away. The people of the street watch it go. THE END"], "labels": [0.0, 1.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0], "summary": "High-powered businessman Edward Lewis is dumped by his girlfriend during an unpleasant phone call wherein he asked her to escort him during his business trip; she has finally had enough of being treated solely as his \"beck and call girl.\" Edward is a corporate raider from New York, who buys companies that are in financial trouble and tears them down piece by piece. Leaving a business party in the Hollywood Hills, he takes his lawyer's Lotus Esprit sports car and accidentally ends up on Hollywood Boulevard in the city's red-light district, where he encounters prostitute Vivian Ward. As he is having difficulties driving the car, she gets in and guides him to the Regent Beverly Wilshire Hotel, where he is staying. It becomes clear that Vivian knows more about the Lotus than he does, and he lets her drive. Vivian charges Lewis $20 for the ride, and they separate. She goes to a bus stop, where he finds her and offers to hire her for the night; the next day, he asks Vivian to play the role his girlfriend has refused, offering her $3000 to stay with him for the next six days as well as to buy her a new, more acceptable wardrobe. That evening, going to a business dinner, Edward is visibly moved by Vivian's transformation brought about by the helpful manager of the hotel and begins seeing Vivian in a different light. He begins to open up to her, revealing details about his personal and business lives. Edward takes Vivian to a polo match in hopes of networking for his business deal. His attorney, Phillip, suspects Vivian is a corporate spy, and Edward tells him how they truly met. Phillip later approaches Vivian, suggesting they do business once her work with Edward is finished. Insulted, and furious that Edward has revealed their secret, Vivian wants to end the arrangement. Edward apologizes and admits to feeling jealous of a business associate \u2013 whom she had met at the previous night's dinner \u2013 to whom Vivian paid attention at the match. Vivian's straightforward personality is rubbing off on Edward, and he finds himself acting in unaccustomed ways. Clearly growing involved, Edward takes Vivian by private jet to see La Traviata at the San Francisco Opera. Vivian is moved to tears by the story of the prostitute who falls in love with a rich man. She breaks her \"no kissing on the mouth\" rule and they have sex; in the afterglow, believing Edward is asleep, Vivian admits she loves him, and as she drifts off, Edward opens his eyes. Edward offers to put her up in an apartment so she can be off the streets. Hurt, she refuses and says this is not the \"fairy tale\" she dreamed of as a child, in which a knight on a white horse rescues her. Meeting with the tycoon whose shipbuilding company he is in the process of raiding, Edward changes his mind. His time with Vivian has shown him a different way of looking at life, and he suggests he and the tycoon work together to save the company rather than tearing it apart and selling off the pieces. Phillip, furious at losing so much money, goes to the hotel to confront Edward but finds only Vivian. Blaming her for the change in Edward, he attempts to rape her. Edward arrives, wrestles Philip off her, punches him in the face, and throws him out of the room. With his business in L.A. complete, Edward asks Vivian to stay one more night with him, but because she wants to, not because he's paying her. She refuses. Edward re-thinks his life, and as he's leaving for the airport to return to New York, he instead has the hotel chauffeur detour to Vivian's apartment building, where he leaps from the white limousine's sun roof and \"rescues her\", overcoming his extreme fear of heights to ascend her fire escape. Edward asks, \"So what happens after he climbed up the tower and rescues her?\" Vivian responds, \"She rescues him right back.\" Vivian and Edward share a kiss.", "name": "Pretty_Woman"}
{"scenes": ["THE KIDS ARE ALL RIGHT The humming stillness of an American suburb on a summer's day : nannies push strollers, joggers jog, mailmen deliver, dogs are walked, kids shoot hoop in wide open driveways. On a quiet, tree - lined street we pick up two young athletic - looking boys riding bikes. LASER ALLGOOD -LRB- 15 -RRB- and his friend, CLAY -LRB- 15 -RRB-. Like bats out of hell they pass block after block of charming, evenly spaced houses until they round a corner and drop their bikes in front of a large ranch house.", "INT. CLAY'S HOUSE - MOMENTS LATER They walk inside. We HEAR a baseball game on TV in another room.", "INT. CLAY'S, BATHROOM - LATER Clay pounds on blue pills with a hammer, reducing them to powder. Laser watches. LASER I do n't know, dude. Clay cuts the powder into lines with a school ID card. CLAY B minus in geometry, yo! This shits the bomb! Clay rolls up a dollar bill and takes a snort. Then hands the rolled up bill to Laser. CLAY -LRB- CONT'D. -RRB- Add it up, son. Laser takes the bill, bends over and snorts a line.", "INT. ALLGOOD HOUSE - GIRL'S BEDROOM - DAY Part Oxford reading room, part teenage girl's lair. Leaning against the bed we see JONI ALLGOOD -LRB- 18 -RRB-. It's her room. She pours over a game of Scrabble. Sitting next to Joni is her best girl friend, SASHA, -LRB- 18 -RRB-. Sasha's checking out Joni's FACEBOOK PAGE. Joni's best guy friend, JAI -LRB- 18 -RRB- sits across from her, calculating his next Scrabble move. SASHA Oh my God, Joni, there are so many hotties in your class. You are so gon na hook up the first week. JAI Just cause you're a 24 hour drive - thru does n't mean everyone else has to be. SASHA Hey, she worked her ass off! She deserves some hot jock sausage! Jai looks repulsed, and hurt. SASHA -LRB- CONT'D. -RRB- -LRB- flip. -RRB- Whatever. Why do n't you guys just do it and get it over with? Joni and Jai blush. They're both too scared to admit their crush on each other. SASHA -LRB- CONT'D. -RRB- What? I'm just asking. JAI Uh, maybe because we're friends. SASHA Oh, really? Sasha turns to Joni like an agent provocateur.", "INT. CLAY'S HOUSE - TV ROOM - LATER Laser and Clay wrestle on the floor while Clay's DAD watches a baseball game on TV. They bump into the couch. Clay's dad looks back, menacing. CLAY'S FATHER Hey, ladies! Take it down a notch. The boys keep wrestling, wired from the pills. Again, they knock into the couch. Clay's dad spins around, pissed. CLAY'S FATHER -LRB- CONT'D. -RRB- What did I just say?! The Dad grabs Clay, pulls him off of Laser and over the couch. He gets his son in a headlock, forcing the boy's face into his big fat sweaty armpit. Both Dad and Clay enjoy the brutal play. Clay laughs manically. CLAY Let me go! CLAY'S FATHER Do n't do the crime if you ca n't do the time. CLAY Dad, your pits smell like burnt ass! Get off me! As Laser observes this male - bonding between father and son, we note a trace of longing on his face.", "INT. ALLGOOD HOUSE - DINING ROOM Joni, Laser and JULES ALLGOOD -LRB- 40's -RRB- fair - skinned, attractive, sit before well prepared dinner. Still buzzing, Laser taps his fingers incessantly on the table. JONI Laser! Knock it off! LASER What?! I'm not doing anything.", "EXT. HOUSE - ESTABLISHING - MAGIC HOUR NIC ALLGOOD -LRB- late 40's -RRB- pulls up into the driveway beside a beat up white TRUCK covered in AA slogan bumper stickers.", "INT. ALLGOOD HOUSE - DINING ROOM - EVENING Nic enters. Drops her bag and heads for the table. NIC Hi guys. Sorry I'm late. JULES Do n't worry. We just started. NIC 27 fibroids. All in the lining. She kisses Jules. JULES Honey, that's disgusting. We're eating. JONI Did you do that laparoscopically? NIC That's right, Smart Girl. And we got ` em all. As Nic settles in. NIC -LRB- CONT'D. -RRB- Hey, whose truck is that? JULES Mine. NIC Yours? JULES For the business. NIC What business? -LRB- getting edgy. -RRB- The gardening? JONI -LRB- protective. -RRB- Is n't it landscaping. JULES Yes, thank you very much. NIC -LRB- strained. -RRB- Okay. -LRB- then. -RRB- Do we have any Cabarnet left? JULES I did n't look, honey. Nic gets up and goes to the kitchen for wine. Laser's cell phone RINGS. He answers it. LASER Hey, what's up? Jules puts her hand on Laser's arm. JULES Laser, no phone calls at the table. LASER -LRB- into phone. -RRB- Lem me hit you back. Laser hangs up. Nic re - enters with a large glass of red. NIC -LRB- sitting down. -RRB- Who was that? LASER Nobody. Clay. Jules and Nic share a look. Jules starts making maternal windshield wiper strokes with her thumb on Laser's arm. JULES Can I ask you something? What do you get from your relationship with Clay? LASER What do you mean, `` get''? Laser looks down at Jules' thumb on his arm. JULES Do you feel like he's the kind of person who will help you grow? LASER Mom, you're windshield wiping me. NIC Hey, did you start on those thank - you notes for your birthday gifts? JONI Not yet. But I will. NIC I just think it's easier to knock them out when it's fresh. JONI Yeah, I know, I'll do them tonight. NIC Great. I mean, you do n't want to have to start with an apology. You know? Then it's embarrassing. JULES Okay, honey. She got it. Let it go. NIC Okay, I'll let it go. -LRB- then. -RRB- I mean, if it was up to you, our kids would n't even write thank - you notes, they'd just send out good vibes. Nic takes another swig of vino and smiles at Joni through increasingly plum - stained teeth. NIC -LRB- CONT'D. -RRB- I ca n't believe my baby's 18. JULES I know. NIC -LRB- devolving into baby talk. -RRB- Big girl. You're a big girl. JONI Mom. Joni mimes wiping her teeth. Embarrassed, Nic starts licking at her stained teeth.", "INT. JONI'S BEDROOM - LATER THAT NIGHT As Joni cranks out thank - you notes, Laser enters. JONI What? Laser looks nervous. LASER Have you thought any more about, you know, making that call? JONI Yeah. I do n't want to. LASER Okay. I was just wondering if you changed your mind. JONI I have n't. He starts to leave, but her answer bugs him. He turns back. LASER How can you not even be curious? JONI Sorry, Laser. I just do n't want to, okay? I'm leaving soon and I do n't want to deal with that right now. -LRB- co - dependent leak. -RRB- And also, that could really hurt moms' feelings. LASER God, why do you worry about them so much? They do n't even have to know about it! JONI Look, you can do it when you turn 18, okay? LASER I never ask you for anything. Laser walks out of the room. Joni feels horrible.", "INT. NIC AND JULES BEDROOM - THAT NIGHT Nic and Jules lay in bed watching TV, unwinding from the day. NIC I just do n't understand why you bought the truck now. JULES Because if I'm starting this business I need something to haul my equipment in. NIC Okay. It just seems a little cart before the horse. JULES What does that mean? NIC Sweetie, you do n't even have any clients yet. JULES Well you're the one who's always telling me to `` act as if!'' NIC -LRB- back peddling. -RRB- That's true. I do. You're right. The women settle back. Nic sees Jules feels bad. NIC -LRB- CONT'D. -RRB- Look, I'm sorry. It's good you bought the truck. Its proactive. Nic caresses Jules' arm, wanting to make it better. NIC -LRB- CONT'D. -RRB- Hey. Jules does n't look at Nic. She keeps her eyes on the T.V. NIC -LRB- CONT'D. -RRB- Wan na watch a movie? Jules perks up. Nic immediately regrets her suggestion. JULES A movie - movie? NIC Yeah. We have n't done that in a while. MINUTES LATER - NIC AND JULES are cozied up side - by - side facing the TV. ANGLE ON - THE TV The volume is turned low on TWO NAKED MEN lying on a chaise longue. One guy fellating the other.", "INT. STAIRCASE - SAME Joni tiptoes up a dark staircase and enters an office off the mom's bedroom. She heads for the desk and stealthy opens a drawer. She rummages though with clear intention. She pulls out a FOLDER and studies the cover. We see the words : `` Pacific Cryo Clinic : Bringing your dreams to life.''", "INT. BEDROOM - MOMENTS LATER ANGLE ON - THE BED We now only see Nic. Jules has slipped under the blanket, and is now between Nic's legs. We see Nic trying to get into it, but having a hard time. NIC I do n't like the guys in this one. They're too shaved. JULES Do n't focus on it. NIC How about the one with the biker gang? JULES We left it in Hawaii. Jules wrestles with the blankets. Wants them out of her way. NIC -LRB- pulling them back up. -RRB- I'm cold, honey. JULES Sorry. I could n't breathe. Jules wrangles the blankets, trying to cover her partner. The transition is awkward and Jules gets caught in the top sheet. As Nic repositions herself, she leans on the VOLUME CONTROL BUTTON and suddenly the porn is blasting at full volume. MAN IN MOVIE Suck that fat cock mother - fucker. NIC Shit! Where's the remote?! MAN IN MOVIE I'm gon na fuck that tight ass! Jules and Nic both dive for the remote. It's lost under the mass of bedding. They struggle to find it as the grunting and 70's disco music blares.", "INT. OFFICE - JONI Joni turns to the wall, confused. She hears the porno music pulsing though.", "INT. BEDROOM - MOMENTS LATER Nic finally recovers the remote and hits mute. NIC Jesus Christ! Nic flops back, traumatized. NIC -LRB- CONT'D. -RRB- The whole neighborhood heard that! JULES No, they did n't. NIC Well, that was a vibe kill. Jules looks defeated.", "INT. OFFICE - MOMENTS LATER Joni turns back to the file on the desk. She flips though some pages of documents and stops. CLOSE ON a PHOTO of a 4 YEAR - OLD BOY standing in a sandbox looking straight into a camera with a big, open grin.", "EXT. FARM - DAY We see that boy, 35 years later, carrying a box of tomatoes and putting them in the back of a truck. This is PAUL, Joni and Laser's biological father.", "INT. PAUL'S RESTAURANT - \"WYSIWYG\"    - DAY Paul walks in carrying the box of tomatoes. He approaches TANYA, -LRB- 30's -RRB- the restaurant's super sexy hostess. PAUL How you doing, foxy? TANYA Mm, flapjack, you're smelling ripe. PAUL Oh, sorry. TANYA No, I like it. It's earthy. PAUL What can I say. I've just been out there, you know. hoe - ing. -LRB- looking at the seating chart. -RRB- How's it looking tonight? They stand close to each other, peering at the chart. TANYA Gon na be tight. PAUL Really. Paul's cell rings. He gives Tanya a hand squeeze and heads for the kitchen, answering. PAUL -LRB- CONT'D. -RRB- Hello. WOMAN'S VOICE Hi, is this Paul Hatfield? PAUL It is. Who's this? WOMAN'S VOICE My name is Wendy Minter. I'm calling from The Pacific Cryobank. PAUL Okay. What can I do for you? WENDY I just need to confirm that you donated sperm with us between 1991 and 1993. At the mention of the word sperm, Paul goes pale. PAUL Yeah. I did a little bit of that back then.", "INT. KITCHEN - CONTINUOUS Paul enters. The kitchen is humming with COOKS prepping for the dinner rush. He looks around for a quiet spot. WENDY As you know the Cryobank has a confidentiality policy which prohibits us from releasing your identity without your consent. A cook, MARGO, approaches Paul to speak with him. Paul nods : `` Ca n't talk.'' Hands her the box of tomatoes. PAUL Uh - huh. Paul heads to the back of the kitchen, searching for privacy.", "INT. PANTRY - SAME Paul moves into the pantry, finds the farthest corner. WENDY -LRB- O.S. -RRB- Well we've been contacted by a young woman conceived using your semen, and she's asked if you'd be open to having contact with her. Paul's speechless.", "INT. TANYA'S HOUSE - BEDROOM - NIGHT Paul and Tanya enjoy a hot, sweaty fuck. LATER THAT NIGHT Paul gets dressed while Tanya lays on her messy bed. TANYA You must of figured you'd get a call at some point. PAUL Not really. I mean I was 19 when I did it. It was so long ago. I just figured no one actually used my stuff. Tanya moves closer to him, flirty. TANYA Why? I'd use it. PAUL -LRB- ignoring the innuendo. -RRB- This is so weird. I mean, a part of me's really curious. TANYA So what are you gon na do? PAUL I do n't know.", "INT. ALLGOOD HOUSE - DINING ROOM Joni and Jules play scrabble at the table. Joni's cell rings. She grabs it off the counter and answers. JONI Hello?", "EXT. PAUL'S HOUSE - BACK YARD - DAY Paul anxiously paces his overgrown back - yard on his cell phone. He picks weeds as he talks. Conversation intercut. PAUL Hi, I'm looking for Joni Allgood. JONI This is she. PAUL Hi. This is Paul. -LRB- clearing his throat. -RRB- Uh, your donor? JONI Oh! Hi. Joni shoots up out of her chair and starts leaving the room to get some privacy away from her mom. PAUL Is this a good time to talk? JONI -LRB- flustered. -RRB- Yeah. JULES Where are you going? It's your turn. Joni does n't answer. She just walks out to her backyard. PAUL So. -LRB- does n't know what to say. -RRB- How are you? JONI I'm good. How are you? PAUL I'm well, thanks. Banal, awkward pause. Paul jumps in to fill the void. PAUL -LRB- CONT'D. -RRB- So, Wendy at the Cryobank said you call - Joni cuts in, nervous and businesslike. JONI Actually, my brother asked if I'd call you because I'm 18 and he's only 15 which is too young to call - anyway, he'd like to meet you. if you want to. PAUL -LRB- thrown. -RRB- Your brother? JONI Yeah. Well, technically my half - brother. Each of my moms had a kid, you know, with your sperm. PAUL No. I did n't know. JONI Oh. PAUL Both of them? JONI Yeah. PAUL Like in two? JONI Uh huh. Like in gay. PAUL Good deal. I love lesbians. Paul cringes at his lameness. Joni does n't know what to say.", "EXT. \"WYSIWYG\", PARKING LOT - NEXT DAY Joni and Laser get out of the car and head to the restaurant to meet Paul. They're both clearly nervous. JONI I just do n't want you to have big expectations. LASER Will you quit saying that? I do n't have any expectations. JONI Okay. I'm just saying he might be weird. I mean, he donated sperm. LASER Well if he had n't done it, you would n't be here. So respect, yo!", "INT. \"WYSIWYG\" - DAY Paul sits alone at a table facing the entrance. He nervously checks the door as customers enter. MINUTES LATER - Joni and Laser enter the restaurant. They look nervous too. ANGLE ON PAUL He studies them for a beat, sees them looking around. Figures they must be `` his kids.'' They look in his direction, spot him. He raises his hand, stands. They walk over. The moment is rife. Paul holds out his hand to Joni. PAUL Joni. Hey. Nice to meet you. JONI Nice to meet you too. Paul holds out a hand to Laser. PAUL And Laser, right? LASER Right. PAUL Very cool name. LASER Thanks. PAUL Thanks for making the trek all the way over here. No one knows what comes next. PAUL -LRB- CONT'D. -RRB- Cool, I got a table set up for us out here. Paul turns and leads them out to the outdoor dining area.", "EXT. OUTDOOR DINING AREA - MINUTES LATER They all sit eating. Paul ca n't help but study their faces. PAUL Listen, feel free and ask me anything you want, okay? -LRB- off their stares. -RRB- Or we can just hang out. That's fine too. Whatever you guys want. LASER/JONI Okay. Paul presses on, trying to break the ice. PAUL Anything you want to ask me, Laser? LASER I. uh. I did n't really have any specific questions. PAUL -LRB- helping him out. -RRB- That's fine. I'd love to know about you guys. What about you, Joni? What are you up to? JONI Uh, well, I just graduated high school. I'm starting college in the fall. PAUL Oh yeah? Congratulations. LASER Joni's the brains in the family. She won a National Merit Scholarship. PAUL Shut the front door! LASER Yeah. And she got like an 800 on her Verbal SAT. JONI Okay, Laser. LASER What? I'm just saying you're really smart. JONI No, I just work harder than you. PAUL Do n't stress it, Laze. School was n't my thing either and I turned out okay. LASER -LRB- re : his name. -RRB- Laser. PAUL I'm sorry. Laser. -LRB- beat. -RRB- So tell me about you, Laser. What are you into? Laser freezes. So his sister jumps in. JONI Laser's an amazing athlete. PAUL Oh yeah? LASER Did you play any sports in school? PAUL I played a little basketball in junior high. LASER That's it? PAUL Pretty much. The whole `` team'' thing got on my nerves, you know like, `` Hey, let's go kick some ass, man!'' What about you? LASER I play some Soccer. Basketball. Baseball. You know, team sports. Paul realizes he's put his foot in his mouth. PAUL Hey, I was n't bagging teams in general. Teams are great. I'm just weird like that. LASER Yeah, I like teams. We can tell Laser is growing frustrated at his inability to connect with Paul. Joni jumps in. JONI So this is your place? PAUL Yeah, I've been working on it for a while. I also have this organic co - op farm down the road. We use a lot of the stuff we grow there for the restaurant. JONI -LRB- excited. -RRB- That's so cool. I'm totally into local. LASER -LRB- busting her. -RRB- You are? JONI Uh, yeah Laser! I've been like trying to get moms to buy local for forever. Laser tries again to reconnect. LASER So, like, do you raise pigs and stuff? PAUL No. No pigs. -LRB- beat. -RRB- But it's a great spot. You guys should come check it out sometime. JONI Yeah. Definitely. Excited, Joni turns to Laser. He seems uninterested.", "EXT. WYSIWYG, PARKING LOT - DAY The kids and Paul exit the restaurant. Paul walks to a classic BMW motorcycle. Lasers tries to hide his awe. LASER Is that yours? PAUL Yeah. You like motorcycles? LASER Yeah, but. our moms are kind of anti - motorcycle. JONI And by `` kind of'' he means they'd kill us if we ever rode one. PAUL That's too bad. They're fun. Time to say goodbye. Again, no one knows the protocol here. After an awkward beat, Paul holds out his arms for hugs. PAUL -LRB- CONT'D. -RRB- Well it was great to meet you guys. He and Joni hug. PAUL -LRB- CONT'D. -RRB- I hope this was okay. JONI Yeah. totally. thank you. Now Paul and Laser share a somewhat awkward man - hug. PAUL Really nice to meet you, Laser. LASER Yeah. Joni gives a quick wave to Paul. She turns to go and Laser follows. Paul watches them walk away. He looks stirred up by the meeting.", "INT. JONI'S CAR - DAY Joni and Laser head back home. JONI I just never pictured him that way. I just. I do n't know. He was so cool and interesting. I ca n't believe that was him. He was so nice, you know? LASER I guess. JONI You guess? LASER Yeah. JONI God, Laser! You're the one that wanted to meet him so bad! LASER I know. JONI Well what did you think of him? LASER I do n't know. He seemed kind of into himself.", "INT. ALLGOOD HOUSE - TV ROOM - LATER THAT NIGHT Nic and Jules are cuddled up affectionately on the couch watching cable. They see Laser on his way out of the house. JULES Hey bug, come here. We're watching `` Locked Up Abroad : Uganda.'' LASER I saw it. It was gnarly. NIC Where are you going? LASER Clay's. Jules and Nic shoot each other a concerned look. NIC Do n't be back late, okay? LASER I know. JULES Can I have a hug before you go? LASER Mom. JULES Just a quick one. Please! LASER Hug her. That's what she's there for. Laser leaves. Nic hits mute on the TV, looks at Jules. NIC Ugh. Maybe we should just sit him down and ask him already. JULES What? `` Are you and Clay fucking?'' NIC `` Exploring'' is the word I'd use. JULES And what if he is `` exploring?'' This is the age for that. Why should we care? NIC We should n't. -LRB- then. -RRB- I just do n't understand why he's exploring with that loser. JULES Look, we do n't even know what the deal is. We're jumping to conclusions. NIC I feel like he has so much potential and he's just wasting it. Nic's comment hits a nerve in Jules. JULES What are you trying to say? NIC What do you mean, what am I trying to say? JULES It feels like there's some subtext here. NIC What are you talking about? JULES I do n't know : Like mother like son? Is that it? Both of us aimless, wandering in the darkness, `` wasting our potential?'' Nic wo n't go there. NIC Okay, honey, you're on a whole other tangent and I have no idea what you're talking about. JULES Well, maybe it has n't risen to the plane of consciousness for you yet. NIC Yeah. Maybe not. Nic clicks the volume back on, freezing Jules out.", "INT.   PAUL'S RESTAURANT - AFTERNOON Paul and Tanya sit at the bar, eating family - meal. TANYA So what were they like? PAUL Sweet. They were really good kids. The boy's kind of a sensitive jock and the girl's kind of innocent but whip - smart and super cute. TANYA Sounds like you connected. PAUL Yeah, we kinda did. TANYA Where'd you leave it? PAUL We did n't really leave it anywhere. Brooke, the sexy Wiccan volunteer, comes up to Paul bearing a basket of freshly - picked fruits. BROOKE Hey Paul. Paul leans over the basket. PAUL Whatcha got? Oh cool. First strawberries of the season. BROOKE Do n't they look awesome? I thought you should have the first taste. And with that, she smiles, hands him the basket and leaves. TANYA -LRB- mimicking Brooke. -RRB- `` I thought you should have the first taste. of my pussy.'' Paul ca n't help smiling at the nasty talk. PAUL Whoa.", "INT. NIC AND JULES BEDROOM - AFTERNOON Clay rummages through the top drawer of Jules' dresser. Laser stands behind him, uncomfortable. LASER Dude, I do n't think they smoke pot. CLAY Hold up. Clay freezes. CLOSE ON a row of sex toys including a fancy pink, Japanese `` all - in - one'' dildo and a few DVD's. CLAY -LRB- CONT'D. -RRB- Whoa! Clay turns on the dildo. It starts to gyrate. CLAY -LRB- CONT'D. -RRB- Yo, it's alive! LASER Dude, put it back! Laughing, Clay throws the dildo back in the drawer. Then he grabs one of the DVDs and spins back around. CLAY Dude, we're watching this.", "INT. LASER'S ROOM - DAY Laser and Clay sit on the bed. They look at each other. Then Laser hits play. ON SCREEN We see a COP giving a young MAN a BLOW - JOB. Laser and Clay sit motionless, shocked, disgusted, riveted. CLAY Think the whole thing's like this? LASER Want me to fast - forward? Clay does n't answer. They just keep watching.", "EXT. ALLGOOD HOUSE - DRIVEWAY - DAY Jules pulls her truck into the driveway, almost running over Laser's bike.", "INT. LASER'S ROOM - DAY Laser and Clay are still watching the porn. as Jules walks in the room. JULES Laser, you left your bike out. Laser reflexively grabs for the remote. As he fumbles for it, Jules sees what they're watching. She looks mortified.", "INT. ALLGOOD HOUSE - KITCHEN - THAT EVENING We enter a family conference already in progress. Nic and Jules act calm but are inwardly mortified that their 15 - year - old son found their porn. NIC Laser, your mom and I accept you and love you unconditionally? You know that, right? LASER Yeah. NIC And you know you can be open with us about anything. LASER Yeah, I know. Jules steels herself for a frank discussion. JULES Laser, is there anything you want to talk about? LASER Like what? NIC Anything. Anything on your mind. Laser cracks his knuckles. LASER Well there is something. Nic and Jules share a look. `` Here we go.'' LASER -LRB- CONT'D. -RRB- It's more of a question, really. NIC That's okay. JULES We wo n't judge you. Laser looks at his moms. Nic and Jules brace themselves. LASER Why do you guys watch gay man - porn? Nic and Jules look at each other, thrown. NIC Well, first I have to say we rarely watch that movie - Jules touches Nic's arm. JULES Honey. NIC And secondly, I really do n't appreciate you snooping around our room. Was that Clay's idea? I have to say again, I do n't like him. He seems untended! JULES Honey, that's not what he asked - NIC -LRB- snapping. -RRB- Fine. Do you want to answer his question?! JULES Well, sweetie, human sexuality is complicated. And sometimes, people's desires can be. counter - intuitive. -LRB- soldiering on. -RRB- For instance, since women's sexual responsiveness is mostly internal, sometimes it's exciting for us to see sexual responsiveness more, you know. -LRB- beat. -RRB-. externalized. Laser looks at them, still baffled. JULES -LRB- CONT'D. -RRB- Like with a penis. LASER But like, would n't you rather watch two women doing it? JULES You would think that. But in most of those movies, they've hired two straight women to pretend and the inauthenticity is just unbeara - NIC Okay, that's enough! Laser, your mom and I have a sense there's some other stuff going on in your life and we just want to be let in. LASER What do you mean? JULES Are you having a relationship with someone? NIC You could tell us, honey. We'd understand and support you. Laser looks confused. How did they find out about Paul? LASER I just met him once. Nic and Jules share a worried look. NIC What do you mean once? JULES Did he find you on - line?! LASER What?! NIC Who did you meet once? LASER Paul! I met him with Joni. NIC Who's Paul?! JULES Why was Joni there?! LASER She set it up. NIC Forget the set - up! Who is Paul?! LASER Our sperm donor. Jules and Nic go white. LASER -LRB- CONT'D. -RRB- Wait, did you guys think I was gay?!", "INT. ALLGOOD HOUSE - LIVING ROOM - LATER Joni has been pulled into the family conference. Nic and Jules are trying to remain as calm as possible. Nic slugs a gulp of wine. JULES Look, guys, we understand why you'd be curious about your biological father. That's totally natural. NIC But why did n't you tell us? JONI Because we knew you'd be upset. NIC WE'RE NOT UPSET! Jules calms her riled - up partner. JULES Honey. -LRB- to Joni ; expressing her upset more calmly. -RRB- We just wish you'd have included us in your thinking. But what's done is done. You met him, and now you guys can move on - JONI -LRB- sheepish. -RRB- Actually. -LRB- beat. -RRB- I want to see him again. JULES You do?! LASER You do?! JONI -LRB- CONT'D. -RRB- -LRB- to Laser. -RRB- Yeah. I was gon na tell you. NIC Whoa! Whoa! No. No way. -LRB- regaining dominance. -RRB- Nobody is seeing anyone until we meet him! Joni looks at Laser. They knew this would happen.", "INT. NIC AND JULES' BATHROOM - NIGHT Nic and Jules do a post - mortem as they floss. NIC Yeah, I get it. He's their biological father and all that crap but it still feels really shitty. Like we're not enough or something, you know? JULES Of course I know. I do n't want to time - share our kids with someone. Especially when it's Joni's last summer home. No way. When Jules leaves the room Nic pulls a clump of long, wet red hair out of the sink. NIC Jesus, Jules! The plumber was just here! Nic throws the clump of hair in the trash.", "INT. NIC AND JULES BEDROOM - MOMENTS LATER NIC -LRB- getting tactical. -RRB- Look, we need to be smart about this. If we act like grubby bitches, we're just gon na make it worse. JULES I know. NIC Let's just kill him with kindness and put it to bed. JULES I'm with you, honey. -LRB- then. -RRB- We're gon na get through this, okay? Nic smiles. She loves when Jules shows confidence. NIC I love you, chicken. The women bump fists. They have a plan. JULES I love you too, pony.", "EXT. STREET - AFTERNOON Paul rides slowly down the street, checking addresses. He pulls over and cuts his engine in front of the Allgood house.", "INT/EXT. ALLGOOD FRONT DOOR - AFTERNOON Paul rings the bell. Waits. The door opens and Nic and Jules are there smiling with `` kill him with kindness'' faces. NIC Paul! It is so great to meet you. I'm Nic. This is Jules. Paul shakes their hands. PAUL Hi, great to meet you two. JULES I hope the traffic was n't too bad. PAUL No, I've got my bike so. I just sort of weave through. Nic clocks the motorcycle, stifles the impulse to judge. NIC Great. Well, come on in. As they enter, Paul holds out a bottle of wine. PAUL This is for you. I do n't know if you guys like wine. Nic takes it. NIC Are you kidding? We love it. -LRB- checking the label. -RRB- And a Petit Syrah. What a treat! Let me get some glasses. Nic leaves Paul by the stairs with Jules. Little silence. Jules steals a look at him, unable to contain her curiosity. PAUL Beautiful house. How long you guys lived here? JULES Almost ten years. Wait, has it been that long? -LRB- rambling nervously. -RRB- We moved right after Laser broke his leg, I remember that because we had a ramp for a while, so that would have been. ten, no, nine? No, ten years this fall. Paul nods, smiling at her nervousness. PAUL Okay. Laser and Joni enter. Joni lights up when she sees Paul. Jules watches Paul hug her. Uncomfortable, she heads for THE KITCHEN - Jules finds Nic's pouring herself a sizable glass of wine. JULES You okay? NIC -LRB- not okay. -RRB- Yeah. Fine. Jules feels her inner co - dependent swelling in her chest. JULES Go easy on the wine, hon. It's day time. NIC Okay. And same goes for the micro - managing.", "EXT. ALLGOOD PORCH - AFTERNOON Everyone sits at the picnic table. JULES I hope the food's okay. Joni told us you own a restaurant. PAUL The food's great. Ca n't go wrong with salmon and corn. Nic finishes a glass of wine as Jules takes note. NIC So Paul, did you always know you wanted to be in food - services industry? Paul smiles at Nic, trying to disarm her. PAUL Well, I always liked food. NIC No, I was asking because I remember reading in your file, back when we were looking for, you know, sperm, anyway, you said you were studying international relations. PAUL Oh yeah. Wow, that was a long time ago. Yeah, I was considering it, but then I dropped out of school. JONI You dropped out of college? PAUL Yeah, it was n't my thing. NIC -LRB- squinching. -RRB- No? Why's that? PAUL It just seemed like a massive waste of money after a while. I mean, I was n't `` doing'' anything. I was just sitting on my ass listening to people spout off ideas I could've just as easily learned reading a book. Paul sees that his little rant may be alienating the moms. PAUL -LRB- CONT'D. -RRB- I'm not saying higher learning uniformly sucks. I mean, college is great for some people. Joni, I'm sure you're gon na love it. That's just me. I'm just weird that way. -LRB- beat. -RRB- Which is probably why I ended up in the food - services industry. LASER See what he did there, mom? You said `` food - services industry,'' then he said `` food - services industry.'' NIC Yeah, I got it, Laser. Thanks. -LRB- apropos of nothing. -RRB- So, Paul, what about your social life? PAUL My social life? NIC You know, are you married, divorced, seeing anyone? JONI Mom! NIC What? We're getting to know Paul. PAUL No, never been married or divorced. I date a little, but I'm just kind of focused on my work right now. NIC Oh. Paul wants a break from the heat. PAUL So, how'd you guys meet? Jules smiles, embarrassed. Nic jumps in. NIC We met at UCLA. I was a resident in the ER and Jules had an emergency. JULES My tongue went numb. PAUL Really? THUD! We turn to see Laser, pounding his head on the table. JULES Laser, that's not nice. LASER What's not nice is subjecting your kids to the same story 1000 times! PAUL -LRB- ignoring Laser. -RRB- What happened to your tongue? JULES I do n't know. I just lost all the feeling in my face and tongue and I thought I might gag and then, you know. PAUL Choke? Die? JULES Yeah. exactly. NIC Well it was pretty clear to me she was just having an anxiety attack and she'd be fine. PAUL So what'd you do for her? NIC Gave her a Vallium. Tried to get her to relax, talk, move her tongue around. LASER Mom, that's gross! JULES -LRB- ignoring Laser, to Nic. -RRB- Actually, she started teasing me and that really helped. NIC I was trying to distract you. JULES I know. And it worked. You were really funny. NIC You were really pretty. Nic reaches over and caresses Jules' hand. Joni rolls her eyes, embarrassed. JULES So that's it. My tongue started working again. NIC And we've been glued at the hip ever since. PAUL That's a great story. JULES -LRB- beaming. -RRB- We like it. Laser and Joni share a look. PAUL So Nic, I know you're a doctor. How ` bout you, Jules? What do you do? Jules never likes this question. JULES Well, I, you know, I studied architecture in college. PAUL Right. JULES But I'm not an architect. I mean I was on my way to becoming one. But I quit before the kids were born. PAUL Well, that happens. JULES When they got a little older, I started a Balinese furniture import business. PAUL Right on. JULES Yeah. But that did n't work out. PAUL Well, business are n't easy - JULES Actually, I'm in the process of starting a new business. PAUL Good for you. What kind? JULES Landscape design. -LRB- before he can respond. -RRB- But not like a gardener! I mean, yes, there's a gardening component to it, but the real work is to create unique, eco - friendly outdoor spaces that harmonize with the surrounding environment. Do you know what I mean? PAUL Absolutely. In Nic's mind, Jules is drowning in verbiage. So she jumps in to save her. NIC Hey Paul, did Joni tell you about her graduation speech? PAUL No, she did n't. NIC It was incredible. So full of wisdom and hope. -LRB- turning to her Joni. -RRB- Hon, go get it. I'm sure he'd love to hear it. JONI -LRB- blushing. -RRB- No, mom, I'm sure he would n't. NIC Sure he would. Come on. Go get it. JONI -LRB- getting upset. -RRB- No, it's okay. NIC Sweetie, do n't be embarrassed. JONI I'm not embarrassed! Jesus! Give it a rest already! This outburst stuns Nic into silence. Her daughter has never spoken to her like this. Laser stands up. LASER I'll get the ice - cream. JONI -LRB- standing up. -RRB- I'll help you. Joni and Laser leave the room. Nic pours herself the last of Paul's Petit Syrah. Jules smiles, covering her anxiety. JULES -LRB- softly. -RRB- Honey, that's your forth glass. NIC Actually, it's my third. But thanks for counting. Paul turns to Jules, trying to revive the mood. PAUL Hey, I was just thinking. You know, I bought this place last year and the backyard's a wreck. Would you be interested in working on it? JULES -LRB- insecure. -RRB- Oh, that's okay. PAUL No, seriously. I do n't have time to work on it myself. JULES Thank you. That's really sweet. Why do n't you think about it. PAUL Why? I just did. -LRB- then. -RRB- I mean, if you're not up for it that's okay - JULES -LRB- jumping on it. -RRB- No! I am! -LRB- getting excited. -RRB- I'm up for it! Jules smiles at Nic : `` Is n't this great? My first client.'' Nic looks less than pleased.", "INT. HARDWARE STORE - DAY Nic pushes a cart piled high with gardening supplies. Jules grabs a couple BAGS of fertilizer, throws them on top. NIC I'm just saying, the plan was to limit his involvement - JULES You're unbelievable. You're all over me about getting clients, I finally get one and you're - NIC He's not just a client, Jules. He's our sperm donor! Have you ever heard the phrase `` Do n't Shit Where You Eat?'' JULES Yes, and I think it's disgusting. The two separate, go down separate isles. When they rejoin, Nic is contrite. NIC I'm sorry. He just seemed sort of. self - satisfied to me. Jules grabs the olive branch. JULES Yeah, he was working the whole `` alternative'' thing pretty hard. NIC -LRB- mimicking. -RRB- `` I just need to get outside and ` do' things, not sit on my ass and learn. But that's just me. I'm weird that way.'' They both laugh. Nic's funny sometimes.", "EXT. PAUL'S HOUSE - ECHO PARK - DAY Jules drives slowly up the hill looking for Paul's address. She sees the house and pulls in the driveway next to an old truck and a motorcycle.", "EXT. PAUL'S HOUSE - BACK YARD - DAY Jules and Paul walk through Paul's backyard, evaluating. JULES We could do a kind of a Secret Garden thing with trellises and topiary. -LRB- clocking his face. -RRB-. or something more Asian, minimal, with a rock garden feel. It's up to you. PAUL What do you think? JULES Personally, I'm tired of minimal. I'm into more is more. Let's not try to tame the space. I think it would look great all lush and overgrown and fecund. PAUL Fecund? JULES I'm sorry, you know, fertile. PAUL No, I love that word. You just do n't hear it that often. -LRB- thinking. -RRB- More is more. Yeah. Let's do that. Jules is staring at Paul. PAUL -LRB- CONT'D. -RRB- What? JULES Sorry, I just keep seeing my kids in your expressions. Jules looks more intensely at Paul's face. JULES -LRB- CONT'D. -RRB- You and Laser have the same mouth. PAUL You think so? JULES Yeah. The observation strikes Paul. Suddenly, he's feeling a kind of fast - tracked intimacy with Jules he had n't expected.", "EXT. BACKYARD - ALLGOOD HOUSE - EVENING Jules and Laser play Ping - Pong as Nic gets home with Chinese take - out for the family dinner. NIC What's the score? JULES Pretty close. Laser cranks a forehand that whizzes past Jules. LASER 20 - 3. match point. NIC So how'd it go today? JULES Great. We settled on a concept. NIC What is it? JULES It's hard to explain. You have to kind of see the space to get it. NIC -LRB- to Laser. -RRB- Laser, did you write Pup - pup a Get Well card? -LRB- off his silence. -RRB- Laser! What do I have to do?! I bought you a card. I left it on your desk. All you had to do was - LASER Mom, settle! I will. NIC Do n't tell me to settle, mister. And if it's not in the mail by tomorrow morning, we're not going to the Dodger game Saturday. LASER Whatever, I have other plans anyway. NIC What other plans? -LRB- off his silence. -RRB- I'm asking you a quest - LASER I said I'd do something with Paul! Laser serves a rocket, whizzing past a flailing Jules. He tosses the racquet on the table and leaves. Nic yells : NIC You used to be so cute!", "EXT. ALLEY - DAY We cut onto Paul and Laser, looking out at something. Laser is holding a DIGITAL VIDEO CAMERA. PAUL This may not be a good idea. CLAY -LRB- O.S. -RRB- Are you filming?! We cut to Clay on a skateboard on the ledge of a brick wall. He's preparing to ride the ledge, jump a dumpster and land his board on the ground. PAUL -LRB- to Laser. -RRB- He's not gon na make it. -LRB- calling to Clay. -RRB- Clay, you're not gon na make it! LASER I think he may be right, dude. Maybe this is n't such a good idea. CLAY Will you quit being a man - gina and run the camera! I'm only doing this once so keep my shit in frame! Laser sighs, then holds up the camera. Paul looks at Laser, wondering why he puts up with this guy. VIDEO CAMERA'S POV : We watch as Clay psychs himself up with an assortment of deep breaths and head - slaps. Finally, he starts down the ledge. He starts his jump, catches air and hits the edge of the dumpster and falls. We see him go into the dumpster and land with a nauseating THUD. Paul and Laser rush up and look over the edge. PAUL/LASER ARE YOU OKAY?! There's Clay, his arm bent at a disturbing angle, in agony. CLAY Did you get that?! LASER Seriously, dude, are you okay? CLAY I'm fucking fine! Fuck! Did you fucking get it?!", "EXT. STREET OUTSIDE CLAY'S HOUSE - LATER Paul and Laser walk over to Paul's truck. PAUL Maybe next time we can hang out just you and me. LASER Clay's cool. He's just gets a little amped sometimes. PAUL That's not amped. That's being a dick. LASER He's not a dick, that's just his way. PAUL Okay. I just did n't like the way he was talking to you. LASER -LRB- defensive. -RRB- Well, you do n't know him. PAUL -LRB- back - peddling. -RRB- You're right. I do n't. LASER Hey, can I ask you a question? PAUL Sure. LASER Why'd you donate sperm? PAUL Well, it's a lot more fun then donating blood. Laser does n't laugh. Paul realizes he's gon na have to give a `` non - joke'' answer. PAUL -LRB- CONT'D. -RRB- I do n't know, I guess I thought, you know, if I can help somebody in need, somebody who wants a baby. Laser's not really buying that. LASER So you did it to help people? PAUL It was a long time ago. LASER How much did you get paid? PAUL Why do you want to know? LASER I'm just curious. PAUL I do n't know, like 60 bucks a pop. LASER That's it? PAUL It was worth more back then. You know. With inflation. -LRB- off Laser's look. -RRB- Hey, I'm glad I did it. Laser does n't quite buy Paul's altruism. He looks over at him, then away.", "INT. JONI'S ROOM - DAY Jai and Joni and Sasha play Scrabble. Sasha checks out the photos of Paul on Joni's phone. SASHA Hello? Donor Dad? Stone cold fox. JAI Must you take everything beautiful and make it dirty? SASHA I'm just saying. Spermster's a hottie. Is he single? JONI Okay, first of all, ewww. Second, he's a really good person and I'd prefer it if you did n't taint him with your whore juice. Sasha hops up, energized by the banter. SASHA Fair enough, hairy muff. I'm outta here. You love birds can split my letters. Sasha splits and suddenly the room is thick with nervous tension. JONI You want to keep playing? JAI Sure. As Jai incorporates Sasha's tiles into his own, we see Joni gathering her nerve to make a move. Jai probably feels it but in his nervousness he ca n't look at Joni. JAI -LRB- CONT'D. -RRB- Sometimes I feel sorry for Sasha, you know. JONI Yeah. Joni starts to move in, her face draws closer to Jai's, inch by inch. Somehow, deep down, Jai can sense her moving towards him which exhilarates and freaks the shit out of him at the same time. To the point where he lets slip. JAI It's like she has to sexualize every experience, you know? It's just sad. That stops Joni in her tracks. JONI Yeah, it is. It's really sad. Jai's sabotaged the mood and they both know it.", "INT. NIC AND JULES' BATHROOM - NIGHT Jules walks in to find Nic in sexy satin man - PJ's, sitting at the rim of a RUNNING BATH. There are candles burning. JULES Wow. What's this? NIC Come here. Sit down. Jules takes a seat beside her. Nic holds her hand. NIC -LRB- CONT'D. -RRB- I'm sorry I've been such a bitch lately. I know I'm not being my highest self. JULES Yeah, well. NIC You've been really patient with me. I just want you to know that has n't gone unrecognized. Nic gives her a long, sweet kiss. Jules is warming up. NIC -LRB- CONT'D. -RRB- Get in. CUT TO - JULES In the tub, revelling in the warm bubbly water. Nic is sitting on the ledge, massaging her feet. JULES Oh god, chicken, that's the spot. NIC How's the water? JULES Perfect. You wan na come in? NIC In a bit. You enjoy it first. Nic goes deeper with the massage. Jules' eyes roll back. NIC -LRB- CONT'D. -RRB- Oh, I forgot the lavender salts. Nic starts to get up. Jules grabs her hand. JULES No, do n't stop. NIC No, I meant to put ` em in. Nic gets up and sashays to the door. NIC -LRB- CONT'D. -RRB- Do n't move. Nic exits. Jules sinks back, wishing Nic had stayed. CUT TO JULES - MINUTES LATER Still waiting. Getting impatient and upset. JULES Nic?! No response. CUT TO THE KITCHEN - Nic is on her cell with a patient, a glass of wine in her hand. Jules walks in wearing a bathrobe. Nic turns. Raises a finger and mouths : `` Sorry.'' NIC No, we're planning on being here through mid - August so. -LRB- beat. -RRB- No, I promise, I'm not going anywhere. Jules' face drops ; she turns and leaves.", "INT./EXT.    PAUL'S HOUSE - DAY Paul watches Jules work in his backyard. Luis hauls shrubs.", "INT. PAUL'S HOUSE - KITCHEN - LATER Paul and Jules stand at the kitchen table, looking over her sketch for the yard. JULES Look, I'm gon na go to the nursery in the morning so we should probably make sure you're signed off on the Bougainvillea. Jules looks over at a pan on the kitchen counter. JULES -LRB- CONT'D. -RRB- What's that? PAUL Strawberry rhubarb pie. Fresh from my garden. Paul hands her a fork and she takes a big bite. Her eyes roll back in her head. PAUL -LRB- CONT'D. -RRB- Good, huh? JULES Oh my god. That is criminal. PAUL Have more. JULES No, please, just take it away. PAUL You had one bite. JULES I have another you may as well just tape it to my ass cause that's where it'll end up. PAUL Hey now, do n't go negative on your ass. Jules blushes at all this talk of her ass. JULES So. you're good with the plants? -LRB- off his silence. -RRB- Look, we do n't have to do that. We could do go in a totally different direction if you - PAUL No, I'm just thinking. Hang on. -LRB- covers his eyes. -RRB- Yeah, I'm good with the plants. JULES Sorry. Sometimes I mistake silence for criticism. PAUL I was n't criticizing you. JULES No, I know. I just. -LRB- beat. -RRB- Sometimes Nic can be a little critical, you know. She's a perfectionist. PAUL That does n't mean you have to be negative. Jules looks away. We HEAR a knock from the back. LUIS -LRB- O.S. -RRB- Excuse me, Senora? Hello? Jules turns, sees Luis standing at the glass door. JULES What's up? LUIS 5 o'clock. JULES Yeah. Okay. Jules wants Luis to leave her alone. But he's not going. LUIS Same time tomorrow? JULES Yes! Same time! Luis leaves. Jules turns back to Paul, laughs nervously. JULES -LRB- CONT'D. -RRB- Okay. I'm gon na take off too. PAUL -LRB- in Luis's accent. -RRB- Same time tomorrow? Jules pushes Paul, laughing. JULES That's mean. Paul hands her a Tupperware with some of the pie in it. PAUL Here, take this. JULES No! PAUL Just give it to the kids. JULES Okay! God, you're such a pusher! Jules grabs the pie and gives him a kiss on the mouth, almost as a mistake. Before they know it, they're making out. Jules snaps back, freaked. JULES -LRB- CONT'D. -RRB- Whoa. I'm sorry. That was. I do n't know where that came from. PAUL -LRB- freaked himself. -RRB- It's okay. JULES Okay. I'm gon na go now. Jules starts backing away, acting as if nothing happened. PAUL Jules? JULES -LRB- overcompensating. -RRB-. but I shall return! Jules bolts for the door, clutching her pie. Paul watches her go, stunned by what just happened.", "INT. NIC AND JULES BEDROOM - NIGHT Nic's in bed reading a magazine. Jules gets in bed, paranoid. Nic puts her magazine down. NIC So how'd it go with Paul? JULES -LRB- jumpy. -RRB- What do you mean? NIC I do n't know. Did you break ground? Did you dig in? I do n't know the terms. JULES No, we just talked. conceptually. NIC Oh, so it was less of a `` doing'' day, huh? Was he okay with that? JULES You know, maybe we should lay off the Paul digs a little. NIC Okay. You're right. Chastened, Nic looks back at her magazine. Jules rolls over. JULES And I also think we should start composting.", "EXT. URBAN FARM - ECHO PARK - DAY - MOS Sweating and dirty, Joni and Paul pull radishes from the ground. They're in a zone together. Paul takes off his sun - hat and put it on Joni's head. PAUL You got your mom's fair skin. You did n't get my Mediterranean genes. JONI Thanks. Joni's cell rings. She looks. Rolls her eyes. JONI -LRB- CONT'D. -RRB- Ugh. Ignore. Joni hits the ignore button, puts her cell away. PAUL Who's that? JONI My mom, Nic. She's making me insane. PAUL Why? What's she doing? JONI She's treating me like I'm 12. It's like she does n't want to admit I'm an adult. PAUL She's your mom. That's her job. JONI What? To smother me to death? That's not her job. PAUL Well, if you want things to be different, you've got to make that happen. That's your job.", "EXT. SUBURBAN STREET - MAGIC HOUR Laser walks with Clay. Clay sports a homemade arm - cast for the skateboard mishap we witnessed earlier. CLAY That jump was cake, dude! I so could've made it. LASER You were like 20 feet short, dude! There was no way. CLAY Yeah, well if Paul was n't there I could have landed it. That guy creeps me out. LASER Whatever. CLAY He's kind of a fag, dude. Tryin' to act all like your dad and shit. Laser does n't know how to respond so he ignores the comment. A stray DOG comes up to them. Laser stops to pet it. LASER Hey buddy. Good boy. Laser sees the dog has no tags. He looks around for an owner. The dog nuzzles Laser for affection. LASER -LRB- CONT'D. -RRB- I've seen this dog around. I wonder if he's lost. CLAY Let's pee on his head. LASER What? Clay unzips his fly. It's difficult with the plaster cast. LASER -LRB- CONT'D. -RRB- Dude, do n't do that. CLAY Come on. Hold him. Clay yanks the dog by his scruff. LASER Dude, Quit it! CLAY -LRB- mocking. -RRB- Duuude, quit it! Suddenly, Laser gets it. His friend is the tool. He grabs the dog and smacks him to get him to run away. LASER Go! Run! Get out of here! The dog TAKES OFF. Clay shoves Laser. CLAY Why are you such a fag?! Laser shoves Clay back hard. LASER Why are you such a dick?! Clay HITS Laser in the mouth. Laser touches his lip. Sees blood, and walks away. Friendship over.", "EXT. URBAN FARM PARKING LOT - ECHO PARK - MAGIC HOUR Paul and Joni walk to his motorcycle parked in the dirt lot behind them. Paul grabs his helmet off the bike, hands it to Joni. PAUL Here, put this on. Joni takes the helmet and puts it on. Paul fastens the buckle for her. They get on the bike and take off down the hill.", "EXT. ECHO PARK TO THE WEST SIDE - MAGIC HOUR Paul takes Joni home on his motorcycle via Sunset Boulevard. She holds Paul tightly.", "INT. ALLGOOD HOUSE - LIVING ROOM - EVENING The ladies sit in the living room watching TV. JULES Relax. She'll get home when she gets home. NIC Quit telling me to relax! They go back to watching TV. After a beat, we HEAR a motorcycle pull up. NIC -LRB- CONT'D. -RRB- What the fuck!", "EXT. ALLGOOD HOUSE - CONTINUOUS Paul and Joni climb off the bike. Nic storms out of the house to intercept them by the sidewalk. NIC Funny how someone conveniently forgot to tell me they were driving home on a motorcycle! JONI Mom. NIC You know how many people I've seen come into the hospital paralyzed from motorcycle accidents?! PAUL I'm a very safe rider. NIC That is so not the point I'm making! Joni knows this is something I'd never allow. JONI Mom, I'm 18 years old! I wo n't even be living here in like next month! NIC Yeah, well, you're living here now! JONI Yeah, well why do n't you get a jump on it and pretend like I'm not! Joni storms off. Nic glowers at Paul. NIC She's never talked to me like that. PAUL -LRB- trying to soften it. -RRB- You know, Nic. If you eased up on the restrictions, maybe there'd be less tension. NIC -LRB- marinated in sarcasm. -RRB- Really? You think so, Paul? Is that how it works? Jules walks up to intervene. JULES What's going on? NIC Oh, nothing. Paul's just giving me child - rearing lessons. PAUL I was just saying - NIC Listen, when you've been a parent for 18 years, come talk to me! PAUL I was just making an observation. NIC Yeah, and I need your observations like I need a dick in my ass! Nic storms off. Jules follows. Paul watches, shell shocked.", "INT. ALLGOOD HOUSE - JONI'S BEDROOM - LATER THAT NIGHT Nic knocks on the door. Get's no response. NIC Joni? -LRB- silence. -RRB- I was just upset. You know how I feel about motorcycles. Joni opens the door. JONI -LRB- patronizing. -RRB- I know how you feel about them. But I'm an adult now and you have to respect that. Goodnight. Joni closes the door on her.", "INT. PAUL'S HOUSE - DAY From his house, Paul watches Jules working on her knees in the garden. CLOSE ON Jules' thong peaking out of her jeans. Luis walks across Paul's field of vision, interrupting his reverie.", "INT. PAUL'S HOUSE - LATER Jules steps tentatively into Paul's house. JULES Paul? Jules walks further into the house. She looks anxious. Paul opens his office door and sees Jules in the hall. PAUL Hey. What's up? JULES Look, I'm sorry about last night. I'm really embarrassed. PAUL Do n't be. She's the one who wigged out. JULES I know, she's just going through a lot of stuff right now. PAUL Jules, it's okay. You do n't have to defend her. They stare at each other, unsure how to act. JULES And look, I just want you to know, about the other day, the kiss, that's not something I. do. PAUL Yeah, I sensed that. She takes a step toward him, feverish. JULES I just wanted to clear the air. They stare at each other. It's like watching two magnets. PAUL The air is clear. Jules grabs Paul and starts smothering him with kisses. It takes a second for Paul to get his bearings, but when he does, he starts kissing her back with equal fervor, pushing her up against the wall, wedging his hand between her legs. JULES Paul, I ca n't! PAUL You do n't want to?! JULES No, I do! It's just. -LRB- urgent whisper. -RRB- I have a guy outside! Overcome with lust, Jules wraps her legs around his waist and Paul walks her into. HIS BEDROOM Quick cuts of their awkward ravenous gropings. Somewhere between slapstick and animal. He pulls her hair back hard. She loves it. She pulls his hair back harder. He yelps. She pulls down his underwear. Her eyes widen. It's been decades since she's seen a hard cock in the flesh. JULES Oh. Well. Hel - lo! Cut to them fucking. It's gawky and passionate. Somewhere in the middle of it, Jules starts laughing. PAUL What? JULES Nothing. Paul flips her on her hands and knees and they go at it some more. She keeps laughing. Paul goes harder to make her stop. The paces grows quicker. They're getting closer. And then. LUIS -LRB- O.S. -RRB- Hello? Excuse me, Senora Allgood?! They stop mid - thrust. JULES You got ta be fucking kidding me! She dislodges from Paul and starts dressing furiously.", "INT./EXT.   PAUL'S HOUSE - DAY Jules runs out to meet Luis, waiting patiently at the door. JULES What's up? LUIS Where do you want the stones? JULES -LRB- catching her breath. -RRB- The stones? Over by the fence. Luis stares at his employer. She looks totally disheveled. Jules starts feeling her hair, smoothing it into shape. JULES -LRB- CONT'D. -RRB- -LRB- defensive. -RRB- What? I was using the bathroom. -LRB- then. -RRB- Do you need to use the bathroom? Luis stares at her feet. She looks down. She's barefoot.", "EXT. PUBLIC PARK - DAY Paul and Laser shoot hoop. There's a tense - ness to their patter. Laser takes the ball and steps to the top of the key and shoots. Drains it. LASER That's H. PAUL I know. Laser steps up to left side of the basket, calls his shot. LASER Lay - up. PAUL Hey, do n't take it easy on me cause you're winning - Laser does a trick behind the back lay - up. Nails it. Then tosses the ball to Paul. PAUL -LRB- CONT'D. -RRB- Nobody likes a show - off. LASER Hey, can I ask you a question? PAUL Oh god. Okay. Hit me. LASER When you die do you want to be buried or cremated? PAUL That's your question? LASER I want to be cremated. PAUL I think I'd rather be buried. LASER Why? That's just taking up more space in the earth. PAUL I do n't know, something about the idea of being burned into this chalky powder and sprinkled - LASER What do you care? You wo n't even be conscious. PAUL That's true. I guess I just want to be in a place where people can visit me. LASER -LRB- growing animated. -RRB- But why?! You'll be dead! You wo n't even know they're there!", "INT. WYSIWYG - RESTAURANT - NIGHT Joni and Sasha are at a table eating dinner. Tanya has temporarily joined them. Sasha checks out Tanya's oversized African bead necklace. Joni watches Paul charm customers. SASHA God, I love your necklace! Where'd you get it? TANYA I do n't know, some flea market - SASHA In Africa? TANYA No, more like Pasadena. SASHA Well, it's really awesome. Paul saunters up to the table and stands behind Sasha. He mindlessly places his hand on Sasha's shoulder. PAUL Sorry guys, I need to steal Tanya back now. Sasha clocks Paul's hand. She carefully and without looking back places her hand on top of his. SASHA That's okay, Paul. TANYA -LRB- getting up. -RRB- Well ladies, it was fun talking with you. SASHA/JONI You too. Paul pulls his hand away from Sasha's and walks off with Tanya. Sasha turns to Joni. SASHA Okay, I'm sorry but your donor daddy is giving me the sex vibe. JONI No he's not. He would n't do that. SASHA Why not? He's not my dad. JONI God Sasha, that's totally gross! Not everybody wants to have sex with you, okay? Especially when you act like a slut. SASHA Fuck you. JONI Well it makes you seem insecure and desperate. SASHA I'm not insecure and desperate! I'm just a normal sexual person! And maybe you'd get that if you were n't so uptight! JONI Fuck you. I'm not uptight!", "INT. RESTAURANT - NIGHT Nic and Jules dine with their friends, JOEL and STELLA. Nic's drinking like a fish. STELLA Oh my god, these heirloom tomatoes are insane. JULES Joni brought some home from Paul's garden the other day. They were huge! Nic tightens at the mention of Paul. JOEL So, the kids have been spending time with him? NIC Oh, yeah, they're spending all kinds of quality time together. STELLA -LRB- senses the sarcasm. -RRB- Well, it's great they like him so much. You know, you hear these stories about kids meeting their donors and the guys end up being nothing like they were on paper. NIC No, everyone's getting along famously. Apparently Paul can do no wrong. Nic grabs a passing waiter by the arm. NIC -LRB- CONT'D. -RRB- Can we get another bottle of the Seavey Cabernet? Jules gives Nic a look. Joel and Stella feel the tension between them. STELLA Hey, have you guys tried those A\u00e7ai fruit packs? JULES No, but they're pushing them like crack at Whole Foods. STELLA I know. Joel's addicted. JOEL What I do is I throw one in the blender with some bananas, frozen strawberries and hemp milk and I'll tell you, it's sensational. Nic slaps her forehead. NIC Oh, just fucking kill me. Everyone stiffens. Jules is embarrassed. JULES Honey. NIC I'm sorry guys, but I just ca n't, with the fucking hemp milk and the organic farming and heirloom tomatoes. -LRB- mocking - voice. -RRB- `` Oh no, do n't throw that in the trash, no man, you got ta throw that into the composting bin so the fucking worms can shit all over it and turn it into glorious multch and we can all feel better about ourselves.'' God! What a bunch of bullshit! Nic takes a big swallow from her glass. Jules windshield wipes Nic's forearm. JULES -LRB- sotto. -RRB- How about some green tea, honey. Nic slams her glass on the table. Explodes. NIC You know what, Jules?! I like my wine! Okay? So fucking sue me! And fyi, red wine has a chemical called Resveratrol in it, which has been proven to significantly extend human lifespan! JULES Yeah, if you drink a thousand bottles a day! NIC Fuck you. Nic storms off. Jules turns to Joel and Stella, ashen. JULES I'm sorry.", "INT. RESTAURANT BAR - MINUTES LATER Jules walks over to the bar. Nic is sitting in the corner. JULES What the hell is going on with you? NIC This whole Paul thing is driving me crazy! I feel like he's taking over my family. Jules tries to bring it down. She yells in hushed tones. JULES No. He's not! NIC -LRB- nerves fraying. -RRB- Okay! Okay. I'm sorry. I'm just exhausted. JULES Maybe you need to take some time off and recharge. NIC -LRB- self - pitying. -RRB- Sure, and who's gon na pay for that? Jules looks pissed off, and hurt. NIC -LRB- CONT'D. -RRB- Look, I'm sorry, I just feel like I'm carrying the whole load here. JULES Because that's the way you like it! That's the way you keep control! This is Jules' break - point. NIC What are you talking about? JULES Oh come on! You hated it when I worked! You wanted me at home, taking care of the kids. You wanted a wife! NIC That is just not true! JULES You did n't trust any of those nannies! And you sure as hell did n't back my career! NIC What are you talking about? I just helped you start another business! JULES Yeah, so you can feel better about yourself! NIC No, so you can feel better about yourself! JULES Are you even attracted to me anymore? The BARTENDER holds out the bottle of Cabernet. BARTENDER Do you still want this? NIC No. Just the check please. JULES AND PAUL Fucking again in his bedroom. Jules writhes beneath him, her eyes closed. Paul seems to be in some kind of zone. He stares at her, enthralled. POST - COITUS Jules and Paul lie naked in the bed. Jules slithers around the covers, stoned on post - coital endorphins. JULES God, I feel so drugular right now. -LRB- sitting up quickly. -RRB- I really want a cigarette! Do you have any? I have n't had a cigarette since Laser was born. Do you smoke? PAUL Sometimes. But I do n't have any here. Want me to run to the store? JULES -LRB- bouncing off the walls. -RRB- Yeah. Wait, no. Do n't. Sorry. Jules pops up on her knees, getting in his face. JULES -LRB- CONT'D. -RRB- Do you think I'm just like some sad - sack middle - aged lesbian? PAUL God, that's it. I was trying to figure out how to describe you to my friends. Thank you. Jules punches his arm, mock hurt. They start rough - housing. Then kissing. Then the phone rings. JULES You want to get that? PAUL No. I want to get this. Paul grabs a handful of Jules' ass. Jules throws her leg over Paul and climbs up for another round. Suddenly, Joni's voice echoes through the machine. JONI -LRB- ON MACHINE. -RRB- Hi Paul. It's Joni. I just wanted to apologize for my friend, Sasha. I was really embarrassed when she put her hand on your - Paul grabs the receiver. PAUL Hey, Joni. I'm here. Jules visibly recoils. PAUL -LRB- CONT'D. -RRB- Listen, do n't worry about your friend. Jules pales. She mouths : `` What are you doing?!'' Paul gesticulates : `` I'm sorry!'' PAUL -LRB- CONT'D. -RRB- No. Honestly. I did n't even notice. Jules throws on her clothes and starts to leave. PAUL -LRB- CONT'D. -RRB- Hey, Joni? Can you hold on a second? Paul grabs Jules' wrist and mouths `` wait!'' Jules rips her arm free and walks out. MOMENTS LATER - JULES walks outside and is stunned to find Luis already back from Home Depot, sneezing and wiping his nose. JULES Did you go to Home Depot? LUIS Yeah. I just got back. JULES That was fast! LUIS Yeah, no lines. His look of confusion trips off her paranoia. She's convinced he knows everything. JULES What's that look? LUIS What look? JULES The look you're giving me right now! LUIS That's no look. That just my face. JULES Look, I'm not gon na play this game with you! You need to keep your judgements to yourself! LUIS Senora, I did n't give no looks! JULES I do n't ask you why you keep blowing your nose constantly! I mean, if you have a drug problem that's your business. LUIS I do n't have no drug problem! I have the allergies! JULES Then why are you a gardener?! Luis stares at Jules, innocent. LUIS Cause I love the flowers. JULES Look, this is n't gon na work. I'll pay you through the end of the day and then we're done. Jules walks past a totally confused Luis.", "INT. NIC AND JULES BEDROOM - NIGHT Jules lies on her side. Nic shuffles to get to close to her. Jules moves away, still pissed at her. Nic realizes she needs to make amends.", "INT. ALLGOOD HOUSE - KITCHEN - NEXT MORNING The family sits in silence, having breakfast. Nic looks around the table, feeling like a pariah. NIC Look, I know you've all been enjoying your time with Paul. And I know I have n't been as open to him as everyone else and this has caused some. friction. between us. But I'd like to try and change that. Everyone keeps eating, uncommitted. `` And?'' NIC -LRB- CONT'D. -RRB- So I was thinking. Maybe it would be nice if we all had dinner at his house sometime. That way, I could get to know him a little better, and I could see all the good work mom's been doing with his backyard. Nic looks at Jules and smiles. Everyone nods. They recognize this is a big step for Nic.", "EXT. PAUL'S HOUSE - BACKYARD - DAY Paul walks out to check on Jules. She's sweating her ass off, shlepping stacks of heavy mulch across the yard. PAUL How's it going? JULES Okay. PAUL Here, let me help. Paul takes some of her load and together they transport the sod to the other side of the yard. Neither know what to say. Paul stares at her, waiting for her lead. JULES We ca n't be doing this. PAUL I know. JULES I'm married. PAUL and the kids. JULES Yeah, and I love Nic. PAUL I know. They stare at each other and we cut to.", "INT. PAUL'S BEDROOM - LATER Paul and Jules lie in bed. Jules looks nauseated. Paul offers her a pack of smokes. PAUL I got you some cigarettes. JULES -LRB- ignoring him. -RRB- Jesus, what's wrong with me? I should n't have fired Luis like that. That was totally wrong. PAUL Come on. Do n't be so hard on yourself. Things get messy sometimes. JULES That was n't messy. That was fucked up. I'm totally fucked up. PAUL I think I'm really falling for you. JULES Paul, do n't.", "INT. PAUL'S BATHROOM - LATER Jules takes a shower, washing off the evidence. She looks nauseated by her lack of willpower.", "INT. WYSIWYG - LATER Tanya walks over to Paul who's on his computer. She flops on the couch next to him. He does n't look up. TANYA Pretty good night. That table had like 5 bottles of wine. PAUL Wow. Yeah. Good night. TANYA Joni's pretty. She's got some of your genes. PAUL I think she looks more like her mom actually. But thank you. TANYA It's cute seeing you in dad mode. PAUL Yeah? TANYA Yeah. -LRB- lowering voice. -RRB- It makes me want to fuck you. PAUL -LRB- uncomfortable. -RRB- Oh yeah? TANYA Yeah. Tanya moves imperceptibly closer. TANYA -LRB- CONT'D. -RRB- I've been missing our sleep - overs. Paul finally stops what he's doing. PAUL Yeah, it's been a while. TANYA You want to meet up later? Paul hesitates. He does n't know how to say no. PAUL Tanya, you're so sexy and beautiful, but I do n't think we should do that anymore. Tanya's face drops. TANYA What happened? PAUL You know, our thing is really fun and easy, but. I do n't want to be 50 and still `` hanging out.'' You know? If I really want a family then I have to stop getting in these situations that do n't go anywhere. Paul just looks at her. Tanya gets it. TANYA -LRB- welling up. -RRB- Oh. Paul knows enough to say nothing. Tanya gets up and walks off. TANYA -LRB- CONT'D. -RRB- Fuck you. Paul sits there, feeling like an asshole.", "EXT. ALLGOOD HOUSE - MAGIC HOUR The family packs into the Volvo to head to Paul's.", "INT. PAUL'S HOUSE - KITCHEN - MAGIC HOUR Paul gets dinner ready with Joni and Laser as his sous - chefs. Both kids seem really jazzed to be cooking with him. IN THE BACKYARD - EVENING Jules tours Nic around the backyard, looking a little freaked out as she shows her the work she's been doing. JULES I'm gon na do some planting over there so it wo n't look so bare. NIC It looks great, honey. Very indigenous. I'm so proud of you. Nic kisses Jules spontaneously. Jules looks nauseous again. They head back up the stairs, toward Paul's house. NIC -LRB- CONT'D. -RRB- Hey, so how's that guy Luis working out? JULES Oh, I had to fire him. NIC -LRB- surprised. -RRB- Really?! JULES Yeah, he had a drug problem. NIC Whoa. What kind of drugs? JULES Blow, I think.", "INT. PAUL'S HOUSE - DINING ROOM - LATER Nic flips through Paul's album collection, including Joni Mitchell's Blue.", "INT. PAUL'S HOUSE - DINING ROOM - NIGHT Everyone digs into the meal, enjoying themselves. Especially Nic, who's committed to redeeming herself. PAUL Hey Nic, I think you're gon na love this ` 98 Screaming Eagle. NIC You know what, I think I'm gon na stick with water tonight. But thank you so much. The Allgoods look at Nic : this is a first. NIC -LRB- CONT'D. -RRB- God, Paul, this steak is delicious. What's the seasoning? PAUL I just mist it with a little truffle oil. Nic looks at Jules and smiles in full overcompensation mode. NIC What a good idea. We should try that. Right, honey? JULES -LRB- taken aback by Nic's cheerfulness. -RRB- Mmm - hmmm. NIC And it's done to perfection. PAUL So it's not too rare? NIC No, it's perfect. Juicy. Tender. Exactly what rare's supposed to be. PAUL Good. A lot of people in the restaurant order a steak rare and they freak out at the slightest sight of red. NIC Ugh, is n't that annoying? That happens to me all the time when I'm grilling. PAUL Do n't people know that rare means red? NIC Right?! It means bloody! PAUL Exactly! They should see what rare looks like in Argentina. The cow's practically still mooing. Laser chuckles at Paul's joke, then reigns it in. Joni tries to insert herself in the conversation. JONI I really want to go to Argentina. Buenos Aires is supposed to be - NIC -LRB- interrupting. -RRB-. So Paul, I was checking out your album collection over there. Quite the eclectic mix. PAUL Thanks. NIC You do n't meet too many straight guys who love Joni Mitchell. Joni glares at Nic : stop being such a Paul hog. PAUL Oh yeah, you a Joni Mitchell fan? NIC -LRB- smug. -RRB- Not really. We just named our daughter after her. PAUL Cool. Right on. NIC What's your favorite Joni album? PAUL I think I have to go with `` Blue.'' Nic raises her hand in a testify. PAUL -LRB- CONT'D. -RRB- Yeah? You too? They high - five across the table. NIC Oh God, I probably spent half of high school in my room crying to that album. That record kills me. PAUL I know, it never lets up, you got `` River,'' `` California.'' NIC `` A Case of You.'' PAUL `` All I Want.'' NIC Mmm! Nic pulls her hands to her chest, shuts her eyes. and starts to sing. NIC -LRB- CONT'D. -RRB- I am on a lonely road and I am traveling traveling, traveling, traveling/Looking for something, what can it be/Oh I hate you some, I hate you some/I love you some Oh I love you/when I forget about me. Jules, Paul and the kids watch, open - mouthed as Nic soldiers on, skipping ahead to another verse. NIC -LRB- CONT'D. -RRB- I want to talk to you/I want to shampoo you/I want to renew you again and again/Applause, applause / Life is our cause/When I think of your kisses/My mind see - saws. Nic takes a breath. Just as Paul's about to say something, Nic resumes her unfortunate solo. NIC -LRB- CONT'D. -RRB- Do you see/do you see/do you see how you hu - urt me baby/so I hurt you too/then we both get/soo - ooo - ooo blue. Nic stops, eyes still closed. She's connected to a part of herself she rarely lets herself visit. The moment is punctured by her smart - ass 15 - year - old son. LASER Do n't quit your day job, mom. PAUL Hey. It's hard enough to open your heart in this world. Do n't make it harder. LASER You're right. -LRB- to Nic ; contrite. -RRB- I'm sorry, mom. Nic looks at Paul. Stunned. Then looks at Jules and points to Paul. NIC I like this guy. Paul looks at Joni. PAUL You did n't tell me you were named after Joni M. JONI It's just so dorky. I do n't really like to bring it up. PAUL I think it's cool. NIC -LRB- getting up. -RRB- Hey Paul. Where's your bathroom? PAUL Just around there. On her way to the loo, Nic turns back to Paul. NIC You know what? I think I will try some of that Screaming Eagle.", "INT. PAUL'S BATHROOM - CONTINUOUS Nic washes her hands at the sink. Something catches her eye. She lifts Paul's hairbrush from the shelf in front of her and examines it. She reaches into the bristles and pulls out. A few strands of long red hair. Nic pales. CUT TO Nic on her knees in Paul's shower, pulling a clump of tell - tale red hair from the drain. CUT TO Nic skulks out of the bathroom. She looks out and b - lines for the bedroom. CUT TO Nic pulling pillows off Paul's bed. Her look tells us she's found hair here as well. THEN WE CUT TO Nic sitting back down at the table. She looks drained. Nobody notices. The sound drops out. NIC'S POV : Paul and Jules talking comfortably. Joni and Laser chiming in, smiling, one big happy family. Totally disconnected. Shell - shocked. She wants to scream but it feels like she's trapped in cement. Things slow way down.", "INT. NIC AND JULES' BATHROOM - THAT NIGHT Nic and Jules perform their nightly ablutions. Jules is sonic - caring her teeth. JULES -LRB- through the sonic buzz. -RRB- Well, you and Paul seemed to get on like gang - busters. NIC You're sleeping with him, are n't you. JULES -LRB- freaked. -RRB- What? Nic turns to her, eyes red with anger. NIC Just be honest with me. Do n't make me feel crazier than I feel right now! JULES Where is this coming from?! NIC I found your hair in his drain! JULES -LRB- scrambling. -RRB- What? I was working. I got dirty so I took a shower. NIC Oh yeah? You take a nap, too? Jules pauses a second too long. The jig is up.", "INT. NIC AND JULES' BEDROOM - MINUTES LATER The truth has come out. Nic is so angry she's calm. NIC Are you in love with him?! JULES No! NIC What, are you straight now?! JULES No. It has nothing to do with that! -LRB- beat. -RRB- I've just felt so cut off from you lately. NIC Oh, right, so it's my fault! JULES No! Who said anything about fault? Just listen to me! NIC I'm listening! What?! JULES I just needed. NIC What? To be fucked? JULES No, appreciated! NIC It's always what I'm not doing for you, is n't it? Well here's what I do n't to you. I do n't work out my issues by fucking other people! Nic starts heading for the door. Jules follows. JULES He's not just `` other people!'' NIC No, you had to go fuck our sperm donor! You could n't have picked a more painful way to hurt me. JULES Where are you going?! NIC I need water! My mouth is dry! Nic opens the door. There's Joni and Laser, looking devastated. They've been listening to the whole thing.", "INT. ALLGOOD HOUSE - LIVING ROOM - DAWN Jules wakes up looking crusty from a rough night on the couch. She looks like she has n't slept at all.", "INT. LASER'S ROOM - DAWN Jules enters and walks over to her sleeping son. She gently nudges him awake. JULES Hey Laser. Honey? Laser turns over, semi - conscious. LASER What? She sits down on his bed. JULES Listen, I know you and Joni heard what's going on. I just want you to know that what happened with Paul and me is over. There's nothing going on now. LASER Okay. JULES I know you might need some time to process your feelings around this, but I just want you to know that I'm here for you if you want to talk about anything. -LRB- beat. -RRB- Is there anything you want to talk about? LASER -LRB- leave my room. -RRB- Not really. JULES -LRB- fighting the impulse to push it. -RRB- Okay then. Go back to sleep. Jules pats her son and leaves.", "INT. JONI'S BEDROOM - DAWN Jules enters and touches Joni's shoulder. JULES Joni? JONI I do n't want to talk to you. JULES Can we just - JONI I said I do n't want to talk to you! JULES Okay. I'm sorry. Jules slowly retreats to the door.", "INT. ALLGOOD HOUSE - KITCHEN - MORNING Jules drinks coffee at the table. Nic walks in, dressed for work. Jules looks at her, wanting to `` process.'' But Nic is n't in the mood. She grabs a banana from a bowl and walks out. Jules feels like a leper.", "INT. SASHA'S ROOM - AFTERNOON We can tell Joni's been crying and downloading the whole thing to Sasha. SASHA How's Nic doing? JONI She's a wreck. I've never seen her like this before. Joni's cell rings. She gets off the bed, looks at the phone. It's a picture of Paul. SASHA Is it him? Joni nods gravely, answers. JONI -LRB- cold. -RRB- Hello.", "EXT. PAUL'S FARM - AFTERNOON Paul's walking through rows of swiss chard, cell phone to his ear. Conversation Intercut. PAUL Hey Joni, how you doing? JONI You're such a phony. Beat. PAUL Excuse me? JONI You act like you're so groovy and together but you're not. You're a shitty person! PAUL What happened? JONI With my mom?! PAUL Listen, can I just come and talk with you - JONI What's wrong with you?! PAUL Joni. JONI Do n't call me anymore. Joni hangs up and start crying. Sasha hugs her.", "EXT. PAUL'S FARM - CONTINUOUS Sweaty, nauseous with remorse, Paul turns around to find fetching young Brooke, waiting for him with a wicker basket of huge cucumbers. BROOKE Hey Paul, look at these cukes. Paul holds up his hand at her. This girl symbolizes every bad choice he's ever made. He gives her the universal, `` Leave Me Alone'' gesture. Brooke looks embarrassed.", "EXT. ALLGOOD HOUSE - BACKYARD - AFTERNOON Jules sits on a lawn chair smoking a cigarette. Her cell rings. She answers.", "EXT. STREET - AFTERNOON Paul walks down the street, wigging out. PAUL Hey, it's me. I just talked to Joni. Conversation intercut. JULES Oh my god, I'm so sorry. I should have called you. Jules sucks a big, anxious drag off a cigarette. PAUL What happened? JULES Nic saw my hair in your bathroom. PAUL The other night. JULES Yeah. PAUL Fuck. JULES Yeah. Beat. PAUL Listen, it's all out in the open now. Let's make this happen. JULES Paul. PAUL No, I'm serious. Fuck it. Let's get the kids together and do this thing. JULES Paul, come on. PAUL No! I'm sick of this life. I want a family. I'm ready - JULES -LRB- eye rolling. -RRB- Jesus, Paul! I'm gay! Jules tosses the phone away from her.", "EXT. HOUSE PARTY - BACKYARD - NIGHT Joni and Sasha stand at the makeshift `` bar''. Joni's downs several Tequila shots quickly. SASHA Slow down, tiger. Across the room, Joni spots Jai chatting with a WAIFY GIRL in a sundress. Joni drops one more Tequila shot and walks up to Jai and Waify girl, interrupting them. JONI I like the scruff. It's sexy. Waify girl juts out her hip territorially. WAIFY GIRL Uh, ` scuuuse me. JONI You're excused. -LRB- then back to Jai. -RRB- Hey, can I talk to you? Joni leads Jai to a private corner. She leans in and kisses Jai. And Jai actually returns the kiss. And it's completely sweet and intimate. But then the kiss starts to morph as Joni's energy turns manic, intense, less romantic than emotionally needy. We see Jai start to pull away. But Joni keeps holding him, wanting more. Finally, Jai breaks off the kiss. JAI Joni...Joni... Joni. says. JONI What? says. Joni looks pained, embarrassed. Jai keeps holding her hands. JAI Are you okay? says. JONI Yeah, I'm fine... says. Joni pulls free and escapes, leaving a confused Jai in her wake.", "INT. NIC AND JULES BEDROOM - NIGHT Jules walks in to find Nic, awake, in bed. JULES Just getting another pillow.   The The says. couch is kind of saggy. says. NIC Is your back okay? says. Jules perks up : is this an invitation to share the bed again? JULES It's a little ache-y. NIC You should take some Advil. says. Guess not. Suddenly they hear bumping and loud footsteps downstairs.", "INT. ALLGOOD HOUSE - LIVING ROOM - NIGHT Jules walks downstairs to find Joni stumbling toward her bedroom. JULES Hey. How was the party? Joni tries to avert her mom's questioning gaze. JONI Fine. JULES How big was it? JONI I do n't know. Medium. ish. Jules takes in the glassy look in her daughter's eyes. JULES Are you drunk? JONI No. Nic enters from the stairs, having caught the last piece. NIC I hope you had a designated driver. JONI Why? I'm not drunk. NIC Well, you seem drunk to me. JONI Yeah, well, you should know. NIC -LRB- furious ; incredulous. -RRB- What did you just say to me?! JONI I'm going to bed. Joni starts to leave. Nic grabs her. NIC No, you're not! I'm not done talking to you! Laser opens his door and watches the scene progress. JONI What do you want from me?! I did everything you wanted! I got all A's! I got in everywhere I applied! Now you can show everybody what a perfect family you have! JULES Do n't talk to your mom like that! Joni spins to face Jules. JONI You're really gon na tell me how to act? Now?! JULES Hey, I'm still your mother. JONI Whatever. Jules reaches out and Joni backs away, sickened. JONI -LRB- CONT'D. -RRB- Do n't touch me! Joni heads for her room. JONI -LRB- CONT'D. -RRB- I'm so sick of both of you!", "EXT. ALLGOOD HOUSE - DAWN - MOS The sun rises on this formerly happy home.", "INT. ALLGOOD LIVING ROOM - MORNING Jules wakes up on the couch. Sits up. Rubs her aching back.", "INT. ALLGOOD HOUSE - JONI'S BEDROOM - DAY Joni packs for college. The room is littered with half - filled packing boxes. She picks up a pile of clothes from the corner and sees the farmer's hat Paul gave her. She puts it aside, not sure what to do with it.", "EXT. PAUL'S BACKYARD - DAY Paul looks around his newly landscaped yard. It looks more abandoned than revived.", "INT. ALLGOOD HOUSE - NIGHT The family has their last supper - before Joni leaves. NIC Did you pack that lamp I gave you? JONI Yeah. NIC Well, we can always get stuff up there, too, if you need it, I mean if the room's dark or you need extra bedding. JONI I'm not going to Siberia, mom. Jules looks at the family unit, misty. JULES I ca n't believe this is our last dinner together. LASER Oh God, are you gon na cry? Jules looks at her son, fed up. JULES I wish you were gay. You'd be so much more sensitive. The doorbell rings. JONI It's probably Sasha. I'll get it. Joni runs to the door. Opens it. It's not Sasha. It's Paul. JONI -LRB- CONT'D. -RRB- -LRB- shocked. -RRB- What are you doing here? PAUL I needed to talk to you before you left. JONI There's nothing to talk about. PAUL I just want to apologize again for what happened. I ca n't tell you how much I regret it.", "EXT. ALLGOOD HOUSE - SAME Joni walks out for privacy, closes the door behind her. JONI So like, everything that happened between us. What was that? Was that just bullshit?! PAUL No, it was n't bullshit at all. I know I do n't seem credible right now but I really care about you. Paul struggles to keep his emotions in check. PAUL -LRB- CONT'D. -RRB- and I just hope someday we'll be able to see each other again. Do you think that could maybe happen? JONI I do n't know. Joni looks down welling up. JONI -LRB- CONT'D. -RRB- I just wish you could've been. PAUL What? Joni chokes back tears. JONI Better. Paul and Joni look up at each other when the door suddenly flings open. Nic is there, fuming. NIC You've got some balls, mister! PAUL Nic, hold on. Nic walks toward he and Joni. Joni ducks back inside. NIC No, you hold on! Let me tell you something, you really hurt my kids! PAUL Well, they're kinda my. NIC -LRB- cutting him off. -RRB- No! They're not. This is not your family. This is my family! You're just a fucking interloper. Jules joins Nic, concerned things are getting out of hand. PAUL I did n't mean to hurt anyone. Paul and Jules share a look as Nic deals the coup de grace. NIC If you want a family so much, go out and make one of your own! Nic heads back inside and slams the door behind her. Paul stand alone, spinning. After a moment he spontaneously looks back into the house. Laser is staring at him through the window. Their eyes lock and Paul give Laser a contrite smile. That's the final straw for Laser. He grabs his plate and walks out of view. Reeling, Paul heads for his motorcycle. He gets on the bike, helmet in hand. Turns on the ignition. He picks up the helmet and pauses, shaking in the hell of his own making. Losing it, he hurls the helmet at the motorcycle.", "INT. ALLGOOD HOUSE - TV ROOM - THAT NIGHT Laser, Joni and Nic watch `` Locked Up Abroad'' Jules walks in front of them, picks up the remote and turns off the TV. JULES I need to say something. Everyone sits up. Jules acts stoic but she's wrecked. JULES -LRB- CONT'D. -RRB- Look, it's no big secret your mom and are in hell right now. Bottom line. marriage is hard. really fucking hard. Just two people, slogging through the shit, year after year, getting older, changing. It's a fucking marathon, okay?! Everyone is silenced by the outpouring. Jules soldiers on. JULES -LRB- CONT'D. -RRB- So sometimes you're together so long, you just stop seeing the other person. You just see weird projections of your own junk. And instead of talking to each other, you go off the rails, and act grubby and make stupid choices. Which is what I did. And I feel sick about it because I love you guys and I love your mom and that's the truth. Sometimes you hurt the ones you love the most. I do n't know why. Maybe if I read more Russian novels I would. Nic looks down, overwhelmed by it all. JULES -LRB- CONT'D. -RRB- Anyway, I just wanted to say how sorry I am about what I did and that I hope you'll forgive me eventually. -LRB- awkward. -RRB- Thank you. And, without further ado, Jules hands the remote back to Laser and departs the field. Everyone's silenced by Jules' rambling apologia, especially Nic.", "INT. JONI'S ROOM - MORNING Joni wakes up. She looks around her room. There's nothing on the walls. The floor is covered with boxes taped and labeled. It's time to go.", "EXT. ALLGOOD HOUSE - DRIVEWAY - DAY Nic and Jules stuff the last of Joni's things in the back of their station wagon. Laser and Joni bring the last of the boxes out of the house.", "INT. VOLVO STATION WAGON - DAY The Allgoods are on the road, heading to college.", "EXT. COLLEGE CAMPUS - DAY - ESTABLISHING The station wagon passes through the campus.", "INT. STATION WAGON - DAY As they drive past buildings and dorms, Joni sees STUDENTS swarming the campus. She takes it all in, nervous, excited. Nic and Jules steal looks back at Joni, feeling her nervousness, wishing they could take it away.", "EXT. STREET - DAY The Allgoods pull up to the curb, get out. Laser piles Joni's boxes on his skateboard.", "EXT. FRONT OF DORM - DAY Laser dollies Joni's boxes though the corridor and while Joni and the moms follow behind.", "INT. DORM ROOM - MOMENTS LATER Nic and Jules follow Joni to the door. They all jam up at the threshold. JONI Guys, it's okay. I got it. Nic and Jules get the hint. They move back and Joni enters the room alone. Nic and Jules quietly turn and leave.", "INT. JONI'S DORM ROOM - BEDROOM - LATER Joni stands among her bags and boxes looking around. She goes into her suitcase and pulls out her linens. She starts making her bed but suddenly stops mid way. She stares out toward the hallway. Finally she moves to the doorway and looks out. She realizes her family is n't there.", "EXT. DORM BUILDING - DAY Joni exits, looking around to find her family. The station wagon is gone. She looks panicked. Her pace quickens as she makes her way down a hill toward the road. Finally Joni sees the Volvo heading towards her. The car pulls over to the curb and everyone gets out. Joni looks vulnerable. She tries to cover it. JONI Where'd you go?! NIC We had to move the car. JONI I thought you left. JULES We would n't leave without saying goodbye. NIC Give us some credit. And suddenly, everyone realizes. this is it. It's time to say goodbye. First Laser comes up and hugs Joni. LASER It's gon na be weird not having you at home. JONI Sorry to leave you alone with them. LASER It's okay. I can handle it. Laser backs up. Then the moms both come up and hug Joni, tears streaming down their faces. JONI Guys, come on. -LRB- beat. -RRB- Look, I'll talk to you soon. Joni tries to detach from the hug. But her moms wo n't let go. They keep holding her and crying. Slowly, their tears begin to break Joni down. Trapped in their loving embrace, Joni's feelings rise up, unbidden, overpowering her. She starts crying. The moms hold her tighter, which makes her cry even harder. Soon she's sobbing in her mothers' arms, as all the pressure, resentment and anger she's felt starts seeping out of her. Nic and Jules feel their daughter letting go. They hold her tight to comfort her. They keep holding her until a calm sets in. The hug breaks apart. Nic pushes the hair from Joni's face. Joni gives her moms one last smile. Laser, Jules and Nic get back in the car. Joni stands watching as they drive off and her new life begins.", "INT. STATION WAGON - DAY The family drives home. Jules is at the wheel. Nic's in the passenger seat, eyes red and puffy. Laser's in the back. No one speaks, everyone's lost in their own worlds. Finally Laser breaks the spell. LASER I do n't think you guys should break up. A long beat. NIC No? Why's that? LASER I think you're too old. Both Nic and Jules crack smiles. Their son's rudeness is unsurpassed. But then his words have an unexpected gravity. NIC Thanks, Laser. Jules, disarmed and slightly smiling, reaches over and puts her hand on Nic's leg. She gives it a gentle squeeze and does n't let go. Nic looks over to Jules, finally disarmed. Nic reaches for Jules' hand and holds it tight. Nic and Jules look at each other, and then away. Laser watches his moms holding hands from the back seat. Their small gesture is what he needed. He smiles to himself, grateful for a sign. FADE OUT THE END"], "labels": [0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0], "summary": "Nic (Annette Bening) and Jules (Julianne Moore) are a married same-sex couple living in the Los Angeles area. Nic is an obstetrician and Jules is a housewife who is starting a landscape design business. Each has given birth to a child using the same sperm donor. The younger child Laser (Josh Hutcherson) wants to find his biological father, but has to be 18 to do so. He implores his 18-year-old sister, Joni (Mia Wasikowska), to contact the sperm bank, which identifies Paul (Mark Ruffalo) as the donor. When the three meet, Joni is impressed by Paul's bohemian lifestyle, and Paul becomes enthusiastic about being in their lives. Joni swears her brother to secrecy as she does not want to upset their mothers. However, Jules and Nic find out and invite Paul over to dinner. When Jules reveals she has a landscape business, Paul asks her to transform his back garden. Jules agrees, although Nic does not like the idea. While working for Paul, Jules is aware that he appreciates her work, unlike Nic who, Jules feels, never supported her career. After Jules impulsively kisses Paul one afternoon, they end up in bed together and start an affair. Jules and the kids start spending more time with Paul. Nic believes Paul undermines her authority over the children by, for example, giving Joni a ride on his motorcycle\u2014which Nic has forbidden\u2014and by suggesting she give Joni more freedom. After a heated argument with Jules, Nic suggests they all have dinner at Paul's house to ease the tension. Nic relaxes and for the first time connects with Paul. However, Nic discovers traces of Jules's hair in Paul's bathroom and bedroom. When they return home, Nic confronts Jules. At first, Jules denies it but then admits to the affair. Nic is devastated, but Jules assures her she is not in love with Paul and has not turned straight; she just wanted to be appreciated. Joni and Laser overhear the argument and are upset at Jules. The household becomes tense and Jules is forced to sleep on the couch. Paul thinks he has fallen in love with Jules and suggests she leave Nic, bring the kids, and come live with him. Jules declines, disgusted with Paul's lack of understanding about her sexuality. The night before Joni leaves home to attend college, Paul turns up at the house. Nic angrily confronts him and tells him if he wants a family so much, he should make one of his own. Rejected, Paul watches Laser from outside the window, trying to get his attention, but Laser ignores him. Later that night, Jules tearfully admits her errors to her family and begs their forgiveness. The next morning, the family drives Joni to college. While Nic and Jules hug Joni goodbye, they also affectionately touch each other. During the ride home, Laser tells his mothers that they should not break up because they are too old. Jules and Nic giggle, and the film ends with them smiling at each other and holding hands.", "name": "The_Kids_Are_All_Right_(film)"}
{"scenes": ["EXT.  MARFA, TEXAS - 1993 - WIDE - DAY The Texas plains, horizon to horizon, nothing but the browns and ochres of earth and the blue and violet of the sky. The sheer scope of it sinks in : the blank slate of nature, the absence of man. On the screen superimpose : MARFA, TEXAS, 1993. CREDITS BEGIN. A plume of dust comes into frame. The dust is from a TRUCK, orange and white and violet, with `` FedEx'' blazoned across the side. The truck turns into a collection of ramshackle World War II era Quonset huts and outbuildings. Around the outbuildings are large sculptures of wood and metal.", "EXT.  QUONSET HUT - DAY The door is opened by a WOMAN in her late twenties. Hair pulled back, casual, an artist. She hands the DRIVER a FedEx BOX which is decorated with a drawing of two ANGEL WINGS. The Driver has a hand - held computer ; a portable printer dangles from his belt. The Driver scans the package with his hand - held computer, prints out a label and sticks it on the Box, ready to go. But something on the box catches her eye. She wants it back. He glances at his watch. She draws RINGS around the Wings, uniting them. She gives the box to the Driver, then hands him a cup of coffee. They've done this before. He takes a sip of the coffee, then runs for the truck. He jumps in and heads back onto the plains.", "EXT.  FEDEX OFFICE - MIDLAND/ODESSA - NIGHT - HOURS LATER The Driver jams the distinctive Angel Wing Box on top of a dolly and loads it into a CONTAINER with clear plastic sides. A female Loader slaps a large bar code label on the container, scans it, then pulls the container across a belt of rollers onto a larger truck. The doors of the truck close. The latch slams down. A forklift hoists the container to the cargo doors of a 737.", "EXT.  MEMPHIS AIRPORT SUPERHUB - NIGHT The 737 lands.", "EXT.  SUPERHUB - NIGHT - MINUTES LATER One of a seemingly endless line of FedEx planes, our 737 taxis to a gate at the FedEx SUPERHUB. The Hub is a vast living organism - loud, complex, overwhelming, as much a symbol of modern life as was the factory in Modern Times. Five thousand people work in a frenzy of interconnected activity inside three vast hangers brightly lit. Hundreds of forklifts and cargo - pullers dart about, their headlights crisscrossing like a laser show. Loaders quickly roll the container onto a FORKLIFT.", "INT.  MEMPHIS SUPERHUB - NIGHT The forklift speeds inside one of the hangers to a LOADING BELT, where our Box is spilled into a Mississippi River of packages, HUNDREDS OF THOUSANDS of them, all shapes and sizes, from shoe boxes to engine blocks. Large mechanical arms divert the immense flow of Workers at dozens of stations. The packages surge and move. The Workers place the packages label - side - up on new belts, where they're scanned by laser readers. Picking up speed our Box is shunted across the acres of interlocking belts. The Box ends up in a much larger CONTAINER labeled CDG.", "EXT.  MEMPHIS SUPERHUB - NIGHT A forklift lifts the Container to a door on a giant MD - 11.", "INT.  GLOBAL OPERATIONS CENTER - NIGHT A jumbled room jammed with computers and dominated by a HUGE WALL GRAPHIC that charts hundreds of airplanes. An Operator moves a yellow strip labeled Jumbo 12 across the board.", "EXT.  CHARLES DE GAULLE AIRPORT - DAY SERIES OF SHOTS The giant place touches down in Paris. The Angel Wing Box moves quickly on another belt and disappears into another CONTAINER, which is loaded onto still another AIRPLANE.", "EXT.  ST. PETERSBURG AIRPORT, RUSSIA - NIGHT The plane lands. The container is unloaded down a belt. We see our Angel Box. Directly in front of it is a DENTED BOX.", "INT.  ST. PETERSBURG FEDEX OFFICE, RUSSIA SERIES OF SHOTS Night. The manic activity has come to a dead stop. Our two Boxes sit on a table in a corner not far from a small Christmas tree. Daylight now. YURI, a Supervisor, saunters over, picks up the Angel Box, sees an attractive co - worker, puts it down. Night again. A cat walks by the table where our two Boxes have come to rest.", "EXT.  ST. PETERSBURG FEDEX OFFICE - DAY A FedEx truck pulls out of the warehouse. The walls of the warehouse are covered with graffiti. The streets are slushy, the buildings blanketed in snow.", "EXT.  ST. PETERSBURG - DAY The Driver sits in the truck drinking tea. He takes a last sip, sighs, gets out with the Angel Box. Walks slowly toward an APARTMENT HOUSE.", "EXT.  ST. PETERSBURG APARTMENT HOUSE - MOMENTS LATER A beautiful young RUSSIAN WOMAN opens the door. A young AMERICAN MAN comes up behind her, signs the form and takes the Angel Box. We see Christmas decorations inside. The woman puts her arms around him as the door closes. RUSSIAN WOMAN -LRB- O.S. -RRB- -LRB- accented English. -RRB- It's pretty. Who is it from? AMERICAN MAN -LRB- O.S. -RRB- My wife. We stay with the Driver as he ambles back toward the truck.", "EXT.  ST. PETERSBURG OFFICE - MOMENTS LATER The Driver has just delivered the Dented Box to ALEKSEI, Russian Businessman, who closes the door of a Czarist - era building. Aleksei checks his watch, picks up the phone.", "EXT.  FEDEX OFFICES - MANILA - DAY CHUCK NOLAND, early thirties, walks along a line of brightly colored jitneys, each bearing the FedEx logo. With him is a Filipino FedEx SUPERVISOR wearing a guayabera. Chuck glistens with a thin layer of sweat. CHUCK My guess is we're talking fuel filters here, Fernando. The gas is dirty, these jitneys get in the mountains, their engines cut out. FERNANDO That could lose us half an hour. CHUCK Easy. Each way. His beeper goes off.", "INT.  FEDEX OFFICES - MANILA - DAY - MOMENTS LATER Chuck is on the phone. CHUCK So it finally turned up. Chuck hesitates for a moment, then looks at his watch. CHUCK I'll catch the sweep tonight.", "INT.  FEDEX PLANE - NIGHT Strapped into the jump seat behind the pilots, Chuck sleeps with a mask over his eyes. On his lap are some travel brochures. We see sailboats, we see the Florida keys.", "EXT.  ST. PETERSBURG FEDEX OFFICES - DAY Christmas in Russia. Snow everywhere. Brightly colored lights. Chucks gets out of a Volga with Aleksei. He has a bag over his shoulder, the dented package under one arm.", "INT.  FEDEX OFFICES - DAY The staff has assembled near the loading dock. Yuri the station manager stands in front, occasionally catching the eye of the attractive woman. Chuck displays the FedEx box. CHUCK It took this test package thirty - two hours to get from Seattle to St. Petersburg, a distance of nine thousand miles. And then it took forty - one hours to get from our warehouse in St. Petersburg to here, a distance of, what - ALEKSEI Six kilometers. Four miles. CHUCK So how are we going to get this place shaped up? There's a muttered chorus of answers. CHUCK There's only one way. We have to work together. Every one of us depends on everyone else. If one package is late, we are all late. If one truck misses the deadline, we all miss the deadline. Let's start by taking a look around. Chuck leads his team through the sorting area. Yuri squeezes right next to him, ostentatiously carrying a clipboard. Chuck stops. CHUCK Here, this table is too far from the wall. Packages can slip down. like. -LRB- pulls out a package from behind a table. -RRB-. this. He hefts the package, as if trying to guess what's inside. CHUCK What could be in here? Let's say one of you sent it. Could be the closing papers on your dacha, could be a toy for your grandson's birthday, could be a kidney to keep your mother alive. I do n't think you want your mother's kidney to end up behind a table. The Sorter shoves the table against the wall. Yuri says something to the Translator. TRANSLATOR He says they have been very busy. It is hard to get good employees. He is sure you understand. Wrong answer : Chuck glances sharply at Yuri. Aleksei appears with a cellular phone. ALEKSEI Phone call. Malaysia. Chuck takes the phone, opening his BAG as he does so. CHUCK Kamal? Right. I'm getting them. He pulls out a set of blueprints and tacks them to a bulletin board as he talks. CHUCK I'm looking at the blueprints of K.L. right now. The belts are too small for the sorters. Yeah, sometimes you never see what's right in front of your face. Look, it's - Chuck keeps an eye on what is going on in the warehouse. Then he notices something over by one of the trucks. CHUCK -LRB- to a loader. -RRB- Hold it! Hazardous material needs its own container! -LRB- back on the phone. -RRB- - three in the afternoon there, right? That gives you five hours until the sweep comes through. Do the sort by hand tonight, then put in a new feeder belt, say a twenty - four incher. Yes, overtime is authorized. He hangs up the phone. He turns to the crew. CHUCK I'm going out on every route, I'm going to work every job here, until I know enough to help you. That's it. The crew disperses back to work. Chuck and Aleksei walk toward the office. They've done this before. Chuck lets a corner of his command persona slip. ALEKSEI It's bad. CHUCK Worse than Warsaw. ALEKSEI Nobody remembers that. CHUCK The failures they remember. It's the successes they forget.", "EXT.  ST. PETERSBURG - DAY - MOMENTS LATER A FedEx truck pulls out of the FedEx office. Chuck is inside. He notices the graffiti on the walls.", "INT.  TRUCK - MOMENTS LATER Chuck rides next to LEV, the driver, a serious sort. The Translator squats on some boxes between them, trying to keep his balance. CHUCK You sorted your packages before you left. None of the other drivers did. The Translator and Lev exchange a few words. TRANSLATOR He says he wants to be organized. Do packages in order. Chuck looks at Lev with respect. Right answer. CHUCK So how come the other drivers have n't left yet? The Translator asks Lev, who looks at him as if he is crazy, then snorts an answer. The Translator blushes. TRANSLATOR He says - he is a very rude fellow - CHUCK Tell me exactly what he said. TRANSLATOR He says why do n't his farts smell sweet? Chuck grins. Lev shrugs and says something else. TRANSLATOR He says that's just the way it is. CHUCK Lev - it's Lev, right? Listen, this is FedEx. We do n't have to accept the way it is.", "EXT.  HOTEL - ST. PETERSBURG A weary Chuck enters the hotel. In the sky above him we see the Northern Lights. He does n't even look up.", "INT.  HOTEL ROOM - NIGHT - LATER Chuck is watching CNN on the television, working his PowerBook, and holding the phone. CHUCK No, keep trying. A circuit's bound to open up. He hangs up. CHUCK -LRB- to himself. -RRB- Those damn Northern Lights. Just then the lights go off. For a moment everything is darkness. Then a small light switches on. Chuck has a headlamp on. He gets up, heads into the bathroom. We stay in the bedroom. After only a moment, the light reemerges. It heads over to his bag. We go with it. Chuck takes out a roll of toilet paper. The guy is prepared for anything. He goes into the bathroom, closes the door. The lights come back on just as the phone rings. We hear scuffling sounds on the other side of the door. Chuck charges out, holding up his pants. Grabs the phone. CHUCK Hello? Great. Try it. He waits. We hear an ANSWERING MACHINE. KELLY -LRB- V.O. -RRB- This is Kelly, leave me a message and I'll call you back soon as I can. This is not what Chuck wanted to hear. CHUCK Kelly, damn, look, this is Chuck. I'm going to be a little late. Well, more than a little. I had to go to Russia. Could n't be helped. Could you call and cancel the trip? Look, we'll sail the Keys in March. It's better then anyway. I'll be back before Christmas. I promise. I think. I mean, I will. I, uh - He's stumbling over whether to say I love you. CHUCK I miss you. He gently hangs up the phone.", "INT.  FEDEX OFFICES - ST. PETERSBURG - SERIES OF SHOTS A surprised Yuri stands with the attractive assistant as Chuck takes his clipboard away. An even more surprised Lev stands by his truck as Chuck hands the clipboard to him. Chuck and the loaders clean off the graffiti. Working alongside the sorters as the packages come in, Chuck points out how to organize the inflow. Chuck and Lev go over large maps of St. Petersburg with the drivers.", "INT.  FEDEX WAREHOUSE - ST. PETERSBURG - WEEK LATER A big semi is being loaded with outgoing packages for the airport run. Aleksei, Chuck, Lev and the office executives watch as containers are rolled on. LEV We've never got all the trucks in on time. Never. Chucks looks at the clock. CHUCK Only one still left? LEV Route six. Aleksei points at the big semi. ALEKSEI If we do n't send it now we may miss the connection in Paris. The pressure in on. Chuck looks around at his team. CHUCK -LRB- to Aleksei. -RRB- Give it five minutes.", "EXT.  FEDEX OFFICES - ST. PETERSBURG - MINUTES LATER The last truck rolls in.", "INT.  FEDEX OFFICES - ST. PETERSBURG The last truck enters and loading dock. A few loaders move toward it. The executives all stand and watch. But not Chuck. He's hands on. CHUCK Let's go. He heads toward the truck and begins pulling off packages. All the other executives follow him.", "INT.  FEDEX OFFICES - ST. PETERSBURG - MINUTES LATER Led by Chuck, who works like a man possessed, they sort the packages. CHUCK That's Bermuda. Bermuda is in the Memphis thru container. No, Azores is Europe. He gestures at a closed container. CHUCK The Paris container. Africa too. Japan goes to Memphis. Chuck is everywhere, setting the example. The whole office is energized, working together.", "INT.  FEDEX OFFICES - ST. PETERSBURG - MINUTES LATER They load the last container on the waiting truck. Chuck pounds the truck on the side. Go. The truck roars out of the loading dock. Everyone takes a breath. They are happy, proud. LEV We did it. All of them. CHUCK Great job, everyone. Remember, work together. We are like a hand. They've heard this before. Lev holds up his hand just before Chuck does. LEV One finger, weak. All fingers working together, strong. This makes Chuck smile. CHUCK You got it.", "EXT.  CHARLES DE GAULLE AIRPORT - DAY A FedEx MD - 11 is being loaded with huge containers of freight. Chuck goes up the gangway next to the forklifts.", "INT.  MD-11 - MOMENTS LATER The pilots - JACK and GWEN - are going down their check lists. Chuck sticks his head in the cockpit. CHUCK I absolutely, positively, have to get to Memphis overnight. JACK Ca n't help you. Try UPS. CHUCK Jack - got ta be something wrong with our physicals, you keep getting certified to fly. Gwen, are n't you worried? GWEN Terrified. CHUCK We're on time, right? JACK On time, Chuck. Chuck hands Jack and Gwen small packages. CHUCK Little present from the emerging republics. Another FedEx Road Warrior named STAN gets on. He and Chuck are obviously old hands at this. CHUCK What connects the world? What makes it one? -LRB- they ignore him. -RRB- We do. FedEx. GWEN You are such a lifer. STAN What do you expect, from the guy who stole a kid's bicycle when his truck broke down? CHUCK Borrowed. I borrowed it. The two of them strap in. STAN How'd it go? CHUCK Great. Terrific. The good guys won one for a change. He's finished a tough job. He's relaxed and on his way home. But Stan's his boss, and Stan's got bad news. STAN I had to bump your plane last night. Chuck ca n't believe it. CHUCK You what? STAN It was fifteen minutes late. The plane begins to taxi. CHUCK I checked the weather, you had the jet stream, you could have made it up. STAN But I might not have. CHUCK Jesus. I got it working. You have no idea how hard it was. They're finally a team. STAN I'm touched. CHUCK You fucked us over. STAN The point of FedEx, as I understand it, is to make the damn connection. CHUCK I was making a point. STAN What? Let Paris hold its plane? Let Memphis take care of it? Let somebody down the line clean up your mess? CHUCK Every person counts, every package counts, that's my point. STAN You know what your problem is? You just see the packages in front of you. You do n't see the big picture. CHUCK Baloney. I do see the damn `` big picture.''", "EXT.  CHARLES DE GAULLE AIRPORT - NIGHT The MD - 11 takes off.", "INT.  MD-11 - NIGHT Chuck is focused on his PowerBook with the screen away from us, Stan is doing tai chi amidst the FedEx containers. It feels a little surreal, all those containers surrounding them. Stan comes over, looks at the image on the computer. It's a sailboat with some technical specifications under it. STAN I did n't know we had sailboats. CHUCK It's a ketch Kelly and I had chartered. STAN For all those vacation days you got coming. Chuck does n't look up. CHUCK And never take. STAN Look, I'm sorry about your plane. But I could n't risk being late into Memphis. CHUCK Forget it. STAN You know General McLelland, he would n't attack unless he had everything just right. Finally Abe Lincoln came to him and said, General, if you're not going to use my army, could I borrow it for a while? So he gave it to Grant and Grant just said, let's go. CHUCK I'm from Arkansas. Tell me a story with Robert E. Lee in it and maybe I'll pay attention. STAN We're warriors, not desk jockeys. We've got to be bold. You always want all your ducks lined up. But nothing's 100 percent. It's always 60 - 40, maybe 51 - 49. Hell, I'd take 40 - 60. Then roll the dice. CHUCK That's why you're a gambling man. STAN That's why I'm running foreign and you're not. That's why you're not married and I am. CHUCK For the third time. STAN Take the plunge, admit your mistakes, move on to tomorrow. That's FedEx, that's women, that's life. Stan is so outrageous, Chuck ca n't help but laugh. CHUCK You are one sick fucker. STAN I'm trying to help you here. There's Warsaw, there's this - CHUCK This was nothing like Warsaw. I held the truck then minutes, it's not that big a deal. But apparently it is. STAN Look, that kids' bike, that's a guy who'll do what it takes to get there on time. Live up to your legend, that's all I'm saying. Chuck reaches in his pocket, pulls out a bill. CHUCK A hundred rubles St. Petersburg hits 95 percent in a month. STAN Ninety five percent? Just give me the money now. CHUCK Talk is cheap. Are we on or not? STAN We're on. Chuck closes the PowerBook. CHUCK Let's go off - line. They both take out their Valium - the price they pay for being such road warriors. CHUCK Two Valium. Stan puts on his Walkman. STAN And the Stones. Got to be. It's their ritual. Chuck puts headphones from his Walkman over his ears, puts a mask over his eyes and leans his head back onto the headrest. We hear the Rolling Stones.", "EXT.  MEMPHIS AIRPORT - NIGHT - WIDE The MD - 11 arrives at its gate. The cargo doors open. Forklifts and a gangway roll up to the side.", "INT.  MD-11 - NIGHT Stan stands smiling over Chuck. STAN Chuck. Wake up Chuck. Chuck pulls off the mask, takes out the earplugs. He manages a groggy grin. STAN You got ta do your own delivery from here.", "INT.  SUPERHUB - NIGHT Chuck walks through the extraordinary nexus of speeding packages that intersect in intricate paths above and around him. This is the beating center of the FedEx world, the crossroads, the deep core where everything connects. In his still - drugged state it all seems weirdly psychedelic. A Christmas tree goes by, then a huge plastic Santa Claus, both with shipping labels.", "EXT.  CHICKASAW GARDENS - MEMPHIS - NIGHT Chuck's car pulls into the driveway of a small cottage in an older Memphis neighborhood. The radio is playing the news.", "INT.  CHUCK'S HOUSE - MOMENTS LATER Chuck drops his briefcase and his bag. The place is a jumble of clothes, papers, books, etc.. In the living room is a tank of tropical fish. The water looks a little green. No bubbles are coming from the filter. Uh oh. Chuck walks to the tank. He tightens a piece of tape that holds the power cord onto the filter, taps the filter with his finger, once, twice. the bubbles start again. CHUCK Damn thing. But for a couple of fish floating on top of the tank it's too late. Chuck gets out his scoop and slowly skims them off. CHUCK Sorry, I'm really sorry.", "EXT.  CHUCK'S HOUSE - BACK YARD Chuck digs a small hole in the back yard with a large kitchen spoon. Drops the dead fish in. Fills the hole.", "INT.  CHUCK'S HOUSE - LATER The CD is playing. Chuck lies in bed, switches on the TV. This is no good. He does n't care how late it is, he's going to find Kelly.", "EXT.  MEMPHIS - NIGHT - LATER Chuck drives in his car through the streets of Memphis.", "EXT.  UNIVERSITY - NIGHT Chuck pulls up to a lab building at Memphis State.", "INT.  LAB - NIGHT Two doctoral candidates are playing Doom on their computers when Chuck walks in. CHUCK You seen Kelly Frears? One of them gestures toward a door. GUY Xerox machine.", "INT.  HALLWAY - NIGHT Chuck makes his way in the semi - darkness past rack after rack of specimens in bottles. Ahead of him we see the flashing green light of a Xerox machine.", "INT.  XEROX ROOM The light goes off. KELLY leans over the machine, bangs on it. KELLY Sonofabitch! CHUCK Hey, be nice to it, it'll be nice to you. Surprised, Kelly turns to greet Chuck. KELLY Chuck! You're back! She leaps into his arms. KELLY Your eyes are puffy. Did you take Valium again? CHUCK You smell like formaldehyde. Kelly looks over at the Xerox. KELLY My last chapter's in there, and the damn machine's jammed. CHUCK Let's take a look. He lifts up the cover. KELLY How was Russia? CHUCK Cold. KELLY Do n't overwhelm me with details, you know how I hate that. Did you get it fixed? CHUCK I thought I did. He pries up one feeder, then another. CHUCK Got to follow the paper path here. KELLY Chuck, forget the Xerox. So Russia did n't turn out well? But Chuck does n't want to talk. He's focused on the machine. CHUCK Used to you could fix these yourself. She pulls him out of the machine. He has toner on his fingers. KELLY Chuck. CHUCK What do you want me to say? That I thought I'd done a great job but it all turned to shit? That I might as well have gone sailing for all the good I did? KELLY Yeah, tell me. Tell me all of it. He suddenly looks really tired. KELLY You do n't even know what time it is. What day it is. He turns to the Xerox in frustration. CHUCK And I ca n't fix this damn machine. She looks at him. KELLY Come on.", "INT.  KELLY'S OFFICE - MOMENTS LATER A tiny cubicle with a door. She closes it, takes some paper towels out of the desk, wipes his fingers. KELLY We're on the deck of the ketch, the air's soft, the water's clear as crystal. She licks the last bit of toner off his fingers. CHUCK That's carcinogenic. She ignores that, stays with the fantasy. KELLY We're covered with suntan lotion and sweat. Our skin is so hot, it's glowing. And she comes closer to him. KELLY We could take a swim. She's really close now. CHUCK On the other hand we could not take a swim. They squiggle themselves onto the desk.", "INT.  LAB - NIGHT Someone kicks the door shut. Now the figures are in silhouette, lit by the light in the office. And then the light goes out.", "EXT.  FEDEX OFFICES - NEXT MORNING A nondescript office park near the airport. No sign. Chuck's car screeches into the parking lot. He jumps out, glances at this watch, and heads for the building at a run.", "INT.  EXECUTIVE CONFERENCE ROOM - MOMENTS LATER A large room dominated by an animated MAP OF THE WORLD. Lights at various locations blink and flash. Above the map are a large Sign saying `` Here Today, Gone Tomorrow'' and two huge digital Clocks - one keeping time, the other a countdown clock for that day's package sort at the SuperHub. The operations team of FedEx sits around a large table. Each has on a headset. BECCA TWIGG, the business - like senior vice president of Operations, addresses questions to a man - COLIN PARKER - BOWLES, the European operations manager - on a LARGE TV SCREEN in front of her. `` London'' is superimposed on the screen. BECCA So why was Milan late, Colin? COLIN One of the race horses coming from Ireland got colic and had to be off - loaded in Brussels. That put the Jumbo 15, six hours late into Charles De Gaulle. Customs had difficulty locating the dutiable items. Colin continues as Chuck, out of breath, slips under the screen and heads for the one remaining vacant seat - across from Stan. Next to Stan is MAYNARD GRAHAM, an MBA systems man. Becca addresses a question over to Stan. BECCA Stan, can we get P&A down to work with Milan customs? STAN We're already on it. BECCA Good. And let's look at our live animal policy. I do n't think the income stream justifies delaying IP product, especially at Christmas. Colin disappears. A red light goes on. Becca pushes a button. Another face comes on the screen. `` Oakland'' appears under the face. BECCA Stand by, Benson, we're still wrapping up foreign. She turns pointedly to Chuck. BECCA Chuck, thanks for joining us. Status? Chuck swallows nervously, tries to talk matter - of - factly. CHUCK Becca, as you know St. Petersburg was consistently running late by six to ten hours - sometimes a full day or more. I replaced the station manager. We identified inefficiencies and worked out a quality improvement plan I believe can be met. MAYNARD You replaced the station manager with a driver. A local with no knowledge of our systems. BECCA Should n't you have brought in someone from Memphis? Russia is priority one. MAYNARD James Pottinger is available. The process is being ripped out of Chuck's hands. He struggles to get an answer. STAN He's a numbers cruncher. Chuck's done all the right things here. Stan is doing his best to back up Chuck. CHUCK Jim's a terrific financial man, no question. But we ca n't always parachute in from Memphis. We've got to build up our local staff. MAYNARD We've got to improve foreign on - time, that's what we've got to do. If this new guy's so good, how come the very first plane he sent missed the connection in Paris? Maynard knows how to go for the jugular. Everyone looks at Chuck. CHUCK We're building a new team here. We got every package on the truck for the first time ever. Success is the best teacher. MAYNARD I do n't call missing the plane a success. Everyone looks at Chuck.", "EXT.  KELLY'S HOUSE - DAY - LATE THAT AFTERNOON Chuck lugs a big package up to the door, knocks on it. Kelly opens the door. KELLY Merry Christmas eve. CHUCK Not if you work for FedEx.", "INT.  KELLY'S HOUSE - DAY Chuck enters as they keep talking. Her house is cozy but also where she works. There's a computer, specimen jars, and some terrariums with frogs inside. A Christmas tree with packages under it. KELLY You break four million packages last night? In the b.g. one of the packages by the Christmas tree is starting to shake on its own. CHUCK Four four. A record. KELLY You do n't seem too happy about it. CHUCK Ah, the staff meeting could have gone better. KELLY Let me guess, Russia came up? Chuck's attention goes to the tree. CHUCK One of those packages just moved. The package turns over, something darts out. It's a puppy, with a bow around its neck. KELLY Merry Christmas. Chuck bends down to see the puppy. CHUCK Hey, look at you. KELLY I figure, if we could take care of a puppy, we could, you know, take care of - A baby, she wants to say, but that's going a little fast so she catches herself. Chuck picks the puppy up. CHUCK He is a cute thing. KELLY He's your cute thing. CHUCK I ca n't even keep fish alive. KELLY A puppy's got a little more personality than a fish. CHUCK And for you - Chuck hands over his present. KELLY So do good things come in large packages? Kelly opens Chuck's present - a very large box. It's a piece of luggage. CHUCK You know, for when you travel. KELLY For when I travel? She ca n't believe it. It's the exact opposite of what she wanted. KELLY You should have got me something that shows you want us to be together, not apart. Chuck is flummoxed. Women read so much into things. CHUCK I was n't sending a message. I though you'd like it. Chuck's beeper goes off. KELLY You should have got me a ring. He checks the number. CHUCK I have to go. I'm on call for overflow down at the Hub. KELLY A ring. I wanted a ring. CHUCK You did? She nods. What to do? CHUCK Look, I love the puppy. I love you. But I have to go. KELLY You ca n't go now. CHUCK I have to. KELLY You want to. Chuck picks up the puppy. CHUCK What should we call him? Or is it her? How about Jango? Kelly is having one of those moments when everything comes clear. KELLY This is n't working out. CHUCK We're a little emotional here. It's Christmas, maybe we're over - reacting. KELLY `` We're'' not over - reacting. CHUCK Could you watch Jango? KELLY No. CHUCK I ca n't take him to work. He hands her the puppy. CHUCK We'll talk about it when I come back. It'll all be fine. Really. This is not a happy woman he is leaving behind.", "EXT.  KELLY'S HOUSE - HOUSE LATER It's dark now. Chuck returns. The stars are putting on an amazing show, but he does n't notice as he heads for the door.", "INT.  KELLY'S HOUSE - MINUTES LATER Chuck enters. The tree and the presents under it are gone. CHUCK Kelly? Kelly? No answer, nothing but the sound of Jango, who begins yelping in the kitchen.", "INT.  KELLY'S HOUSE - KITCHEN - MOMENTS LATER Chuck picks up Jango, who is barricaded in the kitchen with some food, some water, and some wet newspapers. CHUCK There. There. Easy now.", "EXT.  KELLY'S HOUSE - BACK YARD - NIGHT - MINUTES LATER Holding Jango, Chuck walks out into the back yard. CHUCK Kelly? A fire still smolders. The packages have burned. The tree is a blackened mess. Chuck stares at it.", "EXT.  CHUCK'S HOUSE - NEXT MORNING Chuck gets into his car, puts Jango on the front seat next to him. Pulls out of the driveway.", "EXT.  ARKANSAS HIGHWAY - DAY Chuck is in his car, with the dog on his lap.", "EXT.  FARM HOUSE - DAY Chuck's car drives up to a typical Arkansas farm house. His MOM is setting some Christmas tree lights around the door. Chuck gets out of the car. There's a large wet spot on the front of his pants. MOM What happened to your pants? CHUCK Mom, meet Jango. Chuck displays the puppy.", "EXT.  FARM HOUSE - SHED - DAY Chuck works on an old tractor in the shed. Some small legs appear in his vision, then a small face. This is AMANDA, his niece. AMANDA Dinner's ready.", "INT.  FARM HOUSE - KITCHEN - DAY Around the table are Chuck's brother ROGER, his wife MARY, Amanda, and her TWO BROTHERS. Mom brings in the turkey, places it on the table, sits down. They all hold hands and bow their heads. MOM Chuck? Chuck hesitates just a moment. CHUCK Bless us O Lord, and these thy gifts, which we are about to receive, from thou bounty, through Christ the Lord. Amen. ROGER Let's eat.", "EXT.  FARM HOUSE - LATER THAT DAY The children burst out the door, shrieking, chased by Jango.", "INT.  FARM HOUSE - DAY The grown - ups are cleaning up after Christmas dinner. The scene moves between the table, the kitchen counter, and the refrigerator. It's an old - fashioned kitchen, simply furnished. MARY How's Kelly? CHUCK Great. ROGER Thought you were going to bring her. CHUCK So did I. MOM It seemed like she had such a good time last time. CHUCK It's nothing you did, Mom, believe me. MARY Jennifer's still down at the post office. And she's still got that crush on you. ROGER And she's still got those - MARY Roger. ROGER You should have stuck around. This is an old, sore subject. CHUCK Look, I help take care of the place. You got my check, did n't you Mom? MOM That new roof, that's your doing. ROGER You're just allergic to farming, that's what dad said. Ca n't stand to be alone. Ca n't stand to be in one place. Ca n't stand the sight of. blood. He drops the turkey giblets into the trash. MARY Roger's going to put chickens in here. Chuck ca n't believe this. CHUCK Come on Roger, this is dad all over again. You already did beefalo, chinchillas, and what was that, ostrich? They chased Mom around the yard, sprained her hip. Mom goes to the freezer and takes out some frozen strawberries. MOM It was n't that bad, dear. MARY You ca n't make a living out of this place. We tried. CHUCK But chickens? ROGER Sixty three pounds consumed per capita, up from twenty seven in 1960. Going to pass beef. Chicken's global. No religious taboos. You do n't see your Hindus and your Muslims boycotting poultry. CHUCK True enough. No sacred chickens nowhere, so far as I know. MOM Roger's working at Tyson's now. Mom mashes the block of frozen strawberries with a fork to separate the strawberries from the ice. CHUCK Really? ROGER Come on down to the plant. It's state of the art. We're doing for chickens what FedEx did for the delivery business. CHUCK Just do n't count'em before they hatch. Roger grins at him. This is just how they are. ROGER I'll try to remember that. MOM Dessert. They all sit down. Mom brings the slushy frozen strawberries to the table, squirts on some Reddi - whip. Looks pointedly at Chuck. MOM Speaking of hatching, I could sure use some more grandchildren. Not a timely topic with Chuck. CHUCK Mom, this is a farm. We've got real strawberries growing outside, we've got real cream. MOM Oh no, the prodigal son's home. We bring out the store bought. Chuck takes a bite, winces a little as the cold strawberries hit his teeth.", "EXT.  MOM'S HOUSE - LATER THAT DAY Chuck fixes the drain pipe while Mom prunes the rose bushes around the porch. CHUCK Maybe I should take a few days off. Roger's working now, you could use some help around here. MOM Do n't you even think about it. CHUCK The place is falling apart. MOM I'm doing fine. She looks pointedly at Chuck. CHUCK Doing great, Mom, do n't worry about me. MOM There's settled folks, and there's nomads. You're just not a settled folk. You never belonged here. Chuck finishes the drain pipe. Gives it a thunk with his finger. CHUCK Come on inside, Mom. You've had a long day.", "INT.  FARM HOUSE - BEDROOM - NIGHT In his boyhood room, we see Chuck's laptop, which is hooked up to the internet FedEx homepage. All around him are models of boats and planes, maps, pictures of far - off places. The room of a boy who always fantasized about getting away. Chuck is beside it, slumped down on the desk. Asleep.", "EXT.  FARM HOUSE - DAY His mom waves to him as Chuck drives away.", "INT.  FEDEX OFFICE - LATER THAT DAY Chuck enters his office, on the go. His assistant LESLIE is waiting for him. CHUCK I need the latest PDRs on St. Petersburg. LESLIE And how was your Christmas? CHUCK Terrific. Yours? She nods, used to this. CHUCK And get me in to the dentist. My tooth's acting up. Stan enters. STAN Malaysia's tanking. We're meeting in ten in operations. CHUCK Right. -LRB- to Leslie. -RRB- Get me everything on Indonesia, New Guinea, all the way to Australia.", "INT.  OPERATIONS ROOM - MINUTES LATER Chuck, Leslie, Stan and another executive from the meeting named DICK are gathered around the TV screen. A squawk box is on the table. CHUCK Kamal? Kamal? Can you hear us? The box squawks. The TV screen rolls an imperfect image. DICK Ca n't we get this working? A Technician is fiddling with the TV set. TECHNICIAN Trying. CHUCK Kamal, you're breaking up. Can you hear us? VOICE -LRB- SQUAWK BOX. -RRB- Kamal is not here. CHUCK Who is this? Where is Kamal? VOICE -LRB- SQUAWK BOX. -RRB- It is Ibrim, I, I am a sorter. CHUCK What's going on down there? VOICE -LRB- SQUAWK BOX. -RRB- Kamal is not here. We are very defused. CHUCK Who's in charge then, where is Chinn? The squawk box hums and crackles. Nothing. Chuck turns to the Technician. STAN We got Telex, e - mail? TECHNICIAN Sure. Just not getting any answers. Chuck turns to Leslie. CHUCK When's the next Jumbo? LESLIE The regular flight is scheduled for oh three hundred tomorrow. CHUCK Anything else? LESLIE There's a sweep leaving Memphis in an hour, goes through Sydney. STAN Maybe you should get your ducks lined up first. Chuck looks over at Stan. CHUCK Call Operations. Get me on it. And Stan is impressed.", "EXT.  CHUCK'S HOUSE - DAY Chuck leaves with his bag over his shoulder and the puppy under his arm.", "EXT.  KELLY'S HOUSE - DAY - MINUTES LATER Kelly opens the door. Chuck is there with the puppy. KELLY That's your dog. CHUCK It's our dog. It belongs to us. KELLY There is n't any us. CHUCK Yes there is. Kelly ca n't stay mad. KELLY I'm sorry about the presents. I got a little carried away. CHUCK No, it was great. Maybe a little overkill - KELLY I burned the Christmas tree. She's half - laughing, half - wanting - to - cry. KELLY Why did n't you come over, get mad at me, tell me what a stupid bitch I was. CHUCK I guess I had n't thought through how I felt. KELLY What, you were going to come over the next day all calm and say, Kelly that really made me mad? Do n't tell me you're mad. Be mad. Be who you are right now. CHUCK Look, we'll do our trip as soon as I get back. KELLY Do n't even start. And then it hits her. KELLY Get back? From where? CHUCK Malaysia. They're holding the sweep. She stares at him for a long moment, then at the puppy. KELLY Give him to me. He hands her the dog. KELLY Chuck, you're breaking my heart. CHUCK A week, max. Okay? Okay? KELLY Go on. We'll be fine. I'll feed Jango to the frogs. She kisses the puppy.", "INT.  FEDEX PLANE - NIGHT Chuck enters the cockpit, where two different pilots are going through their checklists. Chuck repeats his familiar patter. CHUCK Al - got ta be something wrong with our physicals, you keep getting certified to fly. John, are n't you worried? JOHN I disconnected his controls. He only thinks he's flying. Chuck settles into his seat. CHUCK You're on your way home, Al? Al has an Australian accent. AL Right. Down home, down under. CHUCK We're on time, right? AL On time, Chuck.", "INT.  FEDEX PLANE - NIGHT - HOURS LATER Settled into the jump seat, Chuck finishes up his notes on his PowerBook and begins his flight ritual. He puts in his ear plugs and takes out his Valium. He swallows one, then thinks, and swallows two more. Then he turns on his Walkman to the Rolling Stones, puts the mask over his eyes, and, as usual, goes to sleep.", "INT.  FEDEX PLANE - NIGHT The plane is SHAKING badly. HEAR frantic, garbled radio talk. Chuck stirs, struggles to his feet, drowsy and drugged.", "INT.  FEDEX PLANE - CHUCK'S POV Everything is hazy, out of focus, as it was in his earlier drugged condition. But this is real haze. SMOKE. And the cabin also TWISTS and TILTS. Chuck tries to steady himself against the wall. This is nightmarish. Is this really happening?", "INT.  FEDEX PLANE - CHUCK'S POV - COCKPIT The pilots wrestle with the controls. They have their life jackets on. John glances back at Chuck, his face floating in a cloud of fear.", "INT.  FEDEX PLANE - MOMENTS LATER Chuck struggles to put on his life jacket. The plane is VIBRATING VIOLENTLY. He ca n't get the straps straight. He is KNOCKED against one wall, then another, then to the floor. Chuck tries to blow on the mouth tubes for his life jacket. Ca n't do it! Puff. Puff. Shit! John motions frantically for Chuck to pull on the automatic inflators on his jacket. Chuck fumbles for them. Huge palettes shift and groan, one BREAKS FREE, banging violently against the side of the plane, spilling out its boxes. Then it swings and KNOCKS Chuck on the head! He goes down!", "INT.  GLOBAL OPERATIONS CENTER - MOMENTS LATER A CONTROLLER mans the global operations desk. His SUPERVISOR stands behind him, sipping some coffee. The mood is eerily calm. An assistant moves Plane Locator Cards on a giant board. CONTROLLER Jumbo 14 is overdue in Sector K. SUPERVISOR Where are they? Another CONTROLLER tracks a giant computer screen. CONTROLLER 2 Somewhere east of Port Moresby. Guam is getting a signal but no location. Maybe the GPS is out. The signal flashes, but is strangely still compared to the others, which are moving.", "EXT.  FEDEX PLANE - NIGHT The giant plane PLUMMETS down from the sky.", "INT.  FEDEX PLANE - NIGHT Chuck is semi - conscious and bleeding from the head. John pulls the inflators on Chuck's life jacket, which fills with a WHOOSH! , sending Chuck's arms out to the sides. Al struggles with the LIFE RAFT. It's all blurred, frantic, terrifying.", "EXT.  PACIFIC - NIGHT - MOMENTS LATER The plane hits the ocean with a CRASH and a WAVE of water.", "INT.  GLOBAL OPERATIONS CENTER - MOMENTS LATER The Controller is speaking mechanically into the microphone. CONTROLLER Guam, I need a fix on Jumbo 14.", "EXT.  PACIFIC - NIGHT Shrouded with fog and surrounded by debris, the tail of the big plane slowly SINKS beneath the angry, storm - driven waves.", "EXT.  PACIFIC - DAY A life raft is tossed on dark, storm - driven seas. Inside it, semi - conscious, Chuck hangs on.", "EXT.  PACIFIC - NIGHT We catch glimpses of the yellow lift raft in the dark as the storm continues.", "EXT.  BEACH - EARLY MORNING The storm has ended. Waves lap gently on a beach cut like a scallop out of a rocky shore. On the beach we see scattered FEDEX BOXES. And we see, face - down, half - buried in sand, a MAN IN A SUIT and a life jacket. Chuck. The tide gently rocks him, laps at his face. He chokes. Slowly he gets to his knees. Vomits seawater, big heaves. He rolls over, sits down. Dazed. Still confused. Where am I? What happened? Chuck's first instinct is to check the time. He looks at his watch, taps it in frustration. Then he looks around, and we look with him. CHUCK'S POV - BEACH The fog has thinned. We can see palm groves and mangrove thickets leading back into a thickly wooded valley climbing up a steep, rocky hillside. The rocks on the opposite point end in a barren ridge. Clouds hide the top of the hill. ON CHUCK as he takes in his surroundings. He licks his lips. He's thirsty. But something he sees is even more important. We stay with him as he WALKS. He comes to a FEDEX PACKAGE in the sand, picks it up, brushes off the sand, walks farther. He picks up another package.", "EXT.  BEACH - WIDE Chuck walks down the beach, picking up FedEx packages, leaving a trail of footprints in the sand. Ahead of him we notice a package decorated with ANGEL WINGS.", "EXT.  BEACH - LATER THAT MORNING Chuck has made a neat stack of FedEx boxes under some palm trees at the rim of the beach. He examines the Angel Wing drawing with passing curiosity, then puts it on the stack. Chuck takes off his life jacket, sits down in the shade, makes himself comfortable, and waits.", "EXT.  BEACH - SUNSET Chuck is still waiting. He's a systems man, and the system is n't working. CHUCK All right, guys. I'm here. Check the GPS, get moving.", "EXT.  BEACH - NIGHT The full moon shines a ghostly light on the beach. Trees cast moon - shadows on the sand. Chuck seems very, very alone. We HEAR from the dark thickets a STRANGE NOISE. Rustling in the leaves. Something crashing in the trees, or is it a wave? A jolt of adrenaline courses through Chuck's body. He lurches to his feet. We HEAR the noises again. Chuck edges toward the rocks at the barb of the hook. Keeping his eye on the thicket, he bends down and picks up a stone. His first weapon. In the rocks he finds a piece of driftwood. He picks it up in his other hand. He backs between two rocks and stands facing the thicket, every sense alert. A cloud passes over the moon. The shadow streaks across Chuck's anxious face.", "EXT.  BEACH - MORNING The morning TIDE is coming in. We follow the tide as it laps amidst the rocks and finds Chuck, staring out to sea. The empty sea. CHUCK Where the fuck are you? But now he is really thirsty. We WALK with Chuck up the beach. Beneath the palms he sees a couple of coconuts. He picks one of them up and studies it. It's heavy, almost the size of a volleyball. How to get in it? He throws it down on a rock. The coconut just bounces off. He wedges the coconut between two rocks, then throws a rock down on it. It bounces off. He throws down a bigger rock. It smashes on the rocks and chips. Chuck picks up the rock. OW! Where the rock had chipped the edge is sharp. It cuts him. CHUCK Sonofabitch. The blood stains the rock a bright red. Chuck sucks on his finger, then he gets an idea - the same idea primitive man first got when he discovered stone tools. He picks up the rock, test the edge. Sharp - really sharp. He throws another rock down, but it does n't break. He picks up another rock and strikes the first one. Then again, harder. And again. A large flake shoots off. This edge is even sharper. He has a knife. OPENING THE COCONUT - SERIES OF SHOTS Chuck uses the stone knife to saw at the coconut. No luck. Chuck clumsily sharpens a stick with the sharp rock. Chuck brings the sharpened stick down hard on the coconut, but the stick slides off, sending the coconut rolling away. Chuck positions the stick, pointed end up, in a hole, then SLAMS the coconut down hard on it. Success! The green nut of the coconut splits. The brown inner nut is free! He smashes the nut with a rock, but - OW! - he hits his hand! Chuck licks his fingers, but he is so thirsty there's no more saliva. He smashes again. The shell breaks to smithereens. Coconut milk splashes everywhere. CHUCK That was smart, really smart. Rotating a nut along its axis and carefully moving his fingers out of the way, he SMASHES the nut again. The shell splits! The precious liquid splashes out. Left inside is a swallow or two, which Chuck laps up eagerly. The milky white liquid dribbles down his face. CHUCK Ahhh.", "EXT.  BEACH - SUNRISE Chuck squints at the ocean. His sunburn is bad - his lips are cracked. A stack of broken coconut shells is beside him. No one's there - again. CHUCK Maybe the GPS malfunctioned. That Korean airliner did. Clouds scud in front of the sun. Beyond the reef the waves are high and churning. Chuck can see them pound onto the reef. CHUCK Okay, do the math. Maybe they know where you are within, say 500 miles. That's a circle with an area of, uh, pi r squared. So, uh, 250,000 times three point one four, that's about 800,000 square miles. Three times the size of Texas. This sinks in. Then Chuck gets an idea. CHUCK They could use a satellite. But even that does n't give him much hope. CHUCK Say each satellite photo is 30 feet square, that's uh. fuck it. billions and billions of photos. That sinks in. CHUCK Aw, someone will come.", "EXT.  BEACH - NIGHT Chuck sleeps by the coconuts. The tide is coming in. Chuck stirs, gets up, staggers over to a palm tree to relieve himself. He stares idly out at the moonlight on the waves. Then not so idly. Something's out there, something floating on the tide. CHUCK What the hell?", "EXT.  BEACH - MOMENTS LATER Chuck splashes into the gentle surf, reaches the dark object. It's a body. Chuck turns it over. It's Al, one of the pilots, his face gray and waterlogged and very dead. CHUCK Oh Jesus.", "EXT.  BEACH - MOMENTS LATER Chuck drags the body up on the beach and then collapses, exhausted. He sits by it, staring at it. CHUCK I'm so sorry, Al.. So sorry.", "EXT.  BEACH - MORNING Chuck has almost finished a grave in the sand back of the palm trees. He's been digging with a piece of driftwood sharpened with his stone knife. He drags the body into the pit. Stares down at it. That could be me. CHUCK Got to cover Al up. He wants to say more, ca n't. He scoops some sand over the body. CHUCK Got to cover Al up. He scoops in some more sand. It's eerily like burying the tropical fish in his back yard.", "EXT.  BEACH - LATER With a rock Chuck hammers a crude driftwood marker into the sand.", "EXT.  BEACH - LATER THAT DAY As Chuck sits on the beach, he half - sings, half - talks `` Yellow Submarine'' very quietly to himself. CHUCK We all live in a yellow submarine, yellow submarine. He looks over at the deep woods and down to the rocky point. Comes to a decision. He takes a drink of coconut, picks up his club and a coconut, sticks the stone knife in his pants. He's ready to go.", "EXT.  BEACH - DAY - MOMENTS LATER Chuck climbs over the rocks and disappears out of sight. He's still half - singing to himself. CHUCK Yellow submarine. We all live in a yellow submarine.", "EXT.  ISLAND - DAY - MOMENTS LATER Chuck's way is blocked by rocks and jungle. He hesitates. He picks up a rock and THROWS IT to scare away all those bad things. It crashes into the ferns and palm trees. He takes a step into the jungle.", "EXT.  JUNGLE - MINUTES LATER Chuck struggles through a dense thicket beneath a jungle canopy. Vines and creepers reach out toward him. There is no path, nothing to show him where to go.", "EXT.  JUNGLE - HALF HOUR LATER Chuck climbs through a tangle of vines and ferns. He takes a drink from the coconut he is carrying. The last drink. CHUCK Bad idea. Should have saved some. He throws away the husk. He looks up, but the only sunlight reaching him is dappled from the canopy above him.", "EXT.  ISLAND - MOMENTS LATER Chuck emerges onto a ridge that leads to a summit. He climbs across a rocky lava field covered with scrub lichen and low ferns, soil dark as coffee beans, his way crossed by steep gullies that cut like dark fingers into the lava. The lava field narrows, forcing Chuck closer to the sea. He passes a series of CAVES, their mouths dark and mysterious and scary. He gives them a wide berth.", "EXT.  ISLAND - CLIFF - MOMENTS LATER The land narrows to a ledge that stretches across a high cliff perched over the ocean. Beyond this rock bridge the path smoothes out to a summit. Chuck stares at the narrow bridge, then down at the waves breaking on the rocks far below. To get any view, he will have to cross the bridge. He's thirsty. The late afternoon sun is hot. CHUCK Other than that, Mrs. Lincoln, how did you enjoy the play? Hugging the wall of the cliff, taking each step with great caution, he sets out across the bridge.", "EXT.  ISLAND - CLIFF Step by step, Chuck negotiates the narrow bridge. He reaches a flume of polished basalt which cuts across the ledge like a slide in a water park - except this flume ends high above the waves. Chuck tries to step across it, ca n't quite, tries one foot first, then the other. CHUCK Shit! He looks back, but that seems even scarier. CHUCK Got to get there. Got to see. C'mon. c'mon. Do n't be such a wuss. Be bold. He looks down at the ocean beneath him, closes his eyes, and jumps. It's only a few feet, but he's breathing hard when he lands on the other side. He hugs the rocks, getting his breath.", "EXT.  ISLAND SUMMIT - SUNSET - MOMENTS LATER Chuck looks to each point on the compass. He is on an ISLAND, small, inhospitable, without sign of habitation or anything human. On three sides the waves break against steep, hostile cliffs. A reef encloses the cove where he came from. CHUCK No way on. No way off. Chuck stares out to sea in every direction. Nothing. CHUCK This is bad. Really, really bad. The last rays of sun hit his face. The ocean turns a deep reddish gold.", "EXT.  CLIFF - MOMENTS LATER Going down is even scarier. It's dusk and the light is flat and gray. Chuck stares at the ledge. CHUCK Come on. Crawl if you have to. Chuck crawls on his hands and knees across the rock bridge.", "EXT.  ROCKY SLOPE - MOMENTS LATER Chuck stumbles over the rocks. The caves look ominous and primal.", "EXT.  EDGE OF JUNGLE - NIGHT It's getting dark now. The jungle seems impenetrable, the dark wood of fable. Chuck hesitates, then plunges into it.", "EXT.  JUNGLE - NIGHT MINUTES LATER The moon has just begun to rise, casting eerie light into the jungle. The shadows reach out to grab Chuck, then real branches and vines tug at him. He heads into thick blackness.", "EXT.  BEACH - NIGHT - LATER Chuck emerges around the rocks. He reaches the stack of familiar FedEx boxes - Ahh, home! He's breathing hard, from both fear and exertion. CHUCK Got to drink. Got to drink something. With his last strength he opens a coconut on the stick. He bangs hard on the shell and gulps down the milk. He stares at the stack of FedEx boxes. What could be inside? He reaches out and touches one. CHUCK They do n't belong to you. Responsibility gets the better of necessity, and he takes his hand away.", "EXT.  BEACH - MORNING Face red from the sun, Chuck hacks at a palm frond with his stone knife. He saws the palm frond off near the base, leaving it about a foot long. CHUCK Got to have shade. Got to have a hat. He ties the loose fibers into a sort of circle, then sets it upon his head. It looks amazingly like some sort of primitive cap. He grabs a couple of FedEx boxes and heads for the beach.", "EXT.  BEACH - LATER Chuck finishes the P on H E L P, which he has spelled out with the FedEx boxes on the beach.", "EXT.  JUNGLE - DAY - LATER Chuck scrambles down a ravine. He kneels down and feels the ground. It is dry, completely dry.", "EXT.  LAVA SLOPE - DAY Chuck traverses the slope, determined to find water. A FLAT ROCK - LATER With a puddle of dirty water trapped in a tiny hollow. Suddenly Chuck flops down into frame. He tries to scoop up some water in his hands, but he just splashes it around. He licks his fingers. Then he gets down on his stomach and laps up the water with his tongue. Like an animal. In the bottom of the small depression is some fine mud. He rubs it on his reddened face and across his burned lips. CHUCK Oh, God. Thank you.", "EXT.  BEACH - NIGHT Chuck lies in darkness, his eyes reflecting the moon.", "EXT.  JUNGLE - DAY Chuck is drenched in sweat. He is at the bottom of a hole six feet deep. He takes one last dig with the flat stick, then licks the moist clay that sticks to it.", "EXT.  BEACH - DAY Chuck breaks open another coconut and gulps down the milky liquid. With a stone knife he digs in the shell for some of the meat, but it's dry and chewy and fibrous. He spits it out, then lies back on the sand and stares at the first stars. Half sings to himself. CHUCK You deserve a break today. He is desperately thirsty. Hunger gnaws at him.", "EXT.  BEACH - DAY - LATER Holding a sharpened stick, Chuck wades in the shallows at low tide, looking for fish. It's difficult to keep his balance. Suddenly a shadow flashes by, glinting in the morning sunlight. Chuck hurls the spear, which ricochets off the water and floats away. Chuck plunges into the water after the fish with his bare hands. The fish reverses direction. Chuck leaps after it and goes under. He comes up spluttering, on his hands and knees in the shallows. Suddenly a whole school of fish swims by him, moving in unison, like one creature, splitting around Chuck like mercury. He grabs at them desperately. Nothing. CHUCK Damn fish! On some rocks he sees clusters of limpets. He takes a rock and tries to dislodge one, but it smashes into a soggy mess.", "EXT.  BEACH - DAY Discouraged, he sits down on the beach and gets his breath. Idly, Chuck takes out his wallet. The money is soaked. He lays it out to dry. He finds a PHOTOGRAPH OF KELLY, soaked and mushy. He tries to smooth it out. For a moment he is overcome. His face tightens, his eyes get moist. He stares out to sea. CHUCK Wait a minute. Wait just a minute. He picks up his wallet again and takes out a credit card.", "EXT.  BEACH - MINUTES LATER Chuck wades in the water, stops by a rock covered with limpets. He uses a CREDIT CARD to scrape off a limpet. CHUCK Do n't leave home without it. With his finger, he prods around in the mucous - like meat, then tilts up the shell and we see the gooey gray stuff slide off the shell into his mouth. CHUCK Yuck. He starts to spit it out. Tries to make himself like it. CHUCK Yumm. And he swallow it.", "EXT.  BEACH - SUNSET Chuck sits in the shade of a palm tree surrounded by a pile of smashed coconut husks and a stack of limpet shells. He checks his watch for a moment. CHUCK Got to get this fixed. But what's the point? Everything that was so valuable before is useless now.", "EXT.  JUNGLE - LATER Chuck digs yet another hole. He chants to himself, almost delusionally. CHUCK Water, water, everywhere, water, water everywhere. Covered in sweat, desperate and exhausted, he throws down his wooden spade. CHUCK Where's the water on this fucking island? He lies on his back, breathing hard. Pulls his hat over his eyes. CHUCK Just rest a minute.", "EXT.  JUNGLE - DAY - LATER Chuck is lying in the hole. We find his feet. Slowly water is oozing out of the clay, a puddle is building around his toes.", "EXT.  JUNGLE - DAY - LATER Chuck's eyes snap awake. He looks down at his feet. There's a pool of muddy water there. He dips his hand in it, touches a finger to his lips to be sure he's not dreaming. He grabs his sharpened stone, begins to attack the clay. CHUCK Oh yeah, oh yeah, oh yeah.", "EXT.  BEACH - SUNSET Chuck carefully makes marks on a palm tree with his rock knife. One for each day. Very neat. Very precise. Very Chuck. CHUCK Let's see, I waited two days. -LRB- makes marks. -RRB- Then I buried Al. -LRB- slowly makes another mark. -RRB- Al.. You never made it home, buddy. Then American Express got me those clam things. -LRB- makes another mark. -RRB- I dug all those damn holes, the clouds over the moon. -LRB- makes more marks. -RRB- And today, the historic discovery of H, Two, Oh. -LRB- makes a tenth mark and underlines it. -RRB- Ten days. Shit. For a moment, he feels the weight of his isolation. Then he allows himself a deep breath. There is order now, after all. Time is under control.", "EXT.  CLIFF - DAY Very carefully, but standing this time, Chuck makes his way across the ledge.", "EXT.  SUMMIT - DAY He emerges on the top, takes a drink from a hand - made canteen, and looks in all directions. Again, he sees nothing but ocean.", "EXT.  BEACH - DAY He resumes his efforts at fishing. A shape scuttles raggedly beneath him. CHUCK A crab, it's a crab. He freezes, holding his spear motionless. Then he jabs at the crab - misses! The crab scurries away toward the rocks. CHUCK Dammit! Chuck splashes after it, stabbing as he goes, falling, getting up, stabbing again. Suddenly one stab feels different. Chuck carefully lifts up the spear. On the end is a squirming crab. CHUCK I did it. I did it! He walks carefully with it to the beach. Lowering the spear, he lets the crab slip off. It darts toward the water. Chuck heads it off, trying to avoid the snapping claws. He kicks it back toward the beach, then slams a rock down on it. He twists off a crab claw, expecting to see flaky white meat. But a crab has an exoskeleton. The flesh simply pours out, like mucous. CHUCK Jesus. This is too much. He needs the next step, from the raw to the cooked. The crucial next step from primitive man to the beginnings of civilization.", "EXT.  PALM GROVE SERIES OF SHOTS - TRYING TO MAKE FIRE Chuck rubs two sticks together. Nothing. Chuck positions a makeshift drill in a hole he has scooped out in a piece of driftwood. He spins the drill with great effort. Nothing. CHUCK Stupid fucking thing! He quits, exhausted. He looks at his hands. They are raw and blistered. He feels like Job. CHUCK I do n't know what I did, God, but whatever is was, I am really, really sorry. You hear me? Really sorry.", "EXT.  BEACH - DAY Chuck emerges from the jungle and walks to the edge of the ocean. He dips his blistered hands into the sea water, then looks over at the FedEx boxes that spell out H E L P. CHUCK Do n't have a choice, do I? He walks over and picks a few boxes up from the P.", "EXT.  PALM GROVE - DAY With his stone knife and spear to help him. Chuck begins to open the FedEx boxes. Chuck rips open the end of one box and shakes it. Out tumble some videotapes. Chuck looks at them : what good are they? Chuck tears another box open. Out slide some legal papers covered with Post - its. In quick cuts, we see him dump out computer memory boards, some designer dresses, flowers, a pair of roller blades, a script with a red cover - which he never reads.", "EXT.  BEACH - LATER By now he has taken all the boxes in the P. Only H E L remains. He pauses to let the irony of that sink in, then collects more boxes. He is even more exhausted.", "EXT.  PALM GROVE Two boxes remain. One is the box with Angel Wings. Chuck sets it aside. He opens the other box. Out tumbles a DOCTOR'S BAG. Chuck ca n't believe it. He opens the bag. It's full of great stuff. Medicine. A scalpel. A saw. CHUCK Okay. Okay now.", "EXT.  PALM GROVE - LATER Hands bandaged, Chuck tries to strike a spark on the roller blade wheel housing. Tries over and over. Nothing. He takes a long drink from his canteen, and flinches. His tooth is starting to hurt. He fishes some Tylenol out of the surgeon's bag and takes two.", "EXT.  OTHER SIDE OF ISLAND - DAY Chuck picks some berries and gingerly tries them. They're not bad. He eats more. Then more. What a relief.", "EXT.  BEACH - NIGHT Chuck lies on his palm fronds, groaning and holding his stomach. He drags himself to his knees, crawls a few feet, and throws up in great, violent heaves.", "EXT.  BEACH - DAY Still looking a little green, Chuck marks another day on his tree calendar.", "EXT.  SUMMIT He stares out to sea. Nothing.", "EXT.  WELL - DAY Chuck lies on his belly and drinks from the well, which has filled with water. Then he washes his face and splashes water over his neck. The surface of the well stills, bringing CHUCK'S REFLECTION into focus. He stares at himself. Very carefully Chuck shaves with the surgeon's scalpel. Chuck checks out his new appearance in the water. Much better. A clean start now.", "EXT.  BEACH - LATER THAT DAY He sits in front of his failed efforts to make fire. CHUCK You're not getting it hot enough. Got to hold the heat. Got to hold the heat.", "EXT.  BEACH - LATER Chuck carefully shaves some tinder. Puts it under a piece of bamboo split lengthwise with a notch cut across it.", "EXT.  BEACH - LATER Chuck uses a bamboo stick to try to make friction in the split half of the bamboo. He saws back and forth with all his might, pressing it down in the groove.", "EXT.  BEACH - LATER Chuck gives one last saw with his bamboo and stops, utterly defeated. It's all too much. CHUCK Sonofabitch! He starts to rub again. He breathes hard, sweat pours off his face. He is really going for it, what the hell! A tiny wisp of smoke appears! Chuck saws with even more energy. CHUCK Come on. Come on. The smoke increases. Chuck rips away the bamboo, grabs the nest of shavings, and blows on it frantically. The smoke flickers and dies. Chuck ca n't believe it. CHUCK No. No. No.", "EXT.  BEACH - NIGHT Chuck lies in his bed of palm fronds, shivering. He looks up at the stars, which blaze furiously. CHUCK That's the big dipper. Orion. or is that the Southern Cross? Kelly would know. And he misses her so much. A shower of meteors streaks across the sky, as if the very heavens are raining down on Chuck.", "EXT.  BEACH - DAY Chuck readies his two sticks of bamboo again and begins sawing with tremendous energy. He smells something. Is it smoke? He pulls off the log and looks eagerly at the nest of tinder. There's nothing there. CHUCK Dammit! He replaces the log and starts wearily to saw again. TIME CUT The sun has moved in the sky. Chuck is still sawing. Again the smoke appears. Again sweat pours from his face. The smoke increases. He saws even harder. His breath comes in anguished gulps. Smoke is curling up now. Chuck tears away the bamboo, picks up the nest of kindling, and blows on it gently. The smoke increases. He blows some more. A fragile crimson spark appears. CHUCK Careful now, careful. He gently places the nest of shavings in the kindling, then blows on it with utmost care, as if he were holding life itself. He shreds his money and business cards over the tiny flame. Suddenly, the evening breeze lifts the nest out of the kindling. Desperate, Chuck grabs it. Trying to shield it with his body, he grabs some palm fronds and jams them into the sand, trying to make a windbreak. They rustle and shake and blow over. The wind blows harder. Chuck jams some rocks in a circle to make an eddy. But the fire is out. No words now, just a loud, primal groan of pure despair. And then, into his vision floats. smoke. Chuck looks down. A wisp of smoke curls up from the nest of tinder! Chuck blows on it gently. Suddenly a tiny tongue of flame flickers and catches on the kindling! CHUCK Yes! Yes! Yes! He feeds in some more twigs, more tinder. The flames lick out, catch, grow. CHUCK If I ever forgot to thank you God, and I am sure I did, thank you now.", "EXT.  BEACH - WIDE - NIGHT The fire burns on the beach. Chuck rushes about, piling on driftwood.", "EXT.  BEACH - CLOSER Chuck darts into the jungle and returns dragging a huge log. He throws it on the fire. We see his face in the light of the fire. He is exultant. He dances. He sings at the top of his lungs. Papa - ooo - mow - mow! Chuck throws another huge log on the fire. Papa - papa - papa - oooo! The log splutters and explodes, sending up a huge shower of sparks that climb and sparkle in the darkness. until they merge with the stars.", "EXT.  PALM GROVE - MORNING Chuck makes a mark on the tree. Around it he carves a flame - the day he mastered fire.", "EXT.  PALM GROVE - LATER THAT MORNING Chuck sharpens his spear with his stone knife. Then he sticks it in the flame to harden it, pulls it out, checks it, scrapes some more.", "EXT.  BEACH - DAY Chuck wades in the water with his spear. Suddenly he stabs it down. A crab is on the end.", "EXT.  BEACH - HALF HOUR LATER Chuck removes a crab from out of the fire and breaks a steaming crab claw. Chuck takes a bite of the flaky white meat. Ahhh. It tastes great. He takes another bite - and flinches. CHUCK Damn tooth! He fumbles for his Tylenol and takes two pills.", "EXT.  SUMMIT - SUNSET Chuck stands on the summit, looking in all directions. Then, something on the island brings Chuck's eyes back from their distant focus on the horizon. From down on the beach, beneath the palm grove, there curls a thin column of smoke. Chuck lets a bit of pride creep into his face as he sees it. He kneels down and begins to build a signal fire.", "EXT.  BEACH - NIGHT - LATER Chuck curls up in his bed of palm fronds. The fire burns. Around it is a large stack of crab shells. He stares into the fire.", "EXT.  PALM GROVE - MORNING Chuck makes another mark on the tree. He has circled the tree with marks several times now.", "EXT.  BEACH - DAY Using a safety pin and some suturing thread, Chuck fishes carefully. Suddenly he jerks his hand back. On the end is a flopping fish.", "EXT.  PALM GROVE - DAY Chuck takes a cooked fish off the fire and mixes it with some breadfruit. He eats the soft mixture, chewing carefully, but his tooth hurts even worse. There are only a few Tylenol tablets left. He carefully cuts one in half and swallows it.", "EXT.  SUMMIT - AFTERNOON Chuck arrives with the wood for the night. He stares out to sea as usual, but this time he sees something different. WHALES. He sees whales. Leaping. Broaching. Spouting. Water pouring off fins and flukes. Moving. Going somewhere. CHUCK Beautiful. So beautiful. Chuck stares at them, stares until the ocean darkens and he can see them no more. It's late now. Leaving, he takes one last look, as he always does. And another remarkable sight greets his eyes. There, on the horizon, just below the evening star, is a. LIGHT. He stares at it, fixed. CHUCK A star. It's a star. But then he stares at it really hard. CHUCK It's a ship.", "EXT.  WOODS - TREE - NEXT DAY A tree shakes and moves, quivers. CHUCK Timberrr! then slowly falls with a CRASH! CHUCK I heard that. Chuck holds his surgeon's saw over the stump. He walks to another tree and begins to saw his way into the trunk.", "EXT.  BEACH - SERIES OF SHOTS Up above the high tide line, Chuck lashes a log to a row of five logs already joined with vines. CHUCK No more waiting. Take action. Chuck sews several designer dresses together with needle and suturing thread for a sail. CHUCK That's right. Take action. He cuts bamboo for the mast. He carves driftwood for an oar. He fills gourds with water, stores breadfruit and coconut as he sings `` Fly Me to the Moon'' to himself. He ties the sail to the mast and extends it with a bamboo boom lashed on with palm fiber and video tape. He ties on the doctor's kit and the FedEx box with the angel wings. He examines his handiwork : a finished raft. He brings out his old life preserver and puts it on, then grabs hold of one corner of the raft to pull it down to the beach. It does n't budge. He tries to pull it again. Nothing. He leans his back into it and pushes with his legs. Nothing. He collapses on the beach, his breath coming in heaves. CHUCK How could I be so stupid? He bangs himself on the head, over and over. CHUCK Stupid, stupid, stupid.", "EXT.  PALM GROVE - NIGHT Chuck throws new firewood on the dwindling fire. It comes back to life. Meteors streak again across the sky. He stares at the indifferent stars. The moon is almost full. Shadows of palm trees sway on the sand.", "EXT.  BEACH - NIGHT Chuck stands by the edge of the water, which shimmers in the reflected light of the fire. A wave come in, licks at his toes. Lifts up a coconut husk, sweeps it gently out. Chuck watches, gets an idea.", "EXT.  BEACH - NIGHT He begins to dig in the sand by the raft. He grabs the oar and digs faster, making a trench up to where the raft is.", "EXT.  BEACH - MORNING The rising tide floods water into the trench. Chuck rocks the raft back and forth. It floats! As the wave recedes, it takes the raft with it. Chuck has to run beside it. CHUCK TRYING TO ESCAPE - MONTAGE Over and over, we see Chuck capsize at the reef. The first time he has a bandage on his leg. He tries everything - different rafts, different approaches, but each time the ocean spits him back.", "EXT.  LAGOON - DAY Defeated and utterly exhausted, Chuck swims back from his latest failure. He wades back ashore with the FedEx box and throws it on the ground by the palm tree. He has tried so hard to escape, so incredibly hard, done everything humanly possible and beyond. He rips off his life preserver, throws it into the underbrush, then collapses on the beach. CHUCK You're too low in the water. Too damn low. Chuck's shoulders begin to shake, as he is racked with deep sobs of despair. And then he throws his head back and lets forth, from deep inside himself, a SCREAM of rage and anger and pain. The Scream pierces the indifferent natural sounds of the island, the rustling of the breeze, the lulling rhythm of the waves. It is powerful, disturbing, primal. The breeze picks up. Behind Chuck, the palm trees begin to sway. The tide is reaching up toward the beach. The waves crash louder. The palm trees sway even more. Chuck picks up some wet sand and rubs it on his body. CHUCK Dust thou art - that's for damned sure - and unto dust shalt thou return. A few DROPS OF RAIN begin to fall, splashing on Chuck and sizzling in the fire. Chuck looks up : clouds have obscured the sun. The wind blows harder. The rain falls harder, streaking the sand Chuck had rubbed on his body. STEAM sizzles out of the fire. Chuck looks up, disbelieving. The bottom falls out of the heavens - monsoon rain, more rain than you have ever seen before. A long wave rolls up, its frothy fingers reaching for the fire. Forget the raft! Forget despair! The fire could go out! This is disaster! CHUCK Shit! He springs into action. Chuck grabs an empty FedEx box. With his wooden shovel he frantically SCOOPS SOME COALS out of the fire as the rain HISSES and POUNDS at them. He slides the coals into the FedEx box, grabs some sticks of driftwood and sets off on a run.", "EXT.  WOODS - DAY Chuck runs through the woods, slipping and stumbling. Vines grab at him. The rain is so thick he can hardly see.", "EXT.  WOODS - MINUTES LATER Chuck bursts out of the woods into the lava field. Smoke pours out of the FedEx box. The coals are about to burn through!", "EXT.  LAVA FIELD - MOMENTS LATER Chuck stumbles up the slippery rocks, dragging the smoking box. His face is drenched, desperate.", "EXT.  CAVE - DAY - MINUTES LATER Chuck tumbles into the cave just as the coals burn through the FedEx box. Using the remains of the box, he desperately tries to scoot the coals into a dry spot. One by one, THE PRECIOUS COALS GO OUT. Dripping water off his hands and face, he pushes a few together with his fingers, ignoring the burns. CHUCK Please. please. please. He stomps on the driftwood and saws at it with his knife. He places this kindling on the coals. They sputter and sizzle. Barely catch. He fans them with the box. A tiny flicker catches, then starts to grow. CHUCK Firewood. I need firewood. SERIES OF SHOTS On the beach, Chuck desperately gathers more firewood in the driving monsoon. He can barely see. Driven by the storm, the waves are licking at the palm grove. He runs through the woods. Branches whip at his face. Roots tear at his feet, tripping him. He stumbles up the lava field. Sliding. Struggling. Barely able to breathe, the rain is so strong.", "INT.  CAVE - DAY He dumps the firewood on the floor of the cave. But where the fire had flickered, there is only a pile of wet black ashes. THE FIRE IS OUT.", "INT.  CAVE - NIGHT Chuck lies on the floor of the cave, shivering in the darkness as the rain falls. His fire is out, his tooth is killing him, he ca n't escape.", "EXT.  CAVE - NEXT DAY Chuck emerges from the cave. The rain has stopped. This is the absolute lowest. His face reflects his pain and despair. He's trapped. It's hopeless. Everything he tried to build is gone.", "EXT.  LEDGE - DAY Chuck slowly walks out on the ledge. He stares down at the waves breaking on the jagged rocks far below. He lets go one hand. Then lets go the other. He is barely balanced. It looks like a wisp of breeze would blow him right off. He slides one foot to the very lip of the precipice. Suddenly his foot slips! Instinctively he turns into the cliff, grabs for a hold! One hand reaches for a nubbing of rock, slips off! The other closes, his fingers straining to hold him. He breathes in deep gasps. He had wanted to end it, come so close. CHUCK What the fuck are you doing? His deepest instinct was to survive. And that is what he is going to do. CHUCK Hang on. Just hang on. Slowly he pulls himself back from the edge.", "EXT.  BEACH - LATER Chuck walks aimlessly down the beach, feeling the burden of starting over. The beach is littered with seaweed and flotsam, bits of rope, plastic bottles. He picks up a plastic bottle. That will come in handy. The Chuck sees a SOCCER BALL with `` Wilson'' stamped on it in big black letters. He picks it up, holds it, tosses it up in the air. Then he kicks it, then kicks it again, then runs down the beach, trying to kick it and keep it out of the water. Feeling joy again, even here.", "INT.  CAVE - THAT DAY The sun is setting on his darkened cave. The soccer ball sits in the corner by the black cold ashes of what was once his fire. Chuck carves a bit of coconut meat, takes a bite and winces as the meat hits his sore tooth. He tosses the shell on a small new pile of shells. Chuck shakes out the last half Tylenol tablet. He puts the tablet in his mouth, then takes a sip out of his coconut canteen. When the water hits his tooth that hurts too.", "INT.  CAVE - MORNING Chuck mixes a mash of breadfruit and coconut. He tries to pack the tooth with the mash, but it's so sensitive that even this hurts. He pounds the floor of the cave in frustration.", "INT.  CAVE - LATER Chuck holds a stone chisel and his hammer stone. He positions the chisel against his inflamed tooth. But the thought of what he is about to do is too frightening. He lowers the chisel. CHUCK Shit. Shit. Shit.", "EXT.  BEACH - DAY Chuck tries to fill his mouth with sea water. The pain is so great his eyes water. CHUCK Whoo, pig. Sooey! He falls back in the water and floats there, looking up at the sky.", "INT.  CAVE - LATER Determined, Chuck hold the stone chisel again. He raises it slowly to his mouth and picks up the hammer stone. CHUCK No pain, no gain. He brings the hammer down hard on the chisel! The screen goes BLACK as Chuck's SCREAM continues UNDER.", "EXT.  OCEAN - SUNRISE - THREE YEARS LATER The sky takes on the first colors of the day. The ocean is still dark, but a few waves catch the first light. The sunrise touches the summit, moves down the cliff, then lights the cove. On the screen superimpose : \"1000 DAYS LATER\" REFLECTION - WATER A spear shimmers in the calm morning water. Attached to the spear is a man, standing completely still. ON CHUCK We move up out of the reflection to the real man. His legs are scarred. The remnants of a dress wrap around his middle. A stone knife on a neatly mounted haft is stuck in a belt made of videotape and woven fiber. Necklaces of shark's teeth and shells hang from his neck. His hair is long. A coconut frond hat is on his head. The hand wrapped around the spear is scarred and brown as a berry. It holds the spear perfectly still. The watch is gone. We come around slowly until we see Chuck's face. The eyes say it all. They stare out with a survivor's intensity, staring at the water, unblinking. This is the man who used to splash futilely about in the water trying to fish. This is the FedEx man who was plugged into the tumult of activity and energy, surrounded by technology and human activity at its most intense, devoted to making seconds count. Now he is utterly alone, and utterly still. And now he has all the time in the world. Suddenly, without an once of wasted motion, he shoots the spear forward at a low angle. It quivers, stuck on the bottom. He pulls it out with a practiced twist. On the end is a struggling fish. But this is n't a thrill anymore. It's another day at the office.", "EXT.  BEACH - LATER THAT DAY Chuck makes a mark on a palm tree. He has completely covered three other trees with marks. It sinks in how long he has been here.", "EXT.  JUNGLE - LATER Chuck carries the fish back from the beach. Now there is a well - worn trail.", "INT.  CAVE - THAT AFTERNOON Chuck enters with the fish. We are greeted with the well - ordered lair of a primitive stone - age man. Clam shell spirals weave in and out around the fire hole. Strips of eel jerky and fish hang drying from racks. Tools are lined up neatly : digging sticks, stone hammers and saws, spears neatly hafted onto shafts, drills, awls. Bits and pieces of feathers, skins, bones, rags, leaves - are all neatly arranged. Strings and cords hang from hooks. Coconut bowls and cooking rocks form a small kitchen. A raincoat and rain - hat woven of palm fronds is neatly draped over a frame. Evocative pieces of driftwood decorate the room. A wind chime of obsidian flakes sways gently. The watch hangs on a stick. The Angel Box has the place of honor on one side. On the other side the Wilson soccer ball rests on a throne of rocks. Seaweed has been placed on the ball as hair. Clam shells have been stuck on for eyes, other shells form a mouth. A tube shell and conch form a pipe.", "INT.  CAVE - FIRE - NIGHT The fish are being smoke under a palm frond. Eel skins hang from sticks, roasting. Chuck sits by the fire, hafting a stone knife onto a wooden haft. He ties some fiber to a stick, then braids it into string, using both hands and his mouth for the three strands. He ties the string tightly around the shaft. He does his work automatically.", "INT.  CAVE - NIGHT - LATER Chuck eats some fish and some mashed breadfruit. He chews each bite, his eyes in distant focus. The firelight flickers on his face.", "EXT.  CLIFF - SUNRISE Chuck carries firewood up to the summit. He mechanically adds wood to the fire. As he does so, something out to sea catches his eye. He stops and stands up. CHUCK'S POV - WHALES WHALES broach out past the rocky point. Spouts of water shoot into the air. ON CHUCK As he watches them, a light comes back into his eyes. He grins. There's a big gap where his teeth had been. He turns and strides down the hill.", "EXT.  CLIFF - MOMENTS LATER He heads across the rock bridge that once had so terrified him, without losing stride. It's second nature now.", "INT.  CAVE - MOMENTS LATER Chuck enters the cave, picks up the ball and heads out.", "EXT.  SUMMIT - EVENING The signal fire burns. A spectacular cloudy sunset lights up the sky. Chuck sits with Wilson on the summit, a bowl of mashed breadfruit in one hand, a bowl of roasted eel skin in another. As Chuck watches the sunset unfold, watches the whales going by in the darkened water, he takes some roasted eel chips, dips them into the breadfruit paste, and offers one to Wilson. His voice is flat, monotonal. CHUCK Chips? Dip? But Wilson declines. CHUCK No? He takes a big crunchy bite. CHUCK Another fucking day in paradise. PULL BACK as the sun goes down and Chuck reaches into the bowl again and dips an eel skin chip in the dip.", "EXT.  ROCKY LEDGE - NIGHT - LATER Torch in one hand, Wilson in the other, Chuck walks across the rocky ledge. He passes the flume without even noticing. Suddenly his shoe breaks! It's sandal made of woven yucca leaves. He bends down and fixes it, then heads on down the ledge.", "EXT.  LEDGE - MOMENTS LATER Chuck makes a casual leap, a leap he has made hundreds of times, but this time the sandal comes loose. It catches on a rock, and CHUCK FALLS! His hands are cut and bruised. He tries to get up, ca n't. Chuck sits back and examines his foot. His fingers come back covered with blood. He reaches out to steady himself, and leaves a HANDPRINT OF BLOOD on the rock.", "INT.  CAVE - LATER Chuck wraps his foot in bandages.", "INT.  CAVE - LATER Chuck's face is sweaty. He looks down at his foot. It is red, swollen, infected. He stands up, tries to put some weight on it. The pain is intense. Chuck sticks the scalpel onto some coals to sterilize it. He holds it over his foot, takes a breath, then jabs in into the wound. The pain is intense. Chuck passes out.", "INT.  CAVE - NIGHT Chuck stirs, takes a drink, weakly tosses on another log, and collapses back on the floor.", "INT.  CAVE - DAY Chuck wakes up, trembling, shaking, wet with sweat. He staggers up. His shadow sways on the wall of the cave. He struggles to get another log on the fire. He squints at his only companion, the soccer ball. CHUCK Help me, Wilson. He collapses again.", "INT.  CAVE - NIGHT Chuck stirs and squints his eyes. He takes a drink of water. He is feeling better. He puts another log on the fire and slowly begins to chew on some breadfruit and dried fish.", "EXT.  BEACH - LATER Chuck slowly wades into the water, favoring his injured foot. But something feels different. He glances around. What is it? And then he sees something, perhaps the worst possible sight. CHUCK'S POV - SAIL A SAIL is moving steadily away from the island. CHUCK Throws down the spear and waves his arms. CHUCK No! Wait! Come back! He runs into the water and starts to swim. He is so weak, however, he can only make a few strokes. He tries to yell as he swims. CHUCK Wait! Wait! Choking and weak, he turns back and drags himself up on the beach. In the b.g., the sail dwindles into the distance.", "EXT.  SUMMIT - LATER Chuck struggles to the top of the hill. His fire has been extinguished by the rain. In the distance, far against the horizon, he sees a sail - or is it a cloud? The whiteness shimmers against the horizon. Chuck squints. Whatever it was, it is gone. Above him some contrails from jets mark the sky. Furious, he kicks his signal fire, scattering the burnt - out coals.", "EXT.  BEACH - LATER THAT DAY Chuck makes a new mark on his calendar tree. Then he stops. He CUTS an angry big line under the last mark, then hacks away at the palm tree, slashing it with the stone knife, ripping and marking through all his dates. Finally the stone knife breaks in two. Chuck drops the broken half and catches his breath.", "EXT.  CAVE - NIGHT Chuck enters the cave. No signal fires burn. The island is dark.", "EXT.  SUMMIT - DAY Chuck stands on the summit, staring out to sea. Nothing, not even a contrail, not even a whale spout.", "EXT.  CLIFF - MOMENTS LATER He is on his way down, suddenly he sees something and stops. It's the HANDPRINT, the bloody handprint, his own handprint. He slowly extends his hand and covers it, then pulls it away. Traces it with his fingers.", "INT.  CAVE - DAYS LATER Chuck has the beginnings of an artist's studio. Several large clam shells hold paint. A few egg shells are lined up. Brushes have been made from roots and feathers. Chuck covers his hand with paint and makes a handprint on the wall of the cave. He stands back and looks at it.", "INT.  CAVE - DAY He chews some berries, then holds his hand against the wall of the cave and spits a dark blue mist around it. When he takes his hand away, the silhouette of his handprint remains.", "INT.  CAVE - DAY With the Angel Wing Box as a model, Chuck dips one of his feather brushes in paint, and make a tentative line on the wall of the cave. He works hesitantly, rubs off a line, tries again.", "INT.  CAVE - NIGHT Chuck is finishing his first figure, a crude portrait of a man - himself? Hard to tell. He examines his work. He takes some shells and sticks them on as eyes. Chuck picks up Wilson, thinks. CHUCK You old airhead, you need a makeover. He takes some charcoal out of his fire and draws eyebrows on the ball. Then, he mashes some berries, dips his fingers in the juice, and makes lips. He sticks shells on with clay for eyes. Then he looks at the face. CHUCK Wilson, you bad! He sits back and regards his companion. He gestures around the cave at the new paintings. CHUCK What do you think? But Wilson does n't have an opinion. CHUCK You do n't share much, do you? Idly Chuck takes down the Angel Box. CHUCK I guess I know how Kelly felt. For a long time he studies the wings on it. With a stick, he tries to draw a similar wing on the dusty floor of the cave. Dissatisfied, he wipes it away. He looks at the Angel Box. Casually he reaches over and cuts it open with a stone knife. Inside he finds two bottles of green salsa. And a letter. He reads over it. CHUCK You said our life was a prison. Dull. Boring. Empty. I ca n't begin to tell you how much that hurt. I do n't want to lose you. I'm enclosing some salsa, the verde you like. Use it on your sticky rice and think of home. Then come home - to me. We'll find the spice in our lives again. Together. I love you. Always. Bettina. Visibly moved, Chuck puts down the letter. CHUCK He never got it.", "EXT.  ISLAND - DAY The monsoon pours down. Wind whips the palm trees. The waves are gray and angry, tearing at the beach.", "INT.  CAVE - DAY As the rain pours down outside, Chuck studies the sodden, ruined photograph of Kelly, which is really only a gray mess. CHUCK She's probably found someone else. I would have. Chuck dips his finger into one of the bowls of colors and streaks it slowly across his face. To exorcise his loneliness, he will paint on the most expressive canvas there is : his own body. CHUCK PAINTING HIMSELF - MONTAGE Close - up on scarred fingers, as they paint on Chuck's face and body. Color on skin. Tight dramatic shots of Chuck being transformed. Chuck takes white paint and covers his hand. Then he presses it into his chest and makes a handprint. He draws a yellow spiral on his leg, then takes red and makes jagged lightning bolts on his chest on either side of the hand. WATER Shimmers in a gourd. Chuck's face swims into focus. It has been painted white. Looking at himself in the reflection, he dots on blue stars with dark blue from squid ink.", "EXT.  CAVE - LATER The rains have stopped. The island is washed bright and green. ON CHUCK As he stands up in the cove. His face is white with blue stars. Handprints circle his torso, flanked by red lightning bolts. Braided cords circle his biceps. Bone necklaces hang from his neck. Feathers jut out from his hair.", "EXT.  JUNGLE - DAY Chuck goes from tree to tree, making handprints along his path. Chuck was here. This is his mark.", "EXT.  PALM GROVE - DAY He covers the calendar trees with handprints. Then stops. Sees something. Eyes fixed on the beach, he walks toward the shoreline.", "EXT.  BEACH - DAY Chuck emerges from the palm trees, and now we see what he had seen. A FIFTY - FIVE GALLON OIL DRUM. And another one. TWO. Chuck stares at the barrels. CHUCK Hello.", "EXT.  BEACH - LATER Chuck sits staring at the oil drums. It's almost as if he is hesitating to take advantage of them. That he may not want, really, to leave now. Then his inner struggle ends. CHUCK What the hell are you waiting for?", "EXT.  BEACH - LATER Filled with determination, Chuck rolls a barrel up the beach.", "EXT.  BEACH - LATER Using a palm tree as a fulcrum, Chuck hauls hard on a rope made of vines, pulling the barrel up off the beach.", "EXT.  JUNGLE - DAY Chuck throws aside palm leaves, revealing. the remains of his raft.", "INT.  CAVE - NIGHT Chuck is drawing with a purpose now. And we see what he is working on. The plans for a raft.", "INT.  CAVE - NIGHT Chuck is making a list of what he needs. He works intently. CHUCK Canteens. Sea anchor. Got to weave rope. Spears. A sail.", "EXT.  JUNGLE - DAY Chuck lashes the barrels onto the raft. Checks the knots. Lashes more rope.", "INT.  CAVE - NIGHT He sews dresses together with handmade fiber string.", "INT.  CAVE - NIGHT He weaves videotape together to form a sea anchor.", "EXT.  BEACH - DAY Chuck digs a channel toward the raft.", "INT.  CAVE - DAY Chuck constructs a water collection device with some FedEx boxes, some plastic weighted with a stone. Explains it to Wilson. CHUCK Now I'm hoping that if this is airtight I'll get condensation down here, a cup or so a day. If I'm careful it should be enough.", "INT.  CAVE - NIGHT Chuck writes on the wall. CHUCK If I never return, know that here lived Chuck Noland for four years. I drew these paintings. I made these marks. And then I took my fate in my own hands and set forth to save myself, God willing.", "EXT.  BEACH - DAY Chuck loads the raft, which rocks gently in the cove. He has a sail made of designer dresses sewn together with fiber thread. A sea anchor secured by videotape woven together into a rope. Plastic bottles filled with water. A signal kite made of FedEx paper. Then comes the FedEx box with the angel wings. Then Wilson. CHUCK Wilson, my main man. Time to go. And he gently leads the raft into the lagoon. CHUCK Wonder what odds Stan would give me on this. I'd say 90 - 10. Against. He jumps onto the raft, begins to paddle out toward where the surf crashes onto the reef.", "EXT.  LAGOON - DAY Waves break against the reef. With his paddles Chuck maneuvers the raft toward the cut in the reef. Boom! The wave crashes, the water surges through the cut, then recedes with a whoosh. Chuck watches, times the waves, paddles like mad. He's committed. SCRAPE goes the first barrel, then the second, riding the receding wave. He's out! But the next wave is already surging forward. It smashes the raft against the reef! Coconuts and foodstuffs hurtle off the raft! The barrels cushion the impact. The raft tilts, spins, but stays outside the reef! The ropes holding the jugs of water break! The water sweeps overboard! The wave recedes again. Chuck recovers, paddles with all his strength, and then he's clear of the breakers! For a long moment he floats on the rollers, getting his breath. The water jugs float away, carried by the waves back into the lagoon. Chuck could go back and get them. If he were being prudent, he definitely would. But he's out. He might never get back out again. He stares at the lagoon and the receding water jugs. Then he stares at the island. Goodbye to all that. CHUCK Wilson, we're out of here. He turns and begins raising the sail.", "EXT.  OCEAN - WIDE - MINUTES LATER Powered by its multicolored makeshift sail, trailing its gently flapping signal kite of FedEx paper, the raft slowly moves away from the island, out toward the open ocean. And we pull back until the ocean swallows the tiny raft and then we TILT DOWN AND.", "EXT.  OCEAN - DAY - FOUR WEEKS LATER The ocean again, low. The raft floats into frame. A trace of a breeze flaps the signal kite, which barely stays aloft, its rope frayed and tattered. The still is set up in the middle, plastic with a rock weighting down the center. Chuck is gaunt, his clothes rotted. He lies looking over the side of the raft, spear in one hand, staring intently at the water. Dorados swim like specters, flashing and darting. Chuck stabs with his spear. Stabs again. CHUCK Slow down, damn you! Exhausted, he sinks back to the raft. Two Dorados leap into the air ahead of him. Chuck tries to stare again into the water. He spots another fish, a flash of silver under the surface. Chuck struggles to his feet, raises his spear. SPLAT! Something strikes him in the chest, almost knocking him into the water. On the raft we see flashes of silver and green and blue. A FLYING FISH. Chuck dives at it, catches it, loses it. CHUCK Catch it catch it catch it - He catches it again just as it almost flops over the side.", "EXT.  RAFT - MOMENTS LATER Chuck sucks the juice out of the head. He chews meat off the tiny rib bones. Chuck is in the stage of malnutrition, vitamin deprivation, salt insufficiency, and exposure where the personality splits and becomes external. Like all castaways, he has conversations with the two sides of himself. GOODCHUCK Save some for tomorrow. BADCHUCK Catch another fish tomorrow. BadChuck wins. Chuck keeps eating. He stares up at the sun, which beats down unmercifully.", "EXT.  RAFT - DAY - LATER The raft drifts. Chuck has taken down the sail and rigged it as a canopy. Drenched with sweat, Chuck lies on the raft, trying to sleep. He dabs at some sores that are ulcerating his body and wo n't let him get comfortable. Plus, there's a chaffing, squeaking sound. He looks around for the source. We see it with him. One of the ropes is frayed and about to break. If it does, the logs will come apart from the floats. BADCHUCK Shit! Shit! Shit! GOODCHUCK Stay calm, identify the problem. Problem, rope fraying. Solution, fix rope. BADCHUCK With what? There's nothing to fix it with. This rope comes undone, you're going to drown. GOOD CHUCK Just get up and fix it. BADCHUCK Too tired. GOODCHUCK Get up. BADCHUCK Feels so good to lie here. GOODCHUCK Get up, damn you. Chuck comes to his knees. Then sinks back down. BADCHUCK Ca n't. Need water. GOODCHUCK You've had today's water. BADCHUCK Thirsty. GOODCHUCK Come on, shape up, get going, you can do it. BADCHUCK No water, no work. Chuck tries another tack. Sweet reason. GOODCHUCK Okay look, I know you're tired, I know you're thirsty, but give it one more shot, you've just got to do a little more. BADCHUCK Do too much, I'll die. GOODCHUCK Do too little you'll die. BADCHUCK Going to die anyway. That stops GoodChuck for a moment. GOODCHUCK Okay, look have an extra swallow. He holds up the pathetic little jar with its few teaspoons of murky water. BADCHUCK No more water, you said. GOODCHUCK Take it. BADCHUCK No. GOODCHUCK Take it, damn it. BADCHUCK No. GOODCHUCK Wilson, do you believe this? Take the damn water. Slowly Chuck gets up, lifts up the water jar, and takes a swallow. Then another. GOODCHUCK Stop. Enough. Then another.", "EXT.  RAFT - DAY - LATER Chuck works to braid a new rope. He is focused, concentrating as hard as he can, but everything is slow and hard and he's weak and clumsy. He tests the rope, but it does n't hold. GOODCHUCK Think. Got to use something else. He gets an idea, starts to pull the signal kite in. BADCHUCK If they ca n't see you, what's the point? GOODCHUCK Survive today, that's the point. The kite rope is much thinner than the rope he had used to tie the logs, but it's all he has. He ties the log with the kite rope. Exhausted, he lies back down.", "EXT.  RAFT - NIGHT The moon is full. The waves cast off shadows on the ocean. Chuck is staring into the sky, trying to find a star to navigate by. GOODCHUCK Polaris, where are you? Maybe I'm too far south. BADCHUCK You do n't know where you are. You missed the shipping lanes. GOODCHUCK Moon's too bright. We hear the fraying sound again.", "EXT.  RAFT - DAY Chuck saws at the outer log with his stone knife. Across the water comes a storm. We can see it like a waterfall moving toward us. BADCHUCK You're putting off the inevitable. GOODCHUCK I'm putting it off. He looks at the deteriorating rope, at the rotting sail. BADCHUCK That's what's happening to you. Chuck pushes the outer log away, then takes the loose rope and begins to lash it around the center logs. BADCHUCK You're rotting away. The raft is rocking. The waves are stronger. It's hard to tie the logs together. Rain falls like a sheet on Chuck. BADCHUCK Get water! GOODCHUCK Fix raft first. BADCHUCK Water water water - Chuck works frantically in the rain, trying to tie the rope. Finally he does. Then he scrambles for his water collecting funnel, struggles to pull it up. One corner is stuck and collapses. Desperately he rights it, pulls the funnel up. Drops begin to run down the sides and collect in the jar. Soaked, Chuck stares at the water as it rises. Then the rain stops. We see the line of rain recede away from Chuck, spattering the ocean. But all around him the ocean is calm again. And out comes the sun.", "EXT.  OCEAN - DAY The raft floats on quiet seas. The sky is blue, with few high cirrus clouds so motionless they seem pasted on. Chuck lies on the raft, sick and weak. Suddenly, from the depths beside him, silently rises a huge shape. A SPERM WHALE, still mainly submerged. The blow hole is near Chuck, wet and pulsing like giant lips. The eye of the whale is only a few feet away. It looks upon Chuck out of an intelligence deep and alien. He slowly comes to his knees and stares at it. The blow hole opens and WHOOSH, out shoots a geyser of fine spray which settles on Chuck in a mist. The whale rises farther, dwarfing the raft. From the whale comes a deep sound like a foghorn. Startled, Chuck jumps back, rocking the raft. He catches himself, slowly reaches out and touches the whale. The whale blows again, drenching Chuck in more spray. Chuck touches the whale again. GOODCHUCK You like that? Very slowly it drifts along with the raft. GOODCHUCK Lost your mate? We look right into the whale's eye. Beneath the surface we can see the huge jaws open and close. GOODCHUCK You're beautiful. Marry me. BADCHUCK You idiot, if he dives, he'll capsize the raft. Very slowly the whale moves ahead of the raft, its vast body passing Chuck. GOODCHUCK No, do n't go. Look, I've got fish. Chuck rips a fillet off the line and throws it in front of the whale, which ignores it. GOODCHUCK Please do n't dive. Please. The whale slowly sinks, then suddenly arches its huge back and heads straight for the bottom. For a moment, all that remains are the flukes, black and vertical against the dark blue sky. With one swoop, those flukes could destroy Chuck and his raft. But they do n't do anything except slowly sink. Then it is gone. We are on Chuck's face as he stares at where the whale had been, the surface marked only by a ring of concentric ripples that reach out and gently rock the raft.", "EXT.  OCEAN - DAY Chuck checks the water. It is green and full of floaties. It looks awful. He takes the jug, puts it to his mouth, and drinks. Instantly he throws up back into the jug, barely keeps from dropping it. BADCHUCK Look what you've done. He dips his hand into the ocean, splashes some sea water on his face, splutters it out, then licks his lips. He is so thirsty. He looks at the water jug, full now with his own vomit, turns away, begins to work on the sea anchor again. But the work makes him even thirstier. He looks at the jug again. Picks it up. Takes a long drink.", "EXT.  OCEAN - DAY The fish return. Chuck gets up with his spear, then puts it down. BADCHUCK What are you doing? GOODCHUCK Ca n't kill another one. Ca n't. Ca n't kill my friends anymore. BADCHUCK You fucking bleeding heart, you kill or you die. GOODCHUCK Why do they have to die for me? BADCHUCK They'd eat you if they could. They're laughing at you. Listen. Chuck listens. Does n't hear anything. GOODCHUCK Got to eat. Chuck picks up the spear, stabs it, misses. Suddenly he has a fish on the end of the spear. It struggles, he scoops it onto the raft, brutally pounds on its head, twists the stone knife into its spine. The struggling stops. Chuck looks at the dead fish and begins to sob. GOODCHUCK I am so sorry. He cries uncontrollably. As he cries he cuts off the head, pulls out the eyeballs, and eats each one. Then he sucks the marrow out of the head. Then takes the heart and eats that. Then eats the liver. As he is chewing, he cuts the meat into strips. When he is done, he takes the backbone, breaks it, and sucks on it. Fish scales shine in his hair, blood covers his chest.", "EXT.  OCEAN - NIGHT The raft rocks gently. Chuck looks up. The strips of fish are glowing. So is the deck where he killed the fish. He reaches out to touch the fish strips. His hand is glowing too. CHUCK I'm an angel. Suddenly he sees other lights. A ship. A ship is out there. And he hears it, a humming in deep register. He waves his hands. He yells. CHUCK Here! Here! His voice cracks, we can barely hear it over the ocean. The lights move on. CHUCK No. no. no. His raft is rocked by the wake, rocked hard. Chuck is thrown into the water! He comes to the surface, sputtering. Where is the raft? He looks one way, then another. Darkness. This is the worst. He turns again in the water. There, dimly, he can see the glow from the fish he killed. The glow saves his life. He swims toward it. He pulls himself back on the raft. He lies there exhausted, the glow from the phosphorescence casting a greenish light on his face.", "EXT.  OCEAN - DAY Clouds are building up. In the distance lightning flashes. The clouds come closer. Little bits of electricity jump off the mast. Saint Elmos fire jumps around Chuck's hand. Fascinated, he holds out his hand. The fire jumps from his hand to the mast. Suddenly lightning shoots from the sky and strikes the ocean! A huge spout of water explodes like a depth charge. The CRACK is intense, then rolls away. Chuck stares, then realizes the danger and throws himself down on the raft. Suddenly a wall of rain sweeps over him and the ocean begins to roll. The thunder is deafening. Lightning flashes bursts through the rain. CHUCK Sea anchor! Let out the sea anchor! Frantic, Chuck lets out the sea anchor as the raft scuds down a huge wave. The anchor catches, slowing the raft so that it rides the wave down. The waves come at him high as houses. The raft rides up one side, then plunges down the next. All Chuck can do is hold on.", "EXT.  OCEAN - DAY The storm has passed. The raft floats on big dark rollers. We hear the chirping and squeaking of dolphins. They come close to the raft. Chuck watches them play. Then realizes they are chasing his fish. They drive them along, into the path of another dolphin, who darts in and rips into the dorado, turning the water around the raft into churning, bloody foam. CHUCK Stop! He takes his oar and begins beating the water. The killing continues. CHUCK You fucking murderers! Suddenly the water is still. One dolphin sticks its head out of the water and stares at Chuck, squeaking. Another dolphin lifts its head up, then another. They squeak to each other, clearly communicating and talking about Chuck. CHUCK I know you're talking about me! He splashes the water with his oar. They dive, then jump into the air, squeaking as they go. CHUCK -LRB- very softly. -RRB- Take me with you. They're gone. CHUCK Why me? Why me, God? He begins to laugh. BADCHUCK Listen to this, Wilson. -LRB- deep voice : God. -RRB- Because you piss me off.", "EXT.  OCEAN - DAY Chuck tries to stretch with some simple yoga. Each movement takes forever. He rolls over onto his stomach and tries to do a pushup. He ca n't. Collapses onto the raft. BADCHUCK You're falling apart. Tries to do another pushup. Ca n't. BADCHUCK First you eat your fat, then you eat your muscle. He rolls over. BADCHUCK Then you eat your mind. He looks at the ocean. They're in a line of garbage, a thick slick of debris dumped off of ships. GOODCHUCK Roll on you deep and dark blue ocean roll. He closes his eyes. After a minute they come open. GOODCHUCK I'm late, I'm late, for a very important date. They slowly close again. BADCHUCK I'm lost. Goodbye. GOODCHUCK No! His eyes come open again. BADCHUCK Look, just slip off the raft. The ocean would feel so good, the water's so soft and warm. Take a little swim. Sleep. GOODCHUCK You quitter you quitter you quitter. BADCHUCK The sea is lovely, dark and deep. GOODCHUCK But I have promises to keep. -LRB- rolls over. -RRB- And miles to go before I sleep. -LRB- props himself up. -RRB- And miles to go before I sleep. -LRB- purpose now. -RRB- Got to fix the sea anchor. Use the sail. BADCHUCK Use the sail for a sea anchor and you wo n't move. GOODCHUCK If I do n't have a sea anchor I'll capsize. BADCHUCK Die tomorrow or die today. He hums Beethoven's fifth. BA BA BA BUM. BADCHUCK That's death knocking, knocking on your door. Crazy little woman come knocking, knocking at my front door. GOODCHUCK Grow up, stop being such a baby. Other people get through a lot worse. BADCHUCK Yeah, sure, what? He hums to himself, begins to sing, Beatles. BADCHUCK I'm so tired, my mind is on the blink. He pulls in the loose sea anchor rope, which is covered with barnacles. He scrapes the barnacle off the rope into the water jug, then sips it. The sun is setting, huge rays shoot out across the sky. Out of the empty ocean the Dorados suddenly appear, leaping flashes of silver right by the raft. One Dorado swims right by the raft, broadside. Chuck looks at it, uncomprehending. Then slowly reaches for his spear. GOODCHUCK What? Are you sacrificing yourself for me? Carefully he comes to his feet, then shoots the spear into the fish. Flapping and struggling, it lands on the deck. Chuck pounces on it.", "EXT.  RAFT - NIGHT - MOMENTS LATER He cuts it open. The other Dorados ram the raft in fury, like a lynch mob. GOODCHUCK Damn it! I had to do it! The banging continues. GOODCHUCK I'm sorry! He concentrates on his work, then sits back on his heels in amazement. There's another fish inside. He holds that fish up, stares at it, then cuts it open. There's a smaller fish inside it. GOODCHUCK I know there's a moral here, God, but right now I'm just going to eat. He pops out an eyeball, then another, and crunches them between his teeth. He takes the heart and liver, starts to eat, then stops. GOODCHUCK Forgot to say grace. Sorry Mom. He struggles to remember. GOODCHUCK Bless us O Lord, and these thy gifts and Christ and the bounty about to receive, or something. amen. He eats them.", "EXT.  RAFT - NEXT MORNING Chuck splashes sea water on his face. Adjusts the water still. GOODCHUCK Please do n't leak. Please. Chuck picks up the smallest fish. It's half digested. He washes it in the ocean, trigger fish come up and nibble at his fingers. GOODCHUCK Do n't look at me. It was that Dorado. He cuts the small fish and hangs it on the stays. GOODCHUCK You know, Wilson, every now and then we should say thank you. Thank you God. BADCHUCK Thank you for fucking up my life. Suddenly something bumps the raft. Hard. Then again. GOODCHUCK Not again. Fins cut the water. SHARKS. A big hammerhead bumps the raft. BadChuck hums the theme from `` Jaws.'' Chuck takes his spear stabs at the shark. BADCHUCK He's going to get you, going to get you. Another one circles in, bumps the raft. GOODCHUCK Get away from me! The shark circles again, that big hammerhead like a nightmare. GOODCHUCK Get him get him get him. He stabs at it with his spear. He might as well have stabbed concrete. The shark circle, Chuck stabs again. But the shark is gone. GOODCHUCK Where are you? Where are you? Stabs again and again at the empty ocean. GOODCHUCK Stop! You're using energy. Move slowly. Be patient. Chuck kneels, wavering, on the raft. The ocean is calm. Suddenly, BUMP. The raft tilts. Chuck hangs on. Then a shark appears, just out of spear range. Its lifeless black eyes seem to stare right through Chuck. If the Dorado was a gift from God, this is a message from Hell. Then the shark is gone.", "EXT.  RAFT - DAY - MOMENTS LATER Chuck lies back on the raft. He is humming. BADCHUCK What are you smiling about? They'll be back. GOODCHUCK I'm dancing on the roof of the Peabody Hotel. With Kelly. He smiles at the thought. GOODCHUCK The music ends. We go back to the table. The waiters have brought dinner. New York Strip with Bordelaise Sauce. Mushrooms in brown gravy. Roasted potatoes with garlic and rosemary. Green Beans with almonds. Fresh biscuits and cornbread, dripping with butter. A nice salad with ranch dressing. A jumbo shrimp cocktail. Thinks about that, it spoils the picture. GOODCHUCK No shrimp. -LRB- then. -RRB- We eat. He closes his eyes. This is the greatest fantasy. GOODCHUCK -LRB- as the waiter. -RRB- For dessert, we have pecan pie a la mode, we have a double chocolate cake with creme anglaise, we have a nice pear torte, fresh key lime pie, or perhaps if you care to wait a few minutes, a grand marnier souffle? Chuck thinks over the options, thinking of each one. GOODCHUCK Why, bring them all, bring them all. He rolls over. There, square in his vision, is a ship, its form coming in and out of a low haze. Chuck jumps to his feet. Waves. Screams. GOODCHUCK Here! Over here! The ship moves on. We can see the decks the rigging, the vastness of it. Chuck realizes he is naked. Struggles to pull on the remains of his pants finally holds them like a diaper with one hand as he continues to wave. On the ship no one is to be seen. It is a spooky sight. The big tanker moves on. We are on Chuck's face. Passed up again. Then he realizes what is about to happen. He throws out the sea anchor. He throws himself onto the raft and grips it as tight as he can, wiggles his feet into the ropes. CHUCK Oh, shiiiittt! Then comes the wake of the ship. It rocks the raft like a piece of flotsam. The raft rides high up on the wave, then shoots down it, but the sea anchor holds, and the raft slows and rides along with the wave. And then the sea is calm again. Slowly Chuck sinks to his knees. His hand lets loose his pants. He lies down on the raft and imagines the conversation with the ship's captain. CHUCK Permission to come aboard, sir. CHUCK/CAPTAIN Permission granted. CHUCK May I ask, where are you bound? CHUCK/CAPTAIN San Francisco. And you? CHUCK As it happens, I'm headed for Frisco myself. CHUCK/CAPTAIN Would you do us the honor of joining us? We're just sitting down at mess. Pork chops and gravy, cranberries, baked potatoes with all the trimmings, fresh - baked bread, apple pie. CHUCK No please, join me. Some sundried fish strips, a few eyeballs, some gills to munch on. The depression comes back again. BADCHUCK They're never going to see you. You're just another piece of trash in the ocean. GOODCHUCK They're on autopilot. BADCHUCK They're always on autopilot. Or else it's night, or you're in the sun, or you're in the trough of a wave. They'll never see you. GOODCHUCK Damn it! Do n't be so negative! Chuck picks up Wilson. GOODCHUCK Wilson, what's your story? He holds Wilson close to his chest. BADCHUCK I float. You sink. End of story. GOODCHUCK I'm serious. I'm always going on about me, me, me. Enough about me. Your turn. BADCHUCK It's a fucking soccer ball, you idiot. GOODCHUCK Shut up. He lies on the raft and holds Wilson close. We move up until we see -", "EXT.  OCEAN - AERIAL - EVENING Chuck lying curled up on the raft, Wilson cradled in his arms, and all around the vast empty ocean.", "EXT.  OCEAN - NEXT MORNING Chuck slowly wakes up. Sets Wilson aside. GOODCHUCK Do n't shirk, do n't procrastinate, do n't be lazy. We're okay today. We're okay today. And the other Chuck begins to laugh. GOODCHUCK Shut up. The laughter goes on. GOODCHUCK Shut the fuck up! I mean it. He stands up and checks the horizon. GOODCHUCK What's so damn funny? BADCHUCK You are. Suddenly Chuck sees something on the horizon. A bank of clouds. A cone of - land. He squints, stares again. The clouds part. It looks like - his island. Chuck does n't know whether to feel joy or despair. GOODCHUCK Jesus. BADCHUCK Look again, asshole. It's a mirage. Chuck squints. GOODCHUCK It's real. BADCHUCK Nothing out there but ocean. GOODCHUCK Let's get a second opinion. Wilson? What do you see? Chuck picks up the soccer ball, holds it up, and stares out at. ocean.", "EXT.  RAFT - DAY - LATER Chuck slowly writes on the sail. CHUCK Chuck Noland. Born October 8, 1958. Died - pick a date - July 11, 1998. And now the epitaph. Met deadlines. Kept appointments. Lost without a trace. He sits back, looks at the mock headstone. BADCHUCK What did it matter if FedEx was five minutes late one day? The next day we just start over again. GOODCHUCK It matters. We do the best we can, that's all we have. BADCHUCK Then we've just got shit. He goes on writing. CHUCK I am writing this to remind myself to live a better life. If I am lost, perhaps you who find this will be instructed to live a better live yourself. Live each day. Love your children. Do n't take anyone for granted. BADCHUCK Is that it? Life is a fucking Disney movie? The waves begin to grow, the ocean turns a slate gray. Far above him, great frigate birds circle. Suddenly one dives on a booby which has caught a fish. The great frigate bird swoops all around the booby until, panicked, it drops the fish, which plummets toward the sea. With a graceful dive, the huge bird grabs the fish and then soars up on a thermal, high into the sky. Lightning flashes back and forth across the horizon, which is turning black and dark. Thunder rolls.", "EXT.  RAFT - NIGHT The raft goes up and down huge waves. Every few seconds lightning flashes, illuminating the raft and Chuck holding desperately to it, his eyes wild with fear.", "EXT.  RAFT - MORNING The waves continue. Chuck holds on, his face pale. BADCHUCK You ca n't make it. GOODCHUCK Shut up. I do n't feel like dying today.", "EXT.  OCEAN - DAY - LATER The sky clears. The waves are still big. The fish are back. And then come the sharks, cutting through the water. Chuck ca n't get up to get his spear, he just has to watch as blood darkens the water. And then the sharks are gone. Chuck comes to his knees slowly, then a big wave hits. Wilson is swept into the ocean! For a moment Chuck is uncomprehending. He watches as Wilson slowly floats away. CHUCK Please, no sharks. Then he dives in to the water! Swims frantically after Wilson. Wilson floats away from him. He swims, but he's so weak. Finally he gets to Wilson. He reaches out, but only pushes the ball farther away. It bobs on the waves. Chuck treads water, exhausted. Where is the raft? CHUCK Jesus. Jesus. Jesus. Then he turns back the other way. The raft has drifted by him. He can go after Wilson, or he can go after the raft. CHUCK Shit! Wilson! He swims toward the raft, barely moving. No matter how hard he swims, the raft seems to recede from him. Finally he reaches it, hangs on the side, breathing hard, choking, crying. He struggles to pull himself on board. But he is weak, so weak. He ca n't do it. Summoning some primitive reserve of strength, he tries again. This time he slides on. He lies on the raft, panting. Then with all his strength he pulls himself to his feet, holds on to the mast, scans the ocean for Wilson. CHUCK Wilson! Nothing but waves. This is too much. Chuck starts to cry.", "EXT.  RAFT - DAY - LATER Chuck takes a swallow of water, washes it around in his mouth, then swallows. With his wet tongue he licks his cracked lips. The sun breaks through the clouds. With what strength he has left, Chuck raises the canopy, fastens it. He sits in the meager shade, his head between his knees. Closes his eyes. Just for a minute.", "EXT.  OCEAN - DAY - LATER A different sort of shadow crosses Chuck's face. He opens his eyes. There, riding right beside his raft, is a ship, a huge rusty tanker. Someone shouts down in a language we do n't understand. Chuck sits up, ca n't believe it. Struggles to cover himself.", "EXT.  OCEAN - DAY - LATER Chuck is lifted up the rusted steel side of the boat in a Jacob's ladder.", "EXT.  SHIP - DAY - LATER Chuck steps on board, ca n't support himself. The crew gathers around. None of them speak English, but there is a spontaneous outburst of human connection. One man brings some water. Another a blanket. Another some warm tea. Chuck sits there, shivering now. CHUCK Thank you. Oh thank you. Deliriously happy. Delirious.", "INT.  U.S. NAVAL HOSPITAL - HAWAII A cavernous hanger - sized ward brightly lit and filled with row upon row of hospital beds, each with its table, side chair, and lamp, each with a stainless steel bedpan and neatly folded sheets and blankets stacked ready to use, and each completely empty. Except for one. And on that bed we see Chuck, in a blue hospital gown. An IV drips into his arm. He plays idly with the remote control of the bed. He raises the head, then the foot. He pushes another button and the knee rest bends the bed again. A DOCTOR enters, carrying a thick chart. Chuck gives him a big manic grin. Malcolm MacDowell in `` A Clockwork Orange.'' CHUCK My favorite doctor. What's the verdict? DOCTOR Under the circumstances your overall health is good. Those salt water boils you picked up on the raft are ulcerated, but they're healing nicely. He checks his blood work records. DOCTOR Hemoglobin's 10.8 - you're anemic, that's why we're giving you iron. Potassium's low - we're giving you an electrolyte solution with your IV. Sodium's over 150, way too high. You may experience swelling in your extremities as you rehydrate and discharge the salt. In spite of your dietary deficiencies there's no sign of mental deterioration. Chuck has been trying not to laugh. Now he ca n't stop himself. DOCTOR What's so funny. Chuck ca n't seem to help laughing at everything. CHUCK Sorry. sorry. Why do my joints still ache? DOCTOR Dehydration. Vitamin deficiency. Protein deficiency. Any or all of the above. CHUCK All I ate was fish. That's solid protein. DOCTOR Protein digestion is very costly in water usage. CHUCK Which I did n't have. DOCTOR And fish are very low in fat, which is energy inefficient. So you're going to burn up your own cells no matter how much you eat. Luckily you ate the eyes and pancreas, which contain some Vitamin C, so you did n't get scurvy. Chuck laughs again. CHUCK I am one lucky guy. DOCTOR Your body chemistry and your exposure to the elements would normally lead to irritability, depression, anxiety, periods of self - reproach. It's almost like schizophrenia. Different sides of your personality might come to life, speak out, act out. CHUCK But all that's behind me. I'm fine now. He starts to laugh again. DOCTOR If you say you are. CHUCK I most definitely say I am. DOCTOR Doctor Hegel tells me he discussed the Vietnam POW syndrome with you. Chuck stifles his laughter. CHUCK Yes, yes he did. DOCTOR You are aware of the potential disruptiveness on your loved ones when you return to your old life? CHUCK Not to mention on me. The laughter again. Unsettling. DOCTOR You sure you do n't want some counseling? Chuck gives his biggest smile. CHUCK Doc, I'm not on the island. I'm not on the raft. I'm alive. I'm so glad to be back, I ca n't tell you. I just want out of here. DOCTOR Well, when that IV runs out, you're through with us. Just the dentist tomorrow.", "INT.  HOSPITAL - NIGHT - LATER Rolling his IV, Chuck walks very slowly out of the ward. Every step is an effort.", "INT.  PHONE CUBICLE - NIGHT - MINUTES LATER A small windowless room with only a desk and a phone, lit by a fluorescent lamp. Chuck is listening to the phone ring. Kelly answers. KELLY -LRB- V.O. -RRB- Hello. Chuck is overcome for a moment, ca n't say a word. KELLY -LRB- V.O. -RRB- Hello? Hello? For some reason he ca n't keep himself from laughing. He covers the mouthpiece and laughs. And then we hear a dial tone, harsh, mechanical, final.", "EXT.  PHONE CUBICLE - MINUTES LATER We can see Chuck inside, staring at the phone.", "INT.  PHONE CUBICLE - MINUTES LATER We hear a faint persistent hum. Chuck looks around, trying to locate the sound. He looks up, focuses on the fluorescent light, that background sound he can no longer tune out, then picks up the phone again.", "EXT.  PHONE CUBICLE Stan answers the phone. STAN -LRB- V.O. -RRB- Hello? CHUCK Stan, it's Chuck. Chuck Noland. The laughter again. STAN -LRB- V.O. -RRB- Whoever you are, you are one sick fucker. And again we hear the dial tone.", "INT.  PHONE CUBICLE - MOMENTS LATER Chuck's on the phone again. CHUCK Two Valium and the Rolling Stones. That ring a bell? There's a long silence. Then we hear Stan's voice. STAN -LRB- V.O. -RRB- God damn! God damn! Chuck, it's you! CHUCK It's me. STAN -LRB- V.O. -RRB- You're fucking dead! CHUCK I'm most definitely not dead. And as I recall, you're the sick fucker. Chuck begins to laugh, a little too loud, a little too shrill. He's on a high.", "EXT.  HAWAII - BEACH RESTAURANT A terrace by the ocean. Tables filled with diners. Food being delivered by waiters. So simple, eating. So taken for granted. At one table sits Chuck, dressed in a Hawaiian shirt and shorts, with a half - dozen plates in front of him. He gestures to the waiter. Bring me more. It all tastes so damned good. Behind him is the ocean. Chuck does n't glance at it.", "INT.  DENTIST - NEXT DAY An attractive DENTAL TECHNICIAN with an Australian accent cleans Chuck's teeth with an ultrasound device. She's close, very close. Chuck looks up at her. She looks really good. She smiles at him, then touches the gap where he knocked out his tooth. TECHNICIAN You sure you do n't want to have the implant done here? We do quite good work. Chuck shakes his head : no. She scrapes behind his front teeth. TECHNICIAN Hmmm, you do have such a lot of tarter behind these front incisors. A little wider, please. Chuck opens his mouth even further. The technician talks on in the self - absorbed way dental technicians sometimes do, that constant babble of human contact which Chuck has not heard for four years. TECHNICIAN Anyway, so the second prosthetic foot worked better, but he still could n't drive his new Cortina, it being a standard shift, if you follow me. Chuck nods. I follow you. TECHNICIAN But would he hear of me driving him around? Not on your bloody life. Rinse please. Chuck does. Stan bursts into the room. STAN Chuck! God damn! Chuck struggles out of the chair. STAN God damn. God damn. God damn. They are both almost overcome. Stan holds Chuck by the shoulders and looks at him. STAN You're alive, you're fucking alive! Chuck laughs, thrilled to see Stan. CHUCK I beat the odds! STAN You beat'em to shit, pal! Jesus! TECHNICIAN I still need to floss you. Stan notices the technician. STAN Hello. CHUCK This is Amber. Her boyfriend lost his foot in a shark attack. He says this with an absolute straight face, holding back the laughter with great effort. Instantly there's this connection again between him and Stan. TECHNICIAN Ex - boyfriend. STAN Really. And he and Chuck make eye contact and we see a glimpse of their shared unspoken irony. STAN Uh, there's somebody out here who wants to see you. Chuck stares sharply at him. Kelly? Stan nods, but there's something he wants to say. STAN She thought you were dead. We all did. That's not all Stan wants to say. But Chuck is limping out the door.", "INT.  DENTIST - WAITING ROOM Typical dentist waiting room. Chairs, tropical fish tanks, magazines, a few waiting patients. and Kelly, looking nervous. Slowly and painfully Chuck enters. He's quite a sight. She stands up. There's a long moment where they look at each other. Then she comes into his arms. Holds him tight. She's part laughing, part crying. KELLY I'm sorry. I'm sorry. CHUCK Hey. hey. it's okay! Chuck is happy, he's still riding the high. KELLY You're so thin. Am I hurting you? Well, maybe a little, but who cares? He has n't been hugged or barely touched in so long. CHUCK No. no. feels good. She disengages, looks at him with that old smile. KELLY Right back, you said you'd be right back. CHUCK A few things came up. Or went down. He meets her gaze, looks her over with a smile. CHUCK You look. wonderful. I like your hair. He notices the ring on her hand. KELLY I got married. CHUCK I thought you might have. KELLY I would never - CHUCK I know. KELLY If I'd known you were alive - CHUCK I would have done the same thing. His responses come so quick. Chuck seems blissfully sure of himself. KELLY I did n't want to. It just happened. One day Gary was there. He took care of everything. He took care of me. I was a mess. CHUCK You have any children? Kelly nods. CHUCK Got a picture? Kelly fishes for a photo, shows it to Chuck. It's a little girl with a dog. KELLY Her name's Hannah. CHUCK Is that Jango? KELLY No, this is Jack. Jango was hit by a UPS truck. Can you believe it? Chuck laughs. It is funny, sort of. CHUCK Life's just one big joke after another. Stan appears, takes in the scene. The few patients waiting are edged into the corners, trying to look occupied with something else. STAN How about we go somewhere else? CHUCK Want to see my raft?", "EXT.  HAWAII - DAY Chuck's raft sits up on a dock. Kelly stands staring at it. How small and fragile it looks. STAN This stinks really bad. CHUCK You should have smelled me. Stan examines the ropes around the logs. STAN Cool ropes. CHUCK I braided them. STAN Must have taken a hell of a long time. CHUCK Time I had lots of. Kelly points at something on the raft. KELLY What's that? CHUCK That's my sea anchor. My second one. Made it out of part of the sail. It keeps you from capsizing in a storm. In theory. -LRB- picks up his still. -RRB- And this, this I used to collect water. About half a cup a day. He's not feeling sorry for himself. It's just a fact. STAN You were how long on this? CHUCK Forty - three days. They look at the tiny raft. It speaks for itself. KELLY All that time I waited to go on a cruise, and you went without me. CHUCK Yeah, well. could n't be helped. Kelly notices the sail, sees the writing on it. KELLY What's that, written on the sail? CHUCK My epitaph. Kelly reads it to herself. Her eyes are moist. CHUCK Bad body chemistry. Made me a little morbid. But I'm all over that now. And he seems really to believe it. STAN I'll be at the car. -LRB- to Kelly. -RRB- Take you to the airport. And he leaves. KELLY I buried you, Chuck. They had to pry my fingers off your coffin. This interests Chuck to no end. CHUCK There was a coffin? KELLY Yeah, coffin, headstone, the whole thing. CHUCK What was inside? KELLY Your calendar, your cell phone, your whoo pig sooey hat, some pictures of that ketch you wanted. CHUCK That about sums it up. KELLY Maybe now's when you tell me about it. CHUCK The plane went down. My friends died. I washed up on an island. Then I found these barrels, built the raft, and here I am. KELLY Yeah? CHUCK The tide came in, the tide went out. I survived. That's the headline. I survived. KELLY Do n't overwhelm me with the details. -LRB- she smiles remembering. -RRB- You know how I hate that. He tries to put it into words, is n't quite sure how. KELLY -LRB- gently. -RRB- Come on. Try. CHUCK Cliches, mainly. Do n't take anyone for granted. Do n't sweat the small stuff. Live each day like it's your last. KELLY So simple to say, so hard to do. CHUCK Not when you have no choice. Kelly looks down at the raft. It's so small. KELLY You hated being alone. Could n't stand it. Busy every minute. Always plugged into something. CHUCK I did n't know what really being alone was. No one back here does. He has something more to say. She waits. CHUCK We're not meant to be alone. Not like that. Share life, that's what came to me out there. Be with someone. And that's the point, is n't it? We are social animals. No man is an island. KELLY This is so unfair. CHUCK That's what I told the fish I caught. But I ate them anyway. And the laughter comes again. Kelly grins, embarrassed, a little worried. KELLY You okay? CHUCK Great. Really. She stares at his face, reaches out, touches it again, this time with great tenderness. He nods, her touch feels so good. A wave of emotion comes over her : pity? love? KELLY What will you do? CHUCK I do n't know. I really do n't know. We hear a distant beep - beep, discrete as a car horn can be. KELLY I've got to get back to Memphis. Hannah's babysitter has finals. CHUCK It means a lot. that you came. KELLY I had to come. To be sure you were okay. They hold each other. For a long time. KELLY I love you, Chuck. CHUCK You too. KELLY I'm so glad you're alive. Chuck grins. CHUCK You too. Then she heads for the waiting car. Chuck stands by his raft, watching her go.", "INT.  FEDEX PLANE - NIGHT Chuck and Stan ride on the plane. Chuck is coming down off his survival high. He has the Angel Wing FedEx package with him. STAN When I first showed up, I thought you'd lost your fucking marbles. CHUCK I never thought it would end. Then it did. It was so great to be saved, I could n't stop laughing. Stan pulls a flask out of his bag. STAN You need a drink. Stan takes two glasses from his bag, rests them on a FedEx container, and pours the whiskey. CHUCK For years my only drinking buddy was a soccer ball. Wilson. Stan hoists his glass. STAN To Wilson. CHUCK To Wilson. Now's when Stan gets to the question he's been wanting to ask, that Kelly wanted to know, that we all want to know. STAN So, what's it all about? Chuck stares at him. STAN You've been over the line and you came back. You've been saved, hallelujah! CHUCK Hallelujah. Stan looks over at him. STAN I'm serious. The burning bush, the big picture, the words in neon. CHUCK What's it all about? It's about being so thirsty you'd crush a fish's backbone to suck out the spinal fluid - that's what it's about. Stan sits back, repulsed but relieved. STAN Do what it takes. That's what I always told you. He pours another drink. STAN To life. Fuck'em if they ca n't take a joke. CHUCK To life. STAN That's all there is. CHUCK Believe me I know. He takes a sip of his drink, just savoring it, thinking. CHUCK But it's not being bold or being in the game or rolling the dice. All those things Stan used to tell him. CHUCK When I was going crazy, on the raft, I'd argue with myself about everything. Because everything had a price. To get anything - a sip of water, a little corner of shade, an hour's sleep - I had to let go of something else. And then I could never get it back. He thinks some more. CHUCK You do n't win or lose. You win and lose. He looks out the window. CHUCK You win and lose. And Chuck has. Big time.", "EXT.  MEMPHIS AIRPORT - NIGHT A FedEx MD - 11 lands.", "EXT.  MEMPHIS SUPERHUB - MOMENTS LATER The MD - 11 taxis up. As usual, the SuperHub is a frenzy of activity. A loading crew stands ready, forklifts poised. Even this plane carries packages. PHIL STEELE, the chairman of FedEx, Leslie, Becca, Dick, and other executives wait on a special podium near the gangway. Everyone looks different - older, a mustache here, a thickening around the belly there. Behind a barrier a cluster of cameras film the scene. The plane cuts its engine. The stairs are rolled out. Forklifts and gangways move forward. Cargo doors open. Chuck appears in the door. He holds the FedEx Package and a small travel bag. Chuck blinks against the lights and the glare. Stan is right by him. Everyone bursts into APPLAUSE AND CHEERING. After four years of total solitude this is completely overwhelming. STAN Smile. Chuck smiles. STAN Wave. And Chuck waves. He's overwhelmed by all the input. Stan steers Chuck down the steps as the cheers continue. At the bottom of the steps Roger steps forward. The two brothers embrace each other. After a moment Roger disengages. Mary gives Chuck a hug. MARY Oh Chuck - CHUCK Where's Mom? ROGER Waiting for you. At the farm. This was too much - He looks around at the crowds. CHUCK Tell me about it. Stan nudges Chuck. Time to go to the podium. ROGER Glad you made it, big brother. Stan and Chuck head for the podium. All the loaders and operators and package scanners begin to applaud. Chuck smiles, then laughs, getting into the emotion. He keeps up an almost indecipherable babble underneath the cheering. Occasionally he sees someone he knows. CHUCK Wow. Thank you. Great. Thank you. Hey, Rasheed, how you doing? Thank you all.", "EXT.  SUPERHUB - WIDE Chuck makes his triumphant way through this amazing collection of cheering people like Moses parting the Red Sea.", "EXT.  SUPERHUB - PLATFORM With a big smile Phil Steele holds out his hand to Chuck. STEELE Welcome home. He steps to the microphone and addresses the SuperHub. STEELE This is an extraordinary moment. And it should be marked in an extraordinary way. With something we have never done since this company was founded. -LRB- pause. -RRB- Stop the line!", "EXT.  SUPERHUB - SERIES OF SHOTS All over the SuperHub, belts come to a halt. Forklifts stop. Tracking stations shut down. The vast flow of packages is suddenly still. The incredible din of activity is suddenly quiet. The stillness and the silence are unexpected and palpable. Thousands of workers stop as well, staring either up at Chuck directly or at his image on video screens. We hear Phil's voice piped in.", "EXT.  SUPERHUB - PLATFORM Phil holds a plaque. STEELE Four years ago we placed this plaque in honor of Charles Noland, and two just like it in honor of Al Morris and John Durham, the two brave pilots who went down with him. As he talks, we stay on Chuck, who is taking in this amazing scene, not really listening. STEELE Chuck endured years of hardship and loneliness. Like Lazarus, Chuck has come back from the dead. Chuck, this is your family, all of us. So it gives me great pleasure. to take this plaque. and to present it to our long lost son. Welcome home. He hands the plaque to Chuck. Chuck acknowledges the cheers of the crowd. CHUCK Thank you. Thank you very much. Everyone applauds. CHUCK Give me a minute. I've spent four years looking out at an empty ocean. He laughs, a short brittle laugh, composes himself. CHUCK It's all so - big. You never think you'll miss - all this. But I did. I really, really did. And I missed all of you. He looks over at the hub. CHUCK You've added some new belts, and what's that? He points at some high tech equipment on the edge of the shed. STAN Digital laser readers. CHUCK Digital laser readers. Wow. Terrific. He looks around at everyone, does n't know what else to say. CHUCK I've never heard it this quiet. Should n't you all be getting back to work? The tension is broken. Everyone laughs. Phil Steele motions with his hand. Let it be done. ANOTHER ANGLE - WIDE The vast, incredible machinery creaks to a start. Everyone shakes Chuck's hand as he leaves the podium. As he heads for the car, REPORTERS shout questions.", "INT.  CAR - MEMPHIS FREEWAY We are assaulted by a surge of light, motion, activity. Snaking lines of traffic in both directions, big overpasses, the city rising beyond. Stan drives with a certain aggressiveness. Chuck looks out at the traffic, at all the activity, at the vast intricate anthill of humanity going everywhere and nowhere. CHUCK Take your time. STAN What? CHUCK That's what it's about. STAN Being patient. Do n't rush things. I get it. He swerves into another lane. CHUCK Not just that. Take your time. Use it. Live it. STAN Deep, real deep. He grins, cuts across to the exit. STAN So where to? The office? The hotel? The beach? Chuck stares at him. Are you kidding? STAN What, then? CHUCK Deliver this package. Then, I dunno. STAN -LRB- re : the package. -RRB- You want that delivered, we'll deliver it. That's what we do. CHUCK I need to do it. STAN Finish what you started. You have n't changed, Chuck. It's still you. Right. CHUCK You want to help, help me find the woman who sent this.", "INT.  OPERATIONS CENTER - DAY Stan and Chuck are in the office of a TECHNICIAN who is working away at his computer. The Technician pulls the bar code from the Angel Wing FedEx box up on his computer screen. TECHNICIAN Okay. After three years the PTR reverts to tape storage, which is okay because we access it through the CPC. Here it is. -LRB- gestures at computer map. -RRB- Ten packages from the same sender. Baku. Delhi. St. Petersburg. The guy was a real road warrior. This package was Kuala Lampur. No activity in his account after this package. No forwarding addresses after K.L. CHUCK What about the sender? TECHNICIAN Sure. Bettina Peterson. Marfa, Texas. Let's run a current check. He works some keys, waits. TECHNICIAN Hmmm. Durango, Colorado ; Asheville, North Carolina, then. canceled her account. CHUCK Can you find her? TECHNICIAN You're looking at a Level III search. For your Level III, you got ta have E - 4 authorization. I do n't have it. STAN I do. He holds out a badge. TECHNICIAN Okay, let's let it rip. He starts to pull up the data. CHUCK Thanks. For everything. STAN No sweat.", "EXT.  CHUCK'S MOTEL - THAT NIGHT Chuck leaves the motel, the Angel Box under his arm. He ties it into a pannier on the side of a bicycle.", "EXT.  MEMPHIS - CHICKASAW GARDENS - NIGHT Chuck sneaks up to a craftsman cottage and stands by a tree with a swing on it. Inside we see Kelly making dinner for her husband, who plays with their daughter. For a moment Chuck watches through the window, and we watch with him. Then the dog begins to bark.", "EXT.  CEMETERY - NIGHT Chuck walks through the cemetery late at night. He comes to his gravestone, stares for a long moment at the inscription, then takes out a spray can of paint and puts a HANDPRINT on it. He gets back on his bicycle and rides away.", "EXT.  HIGHWAY - DAY Chuck rides his bicycle down a road leading into the South.", "EXT.  FREEWAY - DAY Chuck negotiates an overpass crossing an Interstate Highway. Headed in both directions, cars whoosh by beneath him.", "EXT.  HIGHWAY - DUSK - LATER Chuck rides down a narrow road, shrouded in mist. Moss drips from the trees reaching over the road. A car goes by. Then another, their lights like halos in the fog. It's a mystical scene, a passage.", "EXT.  ARKANSAS - NIGHT Chuck gets off his bicycle in the rain and walks toward a roadside cafe.", "INT.  CAFE - NIGHT Chuck draws on a paper place mat as he waits for his meal at a counter. Above the counter the television plays. ANNOUNCER And here's more from Dingo Dodd, our Australian correspondent, on the extraordinary story of Chuck Noland, the modern Robinson Crusoe. The waitress sets a plate down in front of Chuck, turns to watch. On the TV we see an Australian correspondent standing on Chuck's beach. DINGO DODD Shark infested waters! A deserted island! Surrounded by reefs! Accessible only by helicopter! For four years Chuck Noland survived here alone, eating fish, coconuts and clams, his only companion a soccer ball. Chuck is staring at the screen, seeing his cave, seeing all those years. DINGO DODD I'm now in Chuck's cave where he passed the lonely nights, painting on the walls like some prehistoric caveman. What did Chuck feel? These paintings tell the story, but only Chuck knows what they mean. And he's not talking. On the screen we see a photograph of Chuck. The waitress looks over at Chuck. The other clients look at him too. CHUCK Check, please. The waitress comes over. WAITRESS No charge, honey. But could you just sign that place mat for me? Chuck looks down at his doodling. Hesitates. Then signs his name.", "INT.  TYSON'S CHICKEN - ARKANSAS - DAY Thousands of chicken carcasses hanging on hooks circle through the huge processing plant, a vast structure on the scale of the SuperHub or the Hospital. Chuck's Mom, dressed in white with a hairnet, enters a windowed office in the b.g. Through the window we see her hug Chuck.", "INT.  TYSON'S CHICKEN - OFFICE - ARKANSAS - DAY We are in the office now. Chuck's Mom's eyes are moist. CHUCK When'd you start working here? MOM Roger got me on. I was n't doing anything, and - but you're back, you're really back. I would have come to Memphis, but - CHUCK I wanted to come here.", "INT.  FRAME HOUSE - ARKANSAS - DAY Chuck eats a Southern fried drumstick. The table is full of home - cooked food. MOM Have some more potato salad. Chuck gestures, no, I'm full. She puts down the spoon. CHUCK That was great, Mom, just great. He looks around the house, everything in its place. His mother has been here for forty years. There's a big crack running down from the ceiling. CHUCK I've got all this back pay coming. Why do n't you let me get you a place in town? MOM This is my home. I'm part of the wallpaper. She studies him for a moment. MOM You miss it, do n't you? You miss that island. He does, but that's not it entirely. CHUCK Miss that island? Mom, come on. She looks at him. She knows her boy. MOM What a journey you've had. It seems more than a person should have to bear. CHUCK The tide saved me, Mom. I lived by it. I'm just wondering where it will take me next. She looks at him, thinks about this. MOM Remember the family motto. In time. It will come to you, in time.", "EXT.  ARKANSAS - DAY Chuck rides away from the small neat frame house, down a country lane with trailers up on blocks.", "EXT.  GULF COAST - DAY Chuck leaves a cheap motel as the sun comes up.", "EXT.  MISSISSIPPI GULF COAST - DAY - LATER Chuck rides on a ferry, the wind blowing his face. The sky is gray and drizzly. He smells the salt water. Watches the waves.", "EXT.  GAS STATION - DAY Chuck asks for directions. A kid in baggy pants and no shirt points him down the road.", "EXT.  GAS STATION - MOMENTS LATER Chuck pulls some clothes out of his saddle bags.", "EXT.  GAS STATION - MOMENTS LATER Chuck emerges from the restroom wearing a FedEx shirt and shorts.", "EXT.  BEACH HOUSE - HOUR LATER A classic beach house. Sand dunes, stilts. Carrying the Angel Wing Box under his arm, Chuck checks the address in his hand. Mounts the steps. A light mist falls. You can see the Gulf behind the house, gray and moody. A WOMAN, BETTINA, answers the door - THE woman from the beginning. She wears cut - off jeans and a blue work shirt covered with paint. There's a tattoo on her ankle. CHUCK FedEx for Bettina Peterson. The woman stares in disbelief at the package she has n't seen in years and never expected to see again. BETTINA Where did you get that? Chuck displays a FedEx badge. CHUCK Charles Noland. FedEx Special Projects. Bettina notices Chuck's bicycle. BETTINA You came on a bicycle? No wonder it's so late. CHUCK There was an unavoidable delay. Bettina stares at the package, her own memories coming back. BETTINA Well, I have to say, I'm impressed. You never gave up. CHUCK No. She holds the box and studies him for a long moment. Something - the look on his face, the extraordinary reappearance of this long - lost package - makes her curious. BETTINA You know what happened to this? CHUCK As much as anybody. BETTINA Want to come in? Get dry for a minute. CHUCK Okay. Sure. She lets Chuck in the door.", "INT.  HOUSE - DAY Ladders. Scaffolds. Huge paintings are everywhere. Paintings of wings and angels - like the package. Chuck stares at them. Bettina watches Chuck stare. BETTINA I've got some coffee on. Would you like some?", "INT.  KITCHEN - LATER Bettina pours some coffee. The package sits in the counter. Some magazines are spread around, including a People Magazine with Chuck's photograph on the cover. CHUCK -LRB- takes a sip. -RRB- It's good. They smile awkwardly at each other. She starts to open it. BETTINA Hmmm. Feels like it might have gotten wet. CHUCK Possible. So you did those wings? BETTINA Yeah. A long time ago. CHUCK They're harder to do than they look. BETTINA Oh? You've tried? CHUCK Well, I do a little drawing - She's opened the package. She pulls out the bottles of salsa and the letter. CHUCK Our apologies that it never made it to the recipient. BETTINA He was a sorry sonofabitch, and I'm sorry I ever married him. There is a moment where neither knows what to say. BETTINA You look familiar. Her eyes start to register recognition. She glances at the magazine with Chuck's picture on it. She picks it up. BETTINA I ca n't believe this. I - I - They are. You're a gifted artist. You're into something very powerful. Primal. Truly. CHUCK Well, not really, I - BETTINA You are. Yes you are. -LRB- so many things she wants to say. -RRB- What gave you the idea to paint on that cave? Chuck thinks about that. After a moment, he grins. CHUCK To tell you the truth - you did. BETTINA Do you. have any more packages to deliver? CHUCK No. that was the last one. BETTINA Just sit here, I'll get us some lunch. Chuck sits back on the couch, taking in the sight of the ocean in the light rain. He looks over at all the canvases, the easel, the palettes. The wind rustles the palm trees around the house. The surf crashes and rustles. Familiar sounds. Island sounds. He relaxes a little. Maybe the package with the wings was a sign, he kept it all these years precisely for this. Then there's a sound of a truck in the driveway. The engine cuts off. There are steps on the porch. The door opens. A tanned muscular MAN in neatly kept work clothes comes in, hangs a tool belt on a hook by the door. He looks at Chuck with a relaxed, even stare, as if seeing a man in a FedEx uniform sitting on his couch is not an unusual occurrence. MAN Hey. CHUCK Hey. BETTINA -LRB- O.S. -RRB- In here! The Man nods at Chuck, goes into the kitchen. We are on Chuck's face. Who's this? We hear muffled laughter from inside.", "EXT.  BEACH HOUSE - HOUR LATER Arms around each other, the Man and the Woman say goodbye to Chuck. In the front yard is a panel truck painted with two angel wings. The Man grins at Chuck, an easy, friendly grin. MAN Come back anytime. Coffee's always on. Do n't even have to bring us a package. CHUCK That was my last one. Bettina hands Chuck a sheet of paper. BETTINA The list of paints and brushes I did for you. He takes it, not exactly sure he wants it. BETTINA Keep painting. Promise me. CHUCK Sure.", "EXT.  BEACH HOUSE - MOMENTS LATER Chuck rides his bicycle away, along the shore.", "EXT.  BEACH - MINUTES LATER Chuck rides along the beach. Up ahead we see a FedEx truck.", "EXT.  BEACH - MOMENTS LATER Chuck gets off his bike as a female FEDEX DRIVER puts chocks under the wheels, which have stuck in the sand. CHUCK Need some help? DRIVER You bet I do. High tide comes right up to this road.", "EXT.  BEACH - MOMENTS LATER Chuck pushes on the truck as the driver gives it gas. The truck slowly pulls back onto the pavement.", "EXT.  BEACH - MOMENTS LATER The Driver gets out of the truck with a grin. She has an open, friendly face. There's an instant connection between them. DRIVER Hey, thanks. I'd never have got that out by myself. Looks at his uniform. At the bike. DRIVER You're not out of Pascagoula, are you? CHUCK No. Where is he from, anyway? CHUCK I used to drive one of those. A long time ago. DRIVER Hey, once a driver, always a driver. You want a lift? I've just got one more pickup. CHUCK Sure. He picks up his bike.", "INT.  FEDEX TRUCK - MOMENTS LATER The FedEx truck makes its way down the beach, Chuck in his uniform, the Driver in hers. Two FedEx people in a truck. The Driver looks over at Chuck. DRIVER You're Chuck Noland. CHUCK Yeah. DRIVER/ERICA I knew it! You're a legend! Mr. Robinson Crusoe. CHUCK Well - ERICA I knew I recognized you. My name's Erica. They smile at each other. Then she smiles a little more. ERICA Did you really steal a crippled kid's bicycle to make your deliveries, or is that just some bullshit story? CHUCK I did n't steal it, and he was n't crippled. Erica laughs. ERICA Otherwise it's completely true. And that makes Chuck laugh, really laugh, for the first time. CHUCK Yeah, completely. She looks over at him with a grin. ERICA What brings you out to the sticks? CHUCK Had a package to deliver. ERICA You? Personally? CHUCK I had it on the island with me. ERICA Must be a story there. There's a connection building here, effortlessly.", "EXT.  BEACH - MOMENTS LATER We are wide on the beach, watching the truck move along the water, kicking up wisps of sand. CHUCK -LRB- V.O. -RRB- Yeah, a long one. ERICA -LRB- V.O. -RRB- I've got lots of time. CHUCK -LRB- V.O. -RRB- So do I. The truck goes down the beach and then turns inland, away from the ocean. Away from all that. CHUCK -LRB- V.O. -RRB- So do I. And we pull back, taking in the sweep of the beach, the estuaries, and the green forest stretching back into America. The end is the beginning. FADE OUT."], "labels": [0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0, 1.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0], "summary": "In 1995, Chuck Noland (Tom Hanks) is a time-obsessed systems analyst, who travels worldwide resolving productivity problems at FedEx depots. He is in a long-term relationship with Kelly Frears (Helen Hunt), whom he lives with in Memphis, Tennessee. Although the couple want to get married, Chuck's busy schedule interferes with their relationship. A Christmas with relatives is interrupted by Chuck being summoned to resolve a problem in Malaysia. Flying through a violent storm, his airplane crashes into the Pacific Ocean. Chuck is able to escape the sinking plane and is saved by an inflatable life-raft but in the process, loses the raft's emergency locator transmitter. He clings to the life-raft, loses consciousness, and floats all night before being washed up on an island. After he awakens, he explores the island and soon discovers that it is uninhabited. Several FedEx packages from the crashed plane wash up on the shore, as well as the corpse of one of the pilots (whom he buries). He initially tries to signal for rescue and makes an escape attempt with the remnants of his life-raft, but he cannot pass the powerful surf. He searches for food, water, shelter, and opens the packages, finding a number of potentially useful items. He leaves one package, with a pair of wings painted on it, unopened. During a first attempt to make fire, Chuck receives a deep wound to his hand. In anger he throws several objects, including a Wilson Sporting Goods volleyball from one of the packages. A short time later he draws a face in the bloody hand print on the ball, names it Wilson and begins talking to it. Four years later Chuck is dramatically thinner, bearded, his hair is longer, and he is wearing a loincloth. He has become adept at spearing fish and making fires. He also has regular conversations and arguments with Wilson. After a large section from a portable toilet washes up on the island, Chuck uses it as a sail in the construction of a raft. After spending some time building and stocking the raft and deciding when the weather conditions will be optimal (using an analemma he has created in his cave to monitor the time of year), he launches, using the sail to overcome the powerful surf. After some time on the ocean, a storm nearly tears his raft apart. The following day, \"Wilson\" falls from the raft and is lost, leaving Chuck overwhelmed by loneliness. Later, he is found drifting by a passing cargo ship. Upon returning to civilization, Chuck learns that he has long been given up for dead; his family and friends held a funeral, and Kelly has since married Chuck's dentist and has a daughter. After reuniting with Kelly, the pair profess their love for each other but, realizing a future together would be impossible due to her commitment to her family, they part. Kelly gives Chuck the keys to the car they once shared. Chuck then travels out into the country to return the unopened FedEx package to its sender. The house at the address is empty, so he leaves the package at the door with a note saying that the package saved his life. He then departs and stops at a remote crossroads. A woman passing by in a pickup truck stops to explain where each road leads. As she drives away, Chuck notices the illustration on her truck is similar to the one on the parcel. Chuck is left looking down each road. The camera focuses on his face as he looks toward the departing woman in the truck.", "name": "Cast_Away"}
{"scenes": ["EXT. HUSHPUPPY'S HOUSE - DAWN An abandoned looking trailer sits on top of two 15 - foot - tall oil drums. Distant thunder trembles through the peeling metal panels. The structure is in such disrepair, that surely no one lives here. But then, a light goes on.", "INT. HUSHPUPPY'S HOUSE - MORNING A tiny hand sculpts the mud on top of a crawfish hole placed on the floor. We pan up to reveal a little girl examining a baby chicken that appears to be dead. This is HUSHPUPPY, an unkempt and seemingly uncared for six - year - old with a gaze of unmistakable wisdom. Hushpuppy places the chick on the crawfish hole, like a queen on her throne and the chick twitches to life, cheeps twice. Hushpuppy's esoteric science experiment is interrupted by DISTANT THUNDER. Her eyes stand to attention.", "EXT. SHACKO IN THE BACKO - DAY An eerie, harsh wind whips hay and dust through over a giant slumbering pot - belly pig. Hushpuppy, donned in boys' underpants and a child - sized wife - beater, tip - toes behind the epic creature. She studies it, wonderful, is this the source of the thunder? With the utmost delicacy, she lays a hand on the pig's belly. We hear his HUGE BEATING HEART.", "EXT. HUSHPUPPY'S HOUSE - VARIOUS A series of glimpses of Hushpuppy's scientific method. She chases geese, chickens, ducks, dogs around the property - a cross between an abandoned farm and salvage yard. Hushpuppy grabs a baby chick and puts it to her ear. A TINY HEARTBEAT. She listens with focused wonder and intensity. HUSHPUPPY -LRB- V.O. -RRB- All the time, everywhere, everything's organs be beatin' and squirtin' and talkin' to each other in ways I ca n't understand. Mosta the time they probably just sayin' `` I'm hungry,'' or `` I got ta poop,'' but sometimes they talkin' in codes. Hushpuppy's eyes dart up as a MAN'S VOICE yells - MAN'S VOICE -LRB- O.S. -RRB- Get up, get out of here! We hear a YOWL as a cat is flung across the room. A window made from a gas station sign opens in a Robinson Crusoe style tree house patched together from storm debris and discarded appliances. A wild man with severe features, a frazz of unkempt hair, and brawler's scars opens a window made from a metal sign. This is WINDELL EMMETT DOUCET, known to all as WINK -LRB- 39 -RRB-. WINK Get your pants on, man! Wink kills a beer and sends it out the hole in the wall into a basketball hoop attached to a fishing net that stretched 15 feet down to the ground. The net is overflowing with beer cans.", "EXT. HUSHPUPPY'S HOUSE - DAY Hushpuppy obediently climbs a series of increasingly bigger and bigger oil drums that function like a ladder, up to the door of her house.", "EXT. SHACKO IN THE BACKO - DAY We now see Wink in his morning ritual. He opens a cooler with a butchered chicken inside it and tosses the bird on the grill. He goes to the front porch and pours down a bag of dog food. He pulls a clothesline that leads to Hushpuppy's trailer. A BELL RINGS. WINK Feed up time! Feed up! Hushpuppy, now wearing pants and a slightly more proper T - shirt, comes running down the oil barrels to her house. She echoes her Daddy. HUSHPUPPY Feed up time! Feed up!", "INT. ABANDONED BUS - DAY Hushpuppy devours the whole roast chicken with her hands, getting right in there like it was a candy apple. It looks really yummy. Pigs, dogs, chickens, and cats are chowing down all around her. A hatch opens above her and we realize we're in the bottom of the Shacko. Wink sticks his head through the hatch and throws corn to the chickens. WINK Share with the dogs. Hushpuppy rips off a piece of chicken and flings it to a filthy chihuahua with no hair on the back half of its body. This is WINDELL, in spite of her circumstances, quite a handsome young pup.", "EXT. BATHTUB MARSH WATER - THE TURCK - EVENING WIDE, we see Hushpuppy and Wink drift through the marsh. They ride in a severed truck bed floating on top of oil drums. A motor is strapped to the back. A sign on the boat reads `` The Turck'', Hushpuppy's spelling of `` Truck''. They look out to where the water goes all the way to a monolithic, 20 foot wall stretching infinitely into the distance. This levee, the first piece of modern construction we've seen, encloses the civilized world, protecting it from rising water. The Bathtub is on the wrong side of wall. Wink stares out at the distant factories behind the wall with a peaceful and confident disdain. Hushuppy matches his relaxed defiant expression. WINK Ai n't that ugly over there? He takes a long pull on his beer. WINK -LRB- CONT'D. -RRB- We live in the prettiest place on earth. Hushpuppy looks over the wall to the Dry Side. It's an endless sprawl of oil processing power plants without a tree or bird in sight. This is the engine that runs the Northern world. HUSHPUPPY -LRB- V.O. -RRB- Daddy says, up above the levee, on the dry side, they're afraid of the water like a bunch of babies. They built the wall that cuts us off.", "EXT. AERIAL BATHTUB - DAY We fly over marsh and water, coming upon a tiny crop of shanties on an island perched at the very bottom of the land. HUSHPUPPY -LRB- V.O. -RRB- They think we all gon na drown down here. But we ai n't goin' nowhere.", "EXT. CAUSEWAY - PRE-FLOOD - DAY CLOSE ON Hushpuppy letting out a WARRIOR SCREAM in a mass of HOLLERING people. They stand on a long and crumbling road surrounded on both sides by water. The rag tag band of revelers charge forward WHOOPING and SHOUTING. Hushpuppy kisses her hand and smacks the town sign. `` Isle de Charles Doucet'' is crossed out and someone has graffitied `` The Bathtub.'' Each party - goer repeats Hushpuppy's kiss and smack in wild, ritualistic fashion. HUSHPUPPY -LRB- V.O. -RRB- The Bathtub's got more holidays than the whole rest of the world.", "EXT. LAFOURCHE ROAD - DAY The townspeople charge in a rousing parade. Everyone drags trails of beer cans, boat parts, anything they can tie to themselves that makes a lot of noise. They are the hard faces of fishermen and their feisty wives, downtrodden but with a sense of fortitude among them, a community of heart, spirit, passion, and reckless abandon. We see none of the separations that we're used to in modern society. There is no evidence of politics, religion, class, race or any other divisive ideology. The Bathtub is a place of true and honest unity. Megaphones sticking out a gutted mini - van broadcast the Cajun band playing inside. Fiddle, saw, guitar, and double - bass players struggle to hold onto their instruments and the truck bounces them down a dirt road. They drive under a banner reading `` Welcome to the Bathtub Storm Season!'' Wink and Hushpuppy rattle along on a float made from the front end of a pickup truck. Over the front cabin rears a giants sculpture of a horse - head made out of wooden spikes, metal plates, and heavy chains. Carnival - dressed maniacs clamber on top. Wink hollers and waves to people. He fires jets of beer into the mouths of the crowd. Hushpuppy dances on the back of the float. Though she's the tiniest member of this very adult parade, she's right in the thick of everything. No one is checking I.Ds Here. HUSHPUPPY -LRB- V.O. -RRB- Daddy always saying, that up in the dry world, they got none of what we got.", "EXT. LAFOURCHE SQUARE - DAY The town dances around the band in a clearing in the woods. Everyone is bouncing to the music, smiling and joking with one another. HUSHPUPPY -LRB- V.O. -RRB- They only got holidays once a year. Six babies, each with a racing number pinned to their diaper, are placed by their enthusiastic mammas at a starting - line on a track marked by two adjacent crowds of onlookers. Bets are flying between the spectators as if they're about to watch a cock - fight. ANNOUNCER -LRB- V.O. -RRB- All babies to the race! Come up to the starting line! The baby race is about to begin. Hushpuppy dances in the cheering crowd, swigging a bottle of something she probably should n't have. A STARTING GUN fires, and the babies make a crawl for it. Most of them are paralysed in tears or bewilderment, but one brave soul toddles towards victory. HUSHPUPPY -LRB- V.O. -RRB- They got fish stuck in plastic wrappers, they got their babies stuck in carriages, and chickens on sticks and all that kind of stuff. Hushpuppy looks up at Wink who is dancing with his best friend WALRUS -LRB- 60 -RRB-, a slack jawed, white haired, pinked nosed, handsome devil. A baby crosses the finish line, ahead of the rest, victorious. The crowd goes wild.", "EXT. MARINA PAUPIER NET - NIGHT Wink opens his trawl net and dumps a massive catch into a picking pan. There's food to feed a hundred in the haul. No one is a bit fazed though, this is just your average night fishing in the Bathtub. Shrimp, crabs, and small leaping fish struggle over one another for dear life. Hushpuppy helps him sort the catch. Winks's hands move with virtuosic ease, separating the crabs from the shrimp. She studies Wink's every move and tries to measure up to her Dad's proficiency. He does n't demonstrate or explain anything, but we sense there is a system of education in place here. Hushpuppy focuses in on a tiny fish, wriggling and sucking it's last breaths of air. HUSHPUPPY -LRB- V.O. -RRB- One day, the storm's gon na blow, the ground's gon na sink, and the water's gon na rise up so high, there ai n't gon na be no Bathtub, just a whole bunch of water. She pick up a crab, pets its belly. The DIN of the party fades down around her as she listens to its HEARTBEAT.", "EXT. LADY JO'S CYPRESS FOREST - NIGHT Explosions everywhere as Bathtubers rampage blasting fireworks down the street instead of into the air. Men dressed as women, women dressed as men, in some kind of reckless esoteric ritual. The SCORE kicks in hard with a tinge of ominous forboding. We sense that in spite of the ecstatic energy, the unbridled joy, that a cloud hangs over this community. The people are parting like it's there last day on earth, and we feel viscerally, that it could be. Hushpuppy runs in the thick of it behind Wink waving a fountain sparkler. Wink trips and falls. Wink lies on his back on the ground. He sees his daughter watching him, holding the huge sparkler, and they both laugh with sheer joy. Hushpuppy stops over him and points a bottle rocket in his face, the fuse burning. He nods his approval. They watch the fuse burn down to the last moment. She turns it upward, and they watch her rocket join a sky filled with pluming mortars. Hushpuppy looks at the light flickering across Wink's faces. He's momentarily peaceful, admiring the spectacular display. Hushpuppy smiles at him with pride. He does n't see her. They run off into the crowd, which is pulsating at the pinnacle of mayhem. The OMINOUS MUSIC shifts gears into a BLASTING PATRIOTIC HYMN of the Bathtub. Throw your fist in the air! These are the survivors, those who fight for their joy and their history to the last man. HUSHPUPPY -LRB- V.O. -RRB- But me and my Daddy, we stay right here. We who the earth is for. Hushpuppy runs right at us with detonating fireworks in both hands, engulfed by light. She swings them toward camera and the screen is engulfed in an inferno of sparks. A white out. Black letters slam down. BEASTS OF THE SOUTHERN WILD", "INT. SCHOOLBOAT - MORNING MUSIC CUTS abruptly as a basket of crawfish is slammed in front of camera. The crawfish squirming and struggling for life engulfs the screen. WOMAN'S VOICE Meat. A fearsome, uncompromising leader, sexy like a lady bullfighter, peeks at Hushpuppy over a mass of squirming crawfish. This is MISS BATHSHEBA -LRB- 36 -RRB-. She points to three students, pushing their heads with her finger, each time announcing : MISS BATHSHEBA MEAT. MEAT. MEAT. The twelve students follow her through a maze of creatures caged in mason jars, basins, and boxes with breathing holes - her educational tools. MISS BATHSHEBA -LRB- CONT'D. -RRB- Every animal is made out of meat. I am meat, ya'll asses meat. Everything is part of the buffet of the universe. Miss Bathsheba rolls up the leg of her skirt. MISS BATHSHEBA -LRB- CONT'D. -RRB- This here, is an Aurochs. Riding her thigh, is tattooed a scene much like a cave painting in Lascaux. In thick black ink, it depicts a battle between early men wielding spears, and giant bull - like animals bearing down over them. MISS BATHSHEBA -LRB- CONT'D. -RRB- A fierce, mean creature that roamed the earth back when we all lived in caves. They would gobble the cave - babies down right in front of their cave - parents. And the cavemen could n't do nothing about it, because they were too poor, too stupid, too small. Who here thinks the Cavemen were sitting around crying like a buncha pussies? Children stare blankly, no one raises their hand. Hushpuppy watches a heroic crawfish crest the basket, fall to the floor, and make a run for it. Miss Bathsheba snatches up the rogue crawdad and flings it back into the vat. MISS BATHSHEBA -LRB- CONT'D. -RRB- Y' all better think about that. Cause any day now, the fabric of the universe is coming unraveled. The ice caps gon na melt, the water's gon na rise, and everything south of the levee's going under. She points to a map showing a ragged coastline. On the wrong side of a giant line marked `` levee'' is an island labeled `` The Bathtub.'' MISS BATHSHEBA -LRB- CONT'D. -RRB- Ai n't gon na be no Bathtub, just a whole bunch of water. Y' all better learn to survive. A mysterious COLD WIND fills the air. Hushpuppy stares into a wall poster of an ice cliff reading : THE SOUTH POLE. HUSHPUPPY -LRB- V.O. -RRB- Way back in the day, the Aurochs was king of the world.", "EXT. ANTARCTIC ICE SHELF - DAY CRASH CUT to the PANORAMA of an ice cliff, but now it's real. We CUT CLOSER to overwhelming white light accompanied by intermittent FROZEN CRACKS that build in frequency and volume. HUSHPUPPY -LRB- V.O. -RRB- If it was n't for giant snowballs, and the iced age. I would n't even be Hushpuppy, I would just be breakfast. The light dims in intensity to reveal, frozen deep inside the ice wall, barely visible - a fanged, hairy, bloated, stone aged creature, the same as on Miss Bathsheba's leg. This is an Aurochs.", "INT./EXT. SHACKO IN THE BACKO - EVENING Hushpuppy climbs a metal ladder made from a railing, up to Wink's shanty in the trees. Windell, her dirty Chihuahua, follows behind. HUSHPUPPY Daddy? Feed - up time. Feed - up? Hushpuppy bangs on the door of the shacko. HUSHPUPPY -LRB- CONT'D. -RRB- Daddy? Nothing. She goes inside. The house is empty. She checks the Shacko for food. Nothing.", "EXT. HUSHPUPPY'S HOUSE - EVENING Several hours later, Hushpuppy stands on a metal bin looking into the distance. HUSHPUPPY DADDY!? Like some sort of animal call, she SHRIEKS.", "INT. HUSHPUPPY'S HOUSE - NIGHT Hushpuppy draws a picture of Wink on a foldout mattress. HUSHPUPPY -LRB- V.O. -RRB- Kids that got no Mamma, no Daddy and nobody. They got to live in the woods, and eat grass, and steal underpants. Hushpuppy lays down next to her drawing of Wink.", "EXT. SHACKO IN THE BACKO - MORNING Windell, the Chihuahua and the potbelly pig awake to greet the day. Hushpuppy peers into the ground floor of the shacko. HUSHPUPPY Daddy? Daddy? No response. HUSHPUPPY -LRB- V.O. ; CONT'D. -RRB- If Daddy do n't get home soon, it's gon na be time for me to start eating my pets.", "EXT. SCHOOLBOAT - DAY Kids walk home with their parents after a day at the Schoolboat, which we now see is big a yellow houseboat floating on the bayou. Hushpuppy waits alone, no one has come to get her. Miss Bathsheba locks up the door and heads for her small motor boat tied off on the side of the school. MISS BATHSHEBA You need a ride, boo? HUSHPUPPY My Daddy's coming to pick me up. MISS BATHSHEBA How about food or something, you hungry? Hushpuppy shakes her head ` no'. Miss Bathsheba's does n't totally believe her, but she's not the type to coddle either. MISS BATHSHEBA -LRB- CONT'D. -RRB- Alright, well suit yourself. Miss Bathsheba motors away. Hushpuppy waits until she's out of sight and starts walking.", "INT. HUSHPUPPY'S HOUSE - MORNING Playing do n't - touch - the - floor, Hushpuppy navigates her house. The room has with holes in the walls blocked with old clothes and paper towels. Homemade toys fill every surface. This is the domain of a child at loose ends. Hushpuppy leaps over her bed - a nook piled with clothes - and plugs in the Christmas lights. HUSHPUPPY -LRB- V.O. -RRB- Everything we still got from Mamma, we keep in my house. We push in on a shrine to her mother : A red basketball jersey. An apron. A sawed - off shotgun. A child's drawing of a beautiful lady. HUSHPUPPY -LRB- V.O. ; CONT'D. -RRB- Daddy says, the first time she looked at me, it made her heart beat so big, that she thought it would blow up. That's why she swam away. Hushpuppy takes the jersey down. She puts it over a chair in the dining area. Hushpuppy gets a can of cat food. A pot. Water in a bowl. Her actions have a sad sense of routine to them - she's been left alone before, and has her own self - invented system for feeding herself. She opens a can of cat food, takes it out with her hand and throws it in a pot. She licks the remnants off her finger. MARIETTA'S VOICE Hi my sweet baby. HUSHPUPPY Hi momma. MARIETTA, Hushpuppy's imaginary, invisible mamma, is speaking from the basketball jersey chair. Marietta functions like an imaginary friend - Hushpuppy is the only one who can see her. Hushpuppy takes the pot, puts it on the stove. MARIETTA'S VOICE Hushpuppy what you doing there? You being good like I taught you? HUSHPUPPY Yes, mamma. Hushpuppy turns on the gas. Hushpuppy goes through her safety precautions : oven mitts, a helmet, she flips the table and hides behind it. She aims the stove lighter : a flame thrower made from a cigarette lighter and a can of spray deodorant. A spray of flames ignites the stove in a FIREBALL. MOMENTS LATER. Hushpuppy behind the bubbling stove. She ties on an apron and sways to the music. She is dressing like her mom. Marietta's Voice sings to her. MARIETTA'S VOICE You're good, you make me happy / you're good, you make me happy. HUSHPUPPY That's pretty Mamma. MARIETTA'S VOICE You're pretty Hushpuppy. Hushpuppy stares into the floating islands of cat food frying in fat, which in her POV is a surreal churning vision, like the bubbling lava at the center of the earth. She's SHOCKED out of her vision by a YOWLING CAT being flung across the yard. WINK -LRB- O.S. -RRB- Get out of my way you fat animal! Hushpuppy jumps down from the stove, grabs a bowl of water, and runs to greet Wink,", "EXT. WINK'S COMPOUND - MORNING She clambers down the oil drum ladder spilling her water everywhere in her excitement. HUSHPUPPY Daddy! Daddy, Daddy! Wink does n't turn to acknowledge her as he trudges across the field toward his Shacko. He's wearing a hospital patient's smock and no shoes, it seems he checked himself out. HUSHPUPPY -LRB- CONT'D. -RRB- I learned lots of stuff while you gone. If I drink all this here I can burp like a man. Hushpuppy gulps down water, all of it. Wink keeps walking. Hushpuppy BURPS like a man, but he does n't turn around. Hushpuppy stops to examine the situation. Something's not right here. HUSHPUPPY -LRB- CONT'D. -RRB- How come you wearing a dress? Hushpuppy tugs his patient's smock and he shrugs her off violently. WINK Leave me alone, Man. She sees his hospital I.D bracelet still on. HUSHPUPPY You wearing a bracelet too? WINK Go in your house, you would n't understand. HUSHPUPPY I wan na come in your house. Hushpuppy whacks Wink's butt. HUSHPUPPY -LRB- CONT'D. -RRB- I WAN NA COME IN YOUR HOUSE! Wink fakes like he's gon na smack her. WINK GO AHEAD! Hushpuppy tears off. Wink storms into the Shacko in the Backo.", "INT. HUSHPUPPY'S HOUSE - DAY Hushpuppy stomps inside. Her cat food is burning, with steam jetting up to the ceiling. She thinks about it for a moment, and turns the burner up. Smoke billows. Hushpuppy grabs her basketball jersey off the chair and jumps over the breakfront counter. Behind her A MASSIVE GREASE EXPLOSION. Hushpuppy ducks down, panicking. She check over the median. The stove is on engulfed in flames. Hushpuppy scrambles under a cardboard box.", "INT./EXT. HUSHPUPPY'S BOX - DAY The walls of the box are decorated with years of her drawings. In here she feels a strange safety. The FLAMES and BREAKING WINDOWS feel distant and muffled. She draws a hieroglyphic of herself sad and crying on an island with a sun and a palm tree. She peeks out as Wink runs into the house, which is filled with black smoke, flickering flames. WINK -LRB- O.S. -RRB- -LRB- panicking from inside. -RRB- Hushpuppy!? Boss lady!? Hushpuppy where you at!? Hushpuppy drops the box closed. Smoke billows into the box, filling it up. HUSHPUPPY -LRB- V.O. -RRB- If Daddy kill me, I ai n't gon na be forgotten, I'm recording my story for the scientists of the future. Hushpuppy draws a bigger figure giving her a hug as Wink's panicked fury intensifies outside. WINK -LRB- O.S. -RRB- HUSHPUPPY!? Where are you Boss!? HUSHPUPPY -LRB- V.O. -RRB- In a million years, when kids go to school, they gon na know that once there was Hushpuppy and she lived with her Daddy in the Bathtub. Wink pulls Hushpuppy's drawings off the walls, he flings them out the door to safety. Hushpuppy coughs. Wink has heard. He looks toward the box. WINK BOSS LADY? Hushpuppy and makes a runs for it, flying out the door. WINK -LRB- CONT'D. -RRB- Do n't you run away from me. I swear to GOD Hushpuppy!", "EXT. HUSHPUPPY'S HOUSE - DAY Hushpuppy runs out of Wink's compound into the woods, Wink on her trail. In the background, the house is a towering inferno.", "EXT. TRAIL BEHIND WINK'S COMPOUND - DAY They run deeper into the swamp. HUSHPUPPY I'm tearing off! WINK You ai n't tearing off nothin', I'll bust your ass! HUSHPUPPY I'm tearing off just like my Momma. WINK Come on! Wink tried to yank her toward home and Hushpuppy refuses. She digs her heels in. WINK -LRB- CONT'D. -RRB- See what happens. See what happens to you! Hushpuppy hooks her leg around a tree and holds on. Wink slaps Hushpuppy and she falls face down. He looks away, disgusted with himself. WINK -LRB- CONT'D. -RRB- See what you making me do? You're killing me! He reaches down and tries to pick her up. WINK -LRB- CONT'D. -RRB- Get up and now come on. Hushpuppy jumps up on her own. HUSHPUPPY I hope you do die! And after you die, I come to your grave and eat birthday cake all by myself! Hushpuppy punches Wink in the heart and suddenly EVERYTHING GOES QUIET, as if all the insects in the forest have hushed. All at once, we hear - A HUMAN HEART, beating until there is a SONIC BOOM, an earsplitting CRACK of glacial ice. Hushpuppy turns toward the sound. When she turns back Wink's face has transformed, wrenches with fear and pain. Wink keels over clutching his arm. Hushpuppy stares, her breath accelerating. Wink's eyes roll back in his head, he begins to seizure. ANOTHER GLACIAL CRACK rings out. The SPLITTING builds to a DEAFENING ROAR. She covers her ears.", "EXT. ANTARCTIC ICE SHELF / WOODS - DAY Fissures appear like lightning through the massive ice cliff from the opening of the movie. Hushpuppy runs from the sound, hands over her ears. We INTERCUT with shots of falling glaciers. The universe is coming unravelled. An ice shelf COLLAPSES into the ocean in a MASSIVE AVALANCHE, a wave rolls toward camera.", "EXT. GRAVEYARD BY THE WATER - DAY The wave, now just a tiny ripple, hits Hushpuppy's feet. Suddenly, the water level rises around her. It overtakes her knees and keeps going. Hushpuppy backs up to shore, terrified. Hushpuppy calls out to a distant beacon flashing on the horizon. HUSHPUPPY Momma!? Momma!? MOMMA!? I think I broke something.", "EXT. SCHOOLBOAT - DAY Hushpuppy runs out of the woods toward school in a total panic. In front of the school parents pile their children into a pickup trucks and vans. HUSHPUPPY Miss Bathsheba! Miss Bathsheba! My Daddy fell down! Miss Bathsheba takes Hushpuppy's hands as she tries to catch her breath to speak. Clutched in her hand is the hospital bracelet that Wink had been wearing. Bathsheba turns over the diagnostic bracelet and reads it, her eyes widen in recognition and alarm.", "INT. SCHOOLBOAT - DAY Hushpuppy watches Miss Bathsheba frantically pull herbs and roots from her containers of medicinal oddities and pack it into a large medicine jar. MISS BATHSHEBA It's gon na be OK baby. Bathsheba hands Hushpuppy the medicine jar. MISS BATHSHEBA -LRB- CONT'D. -RRB- Ok, Hushpuppy, here's what I need you to do. You take this medicine and run as fast as you can. Go!", "EXT. SWAMP CLEARING - DAY We see glimpses of nature protecting itself from the impending disaster. Flowers curl up, insects horde food underground, RUSTLING sounds fill the air. Black birds, and bats, and all manner of flying creatures fill the sky. They're all getting the hell out of dodge. Hushpuppy, quaking with fear, runs through a menacing swamp clutching her medicine jar. The rising winds swirl the marsh grass all around her. Hushpuppy runs to the spot where Wink collapsed. He's gone. Hushpuppy looks around the swamp, unable to understand. HUSHPUPPY -LRB- V.O. -RRB- Daddy could have turned into a tree, or a bug. There was n't any way to know. Hushpuppy hides her medicine jar in her storage unit - a leather flap laid over the hollow of an oak tree. The hollow is filled with trinkets and objects she's collected over the years. Hushpuppy flinches as a shrieking animal calls out. She looks up to see a leaf covered in writhing caterpillars. One of them has been skewered by a beetle and is fighting for it's life. HUSHPUPPY -LRB- V.O. -RRB- The whole universe depends on everything fitting together just right. If one piece busts, even the smallest piece, the entire universe will get busted.", "EXT. ANTARCTIC ICE SHELF - DAY Blocks of glaciers roll out of the avalanche and away from Antarctica like floating ice cubes. Embedded in each cube, is an Aurochs. A single ice cube takes over the frame and the mammoth dead Aurochs' eye stares right at us. Its jaw wide, its fangs bared, the ferocious beast appears to have fossilized mid - pounce. THUNDER BOOMS. We drift upwards into the cloud cover. As we rise above the white canopy, the spiral of a hurricane forms.", "EXT. LAFOURCHE ROAD - DAY STRINGS SWELL under HOWLING WINDS. We follow behind a little boy running down the road with an alarm bell as the people of the Bathtub mobilize in a frenzied evacuation. BOY The storm's coming! The storm's coming!", "EXT. LADY JO'S BAR - DAY Hushpuppy sulks out of the woods, feeling sorry for herself. She looks up and freezes like she's seen a ghost. Wink hobbles down the road, looking shell - shocked. The traffic on the road moves in one direction : out. Wink walks back into town in the opposite direction. In Hushpuppy's POV Wink arrives at Lady Jo's bar where a band of drunken sweethearts are in their regular positions. They are watching the evacuation go by like it's a Veteran's Day parade. They giggle and hurl good - natured curses out to a family making their way to safety. LITTLE JO Look at these assholes running around all over the damn place. C'est la vie assholes! WINK I know y' all with me. Y' all doin' the storm. LITTLE JO Lady Jo's ai n't never closed honey. WINK That's what I'm talking about. Walrus my big man, you staying? WALRUS Wrong number buddy. I'm outta here as soon as I finish my beer. Wink dismisses him with a wave of his hand. WINK You ai n't goin nowhere. WALRUS This ai n't no sneeze comin' out the gulf. I'm gone brother. WINK I'll see you tomorrow Walrus. Lookit there, Winston's with me. WINSTON is passed out on the stairs. WINK -LRB- CONT'D. -RRB- What you doing about the storm Winston? Without opening his eyes, Winston raises an umbrella over his head. Wink laughs. WALRUS Hey! It's Hushpuppy. EVERYBODY Hushpuppy! Hushpuppy's here. They burst into a round of drunken applause. WINK Hushpuppy? Where you been? HUSHPUPPY What happened to y - WINK Shut - up! He lifts her up by the britches and carries her away. WINK -LRB- CONT'D. -RRB- You do n't talk!", "INT./EXT. SHACKO IN THE BACKO - GROUND FLOOR - DAY Through the bus window, Hushpuppy watches Wink prepare for the storm as branches and debris fly by him. He RANTS to himself and drinks. He ties the Turck onto the house. Hushpuppy looks to where her animals lurch and freeze, run around in circles, pant heavily. They feel it coming. Rain drops start to spatter the window and Wink trips and falls trying to catch a fleeing chicken.", "INT./EXT. SHACKO IN THE BACKO - 2ND FLOOR - NIGHT Now, the full force of the storm HOWLS and CLATTERS the shutters. Rain screams against the corrugated metal roof. Wink tapes padding over all sharp corners and plastic wraps the furniture. He's Hushpuppy - proofing everything. He runs a piece of duct tape across the floor. WINK This side is still Wink's house. No toys, and no girl stuff over here. Wink pushes charred toys from Hushpuppy's house across the line. WINK -LRB- CONT'D. -RRB- So if I want to come over that side and smack you in the face, that's against the rules. So there's a plus for you. Hushpuppy is not able to see the bright side here. WINK -LRB- CONT'D. -RRB- Now come on down here and get in the boat, man. He points to a trunk on the floor. Hushpuppy hops down and gets in. Wink sits on his air mattress. WINK -LRB- CONT'D. -RRB- If the water get real high, we gon na float to the top and we gon na bust through the roof and we gon na ride away, okay? Wink puts a pair of mismatching water wings on her. WINK -LRB- CONT'D. -RRB- You never NEVER take these off. I'm your Daddy, and you do what I tell you to do, because it's my job to keep you from dying, ok? So sit back and just listen to me. Close your eyes and go to sleep. CLOSE YOUR EYES! Hushpuppy watches Wink pretending to sleep. The THUNDER scares the bejesus out of him again. She looks to the ceiling where water is starting to pour in steadily. Looks back at Wink who is sneaking a sip from his liquor bottle. He resumes his phony sleep. A strong gust of wind JOLTS the entire room and he springs out of bed. WINK -LRB- CONT'D. -RRB- Why you starin' at me like that? I ca n't sleep with you starin' at me like that. Wink paces the floor. WINK -LRB- CONT'D. -RRB- Listen. You need to understand, you're a kid and I'm a man. She does n't understand. WINK -LRB- CONT'D. -RRB- What, you scared? Hushpuppy nods. THUNDER BOOMS and Wink is the one who flinches. WINK -LRB- CONT'D. -RRB- Do n't be scared, no storm ca n't beat no Doucet. I'm gon na show you. You watch. But he can see she's still scared. WINK -LRB- CONT'D. -RRB- I'm'll show you! We Doucets we're not scared of no damn storm. Wink grabs a bottle of moonshine and climbs down the hatch in the floor into the storm. Hushpuppy runs to the window and peeks out. OUTSIDE. The frenzy of the hurricane propels Wink at full sprint through the 100 MPH winds. He tears his clothes off and guzzles moonshine as branches fall all around him. WINK -LRB- CONT'D. -RRB- Look at me! Look at me Hushpuppy! Watch me kick butt. Wink fires his shotgun at the heavens. WINK -LRB- CONT'D. -RRB- Hell yea! I'm right here! I'm right here I ai n't going nowhere. AHHHHHH! A THUNDER CLAP shakes the house so hard a ceiling beam CRASHES down. Hushpuppy runs to her bed as if it might keep her safe. Windell, swinging from a basket tied to the ceiling, BARKS, panicking herself. HUSHPUPPY Mamma!? MAMMA!?", "EXT. PATAGONIAN COAST - NIGHT Still in the rainstorm, a glacial cube SHATTERS, flopping a mammoth body onto the shoreline. It's chest heaves and a LOW SNORT is heard. The animal begins to roll over. Her dinosaur size hoof plants in the mud as she lifts herself up. We stare over the muscular haunch of her body as she stares into the distance. The massive creature turns, testing her limbs after thousands of years of sleep. She looks up to the storm and lets loose a GURGLING ROAR. We sit close on one of her black eyes. There is something dangerously sad in her cold gaze. Her head moves from the frame as she starts forward on her journey.", "EXT. AERIAL BATHTUB - DAY Silence. The storm has passed. The camera flies high over the Bathtub. The tops of houses poke out from the massive water like lily - pads in a pond.", "EXT. SHACKO IN THE BACKO - FLOODED - MORNING A slab of metal stares at us, surrounded by water. Something under the metal BANGS TWICE and an axe dislodges a roof panel. The axe twists and leverages off the slab. Wink hefts Hushpuppy on top of the roof. Then Windell. Dishevelled and hung - over, he pulls himself up too. The three survivors stare in stunned silence at their new world.", "EXT. FLOODED LAFOURCHE ROAD - TURCK - MORNING Wink slowly navigates the Turck in through the flooded landscape where their town had once been. Neither he nor Hushpuppy can say a word. Everything is submerged. Every organism is dead or has fled. The quiet is overwhelming. HUSHPUPPY -LRB- V.O. -RRB- For every animal that did n't have a Dad to put it in a boat, the end of the world already happened. They're all down below, trying to breathe through water. They pass abandoned house, after abandoned house, the ones on stilts have water up to the porches. Trees are bashed through roofs, walls are blown through, bathrooms exposed.", "EXT. WINSTON'S HOUSE - FLOODED - MORNING Wink uses a pole to open a door. WINK Yo Winston? No one answers. They push off.", "EXT. EDISON'S HOUSE - FLOODED - THE TURCK - DAY Wink enters an intact house with water up to the porch. WINK -LRB- O.S. -RRB- Edison? Ow - Wee! Wink leans against the door frame. From his POV we see Hushpuppy on the Turck. She picks a leaf and eats it. Wink shakes his head in dismay, realizing all too clearly his girl is not ready for survival.", "EXT. SWAMP - THE TURCK - DAY The Turck passes through a net of Spanish moss into the belly of a swamp. WINK Some day when I'm gone, you gon na be the last man in the bathtub. You have to learn how to feed your house. Wink goes to the edge of the turck and sticks his hand in the water. WINK -LRB- CONT'D. -RRB- Now, stick your left hand in this water, stick it in there. Hushpuppy puts her right hand in the water. WINK -LRB- CONT'D. -RRB- Ok, what you do is you hold your hand steady and you just wait for your fish to come. You got ta ball your fist up, this is your punching hand. Ball your fist up in case you have to whack it when they come up. Wink pulls a Catfish out with his bare hand. WINK -LRB- CONT'D. -RRB- WHOOOOO YEA! Whooo lord, look what we got. I gotcha. Say `` I gotcha!'' HUSHPUPPY I gotcha! Wink slams the fish down on the floor of the Turck and pins it. WINK Yea! Hold him down! Now, you hold it down like this, and whack him good with your fist. Wink pins the fish and punches it in the face. WINK -LRB- CONT'D. -RRB- Go ahead whack him! You whack him good. Hold him like that and whack him! Hushpuppy pins the fish. She tries to whack it and it cuts her. HUSHPUPPY OW! She hides her cut hand from Wink. WINK You OK? That's all a part of it. Hushpuppy winces in pain. WINK -LRB- CONT'D. -RRB- You wan na try it again? Hushpuppy shakes her head no, trying not to cry. WINK -LRB- CONT'D. -RRB- Come on. One more time.", "INT. EDISON'S HOUSE - FLOODED - NIGHT Hushpuppy has enclosed herself under a table with a tablecloth on it. She's drawing on the floor with charcoal. Something alive hits the roof and scurries across. We hear the entire house MOAN, or was it a distant ROAR? HUSHPUPPY Daddy? Wink's hacking cough, which has gotten worse since last we heard it, fills the room. Hushpuppy tries to shake him awake. Hushpuppy looks through the gap in his shirt. On Wink's chest, surrounding his heart, a corroded spider web of purple bruises shows through the skin, like varicose veins covering his entire heart. Hushpuppy's eyes go wide with horror.", "EXT. EDISON'S HOUSE - NIGHT The beacon pulses on the distant horizon. HUSHPUPPY Mamma? Is that you? The beacon does not respond. HUSHPUPPY -LRB- CONT'D. -RRB- I've broken everything.", "EXT. DESERT - DAY A cloud of dust circulates particles. The Haze is blinding. A distant RUMBLING grows. Dark shapes tear through the haze in a deafening stampede. HUSHPUPPY -LRB- V.O. -RRB- Strong animals, they know when your hearts are weak. That makes them hungry and they start coming. We see one at first, then more join rank around it. The Aurochs are charging in a pack. They are a biblical terror ; the horsemen of the apocalypse.", "EXT. LADY JO'S BAR - DAY The turck moves through the cypress forest, signs are strewn everywhere pointing to Lady Jo's bar. It appears abandoned. Suddenly, the door SQUEAKS open. Walrus winces at the sunlight and pops a beer. He steps out the door and SPLASHES into the water. WALRUS Holy bowlegged Sarah! WINK Hey partner! Hey Walrus! Wink pulls in the Turck and paddles to rescue the thrashing drunkard. They leverage Walrus aboard and lay him out on deck. WALRUS -LRB- gauging his surroundings. -RRB- I musta passed out. Wink starts chuckling silently. His chuckle builds to a laugh.", "INT. LADY JO'S BAR - FLOODED - DAY They enter the bar, empty bottles, half eaten crabs, and general party debris are littered everywhere. Little Jo is sprawled on the floor under a table. Is she dead or just wasted? WINK Little Jo! She awakes with a start and bangs her head on the table. LITTLE JO Wink!? Wink and Walrus run to help her up. LITTLE JO -LRB- CONT'D. -RRB- -LRB- TO WALRUS. -RRB- You do n't touch me you filthy bastard! -LRB- TO WINK. -RRB- Wink, you get me. They both lift her. LITTLE JO -LRB- CONT'D. -RRB- Goin' on all night ` bout how tonight's the last night on earth we got ta make it count. Talkin' dirty right in front of Peter T. WALRUS Sorry Peter T. Peter T enters from the Bathroom. WINK Peter T, my man! I knew you was n't gon na leave me man! Peter T speaks in his polite, level - headed, soft sweet voice. PETER T Oh no, oh no. WALRUS -LRB- re : Peter T. -RRB- That is one classic dude right there. WINK Peter T, you are a titan! Glad you stayed man! RHHAAAA! Wink jiggles Peter T's ample belly. Peter T giggles with glee. Wink puts one arm around Walrus and the other around Peter T. He smiles to Hushpuppy. She laughs too, the first smile in quite some days.", "INT. LADY JO'S BAR - LATER THAT NIGHT The Bathtub crew are lolling in the later party stages. There is a rooster on the table looking like the most sober creature in the room by far. WALRUS If I had wings, I know I could have flown in that bad boy. But I would have probably bounced off a tree, or. Hushpuppy lays on the table in pile of empty crab shells. WINK Hushpuppy! Did I ever tell you the story of your conception? The bar crowd chuckles. WINK -LRB- CONT'D. -RRB- When me and Hushpuppy's Mamma first met we was so shy, we used to sit around, and drink beer, and smile at each other. One day we was so shy we just napped. Wink's voice FADES DOWN as Hushpuppy's fantasy takes over. She closes her eyes.", "EXT. FANTASY HUSHPUPPY'S HOUSE - DAY Wink, younger and prettier, naps in an uncharacteristically colorful lawn chair. A LOW, GURGLING GROWL wakes him up. There in the yard, crawling slow and lazy, is a massive 15 - foot alligator, breathing the heavy, slutty way alligators breathe. A topless woman steps in front. Sweat beading on her perfect shoulder blades, down her perfect, back ending in a pair of boys' underpants - just like Hushpuppy's. Throughout Hushpuppy's vision, we never see Marietta's face, it's always covered, shot from the back, or out of frame. Marietta cocks the shotgun with one hand, Terminator 2 style. Lowers it on the gator. BLAM. Wink sits up in SLOW MOTION - her panties, and her long naked legs are covered with gator blood. She turns to Wink, her head ABOVE FRAME. CLOSE UP on her eye. She winks.", "INT. FANTASY HUSHPUPPY'S HOUSE - NIGHT We follow behind Marietta's supple curves as she walks into the kitchen. Her white slip is almost see through. almost. HUSHPUPPY -LRB- V.O. -RRB- Back when Daddy used to talk about Mamma, he'd say she was so pretty she never even had to turn on the stove. She runs her fingers along the counter and the burners IGNITE one by one as she passes. HUSHPUPPY -LRB- V.O. -RRB- She just walk into a room and water start to boil. Water starts to bubbles like a spontaneous volcanic eruption. Marietta reaches into the frigidaire, and pulls out two ice - cold beers. Ice melts down the bottles. She opens them on the counter, flawlessly. She walks over to Wink. Stands there. A hot mess. Wink's voice FADES UP. WINK -LRB- V.O. -RRB- Your Momma battered that gator up, and set it to fry.", "INT. LADY JO'S BAR - NIGHT Wink tips his drink. WINK and Hushpuppy popped into the universe maybe four minutes later. He empties the glass, sufficiently drunk now. WINK -LRB- CONT'D. -RRB- I got it under control. Wink looks away, lost in his own fantasy.", "INT. FANTASY HUSHPUPPY'S HOUSE - NIGHT Over Marietta's shoulder, beads of sweat form along the strap of her slip. Good Lord. Wink looks, and meets her eyes. The gaze of a proud and smitten man. Grits fall through the chimney vent, into the boiling water. Dancing like all the invisible particles of the universe.", "INT. LADY JO'S BAR - NIGHT Hushpuppy stares hard, her face locked in pride and determination. Filling with all the strength and heroism of her long - lost mother. She's ready to snap into action.", "EXT. FLOODED BATHTUB - THE TURCK - DAY ENERGETIC MUSIC drops and we move in a semi - montage through Hushpuppy's search for survivors. Hushpuppy rows the Turck through the flooded Bathtub by herself. In the distance she sees a lone horse. It stands on an tiny island of land, the last high ground in an endless stretch of water. The horse holds Hushpuppy's gaze. She hears it's strong, resilient HEARTBEAT. They are one and the same.", "EXT. SCHOOLBOAT - THE TURCK - DAY Hushpuppy approaches Schoolboat, which has weathered the storm relatively intact. HUSHPUPPY Miss Bathsheba!?", "INT. SCHOOLBOAT - DAY Hushpuppy opens the door. We hear RUSTLING and WHISPERING inside school. It's three little girls left behind in the storm. JOY STRONG, a tall, wild - haired leader ; LIZARD, a tiny thing in a giant man's tee shirt, and T - LOU, the muscle of this girl gang, looking very meek in her desperate condition. The girls are huddled against each other, terrified, hungry, and alone.", "EXT. LADY JO'S BAR - DAY Miss Bathsheba, shell - shocked but steadfast, steers the boat toward the bar, the four girls now safely in her care. From the inside we hear CAROUSING, TOASTING, and RAUCOUS CAJUN MUSIC.", "INT. LADY JO'S BAR - FLOODED - NIGHT Wink pours a mountain of crab and shrimp at a great communal table, assembled from many different tables. WINK Come on lets go! Time to eat! Come on children, feed up time! He sends a feast sliding across the floor under the table, where Joy, T - Lou, and Lizard dig in. Wink has decorated the bar with all the waterlogged relics of the Bathtub. The room is a shrine of people's chairs, umbrellas, clothing. We're late in the game, and the party has descended into utter debauchery. Jean raises a glass. JEAN BATTISTE To the last of the food! WALRUS To the last of the water! LITTLE JO You ai n't drinkin' no water. Miss Bathsheba pour shots and toasts. MISS BATHSHEBA Yea, tastes like more, alright! Hushpuppy struggles to peel her shrimps, sitting on top of the table. HUSHPUPPY -LRB- V.O. -RRB- For the ones we'd never find, we make a funeral the Bathtub way, with no crying allowed. Drunken Wink is giving drunken Walrus a bath as he eats. WALRUS When the water goes down, I'm gon na French kiss the dirt! MISS BATHSHEBA Water's not goin' down man. WINK Nah, that's my beautiful place under there. MISS BATHSHEBA Man you know they got plenty of salt coming into that water, everything beautiful is gone. Trees are gon na dies first, then the animals, then the fish. WINK I got it under control. Hushpuppy picks up a crab. She tries to pound it open, tries yanking on a leg. She ca n't shell it. JEAN BATTISTE Come on Hushpuppy, come over here lem me show you how. Hushpuppy sits down next to Jean, a good pupil. JEAN BATTISTE -LRB- CONT'D. -RRB- Here baby. You hold like this, then you turn it over like that. Hushpuppy follows instruction in deep concentration, but a bit tentative. We see Wink look away from Walrus and Jo's bawdy humor extravaganza and focus in on Hushpuppy. His disdain is palpable for this froufrou shelling technique. JEAN BATTISTE -LRB- CONT'D. -RRB- Do n't be scared of it now. Now, you take this knife, and you pop this off. Jean holds Hushpuppy's hand and guides a knife to open the belly of the crab. JEAN BATTISTE -LRB- CONT'D. -RRB- Atta girl. WINK NO! Hushpuppy - Wink POUNDS the table. And the party falls suddenly silent. Wink pushes the utensil away. He grabs a crab, opens it in three virtuosic hand motions. Grease and spice explode everywhere and Wink sucks the face of the crab clean. It is beautiful to watch. He slams a fresh crab in front of Hushpuppy. WINK -LRB- CONT'D. -RRB- Beast it! Hushpuppy looks to Miss Bathsheba for guidance. MISS BATHSHEBA You heard your Daddy. Beast it. Hushpuppy pulls on the crab shell with all her might. She does n't have the power. EVERYONE -LRB- CLAPPING ALONG. -RRB- BEAST IT! BEAST IT! BEAST IT! The kids jump out from under the table and chant. Hushpuppy is turning blue, her eyes bulge with effort. CRACK! Hushpuppy opens the crab claw and sucks down the meat. Everyone goes wild with applause! The kids too! Hushpuppy stands up, ascending to the top of the table. She lets loose a WARRIOR CRY and flexes her muscles, deadly triumphant. Little Jo gets so excited she starts dancing on the table. She CACKLES and jitterbugs wildly. Walrus gets up to join her. Jean gets up and dances too. All the kids get up. Wink glows with pride. Miss Bathsheba smiles. WINK Yea! You see what kinda family we got?! We got feeling!", "EXT. SCHOOLBOAT - FLOODED - VARIOUS A DRIVING SCORE kicks in as we MONTAGE through the transformation of the Schoolboat into a ramshackle Ark.. HUSHPUPPY -LRB- V.O. -RRB- It was n't no time to sit around crying like a bunch of pussies. The survivors whittle sticks into spears, bend metal debris into spikes. HUSHPUPPY -LRB- V.O. -RRB- We was gon na build a camp right on top of the Bathtub. Jean Battiste, cackling wildly, hauls a thrashing goat onto a floating animal pen. Chicken coops, snake cages, a pig pen are stacking precariously. HUSHPUPPY We got enough animals to eat until the water goes down. Rafts are lashed to the sides of the school. Every floating structure left in town is hauled in and added to the Ark.. Peter T ties on a floating vegetable garden. In WIDE we see what looks like a small village of floating structures forming.", "INT. SCHOOLBOAT - DAY Miss Bathsheba puts Lizard's head in her lap, Lizard is playing as if she's unconscious after hyperventilating. MISS BATHSHEBA -LRB- teaching a lesson. -RRB- Come here, like this. She takes Hushpuppy's hand and places it on Lizard's chest. She moves her hand in a circular motion. MISS BATHSHEBA -LRB- CONT'D. -RRB- Like this. Tee - Lou get some water. Tee - Lou runs to get a handful of water. MISS BATHSHEBA -LRB- CONT'D. -RRB- Quick little circles. Good for the heart. Joy Strong? Joy turns her back. Miss Bathsheba shakes her head. Tee - Lou returns and pours water on Lizard's head, cooling her. MISS BATHSHEBA -LRB- CONT'D. -RRB- This is most important thing I can ever teach y' all. You got to take care of people that's smaller and sweeter than you are. Hushpuppy registers this advice, takes it to heart. She rubs Lizard's chest with delicacy and affection. Lizard's breathing returns to normal, and she sits up peacefully. Hushpuppy is awestruck. Bathsheba gets to her feet. MISS BATHSHEBA -LRB- CONT'D. -RRB- That's better.", "INT. SCHOOLHOUSE - NIGHT Hushpuppy watches Wink sleeping. His breathing has gotten worse. She tiptoes up with her red basketball jersey and lays it down on Wink, tucking him in just right. A DISTANT RUMBLING is heard. Cutting off suddenly as we.", "EXT. BRAZILIAN FAVELLAS - DAY A quiet town, not unlike the Bathtub, but with tangled power - lines, electrical towers, and layered hills. A stone flies from behind a house and bounces down the street, denting the silence. Slowly, the peaceful morning transitions into MORE RUMBLING, a distant CRACK. Suddenly the house in the foreground explodes to smithereens and the head of an Aurochs drives through it. Without breaking step, Aurochs maraud the village, trampling it into oblivion. We settle close on an Aurochs eye, emotionless and relentless in its calm.", "EXT. BATHTUB MARSH WATER - TURCK - MORNING Wink, Hushpuppy, and the Bathtub crew pole the Turck through a lake blanketed with carcasses, pushing through the dead fish, dead porpoises, dead alligator garfish like they were lily pads. There is no wind, only dense wet heat searing on the faces of the characters. The once green foliage has gone brown and thirsty. HUSHPUPPY V.O. Two weeks later, everything started to die. WINK -LRB- to the water. -RRB- Come on fishes, where y' at? Wink empties his net - nothing but a pile of carcasses. He tips it back into the water. Wink pulls himself to the edge and sticks his head under to look for fish. Hushpuppy looks at him with an air of doubt for the first time. Wink looks ridiculous, a dead fish drifts off his head. HUSHPUPPY -LRB- WHISPERING. -RRB- You wan na leave the Bathtub, Walrus? WALRUS -LRB- WITHOUT THOUGHT. -RRB- Nah. Wink pulls his head back up. WINK I heard that. Hushpuppy fidgets guiltily. WINK -LRB- CONT'D. -RRB- Nobody's leaving the Bathtub! You do n't know nothing! Wink lowers his net back in the water. WINK -LRB- CONT'D. -RRB- -LRB- TO WALRUS. -RRB- This water gon na kill us here. We got ta do something ` bout this. I ai n't starvin' to death while them people go grocery shopping up there.", "INT. SCHOOLBOAT - FLOODED - MORNING The kids sleep on Miss Bathsheba in a big pile on the floor. Hushpuppy wakes hearing SHIFTING and a SNAP behind her. Peter T is uncapping a shotgun shell and pouring black powder into a small jar. She looks out the window where Jean Battiste is unhooking a propane container from Miss Bathsheba's burner. He opens her chest freezer and hefts out a 12 - foot garfish, dropping the container in the water. JEAN BATTISTE Shit! Wink sneaks up and whispers to Hushpuppy. WINK Boss, Daddy's got ta take care of something. Hushpuppy is instantly concerned, she's heard this line before, and it always leads to trouble. WINK -LRB- CONT'D. -RRB- I'm gon na fix everything back how it was. HUSHPUPPY Everything gon na go right back? WINK Hell yeah, we gon na win. Wink pounds his chest in solidarity. Hushpuppy matches his pound, but without confidence. WINK -LRB- CONT'D. -RRB- Boss, anything go wrong, Walrus is Daddy. Wink and Hushpuppy look Walrus - the face of doddering drunken bewilderment. A goat licks him. Hushpuppy is not comforted. WINK -LRB- CONT'D. -RRB- You're gon na be the king of the Bathtub, I promise that. Wink can see he's getting nowhere. WINK -LRB- CONT'D. -RRB- Just sit here I'll be right back. The DOOR CLOSING wakes Miss Bathsheba up. She scans the room, noticing the three missing people. WALRUS -LRB- an unconvincing lie. -RRB- I think they be gone. I - I really ca n't say where. MISS BATHSHEBA Walrus, do n't make me slap your ass! They go to the levee!? Walrus is intimidated into silence. MISS BATHSHEBA -LRB- CONT'D. -RRB- You so much as piss on that wall, you know what them people gon na do? They gon na smoke us out and stick us in a damn shelter. Hushpuppy watches Miss Bathsheba go for her boat keys. HUSHPUPPY -LRB- V.O. -RRB- Daddy says, brave men do n't run from their home. Hushpuppy scurries out the side window, escaping outside before Miss Bathsheba sees her.", "EXT. UNDER THE TURCK TARP - DAY Wink, Jean Battiste, and Peter T keep their heads above water as they float under the tarp behind the truck bed. Peter T is wearing a life jacket and still has his top hat on. WINK -LRB- WHISPERING. -RRB- Peter T, do n't hold onto me, hold onto the boat. You gon na be fine. Jean Battiste duct tapes fireworks around the bomb : a propane tank with an igniter made from a battery and a pouch of black powder. He inserts the bomb into the stomach cavity of a giant garfish carcass. Wink shoves two propane tanks inside the belly of the garfish. He hands a rope attached to the igniter to Peter T. WINK -LRB- CONT'D. -RRB- Peter T, you hold the trip - line. PETER T -LRB- Soft and sweet. -RRB- Ok then. WINK Just do n't pull ` til I say. PETER T Ok then. WINK You can do it. I have complete faith in you. PETER T Ok. Jean Battiste is hesitant. Wink gives Jean Battiste a confident nod. JEAN BATTISTE Lock and load. Jean Battiste carefully unravels the string that leads to the fuse. He shoves the igniter down the mouth of the garfish.", "EXT. LEVEE WALL, IN THE WATER - DAY The Turck pulls into an enclosed segment of the levee, Wink bobs out from under the Turck and latches a pre - made tether running out of the garfish to a handle on the wall. He bobs back under the boat.", "EXT. SCHOOLBOAT - DAY Hushpuppy dives under the fishing net on a motor boat just before Miss Bathsheba charges outside and keys the ignition. Hushpuppy peeks out and the boat roars to life and rips across the water. HUSHPUPPY -LRB- V.O. -RRB- The entire universe depends on everything fitting together just right. If you can fix the broken piece, it can all go right back.", "INT. UNDER THE TURCK TARP/SANTA MARIA - DAY WINK Peter T hand me the - He looks, Peter T has both hands on the Turck. WINK -LRB- CONT'D. -RRB- Peter you did n't drop the trip - line? PETER T No I did not. Peter T thinks a moment. PETER T -LRB- CONT'D. -RRB- Oh, yes I did. JEAN BATTISTE Oh, Peter T. PETER T I'm sorry. Wink dunks under water.", "EXT. LEVEE - DAY Wink surfaces in front of the igniter rope. As he grabs the rope, Bathsheba's snake catcher snares his hand and pulls his arm against the side of her Jon boat. MISS BATHSHEBA Here's how we do with wild animals. WINK AHH! Get off me woman! I'm trying to save the Bathtub Hushpuppy watches the struggle in hiding. Bathsheba wrenches the rope out of Wink's hand and chucks it. The igniter rope lands in front of Hushpuppy under the net pile. She grabs it. She reels it in. MISS BATHSHEBA Get in the Boat! I'm hauling you're ass back home, little boy. Jean Battiste swims out of hiding. JEAN BATTISTE Wink!? WINK Jean Battiste, get the trip line! Suddenly, Hushpuppy pops out from under the nets, holding the rope taught. She stumbles and almost sets if off by accident. MISS BATHSHEBA Hushpuppy!? JEAN BATTISTE She got it! Pull! Pull! WINK NOW BOSS! MISS BATHSHEBA No! Hushpuppy! Hushpuppy, contemplates in an eerie peace. The screaming chorus FADES and she is alone in her quiet, eyes darting between Bathsheba and Wink. Courage and certainly clench inside her her. You listen to your Daddy. She pulls the rope.", "EXT. LEVEE WALL IN THE WATER - DAY The trip - line releases the detonator.", "EXT. LEVEE - NORTH SIDE - DAY The levee DETONATES. Shattered wood and cement fire towards camera. Debris propels Hushpuppy backwards. Her quiet resumes as she lands on the deck of the boat in slow motion. She watches in a daze as smoke, water, and flaming dust cycles above her. All the beauty of the universe.", "EXT. FLOODPLAIN - THE BATHTUB - DAY Water recedes in the Bathtub, revealing the tragic, mud - soaked remnants of their paradise. Hushpuppy slogs through the muck, each step going two feet down into the stinking filth. The crew trudges behind her in silence.", "EXT. ARK WRECKAGE - DAY The blow - up crew crests a hill and sees the remains of the ark sprawled across an open field. Wink's and Hushpuppy's eyes well up as they beholds the state of their island. The water has drained. Everything is dead. More striking than the ripped - up houses, the land surrounding the island has disappeared. Trees are gone. Shards of marsh that had been attached float in the distance. What was a dense, green landscape is barren. The Bathtub is a scorched hell.", "EXT. SHACKO IN THE BACKO - POST-FLOOD - EVENING Hushpuppy picks through the rubble of the Shacko in the Backo. She finds their grill, and a window made from a dryer door and brings them to Wink. The Shacko has crash landed under the stilts of a house that's been entirely washed away. Wink has done some work reassembling the walls and broken parts into a semi - functional enclosure.", "EXT. SHACKO IN THE BACKO - POST-FLOOD - LATER THAT NIGHT Hushpuppy find nails and brings them to Wink, who leans wall panels against the stilts from the previous house. He hammers nails wearily. His strength is sapped. He HACKS out bile. HUSHPUPPY -LRB- V.O. -RRB- It did n't matter that the water was gone. Sometimes, you can break something so bad, that it ca n't get put back together.", "INT./EXT. SHACKO IN THE BACKO - POST FLOOD - EVENING Hushpuppy climbs the stairs of the original house to get to the top of the Shacko. She looks down through the hole in the floor. In her POV Wink climbs into bed, he painfully takes his shirt off. The bruise on his chest has extended all the way across his stomach. Hushpuppy looks out on the water for some sign that Marietta's still with her. The light shining on the water is off. She sees nothing but dead trees and a defunct oil rig. HUSHPUPPY Mamma!? Nothing. HUSHPUPPY -LRB- CONT'D. -RRB- Mamma where you at!? As if in response, we hear a HELICOPTER LOUDSPEAKER. PILOT This is a mandatory evacuation area, you can no longer live here. Everyone in this area, has to leave. I repeat.", "EXT. DEAD FOREST - MORNING Hushpuppy wades through the muck in what used to be a lush forest, now reduced to toothpick trees and mud. She finds her storage unit in the tree hollow, and lifts out the medicine jar. HUSHPUPPY -LRB- V.O. -RRB- When you're small, you got ta fix what you can.", "INT. SHACKO IN THE BACKO - POST FLOOD - NIGHT She pours the crushed up roots into Wink's mouth, careful not to disturb him. Wink dooes n't move. Hushpuppy gently folds in the orange fungus. Quiet, quiet - WINK GUUAAAHH! Wink spews up an explosive cloud of medicine. WINK -LRB- CONT'D. -RRB- God damn! Wink grabs her medicine jar and threatens her with it. WINK -LRB- CONT'D. -RRB- What you doing!? He smashes it against the wall. WINK -LRB- CONT'D. -RRB- What the hell's wrong with you! Hushpuppy is so upset she does n't know what to do. She screams in anger. HUSHPUPPY Raaaaaaaaaaaaahhhh! Raging, Hushpuppy breaks everything she can get her hands on, ruining everything Wink's reassembled, tipping shelves, pans, walls. She grabs a fishing pole and starts bashing Wink's grill over and over. WINK You wan na throw things? Come on! I can do that too. You want to play that game? Let's throw stuff! Wink joins in, breaking stuff too, channeling all his anger into the destruction. Wink throws himself into the wall. It breaks off and dumps a series of shelves all over the floor. Hushpuppy ca n't believe it. Suddenly it's cathartic, they start throwing objects at each other and laughing. WINK -LRB- CONT'D. -RRB- Come on! Come on! Wink pegs her in the face with a stuffed animal and she grins. Hushpuppy throws a pillow! WINK -LRB- CONT'D. -RRB- AAAAH! COME ON! COME ON! Hushpuppy throws a shoe. WINK -LRB- CONT'D. -RRB- AAAAAHHHHH! YEAH! COME ON! Hushpuppy and Wink destroy everything in the house. Something goes off in Wink chest. He grabs his heart and collapses on the floor. Hushpuppy realizes something's not right. She throws a life - jacket at her father. Wink continues to force a smile at her. Hushpuppy wo n't return the smile. HUSHPUPPY Man. You think I do n't know. Hushpuppy's bottom lip starts quivering. Wink's smiles disappears. WINK Hey. No crying. Do n't you cry man. Do n't you cry! He threatens her with a shoe. Hushpuppy hides behind an overturned chest. WINK -LRB- CONT'D. -RRB- HEY! Do n't cry damn it! Wink hangs his head and catches his breath against the wall. WINK -LRB- CONT'D. -RRB- Shit. He pull himself to his feet and grabs a bottle of moonshine. He sets up two cups on the table. WINK -LRB- CONT'D. -RRB- Come on get a drink. Wink pours Hushpuppy a shot. Hushpuppy sips. Winces. Looks suspiciously at her father. Sips again. Wink takes one straight from the bottle. WINK -LRB- CONT'D. -RRB- This counts as I'm sorry for a whole buncha things. Lord. HUSHPUPPY You gon na be gone? WINK What? No! HUSHPUPPY You gon na leave me alone? WINK I ai n't gon' leave nothing. HUSHPUPPY Cause if you be gone, I be gone too. WINK Hushpuppy, that is not how it works. HUSHPUPPY I will. Sometimes in the bed I start shaking and ca n't stop. I got what you got. WINK No man. That's just a side effect of being a stupid little girl. HUSHPUPPY I ai n't gon na be dead? WINK No. You? No! You gon na live a hundred years more. You know what, show me the guns. Hushpuppy shoves Wink. WINK -LRB- CONT'D. -RRB- Show me them guns man. Wink clears everything off the table with one sweep. WINK -LRB- CONT'D. -RRB- Show me the guns! Guns! guns! guns! guns! guns! Hushpuppy flexes her biceps. She begins to chant, fierce and TRIUMPHANT - HUSHPUPPY Guns! Guns! Guns! Guns! WINK -LRB- OVERLAPPING. -RRB- Guns man, give to me! Guns! Guns! Wink holds up his hand to arm - wrestle. They SCREAM in tandem as Hushpuppy pins him hard. WINK -LRB- CONT'D. -RRB- Ooooo, Hushpuppy you the man. Who the man? HUSHPUPPY I'm the man. WINK Who the man!? HUSHPUPPY I'm the man! WINK TELL ME LOUDER WHO THE MAN! HUSHPUPPY I'm THE MAN! WINK YOU THE MAN, RIGHT?! Wink is overcome with love. It's too much for him to bear. WINK -LRB- CONT'D. -RRB- Fuck this table! In a violent euphoria, Wink grabs the table and hurls it across the room. This scares Hushpuppy. She stares silently at her wild animal father, longing for something more than rage. Wink takes a step toward like he's going to comfort her, then stops, turning back. WINK -LRB- CONT'D. -RRB- I got ta lay down hear? I got ta be strong. Do n't be scared. Wink lays down in the corner. Hushpuppy does n't go to bed, she just stands there. WINK -LRB- CONT'D. -RRB- What? Hushpuppy waits, not backing down. WINK -LRB- CONT'D. -RRB- -LRB- GIVING IN. -RRB- Come here. Hushpuppy goes to Wink. WINK -LRB- CONT'D. -RRB- Lay down. Wink pats his heart for her to put her head down on it. A long beat. WINK -LRB- CONT'D. -RRB- Hey. HUSHPUPPY Yea? WINK You ai n't the one who's sick. She listens to his BIG HUGE HEART.", "EXT. WET SAND MUCK EXPANSE - DAY The Aurochs move into a desolate, barren, wasteland, looking exhausted and starved. HUSHPUPPY -LRB- V.O. -RRB- Strong animals got no mercy. Cold wind blows them backwards. An old Aurochs falls behind the pack. Its legs give out and it lays down. It's not going to make it. HUSHPUPPY -LRB- V.O. -RRB- They the type of animals that eats their own Mommas and Daddies. The Aurochs cannibalize their fallen comrade, ripping skin and organs in a storm of flesh and gore. The CRIES of the screaming mother melt together with another, sound, more MECHANICAL.", "INT./EXT. SHACKO IN THE BACKO - POST FLOOD - MORNING The SOUND becomes recognizable as a HELICOPTER PROPELLER. Hushpuppy opens her eyes, still tucked in Wink's arm. Through the wall she sees FOUR WELL - DRESSED men. They are out of place like aliens exiting their space ship. She rouses Wink, he hears the FOREIGN SOUNDING VOICES and yanks Hushpuppy up. He instinctively pulls him and Hushpuppy behind the over - turned table and grabs a broken chair leg to defend them with. EVACUATOR -LRB- O.S. -RRB- -LRB- from outside the door. -RRB- This is a mandatory evacuation area. Everyone in this region has to leave. Wink hurls the chair leg at the intruders as they try to enter. WINK We ai n't going nowhere! Hushpuppy grabs a chair leg as well. It's a standoff.", "INT. LADY JO'S HOUSE - POST FLOOD - MORNING Three evacuation workers ram the door of Little Jo's house. Little Jo greets the intruders brandishing a cutting knife and civil war era pistol. LITTLE JO You gon na have to shoot me cause I'm not going. EVACUATOR 2 Ma'am we're not gon na shoot you. LITTLE JO I ai n't never left here and I wo n't never will. She spits. They get closer. LITTLE JO -LRB- CONT'D. -RRB- Son, do n't make me cancel your birth certificate. The Muscle grabs her by the weapons and in the struggle, slam her to the ground. It's horrible. EVACUATOR 2 Relax, relax ma'am. LITTLE JO YOU SON OF A BITCH! They drag Little Jo out of the house.", "INT. SHACKO IN THE BACKO - MORNING MATCH CUT to Wink and Hushpuppy pinned and being dragged out. WINK Get your hands off of her! I'm gon na kill you! Let her go!", "EXT. REFUGEE CAMP - DAY CRASH CUT TO an off - white monolithic community center surrounded by a cement parking lot. Stressed, amateur looking doctors from the real world move in and out of the glass doors. A makeshift sign reads `` Open Arms Processing Center.''", "INT. REFUGEE CAMP - COTS - DAY The interior of the refugee camp is violently, fluorescent - lit and painted white in an attempt to maintain a facade of sterility. Hushpuppy stares at the strange and modern ceiling like they've descended from another planet. HUSHPUPPY -LRB- V.O. -RRB- It did n't look like a prison, it looked like a fish tank with no water. The Bathtub residents walk through the gymnasium which has been converted into a holding tank/hospital for refugees. Student doctors are examining, treating, feeding people. The abandoned souls, the sick, and the old are lined up waiting for assistance.", "INT. REFUGEE CAMP - KITCHEN - DAY A processed egg patty jiggles weirdly as it hits Hushpuppy's tray. WINK Do n't eat that. DR. MALONEY, a clean - cut, over - extended handsome young doctor hustles toward the lunch line. DR. MALONEY Mr. Doucet, can I have a word with you, we found something in your test. It's - WINK Whoa whoa whoa, not in front of my kid. Stay, Hushpuppy. Wink pulls Maloney out of earshot. DR. MALONEY Mr. Doucet, there's no easy way to say this. Hushpuppy struggles to hear more, only a couple words come through the din of refugees. DR. MALONEY -LRB- CONT'D. -RRB- require surgery immediately. you need to think about what you want for your daughter. you could die. In Hushpuppy's POV : Maloney puts a sympathetic hand on Wink's shoulder and Wink pushes it off violently. Maloney puts up his hands in peace and Wink shoves him through one of the curtains and is assaulted by a flood of orderlies. WINK I do n't need nothing from you! You keep your hands off her! I do n't need nothing from y' all! Let me go! Hushpuppy is snatched as she fights to come to his rescue. HUSHPUPPY Daddy! They tackle Wink to the ground. He goes limp as he falls.", "INT. REFUGEE CAMP - COTS - DAY We TRACK with Wink as he comes to consciousness rolling through the cots. He is sedated and being pushed in a wheelchair. He looks through an open door. In Wink's POV - Joy, Tee - Lou, Lizard, and the rest of Bathsheba's original school class play in a room with a BABYSITTER. She tickles Hushpuppy, who has been given new clothes and looks like a normal little girl for the first time. Her boots and boys underpants have been traded for a delicate blue dress. The image is jarring. BABYSITTER Hushpuppy needs a hug. HUSHPUPPY I do n't want your hug! The Babysitter squeezes Hushpuppy. Hushpuppy tries to squirm away. BABYSITTER Hushpuppy, that's not how nice girls act. Say `` I'm sorry ma'am.'' Hey! Say it. Say it or you're going to corner time. Hushpuppy's eyes meet Wink's and she freezes at his horrifying appearance. Wink grabs a sofa trying to stop the wheelchair as it rolls by. His fingers slips off, too weak to hold on. He tries to scream and nothing but a SEDATED MOAN comes out of his mouth. He tries to pull the tubes out of his arm. ORDERLY -LRB- gently moving Wink's hand AWAY. -RRB- There there, sir. Hushpuppy stares in shock as Wink is wheeled away.", "INT. REFUGEE CAMP - WINK'S ROOM - NIGHT Hushpuppy watches in hiding as a hand covered in a rubber glove changes the bandage on a surgical scar ; it looks infected and mishandled. The same hand puts pills in Wink's mouth.", "INT. REFUGEE CAMP - TERMINAL WARD - DAY Hushpuppy stands over an old man on an artificial respirator. She's creeps closer, examining him. She puts her head on his chest. His heart is beating. HUSHPUPPY -LRB- V.O. -RRB- When an animal gets sick here, they plug it into the wall. She whispers in his ear. HUSHPUPPY They're coming for you.", "INT. REFUGEE CAMP - TERMINAL WARD - A DIFFERENT BED - DAY She repeats the process with another vegetable. HUSHPUPPY -LRB- V.O. -RRB- Daddy says, if he ever got so old he could n't drink beer, or catch catfish, that I had to put him in a boat, and set him on fire, so no one could come plug him into the wall.", "INT. REFUGEE CAMP - WINK'S ROOM - NIGHT Hushpuppy peeks through the curtains at another terminal bed. She sees two orderlies force pills into Wink's mouth. He's regaining his strength and is able to hold them off momentarily before submitting, and going limp. Hushpuppy bolts, unable to take it. We stay in the room as the orderlies walk away. Wink peeks to make sure they're gone, then spits his pills on the floor. Wink stares at the ceiling for a long beat. Then, with a burst of energy he grabs his morphine drip and topples himself onto the floor. He pulls his wires out.", "INT. REFUGEE CAMP - KID'S ROOM - MORNING Hushpuppy lies asleep in a pile with Tee - Lou, Lizard, and Joy. Wink enters and jostles her awake. WINK Boss. Let's go. HUSHPUPPY Where we goin'?", "INT. REFUGEE CAMP - HALLWAY - CONTINUOUS Wink and the girls hustle to the entrance of the Refugee center. Walrus comes running down the hall, pushing Peter T on a gurney. Wink looks bewildered, the rest of the team seems to have their own plan afoot.", "INT. REFUGEE CAMP - COTS - MORNING Jean Battiste and Little Jo charge through the cots riling refugees into revolt as the orderlies chase them trying to maintain decorum. JEAN BATTISTE Go home! Everybody get up! Do n't you want to go home? Lets go! These people do n't care about you! Little Jo fights off an orderly with a syringe. LITTLE JO You live in this hell hole!", "INT/EXT. REFUGEE CAMP - EVACUATION BUS - DAY Wink runs the kids toward the bus, they pass two busses labeled for Salt Lake City, Des Moines. Wink helps Joy, Tee - Lou, and Lizard get on. Then Hushpuppy. Suddenly Wink's hand slips out of Hushpuppy's. He steps away from the evacuating bus. Hushpuppy turns and the bus door slams between them. WINK -LRB- from outside the door. -RRB- Make sure you put her somewhere good ok? Wink sags. He's giving her away. He turns to leave. HUSHPUPPY -LRB- banging on the door. -RRB- NO! I ai n't running! No! Wink walks away from the bus, his chest heaving, his face clutched in the horror of what he's done. Behind him, the bus pulls forward, then veers violently. Hushpuppy charges the driver clawing at her face, punching and kicking. HUSHPUPPY -LRB- CONT'D. -RRB- Let me go! The driver pulls the break and Hushpuppy bangs the doors open. She charges Wink from behind, gives him a diving shove. He topples over. HUSHPUPPY -LRB- CONT'D. -RRB- You trying to get rid of me! You trying to get rid of me! WINK No! HUSHPUPPY Why you trying to get rid of me? WINK I ai n't trying to get rid of you. HUSHPUPPY You is. WINK No. Hushpuppy. I ca n't take care of you no more. HUSHPUPPY Yes you can. Hushpuppy stares him down, accusing. WINK Daddy's dying! Hushpuppy's chest heaves up and down. WINK -LRB- CONT'D. -RRB- My blood is eating itself. You know what that means? HUSHPUPPY Do n't be sayin' about dying. WINK Everybody's Daddy dies. HUSHPUPPY Not my Daddy. WINK Yes, your Daddy! Her defiance is broken and the information starts to sink in. It hurts Wink as much as it hurts her. WINK -LRB- CONT'D. -RRB- I did n't want you to watch that, ok? You understand? Wink doubles over hacking. He COUGHS horribly. Hushpuppy looks down and sees blood spotting the grass, dripping from his mouth. The Bathtub gangs charges out the door! Across the parking lot they go in a spree of euphoria, coming to a halt around Wink. Hushpuppy is trying to drag his limp body across the parking lot. HUSHPUPPY Come on! Come on! Little Jo hold Hushpuppy away from him. WINK Walrus, get me home.", "EXT. LAFOURCHE ROAD - DAY The Bathtub crew carries Wink through the entrance to town. His arms slug over Walrus and Jean Battiste, he's barely able to help walk. We sense from the weary faces and silent eyes that it's been a long journey home.", "INT./EXT. SHACKO IN THE BACKO - DAY They drag Wink through the Shacko entrance. Everyone goes in except Hushpuppy who stops outside the door as they lay him down in convulsions. She stays and tries to watch. Wink tries to say something to Walrus and ca n't. Blood bubbles out of his mouth. Wink catches Hushpuppy's eye then looks away as fast as he can. Reeling, but steady, Hushpuppy backs out the door.", "EXT. LAFOURCHE ROAD - DAY Hushpuppy walks down the road in an almost eerie state of calm. She takes in the remnants of rusting houses and flipped boats, her lifeless ghost town. HUSHPUPPY -LRB- V.O. -RRB- Everybody looses the thing that made them, it's even how it's supposed to be in nature.", "EXT. LAVA RIDGE - DAY Now with her three friends, she tip - toes past several humongous footprints up to a gruesome fox carcass. Something gigantic has ripped open its stomach and gutted it. She leans over, unafraid, trying to understand it's meaning. Flies swarm and nibble, their movement almost elegant. Seen in close up, the gory mess has a strange beauty to it. HUSHPUPPY -LRB- V.O. -RRB- The brave men stay and watch it happen. They do n't run. A SONIC BOOM springs her upright, she looks around for the source of the sound. Is it an Aurochs? She looks towards the muddy bayou. The SONIC BOOM sounds again and the entire body of water quivers with the impact.", "EXT. DARDAR RIDGE - EVENING The beacon blinks out on the water. Hushpuppy stares towards it. The children are gathered behind her. Something has changed in her eyes. The eerie calm has given way to a hardened determination. Though unclear to us, her internal path of action is certain. She takes a deep breath, and lets out a WARRIOR CRY. She runs straight into the water with her girl gang charging behind her.", "EXT. GULF OF MEXICO - EVENING Joy, Tee - Lou, Lizard, and Hushpuppy swim through open water, pulling each other forward. They head in the direction of the beacon. HUSHPUPPY Come on! Keep going! They try to kick toward the light but are getting nowhere, the current pulls them backwards. We hear a BOAT HORN and they look to where an ANCIENT TUG BOAT with a cabin that towers into the sky like a giraffe head, appears through the mist.", "EXT. GULF OF MEXICO - SERGEANT MAJOR'S BOAT - EVENING The girls climb aboard, lifting each other onto the deck. They look up to the sound of FOOTSTEPS on the upper deck. Hushpuppy looks up to see SERGEANT MAJOR -LRB- 60 -RRB- - A big, timeless looking man with a salt and pepper moustache, saunters up to the rail. He stares down, examining these runts with an air of suspicion. HUSHPUPPY I'm going by my Mamma. He smiles broadly, as if this was the secret password. Him and Hushpuppy stare at each other and immediately there is understanding. Two lost souls in the wilderness. SERGEANT MAJOR That's a good place to go.", "EXT. GULF OF MEXICO - SERGEANT MAJOR'S BOAT - EVENING Hushpuppy sits adjacent to the Sergeant in the tug's elevated wheelhouse. They are two stories up, and the white walls create a glow that makes us feel like we're almost in another dimension. HUSHPUPPY Which way are we going? SERGEANT MAJOR Do n't matter baby, this boat'll take you exactly where you need to be. It's just that type of boat. Hushpuppy and Sergeant Major share an ease unlike anyone else we've seen Hushpuppy interacted with. The speak like an old teacher with his favorite disciple. They let their silences last. SERGEANT MAJOR -LRB- CONT'D. -RRB- You want a chicken biscuit? Hushpuppy shakes her head ` no'. SERGEANT MAJOR -LRB- CONT'D. -RRB- They're good for you. A deep, far away melancholy settles over him. He munches on a chicken biscuit, then tosses the wrapper on the floor. The wheelhouse is wall to wall with chicken biscuit wrappers. SERGEANT MAJOR -LRB- CONT'D. -RRB- I been eating these all my life. I keep the wrappers in the boat, ` cause they remind me who I was when I ate each one. The smell make me feel cohesive. HUSHPUPPY I wan na be cohesive. SERGEANT MAJOR Oh you will be, I got no doubt in my mind. They let this thought settle, then Hushpuppy turns her swivel chair back toward the water The beacon appears through the mist. Hushpuppy's eyes go wide. As they approach, another boat comes into view. A half - sunken barge that looks as though its been rusting in the same position for a century. As we move in we see a lit up sign : `` Elysian Fields Floating Catfish Shack GIRLS GIRLS GIRLS.''", "EXT./INT. ELYSIAN FIELDS - ENTRANCE - EVENING Hushpuppy, Joy, Tee - Lou, and Lizard disembark onto the barge with Sergeant Major following behind. They circle around a hatch in the floor with light pulsing out of it. Far - away JAZZ echoes up from the bowels of the ship. They look to each other in wonder.", "INT. ELYSIAN FIELDS - DANCE FLOOR - NIGHT Hushpuppy descends a ladder into a glimmering wonderland. Christmas lights swallow the ceiling, and a light smoke facade encompasses everything. We feel like we're looking at a portal into the past, a Belloq - esque turned New Orleans Jazz parlor. The regulars are all oil - workers wooing their ladies of the night. There is a stage with a DJ and two singers, karaokeing along with `` Until the Real Thing Comes Along'' by Fats Waller. The hyperactive MISS FRANKIE, the matriarch of this establishment, comes a ` hoppin'. MISS FRANKIE Holy crap you have toddlers! SERGEANT MAJOR Good afternoon, Miss Frankie. MISS FRANKIE Well butter my butt and call me a biscuit! How you, Sergeant Major? You need some grits? SERGEANT MAJOR Yes ma'am. MISS FRANKIE Holy Sugar, they are so precious! Y' all just as cute as a tub of puppies! Women descend on the kids who recoil, not knowing what to do with all this affection. Joy Strong puts up her fists. Hushpuppy pushes through the crowd nonplussed by the flurry of doting ladies. They are not who she is looking for. They are not who she is looking for. She scans pictures of strippers through the ages pasted up all over the ceiling, each of them with a bra hung on it, none of them right. Bar patrons nod and tip their glasses to her as she passes, ladies smile and return to their drinks, drunk flirtatious dancers giggle at her, but she remains unfazed. She reaches two swinging doors that lead to the kitchen. Hushpuppy stops. Sniffs. Heaven. SLOW MOTION : in Hushpuppy's POV, smoke curls through the swinging doors, the light illuminating the dust particles. It's a magic kitchen. Her POV tilts down to the floor where a pair of well - pedicured feet in flip - flops walks towards the swinging doors. They open. Hushpuppy holds her breath. A gorgeous COOK -LRB- 35 -RRB- wearing a baseball cap and an apron comes out the double doors. She wipes some sweat off her brow. She watches the band and kills a bottle of ice - cold beer. The Cook looks down. Sees Hushpuppy. COOK You need something baby? Hushpuppy nods, holding her breath. She still ca n't speak. COOK -LRB- CONT'D. -RRB- Well whatchu want? You alone? Hushpuppy shrugs. She's too stunned, too shy to speak. The Cook takes stock of the helpless creature in front of her. Like a butcher shop owner with a pesky hungry puppy, she submits to Hushpuppy's longing gaze. COOK -LRB- CONT'D. -RRB- Get in here, I'm'll show you a magic trick. Hushpuppy follows her into the magic kitchen, knocking her head against the swinging doors on her way in.", "INT. ELYSIAN FIELDS - KITCHEN With the smooth fanfare of a circus performer, The Cook lifts an egg, opens a beer bottle with her teeth, SPITS the cap at the egg and it cracks over the grits. Hushpuppy's face is joy beyond all measure. She watches the Cook's flying hands, she prepares everything in a single motion, it's like a dance. She slaps a fresh alligator tail on the table and begins sawing through the scales. COOK Lem me tell you somethin', when you're a child people tell you that everything's gon na be all hunky - dory and all that bullshit, but I'm here to tell you that it's not. So get that out your head right now. She removes the knife from the gator and aims it at Hushpuppy like its a pointer. COOK -LRB- CONT'D. -RRB- Life's some big old feast, yeah, but you? You ai n't nothin' but a stupid little waitress. She scales a gator, strips the bones, dredges, fries. COOK -LRB- CONT'D. -RRB- Everything you got on your platter gon na fall on the floor and ai n't nobody gon na be there to pick it up for you. Someday it's all gon na be on you. She stirs the grits. Grits on plate. Gator on plate. Plate in front of Hushpuppy. Lemon is squeezed all over everything. COOK -LRB- CONT'D. -RRB- So smile, girl. Hushpuppy tries to crack a grin. She barely remembers how to smile and it comes out all wrong. The Cook shakes her head, opens another beer on her teeth, and heads for the pantry. COOK -LRB- CONT'D. -RRB- Nobody likes a pity - party - having - ass - woman. Hushpuppy stays behind staring into the floating particles of dust in the incandescent light - stars of the universe. The golden bubbling fry pot - lava of the molten core.", "INT. ELYSIAN FIELDS - KITCHEN - LATER THAT NIGHT Four perfect gator nuggets are placed next to a sumptuous dollop of grits. COOK The gator's magic. Hushpuppy looks up from her food - hypnosis. COOK -LRB- CONT'D. -RRB- -LRB- encouraging a smile. -RRB- Awwwwwwwww. A real smile emerges across Hushpuppy's face. COOK -LRB- CONT'D. -RRB- Mmm - hmm.", "INT. ELYSIAN FIELDS - DANCE FLOOR - NIGHT Magic soars as the couples rock back and forth on the dance floor. Strippers cradle their dates. It's all very sweet and tender. This seems to be the M.O of this strip club, slow - dance not pole - dance. The kids are each dancing with a stripper, glowing with love. They are orphans in a heaven of mothers. We float back to Hushpuppy, the camera dances with her and the Cook. The Cook squeezes Hushpuppy and spins her. Each time we catch their face their eyes are wetter and wetter. HUSHPUPPY You can take care of me. Me and Daddy. After a long beat. The Cook shakes her head ` no.' COOK I do n't know nothing bout your Daddy, I ca n't take care of nobody but myself. This sinks into Hushpuppy. COOK -LRB- CONT'D. -RRB- You can stay if you want. Hushpuppy considers this for a moment, squeezes the Cook. HUSHPUPPY This is my favorite thing. COOK I know. A far - away look has come over her. Her mind is somewhere else. HUSHPUPPY -LRB- V.O. -RRB- I can count all the time I've been lifted.", "INT. HUSHPUPPY'S HOUSE - DIMLY LIT ROOM - DAY We look up at a face that's slowly coming into focus - it's Wink, younger and healthier. HUSHPUPPY -LRB- V.O. -RRB- I can count all the times I've been lifted on two fingers. He is the first sight of the slimy newborn baby girl tucked in his arm. Baby Hushpuppy stares up at him as he carries her. WOMAN'S VOICE -LRB- O.S. -RRB- Wink! Bring my baby here! They need to wash her off. WINK Naw, that waits. Baby Hushpuppy's huge - eyed, warped facial expression ogles Wink. She coos. WINK -LRB- CONT'D. -RRB- -LRB- TO HUSHPUPPY. -RRB- Alright fatso, breathe some air. They pass through a doorway and sun washes over Baby Hushpuppy. She smiles and smiles at the world.", "INT. ELYSIAN FIELDS - DANCEFLOOR - NIGHT Back in reality Hushpuppy gathers herself. She's suddenly not hugging back, just being held. HUSHPUPPY I need to go home. COOK -LRB- WHISPERED. -RRB- No. Hushpuppy cups her hand to the Cook's ear and whispers something inaudible. The Cook squeezes her tight, seeming on the verge of adopting her. But she ca n't. She spins Hushpuppy around and around, then puts her down withouth meeting her gaze. Hushpuppy watches her disappear into the crowd of swaying couples. All goes quiet, and we sit behind Hushpuppy's head, a sea of light like a crown around her. MUSIC SWELLS. Decisively, with the force of a charging general, Hushpuppy turns and runs toward camera.", "EXT. DEAD OAK RIDGE - DAY MATCH CUT to Hushpuppy leading Joy, Tee - Lou, and Lizard across a ridge dotted with Dead Oak trees, she's come back to the Bathtub.", "EXT. DEAD OAK RIDGE - WATER - DAY The camera moves over the water, past the dead oaks. We turn the corner past a stretch of marsh, and come upon the Aurochs, four of them, now suddenly and viscerally in the landscape of the Bathtub, swimming steadily toward solid land.", "INT. SHACKO IN THE BACKO - DAY The Bathtub crew sits by Wink's bed. His eyes are open, but everyone is silently waiting for the inevitable.", "EXT. ARK WRECKAGE - DAY The children crest the ridge. The RUMBLE of Aurochs hoofs is suddenly and violently audible. Hushpuppy turns. She catches a glimpses of something massive moving behind the distant oaks. The kids turn and hustle down the ridge. Hushpuppy, Joy, Tee - Lou, and Lizard hustle down hill with increased urgency. The DISTANT TRAMPLING is growing louder. Behind Hushpuppy the dark shapes of the Aurochs crest the ridge in a deafening STAMPEDE. Joy, Tee - Lou, and Lizard scream and sprint out in front of Hushpuppy. Hushpuppy walks steadily forward, refusing to run. Her face locked with determination, she is unafraid. Her eyes shoot toward the shacko.", "EXT. SHACKO IN THE BACKO - DAY Wink, with all his strength looks toward Hushpuppy, their eyes meet. In Wink's POV, Hushpuppy stops dead on the bridge, waiting for her fate, staring toward her father.", "EXT. ARK WRECKAGE - DAY The Aurochs bear down on Hushpuppy from behind, their footsteps rattling the frame. They grow inconceivably large, the camera has to tilt to hold the frame. Hushpuppy balls her fists and stands her ground. Suddenly, she turns. The Aurochs ROARS. Then, inches away from Hushpuppy, she stops. She SNORTS, blowing Hushpuppy's hair back. Hushpuppy does n't flinch. The Aurochs stares face to face with Hushpuppy. Sniffs.", "EXT. SHACKO IN THE BACKO - DAY Wink is frozen in wonder, unable to believe his eyes.", "EXT. ARK WRECKAGE - DAY Hushpuppy raises her chin in confident defiance. Now in full profile, we see the Aurochs towering 15 - feet tall, she takes a step forwards, sniffs again. A low SNORT, or is it a purr? The Aurochs lowers her head with respect. Her eyes well with emotion, recognizing one of her own. A ferocious warrior. The Aurochs steps back, takes a knee, and with a BELLY FLOP that rattles the very earth, she lays down. Her three companions follow suit, their fat tummies settling into an almost joyful, lazy, repass. A strange calm has settled over Hushpuppy. Almost a smile, but more of a peace and an affection for her equal. They're both children in their way. HUSHPUPPY You're my friend, kind of. Mother Aurochs grunts, a sentence only Hushpuppy can understand. HUSHPUPPY -LRB- CONT'D. -RRB- I got ta take care of mine. With weary and clumsy steps, the Aurochs stand and retreat.", "EXT. SHACKO IN THE BACKO - DAY Hushpuppy approaches the shacko. It's like walking the plank, but she's unafraid, at one with her destiny. The Bathtub crew look on her in awe. They part ways to let her pass. She reaches the door, steeling her reserve. Hushpuppy opens the door.", "INT. SHACKO IN THE BACKO - DAY Wink is curled up on Hushpuppy's bed - very, very thin. His eyes are closed. His chest heaves up and down in short violent breaths. Hushpuppy stands and stares. Wink looks at Hushpuppy in reverence. He knows it's the last time. Wink motions for her to come closer. Hushpuppy inches toward him. It takes all of her might. She sits on his bed. Hushpuppy takes her to - go container from Elysian Fields out of a paper bag and pops it. She unwraps a gator nugget, dips it in hot sauce, and holds it out for Wink to take a bite. Hushpuppy watches as Wink chews weakly. She eats one herself. Wink and Hushpuppy draw it out. They do n't want it to end. It takes a full minute for him to swallow the first bite, and she paces herself to finish when he does. WINK -LRB- BARELY AUDIBLE. -RRB- Real good. Wink's chest heaves up and down, harder and harder. A tear rolls down his face. WINK -LRB- CONT'D. -RRB- -LRB- CHOKING UP. -RRB- No crying, you hear? She holds them back, being tough for her Daddy. HUSHPUPPY No crying. Hushpuppy's face hardens, and even as the tears fall, we see a strength and composure that only Wink could have put there. She falls into his arms and he embraces her. Hushpuppy squeezes Wink. She does not let go. She stays strong. Wink's hand trembles on her back. She holds him as his deep, warm, heartbeat slows, slows, and stops. His weight slumps over her. She keeps on holding him, but she knows.", "EXT. GRAVEYARD BY THE WATER - DAY Steadfast, Hushpuppy holds a torch on the edge of the Bathtub. The Turck, piled with branches, floats in front of her. She lowers the flame and lights a cloth covering Wink's body aflame. She pushes the funeral pyre out into the current. We watch the boat flames drift into the foreground, covering Hushpuppy face with flames. She looks into them in all her grief and wisdom. The group begins a funeral prayer, playing quiet in the background as Hushpuppy contemplates the pyre. PETER T As I stand by the bayou, Everyone else joins him. EVERYONE A ship at my side starts her motors and sails for the gulf. I watch her until she disappears. `` There! She's gone!'' Gone where? Gone from my eyes, that's all. She's just as big as when she left me. And somewhere else, other voices are calling out, `` Here she comes!'' And that is dying. They raise their drinks to the sky and shout in unison. EVERYONE -LRB- CONT'D. -RRB- HERE! SHE! COMES! Hushpuppy gazes into the sparks leaping off the top of the fire are foregrounded in front of Hushpuppy, particles of Wink jumping into the sky. HORNS ENTER, droning low, and building into an funeral dirge. HUSHPUPPY -LRB- V.O. -RRB- When I relax behind my eyes I see everything that made me flying around in invisible pieces. When I look too hard it goes away, but when it all goes quiet, I see they are right here. The Turck almost disappears over the horizon. The HORNS take a hopeful turn, the melancholy of the dirge mixing with the anthem of the Bathtub. HUSHPUPPY -LRB- V.O. -RRB- I see that I'm a little piece of a big, big universe, and that makes things right. Hushpuppy stands tiny on the ledge of the Earth, framed in front of an expanse of endless water.", "EXT. CAUSEWAY - POST-FLOOD - DAY The Bathtub gang marches across the marsh road. Hands touch the town sign, saying goodbye. HUSHPUPPY -LRB- V.O. -RRB- When I die, the scientists of the future, they gon na find it all. They gon na know, once there was a Hushpuppy, and she lived with her Daddy in the Bathtub. We CUT WIDE to reveal that the water is rising and washing over the road. Our heroes are marching on the final sliver of land. The camera flies backwards, and our view of the road disappears into mist and churning waves. They appear to be walking on water. Hushpuppy leads them forward, into the future. CUT TO BLACK."], "labels": [0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0, 1.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0, 1.0, 1.0, 0.0, 1.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 0.0], "summary": "As a storm approaches a southern Louisiana bayou community called the \"Bathtub\" (a community cut off from the rest of the world by a levee), six-year-old Hushpuppy and her ailing, hot-tempered father Wink are optimistic about their life and their future. The children in school are being taught by Miss Bathsheba about nature and the release of prehistoric aurochs from the melting ice caps. At home, Hushpuppy fends for herself while her father is missing. When he returns, he is wearing a hospital gown and bracelet. They argue, and when Hushpuppy returns to her house, she deliberately sets it on fire. A chase ensues between the two, and she ends up getting slapped by Wink. When she retaliates by punching him in the chest, Wink collapses. Hushpuppy, realizing the damage she has caused, runs for help only to find her father missing when she returns. Meanwhile, in the Arctic, the frozen aurochs in an ice shelf start drifting into the ocean. Many of the Bathtub residents flee an approaching storm. Wink reappears, staggering along the side of the road; he finds Hushpuppy and takes her home to start barricading before the storm hits. In an effort to make his daughter feel better, Wink attempts to scare off the storm by firing a shotgun at the clouds. The next day, the two tour the devastation and connect with surviving residents. The Bathtub residents celebrate the end of the storm and make plans to rebuild their community, but the environment is damaged because the salt water surge from the storm has contaminated the fresh water supply. Wink hatches a plan to drain the water away by destroying the levee. He and a small group of friends plant dynamite and blow a hole in the wall using an alligator gar, and the water recedes. Authorities arrive and enforce a mandatory evacuation order, removing the residents of the Bathtub to an emergency shelter. Wink receives surgery, but it is too late to restore his health. At the first opportunity, the evacuees escape back to their homes. Aware of her father's condition, Hushpuppy searches for her absent mother. She and her friends swim to a boat, which takes them to a floating bar known as the Elysian Fields. Hushpuppy meets a cook who may be her mother, though the woman doesn't recognize her. The cook says that the girl can stay with her if she wants, but Hushpuppy says she needs to go home. Hushpuppy and her friends return home where she confronts the aurochs. As the aurochs leave, Hushpuppy returns home. She says her last goodbyes to the dying Wink, listening to his last heartbeat. She sets his funeral pyre ablaze, standing together with the remaining residents of the Bathtub.", "name": "Beasts_of_the_Southern_Wild"}
{"scenes": ["OVER BLACK We listen to the immortal music of Mozart's Adagio of the Clarinet Concerto in A. FADE UP", "EXT. THE SOLAR SYSTEM Space, infinite and empty. But then, slowly all nine planets of our Solar System move into frame and align. The last of them is the giant, burning sphere of the sun. Just as the sun enters frame, a solar storm of gigantic proportion unfolds. The eruptions shoot thousands of miles into the blackness of space. FADE TO BLACK 2009 FADE UP", "EXT. COUNTRY SIDE/INDIA - SUNSET Mozart's concerto filters from a jeep's stereo, fighting the drumming sounds of the monsoon rain. PROF. FREDERIC WEST, 66, listens to the music. An Indian BOY playing by the roadside steers his wooden toy ship across a puddle. The Professor turns to his driver, pointing to the boy. PROF. WEST Watch out! But it's too late. The jeep drives straight through the puddle at full speed, sinking the boy's toy ship. In the background, the jeep stops in front of a building. The driver jumps out, leading the Professor towards its entrance. The sign at the door reads : ` Institute for Astrophysics - University of New Delhi'.", "INT. NAGA-DENG MINE/INDIA - SUNSET An endless mine shaft. An old elevator cage comes to a grinding halt. When Prof. West steps out we see that he is accompanied now by a nervous DR. SATNAM TSURUTANI, 32. PROF. WEST How deep are we? SATNAM 8200 feet. Used to be an old copper mine, Professor, sir. As Prof. West follows Satnam, he takes in the unusual setting for this science lab. PROF. WEST Helmsley told me that the neutrino count doubled during the last sun eruptions. SATNAM Correct, sir. But that is not what worries me. They enter a large room with low hanging ceilings. A small group of WHITE COATS look up from their computers, which all show images of the solar storm we witnessed earlier. SATNAM -LRB- CONT'D. -RRB- There was a new solar storm, so strong that the physical reaction got even more severe. PROF. WEST How can that be? SATNAM We do n't know, Professor, sir. Satnam walks over into another room. There he opens a hatch on the floor and hot steam rises. SATNAM -LRB- CONT'D. -RRB- The neutrinos suddenly act like. microwaves. Prof. West slowly steps closer. When he discovers that the water in the tank below is boiling, his face goes pale.", "EXT. LARGE TERRACE/WASHINGTON D.C. - EVENING A major fund raising party is under way. The setting is spectacular. A terrace overlooking the Washington Mall and the Capitol Building. ADRIAN HELMSLEY, 32, stands with a group of young POLITICAL AIDES. He is the only African - American among them. One of the aides spots CARL ANHEUSER, 58, White House Chief of Staff, working the crowd. POLITICAL AID #1 Look at Anheuser. Anyone would think he was President. Did you hear, he wants us to sign in and out like school boys? ADRIAN I still ca n't believe that Wilson chose him of all people to run the White House. POLITICAL AID #2 Why not? Anheuser owns the Senate and the Congress. ADRIAN Shame he's such a pompous ass. ANHEUSER -LRB- O.S. -RRB- Somebody mention my name? Adrian turns to see Anheuser smiling. ADRIAN -LRB- SHOCKED. -RRB- Yes sir. No, sir. ANHEUSER Which one is it? ADRIAN We were talking about what a great speech you gave tonight. Well done, sir. ANHEUSER It's Helmsley, right? I'll remember that. Anheuser walks away with a dangerous smile. POLITICAL AID #2 That guy scares the shit out of me. At that moment Adrian's cell phone rings. ADRIAN -LRB- into the phone. -RRB- Professor West? PROF. WEST -LRB- O.S. -RRB- I've been trying to reach you!", "INT. LIVING ROOM/SATNAM'S HOUSE - NIGHT Prof. West is on the phone. In the background we make out Satnam's family around the dining room table. PROF. WEST Listen, Adrian. The situation is much worse than we thought. Satnam quiets his little son. It is the boy we saw earlier with his toy ship.", "INT. HALLWAY/WHITE HOUSE - DAY Adrian follows Anheuser through a hallway of the White House, papers in hand. ADRIAN Sir, the President needs to know this. ANHEUSER Helmsley, how long have you been on the job as science advisor? ADRIAN Four months this week. ANHEUSER I would say that's enough time to learn that we have rules here. You'll just have to wait until the quarterly science briefing. ADRIAN If this is about what I said last night, I am truly sorry, sir. ANHEUSER So you did n't like my speech? Exasperated, Adrian holds out the papers to him. ADRIAN Can you please have a look at this, sir? It's really important. Finally, Anheuser rips the papers out of his hands and starts to walk away, reading. Suddenly he slows down. ANHEUSER Who wrote this? ADRIAN An Indian astrophysicist I graduated with from Harvard and Prof. West, the preeminent geologist in the US. ANHEUSER Who else knows about it? ADRIAN No one, sir. ANHEUSER Let's keep it that way, Helmsley. Anheuser walks away. FADE TO BLACK 2010 FADE UP", "EXT. SEVILLE/SPAIN - DAY G8 Summit. Riot police control the unruly crowd with water cannons. We see PROTESTERS with Anti Globalization signs behind a fence. A convoy of limousines is approaching a historic building.", "INT. BIG HALL/ALHAMBRA - DAY We follow the American delegation into the conference room, where the other G8 delegations are seated around an enormous table. The President of the United States, THOMAS F. WILSON, 56, does n't sit down. He addresses the room and everybody goes quiet. PRESIDENT WILSON -LRB- O.S. -RRB- Good Morning. For the first time we see the President's face. He is African - American. PRESIDENT WILSON -LRB- CONT'D. -RRB- I hereby present a motion to meet privately with my seven fellow Heads of State, kindly excluding the rest of the delegates. A murmur erupts. The Russian President SERGEY MAKARENKO, 62, whispers to one of his interpreters. RUSSIAN INTERPRETER Mr. Makarenko wishes to have his interpreters present. President Wilson looks over to the Russian Colleague. PRESIDENT WILSON Mr. President, judging from the conversations we've had in the past, I can assure you, your English is absolutely fine, for what I have to say. As the Russian President waves his interpreter away, all the international delegates leave as well. The huge doors of the hall close. A secret service officer in the sound booth switches off the recording equipment to the chamber. The President gathers himself. PRESIDENT WILSON -LRB- CONT'D. -RRB- Six months ago I was made aware of a situation so devastating, that at first, I refused to believe it. -LRB- PAUSE. -RRB- However through the concerted efforts of the brightest scientists of several nations, we have now confirmed its validity. Dead silence. PRESIDENT WILSON -LRB- CONT'D. -RRB- The world as we know it, will soon come to an end.", "EXT. CHO MING VALLEY/TIBET - DAWN A huge Chinese military helicopter blasts through a majestic mountain valley in Tibet. We are at the top of the world. A Chinese COLONEL, wearing dark sun glasses, watches from the chopper as the army forces the evacuation of the villages and monasteries. VOICE -LRB- O.S. -RRB- -LRB- in Chinese. -RRB- You will have new houses, electricity and running water.", "EXT. VILLAGE/TIBET - DAY Someone speaks on a megaphone in the village square as villagers are evicted by soldiers and herded into trucks. VOICE -LRB- O.S. -RRB- Some among you will even have the chance to work for the glorious People's Republic of China building the biggest dam project in the world. NENG PANG, a young monk, 18, is loaded into a truck together with his PARENTS, both in their 60's.", "EXT. SCHOOL/TIBET - DAY Neng's older brother, LIN PANG, 25, is part of a huge crowd of young men and women staying behind by a Tibetan school building. He turns and yells after the truck. LIN I will send you money mother. The Colonel with the dark glasses steps up, addressing the masses. COLONEL Who can read and write? Eager hands fly up in the air. An official makes notes. COLONEL -LRB- CONT'D. -RRB- Who can weld? Lin's hand shoots up in the air. We hear a siren echoing through the mountains and suddenly an explosion. Lin turns. In the BACKGROUND, a series of explosions punch enormous holes into the side of the mountain, showering rock everywhere. FADE TO BLACK 2011 FADE UP", "INT. DORCHESTER HOTEL/LONDON - DAY A MAN in a dark suit walks through a hallway of the Dorchester looking like your typical MI - 6 agent. The decor is plush and luxurious. He's stopped by two security men who frisk him.", "INT. PRESIDENTIAL SUITE/DORCHESTER HOTEL - DAY Heavily ringed fingers flip through a folder. MI-6 OFFICER -LRB- O.S. -RRB- Has his Highness had the opportunity to study the dossier? A SAUDI PRINCE looks up and nods without expression. SAUDI PRINCE You must understand I have a very big family. Mister. MI-6 OFFICER Isaacs. SAUDI PRINCE Mister Isaacs, one billion dollars is a lot of money. MI-6 OFFICER I'm afraid the amount is in Euros, your Highness.", "INT. LOUVRE/PARIS - NIGHT A group of dark figures in overalls walk past famous Renaissance paintings. They stop at the Mona Lisa. MANFRED PICARD, 63, head of the French National Museums, stands by LAURA, a young African - American woman in her late 20's. They observe the specialists opening the case of the famous painting. A whoosh of air as the vacuum seal breaks. MANFRED PICARD Laura, I'm putting a lot of trust in your people. Laura answers in almost perfect French. LAURA There are too many crazy people who could hurt her, Manfred. The World Heritage Foundation has done this all over the world. In the BACKGROUND the Mona Lisa is taken off the wall and replaced with a perfect replica. Picard still looks uneasy. He watches as the real Mona Lisa is sealed into an airtight case. MANFRED PICARD And she'll be safe now? Tucked away in the Swiss Alps? LAURA Perfectly safe. Picard looks suspicious but says nothing. The CAMERA MOVES IN on the face of the fake Mona Lisa until all we see is her mysterious smile. FADE TO BLACK 2012 FADE UP Lifeless bodies encircle a huge fire pit. They resemble the rays of the sun. In the background we see the famous step pyramids of Tikal. NEWSCASTER -LRB- O.S. -RRB- The mass suicide was discovered by a BBC documentary crew in the ancient Mayan city of Tikal. Many of the dead are women and children looking peaceful and are surrounded by colorful flowers. NEWSCASTER -LRB- CONT'D. -RRB- the victims were said to have adhered to the Mayan - Quiche Calender which predicts the end of time to occur on the 21st of December this year, due to the sun's destructive forces. The CAMERA slowly pulls out and we are in -", "INT. JACKSON'S APARTMENT/LOS ANGELES - EARLY MORNING A shabby apartment in Silverlake. The TV is on. NEWSCASTER -LRB- O.S. -RRB- Strangely enough, scientific records do support the fact that we are heading for the biggest solar climax in recorded history. A small tremor rocks the apartment and the dishevelled face of JACKSON CURTIS, 33, pops up from behind the couch. He fell asleep at his laptop last night. JACKSON Oh no. Not again. One look at his watch and he is off running. He throws some clothes and a toothbrush in a bag. His cell phone rings. JACKSON -LRB- CONT'D. -RRB- Hello? What do you mean? I'm not late. It's not even 10:30. Jackson turns off the TV and darts towards the door, stopping only to slide his laptop into a knapsack. As he turns, he stumbles over a stack of books, all shrink - wrapped and identically titled : ` Farewell Atlantis'. JACKSON -LRB- CONT'D. -RRB- Damn it! -LRB- into the phone. -RRB- Kate, I'm on my way. For god's sake. Frustrated, he kicks them out of his way and exits. We hold on the books and realize that Jackson's photograph is on their back covers.", "EXT. JACKSON'S GARAGE/LOS ANGELES - EARLY MORNING The phone call continues as Jackson opens the garage door, struggling to pack his old SUV with camping equipment. JACKSON They're kids, Kate, going on vacation. It's not a doctor's appointment. it's supposed to be fun. You remember that, right? Fun? He tries to start the engine, but the battery is dead. Frustrated, he hits the steering wheel.", "EXT. JACKSON'S STREET/LOS ANGELES - EARLY MORNING Jackson runs across the street with his camping equipment, throwing it into the trunk of a stretch limo parked by the curb. JACKSON I know it's mosquito season at Yellowstone, Kate. I'll pick some up on the way. He notices a deep crack in the asphalt. His neighbors, an elderly couple, stand there and stare at it. NEIGHBOR Merrill, we should move back to Wisconsin. Jackson gets into the limo and speeds off.", "INT. STREETS/LOS ANGELES - EARLY MORNING Jackson drives through LA with the radio on. RADIO HOST -LRB- O.S. -RRB- Those shake - proof coffee mugs are a genius idea, and they just show the true nature of us Californians. We pass a family frantically loading boxes into a van. RADIO HOST -LRB- O.S. ; CONT'D. -RRB- We'll not bow to little inconveniences like these so called ` mini - quakes'. Jackson passes a man in a wheelchair. He's holding up a cardboard sign : ` Repent - The End is Near'.", "EXT. KATE'S HOUSE/LOS ANGELES - MORNING Jackson stops and honks in front of an upscale Westwood home. RADIO HOST -LRB- O.S. -RRB- If you have a funny ` mini - quake' story you wan na share, call Lisa & Randy at 1 - 800. Jackson switches the radio off. Two kids NOAH, 10, and LILLY, 7, come running down the driveway. They slow down, as they see the limo. NOAH Jackson, what is this? JACKSON Do n't call me Jackson, Noah, I'm your father. Lilly yells from inside the limo. LILLY -LRB- O.S. -RRB- Noah! Look! Daddy's got Space - Busters in the car. and Space - Busters 2. Awesome! Their mother, KATE CURTIS, 32, a beautiful woman appears. KATE So what, you're a chauffeur now? What happened to the temp work? JACKSON This is better hours for me. Means I can still write. KATE Of course. Kate's new boyfriend, GORDON SILBERMAN, 43, pulls out of the garage in his Porsche wearing his Bluetooth. GORDON -LRB- on the phone. -RRB- Simone, how many times have I told you, we do n't do Lipo on Fridays. It's too messy. Jackson smiles bitterly. Gordon waves at the kids. GORDON -LRB- CONT'D. -RRB- Have fun guys. And watch out for those bears. -LRB- to Jackson. -RRB- Nice car. Jackson waves grudgingly as Gordon pulls away. KATE Noah needs to read twenty pages from his book each day. She follows Jackson to the car with a bag of pull - up diapers. KATE -LRB- CONT'D. -RRB- and Lilly has to put these on, before she goes to sleep. JACKSON Still? He shuts the trunk and gets back behind the wheel. She looks at him seriously. KATE Jackson, they've been really looking forward to this you know. Do n't let them down. He nods as the car pulls away.", "EXT. SHIP DECK/SAN FRANCISCO HARBOR - DAY HARRY HELMSLEY, 73, and his partner TONY DELGADO, 68, board an enormous cruise ship, the ` Freedom of the Seas'. Harry is African - American, Tony is Italian. He carries a large case. They pass a poster : ` Jazz Night with Harry Helmsley & Tony Delgado'. HARRY So this time we'll hit the Japs. TONY So what? HARRY Well Tony, electronics are cheap there and. you could visit your boy Will. TONY Afternoon ladies. TONY shoots a charmers smile at a couple of older single ladies on sun loungers. They smile back coyly. HARRY Are you even listening to me? TONY Yes unfortunately I am Harry. HARRY I heard from Audrey you're a grandpa now. TONY Why do n't you keep your nose out of my family. You're cramping my style. HARRY He married a Japanese girl - how is that the end of the world? You should at least go see him. TONY Why? Do you see your boy? HARRY Not as much as I'd like. DC is a long way. But at least we talk. TONY What about? HARRY Life, how short it is. Suddenly they're thrown off balance by a large swell that pulls the massive ` Freedom of the Seas' away from the landing, about ten yards. The next moment, the ship slams back against the dock with an earthshaking BOOM. TONY What the hell was that? A murmur goes through the crowd. Luckily nobody is injured.", "INT. LAURA'S BEDROOM/D.C. - EARLY MORNING The phone rings twice before Laura switches on a light. We catch a glimpse of a framed photo of her and Adrian. She answers the phone. MANFRED PICARD -LRB- O.S. -RRB- Laura? They lied to us. LAURA Manfred is that you?", "EXT. STREETS/PARIS - NIGHT Picard is speeding in his Peugeot, anxiously checking his rear view mirror. MANFRED PICARD I had my suspicions. I should have said something. They are following me. LAURA -LRB- O.S. -RRB- Who is? MANFRED PICARD They may be listening to us too. Laura the Heritage Foundation is a sham. Picard's car approaches a tunnel. LAURA. -LRB- O.S. -RRB- What? MANFRED The art you collected, it's not in the Alps. The Peugeot enters a tunnel. LAURA -LRB- O.S. -RRB- Then where is it? A huge blast rips through the tunnel as his car explodes.", "EXT. ROAD/YELLOWSTONE NATIONAL PARK - DAY JACKSON AND LILLY -LRB- singing along to the RADIO. -RRB- ` We all live in a Yellow Submarine.' They're driving through the glorious landscape of Yellowstone National Park. Noah sits in the back with headphones on playing Space - Busters 2. As they pass over a ridge, the music station is overpowered by a talk show filtering through. We hear a raspy and excitable voice. RADIO HOST After what is going on in La - La - land with all those surface cracks, I told myself : Get your stupid ass to Yellowstone. I do n't want to miss all the great fun, when it finally blows. Lilly reaches for the dial of the radio. LILLY What happened to the music? JACKSON Hang on, sweet pea, let daddy listen to this for a moment. Jackson corrects the dial to get better reception. RADIO HOST There's been government people flying in and out all morning. And trust me, they did not look happy. A huge black helicopter brushes over the limo. RADIO HOST -LRB- CONT'D. -RRB- Folks, always remember, you heard it first from Charlie. They watch in awe as the chopper disappears behind a ridge.", "INT. OVAL OFFICE/WHITE HOUSE - MORNING Laura bursts in and heads straight for the TV. The President looks up from his desk. LAURA You have to see this. Sally the President's Secretary enters, flustered. PRESIDENT WILSON It's alright Sally. Sally closes the door as Laura turns up the TV. CNN ANCHOR Mr. Picard had been the director of the French National Museums for 24 years. As fate would have it his assassination took place in the same Paris tunnel where Princess Diana died in 1997. The President comes around his desk. Laura looks at him distraught. LAURA I just talked to him, Dad. He told me the world Heritage Foundation is a sham. Is that true? The President shoots an anxious look across the room. Laura turns and suddenly realizes that Adrian is standing in the corner. LAURA -LRB- CONT'D. -RRB- You knew too? You sleep with me and you did n't say anything? Adrian looks ashamed. LAURA -LRB- CONT'D. -RRB- I ca n't even look at you. Either of you! PRESIDENT WILSON Honey, calm down. LAURA A man was killed! I want the truth Dad. Right now.", "EXT. FOREST TRAIL/YELLOWSTONE NATIONAL PARK - DAY A dense forest trail. We hear Lilly before we see her. LILLY -LRB- O.S. -RRB- Daddy, where are we going? JACKSON To a very special place, Lil ` bee. It's a lake. A place where mommy and daddy fell in love. -LRB- winking to Noah. -RRB- Remember the book I gave you? NOAH I do n't want to know where you and mom had sex. I'm not ready for that, Jackson. JACKSON I'm your dad, Noah. LILLY -LRB- O.S. -RRB- Daddy! Jackson runs to catch up with Lilly who has reached a fence with a ` keep out' sign posted. JACKSON This was n't here before. Jackson starts to climb the fence. NOAH Do n't you see the signs? JACKSON It's fine guys.", "EXT. RIDGE/YELLOWSTONE NATIONAL PARK - DAY Jackson and his kids crest a ridge. They look down on a parched basin with cracked terrain. JACKSON It's gone. The whole darn lake is gone. I swear you guys there was a lake here. The kids roll their eyes.", "EXT. EMPTY LAKE BED/YELLOWSTONE NATIONAL PARK - DAY A puddle of water is all that remains of the lake. Jackson and the kids walk into the basin, unaware of being watched THROUGH BINOCULARS. Jackson spots an electronic measuring device and crouches to have a closer look. Elsewhere in the lake bed, we see sand seeping through CRACKS in the ground. NOAH -LRB- O.S. -RRB- Jackson! When he looks up, he sees heavily armed soldiers coming towards them from all sides. JACKSON It's okay, Noh'. Through the BINOCULARS, we see Jackson and his kids arrested and led over a ridge. With this we reveal an ENORMOUS RESEARCH FACILITY with hundreds of tents and vehicles surrounding a massive drilling tower.", "EXT. RESEARCH FACILITY/YELLOWSTONE NATIONAL PARK - DAY Adrian Helmsley and Prof. West exit the drilling tower, both studying papers. Adrian notices Jackson and his kids nearby, being interrogated by an OFFICER. ADRIAN I'll be with you in a second, Professor. Adrian walks towards them. Jackson stares at the officer with defiance. OFFICER And then you climbed over a posted fence? Just like that? NOAH I told you. JACKSON Is n't this supposed to be a National Park? There should n't be fences. What are you guys doing around here anyway? ADRIAN -LRB- O.S. -RRB- We're geologists. Jackson turns and sees Adrian standing there. ADRIAN -LRB- CONT'D. -RRB- I'll handle this officer. Thank you. The officer reluctantly hands him Jackson's license. JACKSON So, where did the lake go? ADRIAN That's what we're trying to find out. We think this whole area has become potentially unstable. I would advise you to take your kids and leave, Mr. He throws a look at Jackson's drivers license. ADRIAN. -LRB- CONT'D. -RRB-. Curtis. He looks up at Jackson with renewed interest. ADRIAN -LRB- CONT'D. -RRB- Are you by any chance the Jackson Curtis, the author of ` Farewell Atlantis'? JACKSON -LRB- SURPRISED. -RRB- Yeah, that's me. Jackson straightens up proudly. Lilly smiles. ADRIAN What a coincidence. I'm reading your book, as we speak. first third, around day 300, when the shuttle loses communication with earth and drifts off into space. JACKSON You're one of lucky 422 who bought it. ADRIAN Actually I did n't buy it. My father gave it to me. JACKSON Oh, I see. Prof. West waves at Adrian from one of the container labs. Adrian hands back Jackson his drivers license. ADRIAN Officer, can you return them to the campgrounds, please. -LRB- to Jackson. -RRB- Pleasure to meet you, Mr. Curtis. Jackson and his kids look after Adrian hurrying away. LILLY He was very nice. JACKSON Yes he was, Lil ` bee.", "EXT. FOREST TRAIL/YELLOWSTONE NATIONAL PARK - LATER Jackson and the kids walk back to the campgrounds when suddenly CHARLIE FROST, 62, a crazy looking guy with binoculars around his neck, stands in their way. CHARLIE FROST What did the government guys tell you? Jackson looks at him, instinctively picking up Lilly. JACKSON They think it's not such a good idea to climb over their fences. They feel the area is unstable. Charlie bursts out laughing. CHARLIE FROST Unstable! Ha - ha! They say its unstable! That's funny. With this he turns around and leaves.", "EXT. TENT/YELLOWSTONE NATIONAL PARK - DUSK Jackson is sitting on a camp chair, right outside the tent. He's on his laptop, looking enquiringly at an aerial picture of Yellowstone on Google earth. In the background we see the kids are in the tent. NOAH There are mosquitos in here. Did anybody spray the tent? Jackson looks up, remembering he forgot the spray. JACKSON We'll get some of that tomorrow. For tonight just put your head under the blankie. LILLY Daddy you said you were n't gon na work on your book. JACKSON I'm not Honey, I promise. Are you wearing your pull - ups? Lilly nods as Jackson walks over and tucks her into bed. He kisses her good night. He turns and is surprised to see Noah typing a text on his cell phone. JACKSON -LRB- CONT'D. -RRB- Did mommy buy you that? NOAH No. Gordon gave it to me for my birthday. Jackson takes the phone from out of Noah's hands. JACKSON Noah. Things like a cell phone have to be discussed in the family. NOAH -LRB- BITTER. -RRB- What family? Jackson reads the message Noah has typed ` Hey Gordon, Camping Sucks!' . Hurt, Jackson hands back the phone. JACKSON Go to sleep guys.", "EXT. RESEARCH FACILITY/YELLOWSTONE NATIONAL PARK - DUSK Commotion. The base packs up. Adrian and Prof. West duck low as they board a chopper. Adrian is on the phone. ADRIAN You have to immediately inform the President, Mr Anheuser. The readings look much worse than I expected. Plus Satnam's neutrino figures from India confirm. We hear Anheuser, yelling. ANHEUSER -LRB- O.S. -RRB- But you guys said. ADRIAN We were wrong! By five or six months. A second later the chopper lifts off.", "INT. LIMO/YELLOWSTONE NATIONAL PARK - DUSK Jackson has his laptop open with the cursor blinking away on the words ` Chapter Seven'. But he ca n't concentrate on writing after what Noah has said. A chopper flies overhead. Jackson follows it's path over the campsite and his eyes fall on an American flag fluttering on top of a massive radio antennae. This belongs to an RV truck. Through the RV's window, Jackson sees the silhouette of Charlie Frost, the guy with the binoculars, speaking into a microphone. Curious, Jackson flicks on the radio and twists the dial. ON THE RADIO -LRB- Charlie's voice. -RRB-. We have a listener calling in. Bill from Cooke City, you're on the Charlie Frost Show. -LRB- Bill's voice. -RRB- I wanted to know, where will this all start? Jackson is intrigued. He puts his laptop down. ON THE RADIO -LRB- CONT'D. -RRB- -LRB- Charlie's voice. -RRB- Well, something like this could only originate in Hollywood, Ha - Ha! But seriously, they've got the earth cracking under their asses already, Bill. Jackson climbs out of his car and starts towards the RV. He can still hear the radio. ON THE RADIO -LRB- CONT'D. -RRB- -LRB- Bill's voice. -RRB- Our family believes in the gospel of our Lord Jesus. We have nothing to fear, Charlie. -LRB- Charlie's voice. -RRB- Good for you Bill, good for you!", "INT. CHARLIE'S RV/YELLOWSTONE NATIONAL PARK - DUSK Charlie hits a switch. Music starts playing. The Doors, ` The End'. CHARLIE FROST This is Charlie Frost reporting live from Yellowstone National Park, soon to become the world's largest active volcano. Charlie is about to take a bite of his sandwich, when there's a knock on the door. Jackson sticks his head in. JACKSON Hi. Mind if I join you? CHARLIE FROST I only got a few minutes. Charlie bites into his sandwich as Jackson looks around at all the equipment. JACKSON I just heard part of your broadcast. Mind me asking a question? What exactly is it. that will start in Hollywood? CHARLIE FROST -LRB- CHEWING. -RRB- Actually it's gon na be the whole west coast. JACKSON What are you talking about? CHARLIE FROST The apocalypse, the end of days. The Mayans knew it, the I Ching and the Bible, kind of. Charlie looks at his watch. CHARLIE FROST -LRB- CONT'D. -RRB- I got to eat. Just check my blog. You can download it for free. Charlie clicks on his laptop. CHARLIE FROST -LRB- CONT'D. -RRB- However, we do take donations. A crudely animated film starts to play. Charlie narrates on screen in an overly dramatic fashion. CHARLIE'S VOICE In the year 2012 a cataclysmic event will unfold. Caused by an alignment of the planets in our solar system that only happens every 640,000 years. Just imagine the earth as an Orange. Charlie appears as an animated figure holding an orange. CHARLIE'S VOICE -LRB- CONT'D. -RRB- our sun will begin to emit such extreme amounts of radiation, that the core of the earth will melt - that's the inside part of the Orange, leaving the crust of our planet free to shift. On screen the middle of the orange shrinks, now the skin moves freely around it. CHARLIE'S VOICE -LRB- CONT'D. -RRB- In 1958, Prof. Hapgood named it ` Earth Crust Displacement'. A faded portrait of a scientist appears on screen. CHARLIE FROST and Albert Einstein endorsed it. The infamous photo of Einstein, sticking out his tongue. CHARLIE FROST -LRB- CONT'D. -RRB- The forces of mother nature will be so devastating it will bring an end to this world on winter solstice 12 - 21 - 12. The film ends with an image of the whole earth covered with water. Charlie shuts the laptop. CHARLIE FROST -LRB- CONT'D. -RRB- Pretty neat, huh? It's a big hit on YouTube. I did the animation myself. -LRB- PAUSE. -RRB- I know what you're thinking. But all the governments know about this. JACKSON If they all knew, do n't you think somebody would tell us? CHARLIE FROST They ca n't. Just think about it. First the stockmarket would crash. Charlie opens a can of beer. Phsssh! CHARLIE FROST -LRB- CONT'D. -RRB- Then the economy. boom. The dollar. boom. And then the people in the streets. -LRB- mimicking gun fire. -RRB- Boom, boom! Pandemonium, revolution, war! They would never tell us. Beer? Jackson shakes his head still struggling to digest this. CHARLIE FROST -LRB- CONT'D. -RRB- Only if you're some Sheik, Bill Gates, or maybe one of those Russian billionaires do you stand a chance to buy a seat. JACKSON A seat? CHARLIE FROST -LRB- INTENSELY. -RRB- They're building spaceships, man. JACKSON Oh. I see. CHARLIE FROST No really. One of my listeners, a geography professor at UTSC, has even figured out where they're building them. He sent me a map. JACKSON Well. Charlie, I think I got ta go. My kids are sleeping. Charlie looks at him bug eyed. CHARLIE FROST Get them out of Yellowstone, man. It's gon na get ugly here. JACKSON Night, Charlie. As Jackson exits, Charlie gets back on the air. CHARLIE FROST Sorry for the delay, folks. But even in times like these, a man has got to eat.", "EXT. PARKING LOT OF SUPERMARKET/LOS ANGELES - NIGHT Westwood. The parking lot of Gelson's is nearly empty. Eerie silence. Suddenly some of the cars begin to shift in place from an unseen force. A small CRACK creases the asphalt and slowly crawls towards the brightly lit supermarket.", "INT. BETWEEN AISLES/SUPERMARKET - NIGHT Muzak is playing. Kate and her boyfriend Gordon are shopping late. She picks up some pull - ups for Lilly, Gordon steps up behind her, wrapping his arms around her waist. GORDON Why do n't we make a baby? He reaches up and touches her breasts. KATE Stop it! We're in public. Gordon lets go of her with mock disappointment. GORDON Honey, I created them. And now suddenly I ca n't touch them? Kate pushes him away and moves on. A few customers are paying at the checkout stand. BEHIND THEM : Huge glass windows reveal cars slowly sliding into the ever widening crack in the parking lot. Nobody inside notices. Gordon catches up with Kate. GORDON -LRB- CONT'D. -RRB- You always act strange after he shows up? KATE Just because I do n't care for your arrogant humor does n't mean I'm acting strange. He is the father of my kids. GORDON Maybe biologically. Can I remind you what that guy did? First you gave up med school to have Noah. Then you practically raise him and Lilly by yourself while he sat glued to a laptop writing that junk. KATE Some of his stuff is actually. He's published Gordon. GORDON -LRB- MOCKINGLY. -RRB- Yeah, published! You know your mother was right. You've always been drawn to guys with lofty dreams and empty pockets. But not this time right, sweetheart? Kate smiles awkwardly and picks up a can of soup. The shelf in front of her shakes for a moment. KATE Did you see that? GORDON See what? Kate slowly puts the cans of soup into her cart and looks around. Gordon senses a problem between them. GORDON -LRB- CONT'D. -RRB- You know Kate, we have to keep working at this. our relationship. Because I wo n't end up being just a re - run of you and Jackson. -LRB- PAUSE. -RRB- I mean Honey, I feel like. something is pulling us apart? Before Gordon finishes his sentence - A violent ROAR! From front to back, the entire supermarket rips open right between Kate and Gordon. The few customers scream in horror at the sight of the huge crevasse forming beneath them. Kate and Gordon are thrown up against opposite aisles holding on for dear life. They cling to the columns as the shelves fold into the ever widening crack.", "INT. CONVENIENCE STORE/YELLOWSTONE - MORNING Jackson puts down some groceries at the checkout. JACKSON Just stop scratching. You'll get them infected. He smiles at the female cashier behind the counter who does not look friendly. JACKSON -LRB- CONT'D. -RRB- Something for Mosquito bites please? CASHIER Before or after? JACKSON What? The woman looks at Lilly and Noah with their red lumps. CASHIER I'd get before and after. She slams two mosquito products on the counter. LILLY -LRB- POINTING. -RRB- Look! Mrs. Birnbaum, my teacher is on TV! On the store's TV : A heavy - set blonde WOMAN, 45, speaking to a reporter in front of Gelson's. NOAH That's our supermarket. The gap in the ground is enormous now, at least half a mile long and 200 feet wide. JACKSON -LRB- WORRIED. -RRB- Kids, we have to pack up and go find mommy.", "INT. HALLWAY/WHITE HOUSE - MORNING President Wilson and Anheuser walk towards the Situation Room. ANHEUSER Sir, you have to initiate the boarding process immediately. PRESIDENT WILSON Is this even possible? What's our information from China? ANHEUSER They estimate four of the ships will be ready for launch. The President is shocked by this news. PRESIDENT WILSON Only four? ANHEUSER If it's alright with you sir, I'll brief the panel about the new development. PRESIDENT WILSON I'd rather have Adrian do that. They trust him. I told him to be in on the meeting. Anheuser fumes as they enter the situation room.", "INT. SITUATION ROOM/WHITE HOUSE - MORNING Flat screens line the walls. A video conference is under way with each of the G8 members represented. PRESIDENT WILSON Ladies and Gentlemen, we all knew this day would come. But we never imagined it would come this soon. He looks over to Adrian. PRESIDENT WILSON -LRB- CONT'D. -RRB- I would like to pass this over to my science advisor, Adrian Helmsley. Adrian steps up and gathers himself. Anheuser watches. ADRIAN I'll make this brief. Pointing to a set of charts. ADRIAN -LRB- CONT'D. -RRB- According to our latest data from Yellowstone, the temperature of the subterranean crust of the earth, the cement that holds our landmass in place, is increasing at a rapid rate, much faster than anticipated. All the heads of state are glued to his words. ADRIAN -LRB- CONT'D. -RRB- This causes extreme polar instability. The magnetic fields have decreased by more than 80 % over the last 48 hours. The German Chancellor, a woman, interrupts. GERMAN CHANCELLOR How much time do we have, Mr. Helmsley? Adrian glances to Professor West, standing in the back. ADRIAN Two, maybe three days if we're lucky. The Prime Minister of Italy breaks in, upset. ITALIAN PRIME MINISTER How can you speak about luck in such a situation? ANHEUSER Apologies Prime minster. He's still new to the job. President Wilson steps up. PRESIDENT WILSON Nevertheless, Mr. Antonioni, we have to make an immediate decision. We hear CHEERING and APPLAUSE. BOXING ANNOUNCER -LRB- O.S. -RRB- Introducing the 320 pound muscle machine from the Ukraine.", "INT. BOXING ARENA OF MGM GRAND/LAS VEGAS - NIGHT The arena is filled to its max. The crowd is on its feet. BOXING ANNOUNCER and tonight's challenger for the heavy weight world championship of the world. Here he is. Mister Zultan Balashin! The crowd ROARS as the boxer and his entourage enter. The CAMERA moves in on a tall man with blonde clean cut hair. He is well built, wearing designer clothing from head to toe. YURI KARPOV, 45, stereotypical Russian oligarch. He approaches the ringside corner and whistles. YURI Zultan! The nervous boxer turns. ZULTAN -LRB- in Russian. -RRB- Ah, finally, Yuri. I thought I would not see you. Yuri hits the boxer's gloves. Zultan is nervous. His coach steps in. COACH He needs to concentrate now, Mister Karpov. YURI You shut up. when I talk to my boy, understand? COACH Yes, Mr. Karpov. YURI Good. That is good. -LRB- in Russian to the BOXER. -RRB- Zultan my friend. Do not forget. We are fighters. We never go down. We always stay on our feet. Zultan just keeps nodding, pumping himself up. YURI -LRB- CONT'D. -RRB- No matter who is hitting us. No matter how hard. GONG. First Round. The fight is on. YURI -LRB- CONT'D. -RRB- Now, go kill the bastard. Yuri walks to his seat, sitting down next to his trophy : TAMARA, 28, blonde, wears the shortest mini one can imagine, designer shoes, handbag, glasses and boobs. In her lap she holds CAESAR, a tiny dog wearing a diamond collar. In the ring the boxers maul at each other. Yuri's cell phone beeps. It's a text message : START BOARDING PROCEDURE Yuri's whole demeanor changes. Without a word, he gets up and walks out of the arena. TAMARA Yuri bear. where are you going? Yuri does not respond as he squeezes through the crowd. Zultan, the boxer, notices Yuri leave. In that split second distraction, he is hit HARD and goes down for the count. The crowd ROARS!", "EXT. WESTWOOD/LOS ANGELES - SUNRISE Jackson has driven all night. The sun rises, a giant glowing orb. PUBLIC RADIO NEWS -LRB- O.S. -RRB- Caltech believes that the incident in the Westwood supermarket has released most of the surface tension.", "EXT. KATE'S HOUSE/LOS ANGELES - EARLY MORNING Jackson pulls up. The kids are asleep. PUBLIC RADIO NEWS -LRB- O.S. -RRB- It looks like life in the city will soon be back to normal, Mayor Gonzales said at an early morning news conference from his home in Hancock Park. Jackson switches off the radio and wakes his kids gently. JACKSON Lilly, we're home sweetie. -LRB- to Noah. -RRB- Wake up big man. Kate heads to the car. Still sleepy, the kids grab their stuff and run into her arms. KATE Oh honey, I'm so glad you're back. And you too, darling. JACKSON We tried calling but - LILLY -LRB- O.S. -RRB- I'm hungry Mummy. KATE At least it looks like the Mosquitos ate well. She looks at Jackson and softens. KATE -LRB- CONT'D. -RRB- Wan na come in? Gordon appears at the door. Jackson watches painfully as Noah runs and gives Gordon a big hug. His cellphone beeps with a message. YURI -LRB- O.S. -RRB- Where are you Curtis?", "INT. PRESIDENTIAL SUITE/LAS VEGAS - EARLY MORNING Yuri stands at a huge window overlooking the strip talking into his phone. JACKSON -LRB- O.S. -RRB- Back in Westwood, Mister Karpov. YURI Good. That is good. I'm sending the Gulfstream to pick up Alec and Oleg. Tamara hovers in the background packing her Louis Vuitton luggage. Caesar, her little dog, watches from the bed. TAMARA -LRB- in Russian. -RRB- Tell him to bring Caesar's raincoat, it's in the Range Rover. Yuri brushes her off.", "EXT. STREET/BEL AIR - MORNING While talking to Yuri, Jackson is standing in front of the open trunk, changing into his chauffeur suit. YURI -LRB- O.S. -RRB- Curtis, make sure you get my boys as fast you can.", "EXT. MANSION/BEL AIR - MORNING A palatial home. Completely gaudy. The twins, ALEC and OLEG, wait impatiently. They are 12 years old and wear identical clothing by Dior. ALEC Curtis, you are late. Jackson ignores him and starts throwing the luggage into the limo. The other twin notices his muddy sneakers. OLEG Careful with our stuff. Do n't get it dirty.", "EXT. STREETS/LOS ANGELES - MORNING Ahead of the limo a crowd has formed in the streets, singing songs and chanting about the end of days. A SKINNY MAN with a ponytail preaches from the scriptures. PREACHER There will be famines, pestilences and earthquakes, sayeth the Lord. Jackson has to maneuver through the people. Banners read : ` Prepare for the End' - ` You can not escape his judgement' - Alec looks up from his video game, annoyed. ALEC Curtis, ca n't you go faster? JACKSON Are you guys blind? I ca n't run people over. OLEG Why not? They're idiots anyway. Jackson shoots these spoilt brats an angry look.", "EXT. SANTA MONICA AIRPORT/LOS ANGELES - MORNING Jackson stops in front of the Gulfstream. SASHA, 40, Yuri's Russian pilot is expecting them. SASHA Hey Jackson. Took you a while. Jackson mutters under his breath as he unloads the luggage, dropping one of them on Alec's foot on purpose. ALEC Ouch! Be more careful! The other twin has noticed Jackson's intensions. He gets into his face. OLEG Now you're laughing, Curtis. But we are going on a big ship. -LRB- PAUSE. -RRB- We will live. and you will die. Oleg grins back at Jackson as the jet door closes. The Gulfstream taxis onto the runway. As Jackson turns back to the car a fine surface crack shoots across the tarmac. We hold on his face as it hits him like a ton of bricks : THE CRAZY RADIO HOST, CHARLIE FROST WAS RIGHT! Frantically Jackson looks around and spots a MAN in overalls working on a twin engine Cessna. He runs to him. JACKSON Where can I rent a plane? The man points to a shabby office building.", "INT. KITCHEN/LOS ANGELES - MORNING Kate is in her kitchen cooking breakfast for the kids. Gordon watches the Governor on the news. GOVERNOR -LRB- with Austrian ACCENT. -RRB-. just this morning my people at Caltech told me that in the last 36 hours we had basically zero earthquake activity in Southern California, which is very rare. The phone rings. Kate picks up.", "EXT. STREETS/LOS ANGELES - MORNING Jackson drives like crazy. JACKSON Kate, we have to get out of LA! I've rented a plane for us. Get the kids ready! I'll be there in five. KATE The kids have plans today. JACKSON Are you kidding me! KATE No I'm not! Noah has music at 2 and Lil' has Karate. Gordon rolls his eyes and mutters. GORDON Not that we'd expect him to remember. JACKSON -LRB- SCREAMING. -RRB- California is going down! Pack up the kids! KATE You're crazy! The Governor just said we're fine now. JACKSON The Governor's a meathead, how would he know anything? Kate listen! You got ta trust me over some politician. Come on.", "INT. KATE'S HOUSE/LOS ANGELES - MORNING Kate slams the phone down. Lilly stops eating. LILLY Mommy, why are you so angry with Daddy? LAURA Because your daddy is a lunatic, darling. On the TV, the interview comes to an end. GOVERNOR it looks to me, like the worst is over. That moment a MASSIVE QUAKE hits Los Angeles. Everybody dives under the table. ON TV : The news casters and the Governor do the same. A few seconds later the signal cuts out. Gordon pulls Kate and the kids close as the earth shakes violently for 20 seconds.", "EXT. KATE'S HOUSE/LOS ANGELES - MORNING Jackson flies into the driveway and runs into the house.", "INT. KATE'S HOUSE/LOS ANGELES - MORNING When he enters, Lilly immediately runs into his arms. The next tremor hits. Cracks form on the kitchen floor. JACKSON We have to leave! Noah, let's go! KATE I think we're safer here! JACKSON Noah, now! Kate please. The whole house rides up and down like on a wave. GORDON I think he's right. Finally Kate pushes her son out from under the table. They all scramble out of the house in a panic. Kate is cut on the shoulder by falling glass but she hardly notices.", "EXT. KATE'S HOUSE/LOS ANGELES - MORNING As they storm out of their front door the house crumbles behind them. JACKSON Get in the car! The whole street starts to buckle. Left and right the houses are shaken and smashed like toys. Just before the wave of destruction can reach them, Jackson tears out of the driveway.", "EXT. STREETS/LOS ANGELES - MORNING Jackson maneuver's the limo through the crumbling neighborhood. Right in front of their eyes, streets disappear, trees fall, electrical lines snap. Sewer pipes burst in front of the car. NOAH Holy shit! Jackson has to turn on the windshield wipers.", "EXT. SANTA MONICA AIRPORT/LOS ANGELES - MORNING The limo crashes through a gate onto the tarmac, coming to a stop in front of a twin engine Cessna. JACKSON Damn it! Where's the pilot? Kate turns to Gordon. KATE Gordon, you know how to fly. GORDON I. had a couple lessons. JACKSON Did you cover taking off? GORDON Yeah. JACKSON That's good enough for me. They start running, when Jackson remembers something and heads back to the Limo. He grabs his knapsack from the front seat fumbling to zip his laptop back inside it. Kate shouts. KATE -LRB- O.S. -RRB- Jackson, what are you doing? JACKSON I'm coming. He jumps out of the car and races back after them. Behind Jackson the hangar starts to disintegrate. IN THE DISTANCE A gigantic fissure forms in the earth, shooting towards Santa Monica airport. Gordon fumbles with the controls, Jackson yells from the copilot seat. JACKSON -LRB- CONT'D. -RRB- Come on, come on. GORDON -LRB- pointing at the INSTRUMENTS. -RRB- But I'm supposed to check all these first. Jackson reaches over and slams Gordon's hand down and the plane lurches forward. As the Cessna speeds onto the tarmac the control tower goes down and explodes. Noah discovers the giant crevasse forming behind them. NOAH Guys, behind us! As the plane accelerates, the giant crack closes in on them. Gordon's hand trembles on the throttle control. Everybody screams on top of each other. EVERYBODY Gordon! Damn it! Lift off! Gordon gathers his courage and pulls the lever. The plane almost rockets into the air just as the ground beneath them gives way. They hover for a moment, almost caught in mid - air as the widening crevasse beneath them fights to suck them into the bowels of the earth. Gordon fights to maintain control but they begin to be pulled down. The daylight vanishes. Debris and mud smashes into the plane from all sides. The canyon walls erupt. GORDON I ca n't get it up! Taking desperate measures, Gordon nearly rips the control stick out of its joint - with a lurch the Cessna lifts out of the abyss. They all take a deep breath only to realize that now they are flying directly into the collapsing towers of downtown Los Angeles! Like a roller coaster, Gordon manages to weave the little plane through the tumbling high rises. They dive one last time to evade the plummeting US BANK TOWER, the tallest building on the west coast. All are dead silent as they watch the whole of Los Angeles crumble beneath them. Kate covers Lilly's eyes. NOAH -LRB- in total shock. -RRB- That was amazing, Gordon! Jackson looks at Kate and notices her cut. JACKSON Are you okay? KATE -LRB- brushing it off. -RRB- I'm fine. How did you know this was gon na happen? JACKSON I did n't. -LRB- To Gordon. -RRB- Do we have enough fuel to make it to Yellowstone? The plane veers off in a northeasterly direction. Behind them the destruction of Los Angeles continues.", "EXT. FREEDOM OF THE SEAS/PACIFIC - DAY The gigantic cruise ship plows through the Pacific. We hear lounge music.", "INT. BAR/FREEDOM OF THE SEAS - DAY Adrian's father Harry and his partner Tony are on stage. Harry on the piano, singing, Tony playing the bass. A waiter brings drinks. Water for Harry, and a brightly colored cocktail for Tony. WAITER You got fans Tony. Tony raises his glass to two old ladies who are sitting at the bar. WAITER -LRB- CONT'D. -RRB- There's a call for you Harry. Want me to take a message? HARRY -LRB- while still playing. -RRB- I'll be right there. The waiter nods. A few more bars of music, then applause. HARRY -LRB- CONT'D. -RRB- -LRB- into the microphone. -RRB- Thank you ladies and gentlemen. Let's hear it for the one and only Tony Delgado. And I'm Harry Helmsley and we'll be back after a short pit stop. Applause. Harry rushes off stage. ADRIAN -LRB- O.S. -RRB- Dad. what I have to tell you is very serious.", "INT. HALLWAY/WHITE HOUSE - DAY Adrian is standing in a dark corner. Behind him people are packing up, carrying boxes. ADRIAN You remember when I told you about the dam in China? Well, it's happening much sooner than we anticipated.", "INT. GALLEY/CRUISE SHIP - DAY Harry's face has turned serious. ADRIAN -LRB- O.S. -RRB- The President has ordered us to clear out the White House. HARRY Hah. About time someone cleaned up that mess.", "INT. HALLWAY/WHITE HOUSE - DAY Adrian fights back the tears. ADRIAN Where are you, dad? What exactly is the course of the ` Freedom' right now? HARRY -LRB- O.S. -RRB- It's all good, Adrian. Do n't worry about your old man. You have more important things to do now.", "INT. GALLEY/CRUISE SHIP - DAY There's a tremor in Harry's voice. HARRY You know, your mom and I, we had a hell of a great life. and a hell of a great kid too. -LRB- PAUSE. -RRB- And the ` Freedom' is a pretty big ship you know. Do n't write your old man off, just yet.", "INT. HALLWAY/WHITE HOUSE - DAY A tear runs down Adrian's face. HARRY -LRB- O.S. -RRB- Besides, I could never leave Tony alone. You know how he ca n't keep decent time by himself. Pause. ADRIAN I love you, dad.", "INT. GALLEY/CRUISE SHIP - DAY Harry bites his lip. HARRY Love you too, son.", "INT. BAR/CRUISE SHIP - DAY Back in the lounge, Tony has finished his cocktail. Harry walks up and hollers at the barkeeper. HARRY Hey Herb. Get me a double Jack on the rocks. TONY After twenty - five years on the wagon? HARRY Why not? Who cares how long we do certain things? How long we drink booze, how long we talk to people. Or how long we do n't talk to people. Harry grabs Tony by his shirt. TONY Woah! Harry, what's the matter with you? Let's go. We're back on. Harry pulls him even closer. HARRY Call your kid, you stubborn old ass. -LRB- PAUSE. -RRB- I'm not going back on that stage unless you promise to call him. WAITER -LRB- INTERRUPTING. -RRB- Tony, the ladies are waiting for you. HARRY Promise me, Tony. please. Harry stares him down. TONY Yeah, maybe I should call him. Harry smiles, downs his bourbon and walks back on stage.", "INT. ADRIAN'S OFFICE/WHITE HOUSE - DAY Adrian enters his office. The TV is on. NEWS ANCHOR There is little we know at this point, but the earthquake registered at 10.1 on the Richter scale. The whole of the Western seaboard was hit. Assistants stare at the news in shocked disbelief, some of them are crying. Prof. West appears at the door. ADRIAN -LRB- pointing at the TV. -RRB- Have you seen this? Prof. West silently nods and beckons Adrian, who follows him down the hall into a dark control room. They look at a wall - sized high def monitor. PROF. WEST We have satellite images. Here's the sequence we've got so far. On the monitors, detailed satellite imagery displays how the monstrous quake unfolds, leaving California sliding into the sea. ADRIAN Any news from Yellowstone? PROF. WEST Anytime now.", "EXT. RESEARCH FACILITY/YELLOWSTONE NATIONAL PARK - DAY The base is abandoned but for a few structures and the enormous drilling tower. Gordon manages to land the plane next to what looks like a fueling station. Jackson leaps out checking the pump. JACKSON Guys, there's fuel! Fill her up and I'll look for Charlie. KATE You're sure about this? JACKSON Kate, everything this guy said so far has happened. I'll be right back. Jackson runs off towards the hills. LILLY Daddy wait! I wan na come with you! Lilly runs after him. Jackson picks her up. KATE Lilly! Come back! JACKSON It's fine! I'll take her. Kate watches as they disappear, worried. Noah and Gordon have started to fuel the plane.", "EXT. CHARLIE'S RV/YELLOWSTONE NATIONAL PARK - DAY Jackson and Lilly find Charlie's RV with it's door hanging open. They enter. The key is in the ignition. The radio transmitters are on, but Charlie is gone. Jackson fiddles with the switches and Charlie's voice comes on. CHARLIE'S VOICE I am standing here at the highest point on what is the rim of this super volcano. JACKSON He's got to be close by, Lil ` bee. Jackson jumps behind the wheel and turns the ignition. LILLY Let's go back, Daddy. JACKSON Listen to me. We have to find Charlie. He's got a secret map, you know, like Jack Sparrow in ` Pirates'. That catches her interest. JACKSON -LRB- CONT'D. -RRB- Lil', we have to work as a team now, okay? You have to help me. Jackson passes her his mobile phone. Lilly nods. He throws the RV into gear and they speed off over the bumpy terrain. In their dust, we see the earth fissuring!", "INT. RV/YELLOWSTONE NATIONAL PARK - DAY Jackson drives like a bat out of hell. CHARLIE'S VOICE The last time this baby blew, was 640,000 years ago. JACKSON Dial Mommy's number, sweetheart. Jackson tears up the mountain looking for Charlie.", "EXT. EMPTY ARMY BASE/YELLOWSTONE NATIONAL PARK - DAY Kate's phone rings. LILLY. -LRB- O.S. -RRB- Hi mommy. KATE Where are you, honey!?", "INT. RV/YELLOWSTONE NATIONAL PARK - DAY Jackson hears the stress in Kate's voice. He hisses at Lilly. JACKSON Tell her we'll be back in ten minutes. LILLY -LRB- EXCITED. -RRB- We're looking for a secret map, mommy. Jackson grimaces.", "EXT. RESEARCH FACILITY/YELLOWSTONE NATIONAL PARK - DAY Kate tries to keep it together for Lilly. KATE Let me speak to your daddy, darling. LILLY -LRB- O.S. -RRB- Daddy ca n't talk right now, he's driving really fast.", "INT. RV/YELLOWSTONE NATIONAL PARK - DAY The RV runs over a boulder. Lilly hits the roof. LILLY Ouch! KATE. -LRB- O.S. -RRB- LILLY! In the background Kate hears the voice of Charlie Frost. CHARLIE'S VOICE I tell you guys, any minute now. any minute the fireworks will start. KATE -LRB- O.S. -RRB- Who's in the car with you? Who's that man screaming? LILLY He's not in the car. He's on a mountain waiting for fireworks. Lilly spots Charlie way up on a ridge. He has erected his ten foot radio antenna with the flag fluttering on top. LILLY -LRB- CONT'D. -RRB- -LRB- to Jackson. -RRB- There he is! Up there! JACKSON You're the best, darling. Give Daddy the phone. -LRB- into the phone. -RRB- Kate I am sorry, I ca n't talk. The road ends just below the mountain peak. KATE -LRB- O.S. -RRB- Bring back my child, Jackson! NOW! Jackson sees Charlie up above, broadcasting. He hangs up the phone and jumps out of the RV. JACKSON You wait here for me! You watch the ship while Captain Curtis talks to the pirate. Okay? LILLY -LRB- UNCERTAIN. -RRB- Okay. Jackson climbs up to Charlie.", "EXT. MOUNTAIN PEAK/YELLOWSTONE NATIONAL PARK - DAY Charlie has his broadcasting equipment strapped to his body. The antenna's flag is whipping in the wind. CHARLIE FROST -LRB- into his mic. -RRB-. I wish you guys at home could see this on TV. He notices Jackson and muffles the microphone. CHARLIE FROST -LRB- CONT'D. -RRB- How did you make it up here? Thought you were toast. JACKSON The spaceships Charlie, where are they? CHARLIE FROST You ca n't make it there. JACKSON We have a plane. We can get you out of here too. Let's go Charlie! All around the landscape begins to collapse. A three mile crater forms, revealing the awe - inspiring sight of the super - volcano. CHARLIE FROST You'll never make it out in time. Just stay and enjoy the big bang. That your kid? Jackson discovers Lilly standing behind him, staring at Charlie with her big brown eyes. Jackson grabs Charlie lifting him off the ground. JACKSON Where is that god damn map! CHARLIE FROST Easy, easy. Watch the mic. I do n't know. Somewhere in my camper. A low rumble builds to a rapturous thunder as MILLIONS OF BIRDS tear into flight. CHARLIE FROST -LRB- CONT'D. -RRB- Wow! Look at that! -LRB- into his mic. -RRB- Fly birdies fly! This marks the last day of the United States of America folks and by tomorrow. The mouth of the volcano starts to break apart revealing molten lava underneath. CHARLIE FROST -LRB- CONT'D. -RRB- the last of mankind. Soon they'll see us from a million miles away, out there in the milky way. Jackson grabs his wide eyed daughter and races down the mountain.", "EXT. BELOW MOUNTAIN PEAK/YELLOWSTONE NATIONAL PARK - DAY Jackson and Lilly jump into the RV and races off, with Charlie's broadcast still playing. CHARLIE'S VOICE The ash cloud will travel everywhere. First the lights will go out in Vegas, then Dallas, St. Louis and then Washington DC. Jackson's cell phone rings and he picks up. JACKSON We're on our way.", "EXT. RESEARCH FACILITY/YELLOWSTONE NATIONAL PARK - DAY KATE Jackson, things are really looking bad here! In that instant, the air around them vanishes, as if sucked from the landscape into a vacuum. THE BIGGEST EXPLOSION THE WORLD HAS EVER SEEN. At least in the last 640,000 years. To them, all this occurs in total silence. The sound of the eruption has not reached them yet. They are frozen, unable to comprehend what is happening.", "EXT. MOUNTAIN PEAK/YELLOWSTONE NATIONAL PARK - DAY The explosion begins to resembles an atomic mushroom. CHARLIE FROST it's beautiful, kids! Just beautiful! The sound waves reach Charlie, throwing him to the ground.", "EXT. DIRT ROAD/YELLOWSTONE NATIONAL PARK - DAY The RV flies over the rugged terrain. Everywhere the earth is cracking, falling apart. Jackson struggles to swerve around the disappearing landscape. LILLY -LRB- SCREAMING. -RRB- It's following us! Lilly has discovered the expanding ASH CLOUD behind them. JACKSON Just do n't look back, Lil ` bee! The THUNDERING sound envelopes them! On the radio, the voice of Charlie is getting shrill. CHARLIE'S VOICE Majestic! Oh yeah!", "EXT. MOUNTAIN PEAK/YELLOWSTONE NATIONAL PARK - DAY Charlie slowly tries to stand again, silhouetted against the cloud of dust and fire towering above him. Flaming rocks fly towards him. When they hit the ground, they detonate like fire bombs. CHARLIE'S VOICE Oh baby! It's coming!", "EXT. DIRT ROAD/YELLOWSTONE NATIONAL PARK - DAY Rocks plummet like comets around the RV as Jackson races over a collapsing bridge. On the radio, in his delirious state, Charlie begins to sing. CHARLIE'S VOICE ` This is the end, my friend'. Yellowstone looks like a war zone. The RV dodges the bombardment of fire and rock.", "EXT. MOUNTAIN PEAK/YELLOWSTONE NATIONAL PARK - DAY Huge tree trunks and glowing boulders fly at Charlie through the ashes. He screams at the top of his lungs. CHARLIE FROST Folks, always remember, you heard it first from Charlie. A second later, Charlie's radio antenna comes spinning like a scythe through the air. It decapitates Charlie in an instant.", "EXT. DIRT ROAD/YELLOWSTONE NATIONAL PARK - DAY The radio cuts out. The forest and the camp grounds are mown flat by the extreme force of the ASH CLOUD. In the rear view mirror Jackson sees it gaining on them. JACKSON LILLY! DOWN! A firebomb hits the RV, ripping half the roof off. Lilly barely makes it under the dashboard. JACKSON -LRB- CONT'D. -RRB- Stay down there, Lil'! We're almost there! Just keep looking at daddy. Jackson spots the little Cessna in the distance.", "EXT. EMPTY ARMY BASE/YELLOWSTONE NATIONAL PARK - DAY At the entrance to the airstrip a huge crevasse forms, cutting the RV off from reaching the plane. Lilly sticks out her head. LILLY Mommy! Jackson swerves wildly to miss the crack, sending Lilly flying out. Without thinking, he lets go of the wheel, lunging after her and pulling her back inside. JACKSON Stay down darling. Jackson races the RV alongside the forming crack. Spotting a narrow point in the crevasse, he makes a decision. Slamming the accelerator down, he races towards it at full speed. Moments later the RV is airborne! Kate watches, too shocked to scream. A few drawn out seconds. Then the RV touches down, crashing 200 feet from the plane. Kate runs towards the wreckage of the camper. Lilly jumps out, racing into her mom's arms. Jackson turns and sees the cloud approaching. JACKSON -LRB- CONT'D. -RRB- You guys go! I'll be right there! Kate pulls Lilly back to the plane. Jackson jumps into the back of the RV scavenging through the shelves, looking for Charlie's map. Kate lifts Lilly onto the wing of the plane. Gordon revs up the engines. NOAH Give me your hand, Lil'. Noah pulls his little sister into the cockpit. Fiery rocks rain from the sky, detonating to the right and left of their plane as Kate climbs in. GORDON We have to take off! NOAH No! LILLY Where's daddy?! GORDON Kate, I'm sorry but if we wait we'll all die! Gordon pushes the throttle. The plane starts to move. Kate screams. KATE Gordon! Wait! Back in the RV, Jackson is frantically going through the masses of books and papers on the shelves. Finally, a map. He unfolds it. But it's only of the London underground system. He throws it to the ground and finds another. This time he's lucky! There are markings everywhere. As he races to the door, the ground gives way beneath the RV. Kate and the kids watch it disappear from sight. KATE -LRB- CONT'D. -RRB- JACKSON! NO! Noah begins to cry and Lilly clings to her mom. Gordon just stares, paralyzed. The ASH CLOUD is almost upon them! Gordon takes action and accelerates the plane. Kate turns back. A hand emerges from the crevasse. Then another, holding a map. Her face lights up. LILLY It's daddy! Jackson pulls himself up and sprints towards them, the map in his hand. KATE Jackson! Here! Kate leans out of the cockpit reaching for him. NOAH Faster Dad. You can make it! GORDON Kate, grab him for god sake. We're almost out of runway. Using every last ounce of energy, Jackson leaps onto the wing and is yanked into the plane by Kate. Just at that moment, the plane lifts off. Jackson falls into the cockpit, completely out of breath. Lilly crawls over and hugs him. JACKSON Thanks for waiting guys. Now all eyes are glued to the speedometer. 180. 190. The violent ASH CLOUD is hitting their tail rudder. The plane swerves wildly! Gordon gets it back under control. The speedometer finally creeps towards 200 mph and the CLOUD slowly falls back. Everybody breathes a sigh of relief. KATE So, now that you got your map, where are we going? Jackson unfolds it and takes a look. Hundreds of markings clutter the map. In the left corner he discovers a large letter C followed by H - I - N - A. He looks up. JACKSON We're gon na need a bigger plane.", "INT. WEST WING/WHITE HOUSE - LATE AFTERNOON The White House is being evacuated. Amidst the chaos stands Anheuser. Adrian puts down a phone and looks at him. ADRIAN Just a few minutes ago Yellowstone erupted, sir. The ash cloud will reach Washington in roughly 7 hours. Maybe 6. We have strong easterly winds. ANHEUSER And the crustal displacement? ADRIAN No one knows, sir. Anheuser starts walking, Adrian trails behind. ANHEUSER Let's get the government airborne and. I mean now.", "INT. OVAL OFFICE/WHITE HOUSE - LATE AFTERNOON Anheuser and Adrian burst into the Anteroom of the Oval Office. The President's secretary, SALLY, 55, is packing. ANHEUSER Where is the President, Sally? Sally looks up stone faced. SALLY He said he wanted to spend a few minutes alone. I think he's over at the chapel. ANHEUSER The whole North American continent is about to perish, and Wilson decides to go to church! Adrian shoots an angry look at Anheuser. ADRIAN He's praying sir. Which considering the circumstances is not a bad idea. ANHEUSER Maybe. But right now I need the leader of the free world off his knees and on Air Force One. Wheels up 1900 hours. Can I leave that with you Helmsley? Anheuser walks away. Adrian and Sally exchange a look. SALLY I really do n't like that man.", "INT. CHAPEL/WHITE HOUSE - SUNSET Adrian finds the President standing near the front of the chapel. ADRIAN Mr. President? We need to get you out of Washington immediately. President Wilson stays with his head bowed. PRESIDENT WILSON Now matter how idealistic you are taking office. You lose your innocence behind that desk. -LRB- PAUSE. -RRB- Laura was right. People have died because of the decisions I made. ADRIAN That's not your fault sir. He turns to face Adrian. PRESIDENT WILSON You sound like Anheuser. This quietly affects Adrian. PRESIDENT WILSON -LRB- CONT'D. -RRB- Laura's never looked at me like that before. Only once. When I told her, her mother had died. You knew the first lady? ADRIAN A little. PRESIDENT WILSON You know what she said to me that night we brought her to the hospital? -LRB- PAUSE. -RRB- ` Tommy. I think you should do a lottery. Every one should have a chance to go'. That's what Dorothy said to me. That's what we should have done. ADRIAN There would have been chaos, sir. President Wilson looks Adrian in the eyes. PRESIDENT WILSON You know what I believe, Adrian. I believe nature should choose for itself, from itself. Adrian takes this in. PRESIDENT WILSON -LRB- CONT'D. -RRB- Do n't let her go. You'll regret it if you do. Prove to Laura what kind of a man you are. And I'll do the same. You go now. And watch your back for Anheuser. Adrian stares at the President in disbelief. ADRIAN But sir? PRESIDENT WILSON Go. That's an order Helmsley. A tense moment before Adrian starts to walk away. Just as he exits the chapel, Wilson calls after him. PRESIDENT WILSON -LRB- CONT'D. -RRB- Would you tell my daughter. there's nothing on earth that I cherish more than her. We hold on President Wilson's face.", "EXT. LAS VEGAS - SUNSET Most of Las Vegas is destroyed. A 200 foot wide canyon now divides sin city along its famous strip. The towering casinos still teeter along the canyon's rim. All forms of emergency rescue operations are deployed around the city. In the FOREGROUND, we see Las Vegas International Airport, its runway cut dramatically short. Large pieces of tarmac continue to break off into the crevasse.", "EXT. AIRFIELD/LAS VEGAS AIRPORT - SUNSET Gordon maneuvers his plane through the chaos. Airplanes are strewn about the runway. Passengers everywhere. GORDON I told you we should have gone to my parents' in the Rockies. KATE Gordon's right. Look at this mess. Jackson looks around frantically. JACKSON You do n't understand, it's our only chance. GORDON This is n't one of your crazy stories now. How the hell are we gon na make it to China? NOAH Gordon, without Jackson, we'd never have made it out of California. Silence. Noah is right and they know it. They taxi past a private jet whose front wheel is stuck in a hole in the tarmac. We hear a dog barking and the CAMERA finds Tamara, with Caesar in her arms. YURI -LRB- O.S. -RRB- Careful with the landing gear! -LRB- in Russian. -RRB- Tamara, get the boys out of the way! An airport tow truck attempts to pull Yuri's Gulfstream jet out. Sasha, the pilot, helps. A safety announcement echoes through the whole area. VOICE -LRB- over loudspeaker. -RRB- Attention! The US National Guard has informed us, that an extremely hazardous ash cloud is headed towards the city of Las Vegas. Tamara looks scared and secretly reaches for Sasha's hand. They share an intimate look, no one else sees. VOICE -LRB- CONT'D. -RRB- We strongly advise every one to move indoors immediately. The tow truck driver panics and runs inside. We move in on Yuri. For the first time he looks helpless. In the background, Jackson and his family join the panicked crowd heading towards the terminal building. Firemen and rescue workers usher them forward. FIRE MAN Let's move people! Inside the terminal! Jackson and his family are swept along.", "INT. AIR FORCE ONE/ARLINGTON AIRPORT - DUSK Adrian rushes up the stairs of Air Force One, approaching one of the flight officers. ADRIAN Where's Anheuser? OFFICER In the command center, sir. Adrian moves on.", "INT. COMMAND CENTER/AIR FORCE ONE - DUSK Adrian enters. Anheuser immediately senses something is amiss. ADRIAN The President is not coming. I could n't convince him to. Everyone in the room looks up, speechless. ANHEUSER So, the captain does n't want to leave his sinking ship? -LRB- PAUSE. -RRB- Well, Mr. Helmsley, we just learned that the Vice President's chopper crashed 80 miles north of Atlanta. Adrian is shocked. ADRIAN What about the Speaker of the House? ANHEUSER In this chaos. I have no idea! ADRIAN But she's Commander In Chief now. Sir, I just think - Anheuser moves in dangerously close. ANHEUSER I do n't care what you think, Helmsley. Laura quietly enters the Command Center, as Anheuser and Adrian stare each other down. ANHEUSER -LRB- CONT'D. -RRB- Your ass only made it into the White House, because your old man knew the First Lady. and because of all that affirmative action bullshit. Anheuser takes it even further. ANHEUSER -LRB- CONT'D. -RRB- There was a white kid, much more qualified than you. Just so you know. Adrian's face is ashen. LAURA -LRB- O.S. -RRB- Where is my father? Everyone turns to Laura. Silence. ADRIAN He wanted to stay with his people. Suddenly, the engines of Air Force One turn over. Laura panics. LAURA We have to go back! Adrian tries to hold her close to him. Anheuser sees this intimate moment and gives a suspicious, questioning look. A second later Laura pushes Adrian away. LAURA -LRB- CONT'D. -RRB- Let me get out. Mr. Anheuser - tell the Captain. ANHEUSER There is a protocol for just this situation Ms. Wilson and I'm afraid we'll have to follow it to the letter. Anheuser turns to an officer. ANHEUSER -LRB- CONT'D. -RRB- Tell the Captain, to take off immediately. Laura looks at him incredulously.", "INT. AIRPORT TERMINAL/LAS VEGAS AIRPORT - DUSK Emergency lights illuminate the densely populated terminal. RESCUE WORKER People, stay away from the windows! One of the rescue workers yells, pushing Jackson and his family back. Frustrated, Jackson turns to Kate and Gordon. JACKSON We ca n't get stuck here. Suddenly a voice. VOICE -LRB- O.S. -RRB- Dr. Silberman? What are you doing here? They all turn and stare at Tamara, holding her little dog against her plump breasts. Kate gives Gordon a look. GORDON -LRB- EMBARRASSED. -RRB- She's a patient, honey. JACKSON -LRB- SARCASTICALLY. -RRB- Nice work. But when Jackson discovers Yuri behind her, his tone suddenly changes. He gets in Yuri's face. JACKSON -LRB- CONT'D. -RRB- You bastard. You knew it all along! -LRB- at the twins. -RRB- You and those spoiled rotten sons of yours. Sasha comes running in and cuts through this. SASHA I found us a plane, an Antonov. They were just about to take off, but the tower did n't let them. YURI Can you still fly that thing? SASHA Sure. But I need a copilot. Lilly chimes in. LILLY Gordon is a pilot. Before Gordon can protest Jackson picks up Lilly. JACKSON Let's go! They burst through the emergency exit, setting off an alarm. Emergency personnel yell after them. RESCUE WORKER Hey! Stop! You ca n't go out there! Come back! But they keep on running. Sasha now leads the way.", "EXT. AIR FIELD/LAS VEGAS AIRPORT - DUSK They race around the corner and come to a halt. Before them, a Russian freight plane of enormous size - The ANTONOV 225, the biggest aircraft in the world. NOAH Wow, that is a big plane. YURI -LRB- PROUDLY. -RRB- It's Russian. Sasha, who has run ahead turns back and sees : A MASSIVE GREY WALL OF ASH moving towards the airport. SASHA Guys, follow me! They all run after him up the stairs.", "INT. COCKPIT/ANTONOV - DUSK Sasha enters the cockpit and puts on the headset while readying the plane for takeoff. SASHA -LRB- into the mic. -RRB- You'll find folding seats on each side of the cargo hold.", "INT. CARGO HOLD/ANTONOV - DUSK SASHA -LRB- O.S. -RRB- Sit down and buckle up! They all scramble to get into their seats. NOAH Wow! Look at those! They discover the cargo they are carrying - Sports cars, SUV's, concept cars and luxury models, some of them are labeled ` Las Vegas Auto Show 2012'. YURI We had VIP tickets for that. The six engines of the Antonov come roaring to life.", "INT. COCKPIT/ANTONOV - DUSK The plane is starting to move. Gordon sits uncomfortably in the copilot's seat. SASHA You check the main bus for the hydraulics. I'll balance the tanks. GORDON Uh. What? Sasha reaches over and does it himself. SASHA Work the radio and keep an eye on the fuel, okay? Gordon nods and puts on the headset, trying to focus.", "INT. TERMINAL/LAS VEGAS AIRPORT - DUSK People start SCREAMING, when they discover the menacing WALL OF ASH racing towards them. RESCUE WORKER Move back, people. down on the floor!", "EXT. RUNWAY/LAS VEGAS AIRPORT - DUSK The nose of the Antonov turns onto the runway. This humongous plane suddenly looks small against the wall of ash.", "INT. COCKPIT/ANTONOV - DUSK Gordon is panicking. GORDON We have to get going! Sasha hits the throttle. SASHA -LRB- CALM. -RRB- We're going, we're going. A deafening THUNDER emanates from the engines.", "INT. CARGO HOLD/ANTONOV - DUSK Everybody grabs their seat as the vibration of the aircraft builds.", "EXT. RUNWAY/LAS VEGAS AIRPORT - DUSK The Antonov steadily gains speed as it rumbles down the cracked and uneven runway. The canyon that has swallowed half the city looms ahead. And behind them the volcanic cloud bears down.", "INT. COCKPIT/ANTONOV - DUSK Sasha stares down the gap ahead, determined. Gordon's face is as white as a sheet. GORDON We're not gon na make it! SASHA Shut up! We will!", "INT. TERMINAL/LAS VEGAS AIRPORT - DUSK The violent cloud has finally reached the airport. The terminals are hit by flying debris. Seconds later, Yuri's Gulfstream is whipped through the air, shattering the huge windows into a thousand pieces. People are thrown like rag dolls as the jet explodes in a massive fireball.", "INT. CARGO HOLD/ANTONOV - DUSK Kate and Jackson hold their kids tight. Tamara clings to little Caesar and Yuri to his twins.", "EXT. RUNWAY/LAS VEGAS AIRPORT - DUSK The Antonov lumbers heavily towards the inevitable drop off on the horizon. The runway is way too short. And to make matters worse, the ground begins to move again, slowly arching the tarmac upwards, creating a crooked ramp at the end of it.", "INT. COCKPIT/LAS VEGAS AIRPORT - DUSK A drop of sweat trickles down Sasha's forehead as he pulls back the wheel. Gordon holds on for dear life as the huge plane barely lifts off, veering sideways.", "EXT. CANYON/LAS VEGAS - DUSK The Antonov is on a collision course with the crumbling casino towers along the other side of the rim.", "INT. COCKPIT/ANTONOV - DUSK SASHA GOVNO! -LRB- shit. -RRB-. Help me pull! Gordon grabs the wheel on his side, helping Sasha pull up the beast of a plane.", "EXT. CANYON RIM/LAS VEGAS - DUSK Very slowly the plane starts to rise and Sasha's face lights up. They barely make it over a casino called ` Paris ; Las Vegas'. But the plane clips its wheels on a high metal structure right behind it, ripping away part of the landing gear.", "INT. COCKPIT/ANTONOV - DUSK After some struggle, Sasha manages to steady the Antonov. Gordon's face is green as he looks back. GORDON Was that the Eiffel Tower? Sasha looks over and grins. He grabs the microphone. SASHA Ladies and gentlemen, we are on our way to China.", "EXT. YAK LA MONASTERY/TIBET - DAY An ancient monastery built atop a solitary mountain rock. In the distance, the sun glistens off the peaks of the Himalayas. NENG PANG, a young monk, 20, sits with his superior and teacher LAMA YAK LA, 65. They have tea beneath a huge bronze bell. LAMA YAK LA -LRB- in Chinese. -RRB- Do not believe in anything simply because you have heard it, Neng. NENG But Lin is my brother. He is working inside the big tunnels, where the ships are made. The Lama remains silent. NENG -LRB- CONT'D. -RRB- What is in your wisdom for us to do, great Lama. if Lin is right, if our world is indeed coming to an end? Instead of answering, the Lama serves him more tea. When the cup is full, the Lama does n't stop pouring. Neng watches the tea overflow until he can no longer restrain himself. NENG -LRB- CONT'D. -RRB- It's full, great Lama. It can hold no more! The Lama stops pouring and looks at Neng. LAMA YAK LA Like this cup, Neng, you are full of your own opinions and speculations. How can I show you wisdom unless you first empty your cup? Neng bows his head in embarrassment. The Lama smiles to himself and takes a chain from around his neck. On it hangs a set of rusty car keys. LAMA YAK LA -LRB- CONT'D. -RRB- Be careful with the clutch. It tends to slide. The Lama throws him the keys and the young monk catches them, smiling from ear to ear. They bow to each other and Neng runs off. Lama Yak La looks after him as a father would. He gets up and strikes the bronze bell with a wooden mallet.", "EXT. HOUSING PROJECT/TIBET - DAY As far as you can see is a series of identical little houses. The house in the foreground has a chicken coop in the garden. Mrs. Pang enters the coop. We last saw her when the village was being evacuated. She grabs one of the hens. She places its head on a woodblock and picks up a rusty hatchet. Just about to strike, she hears a strange RATTLING noise. An old truck comes driving towards the house. Behind the wheel sits her son Neng. She puts down the hatchet, yelling. MRS. PANG -LRB- in Chinese. -RRB- Bata! Neng is coming! The young monk jumps out, quickly bowing. NENG Mother, I got a message from Lin. He wants us to meet him in Cho Ming, at the west gate. He says he can get us on one of the ships he is working on. Mrs. Pang is still holding the chicken by its throat. MRS. PANG I thought Lin is working on the dam? NENG The dam is a ship, Mother. The government lied to us. There will be a big flood. The chicken hangs limp in Mrs. Pang's hand. MRS. PANG Not here in the mountains. Let's eat first. The hen panics as she puts its head back on the block, raising the hatchet again. NENG No mother! We must pack up right away. NENG'S MOTHER We took a trip with the Laem Song ferry once. Your father was throwing up the whole way. The door opens and Mr. Pang appears. MR. PANG Neng, I did not know you were coming for dinner. At that moment the hatchet drops with a THUD!", "EXT. ANTONOV/OVER THE PACIFIC - NIGHT The majestic Antonov is flying high in the Pacific skies. OLEG -LRB- O.S. -RRB- Look, the new Bentley.", "INT. CARGO HOLD/ANTONOV - NIGHT The boys are exploring the huge freight deck. Caesar, the little dog, is traipsing along. Alec, Oleg and Noah marvel at a stylish mixture of luxury and performance cars. ALEC Our dad had one on order. We were supposed to get it next year. OLEG But then he cancelled it again, because of the ships. Noah points to a 2012 Aston Martin parked further back. NOAH If I was rich, I'd get one of those. OLEG We have one. How many cars does your family have? NOAH My Mom's boyfriend has a Porsche, a Carrera 4. ALEC Our parents are divorced too. The boys share a moment of understanding. NOAH Nothing we can do about that. Noah reaches for the door of the Bentley. To his surprise, it opens. NOAH -LRB- CONT'D. -RRB- Wow. look at this. Noah jumps into the car. KATE -LRB- O.S. -RRB- Be careful, Noh'! Kate and Lilly are still belted in next to Tamara. Jackson and Yuri sit on the other side of the Antonov. TAMARA How did you meet Dr. Silberman? He's great, is n't he? KATE I think for the same reasons you did. You know, after breast feeding two kids. Kate looks at Tamara. KATE -LRB- CONT'D. -RRB- Did your husband ask you to get your's done? TAMARA We are not married. And we probably never will. But he paid for them. KATE I bet he did. They laugh. LILLY What did the man pay for mommy? KATE Nothing, Lil ` bee. Kate looks over at Jackson who's trying to make sense of Charlie's map. Tamara catches her looking. TAMARA What's your situation? Kate lets out a sigh. KATE Way too complicated. On the other side of the plane, Yuri has been watching the two women talk. YURI They seem to like each other. JACKSON I guess. So tell me Mr. Karpov - how much did you pay? YURI One billion euro, per seat. JACKSON That's disgusting. YURI You know Curtis, I was n't always businessman. I am a boxer. Was my only playing when I was a boy, back in Murmansk. My coach. -LRB- SMILING. -RRB-. his name also Yuri. He always said : ` Someone wants to beat you. he has to kill you first'. Yuri puts his hand on Jackson's shoulder. YURI -LRB- CONT'D. -RRB- What would you have done, if you rich like me? Just look at your gorgeous kids. And call me Yuri. Yuri offers his hand but Jackson does n't shake it. Sasha's voice comes over the radio. SASHA -LRB- O.S. -RRB- Hi guys. The plan is to refuel in Hawaii. So, buckle up. Gordon and I will do the rest.", "INT. COCKPIT/ANTONOV - NIGHT Gordon turns to Sasha. GORDON Let's get this straight, Sasha. I'm not a pilot. I'm a plastic surgeon. I just took some lessons to overcome my fear of flying. SASHA Why did you give up? GORDON It did n't work. Gordon points to the declining altimeter. GORDON -LRB- CONT'D. -RRB- What about the wheels we lost at take - off? SASHA There's 14 on each side. Some of them must still be there. With that, Sasha commences the landing procedure.", "EXT. ANTONOV/OVER HAWAII - NIGHT The Antonov dives into a thick layer of clouds. SASHA -LRB- O.S. -RRB- Still nothing from the tower?", "INT. COCKPIT/ANTONOV - NIGHT Gordon shakes his head. The two pilots stare ahead watching as the clouds slowly change color, from yellow. to orange. They stare out the window in disbelief.", "INT. CARGO HOLD/ANTONOV - NIGHT Gordon comes climbing down the metal ladder whispering to Jackson and Yuri. GORDON Guys, you really oughta take a look at this. Jackson and Yuri follow Gordon back into the cockpit. The women exchange a worried glance.", "INT. COCKPIT/ANTONOV - NIGHT When Jackson and Yuri enter, they do n't believe their eyes. YURI What is that? SASHA The State of Hawaii! YURI Not good. That is not good.", "EXT. ANTONOV/OVER HAWAII - NIGHT From above we watch as the Antonov flies over an endless ocean of fiery red lava. The Islands of Hawaii have turned into one big volcano.", "INT. COCKPIT/ANTONOV - NIGHT JACKSON How much fuel do we have? SASHA Not enough. We'll have to make a water landing somewhere in the South China Sea. GORDON At least we wo n't need our landing gear. Yuri wonders. YURI What about it? GORDON We lost it all. in Vegas.", "EXT. ANTONOV/OVER HAWAII - NIGHT The damaged landing gear slowly retracts into the vast belly of the Antonov as it veers off to the east.", "INT. PRESIDENTIAL CABIN/AIR FORCE ONE - NIGHT Adrian knocks quietly and sticks his head around the door. Laura is sitting in her father's chair. ADRIAN Can I come in? LAURA I've got nothing to say to you. ADRIAN But I do. Adrian enters. He has his travel bag in one hand. He looks at Laura and gathers himself. ADRIAN -LRB- CONT'D. -RRB- Your Dad and I. we were trying to protect you. LAURA -LRB- EXPLODING. -RRB- I'm a big girl Adrian. I do n't need protection. You used me. You guys had me gallivanting around the world, as part of your little cover - up. ADRIAN But you were doing a good job. LAURA Sure, if your name's Da Vinci or Picasso. But if you're some young talent in Podunk, Texas, sorry you're not famous enough. People like you and Anheuser and my father - you think you can play God. Adrian takes a moment, he's desperate to make her see. ADRIAN You know what your father believed. That nature will choose itself from itself. LAURA That's bullshit and you know it. It's the fittest, the richest and the strongest that survive. ADRIAN That's not true. Adrian glances down and spots Jackson's book poking out of his bag. ADRIAN -LRB- CONT'D. -RRB- What would you say were the chances of a first time, middle - aged writer, who barely sold 500 copies of his novel making it on board this plane? LAURA Zero. What's your point? Adrian pulls out the book from his bag. He shows her. ADRIAN It's called ` Farewell Atlantis' and it's a fantastic read. It's part of our legacy now. Laura takes this in. The plane's intercom cuts through the moment. INTERCOM -LRB- O.S. -RRB- Mr. Helmsley, Prof. West requests your presence immediately. Adrian takes a breath, but before he leaves - ADRIAN What if I tried to sort some of this mess out? I need to know you can forgive me. Laura looks at him sadly, but with a little hope. LAURA I need to know that too, Adrian. Adrian moves for the door. He stops. ADRIAN One more thing. Your father told me you were the most precious thing to him in the whole world. You are to me too. As Adrian exits, we hold on Laura's conflicted face.", "EXT. WHITE HOUSE/WASHINGTON D.C. - NIGHT The cloud from the Yellowstone eruption has hit Washington D.C. hard. Pennsylvania Avenue resembles a war zone. A ten inch layer of ash lies on the ground. The gates of the White House are wide open, with ash - covered rescue workers running about, resembling ghosts.", "INT. WEST WING/WHITE HOUSE - NIGHT The President has turned the whole West Wing into a shelter. He walks through the packed rooms assisting where he can. An old African - American LADY holds a crying young girl. President Wilson kneels down to her. OLD LADY She ca n't find her mother. PRESIDENT Why do n't you two girls make yourself comfy on that big couch? I'll see what I can do. The child nods. The President gets up. PRESIDENT WILSON Sally, can you take care of them. I'll go check with the Red Cross. As he leaves, the old lady looks up at Sally and smiles. OLD LADY No wonder the First Lady fell for him. I knew Miss Dorothy Jones long before the President, when she was still singing jazz down in Atlanta with Harry Helmsley. SALLY I know, she was amazing.", "EXT. FRONT LAWN/WHITE HOUSE - NIGHT The President walks up to the Red Cross tents placed on the front lawn. He stops one of the Red Cross volunteers. PRESIDENT WILSON Who can help me with missing persons? Without looking up, the young guy responds. RED CROSS VOLUNTEER Sorry man, I'm busy right now. He then recognizes who he's talking to. RED CROSS VOLUNTEER -LRB- CONT'D. -RRB- I mean, of course sir. I did n't realize. What can I do for you, Mr. President? The President pats him on the shoulder. PRESIDENT WILSON Do n't worry about it. You're doing a great job son. A deep, low rumble begins, stopping everybody in place. As it builds, the President grabs onto a tent pole to secure himself. He looks out over Washington D.C. His eyes grow wide. The National Mall bends like rubber. The towering Washington Monument breaks into pieces. An even more deafening sound makes him turn - The Capitol Building rises from behind the trees, lifted up by earth's incredible force. As the whole building breaks apart, the President is thrown to the ground.", "INT. COMMAND CENTER/AIR FORCE ONE - DAY All the officers and scientists are glued to monitors that show satellite images from all over the globe. Adrian and Prof. West stare in disbelief. SCIENCE OFFICER The capitol was hit by a 9.4. Laura enters the command center unnoticed. COMMUNICATIONS OFFICER We lost communication with the White House, sir. She stands there frozen, emotionless. She looks over to Anheuser, who is shouting orders. Another officer hands him a phone. LIEUTENANT #2 President Makarenko for you sir. He's just entered Chinese air space. Anheuser takes the phone and after a beat answers. ANHEUSER That's affirmative, Mr. President. Until communication is restored, I am in command. Adrian and Laura look to each other baffled. ANHEUSER -LRB- CONT'D. -RRB- It seems all other Heads of State are en route, however there are unconfirmed reports that the Italian Prime Minister has also decided to stay behind and trust in prayer rather than action.", "EXT. ST. PETER'S SQUARE/ROME - DAWN Pope Benedict XVI holds mass in St. Peter's Basilica. Millions of followers flood Vatican City. It's a sea of candles. Amidst the mass of believers we see the Italian Prime Minister Antonioni with his family clinging to him. They all are praying. A low RUMBLE. People look around frightened. In the distance we hear SCREAMING.", "INT. SISTINE CHAPEL/CEILING - DAWN A few cardinals huddle together in silent prayer under Michelangelo's famous fresco. Most prominent above them is ` The Creation of Adam'. The cardinals look up in horror as the rumbling intensifies. A crack forms on the ceiling, shooting straight through God touching the finger of Adam. Then the whole fresco breaks apart.", "EXT. ST. PETER'S SQUARE/ROME - DAWN The people in St. Peter's square begin to panic - The entire Vatican is lifted up in the air. We hold on the Prime Minister and his family, as the basilica collapses onto the fleeing masses.", "EXT. MOUNT CORCOVADO/RIO DE JANEIRO - DAY The giant statue of ` Christ the Redeemer' on Mount Corcovado. Behind it, we see Rio de Janeiro being obliterated by violent quakes. The famous statue of Jesus Christ begins to topple over and crashes down the mountain.", "EXT. MOUNTAIN PASS/TIBET - NIGHT Neng Pang, the young Tibetan monk drives his truck up a bumpy mountain pass. His parents huddle in the back of the pick - up. The steering wheel is vibrating badly in his hands as he slides the clutch and downshifts. As the vehicle slows on the steep incline, the vibrations become much worse. Neng worries that the truck may be breaking down. He pulls up and switches off the engine but to his surprise the steering wheel continues to vibrate. Looking out the windshield, he sees the whole earth shaking violently. NENG -LRB- in Chinese. -RRB- Hold on back there! Rocks fall all around them.", "INT. THE ANTONOV - NIGHT Jackson sits inside one of the luxury cars and tries the radio. Kate opens the passenger door and gets in. JACKSON Could n't sleep huh? Me neither. KATE Anything? JACKSON Nothing, just static. Not even an emergency signal. KATE I ca n't think about what's going on down there. Jackson switches off the radio. KATE -LRB- CONT'D. -RRB- I wanted to thank you. For coming back for us. JACKSON I could n't have left you. Silence. They both look out through the front windshield at Lilly and Noah curled up together. KATE Do you think people change? JACKSON By ` people' are we talking about me? KATE Do you think you've changed since we separated? JACKSON Well I certainly eat a lot more cereal now. KATE You know, you always had tunnel vision. You could always just block things out and write. You blocked all of us out Jackson. He thinks about this and ca n't help asking. JACKSON Do you love him? Gordon. KATE I love him enough. Kate gets out of the car and shuts the door. He watches her go.", "INT. COMMAND CENTER/AIR FORCE ONE - DAY The computers buzz with the incoming data. COMMUNICATIONS OFFICER Cho Ming reports the first tremors, however none higher than 5.0. Anheuser looks relieved. Then the big news hits. SCIENCE OFFICER #1 The crust has begun to shift, Prof. West. PROF. WEST By what degree? SCIENCE OFFICER #1 1.2 percent, but still moving. ANHEUSER Any clue what to expect next, Professor? PROF. WEST Once the movement of our land masses comes to a halt, we expect the formation of tidal waves, sir. proportional to the magnitude of the corresponding quakes. Adrian looks distressed as he turns to one of the officers. ADRIAN Do we have any news from the Japanese seaboard? Laura notices Adrian's concern. SCIENCE OFFICER #2 We've recorded two quakes averaging 8.3. She grabs Adrian's hand. Anheuser sees this and his suspicions about them are confirmed. A cold little smile appears on his face.", "INT. SALON/CRUISE SHIP - NIGHT Tony is watching TV with a group of passengers. Harry has just entered and stands near the back of the room. A TEENAGE BOY with bad acne searches for an available channel that is still broadcasting. He finds a news program with lousy reception. NEWSCASTER Tokyo seems to have taken the severity of the hit. Unconfirmed reports indicate that the entire island of Japan is below water. The signal gets weaker. Harry watches Tony slowly stand up. As he turns to his friend, his knees begin to buckle. His face is pale. TONY I called. But I never got through. HARRY I'm so sorry. Tony only stares back at him. Behind them, the TV rolls to the side, as the whole room begins to tilt. Harry grabs on to the door frame, as the passengers along with Tony fall like dominoes. HARRY -LRB- CONT'D. -RRB- Tony! As the ship rolls to the side, Harry finds himself hanging from the door frame now 20 feet off the ground. He's barely able to pull himself up and roll onto the middle deck.", "EXT. MIDDLE DECK/CRUISE SHIP - NIGHT On his back, Harry is shocked to see the star field and the moon shifting across the sky. An eerie sound fills the air. A gigantic swell has formed off to his right. It's a mountain of water. Harry turns to see another gargantuan swell close in from the other side of the ` Freedom of the Seas'.", "EXT. SHIBAM/YEMEN - DAY The old walled city of Shibam is in ruins. The 2,000 - year - old towers lie on the desert ground. Hundreds of believers have gathered to pray towards Mecca. As they raise their hands to heaven in unison, they slow their motion and the chanting dissipates. They stare into the distance not knowing if what they see is reality or only a mirage. A monstrous tidal wave rises from the desert sands thundering towards them.", "EXT. WHITE HOUSE/WASHINGTON DC - NIGHT President Wilson's body lays between the rubble. As he slowly regains consciousness, all he can hear is the flapping sound of the collapsed Red Cross tents. As President Wilson gets to his feet, he sees - A tidal wave come sweeping over the remains of the Washington Mall and it carries with it the battleships of the 14th Fleet of the US Navy that were anchored in Chesapeake Bay. The President looks ahead, calm and peaceful. PRESIDENT WILSON I'm coming home Dorothy. The CAMERA follows the aircraft carrier ` USS John F. Kennedy' as it slams broadside into the White House.", "INT. COMMAND CENTER/AIR FORCE ONE - DAY Hushed voices. Anheuser, Adrian and Prof. West stand amongst a group of officers and analysts. COMMUNICATIONS OFFICER #1 All global ground communication has ceased sir. COMMUNICATIONS OFFICER #2 The only signal our satellites are picking up are coming from the vessels in Cho Ming. ANHEUSER At least some good news. Anheuser turns to Adrian. ANHEUSER -LRB- CONT'D. -RRB- Would our science advisor care to give us his assessment? ADRIAN We expect enormous tsunamis to reach landfall in every continent. The Cho Ming area will be impacted in approximately six hours. He nods to one of the analysts, who types in a couple of commands. ADRIAN -LRB- CONT'D. -RRB- and it looks like the crust has shifted by nearly 23 degrees in a south - westerly direction. Here's the computer simulation. Everybody stares as the graphic illustrates what happened to planet Earth. ADRIAN -LRB- CONT'D. -RRB- Our data also shows, that our earth's poles have reversed their magnetic fields. -LRB- POINTING. -RRB-. These are their new positions. Anheuser looks at the monitor, then turns to Adrian. ANHEUSER So Helmsley, what you're telling us here is that. the north pole is now somewhere in Wisconsin? Silence. Adrian clears his throat. ADRIAN It's the south pole, sir. An ALARM SIGNAL goes off -", "INT. COCKPIT/ANTONOV - DAWN A red light blinks on the plane's instrument panel. YURI -LRB- O.S. -RRB- What's that? SASHA Engine failure. GOVNO! Two of six are down. We must get ready. Yuri and Jackson are standing behind the pilots. JACKSON Let's go wake up the kids. Yuri nods and they make their way back to the lower deck.", "INT. CARGO HOLD/ANTONOV - DAWN Jackson's family are all asleep in their seats, Lilly in her mom's lap. She looks like a little angel. Jackson ca n't bear to wake them. He caresses Lilly's face. NOAH -LRB- O.S. -RRB- Why do you hate Gordon? Jackson turns to see Noah is awake. JACKSON What are you talking about? I do n't hate Gordon. NOAH But you do n't like him either. JACKSON I do n't know him that well. NOAH But I know him. He's really nice. You should talk to him more often. You guys would get along really well. This breaks Jackson's heart. He pulls Noah tightly to his chest. JACKSON I'll give it a try, Noah. I promise. Kate opens her eyes. KATE Is it time? Jackson nods. KATE -LRB- CONT'D. -RRB- Wake up Lil ` bee. We're getting ready to land. On the opposite side of the aircraft, Yuri and Tamara help the twins get into their life vests. Noah is suspicious. NOAH What's wrong? Jackson looks at his kids. They both look scared. JACKSON Sasha told us, it could get a little bumpy. and wet. The Antonov jerks to the side. Two more engines out. Alarm signals flash.", "EXT. ANTONOV - DAWN The remaining two engines barely hold the plane in the air as it dives into the clouds.", "INT. CARGO HOLD/ANTONOV - DAWN Jackson and his family huddle together. He puts his arms around Lilly and Noah. JACKSON Your daddy has to tell you something. In the background, Gordon climbs down from the cockpit. He is about to speak when he hears Jackson's voice. JACKSON -LRB- CONT'D. -RRB- I know that with my writing and work I did n't have a lot of time for you both. Jackson glances at Kate. JACKSON -LRB- CONT'D. -RRB- I was n't there for you, the way I should have been. Jackson looks Kate directly in the eyes. JACKSON -LRB- CONT'D. -RRB- And I am so very sorry for that. Gordon watches as Kate pulls the kids and Jackson tight. For the first time, they seem a little like the family they once were. GORDON -LRB- O.S. -RRB- Jackson, Yuri. I think you guys should come back up here.", "INT. COCKPIT/ANTONOV - DAWN First Jackson and then Yuri enter the cockpit. Sasha points out of the window. SASHA Do n't ask me how that happened. Behind them Yuri and Jackson stare at the snow covered mountains of the Himalayas. SASHA -LRB- CONT'D. -RRB- There's no more ocean, and it looks like we're pretty close to where we wanted to go. GORDON It's as if the whole earth shifted by 1500 miles. JACKSON No shit. -LRB- BEAT. -RRB- It's called ` Earth Crust Displacement' Gordon. Prof. Hapgood, 1958. Jackson brims with joy. JACKSON -LRB- CONT'D. -RRB- Way to go Charlie! A JOLT! SASHA We lost our last two engines. The plane drops rapidly, nearly scraping the tip of a mountain. Sasha and Gordon are doing all they can to keep the Antonov in the air. A vast glacier spreads out in front of them. SASHA -LRB- CONT'D. -RRB- I'll shoot for that glacier. Drain the brake fluids. It's going to get rocky. There, the blue levers! The plane plummets, loosing altitude fast. SASHA -LRB- CONT'D. -RRB- Listen up guys! This may sound a little crazy, but here's what you got to do.", "INT. CARGO HOLD/ANTONOV - DAWN Jackson and Yuri come running. Yuri yells at his boys. YURI -LRB- in Russian. -RRB- Get up! Follow me! TAMARA Yuri bear, what are we doing? YURI We're taking the Bentley!", "INT. COCKPIT/ANTONOV - DAWN Sasha is struggling with the gyrating wheel. The glittering snow field comes flying towards them. SASHA CHTO ZA. Gordon! We're still too fast! Sasha pulls the Antonov back up. SASHA -LRB- CONT'D. -RRB- Now! Open it! Gordon yanks with all his might. A loud NOISE.", "INT. CARGO HOLD/ANTONOV - DAWN The cargo door drops open. The Antonov is extremely close to the glacier's surface. Jackson tries to start the Bentley, but nothing happens. Everyone screams in panic. YURI SHUT UP EVERY ONE! They all go quiet, except for a few muffled barks from Caesar. Yuri speaks towards the dashboard, slowly and clearly. YURI -LRB- CONT'D. -RRB- Engine. start. The motor revs to life. Yuri looks at Jackson. YURI -LRB- CONT'D. -RRB- Voice control. Sold me on it.", "INT. COCKPIT/ANTONOV - DAWN Sasha barely holds on. He yells at Gordon. SASHA Your turn Gordon! Go! Make sure that they make it out of here before I touch down! GORDON What about you?! SASHA I'll be fine! I have to land this thing! Gordon hesitates. SASHA -LRB- CONT'D. -RRB- What are you waiting for! Sasha nods at him reassuringly. Gordon bolts out.", "INT. CARGO HOLD/ANTONOV - DAWN The cargo door scrapes against the glacier, hurling ice everywhere. The Bentley roars. YURI -LRB- O.S. -RRB- Push it Curtis! JACKSON We're waiting for Sasha and Gordon. Noah turns and sees Gordon. NOAH Tamara! Open the door! Gordon jumps in. Tamara yells at him in desperation. TAMARA Where's Sasha? GORDON He said he'll be fine and we should get out of here before he touches down. Yuri notices Tamara's distress as she keeps looking back to the cockpit. Jackson slams the pedal down trying to gain as much speed as possible to soften their landing. LILLY Daaadddy! The Bentley shoots out the back of the plane. As it hits the snow, the air bags deploy cushioning the passengers. The Antonov hits the ice and catapults the rest of the luxury cars out of the back cargo hold. They barrel past the Bentley like skittles, narrowly missing it as they fly off in opposite directions. The plane skids across the glacier, clipping its wing and causing the aircraft to break apart. Sasha has no control anymore and watches helplessly as he shoots towards the ledge in the Antonov, plunging into the deep. The plane crashes and explodes.", "EXT. GLACIER/TIBET - DAWN As the snow settles we see that the glacier is scattered with luxury cars tomb - stoned in the snow. The Bentley is half buried. We hear Caesar barking. JACKSON -LRB- O.S. -RRB- Everybody okay back there? KATE -LRB- O.S. -RRB- We're all fine. The door opens and Jackson climbs out, looking around. Just above the wind, he hears the SOUND OF HELICOPTER BLADES. One by one the others appear behind Jackson and stare at a surreal sight - Several Chinese Mil - 26 choppers airlift animals over the mountain pass. GIRAFFES, ZEBRAS, EVEN ELEPHANTS hang by huge straps from these flying machines. One of the smaller helicopters veers from the transport fleet and lands near the Bentley. Armed soldiers jump out. Their Commander speaks to them in a sharp tone. CHINESE COMMANDER Welcome to the People's Republic of China. Jackson nods to them. JACKSON Thank you. -LRB- to Lilly and Noah. -RRB- Say thank you, kids. The others acknowledge the soldiers as well. Hi. Hello. CHINESE COMMANDER What color are your passes? Jackson stands dumbfounded. The Commander repeats. CHINESE COMMANDER -LRB- CONT'D. -RRB- What color are your boarding passes? Still no answer. He yells an order. The soldiers point their guns at them. YURI -LRB- O.S. -RRB- I have green card. Surprised, Jackson turns to Yuri who's holding up three green plastic cards. YURI -LRB- CONT'D. -RRB- For my boys and me. Tamara ca n't believe what she's hearing. TAMARA It's a joke. a mistake. -LRB- LAUGHING. -RRB- Right Yuri? Yuri shrugs. Tamara lunges at him. TAMARA -LRB- CONT'D. -RRB- -LRB- in Russian. -RRB- You disgust me. You pig. Yuri brushes her off, coldly. And then speaks so they can all understand him. YURI You think I did not know about you and Sasha? May god rest that poor bastard's soul. With that Yuri turns to the others. YURI -LRB- CONT'D. -RRB- I am sorry guys. Good luck. And Jackson remember, if someone wants to beat you. he has to kill you first. Come boys! The twins grab Caesar and climb into the helicopter. The dog barks furiously, wanting to stay with Tamara. The next moment, the helicopter takes off. GORDON What! Did that just happen!? They're stranded.", "EXT. AIRFIELD IN CHO MING VALLEY/TIBET - DAWN Air Force One is in the background as Laura, Anheuser, and other members of the crew are rushed towards a group of waiting helicopters. Adrian is a little way back in the middle of the pack. A Chinese Officer with a list shouts over the noise. CHINESE OFFICER -LRB- POINTING. -RRB- Mr. Anheuser - you're in Chopper 1. Dr. Wilson the same. Laura and Anheuser reach the chopper. An authoritative Naval Officer greets them, and raises his voice. CAPTAIN MICHAELS I'm Captain Richard Michaels. I'm the skipper of the American boat sir. After you! Anheuser nods and climbs in the chopper. Captain Michaels helps Laura in. Adrian arrives just as the Chopper door slides shut and it lifts off.", "INT. HELICOPTER/CHO MING VALLEY/TIBET - DAWN Laura catches Adrian's look of unease before they soar away. CAPTAIN MICHAELS My sincerest condolences Dr. Wilson, for your father. Laura's look thanks him for this. He turns to Anheuser. CAPTAIN MICHAELS -LRB- CONT'D. -RRB- Your party is the last to arrive. ANHEUSER I've been told of damages? CAPTAIN MICHAELS We have n't completed the assessment but it looks like we lost Number 4 when the crust shifted. Captain Michaels looks up and points into the distance. CAPTAIN MICHAELS. -LRB- CONT'D. -RRB- There it is!", "EXT. CHO MING VALLEY/TIBET - DAWN The CAMERA follows the choppers revealing - Nine gigantic oval gates that measure at least 60 stories, built into the face of a mountain. In front of every gate there is a line of huge ` Y' shaped metal support structures, which are the launching towers for the ships. They are each at least 800 feet high. It's an unparalleled feat of engineering.", "EXT. CHOPPER/CHO MING VALLEY - DAWN The lead chopper descends onto a platform in front of one of the gates, dwarfed against this majestic setting. The door slides open and Anheuser jumps out. Laura follows. She looks around in awe. Even the utility entrances that lead into the mountain are immense. The Captain guides them into the hollow mountain. In the BACKGROUND we see an angry Yuri scream and argue with military personnel, waving his tickets. YURI What do mean we ca n't board Number 4? I want to speak to your supervisor. SOLDIER I am the supervisor! Now get in line with all the others while we make arrangements. YURI I want your name! SOLDIER -LRB- pointing to his BADGE. -RRB- Can you read? Now get the hell back with the other green cards, or I'll have you detained. The twins stand nearby, holding Caesar. They look afraid.", "EXT. THE GLACIER/CHO MING - DAWN Jackson and his group are small specks in a barren landscape. They have made it down the glacier and are now walking over a scree field. It is hard going. Jackson carries Lilly. JACKSON Keep thinking warm thoughts sweetheart. You're doing great. Kate holds Noah by the hand. Gordon and Tamara trail behind. She's still very upset. TAMARA I should have listened to you, Dr. Silberman. I actually liked the way I looked before that monster talked me into it. GORDON Did you know he asked for a discount. and he paid in installments? TAMARA Cheap bastard. GORDON You're better off without him. What he said about you and Sasha, is it true? Tamara nods silently. TAMARA Now that he's gone I think he was worth a hundred times a man like Yuri. Suddenly they hear the PUTTERING of an engine. JACKSON You guys hear that? In the distance, an old rusty truck comes bumping down the dirt road. Jackson puts down Lilly and chases after it.", "EXT. DIRT ROAD/NEAR CHO MING - DAWN Neng and his parents drive past, billowing a huge cloud of dust just as Jackson reaches the road. JACKSON -LRB- out of breath. -RRB- Hey! Help! Wait for us! But Neng does n't hear him over the rattling truck. Jackson, pissed, kicks at the rocks on the road. JACKSON -LRB- CONT'D. -RRB- Shit! Shit! Just then, Neng's mother, sitting in the back of the truck, turns and sees his tantrum. She bangs on the rear window of the cabin. Neng looks in the mirror and hits the brakes. Jackson ca n't believe his luck. The others show up and they all run towards the truck.", "INT. INSIDE MOUNTAIN/CHO MING - DAWN Anheuser and Laura follow Captain Michaels and a Chinese Steward over one of the many boarding bridges erected inside the cavernous mountain that lead to one of the monstrous arks. Laura stops halfway, gazing in awe - Deep down below, thousands of workers are swarming over the ship, readying it for launch. Laura looks up and sees the contrast, spotting the SHEIK we met in the Dorchester Hotel as he boards comfortably with his huge family. Laura points down at the workers. LAURA Captain Michaels? What happens to all those people? The Captain does n't know what to say. Anheuser turns. ANHEUSER Dr. Wilson, there's a protocol for all that. You just stick to your art. We'll handle the rest. Laura hates him in that moment. ANHEUSER -LRB- CONT'D. -RRB- Captain? Where is the Bridge? Anheuser and Captain Michaels move away as Laura stands and watches the frantic workers who are now boarding the animals we saw being airlifted over the mountains. CHINESE STEWARD -LRB- O.S. -RRB- Dr. Wilson? Your cabin is this way. Laura has a look of guilt as she follows the steward.", "EXT. NAMPAN MOUNTAINS/EAST COAST OF INDIA - SUNRISE Thousands are on the march up the mountains. Behind them a valley stretches into the horizon. Plumes of smoke rise from destroyed cities in the distance. Amongst the refugees, we discover Satnam, the young astrophysicist, holding his little son. The rest of Satnam's family trails behind. Distant WARNING SIRENS pierce the silent march, coming from the cities below. People start to scream and run, but Satnam stands there frozen. He fumbles for his satellite phone, then hits a number on its speed dial.", "INT. LIVING QUARTERS/AMERICAN SHIP - SUNRISE Adrian is unpacking. He lays down his copy of ` Farewell Atlantis' just as his cell phone rings. ADRIAN Satnam? -LRB- CONFUSED. -RRB- Where are you? SATNAM -LRB- O.S. -RRB- On the Nampan Plateau. Adrian's face goes pale. ADRIAN What?! SATNAM There's a tidal wave coming from the East! It's huge! ADRIAN Satnam, what happened? SATNAM -LRB- O.S. -RRB- We never got picked up, Adrian, the airlift never came! Adrian closes his eyes.", "EXT. NAMPAN MOUNTAINS/EAST COAST OF INDIA - SUNRISE Satnam swallows hard. He stares out into the valley. SATNAM I have to go! A wall of undulating foam and debris comes rolling towards him. A tidal wave of gigantic height. Everybody panics and scratches for a higher elevation. But for Satnam it is clear, they do not stand a chance. He picks up his little son, squeezing him tightly to his chest, humming an Indian lullaby for the scared child.", "INT. LIVING QUARTERS/AMERICAN SHIP - SUNRISE Adrian hears SCREAMING on the phone and the deafening sound of the approaching wave. He tenses up, desperate but unable to do anything. As the noise reaches its height, the line goes dead. Adrian is left breathless.", "INT. BRIDGE/AMERICAN SHIP - SUNRISE Adrian storms onto the bridge. Many officers and analysts are at work under Captain Michaels. ADRIAN Do we have the latest satellite images of Napam, India? SCIENCE OFFICER One moment, sir. Anheuser and Prof. West step over and join him. ANHEUSER Helmsley, what's going on here? ADRIAN Looks like our model was wrong. They all stare at the monitor showing several tidal waves coming in from the south. ADRIAN -LRB- CONT'D. -RRB- Satnam was talking about a wave from the East. A science officer selects a different quadrant on the satellite display. They all stare at the new tidal wave that's coming from the East of the Cho Ming valley. PROF. WEST Jesus! Anheuser is shocked. ANHEUSER What does this mean? ADRIAN The flooding will happen earlier. Bobby, can you plug in the new data please? As the officer does this, Prof. West looks at Adrian with questioning eyes. ADRIAN -LRB- CONT'D. -RRB- Satnam did n't get picked up. Prof. West is horrified. SCIENCE OFFICER -LRB- O.S. -RRB- Ready sir. Adrian turns back to the monitor and sees the new tidal wave that is coming towards the Cho Ming valley. ADRIAN This one is at least 1500 meters high! ANHEUSER Talk to me Helmsley. What does this mean for us? ADRIAN Bobby, plug in the new data and adjust the count down? Every one on the bridge stares at a display. It reads - 02hrs - 09min - 07sec The science officer nervously hits a few keys and the display changes to - 00hrs - 28min - 10sec. and counting. We see the shock on Anheuser's face. ANHEUSER Get me the other Heads of State.", "EXT. GATE/CHO MING SITE - EARLY MORNING Neng's truck, loaded with Jackson and the others, creeps up to the service entrance of the launch site. A lone figure awaits them. This is Neng's older brother Lin, who we saw signing up for the ` Chinese Dam Project'. Lin notices the strangers in the pick - up truck. LIN -LRB- in Chinese. -RRB- Who are they? Neng answers hesitantly. NENG We found them by the side of the road, my brother. LIN You must send them back. NENG I am a follower of the great Lama Yak La.. You know I can not do that. The others watch the interaction but do not understand. Jackson senses a problem. He grabs Lilly and Noah. JACKSON Come with daddy. Gordon and Tamara stare perplexed as Jackson approaches Lin with his kids. JACKSON -LRB- CONT'D. -RRB- At least take our children with you. Please. Lin answers in broken English. LIN Why should I do that? JACKSON For the same reason you sent for your parents. Lin stares at him stone faced. In desperation, Kate turns to Mrs. Pang. KATE I have no clue if you understand what I'm saying, but I ask you as a mother, please take my kids with you! Silence. A beat. The old Chinese lady turns to Lin. MRS. PANG -LRB- in Chinese. -RRB- We are all children of this earth. LIN My plan will not work for so many, mother. She looks up at her son, determined. MRS. PANG We will take them all. Bata? Mr. Pang nods and reluctantly, Lin motions to Jackson to follow. Kate bows to Mrs. Pang. KATE Thank you ma'am. Thank you so much. Jackson and the others acknowledge what Kate has done.", "INT. SHIP BAY/CHO MING - EARLY MORNING We finally reveal the unbelievable magnitude of this ship yard, built into the hollow belly of the mountains. Nine gargantuan vessels are lined up next to each other. Their size is at least four times that of the ` Freedom of the Seas'. However, they look more like spaceships than anything, having been built aerodynamically to withstand the full force of nature. But only three of these monstrous ARKS are complete. Number 4 is being repaired, all the others are still under construction, surrounded by scaffolding. Suddenly SIRENS goes off! The boarding bridges to the finished vessels begin to retract. There's growing confusion among the thousands of workers and security personnel.", "INT. PLATFORM, SHIP BAY/CHO MING - EARLY MORNING Opposite the boarding bridges, on a large platform, Yuri and his boys sit in line with the other waiting passengers. They watch as massive stern gates begin to close. Yuri jumps up and yells to the others. YURI They're leaving without us! The soldier from earlier points his gun at him. SOLDIER What did I tell you! Caesar barks at the guy. YURI -LRB- POINTING. -RRB- Look! Idiot! They are leaving you behind too! The soldier turns to the ships and Yuri knocks him out. He grabs his boys and runs towards the closing gates. All the other passengers surge forward with him. In the distance, on the bow side of the ships, the huge mountain gates of the bay open, revealing a stunning view of Cho Ming Valley.", "EXT. MOUNTAIN RIDGE/CHO MING - MORNING Lin leads his group over a ridge. In front of their eyes - The gates to the mountain open! LIN -LRB- in Chinese. -RRB- We have to hurry! -LRB- to Jackson. -RRB- They launch! We run out of time! They follow Lin rushing down the hill, towards one of the many Y - shaped launch structures towering in front of the gates. Neng and Kate help Mr. and Mrs. Pang down the rocky terrain.", "INT. SHIP BAY/CHO MING - MORNING A screeching and thundering noise! THE THREE COMPLETED VESSELS BEGIN TO INCH FORWARD on metal girders connecting the Y - shaped launch towers.", "INT. LIVING QUARTERS/AMERICAN SHIP - MORNING Laura feels a jolt. She rushes out of her small cabin and into a swarm of people moving down a crammed endless corridor. She struggles to fight her way through. A digital voice blares over the speakers. COMPUTER VOICE Countdown to departure. Launch in 17 minutes - 42 seconds. Laura bumps into one of Adrian's Science Officers. LAURA Where can I find Adrian Helmsley? SCIENCE OFFICER He's in the Technical Command Centre. Follow me.", "EXT. LAUNCH SITE/CHO MING VALLEY - MORNING The three gigantic vessels emerge from the mountain, into the open. Support helicopters swarm around them like flies.", "EXT. BENEATH A LAUNCHING TOWER/CHO-MING - MORNING Lin and his group look like ants as they scale the metal ladders of one of the launch towers.", "INT. BRIDGE/AMERICAN SHIP - MORNING Verbal commands fly back and forth. Anheuser watches the preparations from a large window. He looks over to the command bridges of the other vessels as they continue to be pulled into place.", "INT. COMMAND BRIDGES/OTHER SHIPS - MORNING We cut to the various Heads of State, all at their command posts.", "EXT. TOP OF LAUNCHING TOWER/CHO MING - MORNING A hatch opens at the top of the launch tower. Lin is the first to climb out. Right before his eyes, the hull of the American Ship slowly creeps towards him. He's but a speck against this man - made behemoth. Lin hastily pulls the others up. LIN -LRB- in Chinese. -RRB- Faster, Neng! Help father! Mother, give me your hand. It's a race against time. The huge ship's hull closes in fast. Lin and his family crawl up the side arm while Jackson hurries to pull up the rest of the group. Lilly freezes at the sight of the approaching ship. JACKSON Move Lil ` bee! Jackson rips her out of harm's way, just in time. In a frenzy, he pushes her up the support arm where the others are already huddled on a small platform. As the towering wall of steel passes by them, inches from their faces, Mr. Pang loses his balance. Jackson and Lin both see this, but Jackson is closer - He grabs the old man by his arm, saving him from falling to his death. For the first time, Lin acknowledges Jackson with a nod.", "EXT. SHIP BAY/CHO MING SITE - MORNING The three completed ships are half way out, grinding to their final launching position. A mob of passengers led by Yuri has fought their way to the ship. More and more people join them, including soldiers.", "EXT. TOP OF LAUNCHING TOWER/CHO MING - MORNING Lin, Jackson and the group are huddled on the platform. The sound of SCREAMING PEOPLE makes them turn. The storming masses have arrived at the access platform. There is now a huge drop off between them and the tails of the ships. TAMARA -LRB- POINTING. -RRB- Oh my god, that's Yuri! Next to Yuri are his twins, holding Caesar. She yells! TAMARA. -LRB- CONT'D. -RRB- Caesar!", "EXT. ACCESS PLATFORM/CHO MING SITE - MORNING The little dog hears Tamara and jumps out of Oleg's arms, leaping onto one of the thick cables, that connects the platform with the launching towers. Alec and Oleg attempt to run after Caesar, but Yuri grabs them by their necks. YURI Let that stupid dog go! He's panicked. The arriving masses are pushing them to the drop off at the edge of the platform.", "EXT. TOP OF LAUNCHING TOWER/CHO MING - MORNING The ship has reached its targeted position. A small hatch lines up directly in front of Lin and his group. LIN -LRB- in Chinese. -RRB- Okay. Now! One by one they all climb into the hatch. Jackson being the last in, notices that Tamara has stayed back. JACKSON Tamara! Come on! Get in! She does n't move, anxiously waiting for her beloved dog darting towards her.", "EXT. ACCESS PLATFORM/CHO MING SITE - MORNING The mob pushes at Yuri and his boys. Passengers on either side tumble off the platform. Yuri watches one of them fall, hitting his head against a tiny ledge 8 feet below. To his right, he sees a small ladder leading down. YURI -LRB- in Russian. -RRB- Down there! Oleg, you go first! As they hurry down the ladder, people keep tumbling into the deep. Reaching the ledge, Oleg discovers Caesar running towards Tamara. OLEG Daddy look, Tamara! Yuri can not believe his eyes.", "EXT. TOP OF LAUNCHING TOWER/CHO MING SITE - MORNING The hatch behind Tamara begins to move. The hydraulic supports are being lifted, sealing up the vessel. TAMARA Caesar darling! Jackson reaches out from the closing hatch. JACKSON Tamara! Get in! Tamara climbs inside the hatch and turns. TAMARA Come to mommy! Caesar leaps into her arms only seconds before the hatch seals. As a last gesture, Tamara sticks out her arm and gives Yuri the finger.", "INT. HYDRAULIC CHAMBER/AMERICAN SHIP - MORNING Lin leads the group into a long and narrow chamber where the hydraulics for the tail gate are located. He opens a tool cabinet, retrieving a giant electrical power drill, almost too big to be carried by one person. Lin climbs to a hatch near the ceiling and begins to unscrew the huge bolts. He looks at Jackson. LIN I need your help.", "INT. TECHNICAL COMMAND CENTER/AMERICAN SHIP - DAY Laura and the Science Officer enter the Technical Command Center. She finds Adrian staring at a wall of monitors showing the horrifying scenario on the platforms. People are falling to their deaths in large numbers in their desperation to board the ship. LAURA What in god's name is happening Adrian? ADRIAN Anheuser convinced them all to launch. Outside, panicking workers, screaming for their life! Deserted passengers waving their green cards! Adrian makes a decision and rushes out.", "INT. BRIDGE/AMERICAN SHIP - DAY Anheuser turns hearing Adrian storming onto the bridge. ADRIAN Anheuser! We have to stop this madness. With that, Adrian turns to the Communication Officer. ADRIAN -LRB- CONT'D. -RRB- Bobby, make sure the other bridges can hear this. The officer hesitates as Laura enters in the background. ANHEUSER What do you think you're doing? ADRIAN I know exactly what I'm doing. -LRB- To Bobby. -RRB- Turn it on! Bobby flicks a switch. Adrian's voice echoes through all the ships. ADRIAN -LRB- CONT'D. -RRB- This is Adrian Helmsley, science advisor to President Wilson.", "INT. BRIDGE/EUROPEAN SHIP - DAY The German Chancellor turns to one of the technicians on the bridge of the European Ship. GERMAN CHANCELLOR Can you please turn up the volume, Mr. Hoffmann? Next to her stand the British and French Prime Ministers. ADRIAN -LRB- O.S. -RRB- I know we've all been involved in making difficult decisions. to save our human civilization.", "INT. BRIDGE/AMERICAN SHIP - DAY Anheuser looks on stoney faced. ADRIAN But to be human means to care for each other, and civilization means to work together to create a better life. If that's true there is nothing human and nothing civilized about what we're doing here. Ask yourselves. Can we really stand by and let all those people out there die? Laura watches him proudly. ADRIAN -LRB- CONT'D. -RRB- A civilization that allows that, does not deserve to survive. -LRB- PAUSE. -RRB- Or at least I do n't want to be part of it. Anheuser cuts in with sarcasm. ANHEUSER We'll miss you Helmsley but somehow we'll get by. Officer switch that off. The Communications Officer looks at Adrian. ANHEUSER -LRB- CONT'D. -RRB- That's an order soldier. ADRIAN Do n't do it!", "INT. BRIDGE/ASIAN SHIP - DAY The Russian President, together with the heads of state from China and Japan, listen in as Adrian responds. ADRIAN -LRB- O.S. -RRB- We have to open our gates and let these people in. All of them.", "INT. BRIDGE/AMERICAN SHIP - DAY Anheuser has had enough. ANHEUSER Have you lost your mind? Look at the countdown. We have less than five minutes left. And none of our ships have the resources to feed those people. If you save them today we all starve tomorrow. He's almost screaming now. ANHEUSER -LRB- CONT'D. -RRB- Do you wan na be responsible for the extinction of the human race? Can you handle that, Adrian?! Silence. Adrian's battle seems lost. But he does n't give up, and instead speaks softly now. ADRIAN There is a young astrophysicist from India who is the reason we are all here, trying to give mankind a second chance. He's the one who discovered it all, the one who connected the dots. We all owe him our lives. All eyes are glued to Adrian. ADRIAN -LRB- CONT'D. -RRB- I just learned that he was killed with his family by a tsunami in eastern India. You know why? Adrian stares Anheuser in the eyes as he continues. ADRIAN -LRB- CONT'D. -RRB- He died because we forgot to pick him up. -LRB- PAUSE. -RRB- I beg you. whatever our future holds do n't let us start it with an act of cruelty. What will you tell your children. and their children? Silence. Laura steps up alongside Adrian. LAURA If my father were here, he would open the gates. Adrian and Laura share a look. RUSSIAN PRESIDENT -LRB- O.S. -RRB- The people of Russia along with.", "INT. BRIDGE/ASIAN SHIP - DAY His Asian colleagues nod in approval. RUSSIAN PRESIDENT China and Japan agree to open the gates.", "INT. BRIDGE/EUROPEAN SHIP - DAY The German Chancellor speaks up. GERMAN CHANCELLOR The United Kingdom, Spain, France and Germany, and I believe I can also speak for the Italian Prime Minister.", "INT. BRIDGE/AMERICAN SHIP - DAY GERMAN CHANCELLOR -LRB- O.S. -RRB- We vote to open the gates. Laura and Adrian watch Anheuser shaking his head in defeat. Bobby, the Communications Officer smiles with relief. Adrian turns to the Captain. ADRIAN Captain Michaels, you heard them.", "EXT. LAUNCH SITE/CHO MING VALLEY - DAY One by one the gigantic gates at the stern of the three ships begin to creek open. The masses gathered on the platform CHEER wildly!", "INT. ZOOLOGICAL BAY/AMERICAN SHIP - DAY Lilly crawls through the CONNECTING TUNNEL meeting up with Kate in a large bay on the other side. LILLY Phew. It stinks in here. Together with Neng and his parents, they all look up in DISBELIEF - A Giraffe, chewing her cud, smiles down at them. Caesar barks at her. TAMARA Sssh. Caesar. A second later, hundreds of different ANIMALS RESPOND. They are in the zoological bay.", "INT. HYDRAULIC CHAMBER/AMERICAN SHIP - DAY Gordon helps Noah up the small ladder leading to the connecting tunnel. Just as he goes to hand him Jackson's backpack, the HYDRAULIC MOTORS begin to GROWL! Lin looks up in panic. He screams. LIN They're opening the gate! It will crush us! The whole ceiling begins to lower towards them. From down below, Jackson sees his son about to be hit by it. JACKSON Noah! Watch out! Gordon makes a split second decision. With all his strength, he shoves the boy into the tunnel.", "INT. ZOOLOGICAL BAY/AMERICAN SHIP - DAY From the other side of the tunnel, Kate watches as the metal ceiling misses Noah by a hair, but catches Gordon, wiping him off the ladder. KATE No!", "INT. HYDRAULIC CHAMBER/AMERICAN SHIP - DAY Jackson watches helplessly as Gordon falls past him. He survives his landing and desperately tries to grab on to the sloping surface, but he ca n't. He slips. Gordon is crushed between the gears, sharing his last look with Jackson before he dies.", "INT. ZOOLOGICAL BAY/AMERICAN SHIP - DAY Kate helps a trembling Noah out of the tunnel. NOAH Something happened, mom. Kate pulls him close and shuts her eyes tightly. She fights back the tears.", "INT. HYDRAULIC CHAMBER/AMERICAN SHIP - DAY Jackson and Lin know they're running out of time, their remaining space is shrinking every second. JACKSON We have to stop it! Lin grabs the huge electrical power drill nearby and attempts to jam it between the hydraulic arm and the wall. As it digs deeper into the metal, the hydraulic starts to slow down.", "EXT. ACCESS PLATFORM/CHO MING - DAY Still on the ledge, Yuri and the boys watch as the huge boarding gate lowers towards them. They are trapped. Just then, the gates begin to slow, but surely they will be crushed.", "INT. HYDRAULIC CHAMBER/AMERICAN SHIP - DAY Back in the chamber, Lin still struggles with the drill. Suddenly he slips. Jackson manages to catch his fall. But in the process Lin's foot gets caught between the gears, mangling it. He screams in pain as the hydraulic slowly grinds towards a halt. JACKSON You did it, man. You did it. In great pain, Lin grins back at him.", "EXT. LAUNCH SITE/CHO MING VALLEY - DAY The gates of the ships hit the access platform with a thundering noise. People begin to rush on board.", "INT. BRIDGE/AMERICAN SHIP - DAY Alarm signals go off. The Captain turns to one of his officers. CAPTAIN MICHAELS What's wrong with the gate? OFFICER I do n't know. Maybe there's something jamming it, sir. The countdown on the monitor reads 2 min. 40 sec. Laura and Adrian share a worried look. We hear a HOLLOW BELL ring!", "EXT. YAK LA MONASTERY/TIBET - DAY Lama Yak La rings the large bronze bell of his monastery. The booming sound echoes through the Cho Ming valley. As a gentle wind catches the Lama's clothes, he looks up - A tidal wave of immeasurable proportion crests the mountains. The Lama continues to strike the bell as the monastery is wiped clean from the earth.", "INT. BRIDGE/AMERICAN SHIP - DAY The technicians desperately try to figure out what's wrong. An officer waves Adrian over. SURVEILLANCE OFFICER Sir, we have a breach in the zoological bay. ADRIAN Can you zoom in? The video camera moves in on Kate, Noah and Lilly. Adrian ca n't believe his eyes. He turns to Laura. ADRIAN -LRB- CONT'D. -RRB- I know those kids. Remember the book I told you about? Their father wrote it. Captain Michaels shouts across the room. CAPTAIN MICHAELS We're loaded. We can close the gates sir. ANHEUSER Do it! Anheuser looks nervously at the countdown. It reads 1:34", "EXT. ACCESS PLATFORM/CHO MING SITE - DAY Above Yuri and the boys, people are leaping from the access platform onto the stern gate of the American ship. Yuri looks for a hole in the flow of people before seizing his chance and lifting the first of his boys up. YURI -LRB- in Russian. -RRB- Pull yourself up! Oleg manages to reach up and hold onto the gate. Inside the ship, officers yell. DECK OFFICER -LRB- O.S. -RRB- To the lower decks people! The gates suddenly screech back into life and begin to close. Yuri doubles his efforts lifting Alec higher, but Alec can not quite reach. Yuri strains with all his effort before deciding. YURI Oleg! Catch your brother! Yuri leaps forward holding Alec out in his arms. Oleg manages to grab his brother's hands as Yuri lets go and falls into the deep crevasse below. He makes no noise until he hits the rocks beneath. Oleg pulls his brother from above.", "INT. INSIDE LOADING GATE/AMERICAN SHIP - DAY A SIREN blasts. Both of Yuri's sons are now on deck. A loading officer pulls them back, away from the gate. DECK OFFICER Boys, you got ta move. ALEC We wait for our father! He's still down there! The loading officer attempts to comfort them. DECK OFFICER There's no one down there. -LRB- GENTLE. -RRB- Come on boys, come. The Officer and the boys look back as the stern gate slowly closes. But with a SCREECHING sound it grinds to a halt. The gate is jammed open leaving a twenty foot gap.", "INT. BRIDGE/AMERICAN SHIP - DAY ALARMS sound. Anheuser and the Captain stare at the monitors. ANHEUSER Why is the stern gate not closing? CAPTAIN MICHAELS Something's wrong with the hydraulics, sir. ADRIAN -LRB- O.S. -RRB- Captain, over here. They race over. Adrian points to a monitor. ADRIAN -LRB- CONT'D. -RRB- I think we found the problem. On the monitor, they see Sarah and the others desperately waiting for Jackson and Lin. ADRIAN -LRB- CONT'D. -RRB- How did they get in there? SURVEILLANCE OFFICER They must have come through the hydraulic chamber. There. Bobby, the Surveillance Officer, selects a different camera and we now see inside the tunnel in which Jackson is pulling along a wounded Lin. LAURA That guy is injured. Something must have gone wrong. ANHEUSER You're damn right something went wrong! Congratulations Helmsley, you may have just killed us all but as long as your conscience is clean. Adrian tries to ignore this. ADRIAN Let's get an emergency crew there right now. I'll meet them at the Hydraulic Chamber. Anheuser sneers him, shooting a look to Laura. ANHEUSER You think you're the main man now, just because your fucking the President's daughter? Without thinking, Adrian turns and punches Anheuser hard in the face. He drops to the floor, out cold. Everyone stands in stunned silence. Laura smiles. Adrian looks around. ADRIAN What are you all waiting for? They speed off. The countdown reads 0 min. 53 sec.", "EXT. AIRFIELD/TIBET - DAY Further down in the valley, the tidal wave has reached the Cho Ming airfield, blasting away the planes with overwhelming force.", "EXT. LAUNCH SITE/CHO MING VALLEY - DAY The massive propellers of the ships begin to turn. However, the props of the American ship do n't move. In the background, the huge tidal wave comes thundering towards them.", "INT. HALLWAY/AMERICAN SHIP - DAY An IMPACT WARNING sounds as Adrian and Laura race through the crammed hallways with members of the rescue crew. One of the officers explains. TECHNICAL OFFICER If we ca n't close the stern gate, then the engines wo n't start. ADRIAN There's no way to override it? TECHNICAL OFFICER No sir, it has to be done manually.", "INT. ZOOLOGICAL BAY/AMERICAN SHIP - DAY Kate, Noah and Lilly watch as Jackson nears the end of the tunnel with Lin. Neng comforts his brother who's about to pass out. NENG -LRB- in Chinese. -RRB- Almost there, Lin.", "EXT. LAUNCH SITE/CHO MING VALLEY - DAY THE WAVE FINALLY HITS! All three vessels are now engulfed in churning water. They rock back and forth. Only the huge support towers they're resting on, keep them anchored.", "INT. INSIDE LOADING GATE/AMERICAN SHIP - DAY A new ALARM sounds as water begins to shoot through the open stern gate of the American ship. The people on the loading bay panic, among them we see Alec and Oleg.", "INT. HALLWAY/AMERICAN SHIP - DAY The same ALARM rings out in the hallways of the ship. Laura, Adrian and their party are all braced against the corridor, as the vessel undulates back and forth. SURVEILLANCE OFFICER Water has penetrated the stern! Laura looks unsure. LAURA What now? SURVEILLANCE OFFICER The rear of the ship will start sealing itself up one compartment at a time. Adrian looks at him. ADRIAN Then how will we get to the hydraulic chamber? SURVEILLANCE OFFICER If we do n't hurry, we wo n't be able to. Despite the violent movement of the ship, Adrian pushes on down the corridor towards the back of the boat. They follow.", "INT. ZOOLOGICAL BAY/AMERICAN SHIP - DAY Water is also now rushing into the Zoological Bay and only the giraffe can manage to keep her head dry. Jackson is not yet out of the tunnel with an unconscious Lin. Kate shouts across to Tamara. KATE Tamara! Take Lilly and Noah. Kate reaches in to help Jackson as Tamara begins to move with Lilly. Noah remains back with his mother. Jackson finally makes it through with Lin. Kate is almost tearful with relief to see him. KATE -LRB- CONT'D. -RRB- I was so worried about you. Suddenly the Zoological bay begins to seal itself off. Lilly, already in the next compartment with Tamara and her dog, screams out as a chamber door quickly slides up, from the floor to the ceiling. It separates Lilly from her family. LILLY Mummy! Jackson and Kate turn but it's too late. They only catch a glimpse of Lilly before they are sealed in. The water level continues to rise.", "INT. ANTE-CHAMBER ZOOLOGICAL BAY/AMERICAN SHIP - DAY Panicked, Tamara turns and looks around. Down the corridor, in the distance, she sees Adrian, Laura and the rescue crew approaching. But between them she spots the next chamber door rising quickly. TAMARA Lilly run! Lilly starts moving as Tamara turns and picks up Caesar. Moving quickly, Lilly is able to climb up and over the fast rising door. But as she dangles from the other side, she looks down and is too scared to jump. TAMARA -LRB- O.S ; CONT'D. -RRB- Lilly! Take him. Lilly looks up and sees two hands straining to hold Caesar above the quickly narrowing gap. In a courageous move, Lilly grabs the little dog before he gets crushed and together they fall to the ground. Back on the other side of the chamber door, Tamara looks around. She is trapped now as the water continues to rush in.", "INT. CONNECTING CORRIDOR/ZOOLOGICAL BAY - DAY Laura picks Lilly up and comforts her. Adrian realizes they are too late. He turns to the rescue crew. ADRIAN Is there any way to talk to them? Lilly is close to tears.", "INT. ZOOLOGICAL BAY/AMERICAN SHIP - DAY The water continues to flood in as Jackson helps Neng with his unconscious brother. JACKSON We have to move him higher. -LRB- looks around. -RRB- Over there! Suddenly, a VIOLENT SHAKE throws them all off balance, pitching them into the water.", "EXT. LAUNCH PILLAR/UNDER WATER - DAY In the debris - filled, murky waters we see that the fuselage of Air Force One has slammed against the first of the ship's launch towers. Slowly it begins to bend, finally giving way. The other launch towers follow like dominos. The ship is ripped from its anchorage and sent drifting sideways, rudderless.", "INT. BRIDGE/AMERICAN SHIP - DAY Chaos. Fear. Everybody holds on for dear life.", "EXT. LAUNCH SITE/CHO MING VALLEY - DAY The vessel is swept away, over the mountain ridge.", "INT. HALLWAY/AMERICAN SHIP - DAY Alec and Oleg scream, desperately trying to hold on as the whole ship capsizes.", "EXT. DARJEELING VALLEY/HIMALAYA - DAY The giant ship drifts upside down and rudderless - smashed around by the debris and raging waters. But then, as it hits another ridge, it rolls right side up and seems to steady itself. However, the strong currents continue to force it through the mountain ranges of the Himalayas.", "INT. BRIDGE/AMERICAN SHIP - DAY The officers try to regain some control. NAVAL OFFICER Moving at 34 knots, sir. CAPTAIN MICHAELS What is our position? NAVIGATION OFFICER Darjeeling valley, heading south east, sir. The Captain's face drops. CAPTAIN MICHAELS You must be kidding!", "INT. ZOOLOGICAL BAY/AMERICAN SHIP - DAY The water rises fast as Kate sees the severity of Lin's wound for the first time. KATE We need something to stop the bleeding or he'll die. A split second later Noah holds out his belt. NOAH Mum, will this do? Suddenly Jackson hears a voice over a speaker. ADRIAN -LRB- Over a speaker. -RRB- Mr. Curtis. I'm Adrian Helmsley. We met once before. Your daughter is with me. Kate screams with relief. KATE Lilly!", "INT. CONNECTING CORRIDOR/ZOOLOGICAL BAY - DAY Adrian is using an emergency wall intercom, with Laura next to him, holding Lilly. LILLY I'm alright Mom! Caesar barks.", "INT. ANTE-CHAMBER ZOOLOGICAL BAY/AMERICAN SHIP - DAY Tamara hears Caesar over the speaker in her compartment and smiles with relief. She is struggling to stay afloat though, and is running out of air.", "INT. ZOOLOGICAL BAY/AMERICAN SHIP - DAY Jackson discovers the wall speaker. He moves closer to it. ADRIAN -LRB- O.S. -RRB- We ca n't get to you. Whatever you did, jammed the hydraulics. If you ca n't get it out. None of us will make it.", "INT. CONNECTING CORRIDOR/ZOOLOGICAL BAY - DAY All eyes are on Adrian as he speaks. ADRIAN You're our only hope. Adrian looks at Laura.", "INT. ZOOLOGICAL BAY/AMERICAN SHIP - DAY JACKSON I'll go back. I'll try my best. NOAH I'll go with you. JACKSON You stay with Mommy. Jackson looks at Kate. JACKSON -LRB- CONT'D. -RRB- I'll be right back. The water is up to their chest now. Jackson takes a breath and disappears underwater.", "INT. BRIDGE/AMERICAN SHIP - DAY Back on the bridge, Anheuser regains consciousness and gets to his feet. His nose is bleeding. He looks around him. ANHEUSER Captain, what's happening? The Captain looks at him annoyed. CAPTAIN MICHAELS What's happening? -LRB- PAUSES. -RRB- We're heading straight for the north face of Mount Everest, Mr. Anheuser. Anheuser looks at him dumbfounded as he stumbles to the window and sees the massive rock face of Mount Everest in the distance.", "INT. HYDRAULIC CHAMBER/AMERICAN SHIP - DAY Jackson swims down into the dark chamber and reaches the jammed power tool, pulling at it. But it does n't budge.", "INT. ANTE-CHAMBER ZOOLOGICAL BAY/AMERICAN SHIP - DAY The water level in Tamara's compartment is at its height now and she goes under. She struggles below the surface for a moment, looking around desperately for a way out but there is none. Tamara drowns.", "INT. HYDRAULIC CHAMBER/AMERICAN SHIP - DAY Jackson manages to find an air pocket. He fills up his lungs with air and thinks hard. As he strips off his jacket, he seems to have a plan. He dives under again.", "INT. ZOOLOGICAL BAY/AMERICAN SHIP - DAY Lin is being held up in the water by his brother and parents. Kate has wrapped the belt around his lower leg and now pulls it tight. Lin screams. Noah uses this as the moment to dive underwater, unnoticed, to go and help his father.", "INT. HYDRAULIC CHAMBER/AMERICAN SHIP - DAY Back under water, Jackson is using the extension cord of the power drill to pull himself down to the tool cabinet. Jackson opens it, retrieving a giant crowbar. He begins to use it to dislodge the tool but it's hard work.", "INT. BRIDGE/AMERICAN SHIP - DAY Anheuser and everybody on the bridge stares as the north face of Mount Everest is almost upon them.", "INT. ZOOLOGICAL BAY/AMERICAN SHIP - DAY Kate and the Pangs are desperately close to running out of air now, but despite this, Kate still tends to Lin. After a moment she turns and is first confused then horrified to see that Noah is nowhere to be found. KATE Noah!", "INT. HYDRAULIC CHAMBER/AMERICAN SHIP - DAY Jackson pulls with all his might, but he ca n't quite shift the drill. To his surprise, a pair of young hands join his on the handle of the crowbar. Noah is alongside him now, helping. Working as father and son, they manage, little by little, to loosen it before finally the drill comes free. Adrian gives Noah the thumbs up and the boy heads back to the surface. Jackson goes to follow but in the last moment he spots the knapsack containing his laptop. He dives back down for it.", "INT. ZOOLOGICAL BAY/AMERICAN SHIP - DAY Noah emerges from the water. NOAH Mom, we did it! Kate pulls him to her, relieved he is safe. Noah smiles and calls out towards the nearly submerged speaker.", "INT. CONNECTING CORRIDOR/ZOOLOGICAL BAY - DAY Lilly and Laura wait nervously. They hear a muffled voice. NOAH -LRB- O.S. -RRB- We got it free. Can you hear me? We did it! Adrian leaps up when he hears this. He flicks a button on the intercom. ADRIAN Captain Michaels - close the gate!", "INT. BRIDGE/AMERICAN SHIP - DAY Hearing this, the Captain yells the eagerly awaited order. CAPTAIN MICHAELS That's affirmative. Close the gate! TECHNICAL OFFICER Ay, ay, Sir.", "EXT. DARJEELING VALLEY/HIMALAYAS - DAY We hear a BOOMING sound as the tail gate finally seals.", "INT. HYDRAULIC CHAMBER/AMERICAN SHIP - DAY Jackson reaches his knapsack, but when sees Noah's cell phone lying next to it, he makes a decision and reaches for that instead. He hears the muffled sound of the engines and smiles. But as he turns to swim back, his face freezes - He's looking into the lifeless eyes of Gordon, who floats inches from his face.", "EXT. PROPELLERS/AMERICAN SHIP - DAY The gigantic propellers fight against the current, hitting rock at the base of the mountain.", "INT. BRIDGE/AMERICAN SHIP - DAY The battle seems hopeless. Captain Michaels yells at the top of his lungs. CAPTAIN MICHAELS Engage starboard stabilizers! OFFICERS One is engaged. two is engaged. number three is out, sir! The vessel scrapes against the rocks, throwing Anheuser to the floor.", "EXT. DARJEELING VALLEY/HIMALAYA - DAY The giant ship escapes the mountain with an inch to spare.", "INT. BRIDGE/AMERICAN SHIP - DAY Everyone on the bridge watches in awe as Mount Everest, earth's highest peak, drifts slowly past. After a long beat, they begin to holler and cheer.", "INT. ZOOLOGICAL BAY/AMERICAN SHIP - DAY Kate hears the CHEERING coming from the speakers. The water level stops rising but she still looks around in panic. KATE Noah! Where is he? Noah begins to cry. NOAH He was just behind me. Finally! Jackson bursts out of the water and takes a lungfull of wonderful air. Kate and Noah are overjoyed. The Pangs smile to one another. Jackson looks Kate squarely in the eyes. JACKSON If you would ever consider to give me another chance. I promise, I'll always be there when you need me. Kate embraces him tightly. KATE Whatever you do. I will never let you go again. Noah is all smiles. FADE TO BLACK 2013 We hear a voice. ADRIAN -LRB- O.S. -RRB- Day 988. No one is waiting for anything to happen. FADE UP The CAMERA moves over the last lines of Jackson's novel.", "INT. SLEEPING QUARTERS/AMERICAN SHIP - DAY Adrian sits in his cabin, his copy of ` Farewell Atlantis' in his lap. ADRIAN and all we can hear is the sound of our own breathing that reminds us we are still sharing our memories, hopes and ideas. Opposite him, Laura sits listening to him read. ADRIAN -LRB- CONT'D. -RRB- And funny, just today we found out that the entire crew of the Atlantis, somehow or another, has relatives in Wisconsin. -LRB- PAUSE. -RRB- The end. Adrian closes the book. There's a moment of silence. LAURA How many copies did you say that sold? ADRIAN Less than 500. -LRB- with a smile. -RRB- It's what you might call a cult classic. Laura looks at him grinning. LAURA It seems we have very different tastes Mr. Helmsley? ADRIAN -LRB- PLAYFUL. -RRB- Well that's healthy Dr. Wilson. Something we could maybe explore. unless you have other pressing engagements. LAURA Actually my diary's pretty open. The intimate moment is cut short. OFFICER -LRB- O.S. -RRB- -LRB- over loudspeaker. -RRB- Mr. Helmsley to the bridge please.", "INT. HALLWAY/AMERICAN SHIP - DAY Adrian and Laura make their way to the bridge. CAPTAIN MICHAELS -LRB- O.S. -RRB- Ladies and gentlemen, this is Captain Michaels speaking. In a few minutes, I will be giving the orders to unseal the decks.", "INT. FRONT DECK/AMERICAN SHIP - DAY Jackson and his family stand amongst thousands of other people who are gathering in anticipation. CAPTAIN MICHAELS -LRB- O.S. -RRB- Please be careful when you step out and of course. enjoy the fresh air. Jackson kneels down and zips up Lilly's jacket. She is holding Caesar, whose still wearing his diamond collar. LILLY Daddy? When can we go back home? JACKSON There's nothing we can go back to Lil ` bee. Whatever's out there, that's our home now. Do n't be scared. LILLY I'm not Daddy. No more pull - ups. JACKSON -LRB- PROUDLY. -RRB- That's my big girl. Jackson squeezes Lilly's shoulder. OLEG -LRB- O.S. -RRB- Can we pet him? Lilly turns to see Yuri's boys standing next to her. LILLY Of course you can. He's your doggie. The boys both smile at her.", "INT. BRIDGE/AMERICAN SHIP - DAY Adrian and Laura enter the bridge. ADRIAN You called for me, sir? CAPTAIN MICHAELS Prof. West has something to show you, Mr. Helmsley. The Captain directs him to a monitor. CAPTAIN MICHAELS -LRB- CONT'D. -RRB- Looks like your scientific projections are way off again. The Captain grins at Prof. West. PROF. WEST The water is receding much faster than we projected, Adrian. A monitor reveals an image of the African continent, however its shape changed dramatically. The image of the southern tip is enlarged. LAURA What's that? PROF. WEST It's hard to believe, but the Himalayas are no longer the roof of the world. It's now the Drakensberg mountains of Kwa - Zulu Natal. The whole African continent has risen several thousand feet and most likely, never even flooded. CAPTAIN MICHAELS Our European colleagues have already set course for it. Captain Michaels hands Adrian a short wave radio. CAPTAIN MICHAELS -LRB- CONT'D. -RRB- Here, somebody wants to talk to you. Adrian curious, grabs the mic. ADRIAN This is Helmsley. We hear a muffled, raspy voice through the speakers.", "INT. COMMAND BRIDGE/FREEDOM OF THE SEAS - DAY Harry Helmsley stands beside the cruise ship's Captain. VOICE No, this is Helmsley. ADRIAN -LRB- O.S. -RRB- Dad! Is that you?", "INT. COMMAND BRIDGE/AMERICAN SHIP - DAY Adrian is ecstatic. Captain Michaels explains. CAPTAIN MICHAELS We should have a visual of the ` Freedom of the Seas' shortly. ADRIAN Dad. We're coming to pick you guys up. How's Tony?", "INT. COMMAND BRIDGE/FREEDOM OF THE SEAS - DAY Harry looks over at Tony who's listening, smiling. HARRY HELMSLEY He's fine, son. We're all fine. ADRIAN -LRB- O.S. -RRB- See you guys soon. Bye dad. Harry hangs up. He picks up Tony, embracing him wildly.", "INT. COMMAND BRIDGE/AMERICAN SHIP - DAY Adrian, still excited from speaking with his dad, grabs Laura and kisses her on the lips. She squeals. ANHEUSER -LRB- O.S. -RRB- Put that woman down Helmsley. Adrian looks at Anheuser, unsure of what he might say. ANHEUSER -LRB- CONT'D. -RRB- Young guys like you with your idealistic dreams, you think you can change the world. Adrian and Laura exchange a look. ANHEUSER -LRB- CONT'D. -RRB- I just pray to God, that you keep on making the right calls. in this new world of ours. Adrian nods and with a smile to Laura turns to leave. ANHEUSER -LRB- CONT'D. -RRB- Mr. Helmsley, one more thing. Adrian turns back. ANHEUSER -LRB- CONT'D. -RRB- There was no one. ADRIAN Pardon me? ANHEUSER There was no white kid better than you. I'm terribly sorry I said that. Anheuser puts out his hand. Adrian takes it.", "INT. FRONT DECK/AMERICAN SHIP - DAY CAPTAIN MICHAELS -LRB- O.S. -RRB- This is your Captain speaking. Standby to open Deck 1. OFFICER Standing by Sir. Neng pushes his brother Lin in a wheelchair onto the deck next to his parents. Mrs. Pang turns to her husband. MRS. PANG -LRB- in Chinese. -RRB- I wonder will the clouds look the same and the stars? MR.PANG Do not fear. Some things will never change. The old Chinese man forces a little smile. Closer to the front of this crowd Jackson approaches Noah. JACKSON I thought you might want this. He takes Noah's cell phone from his pocket and hands it to him. NOAH Do you think I'll still get a signal. Dad? Jackson is touched to hear him use that word. He smiles and hugs him. Adrian, Laura and Anheuser arrive alongside them. ADRIAN I finally finished your book Jackson. KATE Really? You may well be the first person who ever got to the end. Jackson looks at her, smiling playfully. JACKSON Excuse me, I believe he's addressing the author. Well, what did you think? Adrian smiles. ADRIAN I'd say. those astronauts of yours would be shitting themselves, if they knew all their relatives are now stuck in the South Pole. Suddenly a horn sounds and the sealed deck doors let off a burst of pressurised air. A murmur goes through the crowd. Everyone is silent as the huge deck doors slowly begin to roll back and light streams in. The Pang family try to see over people's heads, even Anheuser looks hopeful. Jackson pulls his family close as the first rays of daylight hit their faces.", "EXT. AMERICAN SHIP/SOMEWHERE IN THE HIMALAYAS - DAY Hatches unseal all around the ship. Sun streams through the clouds. Everywhere people emerge outside, into the light of day. A majestic moment.", "EXT. FRONT DECK/AMERICAN SHIP - DAY They all stare in awe at the waters receding against the ice - covered mountain peaks. Caesar lets out a YELP of joy. Almost as soon as the doors have opened, the ship's HELICOPTERS take off, flying towards a stunning site - The ` Freedom of the Seas' is perched on a mountain peak, surrounded by calm waters. Behind it, they see the most beautiful rainbow. This is the new world. And again we hear Mozart's Adagio. THE END"], "labels": [0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0], "summary": "In 2009, American geologist Adrian Helmsley visits astrophysicist Satnam Tsurutani in India and learns that neutrinos from a huge solar flare are heating Earth's core. In Washington, D.C., Helmsley presents his information to White House Chief of Staff Carl Anheuser, who brings him to meet U.S. President Thomas Wilson. In 2010, Wilson and other world leaders begin a secret project to ensure humanity's survival. China and the G8 nations begin building nine arks, each capable of carrying 100,000 people, in the Himalayas near Cho Ming, Tibet. Nima, a Buddhist monk, is evacuated and his brother Tenzin joins the ark project. Funding is raised by secretly selling tickets at \u20ac1 billion per person. By 2011, articles of value are moved to the arks  with the help of art expert and First Daughter Laura Wilson. In 2012, struggling Los Angeles science-fiction writer Jackson Curtis is a chauffeur for Russian billionaire Yuri Karpov. Jackson's former wife Kate and their children Noah and Lilly live with Kate's boyfriend, plastic surgeon and pilot Gordon Silberman. Jackson takes Noah and Lilly camping in Yellowstone National Park. When they enter an area fenced off by the United States Army, they are caught and brought to Adrian, who has read Jackson's books. After being released they meet conspiracy theorist Charlie Frost, who hosts a radio show from the park. That night, after the military evacuates Yellowstone, Jackson watches Charlie's video of Charles Hapgood's theory that polar shifts and the Mesoamerican Long Count calendar predict a 2012 phenomenon and the end of the world. Charlie reveals that anyone attempting to inform the public was killed. After Jackson and his children return home, earthquakes begin in California. Jackson rents a private plane and rescues his family as the Earth-crust displacement begins, causing a 10.9 magnitude earthquake. Jackson and his family escape Los Angeles as much of the city collapses into the Pacific Ocean. The group flies to Yellowstone to retrieve a map from Charlie with the arks' location. As they leave, the Yellowstone Caldera erupts; Charlie is killed while covering the eruption. The group lands in Las Vegas to find a larger plane and meet Yuri, his twin sons Alec and Oleg, his girlfriend Tamara and their pilot Sasha. Sasha and Gordon fly them out in an Antonov An-500 as the Yellowstone ash cloud envelops Las Vegas. Adrian, Carl, and Laura fly to the arks on Air Force One. Wilson remains in Washington, D.C. to address the nation while millions of people die in earthquakes and megatsunamis worldwide, including himself. With the presidential line of succession broken, Carl assumes the position of acting commander-in-chief. As Jackson's group reaches China, their plane runs out of fuel. Sasha continues flying the plane as the others escape in a Bentley Continental Flying Spur stored in the cargo hold. Sasha is killed when the plane slides off a cliff. The others are spotted by Chinese Air Force helicopters. Yuri and his sons, who have tickets, are brought to the arks but the Curtis family, with Tamara and Gordon, are abandoned. The remaining group is picked up by Nima and brought to the arks with his grandparents. With Tenzin's help, they stow away on Ark 4, where the U.S. contingent is located. As a megatsunami breaches the Himalayas and approaches the site, an impact driver lodges in the ark-door gears, keeping a boarding gate open, which prevents the ship's engines from starting. In the ensuing chaos, Gordon, Yuri, and Tamara are killed. Tenzin is injured, the ark begins filling with water and is set adrift. Jackson and Noah dislodge the tool and the crew regains control of the Ark before it strikes Mount Everest. Jackson is reunited with his family and reconciles with Kate. Twenty-seven days later, the waters are receding. The arks approach the Cape of Good Hope, where the Drakensberg mountains, now the highest mountain range on Earth, are emerging. Adrian and Laura begin a relationship, while Jackson and Kate rekindle their romance. And from space, it is revealed that the continent of Africa, plus a few areas of Europe and Asia, has risen above the waters and is the only landmass on the planet.", "name": "2012_(film)"}
{"scenes": ["THE APARTMENT A DESK COMPUTER A man's hand is punching out a series of figures on the keyboard. BUD -LRB- V.O. -RRB- On November first, 1959, the population of New York City was 8,042,783. if you laid all these people end to end, figuring an average height of five feet six and a half inches, they would reach from Times Square to the outskirts of Karachi, Pakistan. I know facts like this because I work for an insurance company - THE INSURANCE BUILDING - A WET, FALL DAY It's a big mother, covering a square block in lower Manhattan, all glass and aluminum, jutting into the leaden sky. BUD -LRB- V.O. -RRB- - Consolidated Life of New York. We are one of the top five companies in the country - last year we wrote nine - point - three billion dollars worth of policies. Our home office has 31,259 employees - which is more than the entire population of Natchez, Mississippi, of Gallup, New Mexico.", "INT. NINETEENTH FLOOR Acres of gray steel desk, gray steel filing cabinets, and steel - gray faces under indirect light. One wall is lined with glass - enclosed cubicles for the supervisory personnel. It is all very neat, antiseptic, impersonal. The only human tough is supplied by a bank of IBM machines, clacking away cheerfully in the background. BUD -LRB- V.O. -RRB- I work on the nineteenth floor - Ordinary Policy Department - Premium Accounting Division - Section W - desk number 861. DESK 861 Like every other desk, it has a small name plate attached to the side. This one reads C.C. BAXTER. BUD -LRB- V.O. -RRB- My name is C.C. Baxter - C. for Calvin, C. for Clifford - however, most people call me Bud. I've been with Consolidated Life for three years and ten months. I started in the branch office in Cincinnati, then transferred to New York. My take - home pay is $ 94.70 a week, and there are the usual fringe benefits. BAXTER is about thirty, serious, hard - working, unobtrusive. He wears a Brooks Brothers type suit, which he bought somewhere on Seventh Avenue, upstairs. There is a stack of perforated premium cards in front of him, and he is totaling them on the computing machine. He looks off. ELECTRIC WALL CLOCK It shows 5:19. With a click, the minute hand jumps to 5:20, and a piercing bell goes off. BUD -LRB- V.O. -RRB- The hours in our department are 8:50 to 5:20 - FULL SHOT - OFFICE Instantly all work stops. Papers are being put away, typewriters and computing machines are covered, and everybody starts clearing out. Within ten seconds, the place is empty - except for Bud Baxter, still bent over his work, marooned in a sea of abandoned desks. BUD -LRB- V.O. -RRB- - they're staggered by floors, so that sixteen elevators can handle the 31,259 employees without a serious traffic jam. As for myself, I very often stay on at the office and work for an extra hour or two - especially when the weather is bad. It's not that I'm overly ambitious - it's just a way of killing time, until it's all right for me to go home. You see, I have this little problem with my apartment - STREET IN THE WEST SIXTIES - EVENING Bud, wearing a weather - beaten Ivy League raincoat and a narrow - brimmed brown hat, comes walking slowly down the street skirting the puddles on the sidewalk. He stops in front of a converted brownstone, looks up. BUD -LRB- V.O. -RRB- I live in the West Sixties - just half a block from Central Park. My rent is $ 84 a month. It used to be eighty until last July when Mrs. Lieberman, the landlady, put in a second - hand air conditioning unit. The windows on the second floor are lit, but the shades are drawn. From inside drifts the sound of cha cha music. BUD -LRB- V.O. -RRB- It's a real nice apartment - nothing fancy - but kind of cozy - just right for a bachelor. The only problem is - I ca n't always get in when I want to.", "INT. THE APARTMENT - EVENING What used to be the upstairs parlor of a one - family house in the early 1900's has been chopped up into living room, bedroom, bathroom and kitchen. The wallpaper is faded, the carpets are threadbare, and the upholstered furniture could stand shampooing. There are lots of books, a record player, stacks of records, a television set -LRB- 21 inches and 24 payments -RRB-, unframed prints from the Museum of Modern Art -LRB- Picasso, Braque, Klee -RRB- tacked up on the walls. Only one lamp is lit, for mood, and a cha cha record is spinning around on the phonograph. On the coffee table in front of the couch are a couple of cocktail glasses, a pitcher with some martini dregs, an almost empty bottle of vodka, a soup bowl with a few melting ice cubes at the bottom, some potato chips, an ashtray filled with cigar stubs and lipstick - stained cigarette butts, and a woman's handbag. MR. KIRKEBY, a dapper, middle - aged man, stands in front of the mirror above the fake fireplace, buttoning up his vest. He does not notice that the buttons are out of alignment. KIRKEBY -LRB- calling off. -RRB- Come on, Sylvia. It's getting late. SYLVIA, a first baseman of a dame, redheaded and saftig, comes cha cha - ing into the room, trying to fasten a necklace as she hums along with the music. She dances amorously up to Kirkeby. KIRKEBY Cut it out, Sylvia. We got to get out of here. He helps her with the necklace, then turns off the phonograph. SYLVIA What's the panic? I'm going to have another martooni. She crosses to the coffee table, starts to pour the remnants of the vodka into the pitcher. KIRKEBY Please, Sylvia! It's a quarter to nine! SYLVIA -LRB- dropping slivers of ice into the pitcher. -RRB- First you ca n't wait to get me up here, and now - rush, rush, rush! Makes a person feel cheap. KIRKEBY Sylvia - sweetie - it's not that - but I promised the guy I'd be out of here by eight o'clock, positively. SYLVIA -LRB- pouring martini. -RRB- What guy? Whose apartment is this, anyway? KIRKEBY -LRB- exasperated. -RRB- What's the difference? Some schnook that works in the office.", "EXT. BROWNSTONE HOUSE - EVENING Bud is pacing back and forth, throwing an occasional glance at the lit windows of his apartment. A middle - aged woman with a dog on a leash approaches along the sidewalk. She is MRS. LIEBERMAN, the dog is a Scottie, and they are both wearing raincoats. Seeing them, Bud leans casually against the stoop. MRS. LIEBERMAN Good evening, Mr. Baxter. BUD Good evening, Mrs. Lieberman. MRS. LIEBERMAN Some weather we're having. Must be from all the meshugass at Cape Canaveral. -LRB- she is half - way up the steps. -RRB- You locked out of your apartment? BUD No, no. Just waiting for a friend. Good night, Mrs. Lieberman. MRS. LIEBERMAN Good night, Mr. Baxter. She and the Scottie disappear into the house. Bud resumes pacing, his eyes on the apartment windows. Suddenly he stops - the lights have gone out.", "INT. SECOND FLOOR LANDING - EVENING Kirkeby, in coat and hat, stands in the open doorway of the darkened apartment. KIRKEBY Come on - come on, Sylvia! Sylvia comes cha cha - ing out, wearing an imitation Persian lamb coat, her hat askew on her head, bag, gloves, and an umbrella in her hand. SYLVIA Some setup you got here. A real, honest - to - goodness love nest. KIRKEBY Sssssh. He locks the door, slips the key under the doormat. SYLVIA -LRB- still cha cha - ing. -RRB- You're one button off, Mr. Kirkeby. She points to his exposed vest. Kirkeby looks down, sees that the buttons are out of line. He starts to rebutton them as they move down the narrow, dimly - lit stairs. SYLVIA You got to watch those things. Wives are getting smarter all the time. Take Mr. Bernheim - in the Claims Department - came home one night with lipstick on his shirt - told his wife he had a shrimp cocktail for lunch - so she took it out to the lab and had it analyzed - so now she has the house in Great Neck and the children and the new Jaguar - KIRKEBY Do n't you ever stop talking?", "EXT. BROWNSTONE HOUSE - EVENING Bud, standing on the sidewalk, sees the front door start to open. He moves quickly into the areaway, almost bumping into the ashcans, stands in the shadow of the stoop with his back turned discreetly toward Kirkeby and Sylvia as they come down the steps. KIRKEBY Where do you live? SYLVIA I told you - with my mother. KIRKEBY Where does she live? SYLVIA A hundred and seventy - ninth street - the Bronx. KIRKEBY All right - I'll take you to the subway. SYLVIA Like hell you will. You'll buy me a cab. KIRKEBY Why do all you dames have to live in the Bronx? SYLVIA You mean you bring other girls up here? KIRKEBY Certainly not. I'm a happily married man. They move down the street. Bud appears from the areaway, glances after them, then mounts the steps, goes through the front door.", "INT. VESTIBULE - EVENING There are eight mailboxes. Bud opens his, takes out a magazine in a paper wrapper and a few letters, proceeds up the staircase.", "INT. SECOND FLOOR LANDING - EVENING Bud, glancing through his mail, comes up to the door of his apartment. As he bends down to lift the doormat, the door of the rear apartment opens and MRS. DREYFUSS, a jovial well - fed middle - aged woman, puts out a receptacle full of old papers and empty cans. Bud looks around from his bent position. BUD Oh. Hello there, Mrs. Dreyfuss. MRS. DREYFUSS Something the matter? BUD I seem to have dropped my key. -LRB- faking a little search. -RRB- Oh - here it is. He slides it out from under the mat, straightens up. MRS. DREYFUSS Such a racket I heard in your place - maybe you had burglars. BUD Oh, you do n't have to worry about that - nothing in there that anybody would want to steal. -LRB- unlocking door quickly. -RRB- Good night, Mrs. Dreyfuss. He ducks into the apartment.", "INT. THE APARTMENT - EVENING Bud snaps on the lights, drops the mail and the key on a small table, looks around with distaste at the mess his visitors have left behind. He sniffs the stale air, crosses to the window, pulls up the shade, opens it wide. Now he takes off his hat and raincoat, gathers up the remains of the cocktail party from the coffee table. Loaded down with glasses, pitcher, empty vodka bottle, ice bowl and potato chips, he starts toward the kitchen. The doorbell rings. Bud stops, undecided what to do with the stuff in his hands, then crosses to the hall door, barely manages to get it open. Mr. Kirkeby barges in past him. KIRKEBY The little lady forgot her galoshes. He scours the room for the missing galoshes. BUD Mr. Kirkeby, I do n't like to complain - but you were supposed to be out of here by eight. KIRKEBY I know, Buddy - boy, I know. But those things do n't always run on schedule - like a Greyhound bus. BUD I do n't mind in the summer - but on a rainy night - and I have n't had any dinner yet - KIRKEBY Sure, sure. Look, kid - I put in a good word for you with Sheldrake, in Personnel. BUD -LRB- perking up. -RRB- Mr. Sheldrake? KIRKEBY That's right. We were discussing our department - manpower - wise - and promotion - wise -. -LRB- finds the galoshes behind a chair. -RRB- - and I told him what a bright boy you were. They're always on the lookout for young executives. BUD Thank you, Mr. Kirkeby. KIRKEBY -LRB- starting toward door. -RRB- You're on your way up, Buddy - boy. And you're practically out of liquor. BUD I know. Mr. Eichelberger - in the Mortgage Loan Department - last night he had a little Halloween party here - KIRKEBY Well, lay in some vodka and some vermouth - and put my name on it. BUD Yes, Mr. Kirkeby. You still owe me for the last two bottles - KIRKEBY I'll pay you on Friday. -LRB- in the open doorwaY. -RRB- And whatever happened to those little cheese crackers you used to have around? He exits, shutting the door. BUD -LRB- making a mental note. -RRB- Cheese crackers. He carries his load into the kitchen. The kitchen is minute and cluttered. On the drainboard are an empty vermouth bottle, some ice - cube trays, a jar with one olive in it, and a crumpled potato - chip bag. Bud comes in, dumps his load on the drainboard, opens the old - fashioned refrigerator. He takes out a frozen chicken dinner, turns the oven on, lights it with a match, rips the protective paper off the aluminum tray and shoves it in. Now he starts to clean up the mess on the drainboard. He rinses the cocktail glasses, is about to empty the martini pitcher into the sink, thinks better of it. He pours the contents into a glass, plops the lone olive out of the jar, scoops up the last handful of potato chips, toasts an imaginary companion, and drinks up. Then he pulls a wastebasket from under the sink. It is brimful of liquor bottles, and Bud adds the empty vodka and vermouth bottles and the olive jar. Picking up the heavy receptacle, he carries it through the living room toward the hall door.", "INT. SECOND FLOOR LANDING - EVENING The door of Bud's apartment opens, and Bud comes out with the wastebasket full of empty bottles. Just then, DR. DAVID DREYFUSS, whose wife we met earlier, comes trudging up the stairs. He is a tall, heavy - set man of fifty, with a bushy mustache, wearing a bulky overcoat and carrying an aged medical bag. DR. DREYFUSS Good evening, Baxter. BUD Hi, Doc. Had a late call? DR. DREYFUSS Yeah. Some clown at Schrafft's 57th Street ate a club sandwich, and forgot to take out the toothpick. BUD Oh. -LRB- sets down wastebasket. -RRB- ` Bye, Doc. DR. DREYFUSS -LRB- indicating bottles. -RRB- Say, Baxter - the way you're belting that stuff, you must have a pair of cast - iron kidneys. BUD Oh, that's not me. It's just that once in a while, I have some people in for a drink. DR. DREYFUSS As a matter of fact, you must be an iron man all around. From what I hear through the walls, you got something going for you every night. BUD I'm sorry if it gets noisy - DR. DREYFUSS Sometimes, there's a twi - night double - header. -LRB- shaking his head. -RRB- A nebbish like you! BUD -LRB- uncomfortable. -RRB- Yeah. Well - see you, Doc. -LRB- starts to back through door. -RRB- DR. DREYFUSS You know, Baxter - I'm doing some research at the Columbia Medical Center - and I wonder if you could do us a favor? BUD Me? DR. DREYFUSS When you make out your will - and the way you're going, you should - would you mind leaving your body to the University? BUD My body? I'm afraid you guys would be disappointed. Good night, Doc. DR. DREYFUSS Slow down, kid. He starts into the rear apartment as Bud closes the door.", "INT. THE APARTMENT - EVENING Bud, loosening his tie, goes into the kitchen, opens the oven, turns off the gas. He takes a coke out of the refrigerator, uncaps it, gets a knife and fork from a drawer, and using his handkerchief as a potholder, pulls the hot aluminum tray out of the oven. He carries everything out into the living room. In the living room, Bud sets his dinner down on the coffee table, settles himself on the couch. He rears up as something stabs him, reaches under his buttocks, pulls out a hairpin. He drops it into an ashtray, tackles his dinner. Without even looking, he reaches over to the end table and presses the remote TV station - selector. He takes a sip from the coke bottle, his eyes on the TV screen across the room. The picture on the TV set jells quickly. Against a background of crisscrossing searchlights, a pompous announcer is making his spiel. ANNOUNCER - from the world's greatest library of film classics, we proudly present -. -LRB- fanfare. -RRB- Greta Garbo - John Barrymore - Joan Crawford - Wallace Beery - and Lionel Barrymore in -. -LRB- fanfare. -RRB- GRAND HOTEL! There is an extended fanfare. Bud leans forward, chewing excitedly on a chicken leg. ANNOUNCER But first, a word from our sponsor. If you smoke the modern way, do n't be fooled by phony filter claims - Bud, still eating, automatically reaches for the station - selector, pushes the button. A new channel pops on. It features a Western - Cockamamie Indians are attacking a stagecoach. That's not for Bud. He switches to another station. In a frontier saloon, Gower Street cowboys are dismantling the furniture and each other. Bud wearily changes channels. But he ca n't get away from Westerns - on this station, the U.S. Cavalry is riding to the rescue. Will they get there in time? Bud does n't wait to find out. He switches channels again, and is back where he started. On the screen, once more, is the announcer standing in front of the crisscrossing searchlights. ANNOUNCER And now, Grand Hotel - starring Greta Garbo, John Barrymore, Joan Crawford -. -LRB- Bud is all eyes and ears again. -RRB- - Wallace Beery, and Lionel Barrymore. But first - a word from our alternate sponsor. -LRB- unctuously. -RRB- Friends, do you have wobbly dentures -? That does it. Bud turns the set off in disgust. The TV screen blacks out, except for a small pinpoint of light in the center, which gradually fades away. In the bathroom, Bud, in pajamas by now, is brushing his teeth. From the shower rod hang three pairs of socks on stretchers. Bud takes a vial from the medicine shelf, shakes out a sleeping pill, washes it down with a glass of water. He turns the light off, walks into the bedroom. In the bedroom, the single bed is made, and the lamp on the night table is on. Bud plugs in the electric blanket, turns the dial on. Then he climbs into bed, props up the pillow behind him. From the night table, he picks up the magazine that arrived in the mail, slides it out of the wrapper, opens it. It's the new issue of PLAYBOY. Bud leafs through it till he comes to the piece de resistance of the magazine. He unfolds the overleaf, glances at it casually, refolds it, then turns to the back of the magazine and starts to read. What he is so avidly interested in is the men's fashion section. There is a layout titled WHAT THE YOUNG EXECUTIVE WILL WEAR with a sub - head reading The Bowler is Back. Illustrating the article are several photographs of male models wearing various styles of bowlers. Bud is definitely in the market for a bowler, but somehow his mind starts wandering. He turns back to the overleaf again, unfolds it, studies it, then holds the magazine up vertically to get a different perspective on the subject. By now the sleeping pill is beginning to take effect, and he yawns. He drops the magazine on the floor, kills the light, settles down to sleep. The room is dark except for the glow from the dial of the electric blanket. Three seconds. Then the phone jangles shrilly in the living room. Bud stumbles groggily out of bed, and putting on his slippers, makes his way into the living room. He switches on the light, picks up the phone. BUD Hello? - Hello? - yes, this is Baxter.", "INT. PHONE BOOTH IN A MANHATTAN BAR - NIGHT On the night is a hearty man of about forty - five, nothing gut personality, most of it obnoxious. His name is DOBISCH. Outside the booth is a blonde babe, slightly boozed, and beyond there is a suggestion of the packed, smoky joint. DOBISCH Hiya, Buddy - boy. I'm in this bar on Sixty - first Street - and I got to thinking about you - and I figured I'd give you a little buzz. BUD - ON PHONE BUD Well, that's very nice of you - but who is this?", "INT. PHONE BOOTH DOBISCH Dobisch - Joe Dobisch, in Administration. BUD - ON PHONE BUD -LRB- snapping to attention. -RRB- Oh, yes, Mr. Dobisch. I did n't recognize your voice -", "INT. PHONE BOOTH DOBISCH That's okay, Buddy - boy. Now like I was saying, I'm in this joint on Sixty - first - and I think I got lucky -. -LRB- glances toward blonde. -RRB- - she's a skater with the Ice Show -. -LRB- he chuckles. -RRB- - and I thought maybe I could bring her up for a quiet drink. BUD - ON PHONE BUD I'm sorry, Mr. Dobisch. You know I like to help you guys out - but it's sort of late - so why do n't we make it some other time?", "INT. PHONE BOOTH DOBISCH Buddy - boy - she wo n't keep that long - not even on ice. Listen, kid, I ca n't pass this up - she looks like Marilyn Monroe. BUD - ON PHONE BUD I do n't care if it is Marilyn Monroe - I'm already in bed - and I've taken a sleeping pill - so I'm afraid the answer is no.", "INT. PHONE BOOTH DOBISCH -LRB- pulling rank. -RRB- Look, Baxter - we're making out the monthly efficiency rating - and I'm putting you in the top ten. Now you do n't want to louse yourself up, do you? BUD - ON PHONE BUD Of course not. But - how can I be efficient in the office if I do n't get enough sleep at night?", "INT. PHONE BOOTH DOBISCH It's only eleven - and I just want the place for forty - five minutes. The blonde opens the door of the phone booth, leans in. BLONDE I'm getting lonely. Who are you talking to, anyway? DOBISCH My mother. BLONDE That's sweet. That's real sweet. Dobisch shuts the door in her face. DOBISCH -LRB- into phone again. -RRB- Make it thirty minutes. What do you say, Bud? BUD - ON PHONE BUD -LRB- a last stand. -RRB- I'm all out of liquor - and there's no clean glasses - no cheese crackers - no nothing.", "INT. PHONE BOOTH DOBISCH Let me worry about that. Just leave the key under the mat and clear out.", "INT. THE APARTMENT BUD -LRB- into phone ; resigned. -RRB- Yes, Mr. Dobisch. He hangs up, shuffles back into the bedroom. BUD -LRB- muttering to himself. -RRB- Anything you say, Mr. Dobisch - no trouble at all, Mr. Dobisch - be my guest - He reappears from the bedroom, pulling his trousers on over his pajama pants. BUD - We never close at Buddy - boy's - looks like Marilyn Monroe -. -LRB- he chuckles a la Dobisch. -RRB- Putting on his raincoat and hat, Bud opens the hall door, takes the key from the table, shoves it under the doormat. His eyes fall on the Dreyfuss apartment, and there is some concern on his face. He picks up a pad and pencil from the table, prints something in block letters. Tearing off the top sheet, he impales it on the spindle of the phonograph, then walks out, closing the door behind him. The note reads : NOT TOO LOUD, THE NEIGHBORS ARE COMPLAINING!", "EXT. BROWNSTONE HOUSE - NIGHT Bud comes out the door, in slippered feet, pants and raincoat over his pajamas. As he sleep - walks down the steps, a cab pulls up in front of the house. Bud ducks discreetly into the areaway. Mr. Dobisch, bareheaded, emerges cautiously from the cab. Between the fingers of his hands he is carrying four long - stemmed glasses, brimful of stingers. The blonde steps out, holding his hat. BLONDE This the place? DOBISCH Yeah. -LRB- to cab driver. -RRB- How much? CABBIE Seventy cents. Dobisch, his hands full of stingers, turns to the blonde, indicates his pants pocket. DOBISCH Get the money, will you? The blonde plants the hat on top of his head, unbuttons his overcoat, reaches into his pants pocket. As she does so, she jogs his elbow. DOBISCH Watch those stingers! The blonde has taken out Dobisch's money clip, with about a hundred dollars in it. DOBISCH Give him a buck. The blonde peels a bill off, hands it to the cabbie, hangs on to the rest of the roll just a second too long. DOBISCH Now put it back, honey. -LRB- she does. -RRB- Atta girl. The cab drives off. Dobisch and the blonde start up the steps to the house. BLONDE You sure this is a good idea? DOBISCH Ca n't think of a better one. BLONDE -LRB- holding door open for him. -RRB- I mean - barging in on your mother - in the middle of the night? DOBISCH -LRB- edging past her with stingers. -RRB- Do n't worry about the old lady. One squawk from her, and she's out of a job. In the areaway, Bud has overheard them, and it does n't make him any happier. He steps out on the sidewalk, shuffles down the street.", "INT. SECOND FLOOR LANDING - NIGHT The blonde and Dobisch, his hands full of stingers, come up to Bud's door. DOBISCH Get the key, will you. Automatically, she reaches into his pocket. DOBISCH Not there. Under the mat. BLONDE -LRB- puzzled. -RRB- Under the mat? -LRB- picks up key. -RRB- DOBISCH -LRB- impatiently. -RRB- Open up, open up - we have n't got all night. The blonde unlocks the door to the apartment, opens it. BLONDE -LRB- suspiciously. -RRB- So this is your mother's apartment? DOBISCH That's right. Maria Ouspenskaya. BLONDE -LRB- sticking her head in. -RRB- Hiya, Ouspenskaya. Dobisch nudges her inside with his knee, kicks the door shut behind him. The landing is empty for a second. Then the door of the rear apartment opens, and Dr. Dreyfuss, in a beaten bathrobe, sets out a couple of empty milk bottles with a note in them. Suddenly, from Bud's apartment, comes a shrill female giggle. Dr. Dreyfuss reacts. Then the cha cha music starts full blast. DR. DREYFUSS -LRB- calling to his wife, off - screen. -RRB- Mildred - he's at it again. Shaking his head, he closes the door.", "EXT. CENTRAL PARK - NIGHT Bud, in raincoat and slippered feet, turns in off the street, plods along a path in the deserted park. He stops at a damp bench under a lamp post, sits. In the background, lights shine from the towering buildings on Central Park South. Bud huddles inside his raincoat, shivering. He is very sleepy by now. His eyes close and his head droops. A gust of wind sends wet leaves swirling across the bench. Bud does n't stir. He is all in. FADE OUT.", "INT. LOBBY INSURANCE BUILDING - DAY It's a quarter to nine of a gray November morning, and work - bound employees are piling in through the doors. Among them is Bud, bundled up in a raincoat, hat, heavy muffler and wool gloves, and carrying a box of Kleenex. He coughs, pulls out a tissue, wipes his dripping nose. He has a bad cold. The lobby is an imposing, marbled affair, as befits a company which last year wrote 9.3 billion dollars worth of insurance. There are sixteen elevators, eight of them marked LOCAL - FLOORS 1 - 18, and opposite them eight marked EXPRESS - FLOORS 18 - 37. The starter, a uniformed Valkyrie wielding a clicker, is directing the flow of traffic into the various elevators. Bud joins the crowd in front of one of the express elevators. Also standing there is Mr. Kirkeby, reading the Herald - Tribune. BUD -LRB- hoarsely. -RRB- Good morning, Mr. Kirkeby. KIRKEBY -LRB- as if he just knew him vaguely. -RRB- Oh, how are you, Baxter. They keeping you busy these days? BUD Yes, sir. They are indeed. -LRB- he sniffs. -RRB- The elevator doors open, revealing the operator. She is in her middle twenties and her name is FRAN KUBELIK. Maybe it's the way she's put together, maybe it's her face, or maybe it's just the uniform - in any case, there is something very appealing about her. She is also an individualist - she wears a carnation in her lapel, which is strictly against regulations. As the elevator loads, she greets the passengers cheerfully. FRAN -LRB- rattling it off. -RRB- Morning, Mr. Kessel - Morning, Miss Robinson - Morning, Mr. Kirkeby - Morning, Mr. Williams - Morning, Miss Livingston - Morning, Mr. McKellway - Morning, Mr. Pirelli - Morning, Mrs. Schubert - Interspersed is an occasional `` Morning, Miss Kubelik'' from the passengers. FRAN Morning, Mr. Baxter. BUD Morning, Miss Kubelik. He takes his hat off - he is the only one. The express is now loaded. STARTER -LRB- working the clicker. -RRB- That's all. Take it away. FRAN -LRB- shutting the door. -RRB- Watch the door, please. Blasting off.", "INT. ELEVATOR Bud is standing right next to Fran as the packed express shoots up. BUD -LRB- studying her. -RRB- What did you do to your hair? FRAN It was making me nervous, so I chopped it off. Big mistake, huh? BUD I sort of like it. He sniffs, takes out a Kleenex, wipes his nose. FRAN Say, you got a lulu. BUD Yeah. I better not get too close. FRAN Oh, I never catch colds. BUD Really? I was looking at some figures from the Sickness and Accident Claims Division - do you know that the average New Yorker between the ages of twenty and fifty has two and a half colds a year? FRAN That makes me feel just terrible. BUD Why? FRAN Well, to make the figures come out even - since I have no colds a year - some poor slob must have five colds a year. BUD That's me. -LRB- dabs his nose. -RRB- FRAN You should have stayed in bed this morning. BUD I should have stayed in bed last night. The elevator has slowed down, now stops. Fran opens the door. FRAN Nineteen. Watch your step. About a third of the passengers get out, including Bud and Mr. Kirkeby. As Kirkeby passes Fran, he slaps her behind with his folded newspaper. Fran jumps slightly. FRAN -LRB- all in the day's work. -RRB- And watch your hand, Mr. Kirkeby! KIRKEBY -LRB- innocently. -RRB- I beg your pardon? FRAN One of these days I'm going to shut those doors on you and - She withdraws her hand into the sleeve of her uniform, and waves the `` amputated'' arm at him. FRAN Twenty next. The doors close.", "INT. NINETEENTH FLOOR - DAY Kirkeby turns away from the elevator, and grinning smugly, falls in beside Bud. KIRKEBY That Kubelik - boy! Would I like to get her on a slow elevator to China. BUD Oh, yes. She's the best operator in the building. KIRKEBY I'm a pretty good operator myself - but she just wo n't give me a tumble - date - wise. BUD Maybe you're using the wrong approach. KIRKEBY A lot of guys around here have tried it - all kinds of approaches - no dice. What is she trying to prove? BUD Could be she's just a nice, respectable girl - there are millions of them. KIRKEBY Listen to him. Little Lord Fauntleroy! Leaving Bud at the employees' coat - racks, Kirkeby heads toward his office, one of the glass - enclosed cubicles. Bud hangs up his hat and raincoat, stows away the gloves and muffler. Out of his coat pocket he takes a plastic anti - histamine sprayer and a box of cough drops, and still carrying the Kleenex, threads his way to his desk. Most of the desks are already occupied, and the others are filling rapidly. Once seated at his desk, Bud arranges his medicaments neatly in front of him. He takes a Kleenex out of the box, blows his nose, then leaning back in his swivel chair sprays first one nostril, then the other. Suddenly the piercing bell goes off - the workday has begun. Being the ultra - conscientious type, Bud instantly sits upright in his chair, removes the cover from his computing machine, picks up a batch of perforated premium cards, starts entering figures on his computer. After a few seconds, he glances around to make sure that everybody in the vicinity is busy. Then he looks up a number in the company telephone directory, dials furtively. BUD -LRB- cupping hand over phone mouthpiece. -RRB- Hello, Mr. Dobisch? This is Baxter, on the nineteenth floor.", "INT. DOBISCH'S OFFICE - DAY It is a glass - enclosed cubicle on the twenty - first floor. Through the glass we see another enormous layout of desks, everybody working away. Dobisch is holding the phone in one hand, running an electric shaver over his face with the other. DOBISCH Oh, Buddy - boy. I was just about to call you. -LRB- shuts off electric shaver. -RRB- I'm sorry about that mess on the living room wall. You see, my little friend, she kept insisting Picasso was a bum - so she started to do that mural - but I'm sure it will wash off - just eyebrow pencil. BUD - ON PHONE BUD It's not Picasso I'm calling about. It's the key - to my apartment - you were supposed to leave it under the mat. DOBISCH - ON PHONE DOBISCH I did, did n't I? I distinctly remember bending over and putting it there - BUD - ON PHONE BUD Oh, I found a key there, all right - only it's the wrong key. DOBISCH - ON PHONE DOBISCH It is? -LRB- takes Bud's key out of his pocket. -RRB- Well, how about that? No wonder I could n't get into the executive washroom this morning. BUD - ON PHONE BUD And I could n't get into my apartment - so at four a. m. I had to wake up the landlady and give her a whole song and dance about going out to mail a letter and the door slamming shut. DOBISCH - ON PHONE DOBISCH That's a shame. I'll send the key right down. And about your promotion -. -LRB- leafs through report on desk. -RRB- - I'm sending that efficiency report right up to Mr. Sheldrake, in Personnel. I would n't be surprised if you heard from him before the day is over. BUD - ON PHONE BUD Thank you, Mr. Dobisch. He hangs up, feels his forehead. It is warm. Clipped to his handkerchief pocket are a black fountain pen and, next to it, a thermometer in a black case. Bud unclips the thermometer case, unscrews the cap, shakes the thermometer out, puts it under his tongue. He resumes work. A messenger comes up to his desk with an interoffice envelope. MESSENGER From Mr. Dobisch. BUD -LRB- thermometer in mouth. -RRB- Wait. He turns away from the messenger, unties the string of the envelope, takes his key out, puts it in a coat pocket. From a trouser pocket, he extracts Dobisch's key to the executive washroom, slips it discreetly into the envelope, reties it, hands it to the messenger. BUD -LRB- thermometer in mouth. -RRB- To Mr. Dobisch. Puzzled by the whole procedure, the messenger leaves. Bud now removes the thermometer from his mouth, reads it. It's worse than he thought. He puts the thermometer back in the case, clips it to his pocket, takes his desk calendar out of a drawer, turns a leaf. Under the date WEDNESDAY, NOVEMBER 4 there is an entry in his handwriting - MR. VANDERHOF. Bud consults the telephone directory again, picks up the phone, dials.", "INT. VANDERHOF'S OFFICE - DAY This is another glass - enclosed cubicle on another floor. MR. VANDERHOF, a Junior Chamber of Commerce type, is dictating to an elderly secretary who sits across the desk from him. VANDERHOF Dear Mr. MacIntosh -. -LRB- phone rings and he picks it up. -RRB- Vanderhof, Public Relations. Oh, yes, Baxter. Just a minute. -LRB- to secretary. -RRB- All right, Miss Finch - type up what we got so far. -LRB- he waits till she is out of the office ; then, into phone. -RRB- Now what is it, Baxter? BUD - ON PHONE BUD Look, Mr. Vanderhof - I've got you down here for tonight - but I'm going to be using the place myself - so I'll have to cancel. VANDERHOF - ON PHONE VANDERHOF Cancel? But it's her birthday - I already ordered the cake - BUD - ON PHONE BUD I hate to disappoint you - I mean, many happy returns - but not tonight - VANDERHOF - ON PHONE VANDERHOF That's not like you, Baxter. Just the other day, at the staff meeting, I was telling Mr. Sheldrake what a reliable man you were. BUD - ON PHONE BUD Thank you, Mr. Vanderhof. But I'm sick - I have this terrible cold - and a fever - and I got to go to bed right after work. VANDERHOF - ON PHONE VANDERHOF Buddy - boy, that's the worst thing you can do. If you got a cold, you should go to a Turkish bath - spend the night there - sweat it out - BUD - ON PHONE BUD Oh, no. I'd get pneumonia - and if I got pneumonia, I'd be in bed for a month - and if I were in bed for a month - VANDERHOF - ON PHONE VANDERHOF Okay, you made your point. We'll just have to do it next Wednesday - that's the only night of the week I can get away. BUD - ON PHONE BUD Wednesday - Wednesday -. -LRB- leafing through calendar. -RRB- I got somebody penciled in - let me see what I can do - I'll get back to you. He hangs up, riffles through the directory, finds the number, and with a furtive look around, dials again. BUD -LRB- into phone. -RRB- Mr. Eichelberger? Is this Mortgage and Loan? I'd like to speak to Mr. Eichelberger. Yes, it is urgent.", "INT. EICHELBERGER'S OFFICE - DAY Also glass - enclosed, but slightly larger than the others. MR. EICHELBERGER, a solid citizen of about fifty, is displaying some mortgage graphs to three associates. A fourth one has answered the phone. ASSOCIATE -LRB- holding out phone to Eichelberger. -RRB- For you, Mel. Eichelberger puts the charts down, takes the phone. EIGHELBERGER Eichelberger here - oh, yes, Baxter -. -LRB- a glance at his associates ; then continues, as though it were a business call. -RRB- What's your problem? - Wednesday is out? - oh - that throws a little monkey wrench into my agenda - Thursday? No, I'm all tied up on Thursday - let's schedule that meeting for Friday. BUD - ON PHONE BUD Friday? -LRB- checks calendar. -RRB- Let me see what I can do. I'll get back to you. He hangs up, consults the directory, starts to dial a number.", "INT. KIRKEBY'S OFFICE - DAY It's another of those glass - enclosed cubicles, on the nineteenth floor. Kirkeby is talking into a dictaphone. KIRKEBY Premium - wise and billing - wise, we are eighteen percent ahead of last year, October - wise. The phone has been ringing. Kirkeby switches off the machine, picks up the phone. KIRKEBY Hello? Yeah, Baxter. What's up? BUD - ON PHONE BUD Instead of Friday - could you possibly switch to Thursday? You'd be doing me a great favor - KIRKEBY - ON PHONE KIRKEBY Well - it's all right with me, Bud. Let me check. I'll get back to you. He presses down the button on the cradle, dials Operator.", "INT. SWITCHBOARD ROOM There is a double switchboard in the center, with nine girls on each side, all busy as beavers. In the foreground we recognize Sylvia, Kirkeby's date of last night. SYLVIA Consolidated Life - I'll connect you - Consolidated Life - The girl next to her turns and holds out a line. SWITCHBOARD GIRL Sylvia - it's for you. Sylvia plugs the call into her own switchboard. SYLVIA Yes? Oh, hello - sure I got home all right - you owe me forty - five cents. KIRKEBY - ON PHONE KIRKEBY Okay, okay. Look, Sylvia - instead of Friday - could we make it Thursday night? SYLVIA - AT SWITCHBOARD SYLVIA Thursday? That's The Untouchables - with Bob Stack. KIRKEBY - ON PHONE KIRKEBY Bob WHO? - all right, so we'll watch it at the apartment. Big deal. -LRB- he hangs up, dials. -RRB- Baxter? It's okay for Thursday.", "INT. NINETEENTH FLOOR - DAY Bud, at his desk, is on the phone. BUD Thank you, Mr. Kirkeby. -LRB- hangs up, consults directory, dials. -RRB- Mr. Eichelberger? It's okay for Friday. -LRB- hangs up, consults directory, dials. -RRB- Mr. Vanderhof? It's okay for Wednesday. During this, the phone has rung at the next desk, and the occupant, MR. MOFFETT, has picked it up. As Bud hangs up - MOFFETT -LRB- into phone. -RRB- All right - I'll tell him. -LRB- hangs up, turns to Bud. -RRB- Hey, Baxter - that was Personnel. Mr. Sheldrake's secretary. BUD Sheldrake? MOFFETT She's been trying to reach you for the last twenty minutes. They want you up stairs. BUD Oh! He jumps up, stuffs the nose - spray into one pocket, a handful of Kleenex into the other. MOFFETT What gives, Baxter? You getting promoted or getting fired? BUD -LRB- cockily. -RRB- Care to make a small wager? MOFFETT I've been here twice as long as you have - BUD Shall we say - a dollar? MOFFETT It's a bet. Bud snake - hips between the desks like a broken - field runner. At the elevator, Bud presses the UP button, paces nervously. One of the elevator doors opens, and as Bud starts inside, the doors of the adjoining elevator open, and Fran Kubelik sticks her head out. FRAN Going up? Hearing her voice, Bud throws a quick `` Excuse me'' to the other operator, exits quickly and steps into Fran's elevator. BUD Twenty - seven, please. And drive carefully. You're carrying precious cargo - I mean, manpower - wise. Fran shuts the doors.", "INT. ELEVATOR - DAY Fran presses a button, and the elevator starts up. FRAN Twenty - seven. BUD You may not realize it, Miss Kubelik, but I'm in the top ten - efficiency - wise and this may be the day - promotion - wise. FRAN You're beginning to sound like Mr. Kirkeby already. BUD Why not? Now that they're kicking me upstairs - FRAN Could n't happen to a nicer guy. -LRB- Bud beams. -RRB- You know, you're the only one around here who ever takes his hat off in the elevator. BUD Really? FRAN The characters you meet. Something happens to men in elevators. Must be the change of altitude - the blood rushes to their head, or something - boy, I could tell you stories - BUD I'd love to hear them. Maybe we could have lunch in the cafeteria sometime - or some evening, after work - The elevator has stopped, and Fran opens the doors. FRAN Twenty - seven.", "INT. TWENTY-SEVENTH FLOOR FOYER - DAY It is pretty plush up here - soft carpeting and tall mahogany doors leading to the executive offices. The elevator door is open, and Bud steps out. FRAN I hope everything goes all right. BUD I hope so. -LRB- turning back. -RRB- Would n't you know they'd call me on a day like this - with my cold and everything -. -LRB- fumbling with his tie. -RRB- How do I look? FRAN Fine. -LRB- stepping out of elevator. -RRB- Wait. She takes the carnation out of her lapel, starts to put it in Bud's buttonhole. BUD Thank you. That's the first thing I ever noticed about you - when you were still on the local elevator - you always wore a flower - The elevator buzzer is now sounding insistently. Fran steps back inside. FRAN Good luck. And wipe your nose. She shuts the doors. Bud looks after her, then takes a Kleenex out of his pocket, and wiping his nose, crosses to a glass door marked J. D. SHELDRAKE, DIRECTOR OF PERSONNEL. He stashes the used Kleenex away in another pocket, enters.", "INT. SHELDRAKE'S ANTEROOM - DAY It is a sedate office with a secretary and a couple of typists. The secretary's name is MISS OLSEN. She is in her thirties, flaxen - haired, handsome, wears harlequin glasses, and has an incisive manner. Bud comes up to her desk. BUD C. C. Baxter - Ordinary Premium Accounting - Mr. Sheldrake called me. MISS OLSEN I called you - that is, I tried to call you - for twenty minutes. BUD I'm sorry, I - MISS OLSEN Go on in. She indicates the door leading to the inner office. Bud squares his shoulders and starts in.", "INT. SHELDRAKE'S OFFICE - DAY Mr. Sheldrake is a $ 14,000 a year man, and rates a four - window office. It is not quite an executive suite, but it is several pegs above the glass cubicles of the middle echelon. There is lots of leather, and a large desk behind which sits MR. SHELDRAKE. He is a substantial looking, authoritative man in his middle forties, a pillar of his suburban community, a blood donor and a family man. The latter is attested to by a framed photograph showing two boys, aged 8 and 10, in military school uniforms. As Baxter comes through the door, Sheldrake is leafing through Dobisch's efficiency report. He looks up at Bud through a pair of heavy - rimmed reading glasses. SHELDRAKE Baxter? BUD Yes, sir. SHELDRAKE -LRB- studying him. -RRB- I was sort of wondering what you looked like. Sit down. BUD Yes, Mr. Sheldrake. He seats himself on the very edge of the leather armchair facing Sheldrake. SHELDRAKE Been hearing some very nice things about you - here's a report from Mr. Dobisch - loyal, cooperative, resourceful - BUD Mr. Dobisch said that? SHELDRAKE And Mr. Kirkeby tells me that several nights a week you work late at the office - without overtime. BUD -LRB- modestly. -RRB- Well, you know how it is - things pile up. SHELDRAKE Mr. Vanderhof, in Public Relations, and Mr. Eichelberger, in Mortgage and Loan - they'd both like to have you transferred to their departments. BUD That's very flattering. Sheldrake puts the report down, takes off his glasses, leans across the desk toward Bud. SHELDRAKE Tell me, Baxter - just what is it that makes you so popular? BUD I do n't know. SHELDRAKE Think. Bud does so. For a moment, he is a picture of intense concentration. Then - BUD Would you mind repeating the question? SHELDRAKE Look, Baxter, I'm not stupid. I know everything that goes on in this building - in every department - on every floor - every day of the year. BUD -LRB- in a very small voice. -RRB- You do? SHELDRAKE -LRB- rises, starts pacing. -RRB- In 1957, we had an employee here, name of Fowler. He was very popular, too. Turned out he was running a bookie joint right in the Actuarial Department tying up the switchboard, figuring the odds on our I.B.M. machines - so the day before the Kentucky Derby, I called in the Vice Squad and we raided the thirteenth floor. BUD -LRB- worried. -RRB- The Vice Squad? SHELDRAKE That's right, Baxter. BUD What - what's that got to do with me? I'm not running any bookie joint. SHELDRAKE What kind of joint are you running? BUD Sir? SHELDRAKE There's a certain key floating around the office - from Kirkeby to Vanderhof to Eichelberger to Dobisch - it's the key to a certain apartment - and you know who that apartment belongs to? BUD Who? SHELDRAKE Loyal, cooperative, resourceful C. C. Baxter. BUD Oh. SHELDRAKE Are you going to deny it? BUD No, sir. I'm not going to deny it. But if you'd just let me explain - SHELDRAKE You better. BUD -LRB- a deep breath. -RRB- Well, about six months ago - I was going to night school, taking this course in Advanced Accounting - and one of the guys in our department - he lives in Jersey - he was going to a banquet at the Biltmore - his wife was meeting him in town, and he needed someplace to change into a tuxedo - so I gave him the key and word must have gotten around - because the next thing I knew, all sorts of guys were suddenly going to banquets - and when you give the key to one guy, you ca n't say no to another and the whole thing got out of hand - pardon me. He whips out the nasal - spray, administers a couple of quick squirts up each nostril. SHELDRAKE Baxter, an insurance company is founded on public trust. Any employee who conducts himself in a manner unbecoming -. -LRB- shifting into a new gear. -RRB- How many charter members are there in this little club of yours? BUD Just those four - out of a total of 31,259 - so actually, we can be very proud of our personnel - percentage - wise. SHELDRAKE That's not the point. Four rotten apples in a barrel - no matter how large the barrel - you realize that if this ever leaked out - BUD Oh, it wo n't. Believe me. And it's not going to happen again. From now on, nobody is going to use my apartment - In his vehemence he squeezes the spray bottle, which squirts all over the desk. SHELDRAKE Where is your apartment? BUD West 67th Street. You have no idea what I've been going through - with the neighbors and the landlady and the liquor and the key - SHELDRAKE How do you work it with the key? BUD Well, usually I slip it to them in the office and they leave it under the mat - but never again - I can promise you that - The phone buzzer sounds, and Sheldrake picks up the phone. SHELDRAKE Yes, Miss Olsen.", "INT. SHELDRAKE'S ANTEROOM - DAY Miss Olsen is on the phone. MISS OLSEN Mrs. Sheldrake returning your call - on two - She presses a button down, starts to hang the phone up, glances around to see if the typists are watching, then raises the receiver to her ear and eavesdrops on the conversation.", "INT. SHELDRAKE'S OFFICE - DAY Sheldrake is talking into the phone. SHELDRAKE Yes, dear - I called you earlier - where were you? Oh, you took Tommy to the dentist - During this, Bud has risen from his chair, started inching toward the door. SHELDRAKE -LRB- turning to him. -RRB- Where are you going, Baxter? BUD Well, I do n't want to intrude - and I thought - since it's all straightened out anyway - SHELDRAKE I'm not through with you yet. BUD Yes, sir. SHELDRAKE -LRB- into phone. -RRB- The reason I called is - I wo n't be home for dinner tonight. The branch manager from Kansas City is in town - I'm taking him to the theatre Music Man, what else? No, do n't wait up for me - ` bye, darling. -LRB- hangs up, turns to Bud. -RRB- Tell me something, Baxter - have you seen Music Man? BUD Not yet. But I hear it's one swell show. SHELDRAKE How would you like to go tonight? BUD You mean - you and me? I thought you were taking the branch manager from Kansas City - SHELDRAKE I made other plans. You can have both tickets. BUD Well, that's very kind of you - only I'm not feeling well - you see, I have this cold - and I thought I'd go straight home. SHELDRAKE Baxter, you're not reading me. I told you I have plans. BUD So do I - I'm going to take four aspirins and get into bed - so you better give the tickets to somebody else - SHELDRAKE I'm not just giving those tickets, Baxter - I want to swap them. BUD Swap them? For what? Sheldrake picks up the Dobisch reports, puts on his glasses, turns a page. SHELDRAKE It also says here - that you are alert, astute, and quite imaginative - BUD Oh? -LRB- the dawn is breaking. -RRB- Oh! He reaches into his coat pocket, fishes out a handful of Kleenex, and then finally the key to his apartment. He holds it up. BUD This? SHELDRAKE That's good thinking, Baxter. Next month there's going to be a shift in personnel around here - and as far as I'm concerned, you're executive material. BUD I am? SHELDRAKE Now put down the key -. -LRB- pushing a pad toward him. -RRB- - and put down the address. Bud lays the key on the desk, unclips what he thinks is his fountain pen, uncaps it, starts writing on the pad. BUD It's on the second floor - my name is not on the door - it just says 2A - Suddenly he realizes that he has been trying to write the address with the thermometer. BUD Oh - terribly sorry. It's that cold - SHELDRAKE Relax, Baxter. BUD Thank you, sir. He has replaced the thermometer with the fountain pen, and is scribbling the address. BUD You'll be careful with the record player, wo n't you? And about the liquor - I ordered some this morning - but I'm not sure when they'll deliver it - He has finished writing the address, shoves the pad over to Sheldrake. SHELDRAKE Now remember, Baxter - this is going to be our little secret. BUD Yes, of course. SHELDRAKE You know how people talk. BUD Oh, you do n't have to worry - SHELDRAKE Not that I have anything to hide. BUD Oh, no sir. Certainly not. Anyway, it's none of my business - four apples, five apples - what's the difference - percentage - wise? SHELDRAKE -LRB- holding out the tickets. -RRB- Here you are, Baxter. Have a nice time. BUD You too, sir. Clutching the tickets, he backs out of the office.", "INT. LOBBY INSURANCE BUILDING - EVENING It is about 6:30, and the building has pretty well emptied out by now. Bud, in raincoat and hat, is leaning against one of the marble pillars beyond the elevators. His raincoat is unbuttoned, and Fran's carnation is still in his lapel. He is looking off expectantly toward a door marked EMPLOYEES' LOUNGE - WOMEN. Some of the female employees are emerging, dressed for the street. Among them are Sylvia and her colleague from the switchboard. SYLVIA So I figure, a man in his position, he's going to take me to 21 and El Morocco - instead, he takes me to Hamburg Heaven and some schnook's apartment - They pass Bud without paying any attention to him. Bud has heard the crack, and looks after Sylvia, a little hurt. Then he glances back toward the door of the lounge, as it opens and Fran Kubelik comes out. She is wearing a wool coat over a street dress, no hat. FRAN -LRB- passing Bud. -RRB- Good night. BUD -LRB- casually. -RRB- Good night. She is about three paces beyond him when he suddenly realizes who it is. BUD Oh - Miss Kubelik. -LRB- he rushes after her, taking off his hat. -RRB- I've been waiting for you. FRAN You have? BUD I almost did n't recognize you - this is the first time I've ever seen you in civilian clothes. FRAN How'd you make out on the twenty - seventh floor? BUD Great. Look - have you seen The Music Man? FRAN No. BUD Would you like to? FRAN Sure. BUD I thought maybe we could have a bite to eat first - and then - FRAN You mean tonight? BUD Yeah. FRAN I'm sorry, but I ca n't tonight. I'm meeting somebody. BUD Oh. -LRB- a beat. -RRB- You mean - like a girl - friend? FRAN No. Like a man. She proceeds across the lobby toward the street entrance, Bud following her. BUD I was n't trying to be personal - it's just that the fellows in the office were - whether you wondering about you ever - FRAN Just tell'em - now and then. BUD This date - is it just a date - or is it something serious? FRAN It used to be serious - at least I was - but he was n't - so the whole thing is more or less kaputt. BUD Well, in that case, could n't you -? FRAN I'm afraid not. I promised to have a drink with him - he's been calling me all week - BUD Oh, I understand. He follows her out through the revolving doors.", "EXT. INSURANCE BUILDING - EVENING Fran and Bud come out. BUD -LRB- putting his hat on. -RRB- Well, it was just an idea - I hate to see a ticket go to waste - FRAN -LRB- stops. -RRB- What time does the show go on? BUD Eight - thirty. FRAN -LRB- looks at her watch. -RRB- Well - I could meet you at the theatre - if that's all right. BUD All right? That's wonderful! It's the Majestic - 44th Street. FRAN Meet you in the lobby. Okay? Bud nods happily, falls in beside her as she starts down the street. BUD You know, I felt so lousy this morning - a hundred and one fever - then my promotion came up - now you and I - eleventh row center - and you said I should have stayed in bed. FRAN How is your cold? BUD -LRB- high as a kite. -RRB- What cold? And after the show, we could go out on the town -. -LRB- does a little cha cha step. -RRB- I've been taking from Arthur Murray. FRAN So I see. BUD They got a great little band at El Chico, in the Village - it's practically around the corner from where you live. FRAN Sounds good. -LRB- a sudden thought. -RRB- How do you know where I live? BUD Oh, I even know who you live with - your sister and brother - in - law - I know when you were born - and where - I know all sorts of things about you. FRAN How come? BUD A couple of months ago I looked up your card in the group insurance file. FRAN Oh. BUD I know your height, your weight and your Social Security number - you had mumps, you had measles, and you had your appendix out. They have now reached the corner, and Fran stops. FRAN Well, do n't tell the fellows in the office about the appendix. They may get the wrong idea how you found out. -LRB- turning the corner. -RRB- ` Bye. BUD -LRB- calling after her. -RRB- Eight - thirty! He watches her walk away, an idiot grin on his face. Despite what he told Fran, his nose is stuffed up, so he takes out the anti - histamine and sprays his nostrils. Then, carried away, he squirts some of the stuff on the carnation in his buttonhole, moves off in the opposite direction.", "EXT. DOWNTOWN STREET - EVENING Fran comes hurrying along the street. She is late. Her objective is a small Chinese restaurant, with a neon sign reading THE RICKSHAW - COCKTAILS - CANTONESE FOOD. She starts down a flight of steps leading to the entrance.", "INT. CHINESE RESTAURANT - EVENING The bar is a long, narrow, dimly - lit room with booths along one side. Beyond a bamboo curtain is the main dining room, which does not concern us. The place is decorated in Early Beachcomber style rattan, fish - nets, conch - shells, etc.. The help is Chinese. At this early hour, there are only half a dozen customers in the place - all at the bar except for one man, sitting in the last booth with his back toward camera. At a piano, a Chinese member of Local 808 is improvising mood music. Fran comes through the door, and without looking around, heads straight for the last booth. The bartender nods to her - they know her there. As she passes the piano player, he gives her a big smile, segues into JEALOUS LOVER. Fran comes up to the man sitting in the last booth. FRAN -LRB- a wistful smile. -RRB- Good evening, Mr. Sheldrake. Sheldrake, for that's who it is, looks around nervously to make sure no one has heard her. SHELDRAKE Please, Fran - not so loud. -LRB- he gets up. -RRB- FRAN Still afraid somebody may see us together? SHELDRAKE -LRB- reaching for her coat. -RRB- Let me take that. FRAN No, Jeff. I ca n't stay very long. -LRB- sits opposite him, with her coat on. -RRB- Can I have a frozen daiquiri? SHELDRAKE It's on the way. -LRB- sits down. -RRB- I see you went ahead and cut your hair. FRAN That's right. SHELDRAKE You know I liked it better long. FRAN Yes, I know. You want a lock to carry in your wallet? A waiter comes up with a tray : two daiquiris, fried shrimp, eggrolls, and a bowl of sauce. WAITER -LRB- showing all his teeth. -RRB- Evening, lady. Nice see you again. FRAN Thank you. The waiter has set everything on the table, leaves. SHELDRAKE How long has it been - a month? FRAN Six weeks. But who's counting? SHELDRAKE I missed you, Fran. FRAN Like old times. Same booth, same song - SHELDRAKE It's been hell. FRAN -LRB- dipping shrimp. -RRB- - same sauce - sweet and sour. SHELDRAKE You do n't know what it's like - standing next to you in that elevator, day after day - Good morning, Miss Kubelik - Good night, Mr. Sheldrake - I'm still crazy about you, Fran. FRAN -LRB- avoiding his eyes. -RRB- Let's not start on that again, Jeff - please. I'm just beginning to get over it. SHELDRAKE I do n't believe you. FRAN Look, Jeff - we had two wonderful months this summer - and that was it. Happens all the time - the wife and kids go away to the country, and the boss has a fling with the secretary or the manicurist - or the elevator girl. Comes September, the picnic is over - goodbye. The kids go back to school, the boss goes back to the wife, and the girl -. -LRB- she is barely able to control herself. -RRB- They do n't make these shrimp like they used to. SHELDRAKE I never said goodbye, Fran. FRAN -LRB- not listening. -RRB- For a while there, you try kidding yourself that you're going with an unmarried man. Then one day he keeps looking at his watch, and asks you if there's any lipstick showing, then rushes off to catch the seven - fourteen to White Plains. So you fix yourself a cup of instant coffee - and you sit there by yourself - and you think - and it all begins to look so ugly - There are tears in her eyes. She breaks off, downs what's left of the daiquiri. SHELDRAKE How do you think I felt - riding home on that seven - fourteen train? FRAN Why do you keep calling me, Jeff? What do you want from me? SHELDRAKE -LRB- taking her hand. -RRB- I want you back, Fran. FRAN -LRB- withdrawing her hand. -RRB- Sorry, Mr. Sheldrake - I'm full up. You'll have to take the next elevator. SHELDRAKE You're not giving me a chance, Fran. I asked you to meet me because - I have something to tell you. FRAN Go ahead - tell me. SHELDRAKE -LRB- a glance around. -RRB- Not here, Fran. Ca n't we go some place else? FRAN No. I have a date at eight - thirty. SHELDRAKE Important? FRAN Not very - but I'm going to be there anyway. She takes out an inexpensive square compact with a fleur de lis pattern on it, opens it, starts to fix her face. The waiter comes up with a couple of menus. WAITER You ready order dinner now? FRAN No. No dinner. SHELDRAKE Bring us two more drinks.", "EXT. MAJESTIC THEATRE - EVENING It is 8:25, and there is the usual hectic to - do - taxis pulling up, people milling around the sidewalk and crowding into the lobby. In the middle of this melee, buffeted by the throng, stands Bud, in raincoat and hat, looking anxiously for Fran.", "INT. CHINESE RESTAURANT - EVENING Fran and Sheldrake, in the booth, are working on the second round of drinks. SHELDRAKE Fran - remember that last weekend we had? FRAN -LRB- wryly. -RRB- Do I. That leaky little boat you rented - and me in a black negligee and a life preserver - SHELDRAKE Remember what we talked about? FRAN We talked about a lot of things. SHELDRAKE I mean - about my getting a divorce. FRAN We did n't talk about it - you did. SHELDRAKE You did n't really believe me, did you? FRAN -LRB- shrugging. -RRB- They got it an a long playing record now - Music to String Her Along By. My wife does n't understand me - We have n't gotten along for years - You're the best thing that ever happened to me - SHELDRAKE That's enough, Fran. FRAN -LRB- going right on. -RRB- Just trust me, baby - we'll work it out somehow - SHELDRAKE You're not being funny. FRAN I was n't trying. SHELDRAKE If you'll just listen to me for a minute - FRAN Okay. I'm sorry. SHELDRAKE I saw my lawyer this morning - I wanted his advice - about the best way to handle it - FRAN Handle what? SHELDRAKE What do you think? FRAN -LRB- looking at him for a long moment - then. -RRB- Let's get something straight, Jeff - I never asked you to leave your wife. SHELDRAKE Of course not. You had nothing to do with it. FRAN -LRB- her eyes misting up again. -RRB- Are you sure that's what you want? SHELDRAKE I'm sure. If you'll just tell me that you still love me - FRAN -LRB- softly. -RRB- You know I do. SHELDRAKE Fran - He takes her hand, kisses it. The bar has been filling up, and now two couples are seating themselves in a nearby booth. One of the women is Miss Olsen. FRAN -LRB- pulling her hand away gently. -RRB- Jeff - darling - She indicates the other customers. Sheldrake glances over his shoulder. SHELDRAKE It is crowding up. Let's get out of here. They rise. Sheldrake leaves some money on the table, leads Fran toward the entrance. As they pass Miss Olsen's booth, she turns around slowly, and putting on her glasses, looks after them. Sheldrake slips a bill to the piano player, who gives them a big smile, slides into JEALOUS LOVER again. Retrieving his hat and coat from the checkroom girl, Sheldrake steers Fran through the door. Miss Olsen watches them with a cold smile.", "EXT. CHINESE RESTAURANT - EVENING Fran and Sheldrake come up the steps. SHELDRAKE -LRB- to a passing cab. -RRB- Taxi! It passes without stopping. FRAN I have that date - remember? SHELDRAKE I love you - remember? Another taxi approaches. Sheldrake gives a shrill whistle, and it pulls up. He opens the door. FRAN Where are we going, Jeff? Not back to that leaky boat - SHELDRAKE I promise. He helps her into the cab, takes out of his coat pocket the page from the pad on which Bud wrote the address of the apartment. SHELDRAKE -LRB- to cab driver. -RRB- 51 West Sixty - Seventh. He gets in beside Fran, shuts the door. As the cab pulls away, through the rear window the two can be seen kissing.", "EXT. MAJESTIC THEATRE - EVENING It's 9 o'clock, the lobby is deserted, and standing on the sidewalk all by himself, is Bud. He takes a Kleenex out of his pocket, blows his nose, stuffs the used Kleenex in another pocket. He looks up and down the street, consults his watch, decides to wait just a little longer. BAXTER'S DESK CALENDAR The leaves are flipping over. Mr. Sheldrake seems to be using The Apartment regularly - for the name Sheldrake, in Bud's handwriting, appears on the pages dated Monday, November 9, Thursday, November 12, Thursday, November 19, Monday, November 23, and Monday, November 30. Mr. Sheldrake also seems to be Baxter's only customer by now, since the other leaves of the calendar are blank.", "INT. NINETEENTH FLOOR - INSURANCE BUILDING - DAY It is a gloomy December morning, and hundreds of desk - bound employees are bent over their paper - work. Bud Baxter, in raincoat and hat, is clearing out his desk. He has piled everything on his blotter pad - reference books, papers, a fountain pen set, pencils, paper clips and the calendar. Watching him from the next desk is a dumbfounded Moffett. Bud picks up the blotter pad with his stuff on it, and as he moves past Moffett's desk, Moffett takes out a dollar bill, drops it grudgingly on the loaded pad. Bud flashes him a little grin, continues between the desks toward the row of glass - enclosed offices housing the supervisory personnel. He comes up to an unoccupied cubicle. A sign painter is brushing in some new lettering on the glass door - it reads C. C. BAXTER, Second Administrative Assistant. Bud studies the sign with a good deal of satisfaction. BUD -LRB- to painter. -RRB- Would you mind -? -LRB- the painter turns around. -RRB- C. C. Baxter - that's me. With an `` Oh,'' the painter opens the door for him.", "INT. BAXTER'S OFFICE - DAY Bud enters his new office, deposits his stuff on the bare desk, looks around possessively. The small cubicle boasts one window, carpeting on the floor, a filing cabinet, a couple of synthetic - leather chairs, and a clothes - tree - to Bud, it is the Taj Mahal. He crosses to the clothes - tree, removes his hat and coat, hangs them up. From OFF comes - KIRKEBY'S VOICE Hi, Buddy - boy. DOBISCH'S VOICE Congratulations, and all that jazz. Bud turns. Kirkeby, Dobisch, Eichelberger and Vanderhof have come into the office. BUD Hi, fellas. EICHELBERGER Well, you made it, kid - just like we promised. VANDERHOF Quite an office - name on the door - rug on the floor - the whole schmear. BUD Yeah. DOBISCH Teamwork - that's what counts in an organization like this. All for one and one for all - know what I mean? BUD I have a vague idea. Kirkeby signals to Vanderhof, who shuts the door. The four charter members of the club start closing in on Bud. KIRKEBY Baxter, we're a little disappointed in you - gratitude - wise. BUD Oh, I'm very grateful. EIGHELBERGER Then why are you locking us out, all of a sudden? BUD It's been sort of rough these last few weeks - what with my cold and like that - He has picked up the desk calendar, shoves it discreetly into one of the drawers. DOBISCH We went to bat for you - and now you wo n't play ball with us. BUD Well, after all, it's my apartment - it's private property - it's not a public playground. VANDERHOF All right, so you got yourself a girl - that's okay with us - but not every night of the week. KIRKEBY How selfish can you get? -LRB- to the others. -RRB- Last week I had to borrow my nephew's car and take Sylvia to a drive - in in Jersey. I'm too old for that sort of thing - I mean, in a Volkswagen. BUD I sympathize with your problem - and believe me, I'm very sorry - DOBISCH You'll be a lot sorrier before we're through with you. BUD You threatening me? DOBISCH Listen, Baxter, we made you and we can break you. He deliberately flips a cigar ash on Bud's desk. At the same time, the door opens, and Sheldrake comes striding in briskly. BUD Good morning, Mr. Sheldrake. The others swivel around. SHELDRAKE Morning, gentlemen. -LRB- to Bud. -RRB- Everything satisfactory? You like your office? BUD Oh, yes, sir. Very much. And I want to thank you - SHELDRAKE Do n't thank me - thank your friends here - they're the ones who recommended you. The four friends manage to work up some sickly smiles. DOBISCH We just dropped in to wish him the best. -LRB- quickly brushes cigar ash off desk. -RRB- KIRKEBY -LRB- as they move toward the door. -RRB- So long, Baxter. We know you wo n't let us down. BUD So long, fellas. Drop in any time. The door is always open - to my office. They leave. Sheldrake and Bud are alone. SHELDRAKE I like the way you handled that. Well, how does it feel to be an executive? BUD Fine. And I want you to know I'll work very hard to justify your confidence in me - SHELDRAKE Sure you will. -LRB- a beat. -RRB- Say, Baxter, about the apartment - now that you got a raise, do n't you think we can afford a second key? BUD Well - I guess so. SHELDRAKE You know my secretary - Miss Olsen - BUD Oh, yes. Very attractive. Is she - the lucky one? SHELDRAKE No, you do n't understand. She's a busybody - always poking her nose into things - and with that key passing back and forth - why take chances? BUD Yes, sir. You ca n't be too careful. He glances toward the glass partitions to make sure that nobody is watching. BUD I have something here - I think it belongs to you. Out of his pocket he has slipped the compact with the fleur - de - lis pattern we saw Fran use at the Rickshaw. He holds it out to Sheldrake. SHELDRAKE To me? BUD I mean - the young lady - whoever she may be - it was on the couch when I got home last night. SHELDRAKE Oh, yes. Thanks. BUD The mirror is broken. -LRB- opens compact, revealing crack in mirror. -RRB- It was broken when I found it. SHELDRAKE So it was. -LRB- takes the compact. -RRB- She threw it at me. BUD Sir? SHELDRAKE You know how it is - sooner or later they all give you a bad time. BUD -LRB- man - of - the - world. -RRB- I know how it is. SHELDRAKE You see a girl a couple of times a week - just for laughs - and right away she thinks you're going to divorce your wife. I ask you - is that fair? BUD No, sir. That's very unfair - especially to your wife. SHELDRAKE Yeah. -LRB- shifting gears. -RRB- You know, Baxter, I envy you. Bachelor - all the dames you want - no headaches, no complications - BUD Yes, sir. That's the life, all right. SHELDRAKE Put me down for Thursday again. BUD Roger. And I'll get that other key. Sheldrake exits. Bud takes the calendar out of the desk drawer, makes an entry. BAXTER'S DESK CALENDAR Again the leaves are flipping over, and again we see Sheldrake's name in Bud's handwriting - booked for the following dates : Monday, December 14, Thursday, December 17, Monday, December 21, Thursday, December 24.", "INT. SWITCHBOARD ROOM - DAY Perched on top of the switchboard is a small decorated Christmas tree, and the operators are dispensing holiday greetings to all callers. OPERATORS Consolidated Life - Merry Christmas - I'll connect you - Consolidated Life - Merry Christmas - I'm ringing - In the foreground, Sylvia is engaged in a private conversation of her own. SYLVIA -LRB- into mouthpiece. -RRB- Yeah? - YEAH? - Where? - You bet - She tears off her headset, and turns to the other girls. SYLVIA Somebody watch my line - there's a swinging party up on the nineteenth floor - She scoots out the door. The other girls immediately abandon their posts, and dash after her.", "INT. NINETEENTH FLOOR - DAY It's a swinging party, all right. Nobody is working. Several desks have been cleared and pushed together, and on top of this improvised stage four female employees and Mr. Dobisch, with his pants - legs rolled up, are doing a Rockette kick routine to the tune of JINGLE BELLS. Employees are ringed around the performers, some drinking out of paper cups, others singing and clapping in rhythm. One of the cubicles has been transformed into a bar, and it is jammed with people. Mr. Kirkeby and Mr. Vanderhof are pouring - each has a couple of bottles of liquor in his hands, and is emptying them into the open top of a water - cooler. But the stuff is flowing out as fast as it flows in - everybody is in line with a paper cup waiting for a refill. Bud comes shouldering his way out of the crowded cubicle, holding aloft two paper cups filled with booze. Since his promotion he has bought himself a new suit, dark flannel, and with it he wears a white shirt with a pinned round collar, and a foulard tie. He also has quite a glow on. Detouring past necking couples, he heads in the direction of the elevators. The doors of Fran's elevator are just opening, and the switchboard operators, led by Sylvia, come streaming out. SYLVIA -LRB- to a colleague. -RRB- - so I said to him : Never again! - either get yourself a bigger car or a smaller girl - As they head for the party, they pass Bud, who is approaching the elevator with the two drinks. Fran is just closing the elevator doors. BUD Miss Kubelik. The doors slide open again, and Fran looks out. Instead of the customary carnation in the lapel of her uniform, she wears a sprig of holly. BUD -LRB- holding out one of the drinks. -RRB- Marry Christmas. FRAN Thank you. -LRB- takes drink. -RRB- I thought you were avoiding me. BUD What gave you that idea? FRAN In the last six weeks you've only been in my elevator once - and then you did n't take your hat off. BUD Well, as a matter of fact, I was rather hurt when you stood me up that night - FRAN I do n't blame you. It was unforgivable. BUD I forgive you. FRAN You should n't. BUD You could n't help yourself. I mean, when you're having a drink with one man, you ca n't just suddenly walk out on him because you have another date with another man. You did the only decent thing. FRAN Do n't be too sure. Just because I wear a uniform - that does n't make me a Girl Scout. BUD Miss Kubelik, one does n't get to be a second administrative assistant around here unless he's a pretty good judge of character - and as far as I'm concerned, you're tops. I mean, decency - wise - and otherwise - wise. -LRB- toasting. -RRB- Cheers. FRAN Cheers. They down their drinks. Bud takes the empty cup from her. BUD One more? FRAN -LRB- indicating elevator. -RRB- I should n't drink when I'm driving. BUD You're so right. He reaches into the elevator, takes a cardboard sign off a hook, hangs it on the elevator door. It reads USE OTHER ELEVATOR. BUD By the power vested in me, I herewith declare this elevator out of order. -LRB- leading her toward the party. -RRB- Shall we join the natives? FRAN Why not? -LRB- as they pass a kissing couple. -RRB- They seem friendly enough. BUD Do n't you believe it. Later on there will be human sacrifices - white collar workers tossed into the computing machines, and punched full of those little square holes. FRAN How many of those drinks did you have? BUD -LRB- holding up four fingers. -RRB- Three. FRAN I thought so. They have now reached the entrance to the bar, which is overflowing with thirsty natives. BUD You wait here. I think I hear the sound of running water. He leaves her outside the cubicle, and elbows his way through the crowd toward the booze - filled water cooler. Out of another cubicle comes Miss Olsen, cup in hand. She too has had quite a few. Seeing Fran, she walks up to her, with an acid smile on her face. MISS OLSEN Hi. How's the branch manager from Kansas City? FRAN I beg your pardon? MISS OLSEN I'm Miss Olsen - Mr. Sheldrake's secretary. FRAN Yes, I know. MISS OLSEN So you do n't have to play innocent with me. He used to tell his wife that I was the branch manager from Seattle - four years ago when we were having a little ring - a - ding - ding. FRAN I do n't know what you're talking about. MISS OLSEN And before me there was Miss Rossi in Auditing - and after me there was Miss Koch in Disability - and just before you there was Miss What's - Her - Name, on the twenty - fifth floor - FRAN -LRB- wanting to get away. -RRB- Will you excuse me? MISS OLSEN -LRB- holding her by the arm. -RRB- What for? You have n't done anything - it's him - what a salesman - always the last booth in the Chinese restaurant - and the same pitch about divorcing his wife - and in the end you wind up with egg foo yong on your face. Bud comes burrowing out of the crowded cubicle, balancing the two filled paper cups, spots Fran. BUD Miss Kubelik. Fran turns away from Miss Olsen. FRAN Well - thank you. MISS OLSEN Always happy to do something for our girls in uniform. She moves off as Bud joins Fran, who is looking a little pale. BUD You all right? What's the matter? FRAN Nothing. -LRB- takes the drink. -RRB- There are just too many people here. BUD Why do n't we step into any office? There's something I want your advice about, anyway. -LRB- leads her toward his cubicle. -RRB- I have my own office now, naturally. And you may be interested to know I'm the second youngest executive in the company - the only one younger is a grandson of the chairman of the board.", "INT. BAXTER'S OFFICE - DAY Bud ushers Fran in, and is confronted by a strange couple necking in the corner. He gestures them out, crosses to his desk. BUD Miss Kubelik, I would like your honest opinion. I've had this in my desk for a week - cost me fifteen dollars - but I just could n't get up enough nerve to wear it - From under the desk he has produced a hatbox, and out of the hatbox a black bowler, which he now puts on his head. BUD It's what they call the junior executive model. What do you think? Fran looks at him blankly, absorbed in her own thoughts. BUD Guess I made a boo - boo, huh? FRAN -LRB- paying attention again. -RRB- No - I like it. BUD Really? You mean you would n't be ashamed to be seen with somebody in a hat like this? FRAN Of course not. BUD Maybe if I wore it a little more to the side -. -LRB- adjusting hat. -RRB- is that better? FRAN Much better. BUD Well, as long as you would n't be ashamed to be seen with me - how about the three of us going out this evening - you and me and the bowler - stroll down Fifth Avenue - sort of break it in - FRAN This is a bad day for me. BUD I understand. Christmas - family and all that - FRAN I'd better get back to my elevator. I do n't want to be fired. BUD Oh, you do n't have to worry about that. I have quite a bit of influence in Personnel. You know Mr. Sheldrake? FRAN -LRB- guardedly. -RRB- Why? BUD He and I are like this. -LRB- crosses his fingers. -RRB- Sent me a Christmas card. See? He has picked up a Christmas card from his desk, shows it to Fran. It is a photograph of the Sheldrake clan grouped around an elaborate Christmas tree - Mr. and Mrs. Sheldrake, the two boys in military school uniforms, and a big French poodle. Underneath it says : SEASON'S GREETINGS from the SHELDRAKES. Emily, Jeff, Tommy, Jeff Jr., and Figaro. FRAN -LRB- studying the card ruefully. -RRB- Makes a cute picture. BUD I thought maybe I could put in a word for you with Mr. Sheldrake - get you a little promotion - how would you like to be an elevator starter? FRAN I'm afraid there are too many other girls around here with seniority over me. BUD No problem. Why do n't we discuss it sometime over the holidays - I could call you and pick you up and we'll have the big unveiling -. -LRB- touching the brim of his bowler. -RRB- - you sure this is the right way to wear it? FRAN I think so. BUD You do n't think it's tilted a little too much - Fran takes her compact out of her uniform pocket, opens it, hands it to Bud. FRAN Here. BUD -LRB- examining himself in the mirror. -RRB- After all, this is a conservative firm - I do n't want people to think I'm an entertainer - His voice trails off. There is something familiar about the cracked mirror of the compact - and the fleur - de - lis pattern on the case confirms his suspicion. Fran notices the peculiar expression on his face. FRAN What is it? BUD -LRB- with difficulty. -RRB- The mirror - it's broken. FRAN I know. I like it this way - makes me look the way I feel. The phone has started to ring. Bud does n't hear it. He closes the compact, hands it to Fran. FRAN Your phone. BUD Oh. -LRB- picks up phone from desk. -RRB- Yes? -LRB- throws a quick look at Fran. -RRB- Just a minute. -LRB- covers mouthpiece ; to Fran. -RRB- If you do n't mind - this is sort of personal FRAN All right. Have a nice Christmas. She exits, closing the door. Bud takes his hand off the mouthpiece. BUD -LRB- every word hurts. -RRB- Yes, Mr. Sheldrake - no, I did n't forget - the tree is up and the Tom and Jerry mix is in the refrigerator - yes, sir - same to you. He hangs up, stands there for a moment, the bowler still on his head, the noise from the party washing over him. He slowly crosses to the clothes - tree. picks up his coat - a new, black chesterfield. With the coat over his arm, he starts out of the office.", "INT. NINETEENTH FLOOR - DAY The party has picked up tempo. On top of the desks, Sylvia is doing a mock strip tease - without taking any clothes off. There is hollering, drinking and clapping all around her. Bud moves past the floor show, paying no attention. Kirkeby spots him, detaches himself from the cheering section around Sylvia. KIRKEBY Where you going, Buddy - boy? The party's just starting. -LRB- catching up with him. -RRB- Listen, kid - give me a break, will you - how about tomorrow afternoon? I ca n't take her to that drive - in again - the car does n't even have a heater four o'clock - okay? Bud ignores him, continues walking through the ranks of empty desks.", "INT. CHEAP BAR - COLUMBUS AVENUE IN THE SIXTIES - EVENING It is six o'clock, and the joint is crowded with customers having one for the road before joining their families for Christmas Eve. There are men with gaily wrapped packages, small trussed - up Christmas trees, a plucked turkey in a plastic bag. Written across the mirror behind the bar, in glittering white letters, is HAPPY HOLIDAYS. Everybody is in high spirits, laughing it up and toasting each other. Everybody except Bud Baxter. He is standing at the bar in his chesterfield and bowler, slightly isolated, brooding over an almost empty martini glass. The bartender comes up, sets down a fresh martini with an olive on a toothpick, takes his payment from a pile of bills and coins lying in front of Bud. Bud fishes out the olive, adds it to half a dozen other impaled olives neatly arranged in fan shape on the counter. He is obviously trying to complete the circle. A short, rotund man dressed as Santa Claus hurries in from the street, and comes up to the bar beside Bud. SANTA CLAUS -LRB- to bartender. -RRB- Hey, Charlie - give me a shot of bourbon - and step on it - my sleigh is double parked. He laughs uproariously at his own joke, nudges Bud with his elbow. Bud stares at him coldly, turns back to his martini. The laughter dies in Santa Claus' throat. He gets his short of bourbon, moves down the bar to find more convivial company. Standing near the end of the curved bar is a girl in her middle twenties wearing a ratty fur coat. Her name is MARGIE MacDOUGALL, she is drinking a Rum Collins through a straw, and she too is alone. From a distance, she is studying Bud with interest. On the bar in front of her is a container of straws in paper wrappers. She takes one of them out, tears off the end of the paper, blows through the straw - sending the wrapper floating toward Bud. The paper wrapper passes right in front of Bud's nose. He does n't notice it. Margie, undaunted, lets go with another missile. This time the wrapper lands on the brim of Bud's bowler. No reaction. Another wrapper comes floating in, hits Bud's cheek. He never takes his eye off his martini. Margie leaves her place, and carrying her handbag and her empty glass, comes up alongside Bud. Without a word, she reaches up and removes the wrapper from Bud's bowler. MARGIE You buy me a drink, I'll buy you some music. -LRB- sets the glass down. -RRB- Rum Collins. Not waiting for an answer, she heads for the juke box. Bud looks after her noncommittally, then turns to the bartender. BUD Rum Collins. -LRB- indicating martini glass. -RRB- And another one of these little mothers. At the juke box, Margie has dropped a coin in and made her selection. The music starts - ADESTE FIDELIS. She rejoins Bud at the bar just as the bartender is putting down their drinks in front of them. Bud removes the new olive, adds it to the pattern on the counter in front of him. They both drink, staring straight ahead. For quite a while, there is complete silence between them. MARGIE -LRB- out of nowhere. -RRB- You like Castro? -LRB- a blank look from Bud. -RRB- I mean - how do you feel about Castro? BUD What is Castro? MARGIE You know, that big - shot down in Cuba with the crazy beard. BUD What about him? MARGIE Because as far as I'm concerned, he's a no good fink. Two weeks ago I wrote him a letter - never even answered me. BUD That so. MARGIE All I wanted him to do was let Mickey out for Christmas. BUD Who is Mickey? MARGIE My husband. He's in Havana - in jail. BUD Oh. Mixed up in that revolution? MARGIE Mickey? He would n't do nothing like that. He's a jockey. They caught him doping a horse. BUD Well, you ca n't win'em all. They sit there silently for a moment, contemplating the injustices of the world. MARGIE -LRB- to herself. -RRB-'T was the night before Christmas And all through the house Not a creature was stirring - Nothing - No action - Dullsville! -LRB- drinks ; to Bud. -RRB- You married? BUD No. MARGIE Family? BUD No. MARGIE A night like this, it sort of spooks you to walk into an empty apartment. BUD I said I had no family - I did n't say I had an empty apartment. They both drink.", "INT. BUD'S APARTMENT - EVENING The living room is dark, except for a shaft of light from the kitchen, and the glow of the colored bulbs on a small Christmas tree in front of the phony fireplace. Hunched up in one corner of the couch is Fran, still in her coat and gloves, crying softly. Pacing up and down is Sheldrake. His coat and hat are on a chair, as are several Christmas packages. On the coffee table are an unopened bottle of Scotch, a couple of untouched glasses, and a bowl of melting ice. SHELDRAKE -LRB- stops and faces Fran. -RRB- Come on, Fran - do n't be like that. You just going to sit there and keep bawling? -LRB- no answer. -RRB- You wo n't talk to me, you wo n't tell me what's wrong -. -LRB- a new approach. -RRB- Look, I know you think I'm stalling you. But when you've been married to a woman for twelve years, you do n't just sit down at the breakfast table and say `` Pass the sugar - and I want a divorce.'' It's not that easy. -LRB- he resumes pacing ; Fran continues crying. -RRB- Anyway, this is the wrong time. The kids are home from school - my in - laws are visiting for the holidays - I ca n't bring it up now. -LRB- stops in front of her. -RRB- This is n't like you, Fran - you were always such a good sport - such fun to be with - FRAN -LRB- through tears. -RRB- Yeah - that's me. The Happy Idiot - a million laughs. SHELDRAKE Well, that's more like it. At least you're speaking to me. FRAN Funny thing happened to me at the office party today - I ran into your secretary - Miss Olsen. You know - ring - a - ding - ding? I laughed so much I like to died. SHELDRAKE Is that what's been bothering you - Miss Olsen? That's ancient history. FRAN I was never very good at history. Let me see - there was Miss Olsen, and then there was Miss Rossi - no, she came before - it was Miss Koch who came after Miss Olsen - SHELDRAKE Now, Fran - FRAN And just think - right now there's some lucky girl in the building who's going to come after me - SHELDRAKE Okay, okay, Fran. I deserve that. But just ask yourself - why does a man run around with a lot of girls? Because he's unhappy at home - because he's lonely, that's why - all that was before you, Fran - I've stopped running. Fran has taken a handkerchief out of her bag and is dabbing her eyes. FRAN How could I be so stupid? You'd think I would have learned by now - when you're in love with a married man, you should n't wear mascara. SHELDRAKE It's Christmas Eve, Fran - let's not fight. FRAN Merry Christmas. She hands him a flat, wrapped package. SHELDRAKE What is it? He strips away the wrapping to reveal a long - playing record. The cover reads : RICKSHAW BOY - Jimmy Lee Kiang with Orchestra. SHELDRAKE Oh. Our friend from the Chinese restaurant. Thanks, Fran. We better keep it here. FRAN Yeah, we better. SHELDRAKE I have a present for you. I did n't quite know what to get you - anyway it's a little awkward for me, shopping -. -LRB- he has taken out a money clip, detaches a bill. -RRB- - so here's a hundred dollars - go out and buy yourself something. He holds the money out, but she does n't move. Sheldrake slips the bill into her open bag. SHELDRAKE They have some nice alligator bags at Bergdorf's - Fran gets up slowly and starts peeling off her gloves. Sheldrake looks at her, then glances nervously at his wrist watch. SHELDRAKE Fran, it's a quarter to seven - and I must n't miss the train - if we had n't wasted all that time - I have to get home and trim the tree - Fran has started to remove her coat. FRAN Okay. -LRB- shrugs the coat back on. -RRB- I just thought as long as it was paid for - SHELDRAKE -LRB- an angry step toward her. -RRB- Do n't ever talk like that, Fran! Do n't make yourself out to be cheap. FRAN A hundred dollars? I would n't call that cheap. And you must be paying somebody something for the use of the apartment - SHELDRAKE -LRB- grabbing her arms. -RRB- Stop that, Fran. FRAN -LRB- quietly. -RRB- You'll miss your train, Jeff. Sheldrake hurriedly puts on his hat and coat, gathers up his packages. SHELDRAKE Coming? FRAN You run along - I want to fix my face. SHELDRAKE -LRB- heading for the door. -RRB- Do n't forget to kill the lights. See you Monday. FRAN Sure. Monday and Thursday - and Monday again - and Thursday again - SHELDRAKE -LRB- that stops him in the half - open door. -RRB- It wo n't always be like this. -LRB- coming back. -RRB- I love you, Fran. Holding the packages to one side, he tries to kiss her on the mouth. FRAN -LRB- turning her head. -RRB- Careful - lipstick. He kisses her on the cheek, hurries out of the apartment, closing the door. Fran stands there for a while, blinking back tears, then takes the long - playing record out of its envelope, crosses to the phonograph. She puts the record on, starts the machine - the music is JEALOUS LOVER. As it plays, Fran wanders aimlessly around the darkened room, her body wracked by sobs. Finally she regains control of herself, and picking up her handbag, starts through the bedroom toward the bathroom. In the bathroom, Fran switches on the light, puts her bag on the sink, turns on the faucet. Scooping up some water, she washes the smeared mascara away, then turns the faucet off, picks up a towel As she is drying her face, she notices in the pull - away shaving mirror the magnified reflection of a vial of pills on the medicine shelf. Fran reaches out for the vial, turns it slowly around in her hand. The label reads : SECONAL - ONE AT BEDTIME AS NEEDED FOR SLEEP. Fran studies the label for a second, then returns the vial to the shelf. She opens her handbag, takes out a lipstick. As she does so, she sees the hundred dollar bill Sheldrake left in the bag. Her eyes wander back to the vial on the medicine shelf. Then very deliberately she picks up Bud's mouthwash glass, removes the two toothbrushes from it, turns on the faucet, starts filling the glass with water.", "INT. CHEAP BAR - COLUMBUS AVENUE - NIGHT The joint is deserted now except for the Santa Claus, who is leaning against the bar, quite loaded, and Bud and Margie MacDougall, who are dancing to a slow blues coming from the juke box. Bud is still in his overcoat and bowler, and Margie is wearing her fur coat. The bartender is sweeping up the place. BARTENDER -LRB- to Santa Claus. -RRB- Drink up, Pop. It's closing time. SANTA CLAUS But it's early, Charlie. BARTENDER Do n't you know what night this is? SANTA CLAUS I know, Charlie. I know. I work for the outfit. He polishes off his drink, walks out unsteadily. The bartender approaches the dancers. BARTENDER Hey, knock it off, will you? Go home. Bud and Margie ignore him, continue dancing - or rather swaying limply cheek - to - cheek. The bartender crosses to the juke box, pulls the plug out. The music stops, but not Bud and Margie - they continue dancing. BARTENDER O - U - T - out! He goes to the front of the bar, starts to extinguish the lights. Margie picks up her handbag from the bar, and Bud downs the remains of his drink. MARGIE Where do we go - my place or yours? BUD -LRB- peering at his watch. -RRB- Might as well go to mine - everybody else does. He leads her through the dark bar toward the entrance. The bartender holds the door open for them as they go out.", "EXT. BROWNSTONE HOUSE - NIGHT Bud and Margie come walking down the street. As they reach the house, Bud starts up the steps, but Margie continues along the sidewalk. MARGIE Poor Mickey - when I think of him all by himself in that jail in Havana -. -LRB- opening her handbag. -RRB- - want to see his picture? BUD -LRB- from steps. -RRB- Not particularly. Margie, realizing her mistake, hurries back to join him. MARGIE He's so cute - five - foot - two - ninety - nine pounds. like a little chihuahua. They pass through the front door into the vestibule.", "INT. STAIRCASE - BROWNSTONE HOUSE - NIGHT Bud and Margie are mounting the stairs toward the apartment. MARGIE Can I ask you a personal question? BUD No. MARGIE You got a girl - friend? BUD She may be a girl - but she's no friend of mine. MARGIE Still stuck on her, huh. BUD Stuck on her! Obviously, you do n't know me very well. MARGIE I do n't know you at all. BUD Permit me - C.C. Baxter - junior executive, Arthur Murray graduate, lover. MARGIE I'm Mrs. MacDougall - Margie to you. Bud has taken the key out of his pocket, opened the door to his apartment. BUD This way, Mrs. MacDougall. He ushers her in.", "INT. APARTMENT - NIGHT It is exactly the way we left it. There is no sign of Fran, except for the gloves she dropped on the coffee table earlier. Bud switches on the light, shuts the door. MARGIE -LRB- looking around. -RRB- Say, this is Snugsville. BUD -LRB- helping her out of her coat. -RRB- Mrs. MacDougall, I think it is only fair to warn you that you are now alone with a notorious sexpot. MARGIE -LRB- a gleam. -RRB- No kidding. BUD Ask anybody around here. As a matter of fact, when it's time for me to go - and I may go just like that -. -LRB- snaps his fingers. -RRB- - I have promised my body to the Columbia Medical Center. MARGIE -LRB- shuddering deliciously. -RRB- Gee. Sort of gives you goose - bumps just to think about it. BUD Well, they have n't got me yet, baby. Dig up some ice from the kitchen and let's not waste any time - preliminary - wise. MARGIE I'm with you, lover. She takes the bowl of melted ice Bud has handed her, disappears into the kitchen. As Bud starts to remove his coat, he becomes aware of a scratching noise from the phonograph. He crosses to it, sees that the needle is stuck in the last groove of a long - playing record. Bud lifts the record off, examines it curiously, then puts it aside and substitutes the cha cha record. As the music starts, he dances over to the coat - rack beside the door, hangs up his chesterfield and bowler. He turns back into the room, still dancing, suddenly spots Fran's gloves on the coffee table. He picks up the gloves, looks around for some convenient place to get rid of them. Moving over to the bedroom door, he opens it, tosses the gloves toward the bed inside. He shuts the door, starts to turn away, freezes in a delayed reaction to something he saw inside. He quickly opens the door again, looks. Sprawled across the bed, on top of the bedspread, is Fran. The light from the bathroom falls across her. She is fully dressed, still in her coat, and apparently asleep. Bud steps into the bedroom, closing the door behind him, walks over to Fran. BUD All right, Miss Kubelik - get up. It's past checking - out time, and the hotel management would appreciate it if you would get the hell out of here. -LRB- Fran does n't stir. -RRB- Look, Miss Kubelik, I used to like you - I used to like you a lot - but it's all over between us - so beat it - O - U - T - out! -LRB- no reaction ; he puts a hand on her shoulder, shakes her. -RRB- Come on - wake up! She does n't respond. But something falls out of her hand, rolls across the bed. Bud picks it up, looks at it - it is his sleeping - pill vial, now uncapped and empty. BUD -LRB- a hoarse whisper. -RRB- Oh, my God. For a second he is paralyzed. Then he drops the vial, grabs Fran, lifts her into a sitting position on the bed, shakes her violently. BUD Miss Kubelik! Miss Kubelik! Fran's head droops to one side, like a rag doll's. Bud lets go of her, rushes out. In the living room, the phonograph is still cha cha - ing away. Bud dashes to the phone, picks it up. Then it occurs to him that he does n't know whom to call and he hangs up. Out of the kitchen comes Margie, with a bowlful of ice cubes. MARGIE I broke a nail trying to get the ice - tray out. You ought to buy yourself a new refrigerator. Bud, not listening, runs past her to the hall door and out. MARGIE -LRB- calling after him. -RRB- I did n't mean right now.", "INT. SECOND FLOOR LANDING - NIGHT Bud arrives at the door of the Dreyfuss apartment, starts ringing the doorbell and pounding with his fist. BUD Dr. Dreyfuss! Hey, Doc! The door opens, and Dr. Dreyfuss stands there sleepily, pulling on his beaten bathrobe. BUD -LRB- words tumbling over each other. -RRB- There's a girl in my place - she took some sleeping pills - you better come quick - I ca n't wake her up. DR. DREYFUSS Let me get my bag. He disappears from the doorway. BUD Hurry up, Doc. Bud turns and runs back into his apartment.", "INT. APARTMENT - NIGHT Margie has settled herself comfortably on the couch, and is fixing the drinks. The cha cha music is still going. Bud comes flying in, heads for the bedroom. MARGIE Hey - over here, lover. Bud stops in his tracks, suddenly aware of her. MARGIE What's all this running around? You're going to wear yourself out. Bud strides over to her purposefully, yanks her up to her feet. MARGIE Not so rough, honey. BUD -LRB- taking the glass out of her hand. -RRB- Good night. MARGIE Good night? BUD -LRB- thrusting the fur coat at her. -RRB- The party's over. MARGIE What's the matter? Did I do something wrong? BUD -LRB- easing her toward door. -RRB- It's an emergency - see you some other time. Dr. Dreyfuss comes hurrying in, carrying his medical bag. He stops, bewildered by the sound of music and the sight of a wide - awake girl in the apartment. BUD Not this one -. -LRB- pointing to the bedroom. -RRB- - in there, Doc. Dr. Dreyfuss proceeds into the bedroom. MARGIE Say, what's going on here, anyway? BUD Nothing. -LRB- propelling her toward the door. -RRB- Just clear out, will you? MARGIE -LRB- pointing back. -RRB- My shoes. Bud reaches under the coffee table, where she left her shoes, retrieves them. MARGIE -LRB- bitterly. -RRB- Some lover you are. Some sexpot! Bud shoves the shoes at her, takes a bill out of his wallet, hands it to her. BUD Here - find yourself a phone booth and call your husband in Havana. MARGIE You bet I will. And when I tell him how you treated me, he'll push your face in. -LRB- he shoves her through the open door. -RRB- You fink! Bud slams the door shut, starts toward the bedroom. Halfway there, he becomes aware that the cha cha record is still on. He detours to the phonograph, switches it off, continues into the bedroom. In the bedroom, the overhead light is on, and Dr. Dreyfuss is working on the unconscious Fran. He has removed her coat, and is shining a flashlight into her eyes, examining her pupils. Bud approaches the bed worriedly. BUD She going to be all right, Doc? DR. DREYFUSS How many pills were in that bottle? BUD It was half - full - about a dozen or so. You going to have to take her to the hospital? Dr. Dreyfuss ignores him. Out of his medical bag, he takes a stomach tube with a rubber funnel at the end. Then he starts to lift Fran off the bed. DR. DREYFUSS Help me, will you? Between them, they get Fran into an upright position. DR. DREYFUSS Into the bathroom. They half - carry, half - drag Fran's limp form toward the bathroom. BUD What are you going to do, Doc? DR. DREYFUSS Get that stuff out of her stomach - if it is n't too late. You better put some coffee on - and pray. Bud starts away as Dr. Dreyfuss takes Fran into the bathroom. Bud loses no time getting into the kitchen. He fills an aluminum kettle with water, strikes a match, lights the gas burner, puts the kettle on. Then he takes a jar of instant coffee and a chipped coffee mug out of the cupboard, shakes an excessive portion of coffee into the mug, sticks a spoon in it. He watches the kettle for a moment, mops his brow with a handkerchief, then starts back toward the bedroom. Bud crosses the bedroom to the half - open door of the bathroom, looks in anxiously. From inside come the sounds of a coughing spasm and running water. Bud turns away, undoes his tie and collar, paces the bedroom floor. Something on the night table attracts his attention - resting against the base of the lamp is a sealed envelope. Bud picks it up - on it, in Fran's handwriting, is one word, JEFF. He turns the letter over in his hand, trying to decide what to do with it. Dr. Dreyfuss emerges from the bathroom, carrying a pale, still unconscious Fran. Bud quickly conceals the suicide note behind his back. DR. DREYFUSS Bring my bag. He lugs Fran into the living room. Bud stashes the letter in his back pocket, picks up the medical bag, follows them. In the living room, Dr. Dreyfuss lowers Fran into a chair. Her chin falls to her chest. Dreyfuss takes the bag from Bud, fishes out a hypodermic syringe, draws 2 c.c.'s from a bottle of picrotoxin. DR. DREYFUSS Roll up her right sleeve. Bud does so. Dr. Dreyfuss hands the hypodermic to Bud, searches for a spot for the injection. DR. DREYFUSS Nice veins. He swabs the spot with alcohol, takes the hypodermic back from Bud. DR. DREYFUSS Want to tell me what happened? BUD I do n't know - I mean - I was n't here - you see - we had some words earlier - nothing serious, really - what you might call a lovers' quarrel - DR. DREYFUSS -LRB- making off - scene injection. -RRB- So you went right out and picked yourself up another dame. BUD Something like that. DR. DREYFUSS You know, Baxter, you're a real cutie - pie - yes, you are. Bud just stands there, taking it. Fran stirs slightly, and from her parched lips comes a low moan. Dr. Dreyfuss grabs her by the hair, lifts her head up. DR. DREYFUSS If you'd come home half an hour later, you would have had quite a Christmas present. With his free hand, Dr. Dreyfuss slaps Fran viciously across the face. Bud winces. Dreyfuss, still holding Fran by the hair, takes a box of ammonia ampules out of his bag. He crushes one of the ampules in his hand, passes it under her nose. Fran tries to turn her head away. Dreyfuss slaps her again, hard, crushes another ampule, repeats the process. Bud is watching tensely. From the kitchen comes the whistle of the boiling kettle, but Bud pays no attention. DR. DREYFUSS Get the coffee. Bud hurries into the kitchen. He turns off the gas, pours the boiling water into the mug with the instant coffee, stirs it. From off, come the sounds of more slapping and some moaning. Bud carries the coffee out. In the living room, Dr. Dreyfuss is working another ammonia ampule under Fran's nose. Her eyes start fluttering. Dreyfuss takes the coffee mug from Bud, forces it between Fran's lips, pours coffee into her mouth. Fran resists instinctively, half the coffee dribbling over her chin and dress, but Dr. Dreyfuss keeps at it. DR. DREYFUSS Let's get some air in here. Open the windows. Bud complies promptly - pulls up the shades, opens the windows wide. DR. DREYFUSS -LRB- putting the empty mug down. -RRB- What's her name? BUD Miss Kubelik - Fran. DR. DREYFUSS -LRB- to Fran, slowly. -RRB- Fran, I'm a doctor. I'm here because you took too many sleeping pills. Do you understand what I'm saying? -LRB- Fran mutters something. -RRB- Fran, I'm Dr. Dreyfuss - I'm here to help you. You took all those sleeping pills - remember? FRAN -LRB- mumbling groggily. -RRB- Sleeping pills. DR. DREYFUSS That's right, Fran. And I'm a doctor. FRAN Doctor. DR. DREYFUSS Dr. Dreyfuss. FRAN Dreyfuss. DR. DREYFUSS -LRB- to Bud. -RRB- Get more coffee. Bud picks up the mug, leaves. DR. DREYFUSS -LRB- to Fran. -RRB- Tell me again - what's my name? FRAN Dr. Dreyfuss. DR. DREYFUSS And what happened to you? FRAN I took sleeping pills. DR. DREYFUSS Do you know where you are, Fran? FRAN -LRB- looking around blankly. -RRB- No. DR. DREYFUSS Yes, you do. Now concentrate. FRAN I do n't know. Bud is coming back with the coffee. DR. DREYFUSS -LRB- pointing to Bud. -RRB- Do you know who this is? -LRB- Fran tries to focus. -RRB- Look at him. FRAN Mr. Baxter - nineteenth floor. BUD Hello, Miss Kubelik. DR. DREYFUSS -LRB- to Bud. -RRB- Mister - Miss - such politeness! BUD -LRB- to Dr. Dreyfuss, discreetly. -RRB- Well - we work in the same building - and we try to keep it quiet - FRAN -LRB- to Bud, puzzled. -RRB- What are you doing here? Bud throws Dr. Dreyfuss a look, as if to say that Fran's mind still was n't functioning properly. BUD -LRB- to Fran. -RRB- Do n't you remember? We were at the office party together - FRAN Oh, yes - office party - Miss Olsen - BUD That's right. -LRB- to Dr. Dreyfuss ; improvising rapidly. -RRB- I told you we had a fight - that's what it was about - Miss Olsen - you know that other girl you saw - FRAN -LRB- still trying to figure out Bud's presence. -RRB- I do n't understand - BUD It's not important, Fran - the main thing is that I got here in time - and you're going to be all right -. -LRB- to Dr. Dreyfuss. -RRB- - is n't she, Doc? FRAN -LRB- closing her eyes. -RRB- I'm so tired - DR. DREYFUSS Here - drink this. He forces her to swallow some coffee. FRAN -LRB- pushing the mug away. -RRB- Please - just let me sleep. DR. DREYFUSS You ca n't sleep. -LRB- shaking her. -RRB- Come on, Fran - open your eyes. -LRB- to Bud. -RRB- Let's get her walking. We've got to keep her awake for the next couple of hours. They lift her from the chair, and each draping one of her arms over his shoulder, they start to walk her up and down the room. DR. DREYFUSS -LRB- urging Fran on. -RRB- Now walk, Fran. One, two, three, four - one, two, three, four - that's the idea - left, right, left, right - now we turn - one, two, three, four - At first, Fran's feet just drag along the floor between them. But gradually, as Dr. Dreyfuss' voice continues droning hypnotically, she falls into the rhythm of it, repeating the words after him and putting her weight on her feet. DR. DREYFUSS Left, right, left, right - walk, walk, walk - one, two, three, four - turn - left, right, left, right - now you got it -", "INT. THE APARTMENT - DAWN Through the bedroom window comes the first faint light of dawn. Fran has been put to bed by an exhausted Dr. Dreyfuss. She is in her slip, and Dreyfuss is just drawing the blanket over her. Her eyes are closed, and she is moaning fitfully. Watching from the doorway is Bud, in shirtsleeves now, weary and disheveled. DR. DREYFUSS She'll sleep on and off for the next twenty - four hours. Of course, she'll have a dandy hangover when she wakes up - BUD Just as long as she's okay. DR. DREYFUSS -LRB- massaging his calves. -RRB- These cases are harder on the doctor than on the patient. I ought to charge you by the mile. They have now moved out into the living room, where the overhead light and the Christmas tree bulbs are still on. DR. DREYFUSS Any of that coffee left? BUD Sure. He goes into the kitchen. Dr. Dreyfuss takes a small notebook with a fountain pen clipped to it out of his bag, sinks down on the couch. DR. DREYFUSS How do you spell her last name? BUD -LRB- from kitchen. -RRB- Kubelik - with two k's. DR. DREYFUSS What's her address? -LRB- no answer from Bud. -RRB- Where does she live? Bud appears from the kitchen, stirring the coffee powder in a cup of hot water. BUD -LRB- apprehensive. -RRB- Why do you want to know, Doc? You do n't have to report this, do you? DR. DREYFUSS It's regulations. BUD -LRB- setting the coffee down. -RRB- She did n't mean it, Doc - it was an accident - she had a little too much to drink and - she did n't know what she was doing - there was no suicide note or anything - believe me, Doc, I'm not thinking about myself - DR. DREYFUSS -LRB- sipping the hot coffee. -RRB- Are n't you? BUD It's just that she's got a family - and there's the people in the office - look, Doc, ca n't you forget you're a doctor - let's just say you're here as a neighbor - DR. DREYFUSS -LRB- a long look at Bud. -RRB- Well, as a doctor, I guess I ca n't prove it was n't an accident. -LRB- closes notebook. -RRB- But as your neighbor, I'd like to kick your keester clear around the block. -LRB- indicating coffee. -RRB- Mind if I cool this off? He uncaps the bottle of Scotch, pours a large slug into his coffee. BUD Help yourself. DR. DREYFUSS -LRB- taking a big gulp of the spiked coffee. -RRB- I do n't know what you did to that girl in there - and do n't tell me - but it was bound to happen, the way you carry on. Live now, pay later. Diner's Club! -LRB- another swig. -RRB- Why do n't you grow up, Baxter? Be a mensch! You know what that means? BUD I'm not sure. DR. DREYFUSS A mansch - a human being! So you got off easy this time - so you were lucky - BUD Yeah, was n't I? DR. DREYFUSS -LRB- finishing coffee. -RRB- But you're not out of the woods yet, Baxter - because most of them try it again! -LRB- picks up bag, starts toward door. -RRB- You know where I am if you need me. He walks out, closing the door after him. Bud dejectedly turns off the overhead light, kicks out the plug of the Christmas tree lights, trudges into the bedroom. Fran is fast asleep. Bud picks up her dress, gets a hanger, drapes the dress over it, hangs it from the door. An early morning chill has invaded the room, and Bud switches an the electric blanket to keep Fran warm. Then he slumps into a chair beside the bed, looks at Fran compassionately. The light on the dial of the electric blanket glows in the grayish room. Bud just sits there, watching Fran.", "INT. STAIRCASE - BROWNSTONE HOUSE - DAY Mrs. Lieberman, followed by her dog, is climbing the stairs to Bud's apartment, puffing asthmatically. She seems quite angry as she arrives at the door and rings the bell. There is no answer. She starts knocking impatiently. MRS. LIEBERMAN Mr. Baxter. Open up already! Finally the door opens a crack, and Bud peers out. He looks like a man who has slept in his clothes - rumpled, bleary - eyed, unshaven. BUD Oh - Mrs. Lieberman. MRS. LIEBERMAN So who did you think it was - Kris Kringle? What was going on here last night? BUD Last night? MRS. LIEBERMAN All that marching - tramp, tramp, tramp - you were having army maneuvers maybe? BUD I'm sorry, Mrs. Lieberman - and I'll never invite those people again. MRS. LIEBERMAN What you get from renting to bachelors. All night I did n't sleep ten minutes - and I'm sure you woke up Dr. Dreyfuss. BUD Do n't worry about Dr. Dreyfuss - I happen to know he was out on a case. MRS. LIEBERMAN I'm warning you, Mr. Baxter - this is a respectable house, not a honky - tonky. -LRB- to the dog. -RRB- Come on, Oscar. Bud watches her start down the stairs with the dog, withdraws into the apartment.", "INT. THE APARTMENT - DAY Bud closes the door, crosses toward the bedroom, looks inside. Fran is asleep under the electric blanket, breathing evenly. He tries to shut the bedroom door, but it wo n't close completely because Fran's dress, on a hanger. is hooked over the top. He goes to the phone, picks it up, dials the operator. BUD -LRB- his voice low. -RRB- Operator, I want White Plains, New York - Mr. J. D. Sheldrake -. -LRB- an added thought. -RRB- - make it person to person.", "INT. LIVING ROOM - SHELDRAKE HOUSE - DAY The decor is split - level Early American. There is a huge Christmas tree and a jumble of presents, open gift boxes, and discarded wrappings. Sheldrake and his two sons, TOMMY and JEFF JR., are squatting on the floor, testing a Cape Canaveral set the kids got for Christmas. Sheldrake is in a brand new dressing gown, with a manufacturer's tag still dangling from it, and the boys are in pajamas and astronaut's helmets. As for the Cape Canaveral set, it is a miniature layout of block - houses, launching pads, and assorted space - missiles. Tommy has his finger on the button controlling one of the rockets. SHELDRAKE -LRB- counting down. -RRB- 7 - 6 - 5 - 4 - 3 - 2 - 1 - let her rip! Tommy presses the button, and a spring sends the rocket toward the ceiling. Just then, the phone in the entrance hall starts ringing. JEFF JR. I'll get it. He hurries to the phone. TOMMY Hey, Dad - why do n't we put a fly in the nose cone and see if we can bring it back alive? SHELDRAKE It's a thought. TOMMY Maybe we should send up two flies - and see if they'll propagate in orbit. SHELDRAKE See if they'll what? TOMMY Propagate - you know, multiply - baby flies? SHELDRAKE Oh - oh! JEFF JR. -LRB- coming back from the phone. -RRB- It's for you, Dad. A Mr. Baxter. SHELDRAKE -LRB- getting up. -RRB- Baxter? JEFF JR. Person to person. Sheldrake heads quickly for the phone. TOMMY -LRB- to Jeff Jr. -RRB- Come on - help me round up some flies. In the entrance hall, Sheldrake picks up the phone, turns his back toward the living room, speaks in a low voice. SHELDRAKE Hello? - yes - what's on your mind, Baxter? BUD - ON PHONE BUD I hate to disturb you, but something came up - it's rather important - and I think it would be a good idea if you could see me - at the apartment - as soon as possible. SHELDRAKE - ON PHONE SHELDRAKE You're not making sense, Baxter. What's this all about? BUD - ON PHONE BUD I did n't want to tell you over the phone but that certain party - you know who I mean - I found her here last night - she had taken an overdose of sleeping pills. SHELDRAKE - ON PHONE SHELDRAKE What? From the stairway beyond him comes : MRS. SHELDRAKE'S VOICE What is it, Jeff? Who's on the phone? Sheldrake turns from the phone. Halfway down the stairs is Mrs. Sheldrake, in a quilted house - robe. SHELDRAKE -LRB- a nice recovery. -RRB- One of our employees had an accident - I do n't know why they bother me with these things on Christmas Day. -LRB- into phone. -RRB- Yes, Baxter - just how serious is it? Out of the corner of his eye, he watches Mrs. Sheldrake come down the stairs, pass behind him on the way to the living room. BUD - ON PHONE BUD Well, it was touch and go there for a while - but she's sleeping it off now. He glances through the half - open door toward the sleeping Fran. BUD I thought maybe you'd like to be here when she wakes up. SHELDRAKE - ON PHONE SHELDRAKE That's impossible. -LRB- an apprehensive look toward the living room. -RRB- You'll have to handle this situation yourself - as a matter of fact, I'm counting on you -", "INT. THE APARTMENT - DAY BUD -LRB- into phone. -RRB- Yes, sir - I understand. -LRB- taking Fran's letter out of his pocket. -RRB- She left a note - you want me to open it and read it to you? -LRB- a beat. -RRB- Well, it was just a suggestion - no, you do n't have to worry about that, Mr. Sheldrake - I kept your name out of it so there'll be no trouble, police - wise or newspaper - wise - As Bud continues talking on the phone, Fran, in the bedroom, opens her eyes, looks around vaguely, trying to figure out where she is. She sits up in bed, winces, holds her head in her hands - she has a fierce hangover. BUD -LRB- into phone. -RRB- - you see, the doctor, he's a friend of mine - we were very lucky in that respect - actually, he thinks she's my girl - no, he just jumped to the conclusion - around here, I'm known as quite a ladies' man - In the bedroom Fran, becoming aware of Bud's voice, crawls out of bed and holding on to the furniture, moves unsteadily toward the living room door. BUD -LRB- into phone. -RRB- - of course, we're not out of the woods yet - sometimes they try it again - yes sir, I'll do my best - it looks like it'll be a couple of days before she's fully recovered, and I may have a little problem with the landlady - Behind him, Fran appears in the bedroom doorway, barefooted and in her slip. She leans groggily against the door post, trying to focus on Bud and to concentrate on what he's saying. BUD -LRB- into phone. -RRB- - all right, Mr. Sheldrake, I'll keep her in my apartment as long as I can - any sort of message you want me to give her? - well, I'll think of something - goodbye, Mr. Sheldrake. He hangs up the phone slowly. FRAN -LRB- weakly. -RRB- I'm sorry. Bud turns around, sees her standing there on rubbery legs. FRAN I'm sorry, Mr. Baxter. BUD Miss Kubelik -. -LRB- hurries toward her. -RRB- - you should n't be out of bed. FRAN I did n't know - I had no idea this was your apartment - BUD -LRB- putting his arm around her. -RRB- Let me help you. He leads her back into the bedroom. FRAN I'm so ashamed. Why did n't you just let me die? BUD What kind of talk is that? -LRB- he lowers her onto the bed. -RRB- So you got a little over - emotional - but you're fine now. FRAN -LRB- a groan. -RRB- My head - it feels like a big wad of chewing gum. What time is it? BUD Two o'clock. FRAN -LRB- struggling to her feet. -RRB- Where's my dress? I have to go home. Her knees buckle. Bud catches her. BUD You're in no condition to go anywhere - except back to bed. FRAN You do n't want me here - BUD Sure I do. It's always nice to have company for Christmas. He tries to put her back to bed. Fran resists. BUD Miss Kubelik, I'm stronger than you are - FRAN I just want to go brush my teeth - BUD Oh - of course. I think there's a new toothbrush somewhere. He crosses to the bathroom, takes a plaid robe off the hook on the back of the door, hands it to Fran. BUD Here - put this on. In the bathroom, he finds an unused toothbrush in a plastic container. His eyes fall on his safety razor. With a glance toward the bedroom, he unscrews the razor, removes the blade, drops it in his shirt pocket. Then he empties the blades from the dispenser, puts those in his pocket. Now he notices a bottle of iodine on the medicine shelf, stashes that in another pocket, just as Fran appears in the doorway wearing the robe. BUD -LRB- handing her the toothbrush. -RRB- Here. How about some breakfast? FRAN No - I do n't want anything. BUD I'll fix you some coffee. He crosses the bedroom, heading for the kitchen, stops. BUD Oh - we're all out of coffee - you had quite a lot of it last night - He thinks for a moment, hurries toward the hall door.", "INT. SECOND FLOOR LANDING - DAY Bud comes out of his apartment, leaving the door half open, heads for the Dreyfuss apartment. He rings the bell, peers down over the banister to make sure Mrs. Lieberman is n't snooping around. Mrs. Dreyfuss opens the door. BUD Mrs. Dreyfuss, can I borrow some coffee - and maybe an orange and a couple of eggs? MRS. DREYFUSS -LRB- contemptuously. -RRB- Eggs he asks me for. Oranges. What you need is a good horse - whipping. BUD Ma'am? MRS. DREYFUSS From me the doctor has no secrets. Poor girl - how could you do a thing like that? BUD I did n't really do anything - honest - I mean, you take a girl out a couple of times a week - just for laughs - and right away she thinks you're serious - marriage - wise. MRS. DREYFUSS Big shot! For you, I would n't lift a finger - but for her, I'll fix a little something to eat. She slams the door in his face, Bud starts back to his apartment.", "INT. THE APARTMENT - DAY Fran enters shakily from the bedroom, looks around for the phone, locates it, picks it up. As she starts dialing, Bud comes in from the hall. BUD Who are you calling, Miss Kubelik? FRAN My sister - she'll want to know what happened to me. BUD -LRB- alarmed. -RRB- Wait a minute - let's talk this over first. -LRB- hurries up to her, takes the receiver away. -RRB- Just what are you going to tell her? FRAN Well, I have n't figured it out, exactly. BUD You better figure it out - exactly. Suppose she asks you why you did n't come home last night? FRAN I'll tell her I spent the night with a friend. BUD Who? FRAN Someone from the office. BUD And where are you now? FRAN In his apartment. BUD His apartment? FRAN I mean - her apartment. BUD What's your friend's name? FRAN Baxter. BUD What's her first name? FRAN Miss. -LRB- she is impressed with her own cleverness. -RRB- BUD When are you coming home? FRAN As soon as I can walk. BUD Something wrong with your legs? FRAN No - it's my stomach. BUD Your stomach? FRAN They had to pump it out. BUD -LRB- hanging up the phone. -RRB- Miss Kubelik, I do n't think you ought to call anybody - not till that chewing gum is out of your head. -LRB- leads her into bedroom. -RRB- FRAN But they'll be worried about me - my brother - in - law may be calling the police - BUD That's why we have to be careful - we do n't want to involve anybody - after all, Mr. Sheldrake is a married man - FRAN Thanks for reminding me. She pulls away from him, starts to get into bed. BUD -LRB- contritely. -RRB- I did n't mean it that way - I was just talking to him on the phone - he's very concerned about you. FRAN He does n't give a damn about me. BUD Oh, you're wrong. He told me - FRAN He's a liar. But that's not the worst part of it - the worst part is - I still love him. The doorbell rings. BUD Must be Mrs. Dreyfuss -. -LRB- starts into living room. -RRB- - remember the doctor - from last night - that's his wife. He opens the hall door. Mrs. Dreyfuss brushes past him with a tray full of food. MRS. DREYFUSS So where is the victim? -LRB- Bud indicates the bedroom. -RRB- Max the Knife! She sweeps into the bedroom, Bud tagging along. MRS. DREYFUSS -LRB- to Fran. -RRB- Nu, little lady, how are we feeling today? FRAN I do n't know - kind of dizzy. MRS. DREYFUSS Here. The best thing for dizzy is a little noodle soup with chicken - white meat - and a glass tea. She sets the tray down on Fran's lap. FRAN Thank you. I'm really not hungry. MRS. DREYFUSS Go ahead! Eat! Enjoy! She hands her the soup spoon, turns to Bud. MRS. DREYFUSS You would n't have such a thing as a napkin, would you? BUD Well, I have some paper towels - MRS. DREYFUSS Beatnik! Go to my kitchen - third drawer, under the good silver, there is napkins. BUD Yes, Mrs. Dreyfuss. He starts out with a worried backward glance toward the two. Fran is just sitting there, the spoon in her hand, not touching the soup. MRS. DREYFUSS So what are you waiting for - a singing commercial? FRAN I ca n't eat. Mrs. Dreyfuss takes the spoon from her, starts to feed her. MRS. DREYFUSS You must eat - and you must get healthy - and you must forget him. Such a fine boy he seemed when he first moved in here - clean and cut - a regular Ivy Leaguer. Turns out he is King Farouk. Mit the drinking - mit the cha cha - mit the no napkins. A girl like you, for the rest of your life you want to cry in your noodle soup? Who needs it! You listen to me, you find yourself a nice, substantial man - a widower maybe - and settle down - instead of nashing all those sleeping pills - for what, for whom? - for some Good Time Charlie? -LRB- sees Bud approaching with napkin. -RRB- Sssh! BUD -LRB- gaily. -RRB- One napkin, coming up. -LRB- hands it to Fran. -RRB- I wish we had some champagne to wrap it around. MRS. DREYFUSS -LRB- to Fran. -RRB- What did I tell you? BUD -LRB- uncomfortable. -RRB- Look, Mrs. Dreyfuss, you do n't have to wait around. I'll wash the dishes and - MRS. DREYFUSS You wash'em, you break'em. I'll come back for them later. -LRB- to Fran. -RRB- If he makes trouble, give me a yell. She exits. FRAN She does n't seem to like you very much. BUD Oh, I do n't mind. As a matter of fact, I'm sort of flattered - that anybody should think a girl like you - would do a thing like this - over a guy like me. FRAN -LRB- glancing at night table. -RRB- Oh. Did you find something here - an envelope -? BUD Yes, I've got it. -LRB- takes envelope out of back pocket. -RRB- Do n't you think we'd better destroy it? So it wo n't fall into the wrong hands -? FRAN Open it. Bud tears open the envelope, takes out Sheldrake's hundred dollars. BUD There's nothing here but a hundred dollar bill. FRAN That's right. Will you see that Mr. Sheldrake gets it? BUD -LRB- shrugging. -RRB- Sure. He puts the money in his pocket. FRAN -LRB- holding out tray. -RRB- Here - take this, will you? Bud relieves her of the tray, sets it down. BUD You want me to move the television set in here? -LRB- Fran shakes her head. -RRB- You play gin rummy? FRAN I'm not very good at it. BUD I am. Let me get the cards. FRAN You do n't have to entertain me. Bud opens the bureau drawer, takes out a deck of cards, a score pad, and a pencil. BUD Nothing I'd like better - you know togetherness. Guess what I did last Christmas. Had an early dinner at the automat, then went to the zoo, then I came home and cleaned up after Mr. Eichelberger - he had a little eggnog party here. I'm way ahead this year. He pulls a chair up to the bed, starts to shuffle the cards. BUD Three across, spades double, high deals. -LRB- they cut. -RRB- Eight - ten. -LRB- he starts to deal. -RRB- FRAN -LRB- pensively. -RRB- I think I'm going to give it all up. BUD Give what up? FRAN Why do people have to love people, anyway? BUD Yeah - I know what you mean. -LRB- flips over down card. -RRB- Queen. FRAN I do n't want it. BUD Pick a card. She does, and they start playing. FRAN What do you call it when somebody keeps getting smashed up in automobile accidents? BUD A bad insurance risk? FRAN -LRB- nodding. -RRB- That's me with men. I've been jinxed from the word go - first time I was ever kissed was in a cemetery. BUD A cemetery? FRAN I was fifteen - we used to go there to smoke. His name was George - he threw me over for a drum majorette. BUD Gin. He spreads his hand. Fran lays her cards down, and Bud adds them up. BUD Thirty - six and twenty - five - that's sixty - one and two boxes. -LRB- enters score on pad. -RRB- FRAN I just have this talent for falling in love with the wrong guy in the wrong place at the wrong time. BUD -LRB- shuffling. -RRB- How many guys were there? FRAN -LRB- holding up four fingers. -RRB- Three. The last one was manager of a finance company, back home in Pittsburgh - they found a little shortage in his accounts, but he asked me to wait for him - he'll be out in 1965. BUD -LRB- pushing the deck toward her. -RRB- Cut. FRAN -LRB- she does, and he starts dealing. -RRB- So I came to New York and moved in with my sister and her husband - he drives a cab. They sent me to secretarial school, and I applied for a job with Consolidated - but I flunked the typing test - BUD Too slow? FRAN Oh. I can type up a storm, but I ca n't spell. So they gave me a pair of white gloves and stuck me in an elevator - that's how I met Jeff -. -LRB- her eyes mist up, and she puts her cards down. -RRB- Oh, God, I'm so fouled up. What am I going to do now? BUD You better win a hand - you're on a blitz. FRAN Was he really upset when you told him? BUD Mr. Sheldrake? Oh, yes. Very. FRAN Maybe he does love me - only he does n't have the nerve to tell his wife. BUD I'm sure that's the explanation. FRAN You really think so? BUD No doubt about it. FRAN -LRB- a thoughtful beat, then. -RRB- Can I have that pad and the pencil? BUD -LRB- handing her score pad and pencil. -RRB- What for? FRAN I'm going to write a letter to Mrs. Sheldrake. BUD You are? FRAN As one woman to another - I'm sure she'll understand - BUD Miss Kubelik, I do n't think that's such a good idea. He gently takes the pad and pencil away from her. FRAN Why not? BUD Well, for one thing, you ca n't spell. And secondly - if you did something like that - you'd hate yourself. FRAN -LRB- fighting back tears. -RRB- I do n't like myself very much anyway. BUD Pick up your cards and let's go. FRAN Do I have to? BUD You bet. I got a terrific hand. Fran, her eyes drooping sleepily, picks up her cards, makes a discard. BUD You sure you want to throw that card? FRAN Sure. BUD Gin. He removes the cards from her hand, starts to add them up. BUD Fifty - two and twenty - five - that's seventy - seven - spades is double - a hundred and fifty - four - and four boxes - you're blitzed in two games. He enters the score on the pad. As he starts to shuffle again, he notices that Fran has slid down on the pillow, and that her eyes are closed - she is asleep. Bud rises, adjusts the blanket over her. He stands there looking at her for a moment, runs his hand over his chin. Realizing he needs a shave, he crosses to the bathroom. In the bathroom, Bud washes his face, squirts some shaving cream into his hand, starts to apply it.", "EXT. BROWNSTONE HOUSE - DAY A Volkswagen draws up to the curb in front of the house. Kirkeby gets out on the street side, Sylvia squeezes herself out through the other door. Kirkeby raises the front hood of the Volkswagen, reaches into the luggage compartment, takes out a cardboard bucket with a bottle of champagne on ice. Together, he and Sylvia start up the steps of the house, Sylvia already cha cha - ing in anticipation.", "INT. APARTMENT - DAY In the bathroom, Bud has just finished lathering his face when the doorbell rings. He starts into the bedroom. BUD -LRB- muttering to himself. -RRB- All right - all right, Mrs. Dreyfuss. He glances at the sleeping Fran, picks up the tray, carries it into the living room, pulling the bedroom door closed behind him. But it does n't shut completely, because of Fran's dress hooked over the top. Bud crosses to the hall door, opens it. Outside are Kirkeby, with the champagne bucket, and Sylvia. KIRKEBY Hi, Baxter. BUD -LRB- blocking the door. -RRB- What do you want? KIRKEBY What do I -? -LRB- to Sylvia. -RRB- Just a minute. He pushes his way into the apartment past Bud. BUD You ca n't come in. KIRKEBY -LRB- closing the door behind him. -RRB- What's the matter with you, Buddy - boy? I made a reservation for four o'clock, remember? He heads for the coffee table, sets the champagne down. Bud shoots a quick glance toward the bedroom door, gets rid of the tray. BUD Look, you ca n't stay here. Just take your champagne and go. KIRKEBY Baxter, I do n't want to pull rank on you - but I told the lady it was all set - you want to make a liar out of me? BUD Are you going to leave, Mr. Kirkeby, or do I have to throw you out? As Bud spins him around, Kirkeby notices the dress on the bedroom door. KIRKEBY Buddy - boy, why did n't you say so? -LRB- indicating dress. -RRB- You got yourself a little playmate, huh? BUD Now will you get out?", "INT. SECOND FLOOR LANDING - DAY Outside the door of Bud's apartment, Sylvia is cha cha - ing impatiently. Up the stairs comes Dr. Dreyfuss, in his overcoat and carrying his medical bag. SYLVIA -LRB- knocking on the door. -RRB- Hey, come on, what are we waiting for? Open up, will you? She continues cha - cha - ing. Dr. Dreyfuss has unlocked the door to his apartment, and is watching Sylvia, appalled by the fact that Baxter seems to be at it again. He starts inside. DR. DREYFUSS -LRB- calling. -RRB- Mildred -! He shuts the door behind him. SYLVIA -LRB- knocking on Baxter's door. -RRB- What's holding things up?", "INT. APARTMENT - DAY Kirkeby looks toward the door in response to Sylvia's knocking. KIRKEBY Say, why do n't we have ourselves a party - the four of us? BUD No! He forces Kirkeby toward the hall door. Kirkeby, glancing past him through the partly - open door of the bedroom, catches sight of Fran asleep in bed. KIRKEBY -LRB- grinning smugly. -RRB- Well, I do n't blame you. So you hit the jackpot, eh kid - I mean, Kubelik - wise? -LRB- Bud opens the door, gestures him out. -RRB- Do n't worry. I wo n't say a word to anybody.", "INT. SECOND FLOOR LANDING - DAY Kirkeby comes backing out the door of Bud's apartment, minus the champagne bucket. KIRKEBY Stay with it, Buddy - boy! -LRB- Bud shuts the door on him. -RRB- Come on, Sylvia. SYLVIA What gives? KIRKEBY A little mixup in signals. Let's go. SYLVIA Go where? KIRKEBY -LRB- leading her toward stairs. -RRB- What's your mother doing this afternoon? SYLVIA She's home - stuffing a turkey. KIRKEBY Why do n't we send her to a movie - like Ben - Hur? SYLVIA That's fine. But what are we going to do about grandma and Uncle Herman and Aunt Sophie and my two nieces -", "INT. APARTMENT - DAY Bud comes into the bedroom. As he heads for the bathroom, Fran stirs slightly, opens her eyes. FRAN Who was that? BUD Just somebody delivering a bottle of champagne. Like some? FRAN -LRB- shaking her head. -RRB- Would you mind opening the window? She turns off the electric blanket as Bud crosses to the window, pushes it up. Then a thought strikes him, and he looks at Fran suspiciously. BUD Now do n't go getting any ideas, Miss Kubelik. FRAN I just want some fresh air. BUD It's only one story down - the best you can do is break a leg. FRAN So they'll shoot me - like a horse. BUD -LRB- approaching the bed. -RRB- Please, Miss Kubelik, you got to promise me you wo n't do anything foolish. FRAN Who'd care? BUD I would. FRAN -LRB- sleepily. -RRB- Why ca n't I ever fall in love with somebody nice like you? BUD -LRB- ruefully. -RRB- Yeah. Well - that's the way it crumbles, cookie - wise. Go to sleep. Fran closes her eyes. Bud returns to the bathroom, picks up his razor, starts to shave. But something seems to be wrong with the razor - and unscrewing it, he realizes that there is no blade. Sheepishly, he takes out the blade he hid in his shirt pocket, inserts it in his razor, screws it shut. Then he resumes shaving.", "INT. SHELDRAKE'S ANTEROOM - DAY It is the morning after Christmas, and Miss Olsen and the other girls are just settling down to work. Sheldrake, in hat and coat, approaches from the elevators, comes through the glass doors. SECRETARIES -LRB- ad lib. -RRB- Good morning, Mr. Sheldrake. SHELDRAKE -LRB- ignoring them. -RRB- Miss Olsen, will you come into my office, please? He strides into the inner office. Miss Olsen picks up her stenographic pad, follows him in.", "INT. SHELDRAKE'S OFFICE - DAY Sheldrake is removing his hat and coat as Miss Olsen comes in, shuts the door behind her. MISS OLSEN Did you have a nice Christmas? SHELDRAKE Lovely. You were a big help. MISS OLSEN Me? SHELDRAKE Thank you for giving that little pep talk to Miss Kubelik at the office party. MISS OLSEN -LRB- dropping her business - like mask. -RRB- I'm sorry, Jeff. You know I could never hold my liquor - SHELDRAKE But I thought you could hold your tongue. MISS OLSEN It wo n't happen again. SHELDRAKE You bet it wo n't. I'll arrange for you to get a month's severance pay -. -LRB- she looks at him, uncomprehending. -RRB- That's right, Miss Olsen. I'm letting you go. MISS OLSEN -LRB- quietly. -RRB- You let me go four years ago, Jeff. Only you were cruel enough to make me sit out there and watch the new models pass by. SHELDRAKE I'd appreciate it if you'd be out of here as soon as you can. MISS OLSEN -LRB- formal again. -RRB- Yes, Mr. Sheldrake. She turns and walks out of the office, shutting the door. Sheldrake looks after her for a moment, then goes to his desk, picks up the phone, dials the operator. SHELDRAKE -LRB- into phone. -RRB- This is Mr. Sheldrake. I'd like Mr. Baxter's home telephone number - that's C.C. Baxter, in Ordinary Premium Accounting -", "INT. SHELDRAKE'S ANTEROOM - DAY Miss Olsen has put on her coat, and is going through her desk drawers, cleaning out her personal belongings - nail polish, emery boards, an extra pair of glasses, etc.. As she stows them away in her handbag, one of the buttons on the telephone lights up. Miss Olsen hesitates for a second, then with a quick look around, she pushes the button down, carefully picks up the receiver, listens in.", "INT. SHELDRAKE'S OFFICE - DAY Sheldrake is dialing the last two digits of a telephone number. After a moment, someone answers. SHELDRAKE Hello, Baxter? Jeff Sheldrake. Can you talk?", "INT. THE APARTMENT - DAY Bud, wearing slacks, a shirt open at the neck, and a cardigan sweater, is at the phone. A pillow and a blanket on the living room couch indicate where he spent the night. BUD -LRB- looking off. -RRB- Yes, she's in the shower - she's coming along fine, considering. SHELDRAKE - ON PHONE SHELDRAKE Good. Is there anything you need - money -? BUD - ON PHONE BUD No, thank you, Mr. Sheldrake. As a matter of fact, I've got some money for you - a hundred dollars - SHELDRAKE - ON PHONE SHELDRAKE Oh. -LRB- a beat. -RRB- Well, if there's anything I can do for you - BUD - ON PHONE BUD For me? I do n't think so. But I was hoping maybe you could do something for her - SHELDRAKE - ON PHONE SHELDRAKE Like what? Put yourself in my place, Baxter - how can I help her - my hands are tied -", "INT. APARTMENT - DAY Fran now appears in the bedroom, wearing the plaid robe, and toweling her damp hair. BUD -LRB- into phone. -RRB- Well, at least you can talk to her - let me put her on - and please be gentle - He puts the receiver down, crosses toward the bedroom door. BUD There's a call for you - FRAN -LRB- approaching. -RRB- For me? BUD - Mr. Sheldrake. FRAN I do n't want to talk to him. BUD I think you should. I have to run down to the grocery anyway - all that's left around here is one frozen pizza -. -LRB- takes raincoat and old hat from hanger. -RRB- I'll be right back - okay? Fran nods, watches him go out. Then she glances toward the phone, which is off the hook. Reluctantly she advances toward it, picks it up. FRAN -LRB- into phone. -RRB- Hello, Jeff. -LRB- a long beat. -RRB- Yes, I'm all right. SHELDRAKE - ON PHONE SHELDRAKE Fran, why did you do it? It's so childish - and it never solves anything - I ought to be very angry with you, scaring me like that - but let's forget the whole thing - pretend it never happened - what do you say, Fran? -LRB- no answer. -RRB- Fran -", "INT. SHELDRAKE'S ANTEROOM Miss Olsen, glued to the phone, is listening intently. SHELDRAKE - ON PHONE SHELDRAKE Are you there, Fran? FRAN - ON PHONE FRAN Of course I'm not here - because the whole thing never happened - I never took those pills - I never loved you - we never even met - is n't that the way you want it? SHELDRAKE - ON PHONE SHELDRAKE There you go again - you know I did n't mean it that way, Fran. Just get well - do what the nurse tells you - I mean Baxter - and I'll see you as soon as I can. Bye, Fran. -LRB- he hangs up. -RRB-", "INT. SHELDRAKE'S ANTEROOM - DAY Miss Olsen hangs up the phone, sits there for a moment, weighing what she has overheard. Then she makes a decision, picks up the phone again, dials a number. As she waits for an answer, she glances toward Sheldrake's office. MISS OLSEN -LRB- into phone. -RRB- Hello, Mrs. Sheldrake? This is Miss Olsen - fine, thank you - Mrs. Sheldrake, I was wondering if we could have lunch together? - well, I do n't know how important it is, but I think you might find it educational - it concerns your husband - all right, one o'clock, at Longchamp's, Madison and 59th. She looks up as the door to the inner office opens and Sheldrake comes out. He stops when he sees that Miss Olsen is still there. MISS OLSEN -LRB- hanging up phone. -RRB- Do n't worry, I'm on my way. -LRB- she rises. -RRB- I was just making a personal call. She opens her handbag, takes out a coin, puts it down on the desk. MISS OLSEN Here's a dime. She marches out through the glass doors toward the elevators as Sheldrake stands there, watching her.", "EXT. BROWNSTONE HOUSE - DAY Bud comes down the street, carrying a large brown paper bag overflowing with groceries. He goes up the steps of the house and through the front door.", "INT. STAIRCASE AND SECOND FLOOR LANDING - DAY As Bud starts up the stairs, with the groceries, Mrs. Lieberman comes hurrying down toward him. MRS. LIEBERMAN -LRB- breathlessly. -RRB- Oh, Mr. Baxter - I'm glad you're here - I was just going to get the passkey. BUD What for? MRS. LIEBERMAN I thought I smelled gas coming from your apartment. BUD Gas? He races up the stairs two at a time, fumbling frantically for his key. Reaching the door of his apartment, he unlocks it, dashes in.", "INT. THE APARTMENT - DAY Bud comes bursting through the door. The living room is empty, and the bedclothes have been removed from the couch. BUD -LRB- calling. -RRB- Miss Kubelik! He dumps the bag of groceries on a table, rushes into the kitchen. The burner has been turned on under the kettle, but there is no flame, and gas is hissing from the vents. Bud snaps it off, starts out again. BUD Miss Kubelik! Meanwhile Fran has appeared from the bathroom, and is approaching the bedroom door. She is still in her robe, and is holding a double sock - stretcher with one of Bud's socks on it. Bud, rounding the corner from the kitchen at full speed, collides with Fran in the bedroom doorway. He grabs her arms with obvious relief. BUD Are you all right? FRAN Sure. -LRB- sniffs. -RRB- What's that funny smell? BUD Gas. -LRB- indicating kitchen. -RRB- Did n't you turn it on? FRAN Yes. I was boiling some water to get the coffee stains out of my dress. BUD -LRB- accusingly. -RRB- You turned it on - but you did n't light it. FRAN Are you supposed to? BUD In this house, you're supposed to. FRAN Oh. Bud starts to take off his hat and coat, notices the sock - stretcher in her hand. BUD What are you doing with that? FRAN I was washing my stockings, so I decided I might as well do your socks. BUD Thank you. FRAN It's very curious - I could only find three and a half pair. BUD Well, things are a little disorganized around here. He carries the bag of groceries into the kitchen, Fran trailing after him. During the following, he removes the contents of the bag - bread, eggs, bacon, spaghetti, ground round, frankfurters, and assorted canned goods - sets them out on the drainboard. FRAN I'd say. What's a tennis racquet doing in the kitchen? She produces the racquet from behind the stove. BUD Tennis racquet? Oh, I remember - I was cooking myself an Italian dinner. -LRB- Fran looks at him oddly. -RRB- I used it to strain the spaghetti. FRAN -LRB- thinking it over. -RRB- Why not? BUD As a matter of fact, I'm a pretty good cook - but I'm a lousy housekeeper. FRAN Yes, you are. -LRB- indicating the living room. -RRB- When I was straightening up the couch, you know what I found? Six hairpins, a lipstick, a pair of false eyelashes, and a swizzle stick from the Stork Club. BUD -LRB- shrugging. -RRB- It's just that I'm the kind of guy who ca n't say no - I do n't mean to girls - I mean - FRAN You mean to someone like Mr. Sheldrake. BUD I guess so. FRAN I know so. He's a taker. BUD A what? FRAN Some people take, some people get took - and they know they're getting took - and there's nothing they can do about it. BUD I would n't say that -. -LRB- trying to change the subject. -RRB- What would you like to have for diner? There's onion soup and canned asparagus - FRAN I really ought to be getting home. My family will be flipping by now. She starts into the living room. Bud follows her. BUD You ca n't leave yet. The doctor says it takes forty - eight hours to get the stuff out of your system. FRAN -LRB- wistfully. -RRB- I wonder how long it takes to get someone you're stuck on out of your system? If they'd only invent some kind of a pump for that - She sits on the arm of a chair. BUD I know how you feel, Miss Kubelik. You think it's the end of the world - but it's not, really. I went through exactly the same thing myself. FRAN You did? BUD Well, maybe not exactly - I tried to do it with a gun. FRAN Over a girl? BUD Worse than that - she was the wife of my best friend - and I was mad for her. But I knew it was hopeless - so I decided to end it all. I went to a pawnshop and bought a forty - five automatic and drove up to Eden Park - do you know Cincinnati? FRAN No, I do n't. BUD Anyway, I parked the car and loaded the gun - well, you read in the papers all the time that people shoot themselves, but believe me, it's not that easy - I mean, how do you do it? - here, or here, or here -. -LRB- with cocked finger, he points to his temple, mouth and chest. -RRB- - you know where I finally shot myself? FRAN Where? BUD -LRB- indicating kneecap. -RRB- Here. FRAN In the knee? BUD Uh - huh. While I was sitting there, trying to make my mind up, a cop stuck his head in the car, because I was illegally parked - so I started to hide the gun under the seat and it went off - pow! FRAN -LRB- laughing. -RRB- That's terrible. BUD Yeah. Took me a year before I could bend my knee - but I got over the girl in three weeks. She still lives in Cincinnati, has four kids, gained twenty pounds - she sends me a fruit cake every Christmas. FRAN -LRB- suddenly suspicious. -RRB- Are you just making that up to make me feel better? BUD Of course not. Here's the fruit cake. -LRB- shows it to her under Christmas tree. -RRB- And you want to see my knee? -LRB- starts to raise pant - leg. -RRB- FRAN No, thanks. The fellows in the office may get the wrong idea how I found out. BUD So let'em. Look, I'm going to cook dinner for us. We'll have the fruit cake for dessert. You just sit there and rest. You've done enough for one day. FRAN -LRB- smiling. -RRB- Yes, nurse. Bud starts happily into the kitchen.", "INT. LOBBY INSURANCE BUILDING - DAY It is mid - afternoon, and traffic is light. A Yellow Cab has pulled up in front of the entrance, and the driver, a stockily - built young man in a leather jacket and cap, gets out and comes through the revolving doors into the lobby. His name is KARL MATUSCHKA, and he is Fran's brother - in - law. As he cases the elevators, the starter comes up to him. ELEVATOR STARTER Can I help you? MATUSCHKA I'm looking for one of the elevator girls - Miss Kubelik. ELEVATOR STARTER So am I. She did n't report this morning. MATUSCHKA She did n't. Where can I get some information - who's in charge here? ELEVATOR STARTER That comes under General Office Administration. See Mr. Dobisch, twenty - first floor. MATUSCHKA Thanks. He steps into an elevator, the doors of which are just closing.", "INT. DOBISCH'S OFFICE - DAY Dobisch is sitting behind his desk, lighting a cigar. Kirkeby, who has dropped in for a little visit, is perched on the edge of the desk. KIRKEBY - so yesterday afternoon I take Sylvia up to the apartment, and guess who he's got stashed away in the bedroom? DOBISCH Who? KIRKEBY Kubelik. DOBISCH No kidding. Buddy - boy and Kubelik having themselves a little toot! KIRKEBY Toot? It's more like a lost weekend. Neither of them showed up for work today. DOBISCH A.W.O.L? KIRKEBY What gripes me is the two of them were guzzling my champagne while Sylvia and I wound up at the Guggenheim Museum. The glass door opens and Matuschka comes in. MATUSCHKA Mr. Dobisch? DOBISCH Yeah. MATUSCHKA My name is Karl Matuschka - my sister - in - law, she runs one of the elevators here - Fran Kubelik. KIRKEBY -LRB- exchanging a glance with Dobisch. -RRB- Miss Kubelik? MATUSCHKA You know her? DOBISCH Of course. There may be a lot of employees here - but we're one big happy family. MATUSCHKA Well, she lives with us - and my wife, she's getting a little nervous - on account of Fran has n't been home for two days. KIRKEBY -LRB- another look at Dobisch. -RRB- That so. MATUSCHKA Anyway, we was wondering if somebody in the office would know what happened to her. DOBISCH I see. -LRB- to Kirkeby. -RRB- What do you think, Al? Can we help the man? KIRKEBY -LRB- after a pregnant pause. -RRB- Why not? We do n't owe Buddy - boy anything. DOBISCH Yeah. What's Buddy - boy done for us lately? MATUSCHKA -LRB- scowling. -RRB- Who is Buddy - boy?", "INT. THE APARTMENT - EVENING Buddy - boy is bending over a hot stove, preparing an Italian dinner. He takes a saucepan of spaghetti off the fire, and picking up the tennis racquet with the other hand, pours the spaghetti on top of the racquet strings. Then he turns on the faucet, runs water over the spaghetti. With the combined technique of Brillat - Savarin and Pancho Gonzales, he gently agitates the racquet, letting the water drain off the spaghetti. As he works, he hums a theme from Tschaikowsky's Capriccio Italien. Fran walks in, still in her robe. FRAN Are we dressing for dinner? BUD No - just come as you are. FRAN -LRB- watching him. -RRB- Say, you're pretty good with that racquet. BUD You ought to see my backhand. -LRB- dumping spaghetti into platter. -RRB- And wait till I serve the meatballs. -LRB- demonstrates. -RRB- FRAN Shall I light the candles? BUD It's a must - gracious - living - wise. As Fran starts into the living room, Bud begins to ladle meat sauce onto the spaghetti, humming operatically. In the living room, the small table has been set for two, and prominent on it is the champagne bottle that Mr. Kirkeby left behind, still in its cardboard bucket, but freshly iced. As Fran lights the candles, she notices the napkins on the table, peels a price - tag off the corner of one of them. FRAN I see you bought some napkins. BUD Might as well go all the way. He carries the platter of spaghetti and meat sauce in from the kitchen, sets it on the table, sprinkles some cheese on it. Then he crosses to the coffee table, where a full martini pitcher stands in readiness, fills a couple of glasses. Fran seats herself at the table. BUD You know, I used to live like Robinson Crusoe - shipwrecked among eight million people. Then one day I saw a footprint in the sand - and there you were -. -LRB- hands her martini. -RRB- It's a wonderful thing - dinner for two. FRAN You usually eat alone? BUD Oh, no. Sometimes I have dinner with Ed Sullivan, sometimes with Dinah Shore or Perry Como - the other night I had dinner with Mae West - of course, she was much younger then. -LRB- toasting. -RRB- Cheers. FRAN Cheers. They drink. BUD You know what we're going to do after dinner? FRAN The dishes? BUD I mean, after that? FRAN What? BUD You do n't have to if you do n't want to - FRAN I do n't? BUD We're going to finish that gin game. FRAN Oh. BUD So I want you to keep a clear head. The door bell rings. Carrying his martini glass, Bud crosses to the door, starts to open it. BUD Because I do n't want to take advantage of you - the way I did yesterday in bed. By now the door is open, and Bud is speaking to Fran over his shoulder. He turns, finds himself face to face with Karl Matuschka, who is standing grimly in the doorway. MATUSCHKA Baxter? BUD Yes? Matuschka shoves him roughly aside, strides past him toward Fran, who has risen to her feet. MATUSCHKA What's with you, Fran - did you forget where you live? FRAN -LRB- to Bud. -RRB- This is my brother - in - law, Karl Matuschka. BUD -LRB- friendly. -RRB- How do you do, Mr. Matuschka? MATUSCHKA -LRB- pushing Bud away ; to Fran. -RRB- Okay, get your clothes on. I got the cab downstairs. BUD Now, wait a minute. I know what you're thinking - but it's not as bad as it looks - MATUSCHKA -LRB- shoving him away. -RRB- It's none of my business what you do, Fran - you're over twenty - one - but your sister happens to think you're a lady. BUD All we were going to do is eat and wash the dishes - MATUSCHKA -LRB- grabbing him. -RRB- Look, Buddy - boy - if there was n't a lady present, I'd clobber you. FRAN -LRB- separating them. -RRB- All right, Karl - I'll get dressed. She exits into the bedroom, removing her dress from the door, and closing it. Matuschka leans against the wall beside the hall door, eyeing Bud truculently. Bud raises a finger to remonstrate with him - then breaks into a nervous, ingratiating smile. BUD Care for a martini? Champagne? -LRB- Matuschka continues glaring at him. -RRB- How about a little spaghetti with meat sauce? Made it myself. -LRB- Matuschka just scowls. -RRB- Your sister - in - law sure is terrific -. -LRB- realizes his mistake ; switching abruptly. -RRB- Must be murder driving a cab in New York - I mean, with all that cross - town traffic - He gestures with the martini glass, spilling the contents over his shirtfront. Through the partly open hall door, Dr. Dreyfuss sticks his head in. DR. DREYFUSS Hi, Baxter. He steps into the apartment, passing Matuschka without seeing him. DR. DREYFUSS How's the patient? BUD -LRB- quickly. -RRB- Oh, I'm fine, Doc. DR. DREYFUSS Not you - Miss Kubelik. MATUSCHKA -LRB- stepping forward. -RRB- What's the matter with Miss Kubelik? BUD Oh, this is Mr. Matuschka - he's Miss Kubelik's - he's got a cab downstairs - MATUSCHKA -LRB- to Dreyfuss. -RRB- Fran been sick or something? Dr. Dreyfuss looks at Bud. BUD No, no - just had a little accident. MATUSCHKA -LRB- to Dreyfuss. -RRB- What does he mean, accident? DR. DREYFUSS Well, these things happen all the time - MATUSCHKA What things? -LRB- grabbing Dreyfuss. -RRB- Say, what kind of doctor are you, anyway? BUD -LRB- hastily. -RRB- Oh, not that kind. He just gave her a shot and pumped her stomach out - Behind them, the bedroom door has opened, and Fran comes out, wearing her coat over her dress. MATUSCHKA What for? FRAN -LRB- coming up. -RRB- Because I took some sleeping pills. But I'm all right now - so let's go. MATUSCHKA Why did you take sleeping pills? BUD -LRB- promptly. -RRB- On account of me. MATUSCHKA -LRB- whirling on him. -RRB- You? BUD Who else? Matuschka lashes out with a left to Bud's jaw, and while he is off balance, catches him with a right to the eye. Bud falls back against the Christmas tree, which topples with a crash. Fran pulls Matuschka away from him. FRAN Leave him alone, Karl. She kneels beside Bud. FRAN -LRB- tenderly. -RRB- You fool - you damn fool. MATUSCHKA Come on, Fran. FRAN Goodbye, Mr. Baxter. She kisses him on the cheek, rises, starts toward the door. FRAN Goodbye, doctor. She follows Matuschka out. Bud looks after her, starry - eyed. DR. DREYFUSS I do n't want to gloat, but just between us, you had that coming to you. -LRB- tilts Bud's chin up, examines his eye. -RRB- Tch, tch, tch. Are you going to have a shiner tomorrow. Let me get my bag. -LRB- he starts out. -RRB- BUD -LRB- calling after him. -RRB- Do n't bother, Doc. It does n't hurt a bit. He is on Cloud Nine.", "INT. NINETEENTH FLOOR - DAY Bud is coming from the elevators toward his office. He is wearing his chesterfield, bowler, and a pair of dark glasses. He opens the office door, starts in.", "INT. BUD'S OFFICE - DAY Bud crosses directly to the phone, removes his glasses revealing a swollen left eye. He dials a number. BUD -LRB- into phone. -RRB- Mr. Sheldrake's office? This is C.C. Baxter. Would you please tell Mr. Sheldrake I'd like to come up and see him? It's rather important. Will you call me back, please? He hangs up, takes off his hat and coat, deposits them on the clothes - tree. Then he paces around the office, rehearsing a speech out loud. BUD Mr. Sheldrake, I've got good news for you. All your troubles are over. I'm going to take Miss Kubelik off your hands. -LRB- nods to himself with satisfaction. -RRB- The plain fact is, Mr. Sheldrake, that I love her. I have n't told her yet, but I thought you should be the first to know. After all, you do n't really want her, and I do, and although it may sound presumptuous, she needs somebody like me. So I think it would be the thing all around -. -LRB- the phone rings and he picks it up. -RRB- - solution - wise. -LRB- into phone. -RRB- Yes? I'll be right up. He hangs up, crosses to the door, opens it. BUD -LRB- to himself. -RRB- Mr. Sheldrake, I've got good news for you - Putting on his dark glasses, he heads for the elevators, still talking to himself.", "INT. NINETEENTH FLOOR - DAY Kirkeby and Dobisch are just stepping out of an elevator when Bud approaches. They grin smugly when they see that he is wearing dark glasses. KIRKEBY Hi, Buddy - boy. What happened to you? DOBISCH Hit by a swinging door? Or maybe a Yellow Cab? Bud pays no attention, walks right past them into the elevator, still muttering to himself. The doors close. KIRKEBY -LRB- as they move away from the elevators. -RRB- That guy really must've belted him. DOBISCH Yeah, he's punchy. Talking to himself.", "INT. TWENTY-SEVENTH FLOOR FOYER - DAY The elevator doors open. ELEVATOR OPERATOR Twenty - seven. Bud steps out. As he heads for Sheldrake's office, he continues rehearsing his speech. BUD You see, Mr. Sheldrake, those two days she spent in the apartment - it made me realize how lonely I'd been before. But thanks to you, I'm in a financial position to marry her - if I can ever square things with her family. He opens the door to Sheldrake's anteroom.", "INT. SHELDRAKE'S OFFICE - DAY Sheldrake is pacing in front of his desk. A couple of suitcases are standing in a corner of the room. The intercom buzzes, and Sheldrake presses the lever down. SECRETARY'S VOICE Mr. Baxter is here. SHELDRAKE Send him in. A beat, then the door opens, and Bud marches in determinedly. BUD Mr. Sheldrake, I've got good news for you - SHELDRAKE And I've got good news for you, Baxter. All your troubles are over. BUD -LRB- reacting to the echo. -RRB- Sir? SHELDRAKE I know how worried you were about Miss Kubelik - well, stop worrying - I'm going to take her off your hands. BUD -LRB- stunned. -RRB- You're going to take her off my hands? SHELDRAKE That's right. -LRB- indicating suitcases. -RRB- I've moved out of my house - I'm going to be staying in town, at the Athletic Club. BUD You left your wife? SHELDRAKE Well, if you must know - I fired my secretary, my secretary got to my wife, and my wife fired me. Ai n't that a kick in the head? BUD Yeah - SHELDRAKE Now what was your news, Baxter? BUD -LRB- recovering with difficulty. -RRB- It's about Miss Kubelik - she's all right again - so she went back home. SHELDRAKE Swell. And do n't think I've forgotten what you did for me. -LRB- opens door to adjoining office. -RRB- This way, Baxter. Bud advances slowly toward the door.", "INT. ADJOINING OFFICE - DAY It is a slightly smaller and less lavish edition of Sheldrake s office. Sheldrake ushers Bud through the door, points to the chair behind the desk. SHELDRAKE Sit down. Try it on for size. Bud obeys like an automaton, lowers himself into the chair. SHELDRAKE You like? -LRB- indicating office. -RRB- It's all yours. BUD Mine? SHELDRAKE My assistant, Roy Thompson, has been shifted to the Denver office, and you're taking his place. -LRB- no reaction from Bud. -RRB- What's the matter, Baxter? You do n't seem very excited. BUD Well, it's just that so many things have been happening so fast - I'm very pleased - especially for Miss Kubelik. Now that I've gotten to know her better, I think she's the kind of girl that definitely ought to be married to somebody - SHELDRAKE Oh, sure, sure. But first the property settlement has to be worked out - then it takes six weeks in Reno - meanwhile, I'm going to enjoy being a bachelor for a while. -LRB- starts back toward his own office. -RRB- Oh, by the way, you can now have lunch in the executive dining room - BUD Yes, sir. He removes his dark glasses reflectively. SHELDRAKE That's just one of the privileges that goes with this job. You also get a nice little expense account, the use of the executive washroom -. -LRB- breaks off, peers at Bud's face. -RRB- Say, what happened to you, Baxter? BUD I got kicked in the head, too. SHELDRAKE Oh? With a shrug, he exits into his own office, closing the door behind him. Bud sits there, unconsciously bending the glasses in his hand until they suddenly snap in two. Bud glances down at the two broken halves, as though surprised by his own violence, tosses them on the desk.", "INT. LOBBY INSURANCE BUILDING - EVENING We are close on the building directory. Listed under PERSONNEL is J.D. SHELDRAKE, Director, and just below that a man's hand is inserting the name C.C. BAXTER in the slot marked Asst. Director. The lettering is complete except for the final R. Camera pulls back to reveal the sign painter we saw earlier, working on the directory. Watching him is Bud. He is wearing his chesterfield and bowler, and still has a slight welt under his left eye. It is after six o'clock, and there is very little activity in the lobby. Fran, wearing her coat over street clothes, approaches from the direction of the elevators, stops when she sees Bud. FRAN Good evening, Mr. Baxter. Bud turns to her in surprise, removes his bowler. BUD Oh, Miss Kubelik. How do you feel? FRAN Fine. How's your eye? BUD Fine. There is a moment of constraint between them. FRAN How's everything at the apartment? BUD Nothing's changed. You know, we never finished that gin game - FRAN I know. -LRB- a beat. -RRB- I suppose you heard about Mr. Sheldrake -? BUD You mean, leaving his wife? Yeah. I'm very happy for you. FRAN I never thought he'd do it. BUD I told you all along. You see, you were wrong about Mr. Sheldrake. FRAN I guess so. BUD For that matter, you were wrong about me, too. What you said about those who take and those who get took? Well, Mr. Sheldrake was n't using me - I was using him. See? -LRB- indicating his name on directory. -RRB- Last month I was at desk 861 on the nineteenth floor - now I'm on the twenty - seventh floor, paneled office, three windows - so it all worked out fine - we're both getting what we want. FRAN Yes. -LRB- looks at her watch. -RRB- You walking to the subway? BUD No, thank you. -LRB- fumbling. -RRB- I - well, to tell you the truth -. -LRB- glancing around lobby. -RRB- - I have this heavy date for tonight - He points off toward the newsstand. Standing there is a tall, attractive brunette, obviously waiting for someone. Fran looks off in the indicated direction. FRAN Oh. BUD Are n't you meeting Mr. Sheldrake? FRAN No. You know how people talk. So I decided it would be better if we did n't see each other till everything is settled, divorce - wise. BUD That's very wise. FRAN Good night, Mr. Baxter. BUD Good night, Miss Kubelik. Fran walks toward the revolving doors. Bud watches her for a moment, then strides briskly across the lobby toward the newsstand. He goes right past the waiting brunette, stops in front of a rack of pocket books, examines the merchandise. A man now comes out of a phone booth, joins the waiting brunette, and they go off together. Bud picks out a couple of paperbacks, pays the clerk behind the counter. Stuffing a book into each coat pocket, he moves slowly toward the revolving doors.", "INT. SHELDRAKE'S OFFICE - DAY Sheldrake is swiveled around sideways behind his desk, with a bootblack kneeling in front of him, shining his shoes. Reaching for the intercom, Sheldrake presses down one of the levers. SHELDRAKE Baxter - would you mind stepping in her for a minute? BAXTER'S VOICE Yes, Mr. Sheldrake. The bootblack finishes the second shoe with a flourish, gathers up his equipment. Sheldrake tosses him a half dollar. BOOTBLACK Much obliged. He exits into the anteroom as the door of the adjoining office opens and Bud comes in, carrying several charts. There is no trace left of his black eye. BUD -LRB- putting charts on desk. -RRB- Here's the breakdown of figures on personnel turnover. Thirty - seven percent of our female employees leave to get married, twenty - two percent quit because - SHELDRAKE -LRB- breaking in. -RRB- You're working too hard, Baxter. It's New Year's Eve - relax. BUD Yes, sir. SHELDRAKE I suppose you'll be on the town tonight - celebrating? BUD Naturally. SHELDRAKE Me, too. I'm taking Miss Kubelik out - I finally talked her into it - BUD I see. SHELDRAKE The only thing is I'm staying at the Athletic Club - and it's strictly stag so if you do n't mind - BUD Do n't mind what? SHELDRAKE You know that other key to your apartment - well, when we had that little scare about Miss Kubelik, I thought I'd better get rid of it quick - so I threw it out the window of the commuter train. BUD Very clever. SHELDRAKE Now I'll have to borrow your key. BUD Sorry, Mr. Sheldrake. SHELDRAKE What do you mean, sorry? BUD You're not going to bring anybody up to my apartment. SHELDRAKE I'm not just bringing anybody - I'm bringing Miss Kubelik. BUD Especially not Miss Kubelik. SHELDRAKE How's that again? BUD -LRB- flatly. -RRB- No key! SHELDRAKE Baxter, I picked you for my team because I thought you were a bright young man. You realize what you're doing? Not to me - but to yourself. Normally it takes years to work your way up to the twenty - seventh floor - but it takes only thirty seconds to be out on the street again. You dig? BUD -LRB- nodding slowly. -RRB- I dig. SHELDRAKE So what's it going to be? Without taking his eyes off Sheldrake, Bud reaches into his pocket, fishes out a key, drops it on the desk. SHELDRAKE Now you're being bright? BUD Thank you, sir. He turns abruptly, starts back into his own office.", "INT. BUD'S NEW OFFICE - DAY Bud comes in, shutting the door behind him, stands rooted to the spot for a moment. Then he takes some pencils out of his breast pocket and drops them into a container on the desk, closes his account book, slams a couple of open file drawers shut. As he crosses to the clothes closet, the connecting door opens and Sheldrake comes in, key in hand. SHELDRAKE Say, Baxter - you gave me the wrong key. BUD No I did n't. SHELDRAKE -LRB- holding it out. -RRB- But this is the key to the executive washroom. BUD That's right, Mr. Sheldrake. I wo n't be needing it - because I'm all washed up around here. He has taken his chesterfield and bowler out of the closet, and is putting the coat on. SHELDRAKE What's gotten into you, Baxter? BUD Just following doctor's orders. I've decided to become a mensch. You know what that means? A human being. SHELDRAKE Now hold on, Baxter - BUD Save it. The old payola wo n't work any more. Goodbye, Mr. Sheldrake. He opens the door to the anteroom, starts out.", "INT. SHELDRAKE'S ANTEROOM - DAY Bud comes out of his office, carrying his bowler, strides past the secretaries and through the glass doors to the foyer. An elevator is just unloading, and beside it a handyman is cleaning out one of the cigarette receptacles. Bud crosses to the elevator, and as he passes the handyman, he jams his bowler on the man's head - surrendering his crown, so to speak. The elevator doors close. The handyman straightens up, looks around in bewilderment.", "INT. THE APARTMENT - NIGHT Bud is in the process of packing. In the middle of the living room are several large cardboard cartons filled with his possessions. The art posters are off the walls, the bric - a - brac has been removed from the shelves, and Bud is stowing away the last of his books and records. He crosses to the fireplace, opens one of the drawers in the cabinet above it, takes out a forty - five automatic. He holds the gun in the palm of his hand, studies it appraisingly. The doorbell rings. Bud snaps out of his reverie, drops the gun into one of the cartons, goes to the door and opens it. Standing outside is Dr. Dreyfuss, with a plastic ice bucket in his hand. DR. DREYFUSS Say, Baxter - we're having a little party and we ran out of ice - so I was wondering - BUD Sure, Doc. DR. DREYFUSS -LRB- stepping inside. -RRB- How come you're alone on New Year's Eve? BUD Well, I have things to do - DR. DREYFUSS -LRB- noticing cartons. -RRB- What's this - you packing? BUD Yeah - I'm giving up the apartment. He goes into the kitchen, opens the refrigerator, starts to pry out the ice - cube trays. DR. DREYFUSS Where are you moving to? BUD I do n't know. All I know is I got to get out of this place. DR. DREYFUSS Sorry to lose you, Baxter. BUD Me? Oh, you mean my body. Do n't worry, Doc - it'll go to the University - I'll put it in writing - He dumps the ice - cubes, still in their trays, into the bucket Dr. Dreyfuss is holding. Then he pulls Kirkeby's unopened bottle of champagne out of the refrigerator. BUD Can you use a bottle of champagne? DR. DREYFUSS Booze we do n't need. Why do n't you join us, Baxter? We got two brain surgeons, an ear, nose and throat specialist, a proctologist, and three nurses from Bellevue. BUD No, thanks - I do n't feel like it. Look, Doc - in case I do n't see you again - how much do I owe you for taking care of that girl? DR. DREYFUSS Forget it - I did n't do it as a doctor - I did it as a neighbor. -LRB- stopping in doorway. -RRB- By the way, whatever happened to her? BUD -LRB- airily. -RRB- You know me with girls. Easy come, easy go. Goodbye, Doc. DR. DREYFUSS Happy New Year. Bud closes the door, returns to the kitchen, brings out a box of glassware and the tennis racquet. As he starts to deposit the racquet in a carton, he notices a strand of spaghetti clinging to the strings. He removes it gently, stands there twirling the limp spaghetti absently around his finger.", "INT. CHINESE RESTAURANT - NIGHT It is five minutes before midnight, New Year's Eve. Sitting alone in the last booth is Fran, a paper hat on her head, a pensive look on her face. There are two champagne glasses on the table, and the usual noisemakers, but the chair opposite her is empty. Above the general hubbub, the Chinese pianist can be heard playing. After a moment, Fran glances off. Threading his way through the merrymakers crowding the bar and overflowing from the booths is Sheldrake. He is in dinner clothes, topped by a paper hat. Reaching the last booth, he drops into the chair facing Fran. SHELDRAKE Sorry it took me so long on the phone. But we're all set. FRAN All set for what? SHELDRAKE I rented a car - it's going to be here at one o'clock - we're driving to Atlantic City. FRAN Atlantic City? SHELDRAKE I know it's a drag - but you ca n't find a hotel room in town - not on New Year's Eve. FRAN -LRB- a long look at Sheldrake. -RRB- Ring out the old year, ring in the new. Ring - a - ding - ding. SHELDRAKE I did n't plan it this way, Fran - actually, it's all Baxter's fault. FRAN Baxter? SHELDRAKE He would n't give me the key to the apartment. FRAN He would n't. SHELDRAKE Just walked out on me - quit - threw that big fat job right in my face. FRAN -LRB- a faint smile. -RRB- The nerve. SHELDRAKE That little punk - after all I did for him! He said I could n't bring anybody to his apartment - especially not Miss Kubelik. What's he got against you, anyway? FRAN -LRB- a faraway look in her eye. -RRB- I do n't know. I guess that's the way it crumbles - cookie - wise. SHELDRAKE What are you talking about? FRAN I'd spell it out for you - only I ca n't spell. The piano player is consulting the watch on his upraised left arm. He drops the arm in a signal, and the lights go out. At the same time, he strikes up AULD LANG SYNE. All over the dimly lit room, couples get to their feet, embracing and joining in the song. In the last booth, Sheldrake leans across the table, kisses Fran. SHELDRAKE Happy New Year, Fran. Fran's expression is preoccupied. Sheldrake faces in the direction of the pianist, and holding his glass aloft, sings along with the others. As AULD LANG SYNE comes to an end, the place explodes noisily - there is a din of horns, ratchets, and shouted greetings. The lights come up again. In the last booth, Sheldrake turns back toward Fran - but she is no longer there. Her paper hat lies abandoned on her vacated chair. SHELDRAKE Fran -. -LRB- looking around. -RRB- - where are you, Fran? He rises, cranes his neck, trying to spot her in the crowd.", "EXT. BROWNSTONE HOUSE - NIGHT Fran, a coat thrown over the dress she was wearing at the Rickshaw, comes down the street almost at a run. There is a happy, expectant look on her face. She hurries up the steps of the house and through the front door.", "INT. STAIRCASE AND SECOND FLOOR LANDING - NIGHT Fran mounts the stairs eagerly. As she reaches the landing and heads for Bud's apartment, there is a loud, sharp report from inside. Fran freezes momentarily, then rushes to the door. FRAN Mr. Baxter! -LRB- pounding on door. -RRB- Mr. Baxter! Mr. Baxter! The door opens and there stands Bud, the bottle of champagne he has just uncorked still foaming over in his hand. He stares at Fran unbelievingly. FRAN -LRB- sagging with relief. -RRB- Are you all right? BUD I'm fine. FRAN Are you sure? How's your knee? BUD I'm fine all over. FRAN Mind if I come in? BUD -LRB- still stunned. -RRB- Of course not.", "INT. THE APARTMENT - NIGHT Fran comes in and Bud shuts the door. The room is the same as we left it, except for an empty champagne glass standing on the coffee table. BUD Let me get another glass. He goes to one of the cartons, takes out a champagne glass wrapped in newspaper, starts to unwrap it. FRAN -LRB- looking around. -RRB- Where are you going? BUD Who knows? Another neighborhood - another town - another job - I'm on my own. FRAN That's funny - so am I. -LRB- Bud, pouring champagne, looks up at her. -RRB- What did you do with the cards? BUD -LRB- indicating carton. -RRB- In there. Fran takes the deck of cards and the gin rummy score pad out of the carton, settles herself on the couch, starts to shuffle the cards expertly. BUD What about Mr. Sheldrake? FRAN I'm going to send him a fruit cake every Christmas. Bud sinks down happily on the couch, and Fran holds out the deck to him. FRAN Cut. Bud cuts a card, but does n't look at it. BUD I love you, Miss Kubelik. FRAN -LRB- cutting a card. -RRB- Seven -. -LRB- looking at Bud's card. -RRB- - queen. She hands the deck to Bud. BUD Did you hear what I said, Miss Kubelik? I absolutely adore you. FRAN -LRB- smiling. -RRB- Shut up and deal! Bud begins to deal, never taking his eyes off her. Fran removes her coat, starts picking up her cards and arranging them. Bud, a look of pure joy on his face, deals - and deals - and keeps dealing. And that's about it. Story - wise. FADE OUT. THE END"], "labels": [1.0, 1.0, 0.0, 1.0, 1.0, 1.0, 0.0, 1.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0, 1.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0], "summary": "C. C. \"Bud\" Baxter is a lonely office drudge at a national insurance corporation in a high-rise building in New York City. In order to climb the corporate ladder, Bud allows four company managers to take turns borrowing his Upper West Side apartment for their various extramarital liaisons, which are so noisy that his neighbors assume that Bud is a playboy bringing home a different woman every night. The four managers write glowing reports about Bud, who hopes for a promotion from the personnel director, Jeff D. Sheldrake. Sheldrake does promote Bud, but he knows why they were so enthusiastic and demands exclusive privileges to borrow the apartment himself, starting that same night. As compensation for such short notice, he gives Baxter two tickets to The Music Man. After work, Bud catches Fran Kubelik, an elevator operator he has had his eye on, and asks her to go to the musical with him. She accepts, but first has to meet a former fling. He is Sheldrake, who convinces her that he is about to divorce his wife for her. They go to Bud's apartment as Bud waits forlornly outside the theater. Later, at the company's raucous Christmas party, Sheldrake's secretary Miss Olsen (Edie Adams) drunkenly tells Fran that Fran is one of many female employees Sheldrake has seduced into affairs with the promise of divorcing his wife, including Miss Olsen herself. At Bud's apartment, Fran confronts Sheldrake, upset with herself for believing his lies. Sheldrake maintains that he genuinely loves her, but then leaves to return to his suburban family as usual. Meanwhile, Bud accidentally learns about Sheldrake and Fran when he notices Fran's broken hand mirror, the same one which he returned to Sheldrake. Heartbroken, he lets himself be picked up by a woman at a local bar. When they arrive at his apartment, he is shocked to find Fran in his bed, fully clothed and unconscious from an intentional overdose of his sleeping pills. He sends his pick-up away and enlists the help of his neighbor, Dr. Dreyfuss, to revive Fran without notifying the authorities. To protect his job, Bud takes advantage of his playboy reputation, letting Dreyfuss believe Fran had attempted suicide after a lovers' quarrel with him. Fran spends two days recuperating there, while Bud tries entertaining and distracting her from any suicidal thoughts. He tells her he once attempted suicide himself. They begin playing gin rummy. Bud dissuades her from phoning her family until her head is clear. During this period one of the executives arrives with a woman; Bud sends them away, but the man sees Fran. Then Fran's brother-in-law Karl Matuschka comes to the office looking for her. Resenting Bud for denying them access to his apartment, the executives direct Karl there. When Bud again takes responsibility for Fran's actions, Karl punches him. Fran kisses Bud on the forehead for not revealing her affair with Sheldrake and, sensing that she now cares for him, Bud smiles and says it \"didn't hurt a bit.\" Sheldrake rewards Bud with a further promotion, and fires Miss Olsen for what she told Fran. However, Miss Olsen retaliates by telling Sheldrake's wife, who promptly throws him out. Sheldrake moves into a room at his athletic club, but now figures that he can string Fran along while he enjoys his newfound bachelorhood. But when Sheldrake asks Bud for the key to the apartment, Bud instead gives back the key to the executive washroom and quits the firm. That night at a New Year's Eve party, Sheldrake indignantly tells Fran about this. She finally realizes that Bud is the man who truly loves her. She runs to his apartment, but at the door, she hears a loud noise like a gunshot. Fearing he has attempted suicide again, Fran pounds on the door until Bud opens it, holding an overflowing bottle of champagne which was the source of the noise. Bud has been packing, planning to find a new job and a new home, but is surprised and delighted to see her. Fran insists on resuming their gin rummy game, telling Bud that she is now free as well. He declares his love for her, and she replies lovingly, \"Shut up and deal.\"", "name": "The_Apartment"}
{"scenes": ["BLACKNESS Then two faint lights appear, close together... growing brighter. They resolve into two DEEP SUBMERSIBLES, free-falling toward us like express elevators. One is ahead of the other, and passes close enough to FILL FRAME, looking like a spacecraft blazing with lights, bristling with insectile manipulators. TILTING DOWN to follow it as it descends away into the limitless blackness below. Soon they are fireflies, then stars. Then gone. CUT TO : EXT./ INT. MIR ONE / NORTH ATLANTIC DEEP PUSHING IN on one of the falling submersibles, called MIR ONE, right up to its circular viewport to see the occupants. INSIDE, it is a cramped seven foot sphere, crammed with equipment. ANATOLY MIKAILAVICH, the sub's pilot, sits hunched over his controls... singing softly in Russian. Next to him on one side is BROCK LOVETT. He's in his late forties, deeply tanned, and likes to wear his Nomex suit unzipped to show the gold from famous shipwrecks covering his gray chest hair. He is a wiley, fast-talking treasure hunter, a salvage superstar who is part historian, part adventurer and part vacuum cleaner salesman. Right now, he is propped against the CO2 scrubber, fast asleep and snoring. On the other side, crammed into the remaining space is a bearded wide-body named LEWIS BODINE, sho is also asleep. Lewis is an R.O.V. ( REMOTELY OPERATED VEHICLE ) pilot and is the resident Titanic expert. Anatoly glances at the bottom sonar and makes a ballast adjustment. CUT TO :", "EXT. THE BOTTOM OF THE SEA A pale, dead-flat lunar landscape. It gets brighter, lit from above, as MIR ONE enters FRAME and drops to the seafloor in a downblast from its thrusters. It hits bottom after its two hour free-fall with a loud BONK. CUT TO :", "INT. MIR ONE Lovett and Bodine jerk awake at the landing. ANATOLY -LRB- heavy Russian accent -RRB- We are here.", "EXT. / INT. MIR ONE AND TWO 5 MINUTES LATER : THE TWO SUBS skim over the seafloor to the sound of sidescan sonar and the THRUM of big thrusters. 6 The featureless gray clay of the bottom unrols in the lights of the subs. Bodine is watching the sidescan sonar display, where the outline of a huge pointed object is visible. Anatoly lies prone, driving the sub, his face pressed to the center port. BODINE Come left a little. She's right in front of us, eighteen meters. Fifteen. Thirteen... you should see it. ANATOLY Do you see it? I do n't see it... there! Out of the darkness, like a ghostly apparition, the bow of the ship appears. Its knife-edge prow is coming straight at us, seeming to plow the bottom sediment like ocean waves. It towers above the seafloor, standing just as it landed 84 years ago. THE TITANIC. Or what is left of her. Mir One goes up and over the bow railing, intact except for an overgrowth of `` rusticles'' draping it like mutated Spanish moss. TIGHT ON THE EYEPIECE MONITOR of a video camcorder. Brock Lovett's face fills the BLACK AND WHITE FRAME. LOVETT It still gets me every time. The image pans to the front viewport, looking over Anatoly's shoulder, to the bow railing visible in the lights beyond. Anatoly turns. ANATOLY Is just your guilt because of estealing from the dead. CUT WIDER, to show that Brock is operating the camera himself, turning it in his hand so it points at his own face. LOVETT Thanks, Tolya. Work with me, here. Brock resumes his serious, pensive gaze out the front port, with the camera aimed at himself at arm's length. LOVETT It still gets me every time... to see the sad ruin of the great ship sitting here, where she landed at 2:30 in the morning, April 15, 1912, after her long fall from the world above. Anatoly rolls his eyes and mutters in Russian. Bodine chuckles and watches the sonar. BODINE You are so full of shit, boss. Mir Two drives aft down the starboard side, past the huge anchor while Mir One passes over the seemingly endless forecastle deck, with its massive anchor chains still laid out in two neat rows, its bronze windlass caps gleaming. The 22 foot long subs are like white bugs next to the enormous wreck. LOVETT -LRB- V.O. -RRB- Dive nine. Here we are again on the deck of Titanic... two and a half miles down. The pressure is three tons per square inch, enough to crush us like a freight train going over an ant if our hull fails. These windows are nine inches thick and if they go, it's sayonara in two microseconds. Mir Two lands on the boat deck, next to the ruins of the Officer's Quarters. Mir One lands on the roof of the deck hous nearby. LOVETT Right. Let's go to work. Bodine slips on a pair of 3-D electronic goggles, and grabs the joystick controls of the ROV. OUTSIDE THE SUB, the ROV, a small orange and black robot called SNOOP DOG, lifts from its cradle and flies forward. BODINE -LRB- V.O. -RRB- Walkin' the dog. SNOOP DOG drives itself away from the sub, paying out its umbilical behind it like a robot yo-yo. Its twin stereo-video cameras swivel like insect eyes. The ROV descends through an open shaft that once was the beautiful First Class Grand Staircase. Snoop Dog goes down several decks, then moves laterally into the First Class Reception Room. SNOOP'S VIDEO POV, moving through the cavernous interior. The remains of the ornate handcarved woodwork which gave the ship its elegance move through the floodlights, the lines blurred by slow dissolution and descending rusticle formations. Stalactites of rust hang down so that at times it looks like a natural grotto, then the scene shifts and the lines of a ghostly undersea mansion can be seen again. MONTAGE STYLE, as Snoop passes the ghostly images of Titanic's opulence : 10 A grand piano in amazingly good shape, crashed on its side against a wall. The keys gleam black and white in the lights. A chandelier, still hanging from the ceiling by its wire... glinting as Snoop moves around it.Its lights play across the floor, revealing a champagne bottle, then some WHITE STAR LINE china... a woman's high-top `` granny shoe''. Then something eerie : what looks like a child's skull resolves into the porcelain head of a doll. Snoop enters a corridor which is much better preserved. Here and there a door still hangs on its rusted hinges. An ornate piece of molding, a wall sconce... hint at the grandeur of the past. THE ROV turns and goes through a black doorway, entering room B-52, the sitting room of a `` promenade suite'', one of the most luxurious staterooms on Titanic. BODINE I'm in the sitting room. Heading for bedroom B-54. LOVETT Stay off the floor. Do n't stir it up like you did yesterday. BODINE I'm tryin' boss. Glinting in the lights are the brass fixtures of the near-perfectly preserved fireplace. An albino Galathea crab crawls over it. Nearby are the remains of a divan and a writing desk. The Dog crosses the ruins of the once elegant room toward another DOOR. It squeezes through the doorframe, scraping rust and wood chunks loose on both sides. It moves out of a cloud of rust and keeps on going. BODINE I'm crossing the bedroom. The remains of a pillared canopy bed. Broken chairs, a dresser. Through the collapsed wall of the bathroom, the porcelain commode and bathtub took almost new, gleaming in the dark. LOVETT Okay, I want to see what's under that wardrobe door. SEVERAL ANGLES as the ROV deploys its MANIPULATOR ARMS and starts moving debris aside. A lamp is lifted, its ceramic colors as bright as they were in 1912. LOVETT Easy, Lewis. Take it slow. Lewis grips a wardrobe door, lying at an angle in a corner, and pulls it with Snoop's gripper. It moves reluctantly in a cloud of silt. Under it is a dark object. The silt clears and Snoop's cameras show them what was under the door... BODINE Ooohh daddy-oh, are you seein' what I'm seein'? CLOSE ON LOVETT, watching his moniteors. By his expression it is like he is seeing the Holy Grail. LOVETT Oh baby baby baby. -LRB- grabs the mike -RRB- It's payday, boys. ON THE SCREEN, in the glare of the lights, is the object of their quest : a small STEEL COMBINATION SAFE. CUT TO :", "EXT. STERN OF DECK OF KEDYSH - DAY THE SAFE, dripping wet in the afternoon sun, is lowered onto the deck of a ship by a winch cable. We are on the Russian research vessel AKADEMIK MISTISLAV KELDYSH. A crowd has gathered, including most of the crew of KELDYSH, the sub crews, and a hand-wringing money guy named BOBBY BUELL who represents the limited partners. There is also a documentary video crew, hired by Lovett to cover his moment of glory. Everyone crowds around the safe. In the background Mir Two is being lowered into its cradle on deck by a massive hydraulic arm. Mir One is already recovered with Lewis Bodine following Brock Lovett as he bounds over to the safe like a kid on Christman morning. BODINE Who's the best? Say it. LOVETT You are, Lewis. -LRB- to the video crew -RRB- You rolling? CAMERAMAN Rolling. Brock nods to his technicians, and they set about drilling the safe's hinges. During this operation, Brock amps the suspense, working the lens to fill the time. LOVETT Well, here it is, the moment of truth. Here's where we find out if the time, the sweat, the money spent to charter this ship and these subs, to come out here to the middle of the North Atlantic... were worth it. If what we think is in that same... is in that safe... it will be. Lovett grins wolfishly in anticipation of his greatest find yet. The door is pried loose. It clangs onto the deck. Lovett moves closer, peering into the safe's wet interior. A long moment then... his face says it all. LOVETT Shit. BODINE You know, boss, this happened to Geraldo and his career never recovered. LOVETT -LRB- to the video cameraman -RRB- Get that outta my face. CUT TO :", "INT. LAB DECK, PRESERVATION ROOM - DAY Technicians are carefully removing some papers from the safe and placing them in a tray of water to separate them safely. Nearby, other artifacts from the stateroom are being washed and preserved. Buell is on the satellite phone with the INVESTORS. Lovett is yelling at the video crew. LOVETT You send out what I tell you when I tell you. I'm signing your paychecks, not 60 minutes. Now get set up for the uplink. Buell covers the phone and turns to Lovett. BUELL The partners want to know how it's going? LOVETT How it's going? It's going like a first date in prison, whattaya think?! Lovett grabs the phone from Buell and goes instantly smooth. LOVETT Hi, Dave? Barry? Look, it was n't in the safe... no, look, do n't worry about it, there're still plenty of places it could be... in the floor debris in the suite, in the mother's room, in the purser's safe on C deck... -LRB- seeing something -RRB- Hang on a second. A tech coaxes some letters in the water tray to one side with a tong... revealing a pencil ( conte crayon ) drawing of a woman. Brock looks closely at the drawing, which is in excellent shape, though its edges have partially disintegrated. The woman is beautiful, and beautifully rendered. In her late teens or early twenties, she is nude, though posed with a kind of casual modesty. She is on an Empire divan, in a pool of light that seems to radiate outward from her eyes. Scrawled in the lower right corner is the date : April 14 1912. And the initials JD. The girl is not entirely nude. At her throat is a diamond necklace with one large stone hanging in the center. Lovett grabs a reference photo from the clutter on the lab table. It is a period black-and-white photo of a diamond necklace on a black velvet jeller's display stand. He holds it next to the drawing. It is clearly the same piece... a complex setting with a massive central stone which is almost heart-shaped. LOVETT I'll be God damned. CUT TO : INSERT A CNN NEWS STORY : a live satellite feed from the deck of the Keldysh, intercut with the CNN studio. ANNOUNCER Treasure hunter Brock Lovett is best known for finding Spanish gold in sunken galleons in the Caribbean. Now he is using deep submergence technology to work two and a half miles down at another famous wreck... the Titanic. He is with us live via satellite from a Russian research ship in the middle of the Atlantic... hello Brock? LOVETT Yes, hi, Tracy. You know, Titanic is not just A shipwrick, Titanic is THE shipwreck. It's the Mount Everest of shipwrecks. CUT TO :", "INT. HOUSE / CERAMICS STUDIO PULL BACK from the screen, showing the CNN report playing on a TV set in the living room of a small rustic house. It is full of ceramics, figurines, folk art, the walls crammed with drawings and paintings... things collected over a lifetime. PANNING to show a glassed-in studio attached to the house. Outside it is a quiet morning in Ojai, California. In the studio, amid incredible clutter, an ANCIENT WOMAN is throwing a pot on a potter's wheel. The liquid red clay covers her hands... hands that are gnarled and age-spotted, but still surprisingly strong and supple. A woman in her early forties assists her. LOVETT -LRB- V.O. -RRB- I've planned this expedition for three years, and we're out here recovering some amazing things... things that will have enormous historical and educational value. CNN REPORTER -LRB- V.O. -RRB- But it's no secret that education is not your main purpose. You're a treasure hunter. So what is the treasure you're hunting? LOVETT -LRB- V.O. -RRB- I'd rather show you than tell you, and we think we're very close to doing just that. The old woman's name is ROSE CALVERT. Her face is a wrinkled mass, her body shapeless and shrunken under a one-piece African-print dress. But her eyes are just as bright and alive as those of a young girl. Rose gets up and walks into the living room, wiping pottery clay from her hands with a rag. A Pomeranian dog gets up and comes in with her. The younger soman, LIZZY CALVERT, rushes to help her. ROSE Turn that up please, dear. REPORTER -LRB- V.O. -RRB- Your expedition is at the center of a storm of controversy over salvage rights and even ethics. Many are calling you a grave robber. TIGHT ON THE SCREEN. LOVETT Nobody called the recovery of the artifacts from King Tut's tomb grave robbing. I have museum-trained experts here, making sure this stuff is preserved and catalogued properly. Look at this drawing, which was found today... The video camera pans off Brock to the drawing, in a tray of water. The image of the woman with the necklace FILLS FRAME. LOVETT... a piece of paper that's been underwater for 84 years... and my team are able to preserve it intanct. Should this have remained unseen at the bottom of the ocean for eternity, when we can see it and enjoy it now...? ROSE is galvanized by this image. Her mouth hangs open in amazement. ROSE I'll be God damned. CUT TO :", "EXT. KELDYSH DECK - NIGHT CUT TO KELDYSH. The Mir subs are being launched. Mir Two is already in the water, and Lovett is getting ready to climb into Mir One when Bobby Buell runs up to him. BUELL There's a satellite call for you. LOVETT Bobby, we're launching. See these submersibles here, going in the water? Take a message. BUELL No, trust me, you want to take this call. CUT TO :", "INT. LAB DECK / KELDYSH - NIGHT Beull hands Lovett the phone, pushing down the blinking line. The call is from Rose and we see both ends of the conversation. She is in her kitchen with a mystified Lizzy. LOVETT This is Brock Lovett. What can I do for you, Mrs...? BUELL Rose Calvert. LOVETT... Mrs. Calvert? ROSE I was just wondering if you had found the `` Heart of the Ocean'' yet, Mr. Lovett. Brock almost drops the phone. Bobby sees his shocked expression... BUELL I told you you wanted to take this call. LOVETT -LRB- to Rose -RRB- Alright. You have my attention, Rose. Can you tell me who the woman in the picture is? ROSE Oh yes. The woman in the picture is me. CUT TO :", "EXT. OCEAN - DAY SMASH CUT TO AN ENORMOUS SEA STALLION HELICOPTER thundering across the ocean. PAN 180 degrees as it roars past. There is no land at either horizon. The Keldysh is visible in the distance. CLOSE ON A WINDOW of the monster helicopter. Rose's face is visible, looking out calmly. CUT TO :", "EXT. KELDYSH - DAY Brock and Bodine are watching Mir 2 being sweng over the side to start a dive. BODINE She's a goddamned liar! A nutcase. Like that... what's her name? That Anastasia babe. BUELL They're inbound. Brock nods and the three of them head forward to meet the approaching helo. BODINE She says she's Rose DeWitt Bukater, right? Rose DeWitt Bukater died on the Titanic. At the age of 17. If she'd've lived, she'd be over a hundred now. LOVETT A hundred and one next month. BODINE Okay, so she's a very old goddamned liar. I traced her as far back as the 20's... she was working as an actress in L.A. An actress. Her name was Rose Dawson. Then she married a guy named Calvert, moved to Cedar Rapids, had two kids. Now Calvert's dead, and from what I've heard Cedar Rapids is dead. The Sea Stallion approaches the ship, BG, forcing Brock to yell over the rotors. LOVETT And everyobody who knows about the diamond is supposed to be dead... or on this ship. But she knows about it. And I want to hear what she has to say. Got it? CUT TO :", "EXT. KELDYSH HELIPAD IN A THUNDERING DOWNBLAST the helicopter's wheels bounce down on the helipad. Lovett, Buell and Bodine watch as the HELICOPTER CREW CHIEF hands out about ten suitcases, and then Rose is lowered to the deck in a wheelchair by Keldysh crewmen. Lizzy, ducking unnecessarily under the rotor, follows her out, carrying FREDDY the Pomeranian. The crew chief hands a puzzled Keldysh crewmember a goldfish bowl with several fish in it. Rose does not travel light. HOLD ON the incongruous image of this little old lady, looking impossibly fragile amongst all the high tech gear, grungy deck crew and gigantic equipment. BODINE S'cuse me, I have to go check our supply of Depends. CUT TO :", "INT. ROSE'S STATEROOM / KELDYSH - DAY Lizzy is unpacking Rose's things in the small utilitarian room. Rose is placing a number of FRAMED PHOTOS on the bureau, arranging them carefully next to the fishbowl. Brock and Bodine are in the doorway. LOVETT Is your stateroom alright? ROSE Yes. Very nice. Have you met my granddaughter, Lizzy? She takes care of me. LIZZY Yes. We met just a few minutes ago, grandma. Remember, up on deck? ROSE Oh, yes. Brock glances at Bodine... oh oh. Bodine rolls his eyes. Rose finishes arranging her photographs. We get a general glimpse of them : the usual snapshots... children and grandchildren, her late husband. ROSE There, that's nice. I have to have my pictures when I travel. And Freddy of course. -LRB- to the Pomeranian -RRB- Is n't that right, sweetie. LOVETT Would you like anything? ROSE I should like to see my drawing. CUT TO :", "INT. LAB DECK, PRESERVATION AREA Rose looks at the drawing in its tray of water, confronting herself across a span of 84 years. Until they can figure out the best way to preserve it, they have to keep it immersed. It sways and ripples, almost as if alive. TIGHT ON Rose's ancient eyes, gazing at the drawing. 25 FLASHCUT of a man's hand, holding a conte crayon deftly creating a shoulder and the shape of her hair with two efficient lines. 26 THE WOMAN'S FACE IN THE DRAWING, dancing under the water. 27 A FLASHCUT of a man's eyes, just visible over the top of a sketching pad. They look up suddenly right into the LENS. Soft eyes, but fearlessly direct. 28 Rose smiles, remembering. Brock has the reference photo of the necklace in his hand. LOVETT Louis the Sixteenth wore a fabulous stone, called the Blue Diamond of the Crown, which disappeared in 1792, about the time Louis lost everything from the neck up. The theory goes that the crown diamond was chopped too... recut into a heart-like shape... and it became Le Coeur de la Mer. The Heart of the Ocean. Today it would be worth more than the Hope Diamond. ROSE It was a dreadful, heavy thing. -LRB- she points at the drawing -RRB- I only wore it this once. LIZZY You actually believe this is you, grandma? ROSE It is me, dear. Was n't I a hot number? LOVETT I tracked it down through insurance records... and old claim that was settled under terms of absolute secrecy. Do you know who the claiment was, Rost? ROSE Someone named Hockley, I should imagine. LOVETT Nathan Hockley, right. Pittsburgh steel tycoon. For a diamond necklace his son Caledon Hockley bought in France for his fiancee... you... a week before he sailed on Titanic. And the claim was filed right after the sinking. So the diamond had to've gone down with the ship. -LRB- to Lizzy -RRB- See the date? LIZZY April 14, 1912. LOVETT If your grandma is who she says she is, she was wearing the diamond the day Titanic sank. -LRB- MORE -RRB- LOVETT -LRB- CONT'D -RRB- -LRB- to Rose -RRB- And that makes you my new best friend. I will happily compensate you for anything you can tell us that will lead to its recovery. ROSE I do n't want your money, Mr. Lovett. I know how hard it is for people who care greatly for money to give some away. BODINE -LRB- skeptical -RRB- You do n't want anything? ROSE -LRB- indicating the drawing -RRB- You may give me this, if anything I tell you is of value. LOVETT Deal. -LRB- crossing the room -RRB- Over here are a few things we've recovered from your staterooms. Laid out on a worktable are fifty or so objects, from mundane to valuable. Rose, shrunken in her chair, can barely see over the table top. With a trembling hand she lifts a tortoise shell hand mirror, inlaid with mother of pearl. She caresses it wonderingly. ROSE This was mine. How extraordinary! It looks the same as the last time I saw it. She turns the mirror over and looks at her ancient face in the cracked glass. ROSE The reflection has changed a bit. She spies something else, a silver and moonstone art-nouveau brooch. ROSE My mother's brooch. She wanted to go back for it. Caused quite a fuss. Rose picks up an ornate art-nouveau HAIR COMB. A jade butterfly takes flight on the ebony handle of the comb. She turns it slowly, remembering. We can see that Rose is experiencing a rush of images and emotions that have lain dormant for eight decades as she handles the butterfly comb. LOVETT Are you ready to go back to Titanic? CUT TO :", "INT. IMAGING SHACK / KELDYSH It is a darkened room lined with TV monitors. IMAGES OF THE WRECK fill the screens, fed from Mir One and Two, and the two ROVs, Snoop Dog and DUNCAN. BODINE Live from 12,000 feet. ROSE stares raptly at the screens. She is enthraled by one in particular, an image of the bow railing. It obviously means something to her. Brock is studying her reactions carefully. BODINE The bow's struck in the bottom like an axe, from the impact. Here... I can run a simulation we worked up on this monitor over here. Lizzy turns the chair so Rose can see the screen of Bodine's computer. As he is calling up the file, he keeps talking. BODINE We've put together the world's largest database on the Titanic. Okay, here... LOVETT Rose might not want to see this, Lewis. ROSE No, no. It's fine. I'm curious. Bodine starts a COMPUTER ANIMATED GRAPHIC on the screen, which parallels his rapid-fire narration. BODINE She hits the berg on the starboard side and it sort of bumps along... punching holes like a morse code... dit dit dit, down the side. Now she's flooding in the BODINE -LRB- CONT'D -RRB- forward compartments... and the water spills over the tops of the bulkheads, going aft. As her bow is going down, her stern is coming up... slow at first... and then faster and faster until it's lifting all that weight, maybe 20 or 30 thousand tons... out of the water and the hull ca n't deal... so SKRTTT!! -LRB- making a sound in time with the animation -RRB-... it splits! Right down to the keel, which acts like a big hinge. Now the bow swings down and the stern falls back level... but the weight of the bow pulls the stern up vertical, and then the bow section detaches, heading for the bottom. The stern bobs like a cork, floods and goes under about 2:20 a.m. Two hours and forty minutes after the collision. The animation then follows the bow section as it sinks. Rose watches this clinical dissection of the disaster without emotion. BODINE The bow pulls out of its dive and planes away, almost a half a mile, before it hits the bottom going maybe 12 miles an hour. KABOOM! The bow impacts, digging deeply into the bottom, the animation now follows the stern. BODINE The stern implodes as it sinks, from the pressure, and rips apart from the force of the current as it falls, landing like a big pile of junk. -LRB- indicating the simulation -RRB- Cool huh? ROSE Thank you for that fine forensic analysis, Mr. Bodine. Of course the experience of it was somewhat less clinical. LOVETT Will you share it with us? Her eyes go back to the screens, showing the sad ruins far below them. A VIEW from one of the subs TRACKING SLOWLY over the boat deck. Rose recognizes one of the Wellin davits, still in place. She hears ghostly waltz music. The faint and echoing sound of an officer's voice, English accented, calling `` Women and children only''. 30 FLASH CUTS of screaming faces in a running crowd. Pandemonium and terror. People crying, praying, kneeling on the deck. Just impressions... flashes in the dark. Rose Looks at another monitor. SNOOP DOG moving down a rusted, debris-filled corridor. Rose watches the endless row of doorways sliding past, like dark mouths. IMAGE OF A CHILD, three years old, standing ankle deep in water in the middle of an endless corridor. The child is lost alone, crying. Rose is shaken by the flood of memories and emotions. Her eyes well up and she puts her head down, sobbing quietly. LIZZY -LRB- taking the wheelchair -RRB- I'm taking her to rest. ROSE No! Her voice is surprisingly strong. The sweet little old lady is gone, replaced by a woman with eyes of steel. Lovett signals everyone to stay quiet. LOVETT Tell us, Rose. She looks from screen to screen, the images of the ruined ship. ROSE It's been 84 years... LOVETT Just tell us what you can -- ROSE -LRB- holds up her hand for silence -RRB- It's been 84 years... and I can still smell the fresh paint. The china had never been used. The sheets had never been slept in. He switches on the minirecorder and sets it near her. ROSE Titanic was called the Ship of Dreams. And it was. It really was... As the underwater camera rises past the rusted bow rail, WE DISSOLVE / MATCH MOVE to that same railing in 1912... MATCH DISSOLVE :", "EXT. SOUTHAMPTON DOCK - DAY SHOT CONTINUES IN A FLORIOUS REVEAL as the gleaming white superstructure of Titanic rises mountainously beyond the rail, and above that the buff-colored funnels stand against the sky like the pillars of a great temple. Crewmen move across the deck, dwarfed by the awesome scale of the steamer. Southanmpton, England, April 10, 1912. It is almost nnon on ailing day. A crowd of hundreds blackens the pier next to Titanic like ants on a jelly sandwich. IN FG a gorgeous burgundy RENAULT TOURING CAR swings into frame, hanging from a loading crane. It is lowered toward HATCH # 2. On the pier horsedrawn vehicles, motorcars and lorries move slowly through the dense throng. The atmosphere is one of excitement and general giddiness. People embrace in tearful farewells, or wave and shout bon voyage wishes to friends and relatives on the decks above. A white RENAULT, leading a silver-gray DAIMLER-BENZ, pushes through the crowd leaving a wake in the press of people. Around the handsome cars people are streaming to board the ship, jostling with hustling seamen and stokers, porters, and barking WHITE STAR LINE officials. The Renault stops and the LIVERIED DRIVER scurries to open the door for a YOUNG WOMAN dressed in a stunning white and purple outfit, with an enormous feathered hat. She is 17 years old and beautiful, regal of bearing, with piercing eyes. It is the girl in the drawing. ROSE. She looks up at the ship, taking it in with cool appraisal. ROSE I do n't see what all the fuss is about. It does n't look any bigger than the Mauretania. A PERSONAL VALET opens the door on the other side of the car for CALEDON HOCKLEY, the 30 year old heir to the elder Hockley's fortune. `` Cal'' is handsome, arrogant and rich beyond meaning. CAL You can be blase about some things, Rose, but not about Titanic. It's over a hundred feet longer than Mauretania, and far more luxurious. It has squash courts, a Parisian cafe... even Turkish baths. Cal turns and fives his hand to Rose's mother, RUTH DEWITT BUKATER, who descends from the touring car being him. Ruth is a 40ish society empress, from one of the most prominent Philadelphia families. She is a widow, and rules her household with iron will. CAL Your daughter is much too hard to impress, Ruth. -LRB- indicating a puddle -RRB- Mind your step. RUTH -LRB- gazing at the leviathan -RRB- So this is the ship they say is unsinkable. CAL It is unsinkable. God himself could n't sink this ship. Cal speaks with the pride of a host providing a special experience. This entire entourage of rich Americans is impeccably turned out, a quintessential example of the Edwardian upper class, complete with servants. Cal's VALET, SPICER LOVEJOY, is a tall and impassive, dour as an undertaker. Behind him emerge TWO MAIDS, personal servants to Ruth and Rose. A WHITE STAR LINE PORTER scurries toward them, harried by last minute loading. PORTER Sir, you'll have to check your baggage through the main terminal, round that way -- Cal nonchalantly hands the man a fiver. The porter's eyes dilate. Five pounds was a monster tip in those days. CAL I put my faith in you, good sir. -LRB- MORE -RRB- CAL -LRB- CONT'D -RRB- -LRB- curtly, indicating Lovejoy -RRB- See my man. PORTER Yes, sir. My pleasure, sir. Cal never tires of the effect of money on the unwashed masses. LOVEJOY -LRB- to the porter -RRB- These trunks here, and 12 more in the Daimler. We'll have all this lot up in the rooms. The White Star man looks stricken when he sees the enormous pile of steamer trunks and suitcases loading down the second car, including wooden crates and steel safe. He whistles frantically for some cargo-handlers nearby who come running. Cal breezes on, leaving the minions to scramble. He quickly checks his pocket watch. CAL We'd better hurry. This way, ladies. He indicates the way toward the first class gangway. They move into the crowd. TRUDY BOLT, Rose's maid, hustles behind them, laden with bags of her mistress's most recent purchases... things too delicate for the baggage handlers. Cal leads, weaving between vehicles and handcarts, hurrying passengers ( mostly second class and steerage ) and well-wishers. Most of the first class passengers are avoiding the smelly press of the dockside crowd by using an elevated boarding bridge, twenty feet above. They pass a line of steerage passengers in their coarse wool and tweeds, queued up inside movable barriers like cattle in a chute. A HEALTH OFFICER examines their heads one by one, checking scalp and eyelashes for lice. They pass a well-dressed young man cranking the handle of a wooden Biograph `` cinematograph'' camera mounted on a tripod. NANIEL MARVIN ( whose father founded the Biograph Film Studio ) is filming his young bride in front of the Titanic. MARY MARVIN stands stiffly and smiles, self conscious. DANIEL Look up at the ship, darling, that's it. You're amazed! You ca n't believe how big it is! Like a mountain. That's great. Mary Marvin, without an acting fiber in her body, does a bad Clara Bow pantomime of awe, hands raised. Cal is jostled by two yelling steerage boys who shove past him. And he is bumped again a second later by the boys' father. CAL Steady!! MAN Sorry squire! The Cockney father pushes on, after his kids, shouting. CAL Steerage swine. Apparently missed his annual bath. RUTH Honestly, Cal, if you were n't forever booking everything at the last instant, we could have gone through the terminal instead of running along the dock like some squalid immigrant family. CAL All part of my charm, Ruth. At any rate, it was my darling fiancee's beauty rituals which made us late. ROSE You told me to change. CAL I could n't let you wear black on sailing day, sweetpea. It's bad luck. ROSE I felt like black. Cal guides them out of the path of a horse-drawn wagon loaded down with two tons of OXFORD MARMALADE, in wooden cases, for Titanic's Victualling Department. CAL Here I've pulled every string I could to book us on the grandest ship in history, in her most luxurious suites... and you act as if you're going to your execution. Rose looks up as the hull of Titanic looms over them... a great iron wall, Bible black and sever. Cal motions her forward, and she enters the gangway to the D Deck doors with a sense of overwhelming dread. OLD ROSE -LRB- V.O. -RRB- It was the ship of dreams... to everyone else. To me it was a slave ship, taking me back to America in chains. CLOSE ON CAL'S HAND IN SLOW-MOTION as it closes possessively over Rose's arm. He escorts her up the gangway and the black hull of Titanic swallows them. OLD ROSE -LRB- V.O. -RRB- Outwardly I was everything a well brought up girl should be. Inside, I was screaming. CUT TO a SCREAMING BLAST from the mighty triple steam horns on Titanic's funnels, bellowing their departure warning. CUT TO :", "EXT. SOUTHAMPTON DOCKS / TITANIC - DAY A VIEW OF TITANIC from several blocks away, towering above the terminal buildings like the skyline of a city. The steamer's whistle echoes across Southampton. PULL BACK, revealing that we were looking through a window, and back further to show the smoky inside of a pub. It is crowded with dockworkers and ship ; s crew. Just inside the window, a poker game is in progress. FOUR MEN, in working class clothes, play a very serious hand. JACK DAWSON and FABRIZIO DE ROSSI, both about 20, exchange a glance as the other two players argue in Swedish. Jack is American, a lanky drifter with his hair a little long for the standards of the times. He is also unshaven, and his clothes are rumpled from sleeping in them. He is an artist, and has adopted the bohemian style of art scene in Paris. He is also very self-possessed and sure-footed for 20, having lived on his own since 15. The TWO SWEDES continue their sullen argument, in Swedish. OLAF -LRB- subtitled -RRB- You stupid fishhead. I ca n't believe you bet our tickets. SVEN -LRB- subtitled -RRB- You lost our money. I'm just trying to get it back. Now shutup and take a card. JACK -LRB- jaunty -RRB- Hit me again, Sven. Jack takes the card and slips it into his hand. ECU JACK'S EYES. They betray nothing. CLOSE ON FABRIZIO licking his lips nervously as he refuses a card. ECU STACK in the middle of the table. Bills and coins from four counrties. This has been going on for a while. Sitting on top of the money are two 3RD CLASS TICKETS for RMS TITANIC. The Titanic's whistle blows again. Final warning. JACK The moment of truth boys. Somebody's life's about to change. Fabrizio puts his cards down. So do the Swedes. Jack holds his close. JACK Let's see... Fabrizio's got niente. Olaf, you've got squat. Sven, uh oh... two pair... mmm. -LRB- turns to his friend -RRB- Sorry Fabrizio. FABRIZIO What sorry? What you got? You lose my money?? Ma va fa' n culo testa di cazzo -- JACK Sorry, you're not gon na see your mama again for a long time... He slaps a full house down on the table. JACK -LRB- grinning -RRB-'Cause you're goin' to America!! Full house boys! FABRIZIO Porca Madonna!! YEEAAAAA!!! The table explodes into shouting in several languages. Jack rakes in the money and the tickets. JACK -LRB- to the Swedes -RRB- Sorry boys. Three of a kind and a pair. I'm high and you're dry and... -LRB- to Fabrizio -RRB-... we're going to -- FABRIZIO/JACK L'AMERICA!!! Olaf balls up one huge farmer's fist. We think he's going to clobber Jack, but he swings round and punches Sven, who flops backward onto the floor and sits there, looking depressed. Olaf forgets about Jack and Fabrizio, who are dancing around, and goes into a rapid harangue of his stupid cousin. Jack kisses the tickets, then jumps on Fabrizio's back and rides him around the pub. It's like they won the lottery. JACK Goin' home... to the land o' the free and the home of the real hot-dogs! On the TITANIC!! We're ridin' in high style now! We're practically goddamned royalty, ragazzo mio!! FABRIZIO You see? Is my destinio!! Like I told you. I go to l'America!! To be a millionaire!! -LRB- MORE -RRB- FABRIZIO -LRB- CONT'D -RRB- -LRB- to pubkeeper -RRB- Capito?? I go to America!! PUBKEEPER No, mate. Titanic go to America. In five minutes. JACK Shit!! Come on, Fabri! -LRB- grabbing their stuff -RRB- Come on!! -LRB- to all, grinning -RRB- It's been grand. They run for the door. PUBKEEPER'Course I'm sure if they knew it was you lot comin', they'd be pleased to wait! CUT TO : 37 OMITTED", "EXT. TERMINAL - TITANIC Jack and Fabrizio, carrying everything they own in the world in the kit bags on their shoulders, sprint toward the pier. They tear through milling crowds next to the terminal. Shouts go up behind them as they jostle slow-moving gentlemen. They dodge piles of luggage, and weave through groups of people. They burst out onto the pier and Jack comes to a dead stop... staring at the cast wall of the ship's hull, towering seven stories above the wharf and over an eighth of a mile long. The Titanic is monstrous. Fabrizio runs back and grabs Jack, and they sprint toward the third class gangway aft, at E deck. They reach the bottom of the ramp just as SIXTH OFFICER MOODY detaches it at the top. It starts to swing down from the gangway doors. JACK Wait!! We're passengers! Flushed and panting, he waves the tickets. MOODY Have you been through the inspection queue? JACK -LRB- lying cheerfully -RRB- Of course! Anyway, we do n't have lice, we're Americans. -LRB- glances at Fabrizio -RRB- Both of us. MOODY -LRB- testy -RRB- Right, come aboard. Moody has QUARTERMASTER ROWE reattach the gangway. Jack and Fabrizio come aboard. Moody glances at the tickets, then passes Jack and Fabrizio through to Rowe. Rowe looks at the names on the tickets to enter them in the passenger list. ROWE Gundersen. And... -LRB- reading Fabrizio's -RRB- Gundersen. He hands the tickets back, eyeing Fabrizio's Mediterranean looks suspiciously. JACK -LRB- grabbing Fabrizio's arm -RRB- Come on, Sven. Jack and Fabrizio whoop with victory as they run down the white-painted corridero... grinning from ear to ear. JACK We are the luckiest sons of bitches in the world! CUT TO : 39 OMITTED", "EXT. TITANIC AND DOCK - DAY The mooring lines, as big around as a man's arm, are dropped into the water. A cheer goes up on the pier as SEVEN TUGS pull the Titanic away from the quay. CUT TO :", "EXT. AFT WELL DECK / POOP DECK - DAY JACK AND FABRIZIO burst through a door onto the aft well deck. TRACKING WITH THEM as they run across the deck and up the steel stairs to the poop deck. They get to the rail and Jack starts to yell and wave to the crowd on the dock. FABRIZIO You know somebody? JACK Of course not. That's not the point. -LRB- to the crowd -RRB- Goodbye! Goodbye!! I'll miss you! Grinning, Fabrixio joins in, adding his voice to the swell of voices, feeling the exhilaration of the moment. FABRIZIO Goodbye! I will never forget you!! CUT TO : 42 OMITTED", "EXT. SOUTHAMPTON DOCK - DAY The crowd of cheering well-wishers waves heartily as a black wall of metal moves past them. Impossibly tiny figues wave back from the ship's rails. Titanic gathers speed. CUT TO :", "EXT. RIVER TEST - DAY IN A LONG LENS SHOT the prow of Titanic FILLS FRAME behind the lead tug, which is dwarfed. The bow wave spreads before the mighty plow of the liner's hull as it moves down the River Test toward the English Channel. CUT TO :", "INT. THIRD CLASS BERTHING / G-DECK FORWARD - DAY Jack and Fabrizio walk down a narrow corridor with doors lining both sides like a college dorm. Total confusion as people argue over luggage in several languages, or wander in confusion in the labyrinth. They pass emigrants studying the signs over the doors, and looking up the words in phrase books. They find their berth. It is a modest cubicle, painted enamel white, with four bunks. Exposed pipes overhead. The other two guys are already there. OLAUS and BJORN GUNDERSEN. Jack throws his kit on one open bunk, while Fabrizio takes the other. BJORN -LRB- in Swedish/ subtitled -RRB- Where is Sven? CUT TO :", "INT. SUITE B-52-56 - DAY By contrast, the so-called `` Millionaire Suite'' is in the Empire style, and comprises two bedrooms, a bath, WC, wardrobe room, and a large sitting room. In addition there is a private 50 foot promenade deck outside. A room service waiter pours champagne into a tulip glass of orange juice and hands the Bucks Fizz to Rose. She is looking through her new paintings. There is a Monet of water lilies, a Degas of dancers, and a few abstract works. They are all unknown paintings... lost works. Cal is out on the covered deck, which has potted trees and vines on trellises, talking through the doorway to Rose in the sitting room. CAL Those mud puddles were certainly a waste of money. ROSE -LRB- looking at a cubist portrait -RRB- You're wrong. They're fascinating. Like in a dream... there's truth without logic. What's his name again...? -LRB- reading off the canvas -RRB- Picasso. CAL -LRB- coming into the sitting room -RRB- He'll never amount to a thing, trust me. At least they were cheap. A porter wheels Cal's private safe ( which we recognize ) into the room on a handtruck. CAL Put that in the wardrobe. IN THE BEDROOM Rose enters with the large Degas of the dancers. She sets it on the dresser, near the canopy bed. Trudy is already in there, hanging up some of Rose's clothes. TRUDY It smells so brand new. Like they built it all just for us. I mean... just to think that tonight, when I crawl between the sheets, Iill be the first -- Cal appears in the doorway of the bedroom. CAL -LRB- looking at Rose -RRB- And when I crawl between the sheets tonight, I'll still be the first. TRUDY -LRB- blushing at the innuendo -RRB- S'cuse me, Miss. She edges around Cal and makes a quick exit. Cal comes up behind Rose and puts his hands on her shoulders. An act of possession, not intimacy. CAL The first and only. Forever. Rose's expression shows how bleak a prospect this is for her, now. CUT TO :", "EXT. CHERBOURG HARBOR, FRANCE - LATE DUSK Titanic stands silhouetted against a purple post-sunset sky. She is lit up like a floating palace, and her thousand portholes reflect in the calm harbor waters. The 150 foot tender Nomadic lies-to alongside, looking like a rowboat. The lights of a Cherbourg harbor complete the postcard image. CUT TO :", "INT. FIRST CLASS RECEPTION/ D-DECK Entering the first class reception room from the tender are a number of prominent passengers. A BROAD-SHOULDERED WOMAN in an enormous feathered hat comes up the gangway, carrying a suitcase in each hand, a spindly porter running to catch up with her to take the bags. WOMAN Well, I was n't about to wait all day for you, sonny. Take'em the rest of the way if you think you can manage. OLD ROSE -LRB- V.O. -RRB- At Cherbourg a woman came aboard named Margaret Brown, but we all called her Molly. History would call her the Unsinkable Molly Brown. Her husband had struck gold someplace out west, and she was what mother called `` new money''. At 45, MOLLY BROWN is a tough talking straightshooter who dresses in the finery of her genteel peers but will never be one of them. OLD ROSE -LRB- V.O. -RRB- By the next afternoon we had made our final stop and we were steaming west from the coast of Ireland, with nothing out ahead of us but ocean... CUT TO : OMITTED", "EXT. BOW - DAY The ship glows with the warm creamy light of late afternoon. Jack and Fabrizio stand right at the bow gripping the curving railing so familiar from images of the wreck. Jack leans over, looking down fifty feet to where the prow cuts the surface like a knife, sending up two glassy sheets of water. CUT TO :", "INT. / EXT. TITANIC - SERIES OF SCENES - DAY ON THE BRIDGE, CAPTAIN SMITH turns from the binnacle to FIRST OFFICER WILLIAM MURDOCH. CAPTAIN SMITH Take her to sea Mister Murdoch. Let's stretch her legs. Murdoch moves the engine telegraph lever to ALL AHEAD FULL. 53 NOW BEGINS a kind of musical/visual setpiece... an ode to the great ship. The music is rhythmic, surging forward, with a soaring melody that addresses the majesty and optimism of the ship of dreams. IN THE ENGINE ROOM the telegraph clangs and moves to `` All Ahead Full''. CHIEF ENGINEER BELL All ahead full! On the catwalk THOMAS ANDREWS, the shipbuilder, watches carefully as the engineers and greasers scramble to adjust valves. Towering above them are the twin RECIPROCATING engines, four stories tall, their ten-foot-long connecting rods surging up and down with the turning of the massive crankshafts. The engines thunder like the footfalls of marching giants. 54 IN THE BOILER ROOMS the STOKERS chant a song as they hurl coal into the roaring furnaces. The `` black gang'' are covered with sweat and coal dust, their muscles working like part of the machinery as they toil in the hellish glow. UNDERWATER the enormous bronze screws chop through the water, hurling the steamer forward and churning up a vortex of foam that lingers for miles behind the juggernaut ship. Smoke pours from the funnels as -- The riven water flares higher at the bow as the ship's speeds builds. THE CAMERA SWEEPS UP the prow to find Jack, the wind streaming through his hair and -- Captain Smith steps out of the enclosed bridge onto the wing. He stands with his hands on the rail, looking every bit the storybook picture of a Captain... a great patriarch of the sea. FIRST OFFICER MURDOCH Twenty one knots, sir! SMITH She's got a bone in her teeth now, eh, Mr. Murdoch. Smith accepts a cup of tea from FIFTH OFFICER LOWE. He contentedly watches the white V of water hurled outward from the bows like an expression of his own personal power. They are invulnerable, towering over the sea. AT THE BOW Jack and Fabrizio lean far over, looking down. In the glassy bow-wave two dolphins appear, under the water, running fast just in front of the steel blade of the prow. They do it for the sheer joy and exultation of motion. Jack watches the dolphins and grins. They breach, jumping clear of the water and then dive back, crisscrossing in front of the bow, dancing ahead of the juggernaut. FABRIZIO looks forward across the Atlantic, staring into the sunsparkles. FABRIZIO I can see the Statue of Liberty already. -LRB- grinning at Jack -RRB- Very small... of course. THE CAMERA ARCS around them, until they are framed against the sea. NOW WE PULL BACK, across the forecastle deck. Rising, as we continue back, and the ships rolls endlessly forward underneath. Over the bridge wing, along the boat deck until her funnels come INTO FRAME besides us and march past like the pillars of heaven, one by one. We pull back and up, until we are looking down the funnels, and the people strolling on the decks and standing at the rail become antlike. And still we pull back until the great lady is seen whole in a gorgeous aerial portrait, black and severe in her majesty. ISMAY -LRB- V.O. -RRB- She is the largest moving object ever made by the hand of man in all history... CUT TO :", "INT. PALM COURT RESTAURANT - DAY CLOSE ON J. BRUCE ISMAY, Managing Director of White Star Line. ISMAY... and our master shipbuilder, Mr. Andrews here, designed her from the keel plates up. He indicates a handsome 39 year old Irish gentlemen to his right, THOMAS ANDREWS, of Harland and Wolf Shipbuilders. WIDER, showing the group assembled for lunch the next day. Ismay seated with Cal, Rose, Ruth, Molly Brown and Thomas Andrews in the Palm Court, a beautiful sunny spot enclosed by high arched windows. ANDREWS -LRB- disliking the attention -RRB- Well, I may have knocked her together, but the idea was Mr. Ismay's. He envisioned a steamer so grand in scale, and so luxurious in its appointments, that its supremacy would never be challenged. And here she is... -LRB- he slaps the table -RRB-... willed into solid reality. MOLLY Why're ships always bein' called `` she''? Is it because men think half the women around have big sterns and should be weighed in tonnage? -LRB- they all laugh -RRB- Just another example of the men settin' the rules their way. The waiter arrives to take orders. Rose lights a cigarette. RUTH You know I do n't like that, Rose. CAL She knows. Cal takes the cigarette from her and stubs it out. CAL -LRB- to the waiter -RRB- We'll both have the lamb. Rare, with a little mint sauce. -LRB- to Rose, after the waiter moves away -RRB- You like lamb, do n't you sweetpea? Molly is watching the dynamic between Rose, Cal and Ruth. MOLLY So, you gon na cut her meat for her too there, Cal? -LRB- turning to Ismay -RRB- Hey, who came up with the name Titanic? You, Bruce? ISMAY Yes, actually. I wanted to convey sheer size. And size means stability, luxury... and safety -- ROSE Do you know of Dr. Freud? His ideas about the male preoccupation with size might be of particular interest to you, Mr. Ismay. Andrews chockes on his breadstick, suppressing laughter. RUTH My God, Rose, what's gotten into -- ROSE Excuse me. She stalks away. RUTH -LRB- mortified -RRB- I do apologize. MOLLY She's a pistol, Cal. You sure you can handle her? CAL -LRB- tense but feigning unconcern -RRB- Well, I may have to start minding what she reads from now on. CUT TO :", "EXT. POOP DECK / AFTER DECKS - DAY Jack sits on a bench in the sun. Titanic's wake spreads out behind him to the horizon. He has his knees pulled up, supporting a leather bound sketching pad, his only valuable possession. With conte crayon he draws rapidly, using sure strokes. An emigrant from Manchester named CARTMELL has his 3 year old daughter CORA standing on the lower rung of the rail. She is leaned back against his beer barrel of a stomach, watching the seagulls. THE SKETCH captures them perfectly, with a great sense of the humanity of the moment. Jack is good. Really good. Fabrizio looks over Jack's shoulder. He nods appreciatively. TOMMY RYAN, a scowling young Irish emigrant, watches as a crewmember comes by, walking three small dogs around the deck. One of them, a BLACK FRENCH BULLDOG, is among the ugliest creatures on the planet. TOMMY That's typical. First class dogs come down here to take a shit. Jack looks up from his sketch. JACK That's so we know where we rank in the scheme of things. TOMMY Like we could forget. Jack glances across the well deck. At the aft railing of B deck promenade stands ROSE, in a long yellow dress and white gloves. CLOSE ON JACK, unable to take his eyes off of her. They are across from each other, about 60 feet apart, with the well deck like a valley between them. She on her promontory, he on his much lower one. She stares down at the water. He watches her unpin her elaborate hat and take it off. She looks at the frilly absurd thing, then tosses it over the rail. It sails far down to the water and is carried away, astern. A spot of yellow in the vast ocean. He is riveted by her. She looks like a figure in a romantic novel, sad and isolated. Fabrizio taps Tommy and they both look at Jack gazin at Rose. Fabrizio and Tommy grin at each other. Rose turns suddenly and looks right at Jack. He is caught staring, but he does n't look away. She does, but then looks back. Their eyes meet across the space of the well deck, across the gulf between worlds. Jack sees a man ( Cal ) come up behind her and take her arm. She jerks her arm away. They argue in pantomime. She storms away, and he goes after her, disappearing along the A-deck promenade. Jack stares after her. TOMMY Forget it, boyo. You'd as like have angels fly out o' yer arse as get next to the likes o' her. CUT TO :", "INT. FIRST CLASS DINING SALOON - NIGHT SLOWLY PUSHING IN ON ROSE as she sits, flanked by people in heated conversation. Cal and Ruth are laughing together, while on the other side LADY DUFF-GORDON is holding forth animatedly. We do n't hear what they are saying. Rose is staring at her plate, barely listening to the inconsequential babble around her. OLD ROSE -LRB- V.O. -RRB- I saw my whole life as if I'd already lived it... an endless parade of parties and cotillions, yachts and polo matches... always the same narrow people, the same mindless chatter. I felt like I was standing at a great precipice, with no one to pull me back, no one who cared... or even noticed. ANGLE BENEATH TABLE showing Rose's hand, holding a tiny fork from her crab salad. She pokes the crab-fork into the skin of her arm, harder and harder until it draws blood. CUT TO :", "INT. CORRIDOR / B DECK - NIGHT Rose walks along the corridor. A steward coming the other way greets her, and she nods with a slight smile. She is perfectly composed. CUT TO :", "INT. ROSE'S BEDROOM - NIGHT She enters the room. Stands in the middle, staring at her reflection in the large vanity mirror. Just stands there, then -- With a primal, anguished cry she claws at her throat, ripping off her pearl necklace, which explodes across the room. In a frenzy she tears at herself, her clothes, her hair... then attacks the room. She flings everything off the dresser and it flies clattering against the wall. She hurls a handmirror against the vanity, cracking it. CUT TO :", "EXT. A DECK PROMENADE, AFT - NIGHT Rose runs along the B deck promenade. She is dishevelled, her hair flying. She is crying, her cheeks streaked with tears. But also angry, furious! Shaking with emotions she does n't understand... hatred, self-hatred, desperation. A strolling couple watch her pass. Shocked at the emotional display in public. CUT TO :", "EXT. POOP DECK - NIGHT Jack is kicked back on one of the benches gazing at the stars blazing gloriously overhead. Thinking artist thoughts and smoking a cigarette. Hearing something, he turns as Rose runs up the stairs from the well deck. They are the only two on the stern deck, except for QUARTERMASTER ROWE, twenty feet above them on the docking bridge catwalk. She does n't see Jack in the shadows, and runs right past him. TRACKING WITH ROSE as she runs across the deserted fantail. Her breath hitches in an occasional sob, which she suppresses. Rose slams against the base of the stern flagpole and clings there, panting. She stares out at the black water. Then starts to climb over the railing. She has to hitch her long dress way up, and climbing is clumsy. Moving methodically she turns her body and gets her heels on the white-painted gunwale, her back to the railing, facing out toward blackness. 60 feet below her, the massive propellers are churning the atlantin into white foam, and a ghostly wake trails off toward the horizon. IN A LOW ANGLE, we see Rose standing like a figurehead in reverse. Below her are the huge letters of the name `` TITANIC''. She leans out, her arms straightening... looking down hypnotized, into the vortex below her. Her dress and hair are lifted by the wind of the ship's movement. The only sound, above the rush of water below, is the flutter and snap of the big Union Jack right above her. JACK Do n't do it. She whips her head around at the sound of his voice. It takes a second for her eyes to focus. ROSE Stay back! Do n't come any closer! Jack sees the tear tracks on her cheeks in the faint glow from the stern running lights. JACK Take my hand. I'll pull you back in. ROSE No! Stay where you are. I mean it. I'll let go. JACK No you wo n't. ROSE What do you mean no I wo n't? Do n't presume to tell me what I will and will not do. You do n't know me. JACK You would have done it already. Now come on, take my hand. Rose is confused now. She ca n't see him very well through the tears, so she wipes them with one hand, almost losing her balance. ROSE You're distracting me. Go away. JACK I ca n't. I'm involved now. If you let go I have to jump in after you. ROSE Do n't be absurd. You'll be killed. He takes off his jacket. JACK I'm a good swimmer. He starts unlacing his left shoe. ROSE The fall alone would kill you. JACK It would hurt. I'm not saying it would n't. To be honest I'm a lot more concerned about the water being so cold. She looks down. The reality factor of what she is doing is sinking in. ROSE How cold? JACK -LRB- taking off his left shoe -RRB- Freezing. Maybe a couple degrees over. He starts unlacing his right shoe. JACK Ever been to Wisconsin? ROSE -LRB- perplexed -RRB- No. JACK Well they have some of the coldest winters around, and I grew up there, near Chippewa Falls. Once when I was a kid me and my father were ice-fishing out on Lake Wissota... ice-fishing's where you chop a hole in the -- ROSE I know what ice fishing is! JACK Sorry. Just... you look like kind of an indoor girl. Anyway, I went through some thin ice and I'm tellin' ya, water that cold... like that right down there... it hits you like a thousand knives all over your body. You ca n't breath, you ca n't think... least not about anything but the pain. -LRB- takes off his other shoe -RRB- Which is why I'm not looking forward to jumping in after you. But like I said, I do n't see a choice. I guess I'm kinda hoping you'll come back over the rail and get me off the hook here. ROSE You're crazy. JACK That's what everybody says. But with all due respect, I'm not the one hanging off the back of a ship. He slides one step closer, like moving up on a spooked horse. JACK Come on. You do n't want to do this. Give me your hand. Rose stares at this madman for a long time. She looks at his eyes and they somehow suddenly seem to fill her universe. ROSE Alright. She unfastens one hand from the rail and reaches it around toward him. He reaches out to take it, firmly. JACK I'm Jack Dawson. ROSE -LRB- voice quavering -RRB- Pleased to meet you, Mr. Dawson. Rose starts to turn. Now that she has decided to live, the height is terrifying. She is overcome by vertigo as she shifts her footing, turning to face the ship. As she starts to climb, her dress gets in the way, and one foot slips off the edge of the deck. She plunges, letting out a piercing SHRIEK. Jack, gripping her hand, is jerked toward the rail. Rose barely grabs a lower rail with her free hand. QUARTERMASTER ROWE, up on the docking bridge hears the scream and heads for the ladder. ROSE HELP! HELP!! JACK I've got you. I wo n't let go. Jack holds her hand with all his strength, bracing himself on the railing with his other hand. Rose tries to get some kind of foothold on the smooth hull. Jack tries to lift her bodily over the railing. She ca n't get any footing in her dress and evening shoes, and she slips back. Rose SCREAMS again. Jack, awkwardly clutching Rose by whatever he can get a grip on as she flails, gets her over the railing. They fall together onto the deck in a tangled heap, spinning in such a way that Jack winds up slightly on top of her. Rowe slides down the ladder from the docking bridge like it's a fire drill and sprints across the fantail. RO S E Here, what's all this?! Rowe runs up and pulls Jack off of Rose, revealing her dishevelled and sobbing on the deck. Her dress is torn, and the hem is pushing up above her knees, showing one ripped stocking. He looks at Jack, the shaggy steerage man with his jacket off, and the first class lady clearly in distress, and starts drawing conclusions. Two seamen chug across the deck to join them. RO S E -LRB- to Jack -RRB- Here you, stand back! Do n't move an inch! -LRB- to the seamen -RRB- Fetch the Master at Arms. CUT TO :", "EXT. POOP DECK - NIGHT A few minutes later. Jack is being detained by the burly MASTER AT ARMS, the closest thing to a cop on board. He is handcuffing Jack. Cal is right in front of Jack, and furious. He has obviously just rushed out here with Lovejoy and another man, and none of them have coats over their black tie evening dress. The other man is COLONEL ARCHIBALD GRACIE, a mustachioed blowhard who still has his brandy snifter. He offers it to Rose, who is hunched over crying on a bench nearby, but she waves it away. Cal is more concerned with Jack. He grabs him by the lapels. CAL What made you think you could put your hands on my fiancee?! Look at me, you filth! What did you think you were doing?! ROSE Cal, stop! It was an accident. CAL An accident?! ROSE It was... stupid really. I was leaning over and I slipped. Rose looks at Jack, getting eye contact. ROSE I was leaning way over, to see the... ah... propellers. And I slipped and I would have gone overboard... and Mr. Dawson here saved me and he almost went over himself. CAL You wanted to see the propellers? GRACIE -LRB- shaking his head -RRB- Women and machinery do not mix. MASTER AT ARMS -LRB- to Jack -RRB- Was that the way of it? Rose is begging him with her eyes not to say what really happened. JACK Uh huh. That was pretty much it. He looks at Rose a moment longer. Now they have a secret together. COLONEL GRACIE Well! The boy's a hero then. Good for you son, well done! -LRB- to Cal -RRB- So it's all's well and back to our brandy, eh? Jack is uncuffed. Cal gets Rose to her feet and moving. CAL -LRB- rubbing her arms -RRB- Let's get you in. You're freezing. Cal is leaving without a second thought for Jack. GRACIE -LRB- low -RRB- Ah... perhaps a little something for the boy? CAL Oh, right. Mr. Lovejoy. A twenty should do it. ROSE Is that the going rate for saving the woman you love? CAL Rose is displeased. Mmm... what to do? Cal turns back to Jack. He appraises him condescendingly... a steerage ruffian, unwashed and ill-mannered. CAL I know. -LRB- to Jack -RRB- Perhaps you could join us for dinner tomorrow, to regale our group with your heroic tale? JACK -LRB- looking straight at Rose -RRB- Sure. Count me in. CAL Good. Settled then. Cal turns to go, putting a protective arm around Rose. he leans close to Gracie as they walk away. CAL This should be amusing. JACK -LRB- as Lovejoy passes -RRB- Can I bum a cigarette? Lovejoy smoothly draws a silver cigarette case from his jacket and snaps it open. Jack takes a cigarette, then another, popping it behind his ear for later. Lovejoy lights Jack's cigarette. LOVEJOY You'll want to tie those. -LRB- Jack looks at his shoes -RRB- Interesting that the young lady slipped so mighty all of a sudden and you still had time to take of your jacket and shoes. Mmmm? Lovejoy's expression is bland, but the eyes are cold. He turns away to join his group. CUT TO :", "INT. ROSE'S BEDROOM - NIGHT As she undresses for bed Rose sees Cal standing in her doorway, reflected in the cracked mirror of her vanity. He comes toward her. CAL -LRB- unexpectedly tender -RRB- I know you've een melancholy, and I do n't pretent to know why. From behind his back he hands her a large black velvet jewel case. She takes it, numbly. CAL I intended to save this till the engagement gals next week. But I thought tonight, perhaps a reminder of my feeling for you... Rose slowly opens the box. Inside is the necklace... `` HEART OF THE OCEAN'' in all its glory. It is huge... a malevolent blue stone glittering with an infinity of scalpel-like inner reflections. ROSE My God... Cal. Is it a -- CAL Daimond. Yes it is. 56 carats. He takes the necklace and during the following places it around her throat. He turns her to the mirror, staring behind her. CAL It was once worn by Louis the Sixteenth. They call it Le Coeur de la Mer, the -- ROSE The Heart of the Ocean. Cal, it's... it's overwhelming. He gazes at the image of the two of them in the mirror. CAL It's for royalty. And we are royalty. His fingers caress her neck and throat. He seems himself to be disarmed by Rose's elegance and beauty. His emotion is, for the first time, unguarded. CAL There's nothing I could n't give you. There's nothing I'd deny you if you would deny me. Open your heart to me, Rose. CAMERA begins to TRACK IN ON ROSE. Closer and closer, during the following : OLD ROSE -LRB- V.O. -RRB- Of course his gift was only to reflect light back onto himself, to illuminate the greatness that was Caledon Hockley. It was a cold stone... a heart of ice. Finally, when Rose's eyes FILL FRAM, we MORPH SLOWLY to her eyes as the are now... transforming through 84 years of life... TRANSITION", "INT. KELDYSH IMAGING SHACK Without a cut the wrinkled, weathered landscape of age has appeared around her eyes. But the eyes themselves are the same. OLD ROSE After all these years, feel it closing around my throat like a dog collar. THE CAMERA PUllS BACK to show her whole face. ROSE I can still feel its weight. If you could have felt it, not just seen it... LOVETT Well, that's the general idea, my dear. BODINE So let me get this right. You were gon na kill yourself by jumping off the Titanic? -LRB- he guffaws -RRB- That's great! LOVETT -LRB- warningly -RRB- Lewis... But Rose laughs with Bodine. BODINE -LRB- still laughing -RRB- All you had to do was wait two days! Lovett, standing out of Rose's sightline, checks his watch. Hours have passed. This process is taking too long. LOVETT Rose, tell us more about the diamond. What did Hockley do with it after that? ROSE Im afraid I'm feeling a little tired, Mr. Lovett. Lizzy picks up the cue and starts to wheel her out. LOVETT Wait! Can you give us something go on, here. Like who had access to the safe. What about this Lovejoy guy? The valet. Did he have the combination? LIZZY That's enough. Lizzy takes her out. Rose's old hand reapears at the doorway in a frail wave goodbye. CUT TO :", "EXT. LAUNCH AREA/KELDYSH DECK - DAY As the big hydraulic jib swings one of the Mir subs out over the water. Lovett walks as he talks with Bobby Buell, the partners' rep. They weave among deck cranes, launch crew, sub maintenance guys. BUELL The partners are pissed. BROCK Bobby, buy me time. I need time. BUELL We're running thirty thousand a day, and we're six days over. I'm telling you what they're telling me. The hand is on the plug. It's starting to pull. BROCK Well you tell the hand I need another two days! Bobby, Bobby, Bobby... we're close! I smell it. I smell ice. She had the diamond on... now we just have to find out where it wound up. I just got ta work her a bit more. Okay? Brock turns and sees Lizy standing behind him. She has overheard the past part of his dialogue with Buell. He goes to her and hustles her away from Buell, toward a quite spot on the deck. BROCK Hey, Lizzy. I need to talk to you for a second. LIZZY Do n't you mean work me? BROCK Look, I'm running out of time. I need your help. LIZZY I'm not going to help you browbeat my hundred and -LRB- MORE -RRB- LIZZY -LRB- CONT'D -RRB- one year old grandmother. I came down here to tell you to back off. BROCK -LRB- with undisguised desperation -RRB- Lizzy... you got ta understand something. I've bet it all to find the Heart of the Ocean. I've got all my dough tied up in this thing. My wife even divorced me over this hunt. I need what's locked inside your grandma's memory. -LRB- he holds out his hand -RRB- You see this? Right here? She looks at his hand, palm up. Empty. Cupped, as if around an imaginary shape. LIZZY What? BROCK That's the shape my hand's gon na be when I hold that thing. You understand? I'm not leaving here without it. LIZZY Look, Brock, she's going to do this her way, in her own time. Do n't forget, she contacted you. She's out here for her own reasons, God knows what they are. LOVETT Maybe she wants to make peace with the past. LIZZY What past? She has never once, not once, ever said a word about being on the Titanic until two days ago. LOVETT Then we're all meeting your grandmother for the first time. LIZZY -LRB- looks at him hard -RRB- You think she was really there? LOVETT Oh, yeah. Yeah, I'm a believer. She was there. CUT TO :", "INT. IMAGING SHACK Bodine starts the tape recorder. Rose is gazing at the screen seeing THE LIVE FEED FROM THE WRECK -- SNOOP DOG is moving along the starboard side of the hull, heading aft. The rectangular windows of A deck ( forward ) march past on the right. ROSE The next day, Saturday, I remember thinking how the sunlight felt. DISSOLVE TO :", "EXT. B DECK TITANIC - DAY MATCH DISSOLVE from the rusting hulk to the gleaming new Titanic in 1912, passing the end of the enclosed promenade just as Rose walks into the sunlight right in front of us. She is stunningly dressed and walking with purpose. OLD ROSE -LRB- V.O. -RRB- As if I had n't felt the sun in years. IT IS SATURDAY APRIL 13, 1912. Rose unlatches the gate to go down into third class. The steerage men on the deck stop what they're doing and stare at her. CUT TO :", "INT. THIRD CLASS GENERAL ROOM The social center of steerage life. It is stark by comparison to the opulence of first class, but is a loud, boisterous place. There are mothers with babies, kids running between the benches yelling in several languages and being scolded in several more. There are old women yelling, men playing chess, girls doing needlepoint and reading dime novels. There is even an upright piano and Tommy Ryan is noodling around it. Three boys, shrieking and shouting, are scrambling around chasing a rat under the benches, trying to whomp it with a shoe and causing general havoc. Jack is playing with 5 year old CORA CARTMeLL, drawing funny faces together in his sketchbook. Fabrizio is struggling to get a conversation going with an attractive Norwegian girl, HELGA DAHL, sitting with her family at a table across the room. FABRIZIO No Italian? Some little English? HELGA No, no. Norwegian. Only. Helga's eye is caught by something. Fabrizio looks, does a take... and Jack, curious, follows their gaze to see... Rose, coming toward them. The activity in the room stops... a hush falls. Rose feels suddenly self-conscious as the steerage passengers stare openly at this princess, some with resentment, others with awe. She spots Jack and gives a little smile, walking straight to him. He rises to meet her, smiling. ROSE Hello Jack. Fabrizio and Tommy are floored. Its like the slipper fitting Cinderella. JACK Hello again. ROSE Could I speak to you in private? JACK Uh, yes. Of course. After you. He motions her ahead and follows. Jack glances over his shoulder, one eyebrow raised, as he walks out with her leaving a stunned silence. CUT TO :", "EXT. BOAT DECK - DAY Jack and Rose walk side by side. They pass people reading and talking in steamer chairs, some of whom glance curiously at the mismatched couple. He feels out of place in his rough clothes. They are both awkward, for different reasons. JACK So, you got a name by the way? ROSE Rose. Rose DeWitt Bukater. JACK That's quite a moniker. I may hafta get you to write that down. There is an awkward pause. ROSE Mr. Dawson, I -- JACK Jack. ROSE Jack... I feel like such an idiot. It took me all morning to get up the nerve to face you. JACK Well, here you are. ROSE Here I am. I... I want to thank you for what you did. Not just for... for pulling me back. But for your discretion. JACK You're welcome. Rose. ROSE Look, I know what you must be thinking! Poor little rich girl. What does she know about misery? JACK That's not what I was thinking. What I was thinking was... what could have happened to hurt this girl so much she though she had no way out. ROSE I do n't... it was n't just one thing. It was everything. It was them, it was their whole world. And I was trapped in it, like an insect in amber. -LRB- in a rush -RRB- I just had to get away... just run and run and run... and then I was at the back rail and there was no more ship... even the Titanic was n't big enough. Not enough to get away from them. And before I'd really though about it, I was over the rail. I was so furious. I'll show them. They'll be sorry! JACK Uh huh. They'll be sorry.'Course you'll be dead. ROSE -LRB- she lowers her head -RRB- Oh God, I am such an utter fool. JACK That penguin last night, is he one of them? ROSE Penguin? Oh, Cal! He is them. JACK Is he your boyfriend? ROSE Worse I'm afraid. She shows him her engagement ring. A sizable diamond. JACK Gawd look at that thing! You would have gone straight to the bottom. They laugh together. A passing steward scowls at Jack, who is clearly not a first class passenger, but Rose just glares at him away. JACK So you feel like you're stuck on a train you ca n't get off'cause you're marryin' this fella. ROSE Yes, exactly! JACK So do n't marry him. ROSE If only it were that simple. JACK It is that simple. ROSE Oh, Jack... please do n't judge me until you've seen my world. JACK Well, I guess I will tonight. Looking for another topic, any other topic, she indicates his sketchbook. ROSE What's this? JACK Just some sketches. ROSE May I? The question is rhetorical because she has already grabbed the book. She sits on a deck chair and opens the sketchbook. ON JACK'S sketches... each one an expressive little bit of humanity : an old woman's hands, a sleeping man, a father and daughter at the rail. The faces are luminous and alive. His book is a celebration of the human condition. ROSE Jack, these are quite good! Really, they are. JACK Well, they did n't think too much of'em in Paree. Some loose sketches fall out and are taken by the wind. Jack scrambles after them... catching two, but the rest are gone, over the rail. ROSE Oh no! Oh, I'm so sorry. Truly! JACK Well, they did n't think too much of'em in Paree. He snaps his wrist, shaking his drawing hand in a flourish. JACK I just seem to spew'em out. Besides, they're not worth a damn anyway. For emphasis he throws away the two he caught. They sail off. ROSE -LRB- laughing -RRB- You're deranged! She goes back to the book, turning a page. ROSE Well, well... She has come upon a series of nudes. Rose is transfixed by the languid beauty he has created. His nudes are soulful, real, with expressive hands and eyes. They feel more like portraits than studies of the human form... almost uncomfortably intimate. Rose blushes, raising the book as some strollers go by. ROSE -LRB- trying to be very adult -RRB- And these were drawn from life? JACK Yup. That's one of the great things about Paris. Lots of girls willing take their clothes off. She studies one drawing in particular, the girl posed half in sunlight, half in shadow. Her hands lie at her chin, one furled and one open like a flower, languid and graceful. The drawing is like an Alfred Steiglitz print of Georgia O'Keefe. ROSE You liked this woman. You used her several times. JACK She had beautiful hands. ROSE -LRB- smiling -RRB- I think you must have had a love affair with her... JACK -LRB- laughing -RRB- No, no! Just with her hands. ROSE -LRB- looking up from the drawings -RRB- You have a gift, Jack. You do. You see people. JACK I see you. There it is. That piercing gaze again. ROSE And...? JACK You wouldn'ta jumped. CUT TO :", "INT. RECEPTION ROOM / D-DECK - DAY Ruth is having tea with NOEL LUCY MARTHA DYER-EDWARDES, the COUNTESS OF ROTHES, a 35ish English blue-blood with patirician features. Ruth sees someone coming across the room and lowers her voice. RUTH Oh no, that vulgar Brown woman is coming this way. Get up, quickly before she sits with us. Molly Brown walks up, greeting them cheerfully as they are rising. MOLLY Hello girls, I was hoping I'd catch you at tea. RUTH We're awfully sorry you missed it. The Countess and I are just off to take the air on the boat deck. MOLLY That sounds great. Let's go. I need to catch up on the gossip. Ruth grits her teeth as the three of them head for the Grand Staircase to go up. TRACKING WITH THEM, as they cross the room, the SHOT HANDS OFF to Bruce Ismay and Captain Smith at another table. ISMAY So you've not lit the last four boilers then? SMITH No, but we're making excellent time. ISMAY -LRB- impatiently -RRB- Captain, the press knows the size of Titanic, let them marvel at her speed too. We must give them something new to print. And the maiden voyage of Titnaic must make headlines! SMITH I prefer not to push the engines until they've been properly run in. ISMAY Of course I leave it to your good offices to decide what's best, but what a glorious end to your last crossing if we get into New York Tuesday night and surprise them all. -LRB- Ismay slaps his hand on the table -RRB- Retire with a bang, eh, E.J? A beat. Then Smith nods, stiffy. CUT TO :", "EXT. A DECK PROMENADE - DAY Rose and Jack stroll aft, past people lounging on deck chairs in the slanting late-afternoon light. Stewards scurry to serve tea or hot cocoa. ROSE -LRB- girlish and excited -RRB- You know, my dream has always been to just chuck it all and become an artist... living in a garret, poor but free! JACK -LRB- laughing -RRB- You would n't last two days. There's no hot water, and hardly ever any caviar. ROSE -LRB- angry in a flash -RRB- Listen, buster... I hate caviar! And I'm tired of people dismissing my dreams with a chuckle and a pat on the head. JACK I'm sorry. Really... I am. ROSE Well, alright. There's something in me, Jack. I feel it. I do n't know what it is, whether I should be an artist, or, I do n't know... a dancer. Like Isadora Duncan.... a wild pagan spirit... She leaps forward, lands deftly and whirls like a dervish. Then she sees something ahead and her face lights up. ROSE... or a moving picture actress! She takes his hand and runs, pulling him along the deck toward -- DANIEL AND MARY MARVIN. Daniel is cranking the big wooden movie camera as she poses stiffly at the rail. MARVIN You're sad. Sad, sad, sad. You've left your lover on the shore. You may never see him agian. Try to be sadder, darling. SUDDENLY Rose shoots into the shot and strikes a theatrical pose at the rail next to Mary. Mary bursts out laughing. Rose pulls Jack into the picture and makes him pose. Marvin grins and starts yelling and gesturing. We see this in CUTS, with music and no dialogue. SERIES OF CUTS : Rose posing tragically at the rail, the back of her hand to her forehead. Jack on a deck chair, pretending to be a Pasha, the two girls pantomiming fanning him like slave girls. Jack, on his knees, pleading with his hands clasped while Rose, standing, turns her head in bored disdain. Rose cranking the camera, while Daniel and Jack have a western shoot-out. Jack wins and leers into the lens, twirling an air mustache like Snidely Whiplash. CUT TO :", "EXT. A DECK PROMENADE / AFT - SUNSET Painted with orange light, Jack and Rose lean on the A-deck rail aft, shoulder to shoulder. The ship's lights come on. It is a magical moment... perfect. ROSE So then what, Mr. Wandering Jack? JACK Well, then logging got to be too much like work, so I went down to Los Angelas to the pier in Santa Monica. That's a swell place, they even have a rollercoaster. I sketched portraits there for ten cents a piece. ROSE A whole ten cents?! JACK -LRB- not getting it -RRB- Yeah ; it was great money... I could make a dollar a day, sometimes. But only in summer. When it got cold, I decided to go to Paris and see what the real artists were doing. ROSE -LRB- looks at the dusk sky -RRB- Why ca n't I be like you Jack? Just head out for the horizon whenever I feel like it. -LRB- turning to him -RRB- Say we'll go there, sometime... to that pier... even if we only ever just talk about it. JACK Alright, we're going. We'll drink cheap beer and go on the rollercoaster until we throw up and we'll ride horses on the beach... right in the surf... but you have to ride like a cowboy, none of that side-saddle stuff. ROSE You mean one leg on each side? Scandalous! Can you show me? JACK Sure. If you like. ROSE -LRB- smiling at him -RRB- I think I would. -LRB- she looks at the horizon -RRB- And teach me to spit too. Like a man. Why should only men be able to spit. It's unfair. JACK They did n't teach you that in finishing school? Here, it's easy. Watch closely. He spits. It arcs out over the water. JACK Your turn. Rose screws up her mouth and spits. A pathetic little bit of foamy spittle which mostly runs down her chin before falling off into the water. JACK Nope, that was pitiful. Here, like this... you hawk it down... HHHNNNK!... then roll it on your tongue, up to the front, like thith, then a big breath and PLOOOW!! You see the range on that thing? She goes through the steps. Hawks it down, etc. He coaches her through it ( ad lib ) while doing the steps himself. She lets fly. So does he. Two comets of gob fly out over the water. JACK That was great! Rose turns to him, her face alight. Suddenly she blanches. He sees her expression and turns. RUTH, the Countess of Rothes, and Molly Brown have been watching them hawking lugees. Rose becomes instantly composed. ROSE Mother, may I introduce Jack Dawson. RUTH Charmed, I'm sure. Jack has a little spit running down his chin. He does n't know it. Molly Brown is grinning. As Rose proceeds with the introductions, we hear... OLD ROSE -LRB- V.O. -RRB- The others were gracious and curious about the man who'd saved my life. But my mother looked at him like an insect. A dangerous insect which must be squashed quickly. MOLLY Well, Jack, it sounds like you're a good man to have around in a sticky spot -- They all jump as a BUGLER sounds the meal call right behind them. MOLLY Why do they insist on always announcing dinner like a damn cavalry charge? ROSE Shall we go dress, mother? -LRB- over her shoulder -RRB- See you at dinner, Jack. RUTH -LRB- as they walk away -RRB- Rose, look at you... out in the sun with no hat. Honestly! The Countess exits with Ruth and Rose, leaving Jack and Molly alone on deck. MOLLY Son, do you have the slightest comprehension of what you're doing? JACK Not really. MOLLY Well, you're about to go into the snakepit. I hope you're ready. What are you planning to wear? Jack looks down at his clothes. Back up at her. He had n't thought about that. MOLLY I figured. CUT TO :", "INT. MOLLY BROWN'S STATEROOM Men's suits and jackets and formal wear are strewn all over the place. Molly is having a fine time. Jack is dressed, except for his jacket, and Molly is tying his bow tie. MOLLY Do n't feel bad about it. My husband still ca n't tie one of these damn things after 20 years. There you go. She picks up a jacket off the bed and hands it to him. Jack goes into the bathroom to put it on. Molly starts picking up the stuff off the bed. MOLLY I got ta buy everything in three sizes'cause I never know how much he's been eating while I'm away. She turns and sees him, though we do n't. MOLLY My, my, my... you shine up like a new penny. CUT TO :", "EXT. BOAT DECK / FIRST CLASS ENTRANCE - DUSK A purple sky, shot with orange, in the west. Drifting strains of classic music. We TRACK WITH JACK along the deck. By Edwardian standards he looks badass. Dashing in his borrowed white-tie outfit, right down to his pearl studs. A steward bows and smartly opens the door to the First Class Entrance. STEWARD Good evening, sir. Jack plays the role smoothly. Nods with just the right degree of disdain. CUT TO :", "INT. UPPER LANDING / GRAND STAIRCASE AND A-DECK Jack steps in and his breath is taken away by the splendor spread out before him. Overhead is the enormous glass dome, with a crystal chandelier at its center. Sweeping down six stories is the First Class Grand Staircase, the epitome of the opulent naval architecture of the time. And the people : the women in their floor length dresses, elaborate hairstyles and abundant jewelry... the gentlemen in evening dress, standing with one hand at the small of the back, talking quietly. Jack descends to A deck. Several men nod a perfunctory greeting. He nods back, keeping it simple. He feels like a spy. Cal comes down the stairs, with Ruth on his arm, covered in jewelry. They both walk right past Jack, neither one gecognizeing him. Cal nods at him, one gent to another. But Jack barely has time to be amused. Because just behind Cal and Ruth on the stairs is Rose, a vision in red and black, her low-cut dress showing off her neck and shoulders, her arms seathed in white gloves that come well above above the elbow. Jack is hypnotized by her beauty. CLOSE ON ROSE as she approaches Jack. He imitates the gentlemen's stance, hand behind his back. She extends her gloved hand and he takes it, kissing the back of her fingers. Rose flushes, beaming noticeably. She ca n't take her eyes off him. JACK I saw that in a nickelodean once, and I always wanted to do it. ROSE Cal, surely you remember Mr. Dawson. CAL -LRB- caught off guard -RRB- Dawson! I did n't recognize you. -LRB- studies him -RRB- Amazing! You could almost pass for a gentlemen. CUT TO :", "INT. D-DECK RECEPTION ROOM CUT TO THE RECEPTION ROOM ON D DECK, as the party descends to dinner. They encounter Molly Brown, looking good in a beaded dress, in her own busty broad-shouldered way. Molly grins when she sees Jack. As they are going into the dining saloon she walks next to him, speaking low : MOLLY Ai n't nothin' to it, is there, Jack? JACK Yeah, you just dress like a pallbearer and keep your nose up. MOLLY Remember, the only thing they respect is money, so just act like you've got a lot of it and you're in the club. As they enter the swirling throng, Rose leans close to him, pointing out several notables. ROSE There's the Countess Rothes. And that's John Jacob Astor... the richest man on the ship. His little wifey there, Madeleine, is my age and in a delicate condition. See how she's trying to hide it. Quite the scandal. -LRB- nodding toward a couple -RRB- And over there, that's Sir Cosmo and Lucile, Lady Duff-Gordon. She designs naughty lingerie, among her many talents. Very popular with the royals. Cal becomes engrossed in a conversations with Cosmo Duff-Gordon and Colonel Gracie, while Ruth, the Countess and Lucille discuss fashion. Rose picots Jack smoothly, to show him another couple, dressed impeccably. ROSE And that's Benjamin Guggenheim and his mistress, Madame Aubert. Mrs. Guggenheim is at home with the children, of course. Cal, meanwhile, is accepting the praise of his male counterparts, who are looking at Rose like a prize show horse. SIR COSMO Hockley, she is splendid. CAL Thank you. GRACIE Cal's a lucky man. I know him well, and it can only be luck. Ruth steps over, hearing the last. She takes Cal's arm, somewhat coquettishly. RUTH How can you say that Colonel? Caledon Hockley is a great catch. The entourage strolls toward the dining saloon, where they run into the Astor's going through the ornate double doors. ROSE J.J., Madeleine, I'd like you to meet Jack Dawson. ASTOR -LRB- shaking his hand -RRB- Good to meet you Jack. Are you of the Boston Dawsons? JACK No, the Chippewa Falls Dawsons, actually. J.J. nods as if he's heard of them, then looks puzzled. Madeleine Astor appraises Jack and whispers girlishly to Rose : MADELEINE It's a pity we're both spoken for, is n't it? CUT TO :", "INT. DINING SALOON Like a ballroom at the palace, alive and lit by a constellation of chandeliers, full of elegantly dressed people and beautiful music from BANDLEADER WALLACE HARTLEY'S small orchestra. As Rose and Jack enter and move across the room to their table, Cal and Ruth beside them, we hear... OLD ROSE -LRB- V.O. -RRB- He must have been nervous but he never faltered. They assumed he was one of them... a young captain of industry perhaps... new money, obviously, but still a memeber of the club. Mother of course, could always be counted upon... CUT TO :", "INT. DINING SALOON CLOSE ON RUTH. RUTH Tell us of the accommodations in steerage, Mr. Dawson. I hear they're quite good on this ship. WIDER : THE TABLE. Jack is seated opposite Rose, who is flanked by Cal and Thomas Andrews. Also at the table are Molly Brown, Ismay, Colonel Gracie, the Countess, Guggenheim, Madame Aubert, and the Astors. JACK The best I've seen, m'am. Hardly any rats. Rose motions surreptitiously for Jack to take his napkin off his plate. CAL Mr. Dawson is joining us from third class. He was of some assistance to my fiancee last night. -LRB- to Jack, as if to a child -RRB- This is foie gras. It's goose liver. We see whispers exchanged. Jack becomesthe subject of furtive glances. Now they're all feeling terribly liberal and dangerous. GUGGENHEIM -LRB- low to Madame Aubert -RRB- What is Hockly hoping to prove, bringing this... bohemian... up here? WAITER -LRB- to Jack -RRB- How do you take your caviar, sir? CAL -LRB- answering for him -RRB- Just a soupcon of lemon... -LRB- to Jack, smiling -RRB-... it improves the flavor with champagne. JACK -LRB- to the waiter -RRB- No caviar for me, thanks. -LRB- to Cal -RRB- Never did like it much. He looks at Rose, pokerfaced, and she smiles. RUTH And where exactly do you live, Mr. Dawson? JACK Well, right now my address is the RMS Titanic. After that, I'm on God's good humor. Salad is served. Jack reaches for the fish fork. Rose gives him a look and picks up the salad fork, prompting him with her eyes. He changes forks. RUTH You find that sort of rootless existence appealing, do you? JACK Well... it's a big world, and I want to see it all before I go. My father was always talkin' about goin' to see the ocean. He died in the town he was born in, and never did see it. You ca n't wait around, because you never know what hand you're going to get dealt next. See, my folks died in a fire when I was fifteen, and I've been on the road since. Somethin' like that teaches you to take life as it comes at you. To make each day count. Molly Brown raises her glass in a salute. MOLLY Well said, Jack. COLONEL GRACIE -LRB- raising his glass -RRB- Here, here. Rose raises her glass, looking at Jack. ROSE To making it count. Ruth, annoyed that Jack has scored a point, presses him further. RUTH How is it you have the means to travel, Mr. Dawson? JACK I work my way from place to place. Tramp steamers and such. I won my ticket on Titanic here in a lucky hand at poker. -LRB- he glances at Rose -RRB- A very lucky hand. GRACIE All life is a game of luck. CAL A real man makes his own luck, Archie. Rose notices that Thomas Andrews, sitting next to her, is writing in his notebook, completely ignoring the conversation. ROSE Mr. Andrews, what are you doing? I see you everywhere writing in this little book. -LRB- grabs it and reads -RRB- Increase number of screws in hat hooks from 2 to 3. You build the biggest ship in the world and this preoccupies you?! Andrews smiles sheepishly. ISMAY He knows every rivet in her, do n't you Thomas? ANDREWS All three million of them. ISMAY His blood and soul are in the ship. She may be mine on paper, but in the eyes of God she belongs to Thomas Andrews. ROSE Your ship is a wonder, Mr. Andrews. Truly. ANDREWS Thankyou, Rose. We see that Andrews has come under Rose's spell. 83 TIME TRANSITION : Dessert has been served and a waiter arrives with cigars in a humidor on a wheeled cart. The men start clipping ends and lighting. ROSE -LRB- low, to Jack -RRB- Nest it'll be brandies in the Smoking Room. GRACIE -LRB- rising -RRB- Well, join me for a brandy, gentlemen? ROSE -LRB- low -RRB- Now they retreat into a cloud of smoke and congratulate each other on being masters of the universe. GRACIE Joining us, Dawson? You do n't want to stay out here with the women, do you? Actually he does, but... JACK No thanks. I'm heading back. CAL Probably best. It'll be all business and politics, that sort of thing. Would n't interest you. Good of you to come. Cal and te other gentlemen exit. ROSE Jack, must you go? JACK Time for my coach to turn back into a pumpkin. He leans over to take her hand. INSERT : We see him slip a tiny folded not into her palm. Ruth, scowling, watches him walk away across the enormous room. Rose surreptitiously opens the note below table level. It reads : `` Make it count. Meet me at the clock''. CUT TO :", "INT. A-DECK FOYER-NIGHT Rose crosses the A-Deck foyer, sighting Jack at the landing above. Overhead is the crystal dome. Jack has his back to her, studying the ornate clock with its carved figures of Honor and Glory. It softly strikes the hour. MOVING WITH ROSE as she goes up the sweeping staircase toward him. He turns, sees her... smiles. JACK Want to go to a real party? CUT TO :", "INT. THIRD CLASS GENERAL ROOM Crow d ed and alive with music, laughter and raucous carrying on. An ad hoc band is gathered near the upright piano, honking out lively stomping music on fiddle, accoridon and tambourine. People of all ages are dancing, drinking beer and wine, smoking, laughing, even brawling. Tommy hands Rose a pint of stout and she hoists it. Jack meanwhile dances with 5 year old Cora Cartmell, or tries to, with her standing on his feet. As the tune ends, Rose leans down to the little girl. ROSE May I cut in, miss? JACK You're still my best girl, Cora. Cora scampers off. Rose and Jack face each other. She is trembling as he takes her right hand in his left. His other hand slides to the small of her back. It is an electrifying moment. ROSE I do n't know the steps. JACK Just move with me. Do n't think. The music starts and they are off. A little awkward at first, she starts to get into it. She grins at Jack as she starts to get the rhythm of the steops. ROSE Wait... stop! She bends down, pulling off her high heeled shoes, and flings them to Tommy. Then she grabs Jack and they plunge back into the fray, dancing faster as the music speeds up. CUT TO : OMITTED", "INT. THIRD CLASS GENERAL ROOM The scene is rowdy and rollicking. A table gets knocked over as a drunk crashes into it. And in the middle of it... Rose dancing with Jack in her stocking feet. The steps are fast and she shines with sweat. A space opens around them, and people watch them, clapping as the band plays faster and faster. FABRIZIO AND HELGA. Dancing has obviated the need for a common language. He whirls her, then she responds by whirling him... Fabrizio's eyes go wide when he realizes she's stronger than he is. The tune ends in a mad rush. Jack steps away from Rose with a flourish, allowing her to take a bow. Exhilarated and slightly tipsy, she does a graceful ballet ployer, feet turned out perfectly. Everyone laughs and applauds. Rose is a hit with the steerage folks, who've never had a lady party with them. They move to a table, flushed and sweaty. Rose grabs Fabrizio's cigarette and takes a big drag. She's feeling cocky. Fabrizio is grinning, holding hands with Helga. JACK How you two doin'? FABRIZIO I do n't know hwat she's say, she do n't know what I say, so we get along fine. Tommy walks up with a pint for each of them. Rose chugs hers, showing off. ROSE You think a first class girl ca n't drink? Everybody else is dancing again, and Bjorn Gundersen crashes into Tommy, who sloshes his beer over Rose's dress. She laughs, not caring. But Tommy lunges, grabbing Bjorn and wheeling him around. TOMMY You stupid bastard!! Bjorn comes around, his fists coming up... and Jack leaps into the middle of it, pushing them apart. JACK Boys, boys! Did I ever tell you the one about the Swede and the Irishman goin' to the whorehouse? Tommy stands there, all piss and vinegar, chest puffed up. Then he grins and claps Bjorn on the shoulder. ROSE So, you think you're big tough men? Let's see you do this. In her stocking feet she assumes a ballet stance, arms raised, and goes up on point, taking her entire weight on the tips of her toes. The guys gape at her incredible muscle control. She comes back down, then her face screws up in pain. She grabs one foot, hopping around. ROSE Oooowww! I have n't done that in years. Jack catches her as she loses her balance, and everyone cracks up. THE DOOR to the well deck is open a few inches as Lovejoy watches through the gap. He sees Jack holding Rose, both of them laughing. LOVEJOY closes the door. CUT TO :", "EXT. BOAT DECK - NIGHT The stars blaze overhead, so bright and clear you can see the Milky Way. Rose and Jack walk along the row of lifeboats. Still giddy from the party, they are singing a popular song `` Come Josephine in My Flying Machine''. JACK/ROSE Come Josephine in my flying machine And it's up she goes! Up she goes! In the air she goes. Where? There she goes! They fumble the words and break down laughing. They have reached the First Class Entrance, but do n't go straight in, not wanting the evening to end. Through the doors the sound of the ship's orchestra wafts gently. Rose grabs a davit and leans back, staring at the cosmos. ROSE Is n't it magnificent? So grand and endless. She goes to the rail and leans on it. ROSE They're such small people, Jack... my crowd. They think they're giants on the earth, but they're not even dust in God's eye. They live inside this little tiny champagne bubble... and someday the bubble's going to burst. He leans at the rail next to her, his hand just touching hers. It is the slightest contact imaginable, and all either one of them can feel is that square inch of skin where their hands are touching. JACK You're not one of them. There's been a mistake. ROSE A mistake? JACK Uh huh. You got mailed to the wrong address. ROSE -LRB- laughing -RRB- I did, did n't I? -LRB- MORE -RRB- ROSE -LRB- CONT'D -RRB- -LRB- pointing suddenly -RRB- Look! A shooting star. JACK That was a long one. My father used to say that whenever you saw one, it was a soul going to heaven. ROSE I like that. Are n't we supposed to wish on it? Jack looks at her, and finds that they are suddenly very close together. It would be so easy to move another couple of inches, to kiss her. Rose seems to be thinking the same thing. JACK What would you wish for? After a beat, Rose pulls back. ROSE Something I ca n't have. -LRB- she smiles sadly -RRB- Goodnight, Jack. And thank you. She leaves the rail and hurries through the First Class Entrance. JACK Rose!! But the door bangs shut, and she is gone. Back to her world. CUT TO :", "INT. ORSE AND CAL'S SUITE / PRIVATE PROMENADE - DAY SUNDAY APRIL 14, 1912. A bright clear day. Sunlight splashing across the promenade. Rose and Cal are having breakfast in silence. The tension is palpable. Trudy Bolt, in her maid's uniform, pours the coffee and goes inside. CAL I had hoped you would come to me last night. ROSE I was tired. CAL Yes. Your exertions below decks were no doubt exausting. ROSE -LRB- stiffening -RRB- I see you had that undertaker of a manservant follow me. CAL You will never behave like that again! Do you understand? ROSE I'm not some foreman in your mills than you can command! I am your fiancee -- Cal explodes, sweeping the breakfast china off the table with a crash. He moves to her in one shocking moment, glowering over her and gripping the sides of her chair, so she is trapped between his arms. CAL Yes! You are! And my wife... in practice, if not yet by law. So you will honor me, as a wife is required to honor her husband! I will not be made out a fool! Is this in any way unclear? Rose shrinks into the chair. She sees Trudy, frozen, partway through the door bringing the orange juice. Cal follows Rose's glance and straightens up. He stalks past the maid, entering the stateroom. ROSE We... had a little accident. I'm sorry, Trudy. CUT TO :", "INT. RUTH'S SUITE - DAY Rose is dressed for the day, and is in the middle of helping Ruth with her corset. The tight bindings do not inhibit Ruth's fury at all. RUTH You are not to see that boy again, do you understand me Rose? I forbid it! Rose has her knee at the base of her mother's back and is pulling the corset strings with both hands. ROSE Oh, stop it, Mother. You'll give yourself a nosebleed. Ruth pulls away from her, and crosses to the door, locking it. CLACK! RUTH -LRB- wheeling on her -RRB- Rose, this is not a game! Our situation is precarious. You know the money's gone! ROSE Of course I know it's gone. You remind me every day! RUTH Your father left us nothing but a legacy of bad debts hidden by a good name. And that name is the only card we have to play. Rose turns her around and grabs the corset strings again. Ruth sucks in her waist and Rose pulls. RUTH I do n't understand you. It is a fine match with Hockley, and it will insure our survival. ROSE -LRB- hurt and lost -RRB- How can you put this on my shoulders? Rose turns to her, and we see what Rose sees -- the naked fear in her mother's eyes. RUTH Do you want to se me working as a seamstress? Is that what you want? Do you want to see our fine things sold at an auction, our memories scattered to the winds? My God, Rose, how can you be so selfish? ROSE It's so unfair. RUTH Of course it's unfair! We're women. Our choices are never easy. Rose pulls the corset tighter. CUT TO :", "INT. FIRST CLASS DINING SALOON At the divine service, Captain Smith is leading a group in the hymn `` Almighty Father Strong To Save.'' Rose and Ruth sing in the middle of the group. Lovejoy stands well back, keeping an eye on Rose. He notices a commotion at the entry doors. Jack has been halted there by two stewards. He is dressed in his third class clothes, and stands there, hat in hand, looking out of place. STEWARD Look, you, you're not supposed to be in here. JACK I was just here last night... do n't you remember? -LRB- seeing Lovejoy coming toward him -RRB- He'll tell you. LOVEJOY Mr. Hockley and Mrs. DeWitt Bukater continue to be most appreciative of your assistance. They asked me to give you this in gratitude -- He holds out two twenty dollar bills, which Jack refuses to take. JACK I do n't want money, I -- LOVEJOY -- and also to remind you that you hold a third class ticket and your presence here is no longer appropriate. Jack spots Rose but she does n't see him. JACK I just need to talk to Rose for a -- LOVEJOY Gentlemen, please see that Mr. Dawson gets back where he belongs. -LRB- giving the twenties to the stewards -RRB- And that he stays there. STEWARD Yes sir! -LRB- to Jack -RRB- Come along you. END ON ROSE, not seeing Jack hustled out. ROSE -LRB- singing -RRB- O hear us when we cry to thee for those in peril on the sea. CUT TO :", "INT. GYMNASIUM - DAY An Edwardian nautilus room. There are machines we recognize, and some do n't. A woman pedals a stationary bicycle in a long dress, looking rediculous. Thomas Andrews is leading a small tour group, including Rose, Ruth and Cal. Cal is wroking the oars of a stationary rowing machine with a well trained stroke. CAL Reminds me of my Harvard days. T.W. McCAULEY, the gym instructor, is a bouncy little man in white flannels, eager to show off his modern equipment, like his present-day counterpart on an `` Abflex'' infomercial. He hits a switch and a machine with a saddle on it starts to undulate. Rose puts her hand on it, curious. MCCAULEY The electric horse is very popular. We even have an electric camel. -LRB- to Ruth -RRB- Care to try your hand at the rowing, m'am? RUTH Do n't be absurd. I ca n't think of a skill I should likely need less. ANDREWS The next stop on our tour will be bridge. This way, please. CUT TO :", "EXT. AFT WELL DECK, B-DECK AND A-DECK - DAY Jack, walking with determination, is followed closely by Tommy and Fabrizio. He quickly climbs the steps to B-Deck and steps over the gate separating 3rd from 2nd class. TOMMY She's a goddess amongst mortal men, there's no denyin'. But she's in another world, Jackie, forget her. She's closed the door. Jack moves furtively to the wall below the A-Deck promenade, aft. JACK It was them, not her. -LRB- glancing around the deck -RRB- Ready... go. Tommy shakes his head resignedly and puts his hands together, crouching down. Jack steps into Tommy's hands and gets boosted up to the next deck, where he scrambles nimbly over the railing, onto the First Class deck. TOMMY He's not bein' logical, I tell ya. FABRIZIO Amore is' a not logical. CUT TO :", "EXT. A-DECK / AFT - DAY A man is playing with his son, who is spinning a top with a string. The man's overcoat and hat are sitting on a deck chair nearby. Jack emerges from behind one of the huge deck cranes and calmly picks up the coat and bowler hat. He walks away, slipping into the coat, and slicks his hair back with spit. Then puts the hat on at a jaunty angle. At a distance he could pass for a gentlemen. CUT TO :", "INT. BRIDGE / CHARTROOM - DAY HAROLD BRIDE, the 21 year old Junior Wireless Operator, hustles in and skirts around Andrews' tour group to hand a Marconigram to Captain Smith. BRIDE Another ice warning, sir. This one from the `` Baltic''. SMITH Thankyou, Sparks. Smith glances at the message then nonchalantly puts it in his pocket. He nods reassuringly to Rose and the group. SMITH Not to worry, it's quite normal for this time of year. In fact, we're speeding up. I've just ordered the last boilers lit. Andrews scowls slightly before motioning the group toward the door. They exit just as SECOND OFFICER CHARLES HERBERT LIGHTOLLER comes out of the chartroom, stopping next to First Officer Murdoch. LIGHTOLLER Did we ever find those binoculars for the lookouts? FIRST OFFICER MURDOCH Have n't seen them since Southampton. CUT TO :", "EXT. BOAT DECK / STARBOARD SIDE - DAY Andrews leads the group back from the bridge along the boat deck. ROSE Mr. Andrews, I did the sum in my head, and with the number of lifeboats times the capacity you mentioned... forgive me, but it seems that there are not enough for everyone aboard. ANDREWS About half, actually. Rose, you miss nothing, do you? In fact, I put in these new type davits, which can take an extra row of boats here. -LRB- he gestures along the eck -RRB- But it was thought... by some... that the deck would look too cluttered. So I was over-ruled. CAL -LRB- slapping the side of a boat -RRB- Waste of deck space as it is, on an unsinkable ship! ANDREWS Sleep soundly, young Rose. I have built you a good ship, strong and true. She's all the lifeboat you need. As they are passing Boat 7, a gentlemen turns from the rail and walks up behind the group. It is Jack. He taps Rose on the arm and she turns, gasping. He motions and she cuts away from the group toward a door which Jack holds open. They duck into the -- CUT TO :", "INT. GYMNASIUM - DAY Jack closes the door behind her, and glances out through the ripple-glass window to the starboard rail, where the gym instructor is chatting up the woman who was riding the bike. Rose and Jack are alone in the room. ROSE Jack, this is impossible. I ca n't see you. He takes her by the shoulders. JACK Rose, you're no picnic... you're a spoiled little brat even, but under that you're a strong, pure heart, and you're the most amazingly astounding girl I've ever known and -- ROSE Jack, I -- JACK No wait. Let me try to get this out. You're amazing... and I know I have nothing to offer you, Rose. I know that. But I'm involved now. You jump, I jump, remember? I ca n't turn away without knowin' that you're goin' to be alright. Rose feels the tears coming to her eyes. Jack is so open and real... not like anyone she has ever known. ROSE You're making this very hard. I'll be fine. Really. JACK I do n't think so. They've got you in a glass jar like some butterfly, and you're goin' to die if you do n't break out. Maybe not right away,'cause you're strong. But sooner or later the fire in you is goin' to go out. ROSE It's not up to you to save me, Jack. JACK You're right. Only you can do that. ROSE I have to get back, they'll miss me. Please, Jack, for both our sakes, leave me alone. CUT TO :", "INT. FIRST CLASS LOUNG - DAY The most elegant room on the ship, done in Louis Quinze Versaille style. Rose sits on a divan, with a group of other women arrayed around her. Ruth, the Countess Rothes and Lady Duff-Gordon are taking tea. Rose is silent and still as a porcelain figurine as the conversation washes around her. RUTH Of course the invitations had to be sent back to the printers twice. And the bridesmaids dresses! Let me tell you what an odyssey that has been... TRACKING SLOWLY IN on Rose as Ruth goes on. REVERSE, ROSE'S POV : A tabeau of MOTHER and DAUGHTER having tea. The four year old girl, wearing white gloves, daintily picking up a cookie. The mother correcting her on her posture, and the way she holds the teacup. The little girl is trying so hard to please, her expression serious. A glimpse of Rose at that age, and we see the relentless conditioning... the pain to becoming an Edwardian geisha. ON ROSE. She calmly and deliberately turns her teacup over, spilling tea all over her dress. ROSE Oh, look what I've done. CUT TO :", "EXT. TITANIC - DAY TITANIC STEAMS TOWARD US, in the dusk light, as if lit by the embers of a giant fire. As the ship looms, FILLING FRAME, we push in on the bow. Jack is there, right at the apex of the bow railing, his favorite spot. He closes his eyes, letting the chill wind clear his head. Jack hears her voice, behind him... ROSE Hello, Jack. He turns and she is standing there. ROSE I changed my mind. He smiles at her, his eyes drinking her in. Her cheeks are red with the chill wind, and her eyes sparkle. Her hair blows wildly about her face. ROSE Fabrizio said you might be up -- JACK Sssshh. Come here. He puts his hands on her waist. As if he is going to kiss her. JACK Close your eyes. She does, and he turns her to face forward, the way the ship is going. He presses her gently to the rail, standing right behind her. Then he takes her two hands and raises them until she is standing with her arms outstetched on each side. Rose is going along with him. When he lowers his hands, her arms stay up... like wings. JACK Okay. Open them. Rose gasps. There is nothing in her field of vision but water. It's like there is no ship under them at all, just the two of them soaring. The Atlantic unrolls toward her, a hammered copper shield under a dusk sky. There is only the wind, and the hiss of the water 50 feel below. ROSE I'm flying! She leans forward, arching her back. He puts his hands on her waist to steady her. JACK -LRB- singing softly -RRB- Come Josephine in my flying machine... Rose cleses her eyes, feeling herself floating weightless far above the sea. She smiles dreamily, then leans back, gently pressing her back against his chest. He pushes forward slightly against her. Slowly he raises his hands, arms outstretched, and they meet hers... fingertips gently touching. Then their fingers intertwine. Moving slowly, their fingers caress through and around each other like the bodies of two lovers. Jack tips his face forward into her blowing hair, letting the scent of her wash over him, until his cheek is agianst her ear. Rose turns her head until her lips are near his. She lowers her arms, turning further, until she finds his mouth with hers. He wraps his arms around her from behind, and they kiss like this with her head turned and tilted back, surrendering to him, to the emotion, to the inevitable. They kiss, slowly and tremulously, and then with building passion. Jack and the ship seem to merge into one force of power and optimism, lifting her, buoying her forward on a magical journey, soaring onward into a night without fear. IN THE CROW'S NEST, high above and behind them, lookout FREDERICK FLEET nudges his mate, REGINALD LEE, pointing down at the figures in the bow. FLEET Wish I had those bleedin' binoculars. JACK AND ROSE, embracing at the bow rail, DISSOLVE SLOWLY AWAY, leaving the ruined bow of the WRECK -- CUT TO :", "INT. KELDYSH IMAGING SHACK OLD ROSE blinks, seeming to come back to the present. She sees the wreck on the screen, the sad ghost ship deep in the abyss. ROSE That was the last time Titanic ever saw daylight. Brock Lovett changes the tape in the minicassette recorder. BROCK So we're up to dusk on the night of the sinking. Six hours to go. BODINE Do n't you love it? There's Smith, he's standing there with the iceberg warning in his fucking hand... -LRB- remembering Rose -RRB-... excuse me... in his hand, and he's ordering more speed. BROCK 26 years of experience working against him. He figures anything big enough to sink the ship they're going to see in time to turn. But the ship's too big, with too small a rudder... it ca n't corner worth shit. Everything he knows is wrong. ROSE is ignoring this conversation. She has the art-nouveau comb with the jade butterfly on the handle in her hands, turning it slowly. She is watching a monitor, which shows the ruins of Suite B-52/56. PUSH IN until the image fills frame. TRANSITION :", "INT. ROSE'S SUITE ... 1912. Like in a dream the beautiful woodwork and satin upholstery emerge from the rusted ruin. Jack is overwhelmed by the opulence of the room. He sets his sketchbood and drawing materials on the marble table. ROSE Will this light do? Do n't artists need good light? JACK -LRB- bad French accent -RRB- Zat is true, I am not used to working in such'orreeble conditions. -LRB- seeing the paintings -RRB- Hey... Monet! He crouches next to the paintings stacked against the wall. JACK Is n't he great... the use of color? I saw him once... through a hole in this garden fence in Giverny. She goes into the adjoining walk-in wardrobe closet. He sees her go to the safe and start working the combination. He's fascinated. ROSE Cal insist on luggin this thing everywhere. JACK Should I be expecting him anytime soon? ROSE Not as long as the cigars and brandy hold out. CLUNK! She unlocks the safe. Glancing up, she meets his eyes in the mirror behind the safe. She opens it and removes the necklace, then holds it out to Jack who takes it nervously. JACK What is it? A sapphire? ROSE A diamond. A very rare diamond, called the Heart of the Ocean. Jack gazes at wealth beyond his comprehension. ROSE I want you to draw me like your French girl. Wearing this. -LRB- she smiles at him -RRB- Wearing only this. He looks up at her, surprised, and we CUT TO : ROSE'S BEDROOM. ON THE BUTTERFLY COMB as Rose draws it out of her hair. She shakes her head and her hair falls free around her shoulders. IN THE SITTING ROOM Jack is laying out his pencils like surgical tools. His sketchbook is open and ready. He looks up as she comes into the room, wearing a silk kimono. ROSE The last thing I need is another picture of me looking like a china doll. As a paying customer, I expect to get what I want. She hands him a dime and steps back, parting the kimono. The blue stone lies on her creamy breast. Her heart is pounding as she slowly lowers the robe. Jakc looks so stricken, it is almost comical. The kimono drops to the floor ( this is all in cuts, lyrical ). ROSE Tell me when it looks right to you. She poses on the divan, settling like a cat into the position we remember from the drawing... almost. JACK Uh... just bend your left leg a little and... and lower your head. Eyes to me. That's it. Jack starts to sketch. He drops his pencil and she stifles a laugh. ROSE I believe you are blushing, Mr. Big Artiste. I ca n't imagine Monsieur Monet blushing. JACK -LRB- sweating -RRB- He does landscapes. TIGHT ON JACK as his eyes come up to look at her over the top edge of his sketchpad. We have seen this image of him before, in her memory. It is an image she will carry the rest of her life. Despite his nervousness, he draws with sure strokes, and what emerges is the best thing he has ever done. Her pose is languid, her hands beautiful, and her eyes radiate her energy. PUSH SLOWLY IN ON ROSE'S FACE... TRANSITION :", "INT. KELDYSH / IMAGING SHACK MATCH DISSOLVE/MORPH to Rose, 101 years old. Only her eyes are the same. OLD ROSE My heart was pounding the whole time. It was the most erotic moment of my life... up till then at least. CUT TO REVERSE : A semicircle of listeners staring in rapt, frozen silence. The story of Jack and Rose has finally and completely grabbed them. BODINE What, uh... happened next? OLD ROSE -LRB- smiling -RRB- You mean, did we `` do it''? CUT TO :", "INT. ROSE AND CAL'S SUITE - NIGHT BACK TO 1912. Jack is signing the drawing. Rose, wearing her kimono again, is leaning on his shoulder, watching. OLD ROSE -LRB- V.O. -RRB- Sorry to disappoint you Mr. Bodine. Rose gazes at the drawing. He has X-rayed her soul. ROSE Date it, Jack. I want to always remember this night. He does : 4/14/1912. Rose meanwhile scribbles a note on a piece of Titanic stationary. We do n't see what it says. She accepts the drawing from him, and crosses to the safe in the wardrobe. She puts the diamond back in the safe, placing hte drawing and the note on top of it. Closes the door with a CLUNK! CUT TO :", "INT. FIRST CLASS SMOKING ROOM - NIGHT Lovejoy enters from the Palm Court through the revolving door and crosses the room toward Hockley. A fire is blazing in the marble fireplace, and the usual fatcats are playing cards, drinking and talking. Cal sees Lovejoy and detaches from his group, coming to him. LOVEJOY None of the stewards have seen her. CAL -LRB- low but forceful -RRB- This is ridiculous, Lovejoy. Find her. CUT TO :", "EXT. ATLANTIC - NIGHT TITANIC glides across an unnatural sea, blakc and calm as a pool of oil. The ships lights are mirrored almost perfectly in the black water. The sky is brilliant with stars. A meteor traces a bright line across the heavens. 110 ON THE BRIDGE, Captain Smith peers out at the blackness ahead of the ship. QUARTERMASTER HITCHINS brings him a cup of hot tea with lemon. It steams in the bitter cold of the open bridge. Second Officer Lightoller is next to him, staring out at the sheet of black glass the Atlantic has become. LIGHTOLLER I do n't think I've ever seen such a flat calm, in 24 years at sea. SMITH Yes, like a mill pond. Not a breath of wind. LIGHTOLLER It's make the bergs harder to see, with no breaking water at the base. SMITH Mmmmm. Well, I'm off. Maintain speed and heading, Mr. Lightoller. LIGHTOLLER Yes sir. SMITH And wake me, of course, if anything becomes in the slightest degree doubtful. CUT TO :", "INT. ROSE AND CAL'S SUITE Rose, fully dressed now, returns to the sitting room. They hear a key in the lock. Rose takes Jack's hand and leads him silently through the bedrooms. Lovejoy enters by the sitting room door. LOVEJOY Miss Rose? Hello? He hears a door opening and goes through Cal's room toward hers. CUT TO :", "INT. CORRIDOR OUTSIDE SUITE Rose and Jack come out of her stateroom, closing the door. She leads him quickly along the corridor toward the B deck foyer. They are halfway across the open space when the sitting room door opens in the corridor and Lovejoy comes out. The valet sees Jack with Rose and hustles after them. ROSE Come on! She and Jack break into a run, surprising the few ladies and gentlemen about. Rose leads him past the stairs to the bank of elevators. They run into one, shocking the hell out of the OPERATOR. ROSE Take us down. Quickly, quickly! The Operator scrambles to comply. Jack even helps him close the steel gate. Lovejoy runs up as the lift starts to descend. He slams one hand on the bars of the gate. Rose makes a very rude and unladylike gesture, and laughs as Lovejoy disappears above. The Operator gapes at her. CUT TO :", "INT. E-DECK FOYER / ELEVATORS Lovejoy emerges from another lift and runs to the one Jack and Rose were in. The Operator is just closing the gate to go back up. Lovejoy runs around the bank of elevators and scans the foyer... no Jack and Rose. He tries the stairs going down to F-Deck. CUT TO :", "INT. F-DECK CORRIDORS / FAN ROOM A functional space, with access to a number of machine spaces ( fan rooms, boiler uptakes ). Jack and Rose are leaning against a wall, laughing. JACK Pretty tough for a valet, this fella. ROSE He's an ex-Pinkerton. Cal's father hired him to keep Cal out of trouble... to make sure he always got back to the hotel with his wallet and watch, after some crawl through the less reputable parts of town... JACK Kinda like we're doin' right now -- uh oh! Lovejoy has spotted them from a cross-corridor nearby. He charges toward them. Jack and Rose run around a corner into a blind alley. There is one door, marked CREW ONLY, and Jack flings it open. They enter a roaring RAN ROOM, with no way out but a ladder going down. Jack latches the deadbolt on the door, and Lovejoy slams against it a moment later. Jack grins at Rose, pointing to the ladder. JACK After you, m'lady. CUT TO :", "INT. BOILER ROOM FIVE AND SIX Jack and Rose come down the escape ladder and look around in amazement. It is like a vision of hell itself, with the roaring furnaces and black figures moving in the smoky glow. They run the length of the boiler room, dodging amazed stokers, and trimmers with their wheelbarrows of coal. JACK -LRB- shouting over the din -RRB- Carry on! Do n't mind us! They run through the open watertight door into BOILER ROOM SIX. Jack pulls her through the fiercely hot alley between two boilers and they wind up in the dark, out of sight of the working crew. Watching from the shadows, they see the stokers working in the hellish glow, shovelling coal into the insatiable maws of the furnaces. The whole place thunders with the roar of the fires. CUT TO :", "INT. FIRST CLASS SMOKING ROOM Amid unparalled luxury, Cal sits at a card game, sipping brandy. COLONEL GRACIE We're going like hell I tel l you. I have fifty dollars that says we make it into New York Tuesday night! Cal looks at his gold pocket watch, and scowls, not listening. CUT TO : OMITTED", "INT. BOILER ROOM SIX The furnaces roar, silhouetting the glistening stokers. Jack kisses Rose's face, tasting the sweat trickling down from her forehead. They kiss passionately in the steamy, pounding darkness. CUT TO :", "INT. HOLD #2 Jack and Rose enter and run laughing between the rows of stacked cargo. She hugs herself against the cold, after the dripping heat of the boiler room. They come upon William Carter's brand new RENAULT touring car, lashing down to a pallet. It looks like a royal coach from a fairy tale, its brass trim and headlamps nicely set off by its deep burgundy color. Rose climbs into the plushly upholstered back seat, acting very royal. There are cut crystals bud vases on the walls back there, each containing a rose. Jack jumps into the driver's seat, enjoying hte feel of the leather and wood. JACK Where to, Miss? ROSE To the stars. ON JACK as her hands come out of the shadows and pull him over the seat into the back. He lands next to her, and his breath seems loud in the quiet darkness. He looks at her and she is smiling. It is the moment of truth. JACK Are you nervous? ROSE Au contraire, mon cher. He strokes her face, cherishing her. She kisses his artist's fingers. ROSE Put your hands on me Jack. He kisses her, and she slides down in the seat under his welcome weight. He kisses her, and she slides down in the seat under his welcome weight. CUT TO :", "INT. WIRELESS ROOM A BRILLIANT ARC OF ELECTRICITY fills frame -- the sparks gap of the Marconi instrument as SENIOR WIRELESS OPERATOR JACK PHILLIPS ( 24 ) rapidly keys out a message. Junior Operator Bride looks through the huge stack of outgoing messages swamping them. BRIDE Look at this one, he wants his private train to meet him. La dee da. -LRB- slaps them down -RRB- We'll be up all bloody night on this lot. Phillips start to receive an incoming message from a nearby ship, the Leyland frieghter CALIFORNIAN, which jams his outgoing signal. At such close range, the beeps are deafening. PHILLIPS Christ! It's that idiot on the Californian. Cursing, Phillips furiously keys a rebuke. CUT TO :", "INT. / EXT. WIRELESS SHAK / FREIGHTER CALIFORNIAN Wireless Operater CYRIL EVANS pulls his earphone off his ear as the Titanic's spark deafens him. he translates the message for THIRD OFFICER GROVES. EVANS Stupid bastard. I try to warn him about the ice, and he says `` Keep out. Shut up. I'm working Cape Race.'' GROVES Now what's he sending? EVANS `` No seasickness. Poker business good. Al''. Well that's it for me. I'm shutting down. As Evans wearily switches off his generator, Groves goes out on deck. PAN oFF Him to reveal the ship is stopped fifty yards from the edge of a field of pack ice and icebergs stretching as far as the eye can see. CUT TO :", "EXT. OCEAN / TITANIC ON TITANIC, steaming hellbent through the darkness, hurling up white water at the bows. The bow comes straight at us, until the bow wave WIPES THE FRAME -- CUT TO :", "INT. HOLD #2 PUSHING IN on the rear window of the Renault, which is completely fogged up. Rose's hand comes up and slams against the glass for a moment, making a handprint in the veil of condensation. INSIDE THE CAR, Jack's overcoat is liek a blanket over them. It stirs and Rose pulls it down. They are huddled under it, intertwined, still mostly clothed. Their faces are flushed and they look at each other wonderingly. She puts her hand on his face, as if making sure he is real. ROSE You're trembling. JACK It's okay. I'm alright. He lays his cheek against her chest. JACK I can feel your heart beating. She hugs his head to her chest, and just holds on for dear life. OLD ROSE -LRB- V.O. -RRB- Well, I was n't the first teenage girl to get seduced in the backseat of a car, and certainly not the last, by several million. He had such fine hands, artists' hands, but strong too... roughened by work. I remember their touch even now. CUT TO :", "EXT. ATLANTIC / TITANIC - NIGHT The bow sweeps under us, and the CAMERA CLIMBS toward the foremast and the tiny half-cylinder of the crow's nest, which grows as we push in on lookouts Fleet and Lee. They are stamping their feet and swinging their arms, trying to keep warm in the 22 knot freezing wind, which whips capor of their breath away behind. FLEET You can smell ice, you know, when it's near. LEE Bollocks. FLEET Well I can. CUT TO :", "INT. BOILER ROOM SIX Without hearing hte words over the roar of the furnaces, we see stokers telling TWO STEWARDS which way Rose and Jack went. The stewards move off toward the forward holds. CUT TO :", "INT. CAL AND ROSE'S SUITE Cal stands at the open safe. He stares at the drawing of Rose and his face clenches with fury. He reads the not again : `` DARLING, NOW YOU CAN KEEP US BOTH LOCKED IN YOUR SAFE, ROSE''. Lovejoy, standing behind him, looks over his shoulder at the drawing. Cal crumples Rose's not, then takes the drawing in both hands as if to rip it in half. He tenses to do it, then stops himself. CAL I have a better idea. CUT TO :", "INT. HOLD #2 - NIGHT The two stewards enter. They have electric torches and play the beams around the hold. They spot the Renault with its fogged up rear window and approach it slowly. FROM INSIDE we see the torch light up Rose's passionate handprint, still there on the fogged up glass. One steward whips open the door. STEWARD Got yer! REVERSE : the back seat is empty. CUT TO :", "EXT. FORWARD WELL DECK AND CROW'S NEST - NIGHT Rose and Jack, fully dressed, come through a crew door onto the deck. They can barely stand, they are laughing so hard. UP ABOVE THEM, IN THE CROW'S NEST, lookout Fleet hears the disturbance below and looks around and back down to the well deck, where he can see two figures embracing. Jack and Rose stand in each others arms. Their breath clouds around them in the now freezing air, but they do n't even feel the cold. ROSE When this ship docks, I'm getting off with you. JACK This is crazy. ROSE I know. It does n't make any sense. That's why I trust it. Jack pulls her to him and kisses her fiercely. IN THE CROW'S NEST Fleet nudges Lee. FLEET Cor... look at that, would ya. LEE They're a bloody sight warmer than we are. FLEET Well if that's what it takes for us two to get warm, I'd rather not, if it's all the same. They both have a good laugh at that one. It is Fleet whose expression falls first. Glancing forward again, he does a double take. The color drains out of his face. FLEET'S POV : a massive iceberg right in their path, 500 yards out. FLEET Bugger me!! Fleet reaches past Lee and rings the lookout bell three times, then grabs the telephone, calling the bridge. He waits precious seconds for it to be picket up, never taking his eyes off the black mass ahead. FLEET Pick up, ya bastard. CUT TO :", "INT. / EXT. BRIDGE Inside the enclosed wheelhous, SIXTH OFFICER MOODY walks unhurriedly to the telephone, picking it up. FLEET -LRB- V.O. -RRB- Is someone there? MOODY Yes. What do you see? FLEET Iceberg right ahead! MOODY Thankyou. -LRB- hangs up, calls to Murdoch -RRB- Iceberg right ahead! Murdoch sees it and rushes to the engine room telegraph. While signaling `` FULL SPEED ASTERN'' he yells to Quartermaster Hitchins, who is at the wheel. MURDOCH Hard a' starboard. MOODY -LRB- standing behind Hitchins -RRB- Hard' a starboard. The helm is hard over, sir. CRASH SEQUENCE / SERIES OF CUTS : 132 CHIEF ENGINEER BELL is just checking the soup he has warming on a steam manifold when the engine telegraph clangs, then goes... incredibly... to FULL SPEED ASTERN. He and the other ENGINEERS just stare at it a second, unbelieving. Then Bell reacts. BELL Full astern! FULL ASTERN!! The engineers and greasers like madmen to close steam valves and start braking the mighty propeller shafts, big as Sequias, to a stop. 133 IN BOILER ROOM SIX, Leading Stoker FREDERICK BARRETT is standing with 2nd Engineer JAMES HESKETH when the red warning light and `` STOP'' indicator come on. BARRETT Shut all dampers! Shut'em!! 134 FROM THE BRIDGE Murdoch watches the burg growing... straight ahead. The bow finally starts to come left ( since the ship turns the reverse of the helm setting ). MURDOCH'S jaw clenches as the bow turns with agonizing slowness. He holds his breath as the horrible physics play out. IN THE CROW'S NEST Frederick Fleet braces himself. THE BOW OF THE SHIP thunders right at CAMERA and -- KRUUUNCH!! The ship hits the berg on its starboard bow. UNDERWATER we see the ice smashing in the steel hull plates. The iceberg bumps and scrapes along the side of the ship. Rivets pop as the steel plate of the hull flexes under the load. IN # 2 HOLD the two stewards stagger as the hull buckles in four feet with a sound like THUNDER. Like a sledgehammer beating along outside the ship, the berg splits the hull plates and the sea pour in, sweeping them off their feert. The icy water swirls around the Renault as the men scramble for the stairs. ON G-DECK forward Fabrizio is tossed in his bunk by the impact. He hears a sound like the greatly amplified squeal of a skate on ice. IN BOILER ROOM SIX Barret and Hesketh stagger as they hear the ROLLING THUNDER of the collision. They see the starboard side of the ship buckle in toward them and are almost swept off their feet by a rush of water coming in about two feet above the floor. ON THE FORWARD WELL DECK Jack and Rose break their kiss and look up in astonishment as the berg sails past, blocking out the sky like a mountain. Fragments break off it and crash down onto the deck, and they have to jump back to avoid flying chunks of ice. ON THE BRIDGE Murdoch rings the watertight door alarm. He quicky throws the switch that closes them. MURDOCH Hard a'port! Judging the berg to be amidships, he is trying to clear the stern. BARRETT AND HESKETH hear the DOOR ALARM and scramble through the swirling water to the watertight door between Boiler Rooms 6 and 5. The room is full of water vapor as the cold sea strikes the red hot furnaces. Barrett yells to the stokers scrambling through the door as it comes down like a slow guillotine. BARRETT Go Lads! Go! Go! He dives through into Boiler Room 5 just before the door rumbles down with a CLANG. JACK AND ROSE rush to the starboard rail in time to see the berg moving aft down the side of the ship. 145 In his stateroom, surrounded by piles of plans while making notes in his ever-present book, Andrews looks up at the sound of a cut-crystal light fixture tinkling like a windchime. He feels the shudder run through the ship. And we see it in his face. Too much of his soul is in this great ship for him not to feel its mortal wound. 146 IN THE FIRST CLASS SMOKING ROOM Gracie watches his highball vibrating on the table. 147 IN THE PALM COURT, with its high arched windows, Molly Brown holds up her drink to a passing waiter. MOLLY Hey, can I get some ice here, please? Silently, a moving wall of ice fills the window behind her. She does n't see it. It disappears astern. 148 OMITTED 149 IN THE CROW'S NEST Fleet turns to his Lee... FLEET Oy, mate... that was a close shave. LEE Smell ice, can you? Bleedin' Christ! CUT TO :", "INT. / EXT. BRIDGE CLOSE ON MURDOCH. The alarm bells still clatter mindlessly, seeming to reflect his inner state. He is in shock, unable to get a grip on what just happened. He just ran the biggest ship in history into an iceberg on its maiden voyage. MURDOCH -LRB- stiffly, to Moody -RRB- Note the time. Enter it in the log. Captain Smith rushes out of his cabin onto the bridge, tucking in his shirt. SMITH What was that, Mr. Murdoch? MURDOCH An iceberg, sir. I put her hard a' starboard and run the engines full astern, but it was too close. I tried to port around it, but she hi... and I -- SMITH Close the emergency doors. MURDOCH The doors are closed. Together they rush out onto the starboard wing, and Murdoch points. Smith looks into the darkness aft, then wheels around to FOURTH OFFICER BOHALL. SMITH Find the Carpenter and get him to sound the ship. CUT TO :", "INT. G-DECK FORWARD In steerage, Fabrizio comes out into the hall to see what's going on. He sees dozens of rats running toward him in the corridor, fleeing the flooding bow. Fabrizio jumps aside as the rats run by. FABRIZIO Ma -- che cazzo! 152 IN HIS STATEROOM Tommy gets out of his top bunk in the dark and drops down to the floor. SPLASH! ! TOMMMY Cor!! What in hell --?! He naps on the light. The floor is covered with 3 inches of freezing water, and more coming in. He pulls the door open, and steps out into the corridor, which is flooded. Fabrizio is running toward him, yelling something in Italian. Tommy and Fabrizio start pounding on doors, getting everybody up and out. The alarm spreads in several languages. CUT TO :", "INT. FIRST CLASS CORRIDOR / A-DECK A couple of people have come out into the corridor in robes and slippers. A STeWARD hurries along, reassuring them. WOMAN Why have the engines stopped? I felt a shudder? STEWARD #1 I should n't worry, m'am. We've likely thrown a propeller blade, that's the shudder you felt. May I bring you anything? THOMAS ANDREWS brushes past them, walking fast and carrying an armload of rolled up ship's plans. CUT TO :", "EXT. FORWARD WELL DECK Jack and Rose are leaning over the starboard rail, looking at the hull of the ship. JACK Looks okay. I do n't see anything. ROSE Could it have damaged the ship? JACK It did n't seem like much of a bump. I'm sure we're okay. Behind them a couple of steerage guys are kicking the ice around the deck, laughing. CUT TO :", "INT. STEERAGE FORWARD Fabrizio and Tommy are in a crowd of steerage men clogging the corridors, heading aft away from the flooding. Many of them have grabbed suitcases and duffel bags, some of which are soaked. TOMMY If this is the direction the rats were runnin', it's good enough for me. CUT TO :", "INT. CORRIDOR ON B DECK Bruce Ismay, dressed in pajamas under the topcoat, hurries down the corridor, headed for the bridge. An officious steward named BARNES comes along the other direction, getting the few concerned passengers back into their rooms. STEWARD BARNES There's no cause for alarm. Please, go back to your rooms. He is stopped in his tracks by Cal and Lovejoy. STEWARD BARNES Please, sir. There's no emergency -- CAL Yes there is, I have been robbed. Now get the Master at Arms. Now you moron! CUT TO :", "INT. BRIDGE / CHARTROOM C.U. CAPTAIN SMITH studying the commutator. He turns to Andrews, standing behind him. SMITH A five degree list in less than ten minutes. SHIP'S CARPENTER JOHN HUTCHINSON enters behind him, out of breath and clearly unnerved. HUTCHINSON She's making water fast... in the forepeak tank and the forward holds, in boiler room six. ISMAY enters, his movements quick with anger and frustration. Smith glances at him with annoyance. ISMAY Why have we stopped? SMITH We've struck ice. ISMAY Well, do you think the ship is seriously damaged? SMITH -LRB- glaring -RRB- Excuse me. Smith pushes past him, with Andrews and Hutchinson in tow. CUT TO :", "INT. BOILER ROOM 6 Strokers and firemen are struggling to draw the fires. They are working in waist deep water churning around as it flows into the boiler room, ice cold and swirling with grease from the machinery. Chief Engineer Bell comes partway down the ladder and shouts. BELL That's it, lads. Get the hell up! They scramble up the escape ladders. CUT TO :", "EXT. B-DECK FORWARD / WELL DECK The gentlemen, now joined by another man, leans on the forward rail watching the steerage men playing soccer with chunks of ice. GENTLEMAN I guess it's nothing too serious. I'm going back to my cabin to read. A 20ish YALE MAN pops through the door wearing a topcoat over pajamas. YALEY Say, did I miss the fun? Rose and Jack come up the steps from the well deck, which are right next to the three men. They stare as the couple climbs over the locked gate. A moment later Captain Smith rounds the corner, followed by Andrews and Carpenter Hutchinson. They have come down from the bridge by the outside stairs. The three men, their faces grim, crush right past Jack and Rose. Andrews barely glances at her. SMITH Can you shore up? HUTCHINSON Not unless the pumps get ahead. The inspection party goes down the stairs to the well deck. JACK -LRB- low, to her -RRB- It's bad. ROSE We have to tell Mother and Cal. JACK Now it's worse. ROSE Come with me, Jack. I jump, you jump... Right? JACK Right. Jack follows Rose through the door inside the ship. CUT TO :", "INT. B-DECK FOYER / CORRIDOR Jack and Rose cross the foyer, entering the corridor. Lovejoy is waiting for them in the hall as they approach the room. LOVEJOY We've been looking for you miss. Lovejoy follows and, unseen, moves close behind Jack and smoothly slips the diamond necklace into the pocket of his overcoat. CUT TO :", "INT. ROSE AND CAL'S SUITE Cal and Ruth wait in the sitting room, along with the Master at Arms and two stewards ( Steward # 1 and Barnes ). Silence as Rose and Jack enter. Ruth closes her robe at her throat when she sees Jack. ROSE Something serious has happened. CAL That's right. Two things dear to me have disappeared this evening. Now that one is back... -LRB- he looks from Rose to Jack -RRB-... I have a pretty good idea where to fine the other. -LRB- to Master at Arms -RRB- Search him. The Master at Arms steps up to Jack. MASTER AT ARMS Coat off, mate. Lovejoy pulls at Jack's coat and Jack shakes his head in dismay, shrugging out of it. The Master at Arms pats him down. JACK This is horseshit. ROSE Cal, you ca n't be serious! We're in the middle of an emergency and you -- Steward Barnes pulls the Heart of the Ocean out of the pocket of Jack's coat. STEWARD BARNES Is this it? Rose is stunned. Needless to say, so is Jack. CAL That's it. MASTER AT ARMS Right then. Now do n't make a fuss. He starts to handcuff Jack. JACK Do n't you believe it, Rose. Do n't! ROSE -LRB- uncertain -RRB- He could n't have. CAL Of course he could. Easy enough for a professional. He memorized the combination when you opend the safe. FLASHBACK : Rose at the safe, looking in the mirror and meeting Jack's eyes as he stands behind her, watching. ROSE But I was with him the whole time. CAL -LRB- just to her, low and cold -RRB- Maybe he did it while you were putting your clothes back on. JACK They put it in my pocket! LOVEJOY -LRB- holding Jack's coat -RRB- It's not even your pocket, son. -LRB- reading -RRB- `` Property of A. L. Ryerson''. Lovejoy shows the coat to the Master at Arms. There is a label inside the collar with the owner's name. MASTER AT ARMS That was reported stolen today. JACK I was going to return it! Rose -- Rose feels utterly betrayed, hurt and confused. She shrinks away from him. He starts shouting to her as Lovejoy and the Master at Arms drag him out into the hall. She ca n't look him in the eye. JACK Rose, do n't listen to them... I did n't do this! You know I did n't! You know it! She is devastated. Her mother lays a comforting hand on her shoulder as te tears well up. RUTH Why do women believe men? CUT TO :", "INT. MAIL SORTING ROOM / HOLD Smith and Andrews come down the steps to the Mail Sorting Room and finds the clerks scrambling to pull mail from the racks. They are furiously hauling wet sacks of mail up from the hold below. Andrews climbs partway down the stairs to the hold, which is almost full. Sacks of mail float everywhere. The lights are still on below the surface, casting an eerie glow. The Renault is visible under the water, the brass glinting cheerfully. Andrews looks down as the water covers his shoe, and scrambles back up the stairs. CUT TO :", "INT. BRIDE / CHARTROOM Andrews unrolls a big drawing of the ship across the chartroom table. It is a side elevation, showing all the watertight bulkheads. His hands are shaking. Murdoch and Ismay hover behind Andrews and the Captain. ISMAY When can we get underway, do you think? Smith glares at him and turns his attention to Andrews' drawing. The builder points to it for emphasis as he talks. ANDREWS Water 14 feet above the keel in ten minutes... in the forepeak... in all three holds... and in boiler room six. SMITH That's right. ANDREWS Five compartments. She can stay afloat with the first four compartments breached. But not five. Not five. As she goes down by the head the water will spill over the tops of the bulkheads... at E Deck... from one to the next... back and back. There's no stopping it. SMITH The pumps -- ANDREWS The pumps buy you time... but minutes only. From this moment, no matter what we do, Titanic will founder. ISMAY But this ship ca n't sink! ANDREWS She is made of iron, sir. I assure you, she can. And she will. It is a mathematical certainty. Smith looks like he has been gutpunched. SMITH How much time? ANDREWS An hour, two at most. Ismay reels as his dream turns into his worst nightmare. SMITH And how many aboard, Mr. Murdoch? MURDOCH Two thousand two hundred souls aboard, sir. A long beat. Smith turns to his employer. SMITH I believe you may get your headlines, Mr. Ismay. CUT TO :", "EXT. BOAT DECK Andrews is striding along the boat deck, as seamen and officers scurry to uncover the boats. Steam is venting from pipes on the funnes overhead, and the din is horrendous. Speech is difficult adding to the crew's level of disorganization. Andrews sees some men fumbling with the mechanism of one of the Wellin davits and yells to them over the roar of steam. ANDREWS Turn to the right! Pull the falls taut before you unchock. Have you never had a boat drill? SEAMAN No sir! Not with these new davits, sir. He looks around, disguisted as the crew fumble with the davits, and the tackle for the `` falls''... the ropes which are used to lower the boats. A few passengers are coming out on deck, hesitantly in the noise and bitter cold. CUT TO :", "INT. ROSE AND CAL'S SUITE From inside the sitting room they can hear knocking and voices in the corridor. RUTH I had better go dress. Ruth exits and Hockley crosses to Rose. He regards her coldly for a moment, then SLAPS her across the face. CAL It is a little slut, is n't it? To Rose the blow is inconsequential compared to the blow her heart has been given. Cal grabs her shoulders roughly. CAL Look at me, you little -- There is a loud knock on the door and an urgent voice. The door opens and their steward puts his head in. STEWARD BARNES Sir, I've been told to ask you to please put on your lifebelt, and come up to the boat deck. CAL Get out. We're busy. The steward persists, coming in to get the lifebelts down from the top of a dresser. STEWARD I'm sorry about the inconvenience, Mr. Hockley, but it's Captain's orders. Please dress warmly, it's quite cold tonight. -LRB- he hands a lifebelt to Rose -RRB- Not to worry, miss, I'm sure it's just a precaution. CAL This is ridiculous. In the corridor outside the stewards are being so polite and obsequious they are conveying no sense of danger whatsoever. However, it's another story in... CUT TO :", "INT. STEERAGE BERTHING AFT BLACKNESS. Then BANG! The door is thrown open and the lights snapped on by a steward. The Cartmell family rouses from a sound sleep. STEWARD #2 Everybody up. Let's go. Put your lifebelts on. IN THE CORRIDOR outside, another steward is going from door to door along the hall, pouncing and yelling. STEWARD #2 Lifebelts on. Lifebelts on. Everybody up, come on. Lifebelts on... People come out of the doors behind the steward, perplexed. In the foreground a SYRIAN WOMAN asks her husband what was said. He shrugs. CUT TO :", "INT. WIRELESS ROOM ON PHILLIPS, looking shocked. PHILLIPS CQD, sir? SMITH That's right. The distress call. CQD. Tell whoever responds that we are going down by the head and need immediate assistance. Smith hurries out. PHILLIPS Blimey. BRIDE Maybe you ought to try that new distress call... S.O.S. -LRB- grinning -RRB- It may be our only chance to use it. Phillips laughs in spite of himself and starts sending history's first S.O.S. Dit dit dit, da da da, dit dit dit... over and over. CUT TO :", "EXT. BOAT DECK Thomas Andrews looks around in amazement. The deck is empty except for the crew fumbling with the davits. He yells over the roar of the steam to First Officer Murdoch. ANDREWS Where are all the passengers? MURDOCH They've all gone back inside. Too damn cold and noisy for them. Andrews feels like he is in a bad dream. He looks at his pocketwatch and heads for the foyer entrance. CUT TO :", "INT. A-DECK FOYER A large number of First Class passengers have gathered near the staircase. They are getting indignant about the confusion. Molly Brown snags a passing YOUNG STEWARD. MOLLY What's doing, sonny? You've got us all trussed up and now we're cooling our heels. The young steward backs away, actually stumbling on the stairs. YOUNG STEWARD Sorry, mum. Let me go and find out. The jumpy piano rhythm of `` Alexander's Ragtime Band'' comes out of the first class lounge a few yards away. Band leader WALLACE HARTLEY has assembled some of his men on Captain's orders, to allay panic. Hockley's entourage comes up to the A-deck foyer. Cal is carrying the lifebelts, almost as an afterthought. Rose is like a sleepwalker. CAL It's just the God damned English doing everything by the book. RUTH There's no need for language, Mr. Hockley. -LRB- to Trudy -RRB- Go back and turn the heater on in my room, so it wo n't be too cold when we get back. Thomas Andrews enters, looking around the magnificent room, which he knows is doomed. Rose, standing nearby, sees his heartbroken expression. She walks over to him and Cal goes after her. ROSE I saw the iceberg, Mr. Andrews. And I see it in your eyes. Please tell me the truth. ANDREWS The ship will sink. ROSE You're certain? ANDREWS Yes. In an hour or so... all this... will be at the bottom of the Atlantic. CAL My God. Now it is Cal's turn to look stunned. The Titanic? Sinking? ANDREWS Please tell only who you must, I do n't want to be responsible for a panic. And get to a boat quickly. Do n't wait. You remember what I told you about the boats? ROSE Yes, I understand. Thankyou. Andrews goes off, moving among the passengers and urging them to put on their lifebelts and get to the boats. CUT TO :", "INT. MASTER AT ARMS OFFICE Lovejoy and the Master at Arms are handcuffing Jack to a 4'' WATER PIPE as a crewman rushes in anxiously and almost blurts to the Master at Arms -- CREWMAN You're wanted by the Purser, sir. Urgently. LOVEJOY Go on. I'll keep an eye on him. Lovejoy pulls a pearl handled Colt.45 automatic from under his coat. The Master at Arms nods and tosses the handcuff key to Lovejoy, then exits with the crewman. Lovejoy flips the key in the air. Catches it. CUT TO :", "INT. BRIDGE Junior Wireless Operator Bride is relaying a message to Captain Smith from the CUNARD LINER CARPATHIA. BRIDE Carpathia says they're making 17 knots, full steam for them, sir. SMITH And she's the only one who's responding? BRIDE The only one close, sir. She says they can be here in four hours. SMITH Four hours! The enormity of it hits Smith like a sledgehammer blow. SMITH Thank you, Bride. He turns as Bride exits, and looks out onto the blackness. SMITH -LRB- to himself -RRB- My God. CUT TO :", "EXT. BOAT DECK - NIGHT Lightoller has his boats swung out. He is standing amidst a crowd of uncertain passengers in all states of dress and undress. One first class woman is barefoot. Others are in stockings. The maitre of the restaurant is in top hat and overcoat. Others are still in evening dress, while some are in bathrobes and kimonos. Women are wearing lifebelts over velvet gowns, then topping it with sble stoles. Some brought jewels, others books, even small dogs. Lightoller sees Smith walking stiffly toward him and quickly goes to him. He yells into the Captain's ear, through cupped hands, over the roar of the steam... LIGHTOLLER Had n't we better get the women and children into the boats, sir? Smith just nods, a bit abstractly. The fire has gone out of him. Lightoller sees the awesome truth in Smith's face. LIGHTOLLER -LRB- to the men -RRB- Right! Start the loading. Women and children! The appalling din of escaping steam abruptly cuts off, leaving a sudden unearthly silence in which Lightoller's voice echoes. ON WALLACE HARTLEY raising his violin to play. HARTLEY Number 26. Ready and -- The band has reassembled just outside the First Class Entrance, port side, near where Lightoller is calling for the boats to be loaded. They strike up a waltz, lively and elegant. The music wafts all over the ship. LIGHTOLLER Ladies, please. Step into the boat. Finally one soman steps across the gap, into the boat, terrified of the drop to the water far below. WOMAN IN CROWD You watch. They'll put us off in these silly little boats to freeze, and we'll all be back on board by breakfast. Cal, Rose and Ruth come out of the doors near the band. RUTH My brooch, I left my brooch. I must have it! She turns back to go to her room but Cal takes her by the arm, refusing to let her go. The firmness of his hold surprises her. CAL Stay here, Ruth. Ruth sees his expression, and knows fear for the first time. CUT TO :", "INT. STEERAGE BERTHING AFT / CORRIDORS AND STAIRWELL It is chaos, with stewards pushing their way through narrow corridors clogged with peopel carrying suitcases, duffel bags, children. Some have lifebelts on, others do n't. STEWARD #2 -LRB- to Steward # 3 -RRB- I told the stupid sods no luggage. Aw, bloody hell! He throws up his hand at the sight of a family, loaded down with cases and bags, completely blocking the corridor. Fabrizio and Tommy push past the stewards, going the other way. They rech a huge crowd gathered at the bottom of the MAIN 3RD CLASS STAIRWELL. Fabrizio spots Helga with the rest of the Dahl family, standing patiently with suitcases in hand. He reaches her and she grins, hugging him. Tommy pushes to where he can see what's holding up the group. There is a steel gate across the top of the stairs, with several stewards and seamen on the other side. STEWARD Stay calm, please. It's not time to go up to the boats yet. Near Tommy, an IRISHWOMAN stands stoically with two small children and their battered luggage. LITTLE BOY What are we doing, mummy? WOMAN We're just waiting, dear. When they fiish putting First Class people in the boats, they'll be startin' with us, and we'll want to be all ready, wo n't we? CUT TO :", "EXT. STARBOARD SIDE Boat 7 is less than half full, with 28 aboard a boat made for 65. FIRST OFFICER MURDOCH Lower away! By the left and right together, stady lads! The boat lurches as the falls start to pay out through the pulley blocks. The women gasp. The boat descends, swaying and jerking, toward the water 60 feet below. The passengers are terrified. CUT TO :", "EXT. / INT. TITANIC HULL AND MASTER AT ARMS OFFICE TRACKING along the rows of portholes angling down into the water. Under the surface, they glow green. PUSHING IN on one porthole which is have submerged. Inside we see Jack, looking apprehensively at the water rising up the glass. INSIDE THE MASTER AT ARMS' OFFICE Jack sits chained to the waterpipe, next to the porthole. Lovejoy sits on the edge of a desk. He puts a.45 bullet on the desk and watches it roll across and fall off. He picks up the bullet. LOVEJOY You know... I believe this ship may sink. -LRB- crosses to Jack -RRB- I've been asked to give you this small token of our appreciation... He punches Jack hard in the stomach, knocking the wind out of him. LOVEJOY Compliments of Mr. Caledon Hockley. Lovejoy flips the handcuff key in the air, catches it and puts it in his pocket. He exits. Jack is left gasping, handcuffed to the pipe. CUT TO :", "EXT. BOAT DECK / STARBOARD SIDE, FORWARD At the stairwell rail on the bridge wing, Fourth Officer Boxhall and Quartermaster Rowe light the first distress rocket. It shoots into the sky and EXPLODES with a thunderclap over the ship, sending out white starbursts which light up the entire deck as they fall. WHIP PAN off the starbursts to Ismay. The Managing Director of White Star Line is cracking. Already at the breaking point from his immense guilt, the rocket panics him. He starts shouting at the officers struggling with the falls of BOAT 5. ISMAY There is no time to waste! -LRB- yelling and waving his arms -RRB- Lower away! Lower away! Lower away! FIFTH OFFICER LOWE, a baby-faced 28, and the youngest officer, looks up from the tangled falls at the madman. LOWE Get out of the way, you fool! ISMAY Do you know who I am? Lowe, not having a clue nor caring, squares up to Ismay. LOWE You're a passenger. And I'm a ship's bloody officer. Now do what you're told! -LRB- MORE -RRB- LOWE -LRB- CONT'D -RRB- -LRB- turning away -RRB- Steady men! Stand by the falls! ISMAY -LRB- numbly, backing away -RRB- Yes, quite right. Sorry. CUT TO :", "EXT. BOAT DECK / PORT SIDE SECOND OFFICER LIGHTOLLER is loading the boat nearest Cal and Rose... Boat LIGHTOLLER Women and children only! Sorry sir, no men yet. Another rocket bursts overhead, lighting the crowd. Startled faces turn upward. Fear now in the eyes. DANIEL MARVIN has his Biograph camera set up, cranking away... hoping to get an exposure off the rocket's light. he has Mary posed in front of the scene at the boats. MARVIN You're afraid, darling. Scared to death. That's it! Either she suddenly learned to act or she is petrified. ROSE watches the farewells taking pace right in front of her as they step closer to the boat. Husbands saying goodbye to wives and children. Lovers and friends parted. Nearby MOLLY is getting a reluctant woman to board the boat. MOLLY Come on, you heard the man. Get in the boat, sister. RUTH Will the lifeboats be seated according to class? I hope they're not too crowded -- ROSE Oh, Mother shut up! -LRB- Ruth freezes, mouth open -RRB- Do n't you understand? The water is freezing and there are n't enough boats... not enough by half. Half the people on this ship are going to die. CAL Not the better half. PUSH IN ON ROSE'S FACE as it hits her like a thunderbolt. Jack is third class. He does n't stand a chance. Another rocket bursts overhead, bathing her face in white light. ROSE You unimaginable bastard. MOLLY Come on, Ruth, get in the boat. These are the first class seats right up here. That's it. Molly practically hands her over to Lightoller, then looks around for some other women who might need a push. MOLLY Come on, Rose. You're next, darlin'. Rose steps back, shaking her head. RUTH Rose, get in the boat! ROSE Goodbye, mother. Ruth, standing in the tippy lifeboat, can do nothing. Cal grabs Rose's arm but she pulls free and walks away through the crowd. Cal catches up to Rose and grabs her again, roughly. CAL Where are you going? To him? Is that it? To be a whore to that gutter rat? ROSE I'd rather be his whore than your wife. He clenches his jaw and squeezes her arm viciously, pulling her back toward the lifeboat. Rose pulls out a hairpin and jabs him with it. he lets go with a curse and she runs into the crowd. LIGHTOLLER Lower away!! RUTH Rose! ROSE!! MOLLY Stuff a sock in it, would ya, Ruth. She'll be along. The boat lurches downward as the falls are paid out. TRACKING WITH ROSE, as she runs through the clusters of people. She looks back and a furious Cal is coming after her. She runs breathlessly up to two proper looking men. ROSE That man tried to take advantage of me in the crowd! Appalled, they turn to see Cal running toward them. Rose runs on as the two men grab Cal, restraining him. She runs throught the First Class entrance. Cal breaks free and runs after her. He reaches the entrance, but runs into a knot of people coming out. He pushes rudely through them... CUT TO :", "INT. BOAT DECK FOYER / STAIRCASE / A-DECK FOYER Cal runs in, and down to the landing, pushing past the gentlemen and ladies who are filling up the stairs. He scans the A-deck foyer. Rose is gone. CUT TO :", "EXT. OCEAN / TITANIC / BOAT 6 The hull of Titanic looms over Boat 6 like a cliff. Its enormous mass is suddenly threatening to those in the tiny boat. Quartermaster Hitchins, at the tiller, wants nothing but to get away from the ship. Unfortunately his two seamen ca n't row. They flail like a duck with a broken wing. HITCHINS Keep pulling... away from the ship. Pull. MOLLY Ai n't you boys ever rowed before? Here, gim me those oars. I'll show ya how it's done. She climbs over Ruth to get at the oars, stepping on her feet. Around them the evacuation is in full swing, with boats in the water, others being lowered. CUT TO :", "INT. MASTER AT ARMS OFFICE / CORRIDOR Jack pulls on the pipe with all his strength. It's not budging. He hears gurgling sound. Water pours under the door, spreading rapidly across the floor. JACK Shit. He tries to pull one hand out of the cuffs, working until the skin is raw... no good. JACK Help!! Somebody!! Can anybody hear me?! -LRB- to himself -RRB- This could be bad. THE CORRIDOR outside is deserted. Flooded a couple of inches deep. Jack's voice comes faintly through the door, but there is no one to hear it. CUT TO :", "INT. FIRST CLASS CORRIDOR Thomas Andrews is opening stateroom doors, checking that people are out. ANDREWS Anyone in here? Rose runs up to him, breathless. ROSE Mr. Andrews, thank God! Where would the Master at Arms take someone under arrest?! ANDREWS What? You have to get to a boat right away! ROSE No! I'll do this with or without your help, sir. But without will take longer. ANDREWS -LRB- beat -RRB- Take the elevator to the very bottom, go left, down the crewman's passage, then make a right. ROSE Bottom, left, right. I have it. ANDREWS Hurry, Rose. CUT TO :", "INT. FOYER / ELEVATORS Rose runs up as the last Elecator Operator is closing up his lift to leave. OPERATOR Sorry, miss, lifts are closed -- Without thinking she grabs him and shoves him back into the lift. ROSE I'm through with being polite, goddamnit!! I may never be polite the rest of my life! Now take me down!! The operator fumbles to close the gate and start the lift. CUT TO :", "EXT. OCEAN / BOAT 6 Molly and the two seamen are rowing, and they've made it a hundret feet or so. Enough to see that the ship is angled down into the water, with the bow rail less than ten feet above the surface. MOLLY Come on girls, join in, it'll keep ya warm. Let's go Ruth. Grab an oar! Ruth just stares at the spectacle of the great liner, its rows of lights blazing, slanting down into the sullen black mirror of the Atlanic. CUT TO :", "INT. FIRST CLASS ELEVATOR / CORRIDORS Through the wrought iron door of the elevator car Rose can see the decks going past. The lift slows. Suddenly ICE WATER is swirling around her legs. She SCREAMS in surprise. So does the operator. The car has landed in a foot of freezing water, shocking the hell out of her. She claws the door open and splashes out, hiking up her floor-length skirt so she can move. The lift goes back up, behind her, as she looks around. ROSE Left, crew passage. She spots it and slogs down the flooded corridor. The place is understandably deserted. She is on her own. ROSE Right, right... right. She turns into a cross-corridor, splashing down the hall. A row of doors on each side. ROSE Jack? Jaaacckk?? CUT TO :", "INT. MASTER AT ARMS OFFICE / CORRIDOR Jack is hopelessly pulling on the pipe again, straining until he turns red. He collapses back on the bench. realizing he's screwed. Then he hears her through the door. JACK ROSE!! In here! 187 IN THE HALL Rose hears his voice behind her. She spins and runs back, locating the right door, then pushes it open, creating a small wave. She splashes over Jack and puts her arms around him. ROSE Jack, Jack, Jack... I'm sorry, I'm so sorry. They are so happy to see each other it's embarrassing. JACK That guy Lovejoy put it in my pocket. ROSE I know, I know. JACK See if you can find a key for these. Try those drawers. It's a little brass one. She kisses his face and hugs him again, then starts to go through the desk. JACK So... how did you find out I did n't do it? ROSE I did n't. -LRB- she looks at him -RRB- I just realized I already knew. They share a look, then she goes back to ransacking the room, searching drawers and cupboards. Jack sees movement out the porthole and looks out. A LIFEBOAT hits the surface of the water, seen from below. CUT TO :", "EXT. TITANIC / BOAT ONE While the seamen detach the falls, Boat One rocks next to the hull. Lucile and Sir Cosmo Duff-Gordon sit with ten others in a boat made for four times that many. LUCILE I despise small boats. I just know I'm going to be seasick. I always get seasick in small boats. Good Heavens, there's a man down there. In a lit porthole beneath the surface she sees Jack looking up at her... a face in a bubble of light under the water. CUT TO :", "INT. MASTER AT ARMS OFFICE Rose stops trashing the room, and stands there, breathing hard. ROSE There's no key in here. They look around at the water, now almost two feet deep. Jack has pulled his feet up onto the bench. JACK You have to go for help. ROSE -LRB- nodding -RRB- I'll be right back. JACK I'll wait here. She runs out, looking back at him once from the doorway, then splashes away. Jack looks down at the swirling water. CUT TO :", "INT. STAIRWELL AND CORRIDORS Rose splashes down the hall to a stairwell going up to the next deck. She climbs the stairs, her long skirt leaving a trail like a giant snail. The weight of it is really slowing her down. She rips at the buttons and shimmies quickly out of the thing. She bounds up the stairs in her stockings and knee-length slip, to find herself in -- 191 A LONG CORRIDOR... part of the labyrinth of steerage hallways forward. She is alone here. A long groan of stressing metal echoes along the hall as the ship continues to settle. She runs down the hall, unimpeded now. ROSE Hello? Somebody?! She turns a corner and runs along another corridor in a daze. The hall slopes down into water which, shimmers, reflecting the light. The margin of the water creeps toward her. A YOUNG MAN appears, running through the water, sending up geysers of spray. He pelts past her without slowing, his eyes crazed... ROSE Help me! We need help! He does n't look back. It is like a bad dream. The hull gongs with terrifying sounds. The lights flicker and go out, leaving utter darkness. A beat. Then they come back on. She finds herself hyperventilating. That one moment of blackness was the most terrifying of her life. A STEWARD runs around the nearest corner, his arms full of lifebelts. He is upset to see someone still in his section. He grabs her forcefully by the arm, pulling her with him like a wayward child. STEWARD Come on, then, let's get you topside, miss, that's right. ROSE Wait. Wait! I need your help! There's -- STEWARD No need for panic, miss. Come along! ROSE No, let me go! You're going the wrong way! He's not listening. And he wo n't let her go. She SHOUTS in his ear, and when he turns, she punches him squarely in the nose. Shocked, he lets her go and staggers back. STEWARD To Hell with you! ROSE See you there, buster! The steward runs off, holding his bloody nose. She spits after him. Just the way Jack taugh : her. She turns around, SEES : a glass case with a fire-axe in it. She breaks the glass with a battered suitcase which is lying discarded nearby, and seizes the axe, running back the way she came. 192 AT THE STAIRWELL she looks down and gasps. The water has flooded the bottom five steps. She goes down and has to crouch to look along the corridor to the room where Jack is trapped. Rose plunges into the water, which is up to her waist... and powers forward, holding the axe above her head in two hands. She grimaces at the pain from the literally freezing water. CUT TO :", "INT. MASTER AT ARMS OFFICE Jack has climbed up on the bench, and is hugging the waterpipe. Rose wades in, holding the axe above her head. ROSE Will this work? JACK We'll find out. They are both terrified, but trying to keep panic at bay. He positions the chain connecting the two cuffs, stretching it taut across the steel pipe. The chain is of course very short, and his exposed wrists are on either side of it. JACK Try a couple practice swings. Rose hefts the axe and thunks it into a wooden cabinet. JACK Now try to hit the same mark again. She swings hard and the blade thunks in four inches from the mark. JACK Okay, that's enough practice. He winces, bracing himself as she raises the axe. She has to hit a target about an inch wide with all the foce she can muster, with his hands on either side. JACK -LRB- sounding calm -RRB- You can do it, Rose. Hit it as hard as you can, I trust you. Jack closes his eyes. So does she. The axe comes down. K-WHANG! Rose gingerly opens her eyes looks... Jack is grinning with two separate cuffs. Rose drops the axe, all the strength going out of her. JACK Nice work, there, Paul Bunyan. He climbs down into the water next to her. He ca n't breathe for a second. JACK Shit! Excuse my French. Ow ow ow, that is cold! Come on, let's go. They wade out into the hall. Rose starts toward the stiars going up, but Jack stops her. There is only about a foot of the stairwell opening visible. JACK Too deep. We got ta find another way out. CUT TO :", "EXT. BOAT 6 AND TITANIC TIGHT ON THE LETTERS TITANIC painted two feet high on the bow of the doomed steamer. Once 50 feet above the waterline, they now quietly slip below the surface. We see them, gold on black, rippling and dimming to a pale green as they go deeper. 195 IN BOAT SIX, Ruth looks back at the Titanic, transfixed by the sight of the dying liner. The bowsprit is now barely above the waterline. Another of Boxhall's rockets EXPLODES overhead. K-BOOM! It lights up the whole area, and we see half a dozen boats in the water, spreading out from the ship. MOLLY Now there's somethin' you do n't see every day. CUT TO :", "INT. SCOTLAND ROAD / E-DECK The widest passageway in the ship, it is used by crew and steerage alike, and runs almost the length of the ship. Right now steerage passengers move along it like refugees, heading aft. CRASH! A wooden doorframe splinters and the door bursts open under the force of Jack's shoulder. Jack and Rose stumble through, into the corridor. A STEWARD, who was nearby herding people along, marches over. STEWARD Here you! You'll have to pay for that, you know. That's White Star Line property -- JACK AND ROSE -LRB- turning together -RRB- Shutup! Jack leads her past the dumbfounded steward. They join the steerage stragglers going aft. In places the corridor is almost completely blocked by large families carrying all their luggage. AN IRISH WOMAN gives Rose a blanket, more for modesty than because she is blue-lipped and shivering. IRISHWOMAN Here, lass, cover yerself. Jack rubs her arms and tries to warm her up as they walk along. The woman's husband offers them a flask of whiskey. IRISHMAN This'll take the chill off. Rose takes a mighty belt and hands it to Jack. He grins and follows suit. Jack tries a number of DOORS and IRON GATES along the way, finding them all locked. CUT TO :", "EXT. BOAT DECK ON THE BOAT DECK, the action has moved to the aft group of boats, numbers 9, 11, 13 and 15 on the starboard side, and 10, 12, 14 and 16 on the port side. The pace of work is more frantic. You see crew and officers running now to work the davits, their previous complacency gone. CAL pushes through the crowd, scanning for Rose. Around him is chaos and confusion. A woman is calling for a child who has become seperated from the crowd. A man is shouting over people's heads. A woman takes hold of Second Officer Lightoller's arm as he is about to launch Boat 10. WOMAN Will you hold the boat a moment? I have to run back to my room for something -- Lightoller grabs her and shoves her bodily into the boat. Thomas Andrews rushes up to him just then. ANDREWS Why are the boats being launched half full?! Lightoller steps past him, helping a seaman clear a snarled fall. LIGHTOLLER Not now, Mr. Andrews. ANDREWS -LRB- pointing down at the water -RRB- There, look... twenty or so in a boat built for sixty five. And I saw one boat with only twelve. Twelve! LIGHTOLLER Well... we were not sure of the weight -- ANDREWS Rubbish! They were tested in Belfast with the weight of 70 men. Now fill these boats, Mr. Lightoller. For God's sake, man! The shot HANDS OFF to Cal, who sees Lovejoy hurrying toward him through the aisle connecting the port and starboard sides of the boat deck. LOVEJOY She's not on the starboard side either. CAL We're running out of time. And this strutting martinet... -LRB- indicating Lightoller -RRB-... is n't letting any men in at all. LOVEJOY The one on the other side is letting men in. CAL Then that's our play. But we're still going to need some insurance. -LRB- he starts off forward -RRB- Come on. Cal charges off, heading forward, followed by Lovejoy. The SHOT HANDS OFF to a finely dressed elderly couple, IDA and ISADOR STRAUSS. ISADOR Please, Ida, get into the boat. IDA No. We've been together for forty years, and where -LRB- MORE -RRB- IDA -LRB- CONT'D -RRB- you go, I go. Do n't argue with me, Isador, you know it does no good. He looks at her with sadness and great love. They embrace gently. LIGHTOLLER Lower away!! CUT TO :", "EXT. BRIDGE / FORWARD WELL DECK / FOC'SLE AT THE BOW... the place where Jack and Rose first kissed... the bow railing goes under water water. Water swirls around the captsans and windlasses on the foc'sle deck. Smith strides to the bridge rail and looks down at the well deck. Water is shipped over the sides and the well deck is awash. Two men run across the deck, their feet sending up spray. Behind Smith, Boxhall fires another rocket. WHOOSH! CUT TO : OMITTED OMITTED", "INT. E-DECK CORRIDORS AND STAIRWELL Fabrizio, standing with Helga Dahl and her family, hears Jack's voice. JACK Fabrizio! Fabri! Fabrizio turns and sees Jack and Rose pushing through the crowd. He and Jack hug like brothers. FABRIZIO The boats are all going. JACK We got ta get up there or we're gon na be gargling saltwater. Where's Tommy? Fabrizio points over the heads of the solidly packed crowd to the stairwell. Tommy has his hands on the bars of the steel gate which blocks the head of the stairwell. The crew open the gate a foot or so and a few women are squeezing through. STEWARD #2 Women only. No men. No men!! But some terrified men, not understanding English, try to rush through the gap, forcing the gate open. The crewmen and stewards push them back, shoving and punching them. STEWARD #2 Get back! Get back you lot! -LRB- to the crewmen -RRB- Lock it!! They struggle to get the gate closed again, while Steward # 2 brandishes a small revolver. Another holds a fire axe. They lock the gate, and a cry goes up among the crowd, who surge forward, pounding against the steel and shouting in several languages. TOMMY For the love of God, man, there are children down here! Let us up, so we can have a chance! But the crewmen are scared now. They have let the situation get out of hand, and now they have a mob. Tommy gives up and pushes his way back through the crowd, going down the stairs. He rejoins Jack, Rose and Fabrizio. TOMMY It's hopeless that way. JACK Well, whatever we're goin' to do, we better do it fast. Fabrizio turns to Helga, praying he can make himself understood. FABRIZIO -LRB- with a lot of hand gestures -RRB- Everyone... all of you... come with me now. We go to the boats. We go to the boats. Capito? Come now! They ca n't understand what he's saying. They can see his urgency, but OLUF DAHL, the patriarch of the family, shakes his head. He will not panic, and will not let his family go with this boy. Fabrizio turns to Helga. FABRIZIO Helga... per favore... please... come with me, I am lucky. Is my destiny to go to America. She kisses him, then steps back to be with her family. Jack lays a hand on his shoulder, his eyes saying `` Let's go''. FABRIZIO I will never forget you. He turns to Jack, who leads the way out of the crowd. Looking back Fabrizio sees her face disappear into the crowd. CUT TO : OMITTED O MITTED", "INT. CAL AND ROSE'S SUITE CLUNK! Cal opens his safe and reaches inside. As Lovejoy watches, he pulls out two stacks of bills, still banded by bank wrappers. Then he takes out `` Heart of the Ocean'', putting it in the pocket of his overcoat, and locks the safe. CAL -LRB- holding up stacks of bills -RRB- I make my own luck. LOVEJOY -LRB- putting the.45 in his waistband -RRB- So do I. Cal grins, putting the money in his pocket as they go out. CUT TO :", "INT. STEERAGE, AFT Jack, Rose, Fabrizio and Tommy are lost, searching for a way out. They push past confused passengers... past a mother changing her baby's diaper on top of an upturned steamer trunk... past a woman arguing heatedly with a man in Serbo-Croatian, a wailing child next to them... past a man kneeling to console a woman who is just sitting on the floor, sobbing... and past another man with an English/Arabic dictionary, trying to figure out what the signs mean, while his wife and children wait patiently. Jack et al come upon a narrow stairwell and they go up two decks before they are stopped by a small group pressed up against a steel gate. The steerage men are yelling at a scared STEWARD. STEWARD Go to the main stairwell, with everyone else. It'll all get sorted out there. Jack takes one look at this scene and finally just loses it. JACK God damn it to Hell son of a bitch!! He grabs one end of a bench bolted to the floor on the landing. He starts pulling on it, and Tommy and Fabrizio pitch in until the bolts shear and it breaks free. Rose figures out what they are doing and clears a path up the stairs between the waiting people. ROSE Move aside! Quickly, move aside! Jack and Tommy run up the steps with the bench and RAM IT INTO THE GATE with all their strength. It rips loose from its track and falls outward, narrowly mssing the steward. Led by Jack, the crowd surges though. Rose steps up to the cowering steward and says in her most imperious tone : ROSE If you have any intention of keeping your pathetic job -LRB- MORE -RRB- ROSE -LRB- CONT'D -RRB- with the White Star Line, I suggest you escort these good people to the boat deck... now. Class wins out. He nods dumbly motions form them to follow. CUT TO :", "EXT. BOAT 6 / TITANIC - NIGHT Ruth rows with Molly Brown, two other women and the incompetent sailors. She rests on her oars, exhausted, and looks back at the ship. It slants down into the water, still ablaze with light. Nothing is above water forward of the bridge except for the foremast. Another rocket goes off, lighting up the entire area... there are a dozen boats moving outward from the ship. 207 AT THE BOAT DECK RAIL Captain Smith is shouting to Boat 6 through a large metal megaphone. SMITH Come back! Come back to the ship! CHIEF OFFICER WILDE joins him, blowing his silver whistle. 208 FROM BOAT 6 the whistle comes shrilly across the water. Quartermaster Hitchins grips the rudder in fear. HITCHINS The suction will pull us right down if we do n't keep going. MOLLY We got room for lots more. I say we go back. HITCHINS No! It's our lives now, not theirs. And I'm in charge of this boat! Now row!! 209 CAPTAIN SMITH, at the rail of the boat deck, lowers his megaphone slowly SMITH The fools. CUT TO :", "INT. A-DECK FOYER As Cal and Lovejoy cross the foyer encounter Benjamin Guggenheim and his valet, coth dressed in white tie, tail-coats and top hats. CAL Ben, what's the occasion? GUGGENHEIM We have dressed in our best and are prepared to go down like gentlemen. CAL That's admirable, Ben. -LRB- walking on -RRB- I'll sure and tell your wife... when I get to New York. CUT TO :", "INT. FIRST CLASS SMOKING ROOM There are still two cardgames in progress. The room is quiet and civilized. A silver serving cart, holding a large humidor, begins to roll slowly across the room. One of the cardplayers takes a cigar from it as it rolls by. CARDPLAYER It seems we've been dealt a bad hand this time. CUT TO :", "EXT. / INT. A-DECK PROMENADE Cal and Lovejoy are walking aft with a purposeful stride. They pass CHIEF BAKER JOHGHIN, who is working up a sweat tossing deck chairs over the rail. After they go by, Joughin takes a break and pulls a bottle of scotch from a pocket, opening it. He drains it, and tosses it over the side too, then stands there a little unteadily. CUT TO :", "EXT. BOAT DECK AND A-DECK, AFT PANIC IS SETTING IN around the remaining boats aft. The crowd here is now a mix of all three classes. Officers repeatedly warn men back from the boats. The crowd presses in closer. Seamen SCAROTT brandishes the tiller of boat 14 to discourage a close press of men who look ready to rush the boat. Several men break ranks and rush forward. Lightoller pulls out his Webley revolver and aims it at them. LIGHTOLLER Get back! Keep order! The men back down. Fifth Officer Lowe standing in the boat, yells to the crew. LOWE Lower away left and right! Lightoller turns away from the crowd and, out of their sight, breaks his pistol open. Letting out a long breath, he starts to LOAD IT. CUT TO :", "EXT. BOAT DECK, STARBOARD SIDE, AFT Cal and Lovejoy arrive in time to see Murdoch lowering his last boat. CAL We're too late. LOVEJOY There are still some boats forward. Stay with this one... Murdoch. He seems to be quite... practical. IN THE WATER BELOW there is another panic. Boat 13, already in the water but still attached to its falls, is pushed aft by the discharge water being pumped out of the ship. It winds up directly under boat 15, which is coming downt he right on top of it. The passengers shout in panic to the crew above to stop lowering. They are ignored. Some men put their hands up, trying futilely to keep the 5 tons of boat 15 from crushing them. Fred Barrett, the stoker, gets out his knife and leaps to the after falls, climbing rudely over people. He cuts the aft falls while another crewman cuts the forward lines. 13 drifts out from beneath 15 just seconds before it touches the water with a slap. Cal, looking down from the rail hears GUNSHOTS -- CUT TO :", "EXT. BOAT DECK / A-DECK, PORT, AFT Fifth Officer Lowe, in Boat 14 is firing his gun as a warning to a bunch of men threatening to jump into the boat as it passes the open promenade on A-Deck. LOWE Stay back you lot! BLAM! BLAM! CUT TO :", "EXT. BOAT DECK, STARBOARD, AFT The shots echo away. CAL It's starting to fall apart. We do n't have much time. Cal sees three dogs run by, including the black French bulldog. Someone has released the pets from the kennels. Cal sees Murdoch turn from the davits of boat 15 and start walking toward the bow. He catches up and falls in beside him. CAL Mr. Murdoch, I'm a businessman, as you know, and I have a business proposition for you. CUT TO : OMITTED", "EXT. BOAT DECK, PORT Jack, Rose et al burst out onto the boat deck from the crew stairs just aft of the third funnel. They look at the empty davits. ROSE The boats are gone! She sees Colonel Gracie chugging forward along the deck, escorting two first class ladies. ROSE Colonel! Are there any boats left? GRACIE -LRB- staring at her bedraggled state -RRB- Yes, miss... there are still a couple of boats all the way forward. This way, I'll lead you! Jack grabs her hand and they sprint past Gracie, with Tommy and Fabrizio close behind. ANGLE ON THE BAND... incredibly they are still playing. Jack, Rose and the others run by. TOMMY Music to drown by. Now I know I'm in First Class. CUT TO :", "EXT. BOAT DECK, STARBOARD, FORWARD Water pours like a spillway over the forward railing on B-Deck. CAMERA SWEEPS UP past A-Deck to the Boat Deck where Murdoch and his team are loading Collapsible Car the forward-most davits. NOTE : There are four so-called collapsibles, or Engelhardts boats, including two which are stored on the roof of the officer's quarters. The crowd is sparse, with most people still aft. Cal slips his hand out of hte pocket of his overcoat and into the waist pocket of Murdoch's greatcoat, leaving the stacks of bills there. CAL So we have an understanding then? MURDOCH -LRB- nodding curtly -RRB- As you've said. Cal, satisfied, steps back. He finds himself waiting next to J. Bruce Ismay. Ismay does not meet his eyes, nor anyone's. Lovejoy come sup to Cal at that moment. LOVEJOY I've found her. She's just over on the port side. With him. MURDOCH Women and children? Any more women and children? -LRB- glancing at Cal -RRB- Any one else, then? Cal looks longingly at his boat... his moment has arrived. CAL God damn it to hell! Come on. He and Lovejoy head for the port side, taking a short-cut through the bridge. Bruce Ismay, seeing his oppurtunity, steps quickly into Collapsible C. He stares straight ahead, not meeting Murdoch's eyes. MURDOCH -LRB- staring at Ismay -RRB- Take them down. CUT TO :", "EXT. BOAT DECK / PORT SIDE - NIGHT ON THE PORT SIDE Lightoller is getting people into Boat 2. He keeps his pistol in his hand at this point. Twenty feet below them the sea is pouring into the doors and windows of B deck staterooms. They can hear the roar of water cascading into the ship. LIGHTOLLER Women and children, please. Women and children only. Step back, sir. Even with Jack's arms wrapped around her, Rose is shivering in the cold. Near her a WOMAN with TWO YOUNG DAUGHTERS looks into the eyes of a HUSBAND she knows she may not see again HUSBAND Goodbye for a little while... only for a little while. -LRB- to his two little girls -RRB- Go with mummy. The woman stumbles to the boat with the children, hiding her tears from them. Beneath the false good cheer, the man is choked with emotion. HUSBAND Hold mummy's hand and be a good girl. That's right. Some of the women are stoic, others are overwhelmed by emotion and have to be helped into the boats. A MAN scribbles a note and hands it to a woman who is about to board. MAN Please get this to my wife in DeMoines, Iowa. Jack looks at Tommy and Fabrizio. JACK You better check out the other side. They nod and run off, searching for a way around the deckhouse. ROSE I'm not going without you. JACK Get in the boat, Rose. Cal walks up just then. CAL Yes. Get in the boat, Rose. She is shocked to see him. She steps instinctively to Jack. Cal looks at her, standing there shivering in her wet slip and stockings, a shocking display in 1912. CAL My God, look at you. -LRB- taking off his boat -RRB- Here, put this on. She numbly shrugs into it. He is doing it for modesty, not the cold. LIGHTOLLER Quickly, ladies. Step into the boat. Hurry, please! JACK Go on. I'll get the next one. ROSE No. Not without you! She does n't even care that Cal is standing right there. He sees the emotion between Jack and Rose and his jaw clenches. But then he leans close to her and says... CAL -LRB- low -RRB- There are boats on the other side that are allowing men in. Jack and I can get off safely. Both of us. JACK -LRB- he smiles reassuringly -RRB- I'll be alright. Hurry up so we can get going... we got our own boat to catch. CAL Get in... hurry up, it's almost full. Lightoller grabs her arm and pulls her toward the boat. She reaches out for Jack and her fingers brush his for a moment. Then she finds herself stepping down into the boat. It's all a rush and blur. LIGHTOLLER Lower away! The two men watch at the rail as the boat begins to descend. CAL -LRB- low -RRB- You're a good liar. JACK Almost as good as you. CAL I always win, Jack. One way or another. -LRB- looks at him, smiling -RRB- Pity I did n't keep that drawing. It's going to be worth a lot more by morning. Jack knows he is screwed. He looks down at Rose, not wanting to waste a second of his last view of her. 222 ROSE'S PERCEPTION... IN SLOW MOTION : The ropes going through the pulleys as the seamen start to lower. All sound going away... Lightoller giving orders, his lips moving... but Rose hears only the blood pounding in her ears... this can not be happening... a rocket bursts above in slow-motion, outlining Jack in a halo of light... Rose's hair blowing in slow motion as she gazes up at him, descending away from him... she sees his hand trembling, the tears at the corners of his eyes, and can not believe the unbearable pain she is feeling... Rose is still staring up, tears pouring down her face. SUDDENLY SHE IS MOVING. She lunges across the women next to her. Reaches the gunwale, climbing it... Hurls herself out of the boat to the rail of the A-Deck promenade, catching it, and scrambling over the rail. The Boat 2 continues down. But Rose is back on Titanic. JACK No Rose! NOOOO!! Jack spins from the rail, running for the nearest way down to A-Deck. Hockley too has seen her jump. She is willing to die for this man, this gutter scum. He is overwhelmed by a rage so all consuming it eclipses all thought. CUT TO :", "INT. GRAND STAIRCASE TRACKING WITH JACK as he bangs through the doors to the foyer and sprints down the stairs. He sees her coming into A-deck foyer, running toward him, Cal's long coat flying out behind her as she runs. They meet at the bottom of the stairs, and collide in an embrace. JACK Rose, Rose, you're so stupid, you're such an idiot -- And all the while he's kissing her and holding her as tight as he can. ROSE You jump, I jump, right? JACK Right. Hockley comes in and runs to the railing. Looking down he sees them locked in their embrace. Lovejoy comes up behind Cal and puts a restraining HAND on him, but Cal whips around, grabbing the pistol from Lovejoy's waistband in one cobra-fast move. He RUNS along the rail and down the stairs. As he reaches the landing above them he raises the gun. SCREAMING in rage, he FIRES. The carved cherub at the foot of the center railing EXPLODES. Jack pulls Rose toward the stairs going down to the next deck. Cal fires again, running down the steps toward them. A bullet blows a divet out of the oak panelling behind Jack's head as he pulls Rose down the next flight of stairs. Hockley steps on the skittering head of the cherub statue and goes sprawling. The gun clatters across the marble floor. He gets up, and reeling drunkenly goes over to retrieve it. CUT TO :", "INT. D-DECK RECEPTION ROOM The bottom of the grand staircase is flooded several feet deep. Jack and Rose come down the stairs two at a time and run straight into the water, fording across the room to where the floor slopes up, until they reach dry footing at the entrance to the dining saloon. STEADICAM WITH HOCKLEY as he reels down the stairs in time to see Jack and Rose splashing through the water toward the dining saloon. He FIRES twice. Big gouts of spray near them, but he's not a great shot. The water boils up around his feet and he retreast up the stairs a couple of steps. Around him the woodward groans and creaks. CAL -LRB- calling to them -RRB- Enjoy your time together!! Lovejoy arrives next to him. Cal suddenly remembers something and starts to laugh. LOVEJOY What could possible be funny? CAL I put the diamond in my coat pocket. And I put my coat... on her. He turns to Lovejoy with a sickly expression, his eyes glittering. CAL I give it to you... if you can get it. He hands Lovejoy the pistol and goes back up the stairs. Lovejoy thinks about it... then slogs into the water. The icewater is up to his waist as he crosses the pool into the dining saloon. CUT TO :", "INT. DINING SALOON Lovejoy moves among the tables and ornate columns, searching... listening... his eyes tracking rapidly. It is a sea of tables, and they could be anywhere. A silver serving tolley rolls downhill, bumping into tables and pillars. He glances behind him. The water is following him into the room, advancing in a hundred foot wide tide. The reception room is now a roiling lake, and the grand staircase is submerged past the first landing. Monstrous groans echo through the ship. ON JACK AND ROSE, crouched behind a table, somewhere in the middle. They see the water advancing toward them, swirling over the floor. They crawl ahead of it to the next row of tables. JACK -LRB- whispering -RRB- Stay here. He moves off as -- Lovejoy moves over one row and looks along the tables. Nothing. The ship GROANS and CREAKS. He moves another row. ANGLE ON A METAL CART... five feet tall and full of stacks of china dishes. It starts to roll down the aisle between tables. ON ROSE as the cart rolls toward her. It hits a table and the stacks of dishes topple out, EXPLODING across the floor and showering her. She scrambles out of the way and -- Lovejoy spins, seeing her. He moves rapidly toward her, keeping the gun aimed -- That's when Jack tackles him from the side. They slam together into a table, crashing over it, and toppling to the floor. They land in the water which is flowing rapidly between the tables. Jack and Lovejoy grapple in the icy water. Jack jams his knee down on Lovejoy's hand, breaking his grip on the pistol, and kicks it away. Lovejoy scrmbles up and lunges at him, but Jack GUTPUCHES him right in the solar plexus, doubling him over. JACK Compliments of the Chippewa Falls Dawsons. He grabs Lovejoy and slams him into an ornate columb. Lovejoy drops to the floor with a splas, stunned. JACK Let's go. Jack and Rose run aft... uphill... entering the galley. Behind them the tables have become islands in a lake... and the far end of the room is flooded up to the ceiling. Lovejoy gets up and looks around for his gun. He pulls it up out of the water and wades after them. CUT TO :", "INT. GALLEY / STAIRWELL They run throught the galley and Rose spots the stairs. She starts up and Jack grabs her hand. He leads her DOWN. They crouch together on the landing as Lovejoy runs to the stairs. Assuming they have gone up ( who would n't? ) he clombs up them two at a time. They wait for the footstep to recede. A long CREAKING GROAN. Then they hear it... a CRYING CHILD. Below them. They go down a frew steps to looks along the next deck. CUT TO :", "INT. E-DECK CORRIDORS The corridor is awash, about a foot deep. Standing against the wall, about 50 feet away, is a little BOY, aobut 3. The water swirls around his legs and he is wailing. ROSE We ca n't leave him. Jack nods and they leave the promise of escape up the stairwell to run to the child. Jack scoops up the kid and they run back to the stairs but -- A torrent of water comes pouring down the stairs like rapids. In seconds it is too powerful for them to go against. JACK Come on. Charging the other way down the flooding corridor, they blast up spray with each footstep. At the end of the hall are heavy double doors. As Jack approaches them he sees water spraying through the gap between the doors right up to the ceiling. The doors groan and start to crack under the tons of pressure. JACK Back! Go back!! Rose pivots and runs back the way they came, taking a turn into a cross-corridor. A MAN is coming the other way. He sees the boy in Jack's arms and cries out, grabbing him away from Jack. Starts cursing him in Russian. He runs on with the boy -- ROSE No! Not that way! Come back! 228 DOUBLE DOORS BLAST OPEN. A wall of water thunders into the corridor. The father and child DISAPPEAR instantly. Jack and Rose run as a wave blasts around the corner, foaming from floor to ceiling. It gains on them like a locomotive. They make it to a stairway going up. CUT TO :", "INT. STAIRWELL Jack and Rose pound up the steps as white water swirls up behind them. PULL BACK to reveal that a steel gate blocks the top of the stairs. Jack SLAMS against the fate, gripping the bars. A terrified steward standing guard on the landing above turns to run at the sight of the water thundering up the stairs. JACK Wait! Wait! Help us! Unlock the gate. The steward runs on. The water wells up around Jack and Rose, pouring through the gate and slamming them against it. In seconds it is up to their waist. ROSE Help us! Please! The steward stops and looks back. He sees Jack and Rose at the gate, their arms raching through... sees the water POURING through the gate onto the landing. STEWARD Fucking'ell! He runs back, slogging against the curretn. He pulls a key ring from his belt and struggles to unlock the padlock as the water fountains up around them. The lights short out and the landing is plunged into darkness. The water rises over the lock and he's doing it by feel. JACK Come on! Come on! Jack and Rose are right up against the ceiling... Suddenly the gate gives and SWINGS OPEN. They are pushing through by the force of the water. They make it to stairs on the other side of the landing and follow the steward up to the next deck. CUT TO :", "EXT. BOAT DECK, STARBOARD SIDE Cal comes reeling out of the first class entrance, looking wild-eyed. The lurches down the deck toward the bridge. Waltz music wafts over the ship. Somewhere the band is still playing. CAL'S POV : A little girl, maybe two years old, is crying along in the alcove. She looks up at Cal beseechingly. Cal moves on without a glance back... reaching a large crowd clustered around COLLAPSIBLE A just aft of the bridge. He sees Murdoch and a number of crewmen struggling to drag the boat to the davits, with no luck. Cal pushes forward, trying to signal Murdoch, but the officer ignores him. Nearby Tommy and Fabrizio are being pushed forward by the crowd behind. PURSER MCELROY pushes them back, getting a couple of seamen to help him. He brandishes his gun, waving it in the air, yelling for the crowd to stay back. CUT TO :", "EXT. BOAT DECK, PORT SIDE / ROOF OF OFFICERS' QUARTERS Lightoller, with a group of crew and passengers, is trying to get Collapsible B down from the roof. They slide it down a pair of oars leaned against the deck house. LIGHTOLLER Hold it! Hold it! The weight of the boat snaps the oars and it crashes to the deck, upside down. The two Swedish cousins, OLAUS and BJORN GUNERSEN, jump back as the boat nearly hits them. CUT TO : OMITTED", "INT. STAIRWELL Jack and Rose run up seemingly endless stairs as the ship groans and torgues around them. CUT TO :", "EXT. BOAT DECK, STARBOARD SIDE Murdoch, at Collapsible A, is no longer in control. The crowd is threatening to rush the boat. They push and jostle, yelling and shouting at the officers. The pressure from behind pushes them forward, and one guy falls off the edge of the deck into the water less than ten feet below. TOMMY Give us a chance to live, you limey bastards! Murdoch fires his Webley twice in the air, then point it at the crowd. MURDOCH I'll shoot any man who tries to get past me. Cal steps up to him. CAL We had a deal, damn you. Murdoch pushes him back, pointing the pistol at Cal. MURDOCH Get back! A man next to Tommy rushes forward, and Tommy is shoved from behind. Murdoch SHOOTS the first man, and seeing Tommy coming forward, puts a bullet into his chest. Tommy collapses, and Fabrizio grabs him, holding him in his arms as his life flows out over the deck. Murdoch turns to his men and salutes smartly. Then he puts the pistol to his temple and... BLAM! He drops like a puppet with the strings cut and topples over the edge of the boat deck into the water only a few feet below. Cal stares in horror at Murdoch's body bobbing in the black water. The MONEY FLOATS out of the pocket of his greatcoat, the bills spreading across the surface. The crew rush to get the last few women aboart the boat. PURSER MCELROY -LRB- calling above the confusion -RRB- Any more women or children?! THE CHILD crying in the alcove. Cal scoops her up and runs forward, cradling her in his arms. CAL -LRB- forcing his way through the crowd -RRB- Here's a child! I've got a child! CAL -LRB- CONT'D -RRB- -LRB- to McElroy -RRB- Please... I'm all she has in the world. McElroy nods curtly and pushes him into the boat. He spins with his gun, brandishing it in the air to keep the other men back. Cal gets into the boat, holding the little girl. He takes a seat with the women. CAL There, there. CUT TO :", "INT. FIRST CLASS SMOKE ROOM Thomas Andrews stands in front of the fireplace, staring at the large painting above the mantle. The fire is still going in the fireplace. The room is empty except for Andrews. An ashtray falls off the table. Behind him Jack and Rose run into the room, out of breath and soaked. They run through, toward the aft revolving door... then Rose recognizes him. She sees that his lifebelt is off, lying on a table. ROSE Wo n't you even make a try for it, Mr. Andrews? ANDREWS -LRB- a tear rolls down his cheek -RRB- I'm sorry that I did n't build you a stronger ship, young Rose. JACK -LRB- to her -RRB- It's going fast... we've got to keep moving. Andrews picks up his lifebelt and hands it to her. ANDREWS Good luck to you, Rose. ROSE -LRB- hugging him -RRB- And to you, Mr. Andrews. Jack pulls her away and they run through the revolving door. CUT TO :", "EXT. BOAT DECK AND VARIOUS LOCATIONS The band finishes the waltz. Wallace Hartley looks at the orchestra members. HARTLEY Right, that's it then. They leave him, walking forward along the deck. Hartley puts his violin to his chin and bows the first notes of `` Nearer My God to Thee''. One by one the band memebers turn, hearing the lonely melody. Without a word they walk back and take their places. They join in with Hartley, filling out the sound so that it reaches all over the ship on this still night. The vocalist begins : `` If in my dreams I be, nearer my God to thee...'' THE HYMN PLAYS OVER THE FOLLOWING SEQUENCE : 237 A seaman pulls off his lifebelt and catches up to Captain Smith as he walks to the bridge. He proffers it, but Smith seems to stare through him. Without a word he turns and goes onto the bridge. He enters the enclosed WHEELHOUSE and closes the door. He is alone, surrounded by the gleaming brass instruments. He seems to inwardly collapse. 238 IN THE FIRST CLASS SMOKING ROOM Andrews stands like a statue. He pulls out his pocketwatch and checks the time. Then he opens the face of the mantle clock and adjusts it to the correct time : 2:12 a.m. Everything must be correct. 239 IN CAL'S PARLOUR SUITE water swirls in from the private promenade deck. Rose's paintings are submerged. The Picasso tranforms under the water's surface. Degas' colors run. Monet's water lilies come to life. 240 DOWNANGLE on the two figures lying side by side, fully clothed, on a bed in a FIRST CLASS CABIN. Elderly Ida and Isador Strauss stare at the ceiling, holding hands like young lovers. Water pours into the room through a doorway. It swirls around the bed, two feet deep rising fast. 241 IN A STEERAGE CABIN somewhere in the bowels of the ship, the young IRISH MOTHER, seen earlier stoically waiting at the stairs, is tucking her two young children into bed. She pulls up the covers, making sure they are all warm and cozy. She lies down with them on the bed, speaking soothingly and holding them. CUT TO :", "EXT. BOAT DECK / BRIDGE 242 IN A WIDE SHOT we see a wave travel up the boat deck as the bridge house sinks into the water. 243 ON THE PORT SIDE Collapsible B is picked up by water. Working frantically, the men try to detach it from the falls so the ship wo n't drag it under. Colonel Gracie hands Lightoller a pocket knife and he saws furiously at the ropes as the water swirls around his legs. The boat, still upside down, is swept off the ship. Men start diving in, swimming to stay with it. 244 IN COLLAPSIBLE A Cal sits next to the wailing child, whom he has completely forgotten. He watches the water rising around the men as they work, scrambling to get the ropes cut so the ship wo n't drag the collapsible under. Fabrizio removes the lifebelt from Tommy's body and struggles to put it on as the water rises around him. 245 CAPTAIN SMITH, standing near the wheel, watches the black water climbing the windows of the enclosed wheelhouse. He has the stricken expression of a damned sould on Judgment Day. The windows burst suddenly and a wall of water edged with shards of glass slams into Smith. He disappears in a vortex of foam. 246 Collapsible A is hit by a wave as the bow plunges suddenly. It partially swamps the boat, washing it along the deck. Over a hundred passengers are plunged into the freezing water and the area around the boat becomes a frenzy of splashing, screaming people. As men are trying to climb into the callapsible, Cal grabs an oar and pushes them back into the water. CAL Get back! You'll swamp us! Fabrizio, swimming for his life, gets swirled under a davit. The ropes and pulleys tangle around him as the davit goes under the water, and he is dragged down. Underwater he struggles to free himself, and then kicks back to the surface. He surfaces, gasping for air in the freezing water. 247 WALLACE HARTLEY sees the water rolling rapidly up the deck toward them. He holds the last note of the hymn in a sustain, and then lowers his violin. HARTLEY Gentlemen, it has been a previlege playing with you tonight. CUT TO :", "EXT. A-DECK AFT, PORT SIDE Jack and Rose run out of the PALM COURT into a dense crowd. Jack pushes his way to the rail and looks at the state of the ship. The bridge is under water and tehre is chaos on deck. Jack helps her put her lifebelt on. People stream around them, shouting and pushing. JACK Okay... we keep moving aft. We have to stay on the ship as long as possible. They push their way aft through the panicking crowd. CUT TO :", "EXT. FORWARD FUNNEL Collapsible A is whirled like a leaf in the currents around the sining ship. It slams against the side of the forward funnel. CAL -LRB- to the crew in the boat -RRB- Row! Row you bastards!! 250 NEARBY : Fabrizio is drawn up against the grating of a STOKEHOLD VENT as water pours through it. The force of tons of water roaring down the ship traps him against it, and he is dragged down under the surface as the ship sinks. He struggles to free himself but can not. Suddenly there is a concussion deep in the bowels of the ship as a furnace explodes and a blast of hot air belches out of hte ventilator, ejecting Fabrizio. He surfaces in a roar of foam and keeps swimming. CUT TO :", "EXT. A-DECK / B-DECK / WELL DECK, AFT Jack and Rose clamber over the A-Deck aft rail. Then, using all his strength, he lowers her toward the deck below, holding on with one hand. She dangles, then falls. Jack jumps down behind her. They join a crush of people literally clawing and scrambling over each other to get down the narrow stairs to the well deck... the only way aft. Seeing that the stairs are impossible, Jack climbs over the B-Deck railing and helps Rose over. He lowers her again, and she falls in a heap. Baker Joughin, now three sheets to the wind, happens to be next to her. He hauls Rose to her feet. Jack drops down and the three of them push through the crowd across the well deck. Near them, at the rail, people are jumping into the water. The ship GROANS and SHUDDERS. The man ahead of Jack is walking like a zombie. MAN Yeah, though I walk through the valley of the shadow of death -- JACK You wan na walk a little faster through that valley, fella? CUT TO :", "EXT. FORWARD FUNNEL The stay cables along the top of the funnel snap, and they lash like steel whips down into the water. Cal watches as the funnel topples from its mounts. Falling like a temple pillar twenty eight feet across it whomps into the water with a tremendous splash. People swimming underneath it disappear in an instant. Fabrizio, a few feet away, is hurled back by a huge wave. He comes up, gasping... still swimming. The water pouring into the open end of the funnel draws in several swimmers. The funnel sinks, disappearing, but -- Hundreds of tons of water pour down through the 30 foot hole where the funnel stood, thundering down into the belly of the ship. A whirlpool forms, a hole in the ocean, like at enormous toiler-flush. T. W. McCauley, the gym instructor swims in a frenzy as the vortex draws him in. He is sucked down like a spider going down a drain. Fabrizio, nearby, swims like Hell as more people are sucked down behind him. He manages to get clear. He's going to live no matter what it takes. CUT TO :", "INT. BOAT DECK FOYER / GRAND STAIRCASE Water raors through the doors and windows, cascading down the stairs like a rapids. John Jacob Astor is swept down the marble steps to A-Deck, which is already flooded... a roiling vortex. He grabs the headless cherub at the bottom of the staircase and wraps his arms around it. Astor looks up in time to see the 30 foot glass dome overhead EXPLOSE INWARD with the wave of water washing over it. A Niagara of sea water thunders down into the room, blasting through the first class opulence. IT is the Armageddon of elegance. CUT TO : OMITTED", "INT. BELOWDECKS The flooding is horrific. Walls and doors are splintered like kindling. Water roars down corridors with pile-driver force. The CARTMELL FAMILY is at the top of a stairwell, jammed against a locked gate like Jack and Rose were. Water boils up the stairwell behind them. Bert Cartmell shakes the gate futilely, shouting for help. Little Cora wails as the water boils up around them all. CUT TO :", "EXT. STERN Rose and Jack struggle to climb the well deck stairs as the ship tilts. Drunk Baker Joughin puts a hand squarely on Rose's butt and shoves her up onto the deck. JOUGHIN Sorry, miss! Hundreds of people are already on the poop deck, and more are pouring up every second. Jack and Rose cling together as tehy struggle across the tilting deck. 257 As the bow goes down, the STERN RISES. IN BOAT 2, which is just off the stern, passengers gape as the giant bronze propellers rise out of the water like gods of the deep, FILLING FRAME behind them. People are JUMPING from the well deck, the poop deck, the gangway doors. Some hit debris in the water and are hurt or killed. OMITTED OMITTED", "EXT. STERN ON THE POOP DECK Jack and Rose struggle aft as the angle increases. Hundreds of passengers, clinging to every fixed object on deck, huddle on their knees around FATHER BYLES, who has his voice raised in prayer. They are praying, sobbing, or just staring at nothing, their minds blank with dread. Pulling himself from handhold to handhold, Jack tugs Rose aft along the deck. JACK Come on, Rose. We ca n't expect God to do all the work for us. They struggle on, pushing through the praying people. A MAN loses his footing ahead and slides toward them. Jack helps him. 261 THE PROPELLERS are twenty feet above the water and rising faster. 262 JACK AND ROSE make it to the stern rail, right at the base of the flagpole. They grip the rai, jammed in between other people. It is the spot where Jack pulled her back onto the ship, just two night... and a liftime... ago. Above the wailing and sobbing, Father Byles' voice carries, cracking with emotion. FATHER BYLES... and I saw new heavens and a new earth. The former heavens and the former earth had passed away and the sea was no longer. The lights flicker, threatening to go out. Rose grips Jack as the stern rises into a night sky ablaze with stars. FATHER BYLES I also saw a new Jerusalem, the holy city coming down out of heaven from God, beautiful as a bride prepared to meet her husband. I heard a loud voice from the throne ring out this is God's dwelling among men. He shall dwell with them and they shall be his people and He shall be their God who is alway with them. Rose stares about her at the faces of the doomed. Near them are the DAHL FAMILY, clinging together stoically. Helga looks at her briefly, and her eyes are infinitely sad. Rose sees a young mother next to her, clutching her five year old son, who is crying in terror. MOTHER Shhh. Do n't cry. It'll be over soon, darling. It'll all be over soon. FATHER BYLES He shall wipe every tear from their eyes. And there shall be no more death or mourning, crying out or pain, for the former world has passed away. CUT TO :", "INT. SHIP-- VARIOUS As the ship tilts further everything not bolted down inside shifts. 263 CUPBOARDS burst open in the pantry showering the floor with tons of china. A PIANO slides across the floor, crashing into a wall. FURNITURE tumbles across the Smoking Room floor. 264 ON THE A-DECK PROMENADE passengers lose their grip and slide down the wooden deck like a bobsled run, hundreds of feet before they hit the water. TRUDY BOLT, Rose's maid, slips as she struggles along the railing and slides away screaming. 265 AT THE STERN the propellers are 100 feet out of the water and rising. Panicking people leap from the poop deck rail, fall screaming and hit the water like mortar rounds. A man falls from the poop deck, hitting the bronze hub of the starboard propeller with a sickening smack. 266 SWIMMERS LOOK UP and see the stern towering over them like a monolith, the propellers rising against the stars. 110 feet. 120. 267 AT THE STERN RAIL a man jumps. IN HIS POV we fall seemingly forever, right past one of the giant screws. The water rushes up -- CUT TO :", "EXT. TITANIC / BOAT 6 268 TRACKING SLOWLY IN on Ruth as the sounds of the dying ship and the screaming people come across the water. 269 REVERSE / HER POV : IN A WIDE SHOT we see the spectacle of the Titanic, her lights blazing, reflecting in the still water. Its stern is high in the air, angles up over forty five degrees. The propellers are 150 feet out of the water. Over a thousand passengers cling to the decks, looking from a distance like a swarm of bees. The image is shocking, unbelieveable, unthinkable. Ruth stares at the spectacle, unable to frame it or put it into any proportion. MOLLY BROWN God Almighty. The great liner's lights flicker. CUT TO :", "INT. ENGINE ROOM In darkness Chief Engineer Bell hangs onto a pipe at the master braker panel. Around him men climb through tilted cyclopean mahcines with electric hand-torches. It is a black hell of breaking pipes, spraying water, and groaning machinery threatening to tear right out of its bedplates. Water sprays down, hitting the breaker panel, but Bell will not leave his post. CLUNK. The breakers kick. He slams them in again and -- WHOOM! a blast of light! Something melts and arcing fills the engine room with nightmarish light -- CUT TO :", "EXT. TITANIC WIDE SHOT. The lights go out all over the ship. Titanic becomes a vast black silhouette against the stars. IN COLLAPSIBLE C : BRUCE ISMAY has his back to the ship, unable to watch the great steamer die. He is catatonic with remorse, his mind overloaded. He can avert his eyes, but he ca n't block out the sounds of dying people and machinery. A loud CRACKING REPORT comes across the water. CUT TO :", "EXT. BOAT DECK Near the third funnel a man clutches the ship's rail. He stares down as the DECK SPLITS right between his feet. A yawning chasm opens with a THUNDER of breaking steel LOVEJOY is clutching the railing on the roof of the Officers' Mess. He watches in horror as the ship's structure RIPS APART right in front of him. He gapes down into a widening maw, seeing straight down into the bowels of the ship, amid a BOOMING CONCUSSION like the sound of artillery. People falling into the widening crevasse look like dolls. The stay cables on the funnel part and snap across the decks like whips, ripping off davits and ventilators. A man is hit by a whipping cable and snatched OUT OF FRAME. Another cable smashes the rail next to Lovejoy and it rips free. He falls backward into the pit of jagged metal. Fires, explosions and sparks light the yawning chasm as the hull splits down through nine decks to the keel. The sea pours into the gaping wound -- CUT TO :", "INT. ENGINE ROOM It is a thundering black hell. Men scream as monstrous machinery comes apart around them, steel frames twisting like taffy. Their torches illuminate the roaring, foaming demon of water as it races at the through the manchines. Trying to climb they are overtaken in seconds. CUT TO :", "EXT. TITANIC - NIGHT The STERN ALF of the ship, almost four hundred feet long, falls back toward the water. On the poop deck everyone screams as they feel themselves plummeting. The sound goes up like the roar of fans at a baseball stadium when a run is scored. Swimming in the water directly under the stern a few unfortunates shriek as they see the keel coming down on them like God's bootheel. The massive stern section falls back almost level, thundering down into the sea and pushing out a mighty wave of displaced water. Jack and Rose struggle to hole onto the stern rail. They feel the ship seemingly RIGHT ITSELF. Some of those praying think it is salvation. SEVERAL PEOPLE We're saved! Jack looks at Rose and shakes his head, grimly. Now the horrible mechanics play out. Pulled down by the awesome weight of the flooded bow, the buoyant stern tilts up rapidly. They feel the RUSH OF ASCENT as the fantail angles up again. Everyone is clinging to benches, railings, ventilators... anything to keep from sliding as the stern lifts. The stern goes up and up, past 45 degrees, then past sixty. People start to fall, sliding and tumbling. They skid down the deck, screaming and flailing to grab onto somehting. They wrench other people loose and pull them down as well. There is a pile-up of bodies at the forward rail. The DAHL FAMILY falls one by one. JACK We have to move! He climbs over the stern rail and reaches back for Rose. She is terrified to move. He grabs her hand. JACK Come on! I've got you! Jack pulls her over the rail. It is the same place he pulled her over the rail two nights earlier, going the other direction. She gets over just as the railing is going HORIZONTAL, and the deck VERITCAL. Jack grips her fiercely. The stern is now straight up in the air... a rumbling black monolith standing against the stars. It hangs there like that for a long grace note, its buoyancy stable. Rose lies on the railing, looking down fifteen stories to the boiling sea at the base of the stern section. People near them, who did n't climb over, hang from the railing, their legs dangling over the long drop. They fall one by one, plummeting down the vertical face of the poop deck. Some of them bounce horribly off deck benches and ventilators. Jack and Rose lie side by side on what was the vertical face of the hull, gripping the railing, which is now horizontal. Just beneath their feet are the gold letters TITANIC emblazoned across the stern. Rose stares down terrified at the black ocean waiting below to claim them. Jack looks to his left and sees Baker Joughin, crouching on the hull, holding onto the railing. It is a surreal moment. JOUGHIN -LRB- nodding a greeting -RRB- Helluva night. The final relentless plunge begins as the stern section floods. Looking down a hundred feet to the water, we drop like an elevator with Jack and Rose. JACK -LRB- talking fast -RRB- Take a deep breath and hold it right before we go into the water. The ship will suck us down. Kick for the surface and keep kicking. Do n't let go of my hand. We're gon na make it Rose. Trust me. She stares at the water coming up at them, and grips his hand harder. ROSE I trust you. Below them the poop deck is disappearing. The plunge gathers speed... the boiling surface engulfs the docking bridge and then rushes up the last thirty feet. 278 IN A HIGH SHOT, we see the stern descend into the boiling sea. The name TITANIC disappears, and the tiny figures of Jack and Rose vanish under the water. Where the ship stood, now there is nothing. Only the black ocean. CUT TO :", "EXT. OCEAN / UNDERWATER AND SURFACE Bodies are whirled and spun, some limp as dolls, others struggling spasmodically, as the vortex sucks them down and tumbles them. 280 Jack rises INTO FRAME F.G. kicking hard for the surface... holding tightly to Rose, pulling her up. 281 AT THE SURFACE : a roiling chaos of screaming, thrashing people. Over a thousand people are now floating where the ship went down. Some are stunned, gasping for breath. Others are crying, praying, moaning, shouting... screaming. Jack and Rose surface among them. They barely have time to gasp for air before people are clawing at them. People driven insane by the water, 4 degrees below freezing, a cold so intense it is indistinguishable form death by fire. A man pushes Rose under, trying to climb on top of her... senselessly trying to get out of the water, to climb onto anything. Jack PUNCHES him repeatedly, pulling her free. JACK Swim, Rose! SWIM! She tries, but her strokes are not as effective as his because of her lifejacket. They break out of the clot of people. He has to find some kind of flotation, anything to get her out of the freezing water. JACK Keep swimming. Keep moving. Come one, you can do it. All about them there is a tremendous wailing, screaming and moaning... a chorus of tormented souls. And beyond that... nothing but black water stretching to the horizon. The sense of isolation and hopelessness is overwhelming. CUT TO : 282 OMITTED", "EXT. OCEAN Jack strokes rhythmically, the effort keeping him from freezing. JACK Look for something floating. Some debris... wood... anything. ROSE It's so cold. JACK I know. I know. Help me, here. Look around. His words keep her focused, taking her mind off the wailing around them. Rose scans the water, panting, barely able to draw a breath. She turns and... SCREAMS. A DEVIL is right in from of her face. It is the black FRENCH BULLDOG, swimming right at her like a seamonster in the darkness, its coal eyes bugging. It motors past her, like it is headed for Newfoundland. Beyond it Rose sees somehting in the water. ROSE What's that? Jack sees what she is pointing to, and they make for it together. It is a piece of wooden debris, intricately carved. He pushes her up and she slithers onto it belly down. But when Jack tries to get up onto the thing, it tilts and submerges, almost dumping Rose off. It is clearly only big enough to support her. He clings to it, close to her, keeping his upper body out of the water as best he can. Their breath floats around them in a cloud as they pant from exertion. A MAN swims toward them, homing in on the piece of debris. Jack warns him back. JACK It's just enough for this lady... you'll push it under. MAN Let me try at least, or I'll die soon. JACK You'll die quicker if you come any closer. MAN Yes, I see. Good luck to you then. -LRB- swimming off -RRB- God bless. CUT TO :", "EXT. COLLAPSIBLE A / OCEAN The boat is overloaded and half-flooded. Men cling to the sides in the water. Others, swimming, are drawn to it as their only hope. Cal, standing in the boat, slaps his oar in the water as a warning. CAL Stay back! Keep off! Fabrizio, exhausted and near the limit, makes it almost to the boat. Cal CLUBS HIM with the oar, cutting open his scalp. FABRIZIO You do n't... understand... I have... to get... to America. CAL -LRB- pointing with the oar -RRB- It's that way! CLOSE ON FABRIZIO as he floats, panting each breath agony. You see the spirit leave him. FABRIZIO'S POV : Cal in SLOW MOTION, yelling and wielding the oar. A demon in a tuxedo. The image fades to black. CUT TO :", "EXT. OCEAN JACK AND ROSE still float amid a chorus of hte damned. Jack sees the ship's officer nearby, CHIEF OFFICER WILDE. He is blowing his whistle furiously, knowing the sound will carry over the water for miles. JACK The boats will come back for us, Rose. Hold on just a little longer. They had to row away for the suction and now they'll be coming back. She nods, his words helping her. She is shivering uncontrollably, her lips blue and her teeth chattering. ROSE Thank God for you Jack. People are still screaming, calling to the lifeboats. WOMAN Come back! Please! We know you can hear us. For God's sake! MAN Please... help us. Save one life! SAVE ON LIFE! CUT TO :", "EXT. LIFEBOATS / OCEAN IN BOAT 6 : Ruth has her ears covered against the wailing in the darkness. The first class women in the boat sit, stunned, listening to the sounds of hundreds screaming. HITCHINS They'll pull us right down I tell ya! MOLLY Aw knock it off, yer scarin' me. Come on girls, grab your oars. Let's go. -LRB- nobody moves -RRB- Well come on! The women wo n't meet her eyes. They huddle into their ermine wraps. MOLLY I do n't understand a one of you. What's the matter with you? It's your men back there! We got plenty a' room for more. HITCHINS If you do n't shut that hole in yer face, there'll be one less in this boat! Ruth keeps her ears covered and her eyes closed, shutting it all out. 287 IN BOAT ONE : Sir Cosmo and Lucile Duff-Gordon sit with ten other people in a boat that is two thirds empty. They are two hundred yards from the screaming in the darkness. FIREMAN HENDRICKSON We should do something. Lucile squeezes Cosmo's hand and pleads him with her eyes. She is terrified. SIR COSMO It's out of the question. The crewmembers, intimidated by a nobleman, acquiesce. They hunch guiltily, hoping the sound will stop soon. TWENTY BOATS, most half full, float in the darkness. None of them make a move. CUT TO :", "EXT. OCEAN Jack and Rose drift under the blazing stars. The water is glassy, with only the faintest undulating swell. Rose can actually see the stars reflecting on the black mirror of the sea. Jack squeezes the water out of her long coat, tucking it in tightly around her legs. He rubs her arms. His face is chalk with in the darkness. A low MOANING in the darknes around them. ROSE It's getting quiet. JACK Just a few more minutes. It'll take them a while to get the boats organized... Rose is unmoving, just staring into space. She knows the truth. There wo n't be any boats. Behind Jack she sees that Officer Wilde has stopped moving. He is slumped in his lifejacket, looking almost asleep. He has died of exposure already. JACK I do n't know about you, but I intend to write a strongly worded letter to the White Star Line about all this. She laughs weakly, but it sounds like a gasp of fear. Rose finds his eyes in the dim light. ROSE I love you Jack. He takes her hand. JACK No... do n't say your good-byes, Rose. Do n't you give up. Do n't do it. ROSE I'm so cold. JACK You're going to get out of this... you're going to go on and you're going to make babies and watch them grow and you're going to die an old lady, warm in your bed. Not here. Not this night. Do you understand me? ROSE I ca n't feel my body. JACK Rose, listen to me. Listen. Winning that ticket was the best thing that ever happened to me. Jack is having trouble getting the breath to speak. JACK It brought me to you. And I'm thankful, Rose. I'm thankful. His voice is trembling with the cold which is working tis way to his heart. But his eyes are unwavering. JACK You must do me this honor... promise me you will survive... that you will never give up... no matter what happens... no matter how hopeless... promise me now, and never let go of that promise. ROSE I promise. JACK Never let go. ROSE I promise. I will never let go, Jack. I'll never let go. She grips his hand and they lie with their heads together. It is quiet now, except for the lapping of the water. CUT TO :", "EXT. LIFEBOATS / OCEAN - NIGHT Fifth Officer Lowe, the impetuous young Welshman, has gotten Boats 10, 12 and Collapsible D together with his own Boat 14. A demon of energy, he's had everyone hold the boats together and is transferring passengers from INT. the others, to empty his boat for a rescue attempt. As the women step gingerly across the other boats, Lowe sees a shawled figure in too much of a hurry. He rips the shawl off, and finds himself staring into the face of a man. He angrily shoves the stowaway into another boat and turns to his crew of three. LOWE Right, man the oars. CUT TO :", "EXT. OCEAN / BOAT 14 The beam of an electric torch plays across the water like a searchlight as boat 14 comes toward us. ANGLE FROM THE BOAT as the torch illuminates floating debris, a poignant trail of flotsam : a violin, a child's wooden soldier, a framed photo of a steerage family. Daniel Marvin's wooden Biograph camera. Then, their white lifebelts bobbing in the darkness like signoposts, the first bodies come into the torch's beam. The people are dead but not drowned, killed by the freezing water. Some look like they could be sleeping. Others stare with frozen eyes at the stars. Soon bodies are so thick the seamen can not row. They hit the oars on the heads of floating men and women... a wooden thunk. One seaman throws up. Lowe sees a mother floating with her arms frozen around her lifeless baby. LOWE -LRB- the worst moment of his life -RRB- We waited too long. CUT TO :", "EXT. OCEAN IN A HOVERING DOWNANGLE we see Jack and Rose floating in the black water. The stars reflect in the mill pond surface, and the two of them seem to be floating in interstellar space. They are absolutely still. Their hands are locked together. Rose is staring upwards at the canopy of stars wheeling above her. The music is transparent, floating... as the long sleep steals over Rose, and she feels peace. CLOSE ON Rose's face. Pale, like the faces of the dead. She seems to be floating in a void. Rose is in a semi-hallucinatory state. She knows she is dying. Her lips barely move as she sings a scrap of Jack's song : ROSE `` Come Josephine in my flying machine...'' ROSE'S POV : The stars. Like you've never seen them. The Milky Way a glorious band from horizon to horizon. A SHOOTING STAR flares... a line of light across the heavens. TIGHT ON ROSE again. We see that her hair is dusted with frost crystals. Her breathing is so shallow, she is almost motionless. Her eyes track down from the stars to the water. ROSE'S POV... SLOW MOTION : The silhouetter of a boat crossing the stars. She sees men in it, rowing so slowly the oars lift out of the syrupy water, leaving weightless pearls floating in the air. The VOICES of the men sound slow and DISTORTED. Then the lookout flashes his torch toward her and the light flares across the water, silouetting the bobbing corpses in between. It flicks past her motionless form and moves on. The boat is 50 feet away, and moving past her. The men look away. Rose lifts her head to turn to Jack. We see that her hair has frozen to the wood under her. ROSE -LRB- barely audible -RRB- Jack. She touches his shoulder with her free hand. He does n't respond. Rose gently turns his face toward her. It is rimed with frost. He seems to be sleeping peacefully. But he is not asleep. Rose can only stare at his still face as the realization goes through her. ROSE Oh, Jack. All hope, will and spirit leave her. She looks at the boat. It is further away now, the voices fainter. Rose watches them go. She closes her eyes. She is so weak, and there just seems to be no reason to even try. And then... her eyes snap open. She raises her head suddenly, cracking the ice as she rips her hair off the wood. She calls out, but her voice is so weak they do n't hear her. The boat is invisible now, the torch light a star impossibly far away. She struggles to draw breath, calling again. 292 IN THE BOAT Lowe hears nothing behind him. He points to something ahead, turning the tiller. 293 ROSE struggles to move. Her hand, she realizes, is actually frozen to Jack's. She breaths on it, melting the ice a little, and gently unclasps their hands, breaking away a thin tinkling film. ROSE I wo n't let go. I promise. She releases him and he sinks into the black water. He seems to fade out like a spirit returning to some immaterial plane. Rose rolls off the floating staircase and plunges into the icy water. She swims to Chief Officer Wilde's body and grabs his whistle. She starts to BLOW THE WHISTLE with all the strength in her body. Its sound slaps across the still water. IN BOAT 14 Lowe whips around at the sound of the whistle. LOWE -LRB- turning the tiller -RRB- Row back! That way! Pull! Rose keeps blowing as the boat comes to her. She is still blowing when Lowe takes the whistle from her mouth as they haul her into the boat. She slips into uncosciousness and they scramble to cover her with blankets... DISSOLVE TO :", "INT. IMAGING SHACK / KELDYSH EXTREME CLOSEUP of Rose's ancient, wrinkled face. Present day. OLD ROSE Fifteen hundred people went into the sea when Titanic sank from under us. There were twenty boats floating nearby and only one came back. One. Six were saved from the water, myself included. Six out of fifteen hundred. As she speaks THE CAMERA TRACKS slowly across the faces of Lizzy and the salvage crew on KELDYSH. Lovett, Bodine, Buell, the others... the reality of what happened here 84 years before has hit them like never before. With her story Rose has put them on Titanic in its final hours, and or the first time, they do feel like graverobbers. Lovett, for the first time, has even forgotten to ask about the diamond. OLD ROSE Afterward, the seven hundred people in the boats had nothing to do but wait... wait to die, wait to live, wait for an absolution which would never come. DISSOLVE TO :", "EXT. LIFEBOATS / OPEN SEA - PRE-DAWN MATCHING MOVE as the camera tracks along the faces of the saved. DISSOLVE TO : ANOTHER BOAT, and then ANOTHER, seeing faces we know among the survivors : Ismay in a trance, just staring and trembling... Cal, sipping from a hip flask offered to him by a black-faced stoker... Ruth hugging herself, rocking gently. IN BOAT 14 : CLOSE ON ROSE, lying swaddled. Only her face is visile, white as the moon. The man next to her jumps up, pointing and yelling. Soon everyone is looking and shouting excitedly. In Rose's POV it is all silent, SLOW MOTION. IN SLOW-MOTION SILENCE we see Lowe light a green flare and wave it as everyone shouts and cheers. Rose does n't react. She floats beyond all human emotion. DISSOLVE TO :", "EXT. LIFEBOATS / OPEN SEA - DAWN Golden lgiht washes across the white boats, which gloat in a calm sea reflecting the rosy sky. All around them, like a flotilla of sailing ships, are icebergs. The CARPATHIA sits nearby, as boats row toward her. DISSOLVE TO :", "EXT. LIFEBOATS / OCEAN / CARPATHIA MONTAGE - DAY IMAGES DISSOLVE into one another : a ship's hull looming, with the letters CARPATHIA visible on the bow... Rose watching, rocked by the sea, her face blank... seamen helping survivors up the rope ladder to the Carpathia's gangway doors... two women crying and hugging each other inside the ship... ALL SILENT, ALL IN SLOW-MOTION. There is just music, so gentle and sad, part elegy, part hymn, part aching song of love lost forever. THE IMAGES CONTINUE to music... Rose, outside of time, outside of herself, coming into Carpathia, barely able to stand... Rose being draped wtih warm blankets and given hot tea... BRUCE ISMAY climbing aboard. He has the face and eyes of a damned soul. As Ismay walks along the hall, guided by a crewman toward the doctor's cabin, he passes rows of seated and standing widows. He must run the gauntlet of their accusing gazes. CUT TO :", "EXT. DECK / CARPATHIA - DAY It is the afternoon of the 15th. Cal is searching the faces of the widows lining the deck, looking for Rose. The deck of Carpathia is crammed with huddled people, and even the recovered lifeboats of Titanic. On a hatch cover sits an enormous pile of lifebelts. He keeps walking toward the stern. Seeing Cal's tuxedo, a steward approaches him. CARPATHIA STEWARD You wo n't find any of your people back here, sir. It's all steerage. Cal ignores him and goes amongst this wrecked group, looking under shawls and blankets at one bleak face after another. Rose is sipping hot tea. Her eyes focus on him as he approaches her. He barely recognizes her. She looks like a refugee, her matted hair hanging in her eyes. ROSE Yes, I lived. How awkward for you. CAL Rose... your mother and I have been looking for you -- She holds up her hand, stopping him. ROSE Please do n't. Do n't talk. Just listen. We will make a deal, since that is something you understand. From this moment you do not exist for me, nor I for you. You shall not see me again. And you will not attempt to find me. In return I will keep my silence. Your actions last night need never come to light, and you will get to keep the honor you have carefully purchased. She fixes him with a glare as cold and hard as the ice which changed their lives. ROSE Is this in any way unclear? CAL -LRB- after a long beat -RRB- What do I tell your mother? ROSE Tell her that her daughter died with the Titanic. She stands, turning to the rail. Dismissing him. We see Cal stricken with emotion. CAL You're precious to me, Rose. ROSE Jewels are precious. Goodbye, Mr. Hockley. We see that in his way, the only way he knows, he does truly love her. After a moment, he turns and walks away. OLD ROSE -LRB- V.O. -RRB- That was the last time I ever saw him. He married, of course, and inherited his millions. The crash of 28 hit his interests hard, and he put a pistol in his mouth that year. His children fought over the scraps of his estate like hyenas, or so I read. 301 ANGLE ON ROSE, at the railing of the Carpathia, 9pm April 18th. She gazes up at the Statue of Liberty, looking just as it does today, welcoming her home with her glowing torch. It is just as Fabrizio saw it, so clearly, in his mind. 302 LATER CARPATHIA DISCORGES THE SURVIVORS at the Cunard pier, Pier 54. Over 30,000 people line the dock and fill the surrounding streets. The magnesium flashes of the photographers go off like small bombs, lighting an amazing tableau. Several hundred police keep the mob back. The dock is packes with friends and reletives, officials, ambulances, and the press -- Reporters and photographers swarm everywhere... 6 deep at the foot of the gangways, lining the tops of cars and trucks... it is the 1912 equicalent of a media circus. They jostle to get close to the survivors, tugging on them as they pass and shouting over each other to ask them questions. Rose is covered with a whoollen shawl and walking with a group of steerage passengers. Immigration officers are asking them questions as they come off the gangway. IMMIGRATION OFFICER Name? ROSE Dawson. Rose Dawson. The officer steers her toward a holding area for processing. Rose walks forward with the dazed immigrants. The BOOM! of photographer's magnesium flashes cause them to flinch, and the glare is blinding. There is a sudden disturbance near her as two men burst through the cordon, running to embrace an older woman along the survivors, who cries out with joy. The reporters converge on this emotional scene, and flashes explode. Rose uses this moment to slip away into the crowd. She pushes through the jostling people, moving with purpose, and none challenges her in the confusion. OLD ROSE -LRB- V.O. -RRB- Can you exchange one life for another? A caterpillar turns into a butterfly. If a mindless insect can do it, why could n't I? Was it any more unimaginable than the sinking of the Titanic? TRACKING WITH HER as she walks away, further and further until she flashes and the roar are far behind her, and shi is till walking, determined. CUT TO :", "INT. IMAGING SHACK / KELDYSH Old Rose sits with the group in the Imaging Shack, lit by the blue glow of the screens. She holds the haircomb with the jade butterfly on the handle in her gnarled hands. BODINE We never found anything on Jack. There's no record of him at all. OLD ROSE No, there would n't be, would there? And I've never spoken of him until now, not to anyone. -LRB- to Lizzy -RRB- Not even your grandfather. A woman's heart is a deep ocean of secrets. But now you all know there was a man named Jack Dawson, and that he saved me, in every way that a person can be saved. -LRB- closing her eyes -RRB- I do n't even have a picture of him. He exists now only in my memory. CUT TO : 304 OMITTED", "EXT. OCEAN FLOOR / TITANIC WRECK The Mir submersibles make their last pass over the ship. We hear Yuri the pilot on the UQC : YURI Mir One returning to surface. The sub rises off the deck of the wreck, taking its light with it, leaving the Titanic once again it its fine and private darkness. CUT TO :", "EXT. KELDYSH DECK A desultory wrap party for the expedition is in progress. There is music and some of the ( co-ed ) Russian crew are dancing. Bodine is getting drunk in the aggressive style of Baker Joughin. Lovett stands at the rail, looking down into the black water. Lizzy comes to him, offering him a beer. She puts her hand on his arm. LIZZY I'm sorry. LOVETT We were pissin' in the wind the whole time. Lovett notices a figure move through the lights far down at the stern of the ship. LOVETT Oh shit. CUT TO :", "EXT. KELDYSH STERN DECK Rose walks through the shadows of the deck machinery. Her nightgown blows in the wind. Her feet are bare. Her hands are clutched at her chest, almost as if she is praying. ON LOVETT AND LIZZY running down the stairs from the top deck, hauling ass. ROSE reaches the sern rail. Her gnarled fingers wrap over the rail. Her ancient foot steps up on the gunwale. She pushes herself up, leaning forward. Over her shoulder, we see the black water glinting far below. LOVETT AND LIZZY run up behind her. LIZZY Grandma, wait!! Do n't -- ROSE TURNS her head, looking at them. She turns further, and we see she has something in her hand, something she was about to drop overboard. It is the `` Heart of the Ocean''. Lovett sees his holy grail in her hand and his eyes go wide. Rose keeps it over the railing where she can drop it anytime. ROSE Do n't come any closer. LOVETT You had it the entire time?! FLASH CUT TO : A SILENT IMAGE OF YOUNG ROSE walking away from Pier 54. The photographers' flashes go off like a battle behind her. She has her hands in her pockets. She stops, feeling something, and pulls out the necklace. She stares at it in amazement. BACK ON KELDYSH, Rose smiles at Brock's incomprehension. ROSE The hardest part about being so poor, was being so rich. But every time I though of selling it, I though of Cal. And somehow I always got by without his help. She holds it out over the water. Bodine and a couple of the other guys come up behind Lovett, reacting to what is in Rose's hand. BODINE Holy shit. LOVETT Do n't drop it Rose. BODINE -LRB- a fierce whisper -RRB- Rush her. LOVETT -LRB- to Bodine -RRB- It's hers, you schmuck. -LRB- to her -RRB- Look, Rose, I... I do n't know what to say to a woman who tries to jump off the Titanic when it's not sinking, and jumps back onto it when it is... we're not dealing with logic here, I know that... but please... think about this a second. ROSE I have. I came all the way here so this could go back where it belongs. The massive diamond glitters. Brock edges closer and holds out his hand... LOVETT Just let me hold it in my hand, Rose. Please. Just once. He comes closer to her. It is reminiscent of Jack slowly moving up to her at the stern of Titanic. Surprisingly, she calmly places the massice stone in the palm of his hand, while still holding onto the necklace. Lovett gazes at the object of his quest. An infinity of cold scalpels glint in its blue depths. It is mesmerizing. It fits in his hand just like he imagined. LOVETT My God. His grip tightens on the diamond. He looks up, meeting her gaze. Her eyes are suddenly infinitely wise and deep. ROSE You look for treasures in the wrong place, Mr. Lovett. Only life is priceless, and making each day count. His fingers relax. He opens them slowly. Gently she slips the diamond out of his hand. He feels it sliding away. Then, with an impish little grin, Rose tosses the necklace over the rail. Lovett gives a strangled cry and rushes to the rail in time to see it hit the water and disappear forever. BODINE Aww!! That really sucks, lady! Brock Lovett goes through ten changes before he settles on a reaction... HE LAUGHS. He laughs until the tears come to his eyes. Then he turns to Lizzy. LOVETT Would you like to dance? Lizzy grins at him and nods. Rose smiles. She looks up at the stars. 308 IN THE BLACK HEART OF THE OCEAN, the diamond sinks, twinkling end over end, into the infinate depths. CUT TO :", "INT. ROSE'S CABIN / KELDYSH A GRACEFUL PAN across Rose's shelf of carefully arranged pictures : Rose as a young actress in California, radiant... a theatrically lit studio publicity shot... Rose and her husband, with their two children... Rose with her son at his college graduation... Rose with her children and grandchildren at her 70th birthday. A collage of images of a life lived well. THE PAN STOPS on an image filling frame. Rose, circa 1920. She is at the beach, sitting on a horse at the surfline. The Santa Monica pier, with its rollercoaster is behind her. She is grinning, full of life. We PAN OFF the last picture to Rose herself, warm in her bunk. A profile shot. She is very still. She could be sleeping, or maybe something else. CUT TO : BLACKNESS 310 THE WRECK OF TITANIC looms like a ghost out of the dark. It is lit by a kind of moonlight, a light of the mind. We pass over the endless forecastle deck to the superstructure, moving faster than subs can move... almost like we are flying. WE GO INSIDE, and the echoing sound of distant waltz music is heard. The rust fades away from the walls of the dark corridor and it is transformed... WE EMERGE onto the grand staircase, lit by glowing chandelier. The music is vibrant now, and the room is populated by men in tie and tails, women in gowns. It is exquisitely beautiful. IN POV we sweep down the staircase. The crowd of beautiful gentlmen and ladies turn as we descend toward them. At the bottom a man stands with his back to us... he turns and it is Jack. Smiling he holds his hand out toward us. IN A SIDE ANGLE Rose goes into his arms, a girl of 17. The passengers, officers and crew of the RMS Titanic smile and applaud in the utter silence of the abyss. FADE OUT THE END"], "labels": [0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 1.0, 1.0, 1.0], "summary": "In 1996, aboard the research vessel Akademik Mstislav Keldysh, Brock Lovett and his team search the wreck of RMS Titanic. They recover a safe they hope contains a necklace with a large diamond known as the Heart of the Ocean. Instead, they only find a drawing of a young nude woman wearing the necklace. The sketch is dated April 14, 1912, the same day the Titanic struck the iceberg that caused it to sink. Rose Dawson Calvert, the woman in the drawing, is brought aboard Keldysh. She recounts her experiences aboard Titanic. In 1912 Southampton, 17-year-old Rose DeWitt Bukater, her wealthy fianc\u00e9 Caledon \"Cal\" Hockley, and Rose's widowed mother, Ruth, board the Titanic. Ruth emphasizes that Rose's marriage to Cal will resolve the family's financial problems and maintain their upper-class status. Meanwhile, Jack Dawson, a poor young artist, wins a third-class Titanic ticket in a poker game. After setting sail, Rose, distraught over her loveless engagement, climbs over the stern railing, intending to jump overboard. Jack appears and coaxes her back onto the deck. The two develop a tentative friendship, but when Cal and Ruth strongly object, Rose acquiesces and discourages Jack's attention. She soon realizes she has feelings for Jack. Rose brings Jack to her state room and pays him a coin to sketch her nude, wearing only the Heart of the Ocean necklace. They later evade Cal's servant, Lovejoy, and have sex in an automobile inside the cargo hold. On the forward deck, they witness the ship's collision with an iceberg and overhear its officers and builder discussing the serious situation. Cal discovers Jack's sketch and Rose's insulting note left inside his safe, along with the necklace. When Jack and Rose return to warn the others about the collision, Cal has Lovejoy slip the necklace into Jack's pocket to frame him for theft. Jack is then confined in the master-at-arms' office. Cal then puts the necklace into his own overcoat pocket. With the ship sinking, Rose flees Cal and her mother, who has boarded a lifeboat. Rose finds and frees Jack, and they barely make it back to the boat deck. Cal and Jack urge Rose to board a lifeboat. Having arranged to save himself, Cal falsely claims he can get Jack safely off the ship. As her lifeboat is lowered, Rose, unable to abandon Jack, jumps back on board. Cal grabs Lovejoy's pistol and chases Rose and Jack into the flooding first-class dining saloon. They get away, and Cal realizes that he gave his coat, and consequently the necklace, to Rose; he later boards a lifeboat posing as a lost child's father. Jack and Rose return to the boat deck. The lifeboats have departed and the ship's stern is rising as the flooded bow sinks. As passengers fall to their deaths, Jack and Rose desperately cling to the stern rail. The upended ship breaks in half and the bow section dives downward. The remaining stern slams back onto the ocean, then upends again before it, too, sinks. In the freezing water, Jack helps Rose onto a wooden panel buoyant enough for only one person and makes her promise to survive. Rose is saved by a returning lifeboat, keeping her promise, and Jack dies of hypothermia. The RMS Carpathia rescues the survivors; Rose avoids Cal by hiding among the steerage passengers and gives her name as Rose Dawson. Still wearing Cal's overcoat, she discovers the necklace tucked inside the pocket. In the present, Rose says she later heard that Cal committed suicide after losing his fortune in the Wall Street Crash of 1929. Lovett abandons his search after hearing Rose's story. Alone on the stern of Keldysh, Rose takes out the Heart of the Ocean, which has been in her possession all along, and drops it into the sea over the wreck site. While she is seemingly asleep in her bed, her photos on the dresser depict a life of freedom and adventure inspired by her early conversations with Jack. A young Rose reunites with Jack at Titanic's Grand Staircase, applauded by those who died on the ship.", "name": "Titanic"}
{"scenes": ["INT. FITTS HOUSE - RICKY'S BEDROOM - NIGHT On VIDEO : JANE BURNHAM lays in bed, wearing a tank top. She's sixteen, with dark, intense eyes. JANE I need a father who's a role model, not some horny geek - boy who's gon na spray his shorts whenever I bring a girlfriend home from school. -LRB- snorts. -RRB- What a lame - o. Somebody really should put him out of his misery. Her mind wanders for a beat. RICKY -LRB- O.C. -RRB- Want me to kill him for you? Jane looks at us and sits up. JANE -LRB- deadpan. -RRB- Yeah, would you? FADE TO BLACK.", "EXT. ROBIN HOOD TRAIL - EARLY MORNING We're FLYING above suburban America, DESCENDING SLOWLY toward a tree - lined street. LESTER -LRB- V.O. -RRB- My name is Lester Burnham. This is my neighborhood. This is my street. This. is my life. I'm forty - two years old. In less than a year, I'll be dead.", "INT. BURNHAM HOUSE - MASTER BEDROOM - CONTINUOUS We're looking down at a king - sized BED from OVERHEAD : LESTER BURNHAM lies sleeping amidst expensive bed linens, face down, wearing PAJAMAS. An irritating ALARM CLOCK RINGS. Lester gropes blindly to shut it off. LESTER -LRB- V.O. -RRB- Of course, I do n't know that yet. He rolls over, looks up at us and sighs. He does n't seem too thrilled at the prospect of a new day. LESTER -LRB- V.O. ; CONT'D. -RRB- And in a way, I'm dead already. He sits up and puts on his slippers.", "INT. BURNHAM HOUSE - MASTER BATH - MOMENTS LATER Lester thrusts his face directly into a steaming hot shower. ANGLE from outside the shower : Lester's naked body is silhouetted through the fogged - up glass door. It becomes apparent he is masturbating. LESTER -LRB- V.O. -RRB- -LRB- amused. -RRB- Look at me, jerking off in the shower. -LRB- then. -RRB- This will be the high point of my day. It's all downhill from here.", "EXT. BURNHAM HOUSE - MOMENTS LATER CLOSE on a single, dewy AMERICAN BEAUTY ROSE. A gloved hand with CLIPPERS appears and SNIPS the flower off. CAROLYN BURNHAM tends her rose bushes in front of the Burnham house. A very well - put together woman of forty, she wears color - coordinated gardening togs and has lots of useful and expensive tools. Lester watches her through a WINDOW on the first floor, peeping out through the drapes. LESTER -LRB- V.O. -RRB- That's my wife Carolyn. See the way the handle on those pruning shears matches her gardening clogs? That's not an accident.", "EXT. JIMS' HOUSE - CONTINUOUS In the fenced front yard of the house next door, a dog BARKS repeatedly. A MAN in a conservative suit -LRB- JIM # 1 -RRB- chastises the barking dog. JIM #1 Hush, Bitsy. You hush. What is wrong? LESTER -LRB- V.O. -RRB- That's our next - door neighbor Jim. A second MAN in a conservative suit -LRB- JIM # 2 -RRB- comes out of the house. LESTER -LRB- V.O. ; CONT'D. -RRB- And that's his lover, Jim. JIM #2 -LRB- re : barking dog. -RRB- What in the world is wrong with her? She had a walk this morning. JIM #1 And a jerky treat. JIM #2 You spoil her. -LRB- sternly. -RRB- Bitsy. No bark. Come inside. Now.", "EXT. BURNHAM HOUSE - CONTINUOUS Lester watches all this from the window. CAROLYN Good morning, Jim! Jim # 1 walks toward the fence to greet Carolyn. JIM #1 Morning, Carolyn. CAROLYN -LRB- overly friendly. -RRB- I just love your tie! That color! JIM #1 I just love your roses. How do you get them to flourish like this? CAROLYN Well, I'll tell you. Egg shells and Miracle Grow. Jim # 1 and Carolyn continue to chat, unaware that Lester is watching them. LESTER -LRB- V.O. -RRB- Man. I get exhausted just watching her. Lester's POV : We ca n't hear what Jim and Carolyn are saying, but she's overly animated, like a TV talk show host. LESTER -LRB- V.O. ; CONT'D. -RRB- She was n't always like this. She used to be happy. We used to be happy.", "INT. BURNHAM HOUSE - JANE'S ROOM - CONTINUOUS JANE is seated at her desk, working at her computer. LESTER -LRB- V.O. -RRB- My daughter Jane. Only child. CLOSE on the COMPUTER MONITOR : A PERSONAL BANKING SOFTWARE window suddenly disappears to reveal another window : a PLASTIC SURGERY WEBSITE, featuring clinical `` before'' and `` after'' photos of surgically augmented breasts. LESTER -LRB- V.O. ; CONT'D. -RRB- Janie's a pretty typical teenager. Angry, insecure, confused. I wish I could tell her that's all going to pass. Outside, a CAR HORN BLARES. Jane stuffs items into her BACKPACK. LESTER -LRB- V.O. ; CONT'D. -RRB- But I do n't want to lie to her. We HEAR the CAR HORN again from outside. Jane studies herself in a mirror, then shifts to get a good profile of her breasts.", "EXT. BURNHAM HOUSE - CONTINUOUS Carolyn stands next to a platinum - colored MERCEDES - BENZ ML320, reaching in through the drivers' window to blow the HORN again. Jane shuffles out of the house, her backpack slung over her shoulder. CAROLYN Jane. Honey. Are you trying to look unattractive? JANE Yes. CAROLYN Well, congratulations. You've succeeded admirably. Jane gets in the car. Lester hurries out the front door, carrying a BRIEFCASE. CAROLYN -LRB- CONT'D. -RRB- Lester, could you make me a little later, please? Because I'm not quite late enough. Lester's briefcase suddenly springs open and his papers spill all over the driveway. He drops to his knees to gather everything. JANE Nice going, Dad. Lester smiles sheepishly, trying to lighten the moment. His POV : Carolyn looks down at us, contemptuous but also bored, as if she gave up expecting anything more long ago. LESTER -LRB- V.O. -RRB- Both my wife and daughter think I'm this gigantic loser, and. they're right.", "INT. MERCEDES-BENZ ML320 - A SHORT TIME LATER Carolyn is driving ; Jane stares out the window. Lester is asleep in the back seat. LESTER -LRB- V.O. -RRB- I have lost something. I'm not exactly sure what it is, but I know I did n't always feel this. sedated. But you know what? It's never too late to get it back.", "INT. OFFICE BUILDING - DAY Lester sits at his workstation, a BEIGE CUBICLE surrounded by IDENTICAL BEIGE CUBICLES. He's staring at a computer monitor and talking on a HEADSET PHONE. The beleaguered expression on his face is at odds with the light, friendly tone of his voice. LESTER Hello, this is Lester Burnham from Media Monthly magazine, I'm calling for Mr. Tamblin, please? Well, we're all under a deadline here, uh, but you see, there is some basic information about the product launch that is n't even covered in your press release and I. Yeah. Can I ask you a question? Who is Tamblin? Does he exist?'Cause he does n't ever seem to come in. Yeah, okay, I'll leave my number. BRAD, a dapper man in his thirties, approaches and observes Lester, who is unaware of his presence. LESTER -LRB- CONT'D. -RRB- It's 555 0199. Lester Burnham. Thank you! Lester disconnects the call, obviously irritated. BRAD Hey Les. You got a minute? Lester turns around, smiling perfunctorily LESTER For you, Brad? I've got five.", "INT. BRAD'S OFFICE - MOMENTS LATER Brad is seated behind his desk in his big corner office. BRAD I'm sure you can understand our need to cut corners around here. Lester sits across from him, looking small and isolated. LESTER Oh, sure. Times are tight, and you got ta free up cash. Got ta spend money to make money. Right? BRAD Exactly. So. Brad stands, ready to usher Lester out. LESTER -LRB- blurts. -RRB- Like the time when Mr. Flournoy used the company MasterCard to pay for that hooker, and then she used the card numbers and stayed at the St. Regis for, what was it, like, three months? BRAD -LRB- startled. -RRB- That's unsubstantiated gossip. LESTER That's fifty thousand dollars. That's somebody's salary. That's somebody who's gon na get fired because Craig has to pay women to fuck him! BRAD Jesus. Calm down. Nobody's getting fired yet. That's why we're having everyone write out a job description, mapping out in detail how they contribute. That way, management can assess who's valuable and - LESTER Who's expendable. BRAD It's just business. LESTER -LRB- angry. -RRB- I've been writing for this magazine for fourteen years, Brad. You've been here how long, a whole month? BRAD -LRB- frank. -RRB- I'm one of the good guys, Les. I'm trying to level with you. This is your one chance to save your job. Lester stares at him, powerless.", "EXT. BURNHAM HOUSE - LATE AFTERNOON A MOVING VAN is parked in front of the COLONIAL HOUSE next door to the Burnhams'. Movers carry furniture toward the house. The Mercedes - Benz pulls into the Burnham driveway. Carolyn drives, Lester is in the passenger seat. CAROLYN - there is no decision, you just write the damn thing! LESTER You do n't think it's weird and kinda fascist? CAROLYN Possibly. But you do n't want to be unemployed. LESTER Oh, well, let's just all sell our souls and work for Satan, because it's more convenient that way. CAROLYN Could you be just a little bit more dramatic, please, huh? As they get out of the car, Carolyn scopes out the MOVERS next door. CAROLYN -LRB- CONT'D. -RRB- So we've finally got new neighbors. You know, if the Lomans had let me represent them, instead of -. -LRB- heavy disdain. -RRB- - `` The Real Estate King,'' that house would never have sat on the market for six months. She heads into the house, followed by Lester. LESTER Well, they were still mad at you for cutting down their sycamore. CAROLYN Their sycamore? C'mon! A substantial portion of the root structure was on our property. You know that. How can you call it their sycamore? I would n't have the heart to just cut down something if it was n't partially mine, which of course it was.", "INT. BURNHAM HOUSE - DINING ROOM - LATER THAT NIGHT We HEAR EASY - LISTENING MUSIC. Lester, Carolyn and Jane are eating dinner by CANDLELIGHT. RED ROSES are bunched in a vase at the center of the table. Nobody makes eye contact, or even seems aware of anybody else's presence, until. JANE Mom, do we always have to listen to this elevator music? CAROLYN -LRB- considers. -RRB- No. No, we do n't. As soon as you've prepared a nutritious yet savory meal that I'm about to eat, you can listen to whatever you like. A long beat. Lester suddenly turns to Jane. LESTER So Janie, how was school? JANE -LRB- suspicious. -RRB- It was okay. LESTER Just okay? JANE No, Dad. It was spec - tac - ular. A beat. LESTER Well, you want to know how things went at my job today? Now she looks at him as if he's lost his mind. LESTER -LRB- CONT'D. -RRB- They've hired this efficiency expert, this really friendly guy named Brad, how perfect is that? And he's basically there to make it seem like they're justified in firing somebody, because they could n't just come right out and say that, could they? No, no, that would be too. honest. And so they've asked us -. -LRB- off her look. -RRB- - you could n't possibly care any less, could you? Carolyn is watching this closely. JANE -LRB- uncomfortable. -RRB- Well, what do you expect? You ca n't all of a sudden be my best friend, just because you had a bad day. She gets up and heads toward the kitchen. JANE -LRB- CONT'D. -RRB- I mean, hello. You've barely even spoken to me for months. She's gone. Lester notices Carolyn looking at him critically. LESTER Oh, what, you're mother - of - the - year? You treat her like an employee. CAROLYN -LRB- taken aback. -RRB- What?! Lester is quiet, staring at his plate. CAROLYN -LRB- CONT'D. -RRB- -LRB- more authority. -RRB- What? Lester gets up and starts after Jane, taking his plate with him. LESTER I'm going to get some ice cream. Carolyn watches him go, irritated.", "INT. BURNHAM HOUSE - CONTINUOUS Jane stands at the sink, rinsing off her plate. Lester enters. LESTER Honey, I'm sorry. I. Jane turns and stares at him, waiting for him to finish. LESTER -LRB- CONT'D. -RRB- I'm sorry I have n't been more available, I just. I'm. He's looking to her for a little help here, but she's too uncomfortable with this sudden intimacy to give him any. LESTER -LRB- CONT'D. -RRB- -LRB- finally. -RRB- You know, you do n't always have to wait for me to come to you. JANE Oh, great. So now it's my fault? LESTER I did n't say that. It's nobody's fault. Janie, what happened? You and I used to be pals.", "EXT. BURNHAM HOUSE - CONTINUOUS On VIDEO : We're looking through GREENHOUSE WINDOWS at Lester and Jane in the kitchen We ca n't hear what they're saying, but it's obvious it's not going well. Jane puts her plate in the dishwasher and leaves. We FOLLOW HER out the door, then the camera JERKS back to Lester calling after her. CLOSE on the face of RICKY FITTS, illuminated by the screen of his DIGICAM as he videotapes. Ricky is eighteen, but his eyes are much older. Beneath his Zen - like tranquility lurks something wounded. and dangerous. His POV, on VIDEO : Through the kitchen window, we see Lester at the sink, rinsing off his plate, muttering to himself. His head suddenly jerks up and he looks at us, as if he realizes he's being watched.", "INT. BURNHAM HOUSE - KITCHEN - CONTINUOUS Lester's POV : We're looking out through the kitchen window at the point where Ricky was just standing, but he's no longer there. Lester turns off the faucet, dries his hands, then tosses the towel on the counter on his way out, where it lands next to a framed PHOTOGRAPH of Lester, Carolyn, and a much - younger Jane, taken several years earlier at an amusement park. It's startling how happy they look.", "EXT. SALE HOUSE - DAY CLOSE on a wooden SIGN that reads : OPEN HOUSE TODAY BURNHAM & ASSOCIATES REALTY 555 - 0195 Carolyn Burnham The sign is planted in front of a RUN - DOWN HOME in a run - down neighborhood. The Mercedes is parked in front of the house. Carolyn, wearing a smart business suit, is unloading a box of cleaning supplies and a BOOMBOX from the back of the Mercedes when something across the street catches her eye. Her POV : In front of a different house with much more curb appeal is another SIGN, featuring a picture of a handsome silver - haired MAN. It reads : Another One SOLD By Buddy Kane The Real Estate King 555 - 0100 Carolyn frowns and slams the back of the Mercedes shut.", "INT. SALE HOUSE - LIVING ROOM - MOMENTS LATER The interior of this house is ugly, oppressive and tasteless. Carolyn opens the front door, breathes deeply and solemnly announces : CAROLYN I will sell this house today. She neatly arranges her sales materials on a desk, then strips down to her undergarments. We see Carolyn, working with fierce concentration as she : Cleans glass doors that overlook the patio and pool ; Doggedly scrubs countertops in the kitchen ; Perches on a stepladder to dust a cheap - looking ceiling fan in the master bedroom ; And vacuums a dirty carpet that will never be clean. Throughout all this, she keeps repeating to herself : CAROLYN -LRB- CONT'D. -RRB- I will sell this house today. I will sell this house today. I will sell this house today.", "INT. SALE HOUSE - BATHROOM - LATER Carolyn stands in front of the mirror, wearing her suit once more, applying lipstick. She stares at her reflection critically. CAROLYN I will sell this house today. She says this as if it were a threat, then notices a smudge on the mirror and wipes it off.", "EXT. SALE HOUSE - FRONT YARD - LATER The front door opens to reveal Carolyn, greeting us with the smile she thinks could sell ice to an Eskimo. CAROLYN Welcome. I'm Carolyn Burnham!", "INT. SALE HOUSE - FOYER - CONTINUOUS Smiling, Carolyn leads a man and woman into the living room. They're thirtyish, and they've seen a lot of houses today. CAROLYN This living room is very dramatic. Wait'til you see the native stone fireplace! The man and woman glance around the dark room, unimpressed. CAROLYN -LRB- CONT'D. -RRB- A simple cream would really lighten things up. You could even put in a skylight. The woman wrinkles her face, skeptical. CAROLYN -LRB- CONT'D. -RRB- Well, why do n't we go into the kitchen?", "INT. SALE HOUSE - KITCHEN - LATER Carolyn enters, followed by a different couple in their fifties. CAROLYN It's a dream come true for any cook. Just filled with positive energy. Huh?", "INT. SALE HOUSE - MASTER BEDROOM - LATER Carolyn stands with a different couple : African American, late twenties. The woman is pregnant. CAROLYN and you'll be surprised how much a ceiling fan can cut down on your energy costs.", "EXT. SALE HOUSE - BACK YARD - LATER Carolyn stands by the pool next to two fortyish WOMEN. CAROLYN You know, you could have some really fun backyard get - togethers out here. WOMAN #1 The ad said this pool was `` lagoon - like.'' There's nothing `` lagoon - like'' about it. Except for maybe the bugs. WOMAN #2 There's not even any plants out here. CAROLYN -LRB- re : shrub. -RRB- What do you call this? Is this not a plant? If you have a problem with the plants, I can always call my landscape architect. Solved. WOMAN #2 I mean, I think `` lagoon,'' I think waterfall, I think tropical. This is a cement hole. A beat. CAROLYN I have some tiki torches in the garage.", "INT. SALE HOUSE - SUN ROOM - LATER Carolyn enters, alone. She's furious. She locks the sliding glass door and starts to pull the vertical blinds shut, then stops. Standing very still, with the blinds casting shadows across her face, she starts to cry : brief, staccato SOBS that seemingly escape against her will. Suddenly she SLAPS herself, hard. CAROLYN Shut up. Stop it. You. Weak! But the tears continue. She SLAPS herself again. CAROLYN -LRB- CONT'D. -RRB- Weak. Baby. Shut up. Shut up! Shut up! She SLAPS herself repeatedly until she stops crying. She stands there, taking deep breaths until she has everything under control, then pulls the blinds shut, once again all business. She walks out calmly, leaving us alone in the dark, empty room. We HEAR CHEERING and APPLAUSE.", "INT. HIGH SCHOOL GYMNASIUM - NIGHT We're at a high - school BASKETBALL GAME. Teenage boys play a fast and furious game. One team wearing pale blue and white uniforms scores a basket. Perky cheerleaders jump up and down as the CROWD goes wild. Seated in the bleachers, next to the high school BAND, is a group of about twenty TEENAGE GIRLS, dressed in pale blue and white uniforms. Among them, Jane sits next to ANGELA HAYES. At sixteen, Angela is strikingly beautiful ; with perfect even features, blonde hair and a nubile young body, she's the archetypal American dream girl. Jane stands and scans the bleachers. ANGELA Who are you looking for? JANE My parents are coming tonight. They're trying to, you know, take an active interest in me. ANGELA Gross. I hate it when my mom does that. JANE They're such assholes. Why ca n't they just have their own lives?", "INT. MERCEDES-BENZ ML320 - CONTINUOUS Carolyn drives. Lester is slumped in the passenger seat. LESTER What makes you so sure she wants us to be there? Did she ask us to come? CAROLYN Of course not. She does n't want us to know how important this is to her. But she's been practicing her steps for weeks. LESTER Well, I bet money she's going to resent it. And I'm missing the James Bond marathon on TNT. CAROLYN Lester, this is important. I'm sensing a real distance growing between you and Jane. LESTER Growing? She hates me. CAROLYN She's just willful. LESTER She hates you too. Carolyn stares at him, unsure of how to respond.", "INT. HIGH SCHOOL GYMNASIUM - LATER The uniformed girls now stand in formation on the gym floor. ANNOUNCER -LRB- over P.A. -RRB- And now, for your half - time entertainment, Rockwell High's award - winning Dancing Spartanettes! In the crowded stands, Lester and Carolyn find seats. LESTER We can leave right after this, right? The HIGH SCHOOL BAND plays `` ON BROADWAY.'' On the gym floor, the girls perform. They're well - rehearsed, but too young to carry off the ambitious Vegas routine they're attempting. Lester, watching from the stands, picks out his daughter. His POV : Jane performs well, concentrating. Dancing awkwardly next to her is Angela. Suddenly Angela looks right at us and smiles. a lazy, insolent smile. Lester leans forward in his seat. His POV : We're focused on Angela now. Everything starts to SLOW DOWN. the MUSIC acquires an eerie ECHO. We ZOOM slowly toward Lester as he watches, transfixed. His POV : Angela's awkwardness gives way to a fluid grace, and `` ON BROADWAY'' FADES into dreamy, hypnotic MUSIC. The light on Angela grows stronger, and the other girls DISAPPEAR entirely. Lester is suddenly alone in the stands, spellbound. His POV : Angela looks directly at us now, dancing only for Lester. Her movements take on a blatantly erotic edge as she starts to unzip her uniform, teasing us with an expression that's both innocent and knowing, then. she pulls her uniform OPEN and a profusion of RED ROSE PETALS spill forth. and we SMASH CUT TO :", "INT. HIGH SCHOOL GYMNASIUM - CONTINUOUS Angela, fully clothed, is once again surrounded by the other girls. The HIGH SCHOOL BAND plays its last note, the Dancing Spartanettes strike their final pose, and the audience APPLAUDS. Carolyn claps along with the rest of the audience. Lester just sits there, unable to take his eyes off Angela.", "EXT. HIGH SCHOOL GYMNASIUM - LATER The game is long over. Jane and Angela come out of the gym. JANE Oh shit, they're still here. Her POV : Lester and Carolyn stand at the edge of the parking lot. LESTER Janie! CAROLYN Hi! I really enjoyed that! She crosses reluctantly toward her parents, followed by Angela. LESTER Congratulations, honey, you were great. JANE I did n't win anything. LESTER -LRB- to Angela. -RRB- Hi, I'm Lester. Janie's dad. ANGELA Oh. Hi. An awkward beat. JANE This is my friend, Angela Hayes. LESTER Okay, good to meet you. You were also good tonight. Very. precise. ANGELA -LRB- warming. -RRB- Thanks. CAROLYN -LRB- to Angela. -RRB- Nice to meet you, Angela. -LRB- to Jane. -RRB- Honey, I'm so proud of you. I watched you very closely, and you did n't screw up once. -LRB- then, to Lester. -RRB- Okay, we have to go. She starts toward the parking lot. Lester stays behind. LESTER So, what are you girls doing now? JANE Dad. ANGELA We're going out for pizza. LESTER Oh really, do you need a ride? We can give you a ride. I have a car. You wan na come with us? ANGELA Thanks. but I have a car. LESTER Oh, you have a car. Oh. That's great! That's great, because Janie's thinking about getting a car soon too, are n't you, honey? JANE -LRB- you freak. -RRB- Dad. Mom's waiting for you. LESTER Well, it was very nice meeting you, Angela. Any, uh, friend of Janie's is a friend of mine. Angela smiles, aware of the power she has over him. He is mesmerized ; grateful, even. LESTER -LRB- CONT'D. -RRB- Well. I'll be seeing you around then. Lester waves awkwardly as he crosses off. JANE Could he be any more pathetic? ANGELA I think it's sweet. And I think he and your mother have not had sex in a long time.", "INT. BURNHAM HOUSE - MASTER BEDROOM - A FEW HOURS LATER CLOSE on a solitary red ROSE PETAL as it falls slowly through the air. We're looking down on Lester and Carolyn in bed. Even in sleep, Carolyn looks determined. Lester is awake and stares up at us. LESTER It's the weirdest thing. The ROSE PETAL drifts into view, landing on his pillow. LESTER -LRB- CONT'D. -RRB- I feel like I've been in a coma for about twenty years, and I'm just now waking up. More ROSE PETALS fall onto the bed, and he smiles up at. His POV : Angela, naked, FLOATS above us as a deluge of ROSE PETALS falls around her. Her hair fans out around her head and GLOWS with a subtle, burnished light. She looks down at us with a smile that is all things. Lester smiles back and LAUGHS, as ROSE PETALS cover his face. LESTER -LRB- CONT'D. -RRB- Spec - tac - ular.", "EXT. ROBIN HOOD TRAIL - CONTINUOUS A WHITE BMW 328si CONVERTIBLE is parked on the street outside the Burnham's house. We HEAR girlish LAUGHTER from inside.", "INT. ANGELA'S BMW - CONTINUOUS Angela is behind the wheel, Jane in the passenger seat. They're passing a JOINT back and forth. JANE I'm sorry my dad was so weird tonight. ANGELA It's okay. I'm used to guys drooling over me. It started when I was about twelve, I'd go out to dinner with my parents. Every Thursday night, Red Lobster. And every guy there would stare at me when I walked in. And I knew what they were thinking. Just like I knew guys at school thought about me when they jerked off. JANE Vomit. ANGELA No, I liked it. And I still like it. If people I do n't even know look at me and want to fuck me, it means I really have a shot at being a model. Which is great, because there's nothing worse in life than being ordinary. An awkward beat. Jane stares at the floor. JANE I really think it'll happen for you. ANGELA Oh, I know. Because everything that was meant to happen, does. Eventually.", "EXT. BURNHAM HOUSE - CONTINUOUS On VIDEO : Jane gets out of the car, still LAUGHING, and waves as Angela pulls away. We ZOOM toward Jane as she walks up the driveway. She turns suddenly, sensing our presence. Her POV : We're looking at the COLONIAL HOUSE next door where the moving van was parked earlier. The front porch is shrouded in darkness. then a PORCH LIGHT abruptly reveals Ricky. As usual, he's dressed conservatively. There is a BEEPER attached to his belt, and his DIGICAM dangles loosely around his neck. Irritated, Jane stares at him, hard. JANE Asshole. He looks back at her curiously, then raises his Digicam and starts to videotape her. His POV, on VIDEO : Jane, angry and self - conscious, turns and walks quickly toward her house, flipping us off as she goes.", "INT. BURNHAM HOUSE - FOYER - CONTINUOUS Jane enters, closes and locks the door. She quickly TURNS OFF THE LIGHT that's been left on for her, then peeks through a window. Her POV : There's no sign of Ricky. Jane turns back into the room, her heart racing. and smiles.", "INT. BURNHAM HOUSE - JANE'S BEDROOM - THE NEXT MORNING CLOSE on an ADDRESS BOOK : A man's hand flips to the H page and then his finger stops at the name Angela Hayes. Lester, dressed for work, goes through Jane's address book. We HEAR the SHOWER running in the adjacent bathroom. He grabs Jane's phone and dials, then stands with the receiver to his ear, nervous. ANGELA -LRB- over phone line. -RRB- Hello? Hello? Lester is frozen, unable to speak. Suddenly, the SHOWER is turned off in the next room. Lester hangs up and exits quickly. A moment, then the PHONE RINGS. Jane emerges from the bathroom, a towel wrapped around her torso, drying her wet hair. She picks up the PHONE. JANE Hello?", "INT. HAYES HOUSE - ANGELA'S BEDROOM - CONTINUOUS Angela is sprawled across her bed, on the phone. ANGELA Why'd you call me? INTERCUT WITH JANE IN HER JANE I did n't. ANGELA Well, my phone just rang and I answered it and somebody hung up and then I star sixty - nined and it called you back. JANE I was in the shower. Then Jane notices her address book open to the H page. JANE -LRB- CONT'D. -RRB- Oh, gross.", "EXT. BURNHAM HOUSE - CONTINUOUS On VIDEO : We're across from Jane's WINDOW, looking in. Jane picks up the address book, frowning. She speaks into the phone, but we ca n't hear her. WOMAN'S VOICE -LRB- O.C. -RRB- -LRB- sing song. -RRB- Rick - y! Break - fast!", "INT. FITTS HOUSE - RICKY'S BEDROOM - CONTINUOUS Ricky stands at his window, videotaping. He lowers his Digicam, but his eyes remain locked on Jane across the way. RICKY Be right there.", "INT. FITTS HOUSE - KITCHEN - MOMENTS LATER BARBARA FITTS stands at the stove, flipping bacon strips mechanically, her eyes focused elsewhere. At least ten years younger than her husband, she's pretty in a June Cleaver - ish way. The Colonel sits at a dinette reading The Wall Street Journal. Ricky enters. RICKY Mom. Startled, Barbara turns to him. BARBARA Hello. As she attempts to serve him bacon : RICKY I do n't eat bacon, remember? BARBARA -LRB- unnerved. -RRB- I'm sorry, I must have forgotten. Ricky serves himself scrambled eggs from another pan, then joins his father at the table. RICKY What's new in the world, Dad? COLONEL This country is going straight to hell. A DOORBELL rings. The Colonel and Barbara look at each other, alarmed. COLONEL -LRB- CONT'D. -RRB- Are you expecting anyone? BARBARA No. -LRB- thinks. -RRB- No. The Colonel heads toward the living room, a little puffed up.", "INT. FITTS HOUSE - FOYER - MOMENTS LATER The Colonel opens the front door to reveal the two JIMS. JIM #1 Hi. JIM #2 Welcome to the neighborhood. Jim # 1 holds out a basket filled with flowers, vegetables and a small white cardboard box tied with raffia. JIM #1 Just a little something from our garden. JIM #2 Except for the pasta, we got that at Fallaci's. JIM #1 It's unbelievably fresh. You just drop it in the water and it's done. The Colonel stares at them, suspicious. JIM #1 -LRB- CONT'D. -RRB- -LRB- offers his hand. -RRB- Jim Olmeyer. Two doors down. Welcome to the neighborhood. COLONEL -LRB- shakes. -RRB- Colonel Frank Fitts, U.S. Marine Corps. JIM #1 Nice to meet you. And this is my partner. JIM #2 -LRB- offers his hand. -RRB- Jim Berkley, but people call me J.B. COLONEL Let's cut to the chase, okay? What are you guys selling? JIM #2 -LRB- after a beat. -RRB- Nothing. We just wanted to say hi to our new neighbors - COLONEL Yeah, yeah, yeah. But you said you're partners. So what's your business? The Jims look at each other, then back at the Colonel. JIM #1 Well, he's a tax attorney. JIM #2 And he's an anesthesiologist. The Colonel looks at them, confused. Then it dawns on him.", "INT. COLONEL'S FORD EXPLORER - LATER The Colonel drives, staring darkly at the road ahead. In the passenger seat, Ricky is using a CALCULATOR and jotting numbers down in a NOTEBOOK. COLONEL How come these faggots always have to rub it in your face? How can they be so shameless? RICKY That's the whole thing, Dad. They do n't feel like it's anything to be ashamed of. The Colonel looks at Ricky sharply. COLONEL Well, it is. A beat, as Ricky continues his calculations, before he realizes a response is expected from him. Then : RICKY Yeah, you're right. The Colonel's eyes flash angrily. COLONEL Do n't placate me like I'm your mother, boy. Ricky sighs, then looks at his father. RICKY Forgive me, sir, for speaking so bluntly, but those fags make me want to puke my fucking guts out. The Colonel is taken aback but quickly covers. COLONEL Me too, son. Me too. Case closed, Ricky goes back to his calculations. CLOSE on the pencil in his hands : He's totaling two columns of NUMBERS. Under the column `` Income'' he writes in swift, bold strokes : $ 24,950.00.", "EXT. HIGH SCHOOL CAMPUS - A SHORT TIME LATER Jane and Angela are standing with two other TEENAGE GIRLS. ANGELA I'm serious, he just pulled down his pants and yanked it out. You know, like, say hello to Mr. Happy. TEENAGE GIRL #1 Gross. ANGELA It was n't gross. It was kind of cool. TEENAGE GIRL #1 So, did you do it with him? ANGELA Of course I did. He is a really well - known photographer? He shoots for Elle on like, a regular basis? It would have been so majorly stupid of me to turn him down. TEENAGE GIRL #2 You are a total prostitute. ANGELA Hey. That's how things really are. You just do n't know, because you're this pampered little suburban chick. TEENAGE GIRL #2 So are you. You've only been in Seventeen once, and you looked fat, so stop acting like you're goddamn Christy Turlington. The two TEENAGE GIRLS move away from Jane and Angela. ANGELA -LRB- calling off. -RRB- Cunt! -LRB- then. -RRB- I am so sick of people taking their insecurities out on me. The Colonel's Ford Explorer pulls up, and Ricky gets out. JANE Oh my God. That's the pervert who filmed me last night. ANGELA Him? Jane. No way. He's a total lunatic. JANE You know him? ANGELA Yeah. We were on the same lunch shift when I was in ninth grade, and he would always say the most random, weird things, and then one day, he was just like, gone. And then, Connie Cardullo told me he his parents had to put him in a mental institution. JANE Why? What did he do? ANGELA What do you mean? JANE Well, they ca n't put you away just for saying weird things. Angela stares at Jane, then her mouth widens into a smile. ANGELA You total slut. You've got a crush on him. JANE What? Please. ANGELA You were defending him! You love him. You want to have like, ten thousand of his babies. JANE Shut up. Jane suddenly finds Ricky standing in front of her. RICKY Hi. My name's Ricky. I just moved next door to you. JANE I know. I kinda remember this really creepy incident when you were filming me last night? RICKY I did n't mean to scare you. I just think you're interesting. Angela shoots a wide - eyed look at Jane, who ignores it. JANE Thanks, but I really do n't need to have some psycho obsessing about me right now. RICKY I'm not obsessing. I'm just curious. He looks at her intently, his eyes searching hers. Jane is unnerved and has to look away. Ricky smiles and walks off. ANGELA What a freak. And why does he dress like a Bible salesman? JANE He's like, so confident. That ca n't be real. ANGELA I do n't believe him. I mean, he did n't even like, look at me once.", "INT. FITTS HOUSE - DEN - THAT NIGHT CLOSE on a TV SCREEN : `` Hogan's Heroes'' on Nick at Nite. The Colonel and Barbara are seated on a couch, watching television. The Colonel is smiling, enjoying the show ; Barbara just stares. The Colonel CHUCKLES at a joke and startles her. We HEAR a door opening elsewhere in the house, and Ricky enters. RICKY Hey. He sits on the couch, next to his father, and watches TV along with them. The Colonel's smile fades. BARBARA -LRB- out of the blue. -RRB- I'm sorry, what? RICKY Mom. Nobody said anything. BARBARA Oh. I'm sorry. The three of them stare at the TV, like strangers in an airport.", "INT. HOTEL BALLROOM - NIGHT We HEAR MUSIC under a room full of people all talking at once, as Lester and Carolyn enter a hotel ballroom. We FOLLOW THEM as they pass a SIGN that reads : GREATER ROCKWELL REALTOR RESOURCES GROUP CAROLYN - everyone here is with their spouse or their significant other. How would it look if I showed up with no one? LESTER Well, you always end up ignoring me and going off - Inside the ballroom, well - dressed real estate professionals stand in clumps, chatting. Catering waiters serve hors d'eouvres. CAROLYN Now listen to me. This is an important business function. As you know, my business is selling an image. And part of my job is to live that image - LESTER Just say whatever you want to say and spare me the propaganda. CAROLYN -LRB- spots someone. -RRB- Hi, Shirley! -LRB- to Lester. -RRB- Listen, just do me a favor. Act happy tonight? LESTER -LRB- grins stupidly. -RRB- I am happy, honey. Carolyn's jaw tightens, then : CAROLYN -LRB- spots someone. -RRB- Oh! Buddy! She drags Lester toward a silver - haired MAN and his much younger WIFE. We recognize the Man as BUDDY KANE, The Real Estate King. CAROLYN -LRB- CONT'D. -RRB- -LRB- shakes Buddy's hand. -RRB- Buddy! Buddy. Hi! Good to see you again. BUDDY It's so good to see you too, Catherine. CAROLYN Carolyn. BUDDY Carolyn! Of course. How are you? CAROLYN Very well, thank you. -LRB- to his wife. -RRB- Hello, Christy. CHRISTY Hello. CAROLYN My husband, Lester - BUDDY -LRB- shakes Lester's hand. -RRB- It's a pleasure. LESTER Oh, we've met before, actually. This thing last year. Or the Christmas thing at the Sheraton. BUDDY Oh, yes. LESTER It's okay. I would n't remember me either. He LAUGHS. A little too loudly. Carolyn quickly joins in. CAROLYN -LRB- forced gaiety. -RRB- Honey. Do n't be weird. She smiles her most winning smile at him. He knows this persona well, only it's never pissed him off as much as it does right now. LESTER All right, honey. I wo n't be weird. -LRB- his face close to hers. -RRB- I'll be whatever you want me to be. And he kisses her - a soft, warm kiss that speaks unmistakably of sex - then turns to the others and grins. LESTER -LRB- CONT'D. -RRB- We have a very healthy relationship. BUDDY I see. Carolyn's smile is frozen on her face. LESTER Well. I do n't know about you, but I need a drink. He crosses off. Carolyn, Buddy and Christy watch him go.", "INT. HOTEL BALLROOM - MOMENTS LATER Lester stands at the bar. A bartender pours him a drink. LESTER Whoa. Put a little more in there, cowboy. The bartender complies. Lester takes his drink and turns to face the center of the room. His POV : Carolyn is talking to Buddy and Christy. She's on : smiling, animated, LAUGHING too loud at their jokes. Lester shakes his head. Ricky approaches him, wearing a waiter's uniform, carrying a tray of empty glasses. RICKY Excuse me. Do n't you live on Robin Hood Trail? The house with the red door? LESTER -LRB- suspicious. -RRB- Yeah. RICKY I'm Ricky Fitts. I just moved into the house next to you. LESTER Oh. Hi, Ricky Fitts. I'm Lester Burnham. RICKY Hi, Lester Burnham. A beat. Lester looks away, scans the crowd, then downs the rest of his drink in one gulp. Ricky just stands there, watching him. Finally Lester turns back to Ricky : what does this kid want? RICKY -LRB- CONT'D. -RRB- Do you party? LESTER Excuse me? RICKY Do you get high? Lester's surprised, but instantly intrigued.", "INT. HOTEL BALLROOM - MOMENTS LATER Carolyn and Buddy are deep in conversation. Christy has wandered off. Carolyn is nervous ; Buddy seems amused. CAROLYN You know, I probably would n't even tell you this if I were n't a little tipsy, but. I am in complete awe of you. I mean, your firm is, hands down, the Rolls Royce of local Real Estate firms, and your personal sales record is, is, is very intimidating. You know, I'd love to sit down with you and just pick your brain, if you'd ever be willing. I suppose, technically, I'm the `` competition,'' but. I mean, hey, I do n't flatter myself that I'm even in the same league as you. BUDDY I'd love to. CAROLYN -LRB- shocked. -RRB- Really? BUDDY Absolutely. Call my secretary and have her schedule a lunch. CAROLYN I'll do that. Thank you. They look at each other for a beat, then look away. This situation is loaded and they both know it.", "EXT. HOTEL - LATER Ricky and Lester stand next to a dumpster behind the service entrance to the hotel, smoking a JOINT. LESTER did you ever see that movie, where the body's walking around holding its own head? And then the head goes down on that babe? RICKY Re - Animator. Suddenly, the service entrance opens, and a large CATERING BOSS in a cheap suit peers out at them. Ricky hides the joint. CATERING BOSS -LRB- to Ricky. -RRB- Look. I'm not paying you to. -LRB- eyes Lester, suspiciously. -RRB-. do whatever it is you're doing out here. RICKY Fine. So do n't pay me. CATERING BOSS Excuse me? RICKY I quit. So you do n't have to pay me. Now, leave me alone. CATERING BOSS Asshole. He goes back inside. Lester looks at Ricky, who shrugs. LESTER I think you just became my personal hero. -LRB- then. -RRB- Does n't that make you nervous, just quitting your job like that? Well, I guess when you're all of, what? Sixteen? RICKY Eighteen. -LRB- then. -RRB- I just do these gigs as a cover. I have other sources of income. But my dad interferes less in my life when I pretend to be an upstanding young citizen with a respectable job. CAROLYN -LRB- O.C. -RRB- Lester? Carolyn is standing in the open service entrance. Lester quickly hides the joint behind his back. CAROLYN -LRB- CONT'D. -RRB- What are you doing? LESTER Honey, this is. -LRB- laughs. -RRB- Ricky Fitts. This is Ricky Fitts. RICKY I'm Ricky Fitts, I just moved in the house next to you. I go to school with your daughter. LESTER With Jane? Really? RICKY Yeah. Jane. CAROLYN Hi. -LRB- then, to Lester. -RRB- I'm ready to go. I'll meet you out front. And she goes back inside. LESTER Uh - oh. I'm in trouble. Nice meeting you, Ricky Fitts. Thanks for the, uh, thing. RICKY Any time. Lester goes inside. RICKY -LRB- CONT'D. -RRB- -LRB- calls after him. -RRB- Lester. If you want any more, you know where I live.", "INT. BURNHAM HOUSE - FAMILY ROOM - LATER Jane and Angela are watching MTV. We HEAR the back door open. JANE Oh, shit. They're home. Quick, let's go up to my room. Jane switches off the TV. ANGELA I should say hi to your dad. -LRB- off Jane's look. -RRB- I do n't want to be rude. She starts toward the kitchen. Jane does n't like this.", "INT. BURNHAM HOUSE - KITCHEN - CONTINUOUS Lester enters and opens the refrigerator. ANGELA -LRB- O.C. -RRB- Nice suit. He turns, and is instantly transfixed by : His POV : Angela leans against the counter, twirling her hair. ANGELA -LRB- CONT'D. -RRB- You're looking good, Mr. Burnham. She starts toward him. ANGELA -LRB- CONT'D. -RRB- Last time I saw you, you looked kind of wound up. -LRB- spots something. -RRB- Ooh, is that root beer? She reaches inside the refrigerator to grab a bottle. As she does, she moves to place her other hand casually on Lester's shoulder. He sees it coming. Everything SLOWS DOWN, and all sound FADES. EXTREME CLOSE UP on her hand as it briefly touches his shoulder in SLOW MOTION. We HEAR only the amplified BRUSH of her fingers against the fabric of his suit, and its unnatural, hollow ECHO. BACK IN REAL TIME : She grabs the root beer and smiles at him. CLOSE on Lester : his eyes narrow slightly, then : He cups her face in his hands and kisses her. She seems shocked, but does n't resist as he pulls her toward him with surprising strength. He breaks the kiss, looking at her in awe, then he reaches up and touches his lips. His eyes widen as he pulls a ROSE PETAL from his mouth right before we SMASH", "INT. BURNHAM HOUSE - KITCHEN - CONTINUOUS Angela is back against the counter, drinking the root beer. Lester stands by the refrigerator, gazing at her, still lost in fantasy. ANGELA I love root beer, do n't you? Jane watches from the doorway to the family room, feeling incredibly awkward in her own home. Carolyn enters from the dining room. Lester snaps out of it and grabs a root beer from the refrigerator. JANE Mom, you remember Angela. CAROLYN -LRB- her sales smile. -RRB- Yes, of course! JANE I forgot to tell you, she's spending the night. Is that okay? LESTER Sure! He takes a sip of his root beer, but it goes down the wrong way and he starts COUGHING violently.", "INT. BURNHAM HOUSE - JANE'S BEDROOM - LATER THAT NIGHT Angela lays on the bed, in bra and panties, reading a magazine. Jane, in an oversized T shirt, plays a video game on her computer. JANE I'm sorry about my dad. ANGELA Do n't be. I think it's funny. JANE Yeah, to you, he's just another guy who wants to jump your bones. But to me. he's just too embarrassing to live. ANGELA Your mom's the one who's embarrassing. What a phony. Jane glances at Angela, irritated. ANGELA -LRB- CONT'D. -RRB- Your dad's actually kind of cute. JANE Shut up.", "INT. BURNHAM HOUSE - HALLWAY - CONTINUOUS Lester, still in his suit, stands outside Jane's room, his ear up against the door. He ca n't believe what he's hearing. ANGELA -LRB- O.C. -RRB- He is. If he just worked out a little, he'd be hot.", "INT. BURNHAM HOUSE - JANE'S ROOM - CONTINUOUS JANE Shut up. ANGELA Oh, come on. Like you've never sneaked a peek at him in his underwear? I bet he's got a big dick. JANE You are so grossing me out right now. ANGELA -LRB- really enjoying this. -RRB- If he built up his chest and arms, I would totally fuck him. Jane covers her ears and starts SINGING to drown her out.", "INT. BURNHAM HOUSE - HALLWAY - CONTINUOUS Lester, still listening, looks like he's about to implode. ANGELA -LRB- O.C. -RRB- -LRB- laughs. -RRB- I would! I would suck your dad's big fat dick, and then I would fuck him'til his eyes rolled back in his head! -LRB- then. -RRB- What was that noise? Jane. Jane's SINGING stops. ANGELA -LRB- O.C. ; CONT'D. -RRB- I swear I heard something. Panicked, Lester scurries down the hall.", "INT. BURNHAM HOUSE - JANE'S BEDROOM - CONTINUOUS JANE Yeah, it was the sound of you being a huge disgusting pig. ANGELA I'm serious. We HEAR the sharp TAP of a penny being thrown against glass. ANGELA -LRB- CONT'D. -RRB- See? Angela crosses to the window and looks out. ANGELA -LRB- CONT'D. -RRB- -LRB- spots something. -RRB- Oh my God. Jane.", "EXT. BURNHAM HOUSE - CONTINUOUS We see Angela standing at the window in her underwear, looking down at us. Jane joins her and is immediately unnerved by : Their POV : In the Burnham's DRIVEWAY, the word `` JANE'' is spelled out in FIRE.", "INT. BURNHAM HOUSE - JANE'S BEDROOM - CONTINUOUS ANGELA It's that psycho next door. Jane, what if he worships you? What if he's got a shrine with pictures of you surrounded by dead people's heads and stuff? JANE Shit. I bet he's filming us right now. ANGELA -LRB- intrigued. -RRB- Really?", "EXT. BURNHAM HOUSE - CONTINUOUS On VIDEO : We're across from Jane's window, looking in. Jane tries to shut the drapes, but Angela wo n't let her. Irritated, Jane retreats into the room. We ZOOM toward her, even as Angela poses in the window ; we're clearly not interested in Angela. The ZOOM continues, searching for Jane, who has disappeared. Finally, we settle on the small make - up MIRROR where we see a REFLECTION of Jane, back at her computer. She's smiling. Then suddenly the DRAPES CLOSE and she's gone.", "INT. FITTS HOUSE - RICKY'S BEDROOM - CONTINUOUS Ricky sits in darkness with his DIGICAM, videotaping. He lowers the camera and smiles. then something below catches his attention. He leans out the window to get a better look at :", "EXT. BURNHAM HOUSE - GARAGE - CONTINUOUS Ricky's POV : Through a WINDOW on the side of the Burnham's GARAGE DOOR, we see Lester, still in his suit, digging through shelves against the back wall.", "INT. BURNHAM HOUSE - GARAGE - CONTINUOUS Lester digs through stuff stored on the shelves, searching for something as if his very life depended on it. LESTER Shit. Shit! He yanks aside COLLEGE YEARBOOKS, a racquetball RACQUET, boxes of old HOT ROD MAGAZINES, an unopened remote - controlled MODEL JEEP KIT, stacks of old vinyl LPs. finally his face lights up when he finds : A pair of DUMBBELLS obviously unused for many years. Lester rips off his jacket and tie and unbuttons his shirt. He glances around, finding his REFLECTION in the WINDOW as he pulls off his shirt, then the T - shirt underneath. He eyes himself critically : Angela was right, he's not in bad shape. Just a few extra pounds around his middle that would n't be hard to shed. He kicks off his shoes and begins to step out of his pants.", "INT. FITTS HOUSE - RICKY'S BEDROOM - CONTINUOUS Ricky holds his Digicam up and starts to videotape.", "EXT. BURNHAM HOUSE - GARAGE - CONTINUOUS Ricky's POV, on VIDEO : Through a WINDOW on the side of the Burnham's garage, we see Lester step out of his pants and briefs. Then, naked except for his black socks, he grabs the dumbbells and starts lifting them, watching his reflection in the window as he does.", "INT. FITTS HOUSE - RICKY'S BEDROOM - CONTINUOUS Ricky stands at the window, videotaping. RICKY Welcome to America's Weirdest Home Videos. Suddenly we HEAR someone trying to open a locked door. COLONEL -LRB- O.C. -RRB- Ricky! Moving swiftly, Ricky pulls the drapes shut and switches on a light. His room is a haven of high - tech. A state - of - the - art multimedia COMPUTER crowds his desk, and high - end STEREO and VIDEO EQUIPMENT line the shelves, as well as HUNDREDS OF CDs. There is easily twenty thousand dollars worth of equipment in this room. RICKY Coming, Dad. COLONEL -LRB- O.C. -RRB- You know I do n't like locked doors in my house, boy. Ricky opens the door. The Colonel stands outside, eyeing him. RICKY I'm sorry, I must have locked it by accident. So what's up? The Colonel holds out a small PLASTIC CUP WITH A CAP. COLONEL I need a urine sample. RICKY Wow. It's been six months already. Can I give it to you in the morning? I just took a whiz. COLONEL Yeah, I suppose. -LRB- an awkward beat. -RRB- Well. Good night, son. He disappears down the hall. Ricky smiles, shuts and locks his door. He puts the plastic cup on the shelf, then crosses to a MINI REFRIGERATOR in the corner of his room and takes out a cup - sized TUPPERWARE CONTAINER from the freezer, already filled with urine, albeit frozen, and places it on a saucer to thaw overnight.", "INT. BURNHAM HOUSE - MASTER BEDROOM - LATER THAT NIGHT Carolyn lies sleeping. Lester is awake, staring at the ceiling. After a moment, he gets up, taking care not to disturb Carolyn, and walks toward the bathroom.", "INT. BURNHAM HOUSE - MASTER BATH - CONTINUOUS Lester enters and switches on the LIGHT. The room is filled with STEAM. Lester looks around, confused, then focuses on : His POV : Across from us, in a PEDESTAL BATHTUB, is Angela. She smiles and beckons us, and we MOVE CLOSER. ROSE PETALS float on the surface of the water, obscuring her naked body. ANGELA I've been waiting for you. Lester kneels by the bathtub like a man in church. ANGELA -LRB- CONT'D. -RRB- You've been working out, have n't you? I can tell. She arches her back and looks up at him provocatively. ANGELA -LRB- CONT'D. -RRB- I was hoping you'd give me a bath. I'm very, very dirty. Lester gives her a hard look, then slowly slips his hand into the water between her legs. Her eyes widen and she throws her head back. and we SMASH CUT TO :", "INT. BURNHAM HOUSE - MASTER BEDROOM - CONTINUOUS CLOSE on Carolyn, her eyes wide, listening to the rhythmic BRUSH of Lester's hand as he masturbates under the covers. She flips over and faces him. CAROLYN What are you doing? A beat. LESTER Nothing. Carolyn switches on the bedside LIGHT. CAROLYN You were masturbating. LESTER I was not. CAROLYN Yes, you were. He turns to her, trying to look innocent, then gives up. LESTER All right, so shoot me. I was whacking off. Carolyn gets out of bed, repelled. Lester LAUGHS. LESTER -LRB- CONT'D. -RRB- That's right. I was choking the bishop. Shaving the carrot. Saying hi to my monster. CAROLYN That's disgusting. LESTER Well, excuse me, but I still have blood pumping through my veins! CAROLYN So do I! LESTER Really? I'm the only one who seems to be doing anything about it. CAROLYN Lester. I refuse to live like this. This is not a marriage. LESTER This has n't been a marriage for years. But you were happy as long as I kept my mouth shut. Well, guess what? I've changed. And the new me whacks off when he feels horny, because you're obviously not going to help me out in that department. CAROLYN Oh. I see. You think you're the only one who's sexually frustrated? LESTER I'm not? Well then, come on, baby! I'm ready. CAROLYN -LRB- furious. -RRB- Do not mess with me, mister, or I will divorce you so fast it'll make your head spin! LESTER On what grounds? I'm not a drunk, I do n't fuck other women, I do n't mistreat you, I've never hit you, or even tried to touch you since you made it so abundantly clear just how unnecessary you consider me to be. But. I did support you while you got your license. And some people might think that entitles me to half of what's yours. She sinks into a chair, stunned. It's clear he knows where she's most vulnerable. He sees this, and likes it ; it feels good to win for a change. He curls up under the covers contentedly. LESTER -LRB- CONT'D. -RRB- Turn out the light when you come to bed, okay? CLOSE on Lester, smiling.", "EXT. ROBIN HOOD TRAIL - EARLY MORNING We're FLYING high above the neighborhood. Below us we see the two Jims, jogging. We APPROACH them steadily. LESTER It's a great thing when you realize you still have the ability to surprise yourself. Makes you wonder what else you can do that you've forgotten about.", "EXT. ROBIN HOOD TRAIL - CONTINUOUS We're now at street level, FOLLOWING the two Jims. LESTER Hey! You guys! Still running, the Jims turn back in perfect unison, as Lester runs INTO FRAME, wearing a baggy sweatshirt and a pair of faded old sweatpants. The Jims slow down until he catches up, then the three men run together in the early morning light. JIM #2 Lester, I did n't know you ran. LESTER -LRB- panting. -RRB- Well, I just started. JIM #1 Good for you. LESTER I figured you guys might be able to give me some pointers. I need to shape up. Fast. JIM #1 Well, are you just looking to lose weight, or do you want have increased strength and flexibility as well? LESTER I want to look good naked.", "EXT. FITTS HOUSE - A SHORT TIME LATER The Colonel is washing his Ford Explorer, squatting to scrub the bumper, when something Catches his eye : His POV : Lester and the Jims jog down the street. The Colonel stands, scowling, as Ricky comes out of the house, holding the URINE SAMPLE in front of him. COLONEL What is this, the fucking gay pride parade? Lester breaks off from the two Jims and jogs up to Ricky and the Colonel, out of breath. He grabs hold of his knees and bends over, panting. LESTER Hey! Yo! Ricky! -LRB- re : the Jims. -RRB- My entire life is passing before my eyes, and those two have barely broken a sweat. He LAUGHS, and extends his hand to the Colonel. LESTER -LRB- CONT'D. -RRB- Sorry, hi. Lester Burnham, I live next door. We have n't met. COLONEL -LRB- shakes. -RRB- COLONEL Frank Fitts, U.S. Marine Corps. LESTER Whoa. Welcome to the neighborhood, sir. He salutes the Colonel good - naturedly, grinning. The Colonel does n't think it's funny. An awkward beat. LESTER -LRB- CONT'D. -RRB- So, Ricky, uh, I was thinking about the, uh. I was gon na. the movie we talked about. RICKY -LRB- quickly. -RRB- Re - Animator. LESTER Yeah! RICKY You want to borrow it? -LRB- before Lester can answer. -RRB- Okay, it's up in my room. Come on. He heads into the house. Lester waves at the Colonel, then follows him. The Colonel watches them go, his eyes dark.", "INT. FITTS HOUSE - RICKY'S BEDROOM - MOMENTS LATER Ricky enters, followed by Lester. RICKY Can you hold this for a sec? LESTER Sure. He gives the URINE SPECIMEN to Lester, then locks the door. RICKY I do n't think my dad would try to come in when somebody else is here, but you never know. Ricky crosses to a bureau and opens a DRAWER. He takes clothing out and piles it on his bed. LESTER -LRB- re : urine sample. -RRB- What is this? RICKY Urine. I have to take a drug test every six months to make sure I'm clean. LESTER Are you kidding? You just smoked with me last night. RICKY It's not mine. One of my clients is a nurse in a pediatrician's office. I cut her a deal, she keeps me in clean piss. Lester picks up a CD case from a shelf and examines it. LESTER You like Pink Floyd? RICKY I like a lot of music. LESTER Man, I have n't listened to this album in years. He shakes his head, then puts the CD case down. Ricky, having emptied the drawer, now removes a FALSE BOTTOM, revealing rows of MARIJUANA, tightly packed in ZIP - LOC BAGS. RICKY How much do you want? LESTER I do n't know, it's been a while. How much is an ounce? RICKY -LRB- indicates bag. -RRB- Well, this is totally decent, and it's three hundred. LESTER Wow. RICKY -LRB- indicates another bag. -RRB- But this shit is top of the line. It's called G - 13. Genetically engineered by the U.S. Government. Extremely potent. But a completely mellow high, no paranoia. LESTER Is that what we smoked last night? RICKY This is all I ever smoke. LESTER How much? RICKY Two grand. LESTER Jesus. Things have changed since 1973. RICKY You do n't have to pay now. I know you're good for it. A beat. LESTER Thanks. RICKY -LRB- hands him a bag. -RRB- There's a card in there with my beeper number, call me anytime day or night. And I only accept cash. LESTER -LRB- looks around room. -RRB- Well, now I know how you can afford all this equipment. When I was your age, I flipped burgers all summer just to be able to buy an eight track. RICKY That sucks. LESTER No actually, it was great. All I did was party and get laid. -LRB- smiles. -RRB- I had my whole life ahead of me. RICKY My dad thinks I pay for all this with catering jobs. -LRB- off Lester's look. -RRB- Never underestimate the power of denial. Lester smiles. This kid's cool.", "EXT. BURNHAM HOUSE - LATER Carolyn, carrying a basket of fresh cut ROSES, passes by the GARAGE WINDOW. From inside the garage, we HEAR ROCK MUSIC. Carolyn stops and SNIFFS the air, frowning. She peers through the window. Her POV : Lester, in a T - shirt and gym shorts, lies on a new WEIGHT BENCH, doing bench presses with shiny new BARBELLS.", "INT. GARAGE - CONTINUOUS ROCK MUSIC blasts from a new BOOMBOX on the floor. The garage is in the process of becoming Lester's sanctuary. An ugly but comfortable 70's BOWL CHAIR has been pulled out and cleaned off, his old hot rod magazines strewn across it, and the remote - controlled MODEL JEEP KIT is spread across a card table. The SHELVES that Lester tore through earlier have been dismantled, leaving a blank wall on which now hangs a DART BOARD. Lester finishes his last rep, straining, then puts the weights in their rack and sits up. As he takes a drag off a joint, the GARAGE DOOR suddenly starts to open. Lester looks up, squinting at : His POV : The door raises to reveal Carolyn, silhouetted against the bright sunlight outside, pointing a REMOTE at us. LESTER Uh - oh, mom's mad. CAROLYN What the hell do you think you're doing? LESTER Bench presses. I'm going to wail on my pecs, and then I'm going to do my back. CAROLYN I see you're smoking pot now. I'm so glad. I think using illegal psychotropic substances is a very positive example to set for our daughter. LESTER You're one to talk, you bloodless, money - grubbing freak. CAROLYN -LRB- hostile. -RRB- Lester. You have such hostility in you! LESTER Do you mind? I'm trying to work out here. -LRB- then, suggestively. -RRB- Unless you want to spot me. CAROLYN You will not get away with this. You can be sure of that! And she's gone. Lester leans back on the bench and grabs the weights. LESTER -LRB- as he lifts. -RRB- That's. What. You. Think.", "INT. BRAD'S OFFICE - DAY Brad is seated behind his desk, reading a document. Lester sits across from him, smiling. BRAD -LRB- reads. -RRB-''. my job consists of basically masking my contempt for the assholes in charge, and, at least once a day, retiring to the men's room so I can jerk off, while I fantasize about a life that does n't so closely resemble hell.'' -LRB- looks up at Lester. -RRB- Well, you obviously have no interest in saving yourself. LESTER -LRB- laughs. -RRB- Brad, for fourteen years I've been a whore for the advertising industry. The only way I could save myself now is if I start firebombing. BRAD Whatever. Management wants you gone by the end of the day. LESTER Well, just what sort of severance package is `` management'' prepared to offer me? Considering the information I have about our editorial director buying pussy with company money. A beat. LESTER -LRB- CONT'D. -RRB- Which I'm sure would interest the I.R.S., since it technically constitutes fraud. And I'm sure that some of our advertisers and rival publications might like to know about it as well. Not to mention, Craig's wife. Brad sighs. BRAD What do you want? LESTER One year's salary, with benefits. BRAD That's not going to happen. LESTER Well, what do you say I throw in a little sexual harassment charge to boot? Brad LAUGHS. BRAD Against who? LESTER Against you. Brad stops laughing. LESTER -LRB- CONT'D. -RRB- Can you prove you did n't offer to save my job if I'd let you blow me? Brad leans back in his chair, studying Lester. BRAD Man. You are one twisted fuck. LESTER -LRB- standing. -RRB- Nope. I'm just an ordinary guy with nothing to lose.", "INT. OFFICE BUILDING - MOMENTS LATER Exhilarated, Lester walks down a corridor, his belongings in a box on his shoulder. He's happier than he's been in years. LESTER Yeah!", "INT. RESTAURANT - LATER THAT DAY Carolyn sits at a table, lost in thought. There are two menus on the table. After a moment, Buddy Kane, the Real Estate King, joins her. Carolyn immediately becomes warm and gracious. BUDDY Carolyn. CAROLYN Buddy. Carolyn smiles, genuinely touched that he remembers her name. BUDDY I'm so sorry I kept you waiting. Christy left for New York this morning, and. let's just say things were very hectic around the house. CAROLYN What's she doing in New York? BUDDY She's moving there. -LRB- off Carolyn's look. -RRB- Yes. We are splitting up. CAROLYN Buddy. I'm so sorry. BUDDY -LRB- bitterly. -RRB- Yes, according to her, I'm too focused on my career. As if being driven to succeed is some sort of character flaw. Well, she certainly knew how to take advantage of the lifestyle my success afforded her. Oh. Wow. -LRB- then, laughing. -RRB- Ah, it's for the best. CAROLYN When I saw you two at the party the other night, you seemed perfectly happy. BUDDY Well, call me crazy, but it is my philosophy that in order to be successful, one must project an image of success, at all times. He smiles, then opens his menu. Carolyn picks hers up mechanically, but continues to stare at him, enraptured, like a fervent Christian who's just come face to face with Jesus.", "EXT. HIGH SCHOOL CAMPUS - LATER THAT DAY Ricky stands with his DIGICAM, videotaping something on the ground at his feet. On VIDEO : A DEAD BIRD lays on the ground, decomposing. ANGELA -LRB- O.C. -RRB- What are you doing? On VIDEO : The camera JERKS up to discover Jane and Angela staring at us. RICKY -LRB- O.C. -RRB- I was filming this dead bird. ANGELA Why? RICKY -LRB- O.C. -RRB- Because it's beautiful. On VIDEO : Angela looks at Jane, trying not to laugh. ANGELA I think maybe you forgot your medication today, mental boy. On VIDEO : She falls out of frame as we ZOOM toward Jane. RICKY -LRB- O.C. -RRB- Hi, Jane. JANE -LRB- uncomfortable. -RRB- Look. I want you to stop filming me. Ricky lowers the Digicam. RICKY Okay. He looks at her, curious, his eyes searching hers. She does n't look away. ANGELA Well, whatever. -LRB- to Jane. -RRB- This is boring. Let's go. JANE -LRB- to Ricky. -RRB- Do you need a ride? ANGELA -LRB- to Jane. -RRB- Are you crazy? I do n't want to end up hacked to pieces in a dumpster somewhere. RICKY It's okay. I'll walk. But thanks. ANGELA Yeah, see? He does n't want to go anyway. C'mon, let's go. Angela starts off, but Jane does n't follow. Ricky smiles at her. She almost smiles back, then : JANE -LRB- calls off to Angela. -RRB- I think I'm going to walk, too. Angela stops and stares at her. ANGELA What? Jane, that's like, almost a mile.", "EXT. TOP HAT MOTEL - LATER THAT DAY Carolyn's Mercedes is parked next to a JAGUAR CONVERTIBLE with a VANITY LICENSE PLATE that reads `` R E KING.''", "INT. TOP HAT MOTEL - CONTINUOUS Carolyn and Buddy are in the middle of sex. CAROLYN Yes! Oh, God! I love it! BUDDY You like getting nailed by the king? CAROLYN Oh yes! I love it! Fuck me, your majesty!", "EXT. STREET - LATER THAT DAY Lester's TOYOTA CAMRY cruises through the streets. We hear Lester SINGING along to `` AMERICAN WOMAN'' on the STEREO.", "INT. TOYOTA CAMRY - CONTINUOUS Lester is driving, smoking a joint. LESTER AMERICAN WOMAN, STAY AWAY FROM ME. AMERICAN WOMAN, MAMA LET ME BE. DO N'T COME A HANGIN' AROUND MY DOOR. I DO N'T WANT TO SEE YOUR FACE NO MORE.", "EXT. MR. SMILEY'S - CONTINUOUS Lester continues singing along to `` AMERICAN WOMAN,'' as the Camry pulls into the parking lot of a FAST FOOD RESTAURANT. Lester pulls up to the drive - thru speaker box. DRIVE-THRU GIRL -LRB- O.C. -RRB- -LRB- over speaker box. -RRB- Smile you're at Mr. Smiley's. Lester turns down the volume on the stereo. LESTER What? DRIVE-THRU GIRL -LRB- O.C. -RRB- Would you like to try our new bacon and egg fajita just a dollar twenty - nine for a limited time only. LESTER Uh. no. But thank you. -LRB- reading menu. -RRB- I'll have a Big Barn Burger, Smiley fries, and an orange soda. DRIVE-THRU GIRL -LRB- O.C. -RRB- Please drive up to the window, thank you. He pulls the car around to the WINDOW, where a teenage GIRL wearing a headset is waiting. DRIVE-THRU GIRL -LRB- CONT'D. -RRB- Smile, you're at Mr. Smiley's, that'll be four eighty - nine, please. Lester pays her. As she hands him his food, he notices a SIGN in the corner of the window that reads : NOW TAKING APPLICATIONS COUNTER GIRL Would you like some Smiley Sauce? LESTER No. No, actually. I'd like to fill out an application. She stares at him, confused by his age and attire. COUNTER GIRL There's not jobs for manager, it's just for counter. LESTER Good. I'm looking for the least possible amount of responsibility.", "INT. MR. SMILEY'S - A SHORT TIME LATER Lester sits at a booth with the MANAGER, a greasy kid wearing a white short sleeve shirt and a tie covered with the Mr. Smiley's logo. He looks over Lester's application, baffled. MANAGER I do n't think you'd fit in here. LESTER I have fast food experience. MANAGER Yeah, like twenty years ago. LESTER Well, I'm sure there have been amazing technological advances in the industry, but surely you have some sort of training process. It seems unfair to presume I wo n't be able to learn. The Manager sighs and runs a hand through his greasy hair, wondering what he could possibly have done to deserve this.", "INT. TOP HAT MOTEL - LATER THAT DAY Carolyn and Buddy are in bed, post - sex. CAROLYN That was exactly what I needed. The royal treatment, so to speak. They laugh. CAROLYN -LRB- CONT'D. -RRB- I was so stressed out. BUDDY Know what I do when I feel like that? CAROLYN What? BUDDY I fire a gun. Carolyn sits up, eager to learn from the master. CAROLYN -LRB- intrigued. -RRB- Really. BUDDY Oh yeah, I go to this little firing range downtown, and I just pop off a few rounds. CAROLYN -LRB- embarrassed. -RRB- I've never fired a gun before. BUDDY Oh, you've got ta try it. Nothing makes you feel more powerful. -LRB- smiles seductively. -RRB- Well, almost nothing. Carolyn is quick to pick up her cue and kisses him, ready for another round.", "EXT. SUBURBAN STREET - LATER THAT DAY Ricky and Jane walk along without speaking. He seems comfortable with the silence ; she does n't. After a beat : JANE So how do you like your new house? RICKY I like it. A beat. JANE The people who used to live there fed these stray cats, so they were always around, and it drove my mother nuts. And then she cut down their tree. An automobile FUNERAL PROCESSION appears and begins to pass them slowly. RICKY Have you ever known anybody who died? JANE No. -LRB- a beat. -RRB- Have you? RICKY No, but I did see this homeless woman who froze to death once. Just laying there on the sidewalk. She looked really sad. They watch the FUNERAL CARS pass. RICKY -LRB- CONT'D. -RRB- I got that homeless woman on video. JANE Why would you film that? RICKY Because it was amazing. JANE What was amazing about it? A beat. RICKY When you see something like that, it's like God is looking right at you, just for a second. And if you're careful, you can look right back. JANE And what do you see? RICKY Beauty.", "INT. FITTS HOUSE - KITCHEN - MOMENTS LATER Barbara Fitts sits at the kitchen table, staring off into space as if hypnotized. Behind her, Ricky enters, followed by Jane. RICKY Mom, I want you to meet somebody. -LRB- no response. -RRB- Mom. Barbara's eyes flutter and she turns to him slowly. BARBARA -LRB- pleasant. -RRB- Yes? RICKY I want you to meet somebody. This is Jane. JANE Hi. BARBARA Oh, my. I apologize for the way things look around here. Jane glances around. The room is spotless.", "INT. FITTS HOUSE - THE COLONEL'S STUDY - MOMENTS LATER We HEAR KEYS TURNING in the lock, then the door opens and Ricky enters, holding a RING OF KEYS, followed by Jane. RICKY This is where my dad hides out. GLASS CASES filled with GUNS line the walls. JANE I take it he's got a thing for guns. Ricky crosses to a built - in CABINET behind the desk. RICKY You got to see this one thing. He unlocks the cabinet and opens it, revealing shelves stacked with WAR MEMORABILIA. RICKY -LRB- CONT'D. -RRB- My dad would kill me if he knew I was in here. JANE Did you steal his keys? RICKY No. One of my clients is a locksmith. He was short on cash one night, so I let him pay me in trade. He reaches into the cabinet and carefully removes an oval CHINA PLATTER, which he hands to Jane. She examines it. RICKY -LRB- CONT'D. -RRB- Turn it over. CLOSE on the bottom of the plate : A small SWASTIKA is imprinted in the center. JANE Oh my God. RICKY It's like official state china of the Third Reich. There's a whole subculture of people who collect this Nazi shit. But my dad just has this one thing. He puts the platter back into the cabinet and shuts the door, then notices Jane looking at him oddly. RICKY -LRB- CONT'D. -RRB- What's wrong? JANE Nothing. RICKY -LRB- concerned. -RRB- No, you're scared of me. JANE No I'm not. But she is. Ricky studies her. RICKY You want to see the most beautiful thing I've ever filmed?", "INT. FITTS HOUSE - RICKY'S BEDROOM - MOMENTS LATER On VIDEO : We're in an empty parking lot on a cold, gray day. Something is floating across from us. it's an empty, wrinkled, white PLASTIC BAG. We follow it as the wind carries it in a circle around us, sometimes whipping it about violently, or, without warning, sending it soaring skyward, then letting it float gracefully down to the ground. Jane and Ricky sit on the bed, watching his WIDE - SCREEN TV. RICKY It was one of those days when it's a minute away from snowing. And there's this electricity in the air, you can almost hear it, right? And this bag was just. dancing with me. Like a little kid begging me to play with it. For fifteen minutes. That's the day I realized that there was this entire life behind things, and this incredibly benevolent force that wanted me to know there was no reason to be afraid. Ever. A beat. RICKY -LRB- CONT'D. -RRB- Video's a poor excuse, I know. But it helps me remember. I need to remember. Now Jane is watching him. RICKY -LRB- CONT'D. -RRB- -LRB- distant. -RRB- Sometimes there's so much beauty in the world I feel like I ca n't take it. and my heart is going to cave in. After a moment, Jane takes his hand. Then she leans in and kisses him softly on the lips. His eyes scan hers, curious to see how she reacts to this. JANE -LRB- suddenly. -RRB- Oh my God. What time is it?", "INT. BURNHAM HOUSE - DINING ROOM - MOMENTS LATER Lester sits at the table in sloppy clothes, eating his dinner voraciously and drinking beer from a bottle. Across from him, Carolyn picks at her food, watching him with contempt. EASY - LISTENING MUSIC plays on the STEREO. We HEAR the back door SLAM, then Jane enters and quickly takes her seat at the table. JANE Sorry I'm late. CAROLYN -LRB- overly cheerful. -RRB- No, no, that's quite all right, dear. Your father and I were just discussing his day at work. -LRB- to Lester. -RRB- Why do n't you tell our daughter about it, honey? Jane stares at both her parents, apprehensive. Lester looks at Carolyn darkly, then flashes a `` you - asked - for - it'' grin. LESTER Janie, today I quit my job. And then I told my boss to fuck himself, and then I blackmailed him for almost sixty thousand dollars. Pass the asparagus. CAROLYN Your father seems to think this kind of behavior is something to be proud of. LESTER And your mother seems to prefer I go through life like a fucking prisoner while she keeps my dick in a mason jar under the sink. CAROLYN -LRB- ashen. -RRB- How dare you speak to me that way in front of her? And I marvel that you can be so contemptuous of me, on the same day that you lose your job! LESTER Lose it? I did n't lose it. It's not like, `` Oops, where'd my job go?'' I quit. Someone pass me the asparagus. CAROLYN Oh! Oh! And I want to thank you for putting me under the added pressure of being the sole breadwinner now - LESTER I already have a job. CAROLYN -LRB- not stopping. -RRB- No, no, do n't give a second thought as to who's going to pay the mortgage. We'll just leave it all up to Carolyn. You mean, you're going to take care of everything now, Carolyn? Yes. I do n't mind. I really do n't. You mean, everything? You do n't mind having the sole responsibility, your husband feels he can just quit his job - LESTER -LRB- overlapping. -RRB- Will someone pass me the fucking asparagus? JANE -LRB- rises. -RRB- Okay, I'm not going to be a part of this - LESTER -LRB- means it. -RRB- Sit down. Jane does so, surprised and intimidated by the power in his voice. Lester gets up, crosses to the other side of the table to get a PLATE OF ASPARAGUS, then sits again as he serves himself. LESTER -LRB- CONT'D. -RRB- I'm sick and tired of being treated like I do n't exist. You two do whatever you want to do whenever you want to do it and I do n't complain. All I want is the same courtesy - CAROLYN -LRB- overlapping. -RRB- Oh, you do n't complain? Oh, excuse me. Excuse me. I must be psychotic then, if you do n't complain. What is this?! Am I locked away in a padded cell somewhere, hallucinating? That's the only explanation I can think of - Lester hurls the plate of asparagus against the wall with such force it SHATTERS, frightening Carolyn and Jane. LESTER -LRB- casual. -RRB- Do n't interrupt me, honey. He goes back to eating his meal, as if nothing unusual has happened. Carolyn sits in her chair, shivering with rage. Jane just stares at the plate in front of her. LESTER -LRB- CONT'D. -RRB- Oh, and another thing. From now on, we're going to alternate our dinner music. Because frankly, and I do n't think I'm alone here, I'm really tired of this Lawrence Welk shit.", "INT. BURNHAM HOUSE - JANE'S BEDROOM - THAT NIGHT Jane is sitting on her bed. There is a KNOCK at the door. JANE Go. Away. CAROLYN -LRB- O.C. -RRB- Honey, please let me in. Jane rolls her eyes, crosses to the door and lets Carolyn in. CAROLYN -LRB- CONT'D. -RRB- I wish that you had n't witnessed that awful scene tonight. But in a way, I'm glad. JANE Why, so I could see what freaks you and Dad really are? CAROLYN Me? She stares at Jane, then starts to cry. JANE Aw, Christ, Mom. CAROLYN -LRB- tearful. -RRB- No, I'm glad because you're old enough now to learn the most important lesson in life : you can not count on anyone except yourself. -LRB- sighs. -RRB- You can not count on anyone except yourself. It's sad, but true, and the sooner you learn it, the better. JANE Look, Mom, I really do n't feel like having a Kodak moment here, okay? Carolyn suddenly SLAPS Jane, hard. CAROLYN You ungrateful little brat. Just look at everything you have. When I was your age, I lived in a duplex. We did n't even have our own house. Embarrassed, she quickly leaves. Jane looks in a mirror and rubs her cheek, then crosses to the window and looks out.", "EXT. FITTS HOUSE - CONTINUOUS Jane's POV : We're across from Ricky's room, looking in. He stands at the window with his DIGICAM, videotaping us. On the WIDE - SCREEN TV behind him, we see Jane standing in her window as she looks across at him. She waves. Ricky just keeps videotaping. A beat, then she starts to take off her shirt.", "INT. FITTS HOUSE - RICKY'S BEDROOM - CONTINUOUS We're behind Ricky as he videotapes Jane in her window. She has now removed her shirt. She stands there in her bra, then reaches behind her back to unhook the bra. On VIDEO : We ZOOM toward her as she takes off her bra clumsily. She's obviously embarrassed, but she's gone this far and there's no turning back. She stands there with her breasts exposed, trying to look defiant, but she's achingly vulnerable. Suddenly, the door is thrown open and the Colonel enters, incensed. Startled, Ricky turns around. As soon as his eyes meet his father's, he knows what's up. COLONEL You little bastard - Ricky scrambles to dodge his father, but the Colonel is too fast ; he punches Ricky in the face, knocking him to the floor. COLONEL -LRB- CONT'D. -RRB- How did you get in there?", "EXT. BURNHAM HOUSE - CONTINUOUS From her window, Jane watches, pulling the drapes in front of her.", "EXT. FITTS HOUSE - CONTINUOUS Jane's POV : In the WINDOW across from us, the Colonel proceeds to give Ricky a serious beating, punching his face.", "INT. FITTS HOUSE - RICKY'S BEDROOM - CONTINUOUS Ricky's lip is bleeding, but he maintains a steady gaze at his father during this violence. COLONEL -LRB- unnerved. -RRB- How!? How?! C'mon, get up! Fight back, you little pussy! RICKY No, sir. I wo n't fight you. The Colonel grabs him by the collar. COLONEL How did you get in there? RICKY I picked the lock, sir. COLONEL What were you looking for? Money? Are you on dope again? RICKY No, sir. I wanted to show my girlfriend your Nazi plate. A beat. COLONEL Girlfriend? RICKY Yes, sir. She lives next door. The Colonel glances toward the window. His POV : In the WINDOW across from us, Jane peeks out from behind the drape. She quickly pulls it shut. RICKY -LRB- CONT'D. -RRB- Her name's Jane. A beat. The Colonel is suddenly, deeply shamed. COLONEL This is for your own good, boy. You have no respect for other people's things, for authority, for. RICKY Sir, I'm sorry. COLONEL You ca n't just go around doing whatever you feel like, you ca n't - there are rules in life - RICKY Yes, sir. COLONEL You need structure, you need discipline - RICKY -LRB- simultaneous. -RRB- Discipline. Yes, sir, thank you for trying to teach me. Do n't give up on me, Dad. The Colonel stands, still breathing heavily. Tenderness fills his face, and he reaches out to touch Ricky's cheek. COLONEL Oh, Ricky. But something keeps him from doing it. COLONEL -LRB- CONT'D. -RRB- You stay out of there. He leaves. Ricky gets up and goes to his bureau. He looks at his reflection in the mirror, calmly takes a cloth and starts to wipe the blood from his face. FADE TO BLACK. In darkness, we HEAR repetitive GUNSHOTS.", "INT. INDOOR FIRING RANGE - ONE MONTH LATER Carolyn, wearing PROTECTIVE HEADGEAR, is holding a GLOCK 19 AUTOMATIC REVOLVER with both hands, FIRING it directly at us. She empties a round and stands there, exhilarated. An ATTENDANT approaches with a new round of ammunition. ATTENDANT -LRB- loading gun. -RRB- I got ta say, Mrs. Burnham, when you first came here I thought you would be hopeless. But you're a natural. CAROLYN Well, all I know is. I love shooting this gun! And she starts FIRING again.", "INT. MERCEDES-BENZ ML320 - LATER Bobby Darin sings `` DO N'T RAIN ON MY PARADE'' on the RADIO. Carolyn SINGS along as she drives. Her face has lost its usual resolute determination ; she's actually enjoying herself spontaneously, and the lack of her usual self - consciousness allows us to see just how beautiful she is. ANGLE ON the GLOCK 19 sitting on the passenger seat amidst some CDs. Carolyn takes the gun and holds it at arm's length, admiring it as she continues to SING.", "EXT. ROBIN HOOD TRAIL - CONTINUOUS The Mercedes turns onto Robin Hood Trail.", "INT. MERCEDES-BENZ ML320 - CONTINUOUS Carolyn's POV : We turn into the Burnham driveway. A 1970 PONTIAC FIREBIRD with racing stripes blocks our access to the garage. CLOSE on Carolyn : She does n't like having things in her way.", "INT. BURNHAM HOUSE - FAMILY ROOM - MOMENTS LATER Lester's REMOTE - CONTROLLED MODEL JEEP is zooming across the floor of the family room, expertly maneuvering corners and narrowly avoiding crashing. Lester is sprawled on the couch in his underwear, drinking a BEER and controlling the car. His working out is beginning to produce results. The room, too, seems changed : sloppier, more lived in. Carolyn enters through the kitchen, flushed and angry. She just stands there, staring at Lester. After a moment, he looks up at her. LESTER What? CAROLYN Ah, whose car is that out front? LESTER Mine. 1970 Pontiac Firebird. The car I always wanted and now I have it. I rule! CAROLYN Where's the Camry? LESTER I traded it in. CAROLYN Should n't you have consulted me first? LESTER Hmm, let me think. No. You never drove it. -LRB- then. -RRB- Have you done something different? You look great. CAROLYN -LRB- brusque. -RRB- Where's Jane? LESTER Jane not home. We have the whole house to ourselves. He smiles at her playfully. She stares back, annoyed. It's the same look she had at the beginning, when he dropped his briefcase, but whatever power that look had is gone. Lester just LAUGHS. LESTER -LRB- CONT'D. -RRB- Christ, Carolyn. When did you become so. joyless? CAROLYN -LRB- taken aback. -RRB- Joyless?! I am not joyless! There happens to be a lot about me that you do n't know, mister smarty man. There is plenty of joy in my life. LESTER -LRB- leaning toward her. -RRB- Whatever happened to that girl who used to fake seizures at frat parties when she got bored? And who used to run up to the roof of our first apartment building to flash the traffic helicopters? Have you totally forgotten about her? Because I have n't. His face is close to hers, and suddenly the atmosphere is charged. She pulls back automatically, but it's clear she's drawn to him. He smiles, and moves even closer, holding his beer loosely balanced. Then, just before their lips meet. CAROLYN -LRB- barely audible. -RRB- Lester. You're going to spill beer on the couch. She's immediately sorry she said it, but it's too late. His smile fades, and the moment is gone. LESTER So what? It's just a couch. CAROLYN This is a four thousand dollar sofa upholstered in Italian silk. This is not `` just a couch.'' LESTER It's just a couch! He stands and gestures toward all the things in the room. LESTER -LRB- CONT'D. -RRB- This is n't life. This is just stuff. And it's become more important to you than living. Well, honey, that's just nuts. Carolyn stares at him, on the verge of tears, then turns and walks out of the room before he can see her cry. LESTER -LRB- CONT'D. -RRB- -LRB- calls after her. -RRB- I'm only trying to help you.", "INT. FITTS HOUSE - RICKY'S BEDROOM - NIGHT On VIDEO : Jane lays in Ricky's bed, wearing a tank top. She glances at us. JANE -LRB- shy. -RRB- Do n't. We're watching the WIDE - SCREEN TV in Ricky's room. A CORD leads from the TV to Ricky's DIGICAM. Ricky holds the camera, sitting naked in a chair. It's been almost a month since his father beat him up, and there are still slight SCARS on his face. He's aiming his camera at Jane. RICKY Why? JANE -LRB- re : image on TV. -RRB- It's weird, watching myself. I do n't like how I look. RICKY I ca n't believe you do n't know how beautiful you are. JANE I'm not going to sit here for that shit. She gets out of bed, takes his Digicam and focuses it on him. We see his image on the TV as she videotapes. JANE -LRB- CONT'D. -RRB- Ha. How does it feel now? RICKY Fine. JANE You do n't feel naked? RICKY I am naked. JANE You know what I mean. Jane ZOOMS in on his face, which remains placid. JANE -LRB- CONT'D. -RRB- Tell me about being in the hospital. Ricky smiles. RICKY When I was fifteen, my dad caught me smoking dope. He totally freaked and decided to send me to military school. I told you his whole thing about structure and discipline, right? -LRB- laughs. -RRB- Well, of course, I got kicked out. Dad and I had this huge fight, and he hit me. and then the next day at school, some kid made a crack about my haircut, and. I just snapped. I wanted to kill him. And I would have. Killed him. If they had n't pulled me off. -LRB- then. -RRB- That's when my dad put me in the hospital. Then they drugged me up and left me in there for two years. JANE Wow. You must really hate him. RICKY He's not a bad man. He grabs a half - smoked JOINT from an ashtray and lights it. JANE Well. you better believe I'd hate my father if he did something like that to me. -LRB- laughs. -RRB- Wait. I do hate my father. RICKY Why? He passes her the joint, then takes the Digicam and focuses it on her. We see her image on the TV as he videotapes. JANE He's a total asshole and he's got this crush on my friend Angela and it's disgusting. RICKY You'd rather he had the crush on you? JANE Gross, no! But it'd be nice if I was anywhere near as important to him as she is. -LRB- then. -RRB- I know you think my dad's harmless, but you're wrong. He's doing massive psychological damage to me. RICKY How? Jane looks into the camera, a loopy, stoned grin on her face. JANE Well, now, I too need structure. A little fucking discipline. They LAUGH. She lays back on the bed. JANE -LRB- CONT'D. -RRB- I'm serious, though. How could he not be damaging me? I need a father who's a role model, not some horny geek - boy who's gon na spray his shorts whenever I bring a girlfriend home from school. -LRB- snorts. -RRB- What a lame - o. Somebody really should put him out of his misery. Her mind wanders for a beat. RICKY Want me to kill him for you? Jane looks at him and sits up. JANE Yeah, would you? RICKY -LRB- smiles. -RRB- It'll cost you. JANE Well, I've been baby - sitting since I was about ten. I've got almost three thousand dollars. ` Course, I was saving it up for a boob job. She stands and sticks out her breasts, then falls back on the bed, LAUGHING. JANE -LRB- CONT'D. -RRB- But my tits can wait, huh? RICKY You know, that's not a very nice thing to do, hiring somebody to kill your dad. JANE Well, I guess I'm just not a very nice girl, then, am I? She smiles dreamily at him. He turns the Digicam off and the TV screen goes BLUE. He lowers the camera and looks at her intently. JANE -LRB- CONT'D. -RRB- -LRB- suddenly nervous. -RRB- You know I'm not serious, right? RICKY Of course. He puts the Digicam down and joins Jane on the bed. A long moment where neither of them speaks. He caresses her hair, gazing into her eyes. RICKY -LRB- CONT'D. -RRB- Do you know how lucky we are to have found each other? FADE TO BLACK.", "EXT. ROBIN HOOD TRAIL - EARLY MORNING We're FLYING above Robin Hood Trail. We see the BURNHAM'S HOUSE below us as we APPROACH it steadily. LESTER Remember those posters that said, `` Today is the first day of the rest of your life?'' Well, that's true of every day except one. -LRB- a beat. -RRB- The day you die. We're almost on top of the Burnham house now, as Lester, wearing sweatpants and running shoes, bursts out of the front door and dashes up the driveway.", "EXT. ROBIN HOOD TRAIL - A SHORT TIME LATER We're now at street level, as Lester runs toward us. He carries a WALKMAN and wears EARPHONES, and we HEAR ROCK MUSIC as he runs. The endorphins have kicked in, and Lester grins, reveling in the sheer physical pleasure of his body.", "INT. BURNHAM HOUSE - KITCHEN - A SHORT TIME LATER The blender GRINDS as Lester, still in his sweatpants, makes himself a high - protein shake. He's in excellent shape ; even his posture has changed, and he moves with the confident, easy swagger of an athlete. Jane watches him blankly from the kitchen table. Carolyn enters. Lester leans against the counter, drinking his shake directly from the blender pitcher, eyeing her. He's got a newfound sexual energy that makes her uncomfortable, and he knows it. Carolyn quickly rinses off her coffee cup, avoiding his eyes, and starts out. CAROLYN Jane, hurry up. I've got a very important appointment - JANE Mom, is it okay if Angela sleeps over tonight? Jane looks at Lester to see how he reacts. He does n't. CAROLYN Well, of course, she's always welcome. -LRB- on her way out. -RRB- You know, I thought maybe you two had a fight. I have n't seen her around here in a while. And she's gone. Jane continues staring at her father. Finally, he glances over at her. LESTER What? JANE -LRB- nervous. -RRB- I've been too embarrassed to bring her over. Because of you, and the way that you behave. LESTER What are you talking about? I've barely even spoken to her. JANE -LRB- angry. -RRB- Dad! You stare at her all the time, like you're drunk! It's disgusting! LESTER -LRB- angry himself. -RRB- You better watch yourself, Janie, or you're going to turn into a real bitch, just like your mother. Jane is stunned. She quickly rises, trying to get out of the kitchen before she starts crying. ANGLE on Lester, and the immediate regret in his eyes. LESTER -LRB- CONT'D. -RRB- -LRB- under his breath. -RRB- Fuck.", "INT. FITTS HOUSE - UPSTAIRS HALLWAY - CONTINUOUS We're outside Ricky's room, MOVING slowly toward the open door, through which we can see Ricky, standing at his bureau mirror, combing his hair. The scars on his face are almost gone now. A REVERSE ANGLE reveals the Colonel standing outside the door looking in, watching Ricky with great tenderness. Then Ricky looks up at him, and the Colonel is suddenly self - conscious. COLONEL -LRB- brusque. -RRB- You ready to go? RICKY Oh, I do n't need a ride. I'm going to go in with Jane and her mom.", "EXT. FITTS HOUSE - FRONT PORCH - MOMENTS LATER Ricky emerges from the house, followed by the Colonel, who watches his son as he heads toward the Burnham house. His POV : Carolyn waves from the Mercedes, flashing an insincere smile. Jane leans forward from the passenger seat and glares at us. As Ricky starts to get in the car, Lester emerges from the house in his sweatpants. LESTER Yo, Ricky. How's it going? RICKY Pretty decent, Mr. Burnham. Ricky pulls his door shut, but not before Lester mouths `` call me'' and Ricky gives a slight nod in acknowledgment. CLOSE on the Colonel's face : he looks confused. As the Mercedes backs out of the driveway, Lester glances over at him. Lester's POV : The Colonel watches the car driving off, then looks at us. His face tightens. LESTER studies him for a moment, then grins and salutes before going inside the house. CLOSE on the Colonel, deeply troubled.", "INT. FITTS HOUSE - RICKY'S ROOM - MOMENTS LATER The door swings open silently and the Colonel enters. He starts going through Ricky's bureau. He opens the DRAWER in which we know Ricky keeps his marijuana, but he does n't discover its false bottom. He stands and looks around, his eyes finally landing on : The DIGICAM and a stack of CASSETTES on a shelf. The camera is still connected to the TV. The Colonel turns on the TV, examines the Digicam and presses `` play.'' The TV's blank screen suddenly gives way to. On VIDEO : Barbara Fitts sits at the kitchen table, staring off into space. The Colonel watches, at first baffled, then impatient. He takes the cassette out of the Digicam and inserts another. On the TV screen we see. On VIDEO : Through the Burnham's GARAGE WINDOW, we see Lester step out of his pants and briefs. Then, naked except for his black socks, he grabs the dumbbells and starts lifting them, watching his reflection in the window as he does. The Colonel sinks slowly onto Ricky's bed, mesmerized.", "INT. MR. SMILEY'S - LATER Lester, wearing a Mr. Smiley's uniform, is happily flipping burgers on a grill. CO-WORKER Hey Lester, I need that Super Smiley with cheese, A.S.A.P. LESTER You need more than that, my little hombre. Lester looks up suddenly when he HEARS : CAROLYN -LRB- O.S. -RRB- -LRB- over speakers. -RRB- What's good here? BUDDY -LRB- O.C. -RRB- -LRB- over speakers. -RRB- Nothing. CAROLYN -LRB- O.C. -RRB- -LRB- over speakers. -RRB- Then I guess we'll just have to be bad, wo n't we? -LRB- then. -RRB- I think I'll have a double Smiley Sandwich and curly fries, and a vanilla shake. BUDDY -LRB- O.C. -RRB- -LRB- over speakers. -RRB- Make that two. COUNTER GIRL -LRB- O.C. -RRB- -LRB- over speakers. -RRB- Please drive around thank you. Lester's face darkens, then. he smiles. He puts his spatula down.", "EXT. MR. SMILEY'S - CONTINUOUS The Mercedes pulls around to the DRIVE - THRU WINDOW. Carolyn drives ; Buddy sits beside her. CAROLYN I think we deserve a little junk food, after the workout we had this morning. BUDDY -LRB- nuzzles her neck. -RRB- I'm flattered. They are too involved with each other to notice Lester watching them from the drive - thru window. LESTER -LRB- overly cheerful. -RRB- Smile! You're at Mr. Smiley's! Carolyn almost jumps out of her skin. Lester leans out of the drive - thru window, grinning at her, holding bags filled with fast food. The Counter Girl stands next to him, staring blankly. LESTER -LRB- CONT'D. -RRB- Would you like to try our new beef and cheese pot pie on a stick, just a dollar ninety - nine for a limited time only? Carolyn struggles to appear nonchalant. CAROLYN -LRB- re : Buddy. -RRB- We were just at a seminar. -LRB- then, all business. -RRB- Buddy, this is my - LESTER Her husband. We've met before, but something tells me you're going to remember me this time. COUNTER GIRL -LRB- to Carolyn. -RRB- Whoa. You are so busted. CAROLYN -LRB- flustered. -RRB- You know, this really does n't concern you. LESTER Actually, Janeane is senior drive - thru manager, so you kind of are on her turf. -LRB- to Carolyn, quietly. -RRB- So. This makes sense. CAROLYN -LRB- miserable. -RRB- Oh, Lester - LESTER Honey, it's okay. I want you to be happy. -LRB- then. -RRB- Would you like Smiley Sauce with that? CAROLYN Lester, just stop it! LESTER Uh - uh. You do n't get to tell me what to do. Ever again. Carolyn closes her eyes, defeated, then grabs the wheel, shifts gears and drives off.", "EXT. TOP HAT MOTEL - A SHORT TIME LATER The sky is filled with ominous gray clouds. Wind whips garbage across the parking lot as Carolyn's Mercedes pulls in next to Buddy's Jaguar.", "INT. MERCEDES-BENZ ML320 - CONTINUOUS Carolyn grips the wheel tightly, staring straight ahead. Buddy looks at her unhappily. BUDDY I'm sorry. I guess we should cool it for a while. I'm facing a potentially very expensive divorce. CAROLYN Oh, no. I understand completely. -LRB- sarcastic. -RRB- In order to be successful, one must project an image of success. At all times. She regrets it the second it's out of her mouth, and turns to him. He just looks at her sadly, then gets out of the car and shuts the door. She starts to CRY. As before, she SLAPS herself, hard. CAROLYN -LRB- CONT'D. -RRB- Stop it. Stop it! She closes her eyes tight, trying to stop the tears, then suddenly SCREAMS as loud as she can.", "EXT. TOP HAT MOTEL - CONTINUOUS Buddy's Jaguar speeds off, leaving the Mercedes alone in the parking lot. We can still HEAR Carolyn's muffled SCREAMING. There is a sound of distant THUNDER.", "INT. BURNHAM HOUSE - GARAGE - THAT NIGHT It's RAINING outside. We HEAR ROCK MUSIC as Lester pumps iron. He puts the weights down and looks at his REFLECTION in the window : His POV : His arms are pumped. He smiles. He reaches under the bench and grabs a CIGAR BOX. Opening it, he digs through MARIJUANA PARAPHERNALIA, only to pull out an empty ZIP - LOC BAG. LESTER Shit.", "INT. FITTS HOUSE - KITCHEN - MOMENTS LATER Ricky and the Colonel sit at the table, eating in silence. Barbara rinses off a pan at the sink, then stares at it as if she ca n't quite remember what she meant to do with it. We suddenly HEAR a BEEPING noise. Ricky pulls his BEEPER off his belt and checks it. RICKY -LRB- getting up. -RRB- I have to run next door. Jane left her geometry book in my bag and she needs it to do her homework. He heads into the hall. The Colonel watches him go, uneasy.", "INT. ANGELA'S BMW - CONTINUOUS Angela drives, squinting through the windshield as the wipers move back and forth. ANGELA So you and psycho boy are fucking on like, a regular basis now, right? JANE -LRB- irritable. -RRB- No. ANGELA Oh, come on. You can tell me. Does he have a big dick? JANE Look, I'm not gon na talk about his dick with you, okay? It's not like that. ANGELA Not like what? Does n't he have one? -LRB- then. -RRB- Why do n't you want to talk about it? I mean, I tell you every single detail about every guy that I fuck. JANE Yeah, and maybe you should n't, all right? Maybe I do n't really want to hear all that. ANGELA Oh, so now that you have a boyfriend, you're like, above it? -LRB- rolls her eyes. -RRB- We got ta get you a real man.", "INT. FITTS HOUSE - KITCHEN - CONTINUOUS The Colonel rinses off his plate at the sink. Something outside catches his eye, and he cranes his neck to get a better look at. His POV : Through the window over the sink, we can see into the Burnham's GARAGE WINDOW. Our view is blurred by the RAIN, but we see Lester, his upper body pumped and glistening in sweat as he counts out a wad of BILLS. and then Ricky walks into view. The Colonel's face tightens. His POV : Lester drapes his arm around Ricky as he gives him the money. We can only see Lester from the waist up, so he looks naked.", "INT. BURNHAM HOUSE - GARAGE - CONTINUOUS Ricky, his hair wet from the rain, puts the cash in his pocket. Lester's arm remains draped around his shoulder. RICKY -LRB- grins. -RRB- You got any papers? LESTER Yeah, in the cigar box, right over there. -LRB- laughs. -RRB- You know, put up a fight, dude! You are such a pushover. `` No I ca n't. Really. Okay.'' And he slaps Ricky playfully on the chest. Ricky grins, then squats down and reaches under the weight bench. RICKY You should learn to roll a joint. Lester sits in the bowl chair and leans back, his hands behind his head, watching Ricky roll the joint.", "INT. FITTS HOUSE - KITCHEN - CONTINUOUS The Colonel's POV : Lester leans back in his chair. We see only Ricky's back and shoulders as he rolls the joint. After a beat, Lester's jaw drops, then he throws his head back. From our perspective, it looks very much like Ricky is giving Lester a blow job. The Colonel watches, incredulous. Then we HEAR a CAR APPROACHING, and the Colonel glances over at : His POV : Angela's BMW pulls into the driveway, stopping behind Lester's Firebird. As Angela and Jane get out and run toward the house, our focus MOVES back to the GARAGE WINDOW. Ricky stands, looking a little panicked. Lester pulls on his T - shirt, and both he and Ricky cross out of view.", "INT. BURNHAM HOUSE - KITCHEN - MOMENTS LATER Lester leans nonchalantly against the counter. Jane and Angela enter. Jane frowns when she sees him. LESTER Oh. Hi. JANE Where's Mom? LESTER Do n't know. ANGELA Hi, Mr. Burnham. LESTER Hi. He's trying to remain cool, and doing a pretty good job. ANGELA Wow. Look at you. Have you been working out? LESTER Some. Jane rolls her eyes and exits. Angela walks over to Lester. ANGELA You can really tell. Look at those arms. She places her hand on his arm flirtatiously, looks up at him and smiles, fully expecting to intimidate him by doing so. But something has changed, and he is n't intimidated at all. He looks directly back at her, leans in and smiles slowly. LESTER You like muscles? His voice is low and intense. She moves away, suddenly insecure. ANGELA I - I should probably go see what Jane's up to. And she heads out quickly. Lester watches her go, baffled.", "INT. FITTS HOUSE - RICKY'S ROOM - CONTINUOUS Ricky enters, wet from the pouring rain, and crosses to his bureau, pulling the wad of CASH out of his pocket as he goes. COLONEL -LRB- O.C. -RRB- Where'd you get that? Ricky turns, startled. His POV : The Colonel steps out of the shadows. Ricky takes a step back. RICKY From my job. COLONEL Do n't lie to me. -LRB- beat. -RRB- I saw you with him. RICKY -LRB- incredulous. -RRB- You were watching me? COLONEL What did he make you do? RICKY -LRB- laughs. -RRB- Dad, you do n't really think. me and Mr. Burnham? COLONEL -LRB- furious. -RRB- Do n't you laugh at me! -LRB- then. -RRB- I will not sit back and watch my only son become a cocksucker! RICKY Jesus, what is with you - The Colonel BACKHANDS Ricky so hard it sends the boy sprawling. COLONEL I swear to God, I will throw you out of this house and never look at you again. RICKY -LRB- taken aback. -RRB- You mean that? COLONEL Damn straight I do. I'd rather you were dead than be a fucking faggot. A beat. Ricky suddenly smiles. He gets up. RICKY You're right. I suck dick for money. COLONEL Boy - RICKY Two thousand dollars. I'm that good. COLONEL Get out. RICKY And you should see me fuck. I'm the best piece of ass in three states. COLONEL -LRB- explodes. -RRB- Get out! I do n't ever want to see you again! Ricky eyes the Colonel. He's finally discovered a way to break free from his father, and he ca n't believe it was this simple. RICKY What a sad old man you are. COLONEL -LRB- a whisper. -RRB- Get out. Ricky grabs his backpack, turns and walks out the door, leaving the Colonel standing there, glassy - eyed and breathing heavily.", "INT. FITTS HOUSE - KITCHEN - MOMENTS LATER Ricky enters to discover Barbara standing in the middle of the room, clutching a dish, frightened. She's obviously heard his argument with his father, and she looks into his eyes, searching, aware that something eventful is taking place. RICKY Mom, I'm leaving. A beat. BARBARA Okay, wear a raincoat. RICKY -LRB- hugs her. -RRB- I wish things would have been better for you. Take care of Dad. He kisses her cheek softly, then exits out the back door, leaving her standing alone, still clutching her dish.", "INT. FITTS HOUSE - RICKY'S BEDROOM - CONTINUOUS The Colonel's POV : Below us, Ricky dashes through the rain to the Burnham's front door and knocks. Lester opens it and lets him in.", "EXT. FITTS HOUSE - CONTINUOUS The Colonel looks coldly down at us from Ricky's bedroom window, and then he pulls the drapes shut.", "EXT. FREEWAY - CONTINUOUS The MERCEDES - BENZ ML320 is parked in the breakdown lane, its HAZARD LIGHTS BLINKING. Cars ZOOM past in the rain.", "INT. MERCEDES-BENZ ML320 - CONTINUOUS Carolyn sits behind the wheel, listening to a MOTIVATIONAL TAPE on the STEREO. TAPE VOICE - disinvesting problems of their power, and removing their ability to make us afraid. This is the secret to `` me - centered'' living. Only by taking full responsibility for your problems - and their solutions - will you ever be able to break free from the constant cycle of victimhood. Carolyn leans over and open the glove compartment. She takes out her GLOCK 19. TAPE VOICE -LRB- CONT'D. -RRB- Remember, you are only a victim if you choose to be a victim.", "INT. BURNHAM HOUSE - JANE'S ROOM - CONTINUOUS Angela is sprawled across the bed. Jane stands across the room from her. JANE I do n't think we could be friends anymore. ANGELA You are way too uptight about sex. JANE Just do n't fuck my dad, all right? Please? ANGELA Why not? There is a KNOCK on the door. Jane sits up, alarmed. JANE -LRB- angry. -RRB- Dad! Leave us alone! RICKY -LRB- O.C. -RRB- It's me. Jane jumps up and opens the door and lets him in. RICKY -LRB- CONT'D. -RRB- -LRB- to Jane. -RRB- If I had to leave tonight, would you come with me? JANE What? RICKY If I had to go to New York. To live. Tonight. Would you come with me? JANE Yes. ANGELA You guys ca n't be serious. -LRB- to Jane. -RRB- You're just a kid. And he's like, a mental case. You'll end up living in a box on the street. JANE I'm no more a kid than you are! -LRB- to Ricky. -RRB- We can use my plastic surgery money. RICKY We wo n't have to. I have over forty thousand dollars. And I know people in the city who can help us get set up. ANGELA What, other drug dealers? RICKY Yes. ANGELA Jane, you'd be out of your mind to go with him. JANE Why do you even care? ANGELA Because you're my friend! RICKY She's not your friend. She's somebody you use to feel better about yourself. ANGELA Go fuck yourself, psycho! JANE You shut up, bitch! ANGELA Jane! He is a freak! JANE Well, then so am I! And we'll always be freaks and we'll never be like other people. And you'll never be a freak because you're just too perfect. ANGELA Oh, yeah? Well, at least I'm not ugly. RICKY Yes, you are. And you're boring. And you're totally ordinary. And you know it. Angela stares at him, stunned, then starts toward the door. ANGELA You two deserve each other. And she exits, SLAMMING the door behind her. Jane turns to Ricky and he takes her in his arms.", "INT. BURNHAM HOUSE - UPSTAIRS HALLWAY - CONTINUOUS Angela sits on the stairs, shaken, crying.", "EXT. BURNHAM HOUSE - GARAGE - CONTINUOUS We're MOVING SLOWLY toward the Burnham's GARAGE WINDOW through the RAIN. Through the window, we see Lester, wearing only his sweatpants, performing bench presses.", "INT. BURNHAM HOUSE - GARAGE - CONTINUOUS Through the window, we see the Colonel standing outside, watching. We ZOOM slowly in on him as he watches, transfixed.", "EXT. BURNHAM HOUSE - GARAGE - CONTINUOUS His POV : Lester finishes his last rep, then racks the weights and sits up, sweaty and out of breath. He runs his free hand over his chest. and then he glances at us, suddenly aware he's being watched.", "INT. BURNHAM HOUSE - GARAGE - CONTINUOUS Lester and the Colonel stare at each other through the window.", "EXT. BURNHAM HOUSE - GARAGE - MOMENTS LATER The RAIN is coming down in sheets now, and there is a sharp CLAP of THUNDER. We're directly outside the GARAGE DOOR as it slowly lifts to reveal Lester smiling at us. LESTER Jesus, man. You're soaked.", "INT. BURNHAM HOUSE - GARAGE - CONTINUOUS Lester pulls the Colonel inside. The Colonel moves stiffly and seems preoccupied, slightly disoriented. LESTER You want me to get Ricky? He's in Jane's room. The Colonel just stands there, looking at Lester. LESTER -LRB- CONT'D. -RRB- You okay? COLONEL -LRB- his voice thick. -RRB- Where's your wife? LESTER Uh. I do n't know. Probably out fucking that dorky prince of real estate asshole. And you know what? I do n't care. The Colonel moves closer towards him. COLONEL Your wife is with another man and you do n't care? LESTER Nope, our marriage is just for show. A commercial, for how normal we are. When we are anything but. He grins. and so does the Colonel. LESTER -LRB- CONT'D. -RRB- You're shaking. He places his hand on the Colonel's shoulder. The Colonel closes his eyes. LESTER -LRB- CONT'D. -RRB- We really should get you out of these clothes. COLONEL -LRB- a whisper. -RRB- Yes. He opens his eyes and looks at Lester, his face filled with an anguished vulnerability we would n't have thought possible from him. His eyes are brimming with tears. Lester leans in, concerned. LESTER It's okay. COLONEL -LRB- hoarse. -RRB- I. LESTER -LRB- softly. -RRB- Just tell me what you need. The Colonel reaches up and places his hand on Lester's cheek. and then kisses him. Lester is momentarily stunned, and then he pushes the Colonel away. The Colonel's face crumples in shame. LESTER -LRB- CONT'D. -RRB- Whoa, whoa, whoa. I'm sorry. You got the wrong idea. The Colonel stares at the floor, blinking, and then he turns and runs out the open garage door into the rainy night.", "INT. MERCEDES-BENZ ML320 - CONTINUOUS Carolyn is still listening to the same MOTIVATIONAL TAPE. She holds the GLOCK in her hand. TAPE VOICE `` I refuse to be a victim.'' When this becomes your mantra, constantly running through your head - Carolyn switches the TAPE OFF and puts the gun in her purse. CAROLYN I refuse to be a victim.", "EXT. FREEWAY - CONTINUOUS The Mercedes pulls away from the shoulder.", "INT. BURNHAM HOUSE - KITCHEN - CONTINUOUS Lester enters, opens the refrigerator and grabs a BEER. Suddenly we HEAR MUSIC coming from the other room. Lester opens his beer and starts toward the family room.", "INT. BURNHAM HOUSE - FAMILY ROOM - CONTINUOUS His POV : AS we MOVE SLOWLY around a corner, Angela comes into view, standing at the STEREO, holding a CD case. She's been crying ; her face is puffy, and her hair mussed. She regards us apprehensively. then puts on a slightly defiant smile. ANGELA I hope you do n't mind if I play the stereo. Lester leans against the wall and takes a swig of his beer. LESTER Not at all. -LRB- then. -RRB- Bad night? ANGELA Not really bad, just. strange. LESTER -LRB- grins. -RRB- Believe me. It could n't possibly be any stranger than mine. She smiles. They stand there in silence ; the atmosphere is charged. ANGELA Jane and I had a fight. -LRB- after a beat. -RRB- It was about you. She's trying to be seductive as she says this, but she's pretty bad at it. Lester raises his eyebrows. ANGELA -LRB- CONT'D. -RRB- She's mad at me because I said I think you're sexy. Lester grins. He is sexy. LESTER -LRB- offering beer. -RRB- Do you want a sip? She nods. Lester holds the bottle up to her mouth and she drinks clumsily. He gently wipes her chin with the back of his hand. LESTER -LRB- CONT'D. -RRB- So. are you going to tell me? What you want? ANGELA I do n't know. LESTER You do n't know? His face is very close to hers. She's unnerved - this is happening too fast. ANGELA What do you want? LESTER Are you kidding? I want you. I've wanted you since the first moment I saw you. You are the most beautiful thing I have ever seen. Angela takes a deep breath just before Lester leans in to kiss her cheek, her forehead, her eyelids, her neck. ANGELA You do n't think I'm ordinary? LESTER You could n't be ordinary if you tried. ANGELA Thank you. -LRB- far away. -RRB- I do n't think there's anything worse than being ordinary. And Lester kisses her on the lips.", "INT. MERCEDES-BENZ ML320 - CONTINUOUS Carolyn drives, her face resolute. CAROLYN I refuse to be a victim. I refuse to be a victim. I refuse to be a victim. -LRB- angry. -RRB- Lester, I have something I have to say to you.", "INT. BURNHAM HOUSE - FAMILY ROOM - MOMENTS LATER Angela lays back on the couch as Lester moves in over her. He pulls her jeans off and gently brushes his fingers over her legs, then moves up and caresses her face.", "INT. BURNHAM HOUSE - JANE'S ROOM - CONTINUOUS Ricky and Jane, fully clothed, lie curled up on Jane's bed. JANE Are you scared? RICKY I do n't get scared. JANE My parents will try to find me. RICKY Mine wo n't.", "INT. BURNHAM HOUSE - FAMILY ROOM - CONTINUOUS Lester starts unbuttoning Angela's blouse. She seems disconnected from what's happening. Lester pulls her blouse open, exposing her breasts. Lester looks down at her, grinning, unable to believe he's actually about to do what he's dreamed of so many times, and then. ANGELA This is my first time. Lester LAUGHS. LESTER You're kidding. ANGELA -LRB- a whisper. -RRB- I'm sorry. A beat. Lester looks down at her, his grin fading. His POV : Angela lies beneath us, embarrassed and vulnerable. This is not the mythically carnal creature of Lester's fantasies ; this is a nervous child. ANGELA -LRB- CONT'D. -RRB- I still want to do it. I just thought I should tell you. in case you wondered why I was n't. better. Lester's face falls. There's no way he's going to go through with this now. ANGELA -LRB- CONT'D. -RRB- -LRB- confused. -RRB- What's wrong? I thought you said I was beautiful. LESTER -LRB- tenderly. -RRB- You are beautiful. He grabs a blanket from the back of the couch and drapes it around her shoulders, covering her nakedness. LESTER -LRB- CONT'D. -RRB- You are so beautiful. and I would be a very lucky man. He smiles and shakes his head. Humiliated, Angela starts to cry. ANGELA I feel so stupid. LESTER Do n't. He hugs her, letting her put her head on his shoulder, stroking her hair and rocking her gently. ANGELA I'm sorry. Lester takes her by the shoulders and looks at her, serious. LESTER You have nothing to be sorry about. But she keeps crying. Lester hugs her again. We HEAR a loud CLAP of THUNDER outside. LESTER -LRB- CONT'D. -RRB- -LRB- smiles. -RRB- It's okay. Everything's okay.", "EXT. ROBIN HOOD TRAIL - MOMENTS LATER The Mercedes pulls onto Robin Hood Trail.", "INT. MERCEDES-BENZ ML320 - CONTINUOUS CLOSE on Carolyn's eyes, reflected in the REAR - VIEW MIRROR. She turns her head to look out the window : Her POV : The RED DOOR of the Burnham house stands out, even in the pouring rain.", "INT. BURNHAM HOUSE - KITCHEN - MOMENTS LATER Angela, once again fully clothed, sits at the kitchen counter. She's eating a turkey sandwich. ANGELA Wow. I was starving. Lester puts a jar of mayonnaise back in the refrigerator. LESTER Do you want me to make you another one? ANGELA No, no, no. I'm fine. He turns to her and cocks an eyebrow. LESTER -LRB- concerned. -RRB- You sure? ANGELA I mean, I'm still a little weirded out, but. -LRB- sincerely. -RRB-. I feel better. Thanks. A long beat, as Lester studies her, then : LESTER How's Jane? ANGELA What do you mean? LESTER I mean, how's her life? Is she happy? Is she miserable? I'd really like to know, and she'd die before she'd ever tell me about it. Angela shifts uncomfortably. ANGELA She's. she's really happy. She thinks she's in love. Angela rolls her eyes at how silly this notion is. LESTER -LRB- quietly. -RRB- Good for her. An awkward beat. ANGELA How are you? LESTER -LRB- smiles, taken aback. -RRB- God, it's been a long time since anybody asked me that. -LRB- thinks about it. -RRB- I'm great. They just sit there, smiling at each other, then : ANGELA -LRB- suddenly. -RRB- I've got ta go to the bathroom. She crosses off. Lester watches her go, then stands there wondering why he should suddenly feel so content. LESTER -LRB- laughs. -RRB- I'm great. Something at the edge of the counter catches his eye, and he reaches for. CLOSE on a framed PHOTOGRAPH as he picks it up : It's the photo we saw earlier of him, Carolyn and Jane, taken several years ago at an amusement park. It's startling how happy they look. Lester crosses to the kitchen table, where he sits and studies the photo. He suddenly seems older, more mature. and then he smiles : the deep, satisfied smile of a man who just now understands the punch line of a joke he heard long ago. LESTER -LRB- CONT'D. -RRB- Man oh man. -LRB- softly. -RRB- Man oh man oh man. After a beat, the barrel of a GUN rises up behind his head, aimed at the base of his skull. ANGLE ON an arrangement of fresh - cut ROSES in a vase on the opposite counter, deep crimson against the WHITE TILE WALL. Then a GUNSHOT suddenly rings out, ECHOING unnaturally. Instantly, the tile is sprayed with BLOOD, the same deep crimson as the roses.", "INT. BURNHAM HOUSE - FOYER - MOMENTS LATER Ricky comes down the stairs, followed by Jane.", "INT. BURNHAM HOUSE - KITCHEN - MOMENTS LATER Ricky opens the door from the dining room, then stops. Jane appears behind him. JANE Oh God. Their POV : A pool of blood is forming on the kitchen table. Ricky comes into the kitchen and slowly approaches Lester's lifeless body, wide - eyed but not afraid. Jane follows him, in shock. Ricky kneels, gazing at Lester's unseen face. then he smiles, ever so slightly. His POV : Lester looks back at us ; his eyes are lifeless, but he's smiling the same slight smile. RICKY -LRB- an awed whisper. -RRB- Wow. LESTER -LRB- V.O. -RRB- I had always heard your entire life flashes in front of your eyes the second before you die.", "EXT. SKY - DAY We're FLYING across a white blanket of clouds. LESTER -LRB- V.O. -RRB- First of all, that one second is n't a second at all, it stretches on forever, like an ocean of time.", "EXT. WOODS - NIGHT In BLACK & WHITE : Eleven - year - old Lester looks up, pointing excitedly at : His POV : A DOT OF LIGHT falls across an unbelievably starry sky. LESTER -LRB- V.O. -RRB- For me, it was lying on my back at Boy Scout camp, watching falling stars.", "INT. BURNHAM HOUSE - JANE'S BEDROOM - NIGHT Ricky and Jane lie curled up on Jane's bed, fully clothed. We HEAR a GUNSHOT from downstairs. They look at each other, alarmed.", "EXT. SUBURBAN STREET - DUSK In BLACK & WHITE : Maple trees in autumn. Ghostly LEAVES FLUTTER slowly toward pavement. LESTER -LRB- V.O. -RRB- And yellow leaves, from the maple trees, that lined my street.", "INT. BURNHAM HOUSE - POWDER ROOM - NIGHT Angela stands in front of the mirror, fixing her make - up. We HEAR the GUNSHOT again. Angela turns, frightened.", "INT. SUBURBAN HOUSE - DAY In BLACK & WHITE : CLOSE on an ancient woman's papery HANDS as they button a cardigan sweater. LESTER -LRB- V.O. -RRB- Or my grandmother's hands, and the way her skin seemed like paper.", "EXT. BURNHAM HOUSE - NIGHT Carolyn walks slowly toward the RED DOOR, drenched to the bone, clutching her PURSE tightly. We HEAR the GUNSHOT again.", "EXT. SUBURB - DAY In BLACK & WHITE : A 1970 PONTIAC FIREBIRD in the driveway of a suburban home. The SUN'S REFLECTION in the windshield FLASHES BRILLIANTLY. LESTER -LRB- V.O. -RRB- And the first time I saw my cousin Tony's brand new Firebird.", "INT. FITTS HOUSE - THE COLONEL'S STUDY - NIGHT The Colonel enters, wet. He's wearing LATEX GLOVES. BLOOD covers the front of his T - shirt. He paces in front of one of his GUN CASES ; the GLASS DOOR is open, and a gun is conspicuously missing from inside.", "INT. BURNHAM HOUSE - HALL - NIGHT In BLACK & WHITE : Jane opens her bedroom door, staring at us. LESTER -LRB- V.O. -RRB- And Janie.", "EXT. SUBURBAN HOUSE - DUSK In BLACK & WHITE : A door opens to reveal 4 - YEAR - OLD JANE, dressed for Halloween in a Princess costume, holding a lit SPARKLER aloft and smiling shyly at us. LESTER -LRB- V.O. -RRB- And Janie.", "INT. BURNHAM HOUSE - MASTER BEDROOM - NIGHT Carolyn enters, terrified, still clutching her PURSE. She shuts the door and locks it, then takes the GLOCK 19 out of her purse. She opens the closet door and shoves the gun into a HAMPER. Then, suddenly aware of Lester's scent, she grabs as many of his clothes as she can and pulls them to her, burying her face in them. She sinks to her knees, pulling several items of clothing down with her, and she begins to cry.", "EXT. AMUSEMENT PARK - NIGHT IN BLACK & WHITE : A younger Carolyn sits across from us in one of those SPINNING - TEACUP RIDES, LAUGHING uncontrollably as she twists the wheel in front of her, making us SPIN even faster. LESTER -LRB- V.O. -RRB- -LRB- with love. -RRB- And. Carolyn.", "EXT. PARKING LOT - DAY On VIDEO : We're watching the video Ricky showed Jane earlier, of the empty white PLASTIC BAG being blown about. The wind carries it in a circle around us, sometimes whipping it about violently, or, without warning, sending it soaring skyward, then letting it float gracefully down to the ground. LESTER -LRB- V.O. -RRB- I guess I could be pretty pissed off about what happened to me. but it's hard to stay mad, when there's so much beauty in the world. Sometimes I feel like I'm seeing it all at once, and it's too much, my heart fills up like a balloon that's about to burst.", "EXT. - ROBIN HOOD TRAIL - DAY We're FLYING once again over Robin Hood Trail, ASCENDING SLOWLY. LESTER -LRB- V.O. -RRB- and then I remember to relax, and stop trying to hold on to it, and then it flows through me like rain and I ca n't feel anything but gratitude for every single moment of my stupid little life. -LRB- amused. -RRB- You have no idea what I'm talking about, I'm sure. But do n't worry. FADE TO BLACK. LESTER -LRB- V.O. ; CONT'D. -RRB- You will someday."], "labels": [0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 1.0, 0.0, 1.0, 0.0, 1.0, 0.0, 1.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0], "summary": "Lester Burnham is a middle-aged magazine executive who despises his job and is unhappily married to Carolyn, a neurotic and ambitious real estate broker. Their 16-year-old daughter, Jane, abhors her parents and has low self-esteem. The Burnhams' new neighbors are retired US Marine colonel Frank Fitts and his near-catatonic wife, Barbara. The Fitts' teenage son, Ricky, obsessively films his surroundings with a camcorder, collecting hundreds of recordings on video tapes in his bedroom, while using his part-time job as a waiter to serve as a front for his secret marijuana dealings. Frank is a strict disciplinarian who has previously forced Ricky into a military academy and a psychiatric hospital. Jim Olmeyer and Jim Berkley, a gay couple who live nearby, welcome the family to the neighborhood; Frank later reveals his homophobia when angrily discussing the encounter with Ricky. Lester becomes infatuated with Jane's vain cheerleader friend, Angela Hayes, after seeing her perform a half-time dance routine at a high school basketball game. He starts having sexual fantasies about Angela, in which red rose petals are a recurring motif. Carolyn begins an affair with a married business rival, Buddy Kane. When his boss informs Lester that he is to be laid off, Lester blackmails him and quits his job, taking employment at a local fast food restaurant. He buys his dream car and starts working out after he overhears Angela tell Jane that she would find him sexually attractive if he improved his physique. He begins smoking marijuana supplied by Ricky, and flirts with Angela whenever she visits Jane. The girls' friendship wanes after Jane starts a relationship with Ricky; they bond over what Ricky considers the most beautiful imagery he has ever filmed: a plastic bag blowing in the wind. Lester discovers Carolyn's infidelity, but reacts indifferently. Buddy ends the affair, fearing an expensive divorce. Frank Fitts becomes suspicious of Lester and Ricky's friendship and later finds his son's footage of a nude Lester lifting weights, which Ricky captured by chance. After watching Ricky and Lester through Lester's garage window, Frank mistakenly concludes they are sexually involved. He later confronts and beats Ricky for their supposed affair, accusing him of being gay. Ricky falsely admits the charge and goads his father into expelling him from their home. Carolyn is shown sitting in her car, where she takes a handgun from the glove box. Ricky goes to Jane, finding her arguing with Angela about her flirtation with Lester. Ricky persuades Jane to flee with him to New York City and tells Angela she is boring, ugly and ordinary. Frank confronts Lester and attempts to kiss him, but Lester gently rebuffs the colonel, who flees. Lester finds a distraught Angela sitting alone in the dark. She asks him to tell her she is beautiful; he does, and the pair kiss. However, moments before they are about to have sex, Angela admits she is a virgin and Lester decides not to go through with the act. Instead, they talk and bond over their shared frustrations. Angela goes to the bathroom and Lester smiles at a family photograph in his kitchen. An unseen figure points a gun at the back of Lester's head; a gunshot sounds and blood sprays onto the wall in front of him. Ricky and Jane find Lester's body, while Carolyn is seen crying in the closet. A bloodied Frank returns home where a gun is missing from his collection. Lester's closing narration describes meaningful experiences during his life; he says that, despite his death, he is happy because there is so much beauty in the world.", "name": "American_Beauty_(film)"}
{"scenes": ["BLACK. ALAN TURING -LRB- V.O. -RRB- Are you paying attention? INT. ALAN TURING\u2019S HOUSE - DAY - 1951 A HALF-DOZEN POLICE OFFICERS swarm the Manchester home of mathematics professor Alan Turing. ALAN TURING -LRB- V.O. -RRB- Good. This is going to go very quickly now. If you are not listening carefully, you will miss things. Important things. You \u2019 re writing some of this down? That \u2019 s good. INSIDE ALAN \u2019 S HOUSE : There's been a break-in, and the house is a mess - someone has given it a pretty thorough once-over. ALAN TURING -LRB- V.O. -RRB- I will not pause, I will not repeat myself, and you will not interrupt me. If you ask me a question, I will ignore it. You think that because you \u2019 re sitting where you are, and I am sitting where I am, that you are in control of what is about to happen. You \u2019 re mistaken. I am in control, because I know things that you do not know. PAPERS inked black with mathematical symbols litter the floor. The test tubes and beakers of Turing's chemical work are shattered in the study, CYANIDE and POTASSIUM NITRATE DRIPPING ACROSS THE UGLY CARPET. ALAN TURING -LRB- V.O. -RRB- What I will need from you now is a commitment. You will listen closely, and you will not judge me. And, in the corner : A MACHINE. It \u2019 s the size of a dresser, tall, sprouting VACUUM TUBES and WIRES. It looks anachronistic here, too futuristic for its time. The CONSTABLES LOOK AT THE MACHINE, CONFUSED : What is that thing? ALAN TURING -LRB- V.O. -RRB- When I am finished \u2014 when I have told you that I am finished \u2014 you are free to think whatever you like. But until then, you will trust that while this story will be hard for you to understand, everything I am saying I am saying for a reason. A CONSTABLE PHONES IN the robbery to police headquarters \u2014", "INT. POLICE HEADQUATERS - DAY \u2014 At headquarters, a RADIO GIRL RECEIVES the information and passes it to an assistant for delivery to the detectives on duty \u2014", "INT. MI-6 - RADIO OPERATORS\u2019 ROOM/HALLWAYS - DAY \u2014 While in London, a RADIO OPERATOR in a dark room far below Victoria Street INTERCEPTS THE MESSAGE \u2014 ALAN TURING -LRB- V.O. -RRB- If you can not commit to this, then please leave the room. That \u2019 s right, you \u2019 re the one who \u2019 s free to go. But if you choose to stay, if you choose to listen, remember this : If things happen that you do not like, you chose to be here. \u2014 The MESSAGE is HANDED OFF and WHISKED through the dim hallways \u2014", "INT. MI-6 - MENZIES OFFICE - DAY \u2014 Until it \u2019 s finally deposited on the desk of STEWART MENZIES, the Director of MI-6. British Secret Intelligence Services. ALAN TURING -LRB- V.O. -RRB- What happens from this moment forward is not my responsibility : It \u2019 s yours. Menzies picks up the message : \u201c Alan Turing has been robbed. \u201d ALAN TURING -LRB- V.O. -RRB- This will go quite fast now. -LRB- laughs -RRB- And that is the last time I will repeat myself. Pay attention.", "EXT. ALAN TURNING\u2019S HOUSE - MORNING DETECTIVE ROBERT NOCK, 40s, athletic, more interested in football than being a detective, hustles past a few double- parked police cars and up the steps and into :", "INT. ALAN TURNING\u2019S HOUSE - CONTINUOUS Detective Nock enters to find the same messy crime scene we just saw. He \u2019 s addressed by SERGEANT STAEHL. SGT. STAEHL Bit late, don \u2019 t you think? DETECTIVE NOCK The baby. Up all night, hollering and crying. June says it \u2019 s collick. -LRB- re : the mess -RRB- What \u2019 s all this, then? SGT. STAEHL Turing, Alan. Professor at King \u2019 s. Seems there \u2019 s been a robbery. DETECTIVE NOCK What of? SGT. STAEHL That \u2019 s just it. Nothing \u2019 s missing, really. DETECTIVE NOCK No, what \u2019 s he a professor of? SGT. STAEHL -LRB- consulting notes -RRB- Maths. Or, as he put it, \u201c ordinal logic, with a dose of number theory. \u201d ON NOCK : What on earth does that mean? Staehl shrugs. DETECTIVE NOCK What \u2019 s he doing in Manchester? Sergeant Staehl shows Nock the MACHINE in the corner. ON NOCK : What the hell is that? SGT. STAEHL Something with machines. Project at the NPL, I checked, but he won \u2019 t say what it \u2019 s on. DETECTIVE NOCK He \u2019 s a bit squirrely then, our Professor Turing? SGT. STAEHL That \u2019 s putting it mildly. Sergeant Staehl motions to the next room, and he follows Nock in...... Where they find ALAN TURING, 38. He \u2019 s the smartest man in the room, and he knows it. But he doesn \u2019 t really care if you do. Turing is VERY CAREFULLY sweeping up a pile of WHITE POWDER. He \u2019 s doing it with a PAINTBRUSH, his mouth covered in a scarf. He \u2019 s totally oblivious to the detectives as they enter. DETECTIVE NOCK Professor Turing? -LRB- beat -RRB- Professor Turing? My name is Detective Nock. Manchester Police. Sergeant Staehl here tells me you \u2019 ve had a robbery last night. -LRB- still nothing -RRB- Professor Turing? Detective Nock steps closer, peering over Turing \u2019 s shoulder at the white powder. DETECTIVE NOCK -LRB- CONT \u2019 D -RRB- Professor \u2014 ALAN TURING \u2014 I would step back, if I were you. DETECTIVE NOCK Pardon me? ALAN TURING Step back, and don \u2019 t breathe so much. DETECTIVE NOCK Breathe? ALAN TURING You \u2019 re breathing heavily and you \u2019 re going to inhale this junk and you \u2019 re going to leave your collicky son without a father. Detective Nock stops, and steps back. What in the world? ALAN TURING -LRB- CONT \u2019 D -RRB- Sound carries in this house. DETECTIVE NOCK What is all that? ALAN TURING Cyanide. Undiluted. Wouldn \u2019 t take more than a thimbleful to kill you. Turing finishes sweeping the cyanide into a jar, before safely CAPPING IT. Turing stands, removes his scarf, and for the first time takes a look at Detective Nock. Sizes him up. ALAN TURING -LRB- CONT \u2019 D -RRB- Oh. Disappointing. Detective Knock and Sergeant Staehl exchange a look. DETECTIVE NOCK Pardon? ALAN TURING I \u2019 d hoped for a bit more. DETECTIVE NOCK Sergeant Staehl, is it just me, or do you get the sense that we \u2019 re being insulted? ALAN TURING -LRB- to Nock -RRB- You lied to your friend here about your son, which is just unseemly. Collick didn \u2019 t keep you up all night. Drink did. You \u2019 ve bags under your eyes the size of strawberries. Your topcoat reeks of whiskey. You \u2019 re short of breath after walking 30 paces. And I believe Manchester United had a match yesterday, yes? I could hear the shouting from Simpson \u2019 s on my way home. DETECTIVE NOCK -LRB- caught -RRB-... We won by four. Would \u2019 ve been unseemly not to celebrate. Sergeant Staehl SIGHS, embarrassed. SGT. STAEHL You had a break in last night. Your neighbor, a Mr. Springborn, called to report the noise. Only you say there \u2019 s nothing missing. Odd. So how about it \u2014 You tell us what happened, and we find the chap who did this. ALAN TURING Gentlemen, I don \u2019 t think you could figure out who broke into my house if he walked up and spat in your face. What I could really use at the moment is not a bobby but a good cleaning lady. So unless one of you has an apron in your car, I \u2019 d suggest that you file your reports and leave me alone. Staehl is about to say something \u2014 and probably something aggressive, by the look of his face \u2014 but Nock stops him. DETECTIVE NOCK... As you say, Professor Turing. Best of luck with your cyanide.", "EXT. ALAN TURNING\u2019S HOUSE - MOMENTS LATER Detective Nock and Sergeant Staehl walk away from Turing \u2019 s house. SGT. STAEHL I \u2019 ll give you a bob if you can name me a more insufferable sod. DETECTIVE NOCK Curious, isn \u2019 t he? SGT. STAEHL Oh, you \u2019 ve a soft spot for the bastard \u2018 cause he called you on your drink? Which, while we \u2019 re on the subject \u2014 DETECTIVE NOCK \u2014 Seemed a bit forced though, didn \u2019 t it? SGT. STAEHL Don \u2019 t know what you mean. DETECTIVE NOCK If you didn \u2019 t want a pair of bobbies digging around in your personal affairs, well, that would have been a stellar way to see that they don \u2019 t. Tell me you don \u2019 t think this is suspicious. SGT. STAEHL I don \u2019 t think this is suspicious. DETECTIVE NOCK A mysterious professor who won \u2019 t admit he \u2019 s had something stolen from his flat? SGT. STAEHL What \u2019 re you suggesting? DETECTIVE NOCK I \u2019 m suggesting that Alan Turing is hiding something. CUT TO :", "INT. EUSTON STATION - LONDON - DAY - 1939 Alan Turing \u2014 11 years younger \u2014 HURRIES through Euston Station on the day that Britain declares war on Germany. The station is preparing for war : PAPERBOYS SCREAM the headlines : \u201c 800,000 CHILDREN EVACUATED! \u201d \u201c GERMAN BOMBS COMING! \u201d \u201c FOOD SUPPLIES RATIONED! \u201d MILITARY PERSONNEL herd PACKS OF CHILDREN like cattle onto rumbling trains. The children, born with stiff upper lips, hold back their tears. A FATHER shakes the hand of his 8-YEAR-OLD SON goodbye, almost business-like. Neither knows if they \u2019 ll ever see one another again. Alan moves through this determinedly, methodically, and unemotionally \u2014 it \u2019 s like he doesn \u2019 t even notice anyone is there.", "INT/EXT. TRAIN - DAY - LATER Alan Turing walks down the aisle of a train bound for Bletchley Park \u2014 his is the only adult face amidst the sea of children. He watches a SMALL BOY pour over a PUZZLE BOOK. OLDER KIDS, loud and rowdy, TAUNT the Small Boy, who doesn \u2019 t look up, he \u2019 s so focused on his puzzles. Alan watches. Maybe he smiles. Maybe he understands.", "EXT. BLETCHLEY VILLAGE - STREET - A FEW HOURS LATER Alan walks through the small village of Bletchley. He passes a sign that reads \u201c BLETCHLEY RADIO MANUFACTURING \u201d as he heads to EXT. BLETCHLEY PARK - AN HOUR LATER Alan arrives at the imposing front gates of Bletchley Park. An enormous Victorian mansion lies in the center of the grounds, surrounded by empty gardens and tall iron fences. As Alan approaches, two NAVAL OFFICERS with MACHINE GUNS step out from behind the BARRICADES. Whatever this place is, it \u2019 s housing something very secret inside.", "INT. BLETCHLEY PARK - COMMANDER DENNISTON\u2019S OFFICE - LATER A few minutes later, Alan sits alone in a cluttered office. He stares ahead blankly at the empty chair behind the desk. Waits. COMMANDER DENNISTON -LRB- O.S. -RRB- \u2014 What are you doing here? Alan turns with a start. ALAN TURING The girl told me to wait \u2014 COMMANDER DENNISTON In my office? She tell you to help yourself to a cup of tea while you were here? ALAN TURING No. She didn \u2019 t. COMMANDER DENNISTON She didn \u2019 t tell you what a joke is then either, I gather. ALAN TURING Was she supposed to? COMMANDER DENNISTON For Christ \u2019 s sake \u2014 who are you? ALAN TURING Alan Turing. COMMANDER DENNISTON -LRB- looking at papers on his desk ) Turing... Let me see... Oh, Turing. The mathematician. ALAN TURING Correct. COMMANDER DENNISTON How ever could I have guessed? ALAN TURING You didn \u2019 t. It was written on your paper. COMMANDER DENNISTON... King \u2019 s College, Cambridge. Says here you were a bit of a prodigy in the maths department. ALAN TURING I \u2019 m not sure I can evaluate that, Mr...? COMMANDER DENNISTON How old are you, Mr. Turing? ALAN TURING 27. COMMANDER DENNISTON How old were you when you became a fellow at Cambridge? ALAN TURING 24. COMMANDER DENNISTON And how old were you when you published this paper here, that has a title I can barely understand, which apparently got you this fellowship? ALAN TURING 23. COMMANDER DENNISTON And you don \u2019 t think that qualifies you as a certified prodigy? ALAN TURING Rather depends on how old my peers were when they did comparable work, doesn \u2019 t it? COMMANDER DENNISTON And how old were they? ALAN TURING Newton discovered the binomial theorem at 22. Einstein published four papers that changed the world at 26. As far as I can tell I \u2019 ve barely made par. COMMANDER DENNISTON You \u2019 re serious, aren \u2019 t you? ALAN TURING Would you prefer I make a joke? COMMANDER DENNISTON Not sure you know what those are. ALAN TURING It hardly seems fair that that would be a requirement for employment here, Mr...? COMMANDER DENNISTON Commander Denniston, of the Royal Navy. All right, Mr. Turing, I \u2019 ll bite. Why do you want to work for His Majesty \u2019 s government? ALAN TURING Oh, I don \u2019 t, really. COMMANDER DENNISTON -LRB- suspicious -RRB- Are you a bleeding pacifist, Turing? ALAN TURING I \u2019 m agnostic about violence. COMMANDER DENNISTON But you realize that 600 miles from London there \u2019 s this nasty chap named Hitler who \u2019 s looking to engulf Europe in tyranny? ALAN TURING Politics is not my area of expertise. COMMANDER DENNISTON I believe you \u2019 ve just set a record for the shortest job interview in British military history. ALAN TURING Mother says that I can be off- putting sometimes. On account of being the best mathematician in the world. COMMANDER DENNISTON You \u2019 re the best mathematician in the world? ALAN TURING Oh. Yes. COMMANDER DENNISTON... Do you know how many people I \u2019 ve rejected for this program? ALAN TURING No. COMMANDER DENNISTON That \u2019 s right. Because we \u2019 re a top secret program. But I \u2019 ll tell you, just because we \u2019 re friends, that last week I rejected one of our great nation \u2019 s top linguists, knows German better than Bertolt Brecht. ALAN TURING I don \u2019 t speak German. COMMANDER DENNISTON What? ALAN TURING I don \u2019 t. Speak German. COMMANDER DENNISTON How the bloody hell are you supposed to decrypt German communications if you don \u2019 t, oh, I don \u2019 t know, speak German? ALAN TURING I \u2019 m quite excellent at crossword puzzles. COMMANDER DENNISTON -LRB- calling off -RRB- MARGARET! ALAN TURING The German codes are a puzzle. A game. Just like any other game. COMMANDER DENNISTON MARGARET! Where are you?! ALAN TURING I \u2019 m very good at games. Puzzles. And I think this is the hardest puzzle in the world. COMMANDER DENNISTON MARGARET!?! -LRB- beat -RRB- For the love of... This is a joke, obviously. ALAN TURING I \u2019 m afraid I can \u2019 t make jokes, Commander Denniston. And for a split second, Denniston actually smiles. COMMANDER DENNISTON Have a pleasant trip back to Cambridge, Professor. ALAN TURING Enigma. At the mention of this word Denniston looks suddenly serious. SECRETARY -LRB- \u201d MARGARET \u201d -RRB- -LRB- popping head in -RRB- You called for me? He WAVES HER AWAY, entirely focused on what Alan just said. ALAN TURING -LRB- after she leaves -RRB-... That \u2019 s what you \u2019 re doing here. The top secret program at Bletchley. You \u2019 re trying to break the German Enigma machine. COMMANDER DENNISTON What makes you think that? ALAN TURING It \u2019 s the greatest encryption device in history, and the Germans use it for all major communications. If the Allies broke Enigma \u2014 well, this would turn into a very short war indeed. Of course you \u2019 re working on it. But you also haven \u2019 t got anywhere. If you had, you wouldn \u2019 t be hiring cryptographers out of University. You need me a lot more than I need you. I \u2019 d just as easily go work for the Germans, frankly, but they simply don \u2019 t have anything this good to work on. Our mathematicians aren \u2019 t as impressive as theirs. With one significant exception. I like solving problems, Commander. And Enigma is the most difficult problem in the world. COMMANDER DENNISTON Enigma isn \u2019 t difficult. It \u2019 s impossible. The Americans. The French. The Russians. The Germans. Everyone thinks Enigma is unbreakable. ALAN TURING Goody! Let me try and we \u2019 ll know for sure. The men stare at each other. Neither blinks.", "INT. BLETCHLEY PARK - DAY - LATER ANGLE ON : A machine. It looks like a typewriter that got left on the set of Blade Runner. Wires running all over it. Extra gears sticking out of the sides. Blinking lights that reveal German characters. Half electrical, half mechanical. COMMANDER DENNISTON -LRB- O.S. -RRB- Welcome to Enigma. SLOWLY REVEAL : COMMANDER DENNISTON, 50s, is showing the ENIGMA MACHINE to the NEW RECRUITS. They are : HUGH ALEXANDER, 30s, loves women and chess in equal measure. JOHN CAIRNCROSS, 30s, Scottish, not the prodigy his compatriots are and knows it. PETER HILTON, 20s, a precocious undergrad from Oxford. KEITH FURMAN and CHARLES RICHARDS, 40s, both stodgy linguists. Stewart Menzies \u2014 head of MI-6, who we briefly glimpsed in the opening \u2014 stands in the corner, silent and observing. Charming and inscrutable, he didn \u2019 t become the head of British Secret Intelligence Services by accident. COMMANDER DENNISTON -LRB- CONT \u2019 D -RRB- The German navy encodes every message they send using the Enigma machine. The details of every surprise attack, of every secret convoy, of every U-Boat in the bloody Atlantic go into that thing, and out comes... Gibberish. FINALLY REVEAL :... Alan stands with them, staring at the machine like it \u2019 s the Sistine Chapel. He reaches out and touches it lovingly. ALAN TURING It \u2019 s beautiful. COMMANDER DENNISTON It \u2019 s the crooked hand of death itself. Denniston shows Alan sheets of Enigma messages : PAGE AFTER PAGE OF RANDOM LETTERS. COMMANDER DENNISTON -LRB- CONT \u2019 D -RRB- Our WRENs intercept thousands of radio messages a day. But to the lovely young ladies of the Women \u2019 s Royal Navy, they \u2019 re nonsense. It \u2019 s only when you feed them back into Enigma that they make sense. JOHN CAIRNCROSS But we have an Enigma machine. COMMANDER DENNISTON Yes. Polish intelligence smuggled this out of Berlin. JOHN CAIRNCROSS So what \u2019 s the problem? Just put the intercepted messages back in to Enigma and \u2014 ALAN TURING \u2014 It \u2019 s not that simple, is it? Just having an Enigma machine doesn \u2019 t help you decode the messages. COMMANDER DENNISTON Very good, Mr. Turing. To decode a message, you need to know the machine \u2019 s settings. The Germans switch settings every day, promptly at midnight. We usually intercept our first message around 6am. Which gives you exactly 18 hours every day to crack the code before it changes, and you start again. Alan looks at the machine carefully. ALAN TURING Five rotors. Six plugboard cables. That \u2019 s... CHARLES RICHARDS Five \u2014 JOHN CAIRNCROSS \u2014 thousand million \u2014 PETER HILTON \u2014 No no it \u2019 s \u2014 I \u2019 ve got it \u2014 CHARLES RICHARDS \u2014 Million, million \u2014 KEITH FURMAN \u2014 In the millions, obviously \u2014 CHARLES RICHARDS \u2014 Obviously \u2014 ALAN TURING \u2014 Over one hundred and fifty million million million possible settings. All eyes turn to Turing : Wow. COMMANDER DENNISTON... Very good. HUGH ALEXANDER One hundred fifty nine, if you \u2019 d rather be exact about it. Everyone looks at Hugh now. HUGH ALEXANDER -LRB- CONT \u2019 D -RRB- One five nine with eighteen zeroes behind it. Possibilities. Every single day. Jesus Christ. Who is this guy? COMMANDER DENNISTON Gentlemen, meet Hugh Alexander. I \u2019 ve personally selected him to run this unit. JOHN CAIRNCROSS Didn \u2019 t you...? COMMANDER DENNISTON Mr. Alexander won Britain \u2019 s national chess championship. HUGH ALEXANDER Twice. JOHN CAIRNCROSS -LRB- extending a hand to Hugh -RRB- John Cairncross. COMMANDER DENNISTON -LRB- to Alan -RRB- You \u2019 re not the only one who \u2019 s good at games around here. ALAN TURING Are we all to work together then? I prefer to have my own office. COMMANDER DENNISTON You \u2019 re a team, and you \u2019 ll work as one. ALAN TURING I don \u2019 t have time to explain myself as I go along, and I \u2019 m afraid these men will only slow me down. STEWART MENZIES -LRB- piping up from the corner ) \u2014 If you can \u2019 t play together, then I \u2019 m afraid we can \u2019 t let you play at all. They all stare at him. COMMANDER DENNISTON This is Stuart Menzies. MI-6. The team ACKNOWLEDGES Menzies. CHARLES RICHARDS There are only five divisions of military intelligence. There is no \u201c MI-6. \u201d STEWART MENZIES Exactly. That \u2019 s the spirit. -LRB- to Alan -RRB- Mr. Turing. Do you know how many British servicemen have died because of Enigma? ALAN TURING I don \u2019 t. STEWART MENZIES Three. They all stare at Menzies : That doesn \u2019 t sound like very many. STEWART MENZIES -LRB- CONT \u2019 D -RRB-... While we \u2019 ve been having this conversation. -LRB- checks his watch -RRB- Oh look. There \u2019 s another. Rather hope he didn \u2019 t have a family. This war that Commander Denniston \u2019 s been going on about? We \u2019 re not winning it. Break the code and at least we might have a chance. -LRB- to Denniston -RRB- Shall we leave the children alone with their new toy? Menzies and Commander Denniston LEAVE. The team stands there. With Enigma. HUGH ALEXANDER Alright boys. Let \u2019 s play. CUT TO :", "EXT. SHERBORNE SCHOOL FOR BOYS - DAY - 1927 TEENAGE BOYS play cricket in the green front gardens of a boys boarding school. Behind them looms the school \u2019 s stately central manor house. ALAN TURING -LRB- V.O. -RRB- The problem began, of course, with the carrots.", "INT. SHERBORNE SCHOOL FOR BOYS - DAY YOUNG ALAN TURING, 15, sits alone in the dining hall. Other BOYS joke and laugh and tell animated stories at nearby tables, but Alan sits alone, staring intently at his food. ON ALAN \u2019 S PLATE : Boiled steak. Potatoes. Peas. And carrots. ALAN TURING -LRB- V.O. -RRB- Carrots are orange. Peas are green. They mustn \u2019 t touch. Alan carefully tries to separate the carrots from the peas. It \u2019 s like he \u2019 s performing brain surgery. BEHIND ALAN, a group of BIGGER BOYS approach quietly. One of them holds a TRAY OF BOILED VEGETABLES \u2014 \u2014 The Boys try to MUFFLE THEIR GIGGLES so Alan can \u2019 t hear them approach \u2014 \u2014 The Boys DUMP THE TRAY OF VEGETABLES ALL OVER ALAN. Alan SCREAMS. The Boys LAUGH as Alan SCREAMS and SHAKES and tries to get the peas and carrots and everything else off of him. He \u2019 s in hell. Alan FALLS DOWN. Still shaking, still screaming. YOUNG ALAN Carrots are orange! Carrots are orange! Carrots are orange! BOY #1 What a bloody weirdo! Alan CURLS UP INTO A BALL as he shivers. CUT TO :", "INT. COFFIN - A FEW MINUTES LATER ... Alan is now inside a coffin. He \u2019 s KICKING AT THE WOODEN BOARDS ABOVE and SCREAMING TO BE RELEASED. It \u2019 s not helping. From above, we hear the familiar LAUGHTER OF THE SCHOOLBOYS. REVEAL : The \u201c coffin \u201d is make-shift ; the Boys have constructed it out of the broken floorboards of a half-finished class room. Alan is buried underground, and they \u2019 re nailing him in. ALAN TURING -LRB- V.O. -RRB- Do you know why people like violence? Because it feels good. The THUMP THUMP of nails entering the boards. ALAN TURING -LRB- V.O. -RRB- Humans find violence deeply satisfying. But remove the satisfaction, and the act becomes... Hollow. FROM INSIDE THE COFFIN : Alan goes silent. The Boys pound away, but the silence unnerves them. BOY #1 Alan? Alan? BOY #2 C \u2019 mon don \u2019 t be such a kike about it... BOY #3 Leave him to bloody rot. The Boys LEAVE. There \u2019 s still only SILENCE from inside Alan \u2019 s coffin. Alan breathes slowly. Quietly. Controls his shivering to barely a tremor. He waits. ALAN TURING -LRB- V.O. -RRB- I didn \u2019 t learn this on my own though. I had help. Suddenly, the boards above him CREAK. Then BEND. Then SNAP. Then an ARM REACHES DOWN and PULLS Alan out of the coffin. REVEAL : CHRISTOPHER MORCOM, 16, tall, pretty, and charming in ways that Alan will never, ever be. CHRISTOPHER Christ, I thought they were going to kill you. Christopher PULLS Alan from the floorboard coffin and they \u2014", "EXT. SHERBORNE SCHOOL FOR BOYS - SECONDS LATER Walking away from the half-finished school room, Christopher helps Alan as he hobbles. YOUNG ALAN... It \u2019 s not my fault. The carrots got in with the peas. -LRB- off Christopher \u2019 s look -RRB- I \u2019 m sorry. I won \u2019 t let them do it again. CHRISTOPHER They \u2019 re getting worse. YOUNG ALAN They only beat me up because I \u2019 m smarter than they are. CHRISTOPHER No. They beat you up because you \u2019 re different. So you \u2019 ll have to try a little harder to blend in. YOUNG ALAN Mother says I \u2019 m just an odd duck. CHRISTOPHER And she \u2019 s right. Alan STUMBLES and Christopher grabs his hand, steadying him. CHRISTOPHER -LRB- CONT \u2019 D -RRB- But you know, sometimes it is the very people who no one imagines anything of who do the things that no one can imagine. ALAN TURING -LRB- V.O. -RRB- Christopher helped. CUT TO :", "INT. POLICE STATION - MANCHESTER - DAY -  1951 Detective Nock sits at his desk, yelling incredulously into his telephone. DETECTIVE NOCK... What do you mean, \u201c classified \u201d? -LRB- beat -RRB-... Yes, I am aware of the literal meaning of the word \u201c classified, \u201d what I \u2019 m asking is why would a maths professor have his military records classified? -LRB- beat -RRB-... Well then I will come down there and... Nock HANGS UP, frustrated. He notices Sergeant Staehl walking past. DETECTIVE NOCK -LRB- CONT \u2019 D -RRB- Come with me.", "EXT. MANCHESTER STREETS - LATER Detective Nock and Sergeant Staehl walk through Manchester, away from the police station. SGT. STAEHL... So are you going to catch this mysterious thief who hasn \u2019 t actually stolen anything? DETECTIVE NOCK Alan Turing is a suspect in a robbery but they won \u2019 t share a thing with the police? SGT. STAEHL \u201c Suspect \u201d? I distinctly recall writing his name next to the word \u201c victim. \u201d Nock looks around, paying no attention to Staehl. He sees something ( which we don \u2019 t ) in the reflection of a shop window. DETECTIVE NOCK Will? SGT. STAEHL Yes? DETECTIVE NOCK I \u2019 m terribly sorry about this. Suddenly, Nock PUSHES Staehl, hard. Staehl, reeling, is very, very confused. SGT. STAEHL What? Nock responds by PUNCHING Staehl across the jaw, sending him to the ground. People on the street TURN and STARE. Nock RUNS away down the street \u2014 Staehl starts CHASING AFTER HIM \u2014 \u2014 They each DODGE PASSERSBY, who are all staring \u2014 \u2014 Until Nock suddenly CHANGES DIRECTIONS and SLAMS INTO A PEDESTRIAN \u2014 \u2014 The Pedestrian and Nock TUMBLE TO THE GROUND. The two SCRAMBLE, and then exchange a look : The Pedestrian is... Concerned. The Pedestrian STRUGGLES TO HIS FEET and RUNS OFF. Nock stands dusting himself off as Staehl catches up to him \u2014 \u2014 And PUNCHES NOCK IN THE JAW. DETECTIVE NOCK Oww! Would you stop it? SGT. STAEHL What is wrong with you? DETECTIVE NOCK Here. Nock hands a BILLFOLD back to Staehl. SGT. STAEHL... Whose is this? Very confused, Staehl LOOKS THROUGH the billfold. SGT. STAEHL -LRB- CONT \u2019 D -RRB-... That man you knocked over! You stole his billfold. Nock shrugs. SGT. STAEHL -LRB- CONT \u2019 D -RRB-... Oh. Bob? DETECTIVE NOCK Yes? SGT. STAEHL There \u2019 s a photograph of you. Staehl shows Nock the billfold \u2019 s contents : A PHOTO OF NOCK, PAPERS WITH NOCK \u2019 S ADDRESS, PERSONAL DATA. SGT. STAEHL -LRB- CONT \u2019 D -RRB- That man was following you. DETECTIVE NOCK Has been for awhile now. SGT. STAEHL Good God... Your home address, your district, your... Bob, there is a letter here from the Foreign Office. Staehl shows him : The letter, stamped with the Foreign Office seal, instructs that the bearer be granted access to all records concerning one \u201c ROBERT NOCK \u201d. FEMALE PEDESTRIAN -LRB- approaching them -RRB- \u2014 Are you two all right? SGT. STAEHL -LRB- to Pedestrian -RRB- Bugger off. She LEAVES, offended. SGT. STAEHL -LRB- CONT \u2019 D -RRB- Why are you being followed? We have to call this in. DETECTIVE NOCK -LRB- looking at the letter -RRB- I think I might have a better idea. CUT TO :", "INT. POLICE STATION - MANCHESTER - LATER QUICK SHOTS : Nock PAINTS TIPP-EX over his own name on the letter he just stole, and TYPES IN A NEW ONE \u2014 \u201c ALAN TURING \u201d", "INT. ADMIRALTY RECORDS OFFICE - DAY - LATER Detective Nock walks up to a SECRETARY. DETECTIVE NOCK -LRB- to Secretary -RRB- Pardon me. I \u2019 d like to see some documents, if I may. Service records of a Mr. Turing. Alan. He FLASHES THE FORGED LETTER. DETECTIVE NOCK -LRB- CONT \u2019 D -RRB- Foreign Office sent me. OFF OF NOCK \u2019 S SMILE WE CUT TO :", "EXT. ATLANTIC OCEAN - GERMAN PLANE - DAY \u2014 1940 ALAN TURING -LRB- V.O. -RRB- The game was quite a simple one. ON THE ATLANTIC : \u2014 A GERMAN SPYPLANE spots a BRITISH CONVOY travelling across the ocean, far away. We hear the BEEP BEEP of Morse Code as the SPYPLANE SENDS OUT AN ENCRYPTED MESSAGE and we cut to \u2014", "EXT. BRITISH SHIP - ON DECK - DAY \u2014 The DECK of one of the British ships. A SEAMAN smokes a cigarette as waves crash against the side. He \u2019 s approached by two FRIENDS. He looks : He \u2019 s only got one smoke left. In a kind gesture, he SNAPS his cigarette in half, sharing it \u2014", "INT/EXT. GERMAN SUBMARINE - DAY \u2014 As underwater, a GERMAN SUBMARINE receives the BEEP BEEP of the Morse message about the convoy \u2019 s location. The sub CHANGES COURSE \u2014 ALAN TURING -LRB- V.O. -RRB- Every single German message. Every surprise attack. Every bombing run. Every imminent U-boat assault. They were all floating through the air, radio signals that any schoolboy with an AM kit could intercept.", "INT. BLETCHLEY PARK - HUT 14 - DAY AT BLETCHLEY PARK : \u2014 Inside HUT 14 : ROW after ROW of RADIO STATIONS, all staffed by the smartly dressed young ladies of the Women \u2019 s Royal Navy. One WREN, listening to Morse code on her headphones, intercepts the very same BEEP BEEP of the MESSAGE \u2014 ALAN TURING -LRB- V.O. -RRB- The trick was that they were encrypted. \u2014 She takes it down by hand : It \u2019 s GIBBERISH. Encrypted. She places the messages in a PILE \u2014 \u2014 A FEMALE ASSISTANT picks up the pile of encrypted messages-", "EXT. BLETCHLEY PARK - HUT 14 - DAY \u2014 And carries it through Bletchley \u2014 \u2014 The grounds surrounding the mansion at Bletchley Park are now littered with 18 WOODEN \u201c HUTS \u201d \u2014 hastily constructed structures that contain all of Britain \u2019 s top secret cryptography operations \u2014 ALAN TURING -LRB- V.O. -RRB- One hundred and fifty nine million million million possible Enigma settings. All we had to do was try each one.", "EXT. BLETCHLEY PARK - HUT 8 - DAY \u2014 The Female Assistant hurries past ARMED GUARDS and SECURITY CHECKPOINTS into \u2014", "INT. BLETCHLEY PARK - HUT 8 - DAY \u2014 HUT 8 : Where the Enigma cryptanalysis team does their work. ALAN TURING -LRB- V.O. -RRB- But if we had 10 men checking one setting a minute, for 24 hours every day and seven days every week, it would take... Well, you tell me. How many days would it take to check each of the settings? \u2014 John Cairncross, Peter Hilton, Keith Furman, and Charles Richards use PERFORATED SHEETS to analyze Enigma messages as the Female Assistant deposits the pile onto Hugh Alexander \u2019 s desk. All around Hut 8, we see STACK after STACK of encrypted messages, just like the one that was just delivered. ALAN TURING -LRB- V.O. -RRB-... Would you like a hint? It \u2019 s not days. It \u2019 s years. The team does their best to decrypt these stacks of messages, but they \u2019 re getting nowhere. There are thousands of messages, and only four cryptographers. ALAN TURING -LRB- V.O. -RRB- -LRB- sighs -RRB- Oh dear, you still haven \u2019 t worked it out, have you? Pity you didn \u2019 t pay more attention in school. -LRB- beat -RRB- It \u2019 s 20 million years. MOVE IN on the urgent message about the attack, which is untouched as \u2014", "EXT. ATLANTIC OCEAN - BRITISH SHIP - DECK - DAY BACK IN THE ATLANTIC : \u2014 The deck of the British ship. The sailors SMOKE as we \u2014 ALAN TURING -LRB- V.O. -RRB- To stop a coming attack, we would have to check 20 million years worth of settings... In 20 minutes. \u2014 Move DOWN INTO THE WATER to see that the German submarine has arrived. It FIRES A TORPEDO at the helpless convoy and we cut\u2014", "INT. BLETCHLEY PARK - HUT 8 - DAY BACK TO HUT 8 : The team is still buried in pile after pile of undecrypted messages. Another convoy has been lost because they couldn \u2019 t move fast enough, and they \u2019 re so far behind they don \u2019 t even know it yet. PETER HILTON... I \u2019 m famished. Hugh stretches, staring out the window, where he sees a WREN passing by. HUGH ALEXANDER -LRB- re : the WREN -RRB- Good God, what is it with women in little hats? John, Peter, Keith and Charles all look as well \u2014 there is in fact something strangely sexy about women in little hats. John Cairncross gets up and walks into the next room, where he finds Alan, working alone. JOHN CAIRNCROSS The boys... We were going to get some lunch? -LRB- Alan ignores him -RRB- Alan? ALAN TURING Yes. JOHN CAIRNCROSS I said we were going to get some lunch? -LRB- Alan keeps ignoring him -RRB- Alan? ALAN TURING Yes. JOHN CAIRNCROSS Can you hear me? ALAN TURING Yes. JOHN CAIRNCROSS I said we \u2019 re off to get some lunch. -LRB- silence -RRB- This is starting to get a bit repetitive. ALAN TURING What is? JOHN CAIRNCROSS I had asked if you wanted to have lunch with us. ALAN TURING No you didn \u2019 t. You told me you were getting lunch. JOHN CAIRNCROSS Have I offended you in some way? ALAN TURING Why would you think that? JOHN CAIRNCROSS Would you like to come to lunch with us? ALAN TURING When is lunchtime? HUGH ALEXANDER -LRB- calling out -RRB- Christ, Alan, it \u2019 s a bleeding sandwich. ALAN TURING What is? HUGH ALEXANDER Lunch. ALAN TURING I don \u2019 t like sandwiches. JOHN CAIRNCROSS Nevermind. HUGH ALEXANDER John was trying to be nice. ALAN TURING How? JOHN CAIRNCROSS Let it go. HUGH ALEXANDER You know to pull off this irascible genius routine, one has to actually be a genius. Yet we \u2019 re the ones making progress here, aren \u2019 t we? ALAN TURING You have? HUGH ALEXANDER We \u2019 ve decrypted a number of German messages by analyzing the frequency of letter distribution. ALAN TURING Oh. Even a broken clock is right twice a day. That \u2019 s not progress at all, that \u2019 s just blind luck. I \u2019 m designing a machine that will allow us to break every message, every day, instantly. We see his work : ELECTRICAL SCHEMATICS. He \u2019 s designing a STRANGE NEW MACHINE. ON THE TEAM : A machine? That \u2019 s ridiculous. PETER HILTON Who \u2019 s hungry? Let \u2019 s go. HUGH ALEXANDER Bye, Alan. The guys gather their things and walk out... ALAN TURING I \u2019 m hungry. ... They turn. JOHN CAIRNCROSS What? ALAN TURING Peter asked if anyone was hungry. I am. -LRB- they stare at him -RRB- May I have some soup, please?", "EXT. BLETCHLEY PARK - HUT 8 - MOMENTS LATER Hugh, John, Peter, Keith and Charles all exit Hut 8, shaking their heads and laughing at what an impossible weirdo Alan is. In the window, we see Alan \u2019 s face, alone with his work. ON ALAN : He looks out at the team, a slight longing to be among them, and yet the resolution that he never can be.", "EXT. OUTSKIRTS OF BLETCHLEY - DAY - SEQUENCE Alan runs for miles and miles along the outskirts of Bletchley. He thinks when he runs. It focuses him. He looks intent, deeply concentrating as he presses his legs as hard as they \u2019 ll go. INTERCUT WITH :", "INT. BLETCHLEY PARK - HUT 8 - DAY - SEQUENCE Alan obsessively works on something in Hut 8, filling sheet after sheet of paper with his designs. He \u2019 s drawing SCHEMATICS... As it fills out, we see what it is : It \u2019 s a HUGE MACHINE.", "EXT. BLETCHLEY PARK - DAY Alan walks through the camp brandishing a PIECE OF PAPER. He \u2019 s a fish out of water amidst all of the MILITARY MEN moving supplies around him. He finds what he \u2019 s looking for : Commander Denniston stands before a SUPPLY TRUCK, checking the manifest as supplies are UNLOADED. ALAN TURING This is unacceptable. COMMANDER DENNISTON Turing. If you \u2019 d like to discuss the complaint, I \u2019 d suggest making a proper appointment with my office. ALAN TURING Complaint? Hugh Alexander has denied my requisition. Parts and equipment, to build the machine I \u2019 ve designed. COMMANDER DENNISTON Your fellow codebreakers are refusing to work with you. They \u2019 ve filed a formal complaint. ALAN TURING It \u2019 s inspired by an old Polish code machine, only infinitely more advanced. COMMANDER DENNISTON If you don \u2019 t respond to the complaint, I \u2019 ll have to take it up with the Home Office. ALAN TURING Fine. My response is, they are all idiots. Fire them and use the savings to fund my machine. I \u2019 ll only need about a hundred thousand pounds. COMMANDER DENNISTON A hundred thousand \u2014 Why are you building a machine? ALAN TURING It \u2019 s highly technical. You wouldn \u2019 t understand. COMMANDER DENNISTON I suggest you make an effort to try. ALAN TURING... Enigma is a machine. A very well-designed machine. Our problem is that we \u2019 re trying to beat it with men. What if only a machine can defeat another machine? Denniston stares at him. COMMANDER DENNISTON... Hugh Alexander is in charge of your unit and if he \u2019 s said no, that \u2019 s that. ALAN TURING I do not have time for this \u2014 COMMANDER DENNISTON \u2014 Have you ever won a war before, Turing? I have. Do you know how it \u2019 s done? Order. Discipline. Chain of command. You \u2019 re not at University any longer. You are a very small cog in a very large system and you \u2019 ll do as your commanding officer instructs. ALAN TURING Who is your commanding officer? COMMANDER DENNISTON Winston Churchill. 10 Downing Street, London. You have a problem with my decision you can take it up with him. And with that, Denniston walks away, furious. ON ALAN : Well alright, if you say so...", "EXT. BLETCHLEY PARK - MAIN GATE - LATER Stewart Menzies walks out of the Bletchley \u2019 s MAIN GATE, through security, when \u2019 s he \u2019 s approached by : ALAN TURING Mr. Menzies! You \u2019 re headed back to London, yes? STEWART MENZIES Possibly. ALAN TURING Will you deliver a letter for me? Alan hands Menzies a letter : It \u2019 s addressed to \u201c WINSTON CHURCHILL. 10 DOWNING ST. LONDON. \u201d ON MENZIES : Well, this should be interesting...", "INT. BLETCHLEY PARK - DENNISTON\u2019S OFFICE - DAY The team \u2014 Alan, Hugh, John, Peter, Keith, and Charles \u2014 are assembled in Commander Denniston \u2019 s office for a meeting. Stewart Menzies watches quietly from the corner, as is his way. HUGH ALEXANDER You must be joking. Churchill put Alan in charge?!?!?! KEITH FURMAN \u2014 This is a terrible plan \u2014 PETER HILTON \u2014 No no no no no no \u2014 ALAN TURING \u2014 Really? I can give these men orders now? COMMANDER DENNISTON Though I hate to say it... Yes. ALAN TURING Fantastic. -LRB- to Keith and Charles -RRB- Keith and Charles. You \u2019 re both fired. KEITH FURMAN Excuse me? CHARLES RICHARDS What? ALAN TURING You \u2019 re mediocre linguists and positively poor codebreakers. HUGH ALEXANDER Alan, you can \u2019 t just fire Keith and Charles. ALAN TURING He just said I could. COMMANDER DENNISTON -LRB- furious -RRB- I did no such thing. STEWART MENZIES But Churchill did. Denniston looks at Menzies, stewing, but Menzies just shrugs back : \u201c What would you have me do? \u201d CHARLES RICHARDS -LRB- to Alan -RRB- Go to hell. Charles and Keith leave, pissed. JOHN CAIRNCROSS This is inhuman. Even for you. ON DENNISTON : He looks at Alan with a withering, simmering glare. ON ALAN : He doesn \u2019 t budge an inch, or feel the slightest need to explain himself. As everyone stares at him, angry, the tension is brutal. STEWART MENZIES -LRB- to Alan -RRB-... Popular at school, were you? CUT TO :", "INT. BLETCHLEY PARK - HUT 8 - MINUTES LATER Alan, Hugh, John and Peter walk back into Hut 8 after the meeting \u2014 resigned, unhappily, to their fate. JOHN CAIRNCROSS... So what do we do now? PETER HILTON We \u2019 re short on staff. ALAN TURING We get more staff. HUGH ALEXANDER And how are you going to do that? Alan takes a paper from his desk and TACKS IT UP ON THE WALL. ON THE PAPER : It \u2019 s a CROSSWORD PUZZLE.", "INT. FAMILY HOME - MORNING - 1940 A MAN opens up that morning \u2019 s Daily Telegraph, and flipping through the paper, he sees an advertisement. ON THE AD : It \u2019 s a crossword puzzle. Below it, the ad copy says \u2014 \u201c If you can solve this puzzle in under ten minutes please call STO-6264 for an exciting career opportunity. \u201d", "INT. OTHER LOCATIONS - SAME TIME SERIES OF SHOTS : Other people \u2014 MEN, WOMEN, STUDENTS, RETIREES \u2014 open up their papers and see Alan \u2019 s ad. They all try solving the puzzle. It \u2019 s really, really hard.", "INT. FAMILY HOME - SAME TIME Back in the first house, the Man is trying to complete the puzzle when \u2014 \u2014 The AIR RAID SIREN goes off. Quickly, the Man gathers his FAMILY and they rush down into", "INT. BOMB SHELTER - CONTINUOUS The Man and his WIFE light candles in the safety of their underground BOMB SHELTER. As BOMBS EXPLODE on the street above them, the Man passes TOYS and GAMES to his children, to keep them distracted during the assault. He returns to Alan \u2019 s crossword puzzle, trying to solve it as just a few yards above him a city burnt to rubble.", "INT. TUBE STATION - LONDON - SAME TIME CIVILIANS run down into an old TUBE TUNNEL to get away from the bombing. Inside the tightly crowded station, some people read books, some play games, some lay on the train tracks to sleep as dust POOFS UP from the shaking ground. Normal life goes on as the LIGHTS FLICKER from the shelling above. By the dim flickering, we see OTHER PEOPLE trying their hand at Alan \u2019 s puzzle.", "EXT. MI-6 HEADQUARTERS - LONDON - DAY Alan bicycles through London, passing a group of GASMASKED SCHOOLCHILDREN being led calmly on a DRILL by their TEACHER. As a MILKMAN crosses a BOMBED OUT BUILDING to delivers his wares, Alan comes to a stop beside a MARRIED COUPLE who are digging through the RUBBLE. The husband digs while the wife rests, sipping tea as if her house was other than a war zone. While FIREMEN tend to a nearby smoldering mess, Alan locks up his bike and enters MI-6 HEADQUARTERS.", "END SEQUENCE INT. MI-6 HEADQUARTERS - LONDON - MOMENTS LATER Alan and Stewart Menzies talk in the hallway, outside a closed door. STEWART MENZIES Who are they? ALAN TURING All sorts, really. A school teacher. An engineer. A handful of students. STEWART MENZIES And you think they \u2019 re qualified for Bletchley because they \u2019 re good at crossword puzzles? ALAN TURING Well, they say they \u2019 re good. Now we should probably find out. Alan leads Menzies into :", "INT. CLASS ROOM - CONTINUOUS Alan and Stewart Menzies are in an MI-6 conference room. It \u2019 s been set up like a class room : Rows of identical desks, at which sit a COLLECTION OF CROSSWORD ENTHUSIASTS. There are around 20, all men. ALAN TURING... You \u2019 ll have six minutes to complete the puzzle, at which point\u2014 Just then, a WOMAN enters. Everyone turns to look... Her name is JOAN CLARKE, 20s, a graduate student at Cambridge who \u2019 s trying to get as far away from her preacher father as possible, and she \u2019 s about to become very important to this story. MI-6 AGENT Pardon, Ma \u2019 am, this room is restricted. JOAN CLARKE Apologies for my tardiness \u2014 bus caught a flat tire. ALAN TURING -LRB- irritated -RRB- May I continue, please? MI-6 AGENT -LRB- to Joan -RRB- You \u2019 re not allowed in here, Ma \u2019 am. JOAN CLARKE I \u2019 m only a few minutes late. With the bombing there \u2019 s ten potholes to each road. MI-6 AGENT No, ma \u2019 am, the secretaries are to head upstairs. This room is for the candidates. ALAN TURING May I please get on with this? JOAN CLARKE I am a candidate. MI-6 AGENT For what position? JOAN CLARKE The letter did not say, precisely. MI-6 AGENT Yes, so, secretaries are to head upstairs. JOAN CLARKE It said it was top secret. ALAN TURING -LRB- comes over to them -RRB- What is going on here? JOAN CLARKE There was a crossword in the paper. I solved it. I got a letter saying I was a candidate for some mysterious job. So here I am. My name is Joan Clarke. She hands the Agent the LETTER. MI-6 AGENT Miss, did you really solve this puzzle yourself? JOAN CLARKE What makes you think I couldn \u2019 t have solved the puzzle myself? I am quite \u2014 MI-6 AGENT \u2014 Ma \u2019 am I \u2019 ll have to ask you \u2014 ALAN TURING \u2014 Miss Clarke. I find tardiness unacceptable under any circumstance. Now take a seat, so we may continue. Joan stares at Alan : Thank you. JOAN CLARKE Apologies again for being late. As Joan SITS, the Agent turns to Menzies \u2014 who \u2019 s been silently observing Alan thus far \u2014 for support. Menzies SHRUGS. The Agent backs down. Alan passes out NEW CROSSWORD PUZZLES. JOAN CLARKE -LRB- CONT \u2019 D -RRB- \u2014 Pardon, but before we start, can you tell me a bit about this position I \u2019 m qualifying for? ALAN TURING Oh for God \u2019 s sake \u2014 No. JOAN CLARKE It \u2019 s just that I \u2019 ve a pretty decent job at the University, and I \u2019 d rather not give it up for something less interesting. ALAN TURING Miss Clarke. You now have the distinct honor of having wasted more of my time than any other person in this room. Quiet. Gentlemen. And lady. You have six minutes. Begin. SHOTS : EVERYONE FRANTICALLY TRIES TO FINISH THE NEW PUZZLE. As they work : STEWART MENZIES -LRB- whispering to Alan -RRB- Six minutes? Is that even possible? ALAN TURING No. It takes me eight. But this test isn \u2019 t about crosswords \u2014 it \u2019 s about how you approach solving an impossible problem. Do you take the whole thing at once? Do you divide it into smaller \u2014 \u2014 Suddenly, Joan sits up. She \u2019 s finished. Early. ALAN TURING -LRB- CONT \u2019 D -RRB- You \u2019 ve finished? JOAN CLARKE Yes. ALAN TURING -LRB- checking watch -RRB-... 5 minutes, 34 seconds. JOAN CLARKE You said to do it in under 6. ON ALAN : The smartest man in the room is surprised for the first time in a very long time by someone who might be even smarter. STEWART MENZIES -LRB- to Alan -RRB- Seems like some people approach it by simply doing the impossible. CUT TO :", "INT. CLASS ROOM - MINUTES LATER Minutes later, TWO PEOPLE have survived the crossword test. Joan is one of them. STEWART MENZIES Congratulations, and my warmest welcome to His Majesty \u2019 s service. If you speak a word of anything I \u2019 m about to show you, you \u2019 ll be executed for High Treason. You will lie to your friends, your family, everyone you meet about what it is you really do. JOAN CLARKE And what is it that we \u2019 re really doing? ALAN TURING We \u2019 re going to break an unbreakable Nazi code and win the war. JOAN CLARKE... Well that does sound more interesting than my university job. CUT TO :", "EXT. SHERBORNE SCHOOL FOR BOYS - DAY -  1927 Young Alan and Christopher sit under a tree, the school in the distance. Alan is going through a crossword puzzle, Christopher is reading a book. Their legs are touching affectionately without either even knowing, like two people who are effortlessly comfortable with one another. YOUNG ALAN What \u2019 s that you \u2019 re reading? Christopher shows him : \u201c A Guide to Codes and Cyphers. \u201d CHRISTOPHER It \u2019 s about cryptography. YOUNG ALAN What \u2019 s cryptography? CHRISTOPHER It \u2019 s complicated. You wouldn \u2019 t understand. YOUNG ALAN I \u2019 m only fourteen months younger than you. Don \u2019 t treat me like a child. CHRISTOPHER Cryptography is the science of codes. YOUNG ALAN Like secret messages? CHRISTOPHER Not secret. That \u2019 s the brilliant part. Messages that anyone can see, but no one knows what they mean, unless you have the key. YOUNG ALAN -LRB- confused -RRB- How is that different from talking? CHRISTOPHER Talking? YOUNG ALAN When people talk to each other they never say what they mean. They say something else. And you \u2019 re supposed to just know what they mean. Only, I never do. So how is that different? CHRISTOPHER -LRB- handing him the book -RRB- Alan, I have a funny feeling that you \u2019 re going to be very good at this.", "EXT. SHERBORNE SCHOOL FOR BOYS - DORMITORY - EVENING Christopher walks Young Alan back to his dormitory. They \u2019 re happy after a long day together. CHRISTOPHER Goodnight, Alan. Christopher touches Alan \u2019 s shoulder, and the two share a sweet moment. ALAN TURING Goodnight. Alan watches Christopher go ; his heart is blooming, in love. CUT TO :", "INT. MANCHESTER POLICE STATION - DAY -  1951 A crowded POLICE STATION. Detective Nock approaches his boss, SUPERINTENDANT SMITH, as the latter walks through the station dropping PAPERS onto various DESKS and checking the work of other POLICE OFFICERS. Nock hands Superintendant Smith a MANILA ENVELOPE. SUPERINTENDANT SMITH What is this? DETECTIVE NOCK Alan Turing \u2019 s classified military file. SUPERINTENDANT SMITH -LRB- displays the file -RRB- It \u2019 s bloody empty. DETECTIVE NOCK Exactly. SUPERINTENDANT SMITH It \u2019 s an empty manila envelope. DETECTIVE NOCK Yes. SUPERINTENDANT SMITH Well you \u2019 ve cracked the case wide open then, haven \u2019 t you? DETECTIVE NOCK Alan Turing \u2019 s war records aren \u2019 t just classified. They \u2019 re non- existent. That means someone got rid of them. Erased them, burned them. SUPERINTENDANT SMITH And that person broke into his house and stole... Nothing? DETECTIVE NOCK What if Turing wasn \u2019 t just a math professor? SUPERINTENDANT SMITH You think maybe he also teaches English lit? DETECTIVE NOCK Guy Burgess and Donald Maclean. SUPERINTENDANT SMITH The spies? From the papers? DETECTIVE NOCK The Soviet spies. But first, they were professors, weren \u2019 t they? Newspapers say they became radicalized at Cambridge. Then they joined the Communist Party, took positions in the Foreign Office and leaked information to Stalin during the war. Now, can you think of anyone else we know who was at Cambridge, then took up something murky and top secret when the war broke out? Smith gives him a look. SUPERINTENDANT SMITH You think Alan Turing might be a Soviet agent? ON NOCK \u2019 S FACE : It would explain a lot, wouldn \u2019 t it? ON SUPERINTENDANT SMITH : He \u2019 s considering... DETECTIVE NOCK Something very serious is happening, right here under our noses. Wouldn \u2019 t you like to find out what it is? Smith thinks, and then hands the folder back to Nock. SUPERINTENDANT SMITH No. I wouldn \u2019 t. I like my job. Now as to yours : Those lads have been causing a ruckus down by Whitworth Park again. Will you give them a talking to? Thank you. And with that, Smith leaves. ON NOCK : Damn it. He walks back across the station to find Sergeant Staehl waiting beside his desk. SERGEANT STAEHL Well? What \u2019 d he say? DETECTIVE NOCK He said alright. Let \u2019 s do it. Let \u2019 s follow Turing. You \u2019 ll take the first shift. Turing won \u2019 t have a secret left by the time we \u2019 re through with him. CUT TO :", "INT. BLETCHLEY PARK - HUT 11 - DAY -  1941 CLOSE ON : A GIANT, HALF-BUILT MACHINE. The size of a dining room table, but taller than it is wide, its guts are composed of SPINNING GEARS and a seemingly endless stream of LONG RED WIRES. REVEAL : TECHNICIANS work on putting the machine together, SOLDERING THE WIRES, while Alan FUSSES. ALAN TURING Careful! Damn it, will you \u2014 It \u2019 s not a toy. Alan tries to protect his precious creation when he \u2019 s interrupted by : HUGH ALEXANDER Alan! Your new minion has arrived. Alan turns to see : His new recruit, JACK GOOD. ... But no Joan. ALAN TURING -LRB- displeased -RRB-... Where \u2019 s Miss Clarke? CUT TO :", "INT. CLARKE HOUSE - LONDON - DAY Joan returns home from the market when she hears a familiar VOICE from the sitting room. ALAN TURING -LRB- O.S. -RRB- \u2014 Well it \u2019 s a very important radio factory you see. It \u2019 s not really \u2014 I mean along the spectrum of radio factories this one is particularly\u2014 Joan follows the voices to find : Alan sitting across from her MOTHER and FATHER, arguing. ALAN TURING -LRB- CONT \u2019 D -RRB- -LRB- seeing Joan -RRB- Hello. Joan makes the sort of face any young woman would make if she found Alan Turing sitting to tea with her parents. CUT TO :", "INT. CLARKE HOUSE - LONDON - MINUTES LATER In the KITCHEN : Joan \u2019 s MOTHER hands her a TEA TRAY. The two share a look. As Joan \u2019 s Mother and Father pretend to putter in the kitchen, listening in on the conversation in the next room, Joan takes the tray to the LIVING ROOM, where she begins to serve tea. ALAN TURING... Why aren \u2019 t you at Bletchley? JOAN CLARKE -LRB- \u201d My parents can hear us \u201d -RRB- So kind of you to visit, Mr. Turing. Was your trip pleasant? ALAN TURING Gather your things and let \u2019 s go. JOAN CLARKE I \u2019 m sorry. I am unable to accept your offer. ALAN TURING And why not? JOAN CLARKE As my father told you, it is felt \u2014 well we feel \u2014 that such a position would hardly be appropriate. ALAN TURING You earned a double-first in mathematics. JOAN CLARKE But sadly was not granted the opportunity to become a Fellow. ALAN TURING You belong at Bletchley. JOAN CLARKE I \u2019 m sorry, but for someone in my position to work - to live - amongst all of your men, so far from home... It would be indecorous. ALAN TURING What in the world does that even \u2014 JOAN CLARKE -LRB- \u201d I told you they \u2019 re listening! \u201d ) \u2014 One lump or two? ON ALAN : Are you fucking serious? ON JOAN : Yes. I \u2019 m fucking serious. ON ALAN : He tries to think of a solution... ALAN TURING... We have a group of young women who tend to our clerical tasks. Assistants, translators. They live together in town. Would that be a more suitable environment? ON JOAN \u2019 S PARENTS : This sounds more promising. JOAN CLARKE So I would be working amongst these women? ALAN TURING -LRB- \u201d Not actually \u201d -RRB- Yes. ON JOAN : \u201c Go on. \u201d ALAN TURING -LRB- CONT \u2019 D -RRB-... Wonderful ladies, they even organize social events at St Martin \u2019 s church, down the road. The whole thing is really quite... Decorous. ON JOAN \u2019 S PARENTS : That \u2019 s much better. JOAN CLARKE -LRB- \u201d Good job. \u201d -RRB- Well. I will have to talk this over with my family. AS JOAN \u2019 S PARENTS ENTER, WE CUT TO :", "EXT. CLARKE HOUSE - MOMENTS LATER Joan walks Alan out of the front door, finally out of earshot from her parents for a few quick seconds. ALAN TURING You won \u2019 t have the proper clearance, so we \u2019 ll have to improvise a bit. JOAN CLARKE Why are you helping me? ALAN TURING There is only one thing that matters in this entire world, do you understand? Breaking Enigma. JOAN CLARKE Mr. Turing. Why are you helping me? ALAN TURING... Sometimes it is the very people who no one imagines anything of who do the things that no one can imagine.", "EXT. BLETCHLEY PARK - DAY Joan and a few OTHER WRENS exit a BUS that \u2019 s deposited them in front of the Park \u2019 s central mansion. Looking up at it, she sees Alan walking across the way. He gives her a small wave, which she returns with a small wave back.", "INT. BLETCHLEY PARK - HUT 8 - NIGHT Later in Hut 8, the team ( w/o Alan ) \u2014 Hugh, John, Peter, and the new guy, Jack \u2014 work frantically into the night. The team uses their PERFORATED SHEETS to find linguistic patterns in the Enigma messages, everyone working as hard and as fast as they possibly can until \u2014 \u2014 Suddenly a BELL GOES OFF. Everyone stops their work, frustrated. Angry, Hugh KICKS his desk. JACK GOOD... What just happened? JOHN CAIRNCROSS Midnight. All the work we did today is useless. But don \u2019 t worry : We \u2019 ve a few hours before tomorrow \u2019 s messages start pouring in. And we start all over again. PETER HILTON From scratch. HUGH ALEXANDER I am sick of this. Sick. He made me waste four hours this morning re- wiring his plugboard matrix. Three hours yesterday on rotor positions. JOHN CAIRNCROSS Don \u2019 t go over there. HUGH ALEXANDER No. If our job was not impossible before it bloody well is now. Hugh stands and heads to the door \u2014 JOHN CAIRNCROSS \u2014 Hugh, don \u2019 t \u2014 \u2014 BUT HUGH IS ALREADY GONE TO CUT TO :", "INT. BLETCHLEY PARK - HUT 11 - MOMENTS LATER Alan stands alone with his machine, tinkering, comparing the assembly to his SCHEMATICS. Hugh BURSTS in \u2014 HUGH ALEXANDER \u2014 Damn you and damn your useless machine. ALAN TURING -LRB- not even looking -RRB- My machine is how we \u2019 re going to win. HUGH ALEXANDER This machine? Hugh grabs a GLASS from the table and SMASHES IT AGAINST ALAN \u2019 S MACHINE. ALAN TURING -LRB- turning around, shocked -RRB- Stop. HUGH ALEXANDER This is the bloody machine you \u2019 re talking about? He grabs a WRENCH \u2014 \u2014 Alan moves to protect Christopher, standing between Hugh and the machine \u2014 ALAN TURING No no don \u2019 t \u2014 \u2014 When the team enters behind Hugh \u2014 \u2014 GRABBING HIM and HOLDING HIM BACK. Alan stands between the team and his machine as Hugh STEAMS. HUGH ALEXANDER... You could help us. You could make this go faster. But you won \u2019 t. PETER HILTON Hugh is right, Alan. There are actual soldiers out there trying to win an actual war \u2014 my brother, my cousins, all my friends, they are all making a difference, while we wile away our days producing nothing. Because of you. HUGH ALEXANDER Because of you... Hugh PUSHES towards Alan again \u2014 \u2014 but John HOLDS HIM BACK. JOHN CAIRNCROSS -LRB- to Hugh, calming -RRB-... What \u2019 s the use? ALAN TURING My machine will work. Hugh stares Alan, then at John. HUGH ALEXANDER.... I \u2019 m going to the pub. Hugh leaves, and the team FOLLOWS. ALAN TURING... It \u2019 ll work. ON ALAN : Alone. Rattled from the violence. Scared. And yet... Resolved. He makes a fateful decision and runs off to", "INT. BLETCHLEY PARK - HUT 8 - MINUTES LATER Alan goes back into Hut 8, which is now empty. He goes to a far STORAGE CABINET, from which he removes a STACK OF ENIGMA MESSAGES. Alan FOLDS THE SHEETS, STUFFING THEM INTO HIS COAT POCKETS \u2014 \u2014 INTO HIS PANTS \u2014 \u2014 INTO HIS SHOES \u2014 \u2014 ETC. He runs out, concealing enough top secret information on his body to have him hanged for treason ten times over.", "EXT. BLETCHLEY PARK - DIRT PATH - MINUTES LATER Alan walks his bicycle through the CHECK POINT, showing his ID to the GUARDS.", "EXT. BLETCHLEY PARK - MAIN GATE - CONTINUOUS At the Gate, ARMED GUARDS stop him as he passes, and as is protocol, Alan opens up his BRIEFCASE for the men to see : Nothing is inside. Concealing the documents in his coat/pants/shoes/etc., Alan hops on his bike and heads off to :", "EXT. JOAN\u2019S FLAT - LATER Alan bicycles to the outside of Joan \u2019 s new flat. The windows are BOARDED UP at night \u2014 city regulations, so that the Germans flying overhead can \u2019 t see any lights from the town. Alan CHUCKS A SMALL rock at Joan \u2019 s boarded window \u2014 \u2014 Then carefully sneaks around in back of the house\u2014 \u2014 Finding an OPEN BACK WINDOW \u2014 \u2014 On the second floor. He CLIMBS A NEARBY FENCE, and JUMPS FROM THE FENCE TO THE WINDOW \u2014 \u2014 Where Joan GRABS HIM and HELPS HIM INSIDE :", "INT. JOAN\u2019S FLAT - CONTINUOUS It \u2019 s dark inside... JOAN CLARKE -LRB- whispering -RRB- Could you have made a bit more noise, Alan? Not sure you woke up my landlady. ALAN TURING Sorry. Joan turns on a SMALL LAMP and then lights some CANDLES. JOAN CLARKE The best I can do. No male visitors after dark. She watches Alan remove papers from his pockets. JOAN CLARKE -LRB- CONT \u2019 D -RRB- What \u2019 d you bring me? Alan produces the Enigma messages from every available hiding place on his person. JOAN CLARKE -LRB- CONT \u2019 D -RRB-... Some men try flowers, you know. ALAN TURING -LRB- pulling papers from inside his shirt -RRB- These are actual decrypted Enigma messages, direct from Nazi high command. JOAN CLARKE Or chocolates. Girls like chocolate. Alan starts PLACING THE MESSAGES down on a table, but there isn \u2019 t room, so he starts LAYING THEM OUT ON THE FLOOR. JOAN CLARKE -LRB- CONT \u2019 D -RRB- -LRB- reading a message -RRB- \u201c 0600 hours. Weather today is clear. Rain in the evening. Heil Hitler. \u201d Well, clearly that vital information is going to win us the war. ALAN TURING It \u2019 s the relationship between the encrypted and decrypted messages that interests me. Is there a clue there that we can build into Christopher? JOAN CLARKE Who \u2019 s \u201c Christopher \u201d? ALAN TURING Oh. He \u2019 s my machine. JOAN CLARKE You named him? ALAN TURING Is that a bad name? JOAN CLARKE Nevermind... -LRB- looks over the messages -RRB- Are you trying to build your Universal Machine? Alan looks at her : How do you know what that is? Joan smiles. JOAN CLARKE -LRB- CONT \u2019 D -RRB- I read your paper at university. ALAN TURING They \u2019 re teaching it already? JOAN CLARKE Oh God no, but I was precocious. You theorized a machine that can solve any problem. It doesn \u2019 t just do one thing : It does everything. The machine isn \u2019 t only programmable, it \u2019 s re-programmable. ON ALAN : She understands what he \u2019 s been writing about. JOAN CLARKE -LRB- CONT \u2019 D -RRB- Is that part of the idea behind your Christopher? ALAN TURING Human beings can compute large sums very quickly. Even Hugh can do that. I want Christopher to be... Smarter. To make a calculation, and then to determine what to do next. Like a person does. Think of it : An electrical brain. A digital computer. JOAN CLARKE -LRB- trying out the words on her tongue -RRB- A \u201c digital computer? \u201d Hmm. ALAN TURING I \u2019 ll show you \u2014 \u2014 Alan TURNS, and KNOCKS OVER THE CANDLE...... Which LIGHTS THE ENIGMA MESSAGES ON FIRE. Alan and Joan SCRAMBLE TO PUT OUT THE FIRE. They make a lot of NOISE in the process, though they do manage not to burn down Joan \u2019 s flat. ALAN TURING -LRB- CONT \u2019 D -RRB- I \u2019 m so sorry. They hear more noise from downstairs : \u201c Joan?!? HELLO?! ? \u201d JOAN CLARKE My landlady. You need to leave. ALAN TURING Right. Alan moves to the front door \u2014 JOAN CLARKE \u2014 No. The window. She \u2019 s coming. ALAN TURING -LRB- staring at window -RRB- Really? JOAN CLARKE Go. Alan AWKWARDLY CLIMBS OUT THE WINDOW, TRYING NOT TO FALL... SMASH CUT TO :", "EXT. BLETCHLEY PARK - THE NEXT DAY REVEAL : Alan has been injured in his fall. ( Climbing is not his strong suit. ) Alan walks through the grounds into :", "INT. BLETCHLEY PARK - HUT 8 - CONTINUOUS Alan enters Hut 8 to find his team watching silently as a bunch of MILITARY POLICE RIFLE THROUGH HIS DESK \u2014 \u2014 MANHANDLING his papers, his machine parts, making a mess. ALAN TURING -LRB- re : parts of Christopher -RRB- Hey! Don \u2019 t touch that! The RMP \u2019 S TRAIN GUNS ON HIM. MILITARY POLICEMAN Don \u2019 t move! ALAN TURING That \u2019 s my desk. COMMANDER DENNISTON -LRB- O.S. -RRB- Thank goodness. Be a pity if we were searching the wrong one. Alan turns to find Denniston directing the search. ALAN TURING What are you doing? COMMANDER DENNISTON There \u2019 s a spy at Bletchley Park. JOHN CAIRNCROSS The Navy thinks one of us is a Soviet double-agent, Alan. ALAN TURING Why? COMMANDER DENNISTON Our boys intercepted this on its way to Moscow. Look familiar? Denniston hands Alan a TELEGRAM \u2014 it \u2019 s a LONG STRING OF LETTERS, running down the entire page. ALAN TURING -LRB- looking at the telegram -RRB-... This is a Beale Cypher. It \u2019 s encrypted with a key phrase, from a book or a poem or... -LRB- re : the team -RRB- Which one of them did this? As Alan stares at the team, they stare back at him. He glances at the RMP \u2019 s rifling through his desk. Oh fuck. ALAN TURING -LRB- CONT \u2019 D -RRB- I \u2019 m not a double agent. COMMANDER DENNISTON Double agents are such bastards. Isolated loners. No attachments to friends or family. Arrogant. Think they \u2019 re smart enough to get away with anything. Do you know anyone like that? ALAN TURING I know you don \u2019 t like me... But you don \u2019 t think I could actually be a spy, do you? ON THE TEAM : They won \u2019 t look him in the eye. MILITARY POLICEMAN -LRB- to Denniston -RRB- Nothing out of the ordinary, Sir. COMMANDER DENNISTON Well then. Next time, you will make a mistake. And then, I don \u2019 t even need to bother firing you \u2014 I can simply hang you for treason. Denniston and his men LEAVE. HUGH ALEXANDER -LRB- to Jack -RRB-... Aren \u2019 t you glad you joined up just in time?", "INT. BLETCHLEY PARK - HUT 11 - MINUTES LATER In the machine Hut next door, Alan touches his precious machine for comfort. Whenever he feels lonely, misunderstood, isolated \u2014 he has his machine. There \u2019 s a KNOCK on the door and...... Joan enters. JOAN CLARKE I heard about what happened... I have an idea of what might cheer you up. CUT TO :", "INT. BLETCHLEY PARK - BEER HUT - LATER Alan and Joan sip from beer bottles in the \u201c beer hut \u201d \u2014 Among the military commissaries, it \u2019 s so named because, well, it \u2019 s the one that serves beer. They can be a bit more relaxed here than at Joan \u2019 s flat. They \u2019 re surrounded by NAPKINS full of MATHEMATICAL EQUATIONS, which they \u2019 re studying, debating, etc. JOAN CLARKE... So because no letter can be encoded as itself, you \u2019 ve already a handful of settings that can be rejected at the outset. If you \u2014 Just then, Hugh, John, and Peter enter the Beer Hut...... Alan looks up, seeing them. Joan notices. JOAN CLARKE -LRB- CONT \u2019 D -RRB- Is that your team? Let \u2019 s say hello. ALAN TURING No. JOAN CLARKE -LRB- to the boys -RRB- Over here! They see Joan... ALAN TURING I told you not to do that. JOAN CLARKE Correct. ... Hugh, John and Peter approach. HUGH ALEXANDER Alan. Didn \u2019 t even know you drank. ALAN TURING Hello. JOAN CLARKE He doesn \u2019 t, really, he just sort of sips at the foam. HUGH ALEXANDER Tell you a secret, Miss... JOAN CLARKE... Clarke. HUGH ALEXANDER Miss Clarke. JOAN CLARKE Please. HUGH ALEXANDER The foam \u2019 s my favorite part too. JOAN CLARKE Well then, I \u2019 ll show you a trick. -LRB- to Bartender -RRB- Alex! We \u2019 re in need of supplies. Joan hops behind the bar and the BARTENDER helps her to BOTTLES OF GUINNESS. Hugh, Alan, John and Peter watch. HUGH ALEXANDER Alan, are you... On a date? ALAN TURING What? No. Of course not. HUGH ALEXANDER Mind if I have a crack? ALAN TURING I \u2019 m not a Soviet spy. HUGH ALEXANDER Do love a proper blonde. ALAN TURING Hugh. I swear. I \u2019 m not a spy. HUGH ALEXANDER Oh for God \u2019 s sake, Alan, of course you \u2019 re not a spy. ALAN TURING What? HUGH ALEXANDER Denniston gave me the Beale Cypher. And guess what? I broke it. \u201c Ask and it shall be given you ; seek and ye shall find. \u201d Matthew 7:7. That was the key. Far too simple for you. Pity Denniston disagrees. Returning, Joan POURS PINTS OF GUINNESS FOR THE TEAM. JOAN CLARKE Did you ever notice that the bubbles in a pint of Guinness travel downwards, as opposed to upwards in any other beer? Ever wonder why? It \u2019 s because the pint glass creates drag on the bubbles along the side ; but the center bubbles are free to sprint upwards. Then the rising current in the middle pushes down on the side bubbles and... And voila : Guinness. The official beer of mathematicians. ON THE PINTS : Joan has etched pi symbols into the foam. HUGH ALEXANDER Be still my beating heart. Come join us for a drink. ALAN TURING She \u2019 s assisting me with some calculations. HUGH ALEXANDER Fine, Alan can come too. ALAN TURING Thank you. JOAN CLARKE Hugh was being sarcastic. HUGH ALEXANDER He \u2019 s a lost cause, I promise. JOAN CLARKE We \u2019 ll be there in a moment. Joan smiles at Hugh as he joins John and Peter at a separate table. ALAN TURING... He likes you. JOAN CLARKE Yes. ALAN TURING You got him to like you. JOAN CLARKE Yes. ALAN TURING Why? JOAN CLARKE Because I \u2019 m a woman in a man \u2019 s job and I don \u2019 t have the luxury of being an ass. -LRB- beat -RRB- Alan, it doesn \u2019 t matter how smart you are. Enigma is smarter. If you really want to beat it \u2014 if you really want to solve your puzzle \u2014 you \u2019 re going to need all the help you can get. And they are not going to help you if they do not like you. Alan thinks. The next sentence is incredibly hard for him to say out loud. ALAN TURING... How should I get them to like me? CUT TO :", "INT. BLETCHLEY PARK - HUT 8 - DAY Alan enters Hut 8 to find his team hard at work. He \u2019 s carrying a BAG OF APPLES. HUGH ALEXANDER -LRB- sees apples -RRB- What \u2019 re those? ALAN TURING Apples. HUGH ALEXANDER No. ALAN TURING No, they really are... I... Joan told me it \u2019 d be nice to bring you all something. Alan takes the apple bag around the room, handing each man an apple. They take them. It \u2019 s really awkward. JOHN CAIRNCROSS Thanks? PETER HILTON I like apples. HUGH ALEXANDER My best to Miss Clarke. ALAN TURING... There are two fellows in the woods. And they run into a bear. The first fellow, he kneels down and starts to pray. But the second one, he begins lacing up his boots. The first one says, \u201c my friend, what \u2019 re you doing? You can \u2019 t outrun a bear. \u201d And the second one responds, \u201c I don \u2019 t have to. I only have to outrun you. \u201d Ba dum bum. Awkward silence. ALAN TURING -LRB- CONT \u2019 D -RRB- I \u2019 ll be with Christopher if anyone needs me. Alan walks off to the adjacent Hut. CUT TO :", "INT. SHERBORNE SCHOOL FOR BOYS - DAY -  1927 Young Alan and Christopher are in math class. The TEACHER drones on as the students pretend to pay attention. Young Alan and Christopher PASS NOTES \u2014 \u2014 Dropping them by each other \u2019 s desks \u2014 \u2014 And snapping them up quickly. TEACHER Mr. Turing! Passing notes, are we? ALAN TURING No, Sir. The Teacher comes over, and grabs the note from his hand. ON THE NOTE : \u201c FDFH RG TU HSD PDXT PEJND QERDZX. \u201d It \u2019 s encrypted. TEACHER -LRB- holding it up for everyone ) Only Mr. Turing would pass notes written in gibberish. The other students LAUGH as the Teacher drops the note in the trash. Alan isn \u2019 t bothered by the laughter \u2014 he \u2019 s safe in his private world with Christopher. The BELL RINGS. Class is over. AS EVERYONE SHUFFLES OUT : TEACHER -LRB- CONT \u2019 D -RRB- Alright you lot, do not forget your calculus over break. Have a pleasant holiday and we \u2019 ll resume your integrals when you return. Alan waits... And grabs the note from the trash.", "EXT. SHERBORNE SCHOOL FOR BOYS - CLOISTERS - MINUTES LATER Now alone, Alan DECRYPTS THE MESSAGE. One at a time, the letters become intelligible. ON THE NOTE : \u201c SEE YOU IN TWO LONG WEEKS, DEAREST FRIEND. \u201d ON ALAN : Christopher called him his dearest friend. CUT TO :", "EXT. BLETCHLEY PARK - OUTSIDE HUT 8 - DAY -  1941 Alan and Joan eat a PICNIC LUNCH in a wooded area behind Hut Alan finishes writing an EQUATION, then hands his NOTEBOOK to Joan. She looks at the equation, then instantly starts CROSSING THINGS OUT and REWRITING. Alan laughs. There aren \u2019 t many people who would cross out his work so brazenly. Joan sees his laughter, looks up : \u201c What \u2019 d I do? \u201d But before Alan can respond they both see : Hugh approaching. Alan is nervous. But Hugh simply HANDS ALAN A SHEET OF PAPER. HUGH ALEXANDER Look at this. As Alan and Joan stare at SCHEMATICS on the paper, Hugh SWIPES A SANDWICH from their picnic and begins to chew. HUGH ALEXANDER -LRB- CONT \u2019 D -RRB- If you run the wires across the plugboard matrix diagonally, you \u2019 ll eliminate rotor positions 500 times faster. ALAN TURING... This is actually not an entirely terrible idea. JOAN CLARKE That \u2019 s Alan for \u201c thank you. \u201d ALAN TURING -LRB- looking up -RRB- That \u2019 s my sandwich. HUGH ALEXANDER You don \u2019 t like sandwiches. And with that, Hugh takes another bite, gives Joan a wink, and walks off.", "INT. BLETCHLEY PARK - HUT 11 - DAY Alan and the team ( Hugh, John, Peter ) stand in a half-circle around the now-completed Christopher. An ELECTRICAL ASSISTANT feeds fresh Enigma messages into one end of the machine. The men look at each other, feeling the importance of the moment. JOHN CAIRNCROSS -LRB- to Alan -RRB- You nervous? Alan takes a gulp and CONNECTS the final bit of electrical wiring...... AND THE VERY FIRST \u201c DIGITAL COMPUTER \u201d IN HISTORY COMES TO LIFE. ON THE MACHINE : GEARS ARE SPINNING, CURRENT IS RACING THROUGH THE WIRES. The CLACKING SOUND it makes is UNBELIEVABLY LOUD. PETER HILTON -LRB- yelling over the machine -RRB- Christ!! What happens now?! ALAN TURING It should tell us the day \u2019 s Enigma settings!! HUGH ALEXANDER How long?!? ON ALAN : He \u2019 s not sure... The team shares a look : Is this really going to work?", "EXT. BLETCHLEY PARK - DAWN Dawn rises over Bletchley Park.", "INT. BLETCHLEY PARK - DENNISTON\u2019S OFFICE - MORNING Commander Denniston receives a visit from the Electrical Assistant who \u2019 d been helping Alan in the previous scene. ELECTRICAL ASSISTANT The gears just keep spinning and spinning. It \u2019 s endless. COMMANDER DENNISTON And there \u2019 s no result in sight? The Assistant NODS. Denniston SMILES : Got him.", "INT. BLETCHLEY PARK - HUT 11 - EARLY MORNING As the machine CLACKS away, Alan is frantically going over his papers. He \u2019 s unshaven, wearing yesterday \u2019 s clothes. He hasn \u2019 t gotten a wink of sleep. ON ALAN \u2019 S FRANTIC PACING : Why isn \u2019 t it working? Why?! Alan rubs his eyes, exhausted, and as he does so he looks out the window to see...... Commander Denniston walking towards the Machine Hut, accompanied by a HOME OFFICE MAN and TWO RMPs. Alan quickly runs to the door and BOLTS it \u2014 \u2014 Just as Denniston and the men get to it from the outside. OUTSIDE : Denniston tries the door. It won \u2019 t open. COMMANDER DENNISTON Turing! Open the bloody door! INSIDE : ALAN TURING No!!! OUTSIDE : COMMANDER DENNISTON Open the door or we will break it down!! INSIDE : ALAN TURING I can not let you in!! I can not let you interfere!!! OUTSIDE : Denniston turns to the RMPs : Break it down. The RMPs KICK DOWN THE DOOR \u2014 \u2014 And the men BURST INTO THE ROOM as Alan FALLS BACK. COMMANDER DENNISTON -LRB- re : the horrible noise -RRB- Turn that thing off. An RMP walks over to Christopher \u2014 \u2014 Alan tries to stop him but they POINT GUNS AT HIM \u2014 \u2014 And so Alan watches in absolute horror as they TURN OFF THE MACHINE. COMMANDER DENNISTON -LRB- CONT \u2019 D -RRB- Well then. It seems your great big expensive machine doesn \u2019 t work. ALAN TURING It does. COMMANDER DENNISTON Wonderful. So you \u2019 ve broken Enigma then? ALAN TURING It works... It was just... Still working. COMMANDER DENNISTON This is my associate from the Home Office. A hundred thousand pounds is quite a lot of money. He \u2019 s here to see what you have to show for it. ALAN TURING You will never understand the importance of what I \u2019 ve created here. Commander Denniston exchanges a look with the men : See what I mean? COMMANDER DENNISTON Have you decrypted any German messages? A single one? Can you point to anything at all that you \u2019 ve achieved? ON ALAN : He can \u2019 t. COMMANDER DENNISTON -LRB- CONT \u2019 D -RRB- Your funding is up, and our patience has expired. It is with such great pleasure that I finally get to say this : Alan Turing, you \u2019 re fired. ON ALAN : What can he do? This is it... COMMANDER DENNISTON -LRB- CONT \u2019 D -RRB- Please escort Mr. Turing from the premises. HUGH ALEXANDER -LRB- O.S. -RRB- No. Everyone turns to see Hugh, John, and Peter at the door, wearing fresh clothes. COMMANDER DENNISTON Pardon? HUGH ALEXANDER God help me... If you fire Alan, you \u2019 ll have to fire me too. COMMANDER DENNISTON What on earth are you saying? HUGH ALEXANDER Trust me, no one wants to say this less than I do, but Alan \u2019 s right. His machine can work. At least it \u2019 s the best chance we \u2019 ve got. COMMANDER DENNISTON You must be joking. JOHN CAIRNCROSS If you fire them, you \u2019 ll have to fire me too. PETER HILTON And me. HUGH ALEXANDER We \u2019 re the best cryptographic minds in Britain. Are you going to fire us all? Denniston looks to the Home Office Man, who NODS : Hugh is right. HUGH ALEXANDER -LRB- CONT \u2019 D -RRB- At least give us more time. Six more months, and if the machine doesn \u2019 t produce results we \u2019 ll go back to doing things the old way. COMMANDER DENNISTON... One month. And then so help me God you are all gone. Denniston and his men LEAVE. The team breathes a sigh of relief : They \u2019 ve been given a temporary reprieve. ALAN TURING... Thank you. HUGH ALEXANDER This machine better bloody work. CUT TO :", "INT. MANCHESTER POLICE STATION - DAY -  1951 Sergeant Staehl walks eagerly through the police station. He comes to an office marked \u201c SUPERINTENDANT SMITH \u201d, where he OPENS the door to find INT. MANCHESTER POLICE STATION - SMITH \u2019 S OFFICE - CONTINUOUS Superintendant Smith and Detective Nock are in the middle of a genial conversation. The Superintendant turns to Staehl. SUPERINTENDANT SMITH Can I help you? SERGEANT STAEHL Sirs, I think I \u2019 ve got him. SUPERINTENDANT SMITH Got who? SERGEANT STAEHL Turing. Detective Nock looks at Staehl \u2014 \u201c Shhhh! \u201d The Superintendant looks at Nock \u2014 \u201c You didn \u2019 t... \u201d SERGEANT STAEHL -LRB- CONT \u2019 D -RRB- I trailed Turing to a pub last night, where he met a bloke. They exchanged an envelope. So I followed the guy, picked him up, gave him a good shake... Here, I \u2019 ll show you. SUPERINTENDANT SMITH -LRB- to Nock, angry -RRB- You and I will discuss this later. -LRB- to Staehl -RRB- Sergeant. They follow Staehl out to...", "INT. POLICE STATION - INTERROGATION ROOM - MOMENTS LATER As Nock and Smith stands outside the INTERROGATION ROOM, Sergeant Staehl points through the window in the door : Inside is ARNOLD MURRAY, 20s, nervous. SERGEANT STAEHL He \u2019 s a bloody poofter. He confessed. Staehl shows Nock and Smith a SIGNED STATEMENT. DETECTIVE NOCK What? SERGEANT STAEHL The man admitted it. Arnold Murray. Bit of a hustler. Hangs around that pub, men pay him for a go. Turing is one of the men who paid. Only, Mr. Murray got the bright idea to rob Turing \u2019 s house after, with a friend. That \u2019 s what Turing was hiding : He \u2019 s a poof, not a spy. DETECTIVE NOCK No. SUPERINTENDANT SMITH This is good work, Sergeant. Quite good. DETECTIVE NOCK No, it \u2019 s not. SERGEANT STAEHL What \u2019 s the matter? We can charge a university professor with indecency. DETECTIVE NOCK No. No. This is bloody rubbish. Turing is up to something important, not getting his jollies in some pub. SUPERINTENDANT SMITH He committed a crime. He broke the law. And with a bloke, Christ, it \u2019 s bloody disgusting. DETECTIVE NOCK I don \u2019 t care if it \u2019 s disgusting. This is not the investigation I was conducting. SUPERINTENDANT SMITH Clearly. -LRB- to Staehl -RRB- Bring him in. DETECTIVE NOCK Wait. Let me interrogate him. SUPERINTENDANT SMITH You \u2019 re asking me for a favour right now? DETECTIVE NOCK Please. I know him. I know he \u2019 s hiding something and I know I can get him to talk... Give me half an hour alone and then I swear to you I will spend the next month running errands on as many rubbish cases as you like. SUPERINTENDANT SMITH... Fine. Now will someone get a warrant for the arrest of Alan Turing? CUT TO :", "INT. JOAN\u2019S FLAT - DAY -  1941 Joan comes home to her flat. She looks sad as she puts her key in the lock and opens the door. She enters to find : HUNDREDS OF MATHEMATICAL PAPERS ARE SCATTERED ALL OVER HERLIVING ROOM. She sighs. JOAN CLARKE Alan? At the sound of her voice, Alan comes out of the wash room, wiping the shaving cream from his face. He \u2019 s moving and talking a mile a minute. ALAN TURING Christopher is simply not moving fast enough. JOAN CLARKE We should talk. Joan sits down, sadly. ALAN TURING -LRB- totally oblivious -RRB- Even with the diagonal board he \u2019 s not eliminating settings as quickly as \u2014 JOAN CLARKE Alan, I \u2019 m leaving. ALAN TURING You just walked in. JOAN CLARKE No. Bletchley. ALAN TURING What? JOAN CLARKE It \u2019 s my parents... I am twenty-five and I am unmarried and I am living alone... And they want me home. ALAN TURING That \u2019 s ridiculous. JOAN CLARKE That \u2019 s my parents. ALAN TURING You can not leave. I won \u2019 t let you. JOAN CLARKE \u201c I \u2019 ll miss you. \u201d That \u2019 s what a normal person might say in this situation. ALAN TURING I don \u2019 t care what \u2019 s normal. JOAN CLARKE \u201c I \u2019 ll write. \u201d That \u2019 d work too. ALAN TURING No. This is unacceptable. You are not leaving and that is that. JOAN CLARKE What am I supposed to do, Alan? I will not give up my parents. The world is burning to ash and they are my family and they want me home. ALAN TURING You have the opportunity here to make some actual use of your life \u2014 JOAN CLARKE \u2014 And end up like you? No thanks. I \u2019 m sorry you \u2019 re lonely. I \u2019 m sorry no one likes you. But Enigma will not save you. Can you decypher that, you fragile narcissist? Or do you need me to fetch your precious Christopher for help? Silence. Alan looks like she just slapped him across the face. Which she basically did. JOAN CLARKE -LRB- CONT \u2019 D -RRB-... I \u2019 m sorry. ALAN TURING I want you to stay because I like you. JOAN CLARKE I know. ALAN TURING I like talking to you. JOAN CLARKE I like talking to you, too, Alan. ALAN TURING What if you weren \u2019 t living alone... If you had a husband? JOAN CLARKE You have one in mind? ALAN TURING I do. JOAN CLARKE Hugh is terribly attractive, I \u2019 ll give you that, but he \u2019 s really not the marrying type. ALAN TURING I wasn \u2019 t referring to Hugh. JOAN CLARKE Peter? He \u2019 s so quiet... Alan stares at Joan. She stares back. JOAN CLARKE -LRB- CONT \u2019 D -RRB- -LRB- getting it -RRB- Oh dear Lord. ALAN TURING This makes sense. JOAN CLARKE Did you just propose to me? ALAN TURING It \u2019 s the logical thing to do. JOAN CLARKE This is ridiculous. ALAN TURING This is your parents. JOAN CLARKE -LRB- trying to process -RRB- I can not believe this is happening. Alan fishes a piece of ELECTRICAL WIRE from his pocket... ALAN TURING Joan Ca... Wait, is your middle name Caroline or Catherine? JOAN CLARKE Elizabeth. ALAN TURING Joan Elizabeth Clarke, will you marry me? ... And then FASHIONS IT INTO A RING. ON JOAN \u2019 S FACE : What \u2019 s she going to do? SMASH CUT TO :", "INT. BLETCHLEY PARK - BEER HUT - NIGHT An impromptu ENGAGEMENT PARTY in the Beer Hut that night : \u2014 A BANNER made from PUNCH CARDS reads : \u201c CONGRATULATIONS! \u201d \u2014 Music plays as DANCERS TWIRL in the center of the Hut. \u2014 Joan LAUGHS with her WREN FRIENDS in one corner, while in another Alan drinks beer with his team. ON JOAN AND THE GIRLS : She shows off her makeshift wire engagement ring : JOAN\u2019S FRIEND -LRB- trying her best -RRB-... It \u2019 s... beautiful? Joan LAUGHS. She understands. JOAN CLARKE I know it \u2019 s not an ordinary ring... She looks over at Alan warmly. JOAN CLARKE -LRB- CONT \u2019 D -RRB-... But who ever loved ordinary? ON ALAN AND THE BOYS : They \u2019 re are all a bit drunk, TELLING DIRTY STORIES : HUGH ALEXANDER... So she \u2019 s got it in her hands, right, and she looks up at me and says, \u201c I \u2019 m to put it in my mouth? \u201d And I say, \u201c yes, you know. The French way. \u201d So she pops it in, closes her lips around the thing... And then she starts humming the bloody Marseillaise! The men BURST INTO LAUGHTER. Except for Alan, who looks a bit confused. PETER HILTON -LRB- to Alan -RRB- What about you and Joan? Does she do it the French way? Alan looks away, uncomfortable. HUGH ALEXANDER Soon enough, you lucky bastard. Just then, Joan comes over and throws an affectionate arm around Alan. JOAN CLARKE Care for a dance? HUGH ALEXANDER No no, your fianc\u00e9 can dance with you anytime he likes. Now it \u2019 s my turn. Hugh takes Joan \u2019 s hand, and leads her across the room. They begin to DANCE, while Peter follows, dancing with one of Joan \u2019 s friends. Alan and John are left alone at the table. Alan looks worried. JOHN CAIRNCROSS What \u2019 s the matter? ALAN TURING... What if I don \u2019 t fancy... being with Joan in that way? JOHN CAIRNCROSS Because you \u2019 re a homosexual? Alan looks at him, surprised. JOHN CAIRNCROSS -LRB- CONT \u2019 D -RRB- I suspected. You \u2019 re not quite as much of an enigma as you think you are. Or as much as Enigma is. ALAN TURING Should I tell Joan? I \u2019 ve had affairs. With other men. JOHN CAIRNCROSS You know, in my admittedly limited experience, women tend to be a bit touchy about accidentally marrying homosexuals. I think perhaps not spreading this information around might be in your best interest. ALAN TURING Having children, a family... I want that with her. I do. I just don \u2019 t know if I can... Pretend... JOHN CAIRNCROSS You can \u2019 t tell anyone, Alan. It \u2019 s illegal. And Denniston is looking for any excuse he can get to put you away. ALAN TURING... I know. JOHN CAIRNCROSS This has to stay a secret, or trust me, they \u2019 ll kill you for it. ON ALAN : He knows John is right. As Alan thinks, Joan comes back over and offers him her hand. JOAN CLARKE Come on, now it \u2019 s your turn. She leads him to the dance floor. As they START TO DANCE, chastely, sweetly, WE CUT TO :", "INT. SHERBORNE SCHOOL FOR BOYS - ALAN\u2019S ROOM - DAY -  1927 CLOSE ON A LETTER : \u201c I LOVE YOU \u201d is written on the paper. REVEAL : Young Alan sits in his dormitory room, ENCRYPTING his love letter to Christopher. Slowly, letter by letter, Alan transforms \u201c I LOVE YOU \u201d into code... Hearing a commotion, Alan LOOKS OUT THE WINDOW : BOYS are being unloaded from a BUS at the gates, dropped off to begin the new spring term. Alan sees them all, excited : Christopher is coming back! He STUFFS HIS ENCRYPTED LETTER IN AN ENVELOPE and RUNS OFF to EXT. SHERBORNE SCHOOL FOR BOYS - FRONT GATES - MINUTES LATER Alan waits eagerly by the main gate as BOYS STREAM PAST \u2014 \u2014 Joking, horsing around \u2014 \u2014 Alan waits patiently, looking for Christopher \u2019 s face among the rowdy schoolboys \u2014 \u2014 Until : They \u2019 re all gone. Christopher never shows. Alan looks at his undelivered note, then at the empty yard before him. Where is Christopher? Confused, Young Alan finally gives up...... When he runs into the PACK OF BOYS who beat him up earlier. BOY #1 Well look. Mr. Turing is all alone. Young Alan stands frozen as they come at him, and we CUT TO :", "INT. MANCHESTER POLICE STATION - INTERROGATION ROOM -  1951 Alan Turing sits alone in the interrogation room with his eyes closed. Detective Nock enters. DETECTIVE NOCK Cup of tea? ALAN TURING -LRB- eyes closed -RRB- Thanks, no. DETECTIVE NOCK... Mr. Turing, may I tell you a secret? ALAN TURING I \u2019 m quite good with those. DETECTIVE NOCK I \u2019 m here to help you. Suddenly, Alan opens his eyes. ALAN TURING -LRB- re : being in jail -RRB- Clearly. DETECTIVE NOCK -LRB- changing tacks -RRB-... Can machines think? ALAN TURING You \u2019 ve read my published work. DETECTIVE NOCK What makes you say that? ALAN TURING Because I \u2019 m sitting in a police station, accused of entreating a young man to touch my penis, and you \u2019 re asking me whether machines can think. DETECTIVE NOCK Can they? Could machines ever think as human beings do? ALAN TURING Most people say no. DETECTIVE NOCK You \u2019 re not most people. ALAN TURING The problem is that you \u2019 re asking a stupid question. DETECTIVE NOCK I am? ALAN TURING Of course machines can \u2019 t think \u201c as human beings do. \u201d A machine is different from a human being ; hence, it would think differently. The interesting question is, just because something thinks differently from you, does that mean it \u2019 s not thinking? We allow that humans have such divergences from one another. You like strawberries. I hate ice-skating. You cry at sad films. I \u2019 m allergic to pollen. What does it mean to have different tastes \u2014 different preferences \u2014 other than to say that our brains work differently? That we think differently from one another? And if we can say that about each another, why can \u2019 t we say the same for brains made of copper and steel? DETECTIVE NOCK That \u2019 s... This big paper you wrote... What \u2019 s it called? ALAN TURING \u201c The Imitation Game. \u201d DETECTIVE NOCK Right. That \u2019 s what it \u2019 s about? ALAN TURING -LRB- thinking -RRB-... Would you like to play? DETECTIVE NOCK Play? ALAN TURING The game. It \u2019 s a test, of sorts. For determining whether something is a machine, or a human being. DETECTIVE NOCK How do we play? ALAN TURING There \u2019 s a judge, and a subject. The judge asks questions, and based on the subject \u2019 s answers, he determines : Who is he speaking with? What is he speaking with? All you have to do is ask me a question. DETECTIVE NOCK... What did you do during the war? ALAN TURING I worked in a radio factory. DETECTIVE NOCK What did you really do during the war? Alan smiles \u2014 Detective Nock is smarter than he looks. ALAN TURING... Are you paying attention?", "INT. BLETCHLEY PARK - HUT 11 - NIGHT -  1942 Alan and his team \u2014 Hugh, John, Peter \u2014 anxiously stand before Alan \u2019 s huge machine as it CLACK CLACK CLACKS, ferociously loud. The gears are spinning, current is flowing through the wires, and the team stares at it, taking turns compulsively checking their watches. ON ALAN : This is going to work. This has to work. Suddenly...... DING. The chime announces the stroke of midnight. HUGH ALEXANDER Damn it! Everyone is pissed, frustrated. Alan looks as if he \u2019 s about to rip his own hair out : Why won \u2019 t this damned thing work? As the machine CLACKS on, oblivious, they all walk outside :", "EXT. BLETCHLEY PARK - NEAR HUT 11 - CONTINUOUS The team walks across Bletchley together, moving as one through the most highly secret war zone in the world. MORE SECURITY has been added throughout the park, including along the path from Hut 11 \u2014 ARMED GUARDS check IDs, which the team hands over absentmindedly. JOHN CAIRNCROSS We \u2019 re soon out of time. Our month... PETER HILTON So that \u2019 s it then. We lost. HUGH ALEXANDER It does not matter how much we improve on it, that machine will never be able to check 159 million million million possibilities in time. ALAN TURING It \u2019 s searching... It \u2019 s just... It doesn \u2019 t know what it \u2019 s searching for... If only we knew what the messages were going to say... JOHN CAIRNCROSS If we knew what the messages were going to say, we wouldn \u2019 t have to decrypt them at all. ON ALAN : Maybe it was always impossible after all.", "INT. BLETCHLEY PARK - BEER HUT - LATER It \u2019 s crowded in the beer hut, even this late at night. On one side of the room, Alan, Hugh, John, and Peter are drinking. Commiserating about their fate. On the other side, Joan is drinking with her friend HELEN \u2014 a fellow WREN. ON JOAN AND HELEN : HELEN Who \u2019 s Alan \u2019 s friend? JOAN CLARKE Hugh? Bit of a cad, actually. HELEN So my type then? JOAN CLARKE Here, I \u2019 ll introduce you. HELEN No! Lord, engaged for a fortnight and you \u2019 ve already forgotten how to do this? He \u2019 ll come over. JOAN CLARKE Are you sure? HELEN Yes. I smiled at him fifteen minutes ago and haven \u2019 t looked at him since. ON HUGH, ALAN, JOHN, AND PETER : Hugh is looking at the girls. HUGH ALEXANDER -LRB- re : Helen -RRB- Who \u2019 s that, then? ALAN TURING Helen? Works with Joan in the WREN \u2019 s hut. PETER HILTON You do have a point about the little hats. HUGH ALEXANDER She wants me to come over. ALAN TURING How can you possibly know that? HUGH ALEXANDER She smiled at me awhile back and hasn \u2019 t looked again since. ON JOAN AND HELEN : HELEN -LRB- re : Hugh \u2019 s glances -RRB- And... Got him. JOAN CLARKE Is it odd that when I was single this game felt tedious, but now it seems just dreadfully fun? ON THE BOYS : HUGH ALEXANDER -LRB- re : Helen \u2019 s glances -RRB- And... Brilliant. She \u2019 s in. Alan, introduce me. ALAN TURING Why me? HUGH ALEXANDER Because there is nothing like a friend \u2019 s engagement to make a woman want to do something she will later regret with the fianc\u00e9 \u2019 s better- looking chum. Hugh drags Alan across the pub to Helen and Joan. ON JOHN AND PETER : JOHN CAIRNCROSS Half crown says Alan bollockses this up entirely. PETER HILTON No bet. ON HUGH, ALAN, JOAN, AND HELEN : HUGH ALEXANDER -LRB- to the ladies -RRB- Alan Turing has a theory. JOAN CLARKE He has many. HUGH ALEXANDER He believes that the regulations against men and women working side- by-side are sound, because such proximity will necessarily lead to romance. ALAN TURING No I don \u2019 t \u2014 Hugh KICKS Alan, who shuts up. HUGH ALEXANDER \u2014 However, I disagree. HELEN You do? HUGH ALEXANDER I think that if I were working beside a woman all day long, I could manage to appreciate her abilities and intellect without needing to take her to bed. -LRB- to Helen -RRB- Pardon, have we met? HELEN I don \u2019 t recall. But let \u2019 s assume we haven \u2019 t. Hugh looks at Alan for an introduction : Alan is silent. Joan picks up the slack : JOAN CLARKE Helen Stewart, Hugh Alexander. HUGH ALEXANDER So who do you agree with? Alan or myself? HELEN Well, Alan, of course. ALAN TURING I \u2019 m flattered, but this is not actually \u2014 Now Joan KICKS Alan, who is still very confused. HUGH ALEXANDER \u2014 Rubbish. HELEN I work beside a man every day, and I can \u2019 t help but have developed a bit of a crush on him. HUGH ALEXANDER Well who is this man, so I can kick his arse? HELEN Oh, it \u2019 s been chaste, you \u2019 ve no need to worry. We \u2019 ve never even met. He \u2019 s a German. HUGH ALEXANDER Now I really want to kill him. ALAN TURING How do you mean you work alongside a German? HELEN Each of us intercepts messages from a specific German radio tower. So we \u2019 ve a counterpart on the other side, who \u2019 s tip-tapping out the messages. Everybody types a touch differently ; you get to know the rhythm of your counterpart. It \u2019 s strangely intimate. I feel as if we know each other. Pity he has a girlfriend... But that \u2019 s why I disagree with you. I \u2019 m in love with a co-worker, of sorts, even if we \u2019 ve never met. HUGH ALEXANDER I \u2019 ll require another pint to tell you why you \u2019 re wrong. HELEN Let \u2019 s. Helen and Hugh walk away to the bar... JOAN CLARKE -LRB- to Alan -RRB- That \u2019 s what flirting looks like. In case you were curious. But Alan is lost in thought... Something is wrong... ALAN TURING -LRB- screaming -RRB- HELEN!!! Everyone in the room turns and stares at him. Joan winces. Helen and Hugh come back over. HELEN Yes, Alan? ALAN TURING Why do you think your German counterpart has a girlfriend? HELEN Oh, it \u2019 s a stupid joke, don \u2019 t worry about it. ALAN TURING Tell me. HELEN Each one of his messages begins with the same five letters. C-I-L-L- Y. So I suspect Cilly must be the name of his amore. ALAN TURING That \u2019 s impossible. The Germans are instructed to choose five letters at random to start every message. HELEN Well, this bloke doesn \u2019 t. HUGH ALEXANDER Love \u2019 ll make a man do strange things, I suppose. Anyhow \u2014 ALAN TURING \u2014 In this case, love just lost the Germans the whole bloody war. Alan BOLTS out of the bar \u2014 \u2014 SPILLING BEER ALL OVER HELEN \u2014 \u2014 Who CRIES OUT, and ANGRILY RUNS OFF \u2014 \u2014 Leaving Hugh and Joan standing there, confused. They share a look : What \u2019 s gotten into Alan? Joan quickly RUNS OFF after Alan \u2014 \u2014 Hugh follows suit \u2014 \u2014 And John and Peter, seeing this across the room, take off after Hugh \u2014", "EXT. BLETCHLEY PARK - CONTINUOUS -  SEQUENCE Everyone chases Alan across Bletchley Park \u2014 \u2014 GUARDS YELL at Alan as he bypasses security checkpoints \u2014 \u2014 Guards are screaming at them, drawing guns as he and Joan barrel into Hut 8 \u2014 \u2014 Hugh and John show their IDs to the Guards, yelling back at them \u2014 \u2014 Hugh and John finally get rid of the guards and enter :", "INT. BLETCHLEY PARK - HUT 8 - CONTINUOUS \u2014 Joan runs into the Hut to find that Alan has grabbed a BOX OF PREVIOUSLY DECRYPTED MESSAGES \u2014 \u2014 Alan POURS those messages out all over the floor \u2014 JOAN CLARKE Alan? \u2014 Hugh, John, and Peter enter as Alan spreads the messages out on the floor. ( Just like he did in Joan \u2019 s flat! ) ALAN TURING What if Christopher doesn \u2019 t have to search through all the settings? What if he only had to search the ones that produce the words we already know will be in the message? HUGH ALEXANDER Repeated words! Predictable words... \u2014 They all search the messages with Alan \u2014 \u2014 Joan holds up a DECRYPT : It \u2019 s the same one she read earlier. JOAN CLARKE Like this? -LRB- reading aloud -RRB- \u201c 0600 hours. Weather today is clear. Rain in the evening. Heil Hitler. \u201d ALAN TURING Yes! That \u2019 s it! -LRB- looking at message -RRB- They send a weather report at 6AM. Every day. That means there are three words we already know will be in the 6am message. \u201c Weather, \u201d obviously, and \u2014 HUGH ALEXANDER \u2014 \u201c Heil bloody Hitler. \u201d ALAN TURING Heil bloody Hitler. Joan searches through a PILE, finding : JOAN CLARKE Here \u2019 s the 6 o \u2019 clock message from this morning. Joan holds the message as they all run out to :", "EXT. BLETCHLEY PARK - HUT 8 - CONTINUOUS Alan runs from Hut 8 to Hut 11, the team chasing behind him.", "INT. BLETCHLEY PARK - HUT 11 - CONTINUOUS Alan, Joan, John, Peter and Hugh burst in \u2014 ALAN TURING Hugh \u2014 the right hand letter-rings. Set them to \u2014 HUGH ALEXANDER \u2014 I know, I know. \u201c Veter. \u201d \u201c Hitler. \u201d \u2014 Hugh turns the rings while \u2014 ALAN TURING \u2014 Peter, John \u2014 Run voltage from those rings through the back scramblers \u2014 \u2014 John and Peter go around back \u2014 JOHN CAIRNCROSS \u2014 So we \u2019 ll use the loops? ALAN TURING \u2014 Yes. Joan, what \u2019 s the last 6am message? Joan reads aloud to Alan as he enters it in : JOAN CLARKE L - H - W - A - U - Q - X - K... They all stand back as Alan TURNS ON the machine. They watch the CLACK CLACK CLACK of Christopher as he processes the message... \u2014 They \u2019 re nervous, fretting, anxiously awaiting his calculations...... Finally, Christopher STOPS. Silence, as a SERIES OF ROTORS on the side of Christopher snap into place, displaying a SET OF LETTERS. PETER HILTON What happened? Did it work? Alan SCRIBBLES down the letters ( \u201d EXBAO... \u201d ) and they all run back to \u2014", "INT. BLETCHLEY PARK - HUT 8 - CONTINUOUS Where Alan takes a DUMMY ENIGMA MACHINE, turns the machine \u2019 s rotors to the setting he wrote down ( \u201d EXBAO... \u201d ) \u2014 ALAN TURING Give me a fresh message. The last one we intercepted. Peter hands Alan one from a nearby folder \u2014 \u2014 Alan starts typing one of today \u2019 s gibberish encrypted messages into Enigma \u2014 \u2014 As John TAKES DOWN the decoded German letters \u2014 \u2014 Hugh looks at what John is writing and TRANSLATES the German into English \u2014 HUGH ALEXANDER \u201c KMS Jaguar... Is auf punkt \u2014 is directed - 53 degrees, 24 minutes north... And auf punkt 1 degree west... \u201d HUGH ALEXANDER -LRB- CONT \u2019 D -RRB- \u201c... Heil Hitler. \u201d ALAN TURING \u201c... Heil Hitler. \u201d Alan and Hugh look at each other : Oh my god. ALAN TURING Turns out that \u2019 s the only German you need to know to break Enigma. The team EXPLODES WITH JOY. LAUGHING, HOOTING, SCREAMING, JUMPING, HUGGING. This is the happiest moment of their lives. John even starts to TEAR UP, and TRIES TO HUG ALAN \u2014 \u2014 Who just STANDS THERE, limp. JOHN CAIRNCROSS -LRB- re : Alan -RRB- Not a hugger. Probably could have guessed that.", "EXT. BLETCHLEY PARK - DAWN Dawn rises over Bletchley Park.", "INT. BLETCHLEY PARK - HUT 8 - DAWN The team has been there working all through the night. There \u2019 s a flurry of activity : Decoding messages, translating the decrypts, reading the information contained within. Hugh steps back for a moment to look at the product of their work : A BIG MAP ON THE WALL. ON THE MAP : It \u2019 s the Atlantic Ocean. Blue pins represent the Allied ships, red ones represent the Axis ships. HUGH ALEXANDER You did it. -LRB- turns to Alan -RRB- Bloody hell, you did it. You just defeated Nazism with a crossword puzzle. What does it feel like to do the impossible? ON ALAN \u2019 S FACE : He \u2019 s not sure. Something is bothering him, but he can \u2019 t figure out what. John steps back from his work to join Hugh. JOHN CAIRNCROSS There are five people in the world who know the position of every ship in the Atlantic. They are all in this room. Now Joan joins Hugh and John in seeing the full map for the first time. JOAN CLARKE Oh my good God. HUGH ALEXANDER I don \u2019 t think even He has the power that we do right now. JOAN CLARKE -LRB- getting closer to map -RRB- There \u2019 s going to be an attack on a British passenger convoy. There. JOHN CAIRNCROSS You \u2019 re right. Those U-Boats are only twenty or thirty minutes away. JOAN CLARKE Civilians. Hundreds of them. We can save their lives. JOHN CAIRNCROSS And knock out a whole German fleet in the process. HUGH ALEXANDER I \u2019 ll call Denniston. Have him radio his Admirals immediately. Hugh picks up the phone \u2014 ALAN TURING -LRB- figuring something out -RRB- No. JOAN CLARKE Is there enough time to save them? JOHN CAIRNCROSS Should be. If we can get a message to the passenger convoy, she can turn \u2014 Hugh DIALS \u2014 ALAN TURING -LRB- louder -RRB- No. No. HUGH ALEXANDER -LRB- into phone -RRB- \u2014 Commander Denniston \u2019 s office \u2014 ALAN TURING NO. HUGH ALEXANDER -LRB- into phone -RRB- \u2014 This is urgent, top priority \u2014 ALAN TURING NO!!! Alan LEAPS ACROSS THE ROOM and GRABS THE PHONE FROM HUGH. HUGH ALEXANDER What the bloody hell? Hugh tries to grab the phone back \u2014 \u2014 But Alan pulls away sharply. Everyone STOPS. Turns. Looks at Alan. HUGH ALEXANDER -LRB- CONT \u2019 D -RRB- Are you mad? ALAN TURING No. No. You can \u2019 t call Denniston. You can \u2019 t tell him about the attack. JOAN CLARKE Alan, are you all right? What \u2019 s going on? JOHN CAIRNCROSS We can have air support over the passenger convoy in ten minutes. ALAN TURING No. Let the U-Boats sink the convoy. JOHN CAIRNCROSS Look, this has been a big day, maybe you \u2019 re going through a bit of shock \u2014 HUGH ALEXANDER \u2014 There \u2019 s no time for this. Hugh tries to GRAB THE PHONE from Alan \u2014 \u2014 but Alan PULLS it away and SMASHES THE PHONE AGAINST THE GROUND. JOAN CLARKE Alan! Hugh can \u2019 t take it anymore \u2014 \u2014 He TAKES A SWING AT ALAN \u2014 \u2014 Who CRUMPLES AT THE BLOW ON HIS JAW \u2014 \u2014 Hugh stares down at Alan, who \u2019 s bleeding on the floor \u2014 \u2014 Hugh WINDS UP FOR ANOTHER PUNCH \u2014 \u2014 When Joan CATCHES HIS ARM mid-swing \u2014 \u2014 Surprised, Hugh instinctively SWINGS AT HER \u2014 \u2014 Smacking Joan hard across the face. \u2014 He \u2019 s stunned by what he \u2019 s done as she responds by PUSHING HIM INTO A TABLE \u2014 \u2014 And Hugh falls to the floor, next to Alan. Joan stands above them. JOAN CLARKE -LRB- CONT \u2019 D -RRB- -LRB- to Hugh -RRB- If you hurt him, you will just barely live to regret it. Silence. Just the sounds of panting. JOHN CAIRNCROSS Everyone stop. Please. Calm down. PETER HILTON The attack is in minutes. We don \u2019 t have time to calm down. ALAN TURING Do you know why people like violence, Hugh? Because it feels good. -LRB- wipes blood from his nose -RRB- It would feel good to blow those U- Boats out of the Atlantic. But sometimes we can \u2019 t do what feels good. We have to do what \u2019 s logical. JOHN CAIRNCROSS What \u2019 s logical? ALAN TURING The hardest time to lie is when the other person is expecting to be lied to. JOAN CLARKE -LRB- getting it -RRB- Oh my God. JOHN CAIRNCROSS What? ALAN TURING If they \u2019 re waiting for a lie, you can \u2019 t just give them one. JOAN CLARKE Oh my God. Damn it. Alan \u2019 s right. PETER HILTON What?!? ALAN TURING What will the Germans think if we destroy those U-Boats? PETER HILTON Nothing. They \u2019 ll be dead. JOHN CAIRNCROSS -LRB- getting it -RRB- No. No. You can \u2019 t be right. PETER HILTON Am I the only one who \u2019 s still not getting this? ALAN TURING Suddenly our convoy veers off course and a fleet of RAF bombers magically descends on the location of a pack of U-Boats? What will the Germans think? PETER HILTON Hugh? HUGH ALEXANDER... The Germans will know we broke Enigma. JOAN CLARKE They \u2019 ll put a halt on radio communication by noon. And they \u2019 ll have the design of Enigma changed by the weekend. ALAN TURING Two years of work. Everything we \u2019 ve done here. It \u2019 ll all be for nothing. JOHN CAIRNCROSS There are 500 people in that convoy. Civilians. Women. Children. We \u2019 re about to let them die. ALAN TURING Our job wasn \u2019 t to save one passenger convoy. It was to win the war. HUGH ALEXANDER Our job was to break Enigma. ALAN TURING Done. Now for the hard part : keeping it a secret. Forever. Peter looks at the map... PETER HILTON It \u2019 s the Carlisle. They all look at him. JOAN CLARKE What? PETER HILTON The convoy you \u2019 re about to... It \u2019 s... The HMS Carlisle is one of the ships. ALAN TURING So? PETER HILTON We can \u2019 t act on every piece of intelligence? Fine. We won \u2019 t. Just this one. The Germans won \u2019 t find us out if we stop one attack. JOAN CLARKE What \u2019 s gotten into you, Peter? PETER HILTON... My brother. Phillip. He \u2019 s on the Carlisle. Gunnery ensign. Silence. Fuck. ALAN TURING I \u2019 m sorry. PETER HILTON Who the hell do you think you are? This is my brother. My big brother. He was the only one \u2014 Look, he was there after my mum \u2014 He \u2019 s my big brother, alright, and you have a few minutes to call off his murder. ALAN TURING It \u2019 s not my fault. Peter DIVES for Alan \u2014 \u2014 But John stops him. JOHN CAIRNCROSS Alan is right. We can \u2019 t. PETER HILTON AND WHY THE BLOODY HELL NOT? I am begging you. Alan. Joan. Hugh. John. Please. I am begging you. Just this once. Just one time. The Germans won \u2019 t get suspicious just because we stopped one attack. It \u2019 s one time. No one will know. I \u2019 m asking you. As your friend. If I mean anything to you. Please. Silence. This is the hardest thing anyone in this room has ever had to do. ALAN TURING I \u2019 m so sorry. PETER HILTON You \u2019 re not God, Alan. You don \u2019 t get to decide who lives and who dies. ALAN TURING Yes, we do. PETER HILTON Why? Why? ALAN TURING Because no one else can.", "INT. TRAIN - DAY Alan and Joan ride the train from Bletchley into London. They know what they have to do.", "EXT. TRAIN STATION - DAY Alan and Joan exit the train and walk down the platform.", "INT. TEA SHOP - LONDON - DAY In a quiet TEA SHOP, Alan, Joan, and Stewart Menzies sip their Twinings. Outside the GLASS WINDOWS, NURSES help WOUNDED SOLDIERS out of an AMBULANCE and into a local HOSPITAL. STEWART MENZIES... Why are you telling me this? ALAN TURING We need your help to keep this from the Admiralty. Army. RAF. No one can know we broke Enigma, not even Denniston. STEWART MENZIES Who is in the process of having you fired. JOAN CLARKE You \u2019 ll take care of that. ALAN TURING While we develop a system for determining how much intelligence to act on. Which attacks to stop, which to let through. Statistical analysis. The minimum number of actions it \u2019 ll take to win the war, but the maximum number we \u2019 re able to take before the Germans get suspicious. STEWART MENZIES You \u2019 re going to trust this all to statistics? To maths? ALAN TURING Correct. JOAN CLARKE And then MI-6 can come up with the lies we \u2019 ll tell everyone else. ALAN TURING We \u2019 ll require a believable alternate source for each piece of information we use. JOAN CLARKE A false story that exlains how we got that information, that has nothing to do with Enigma. And then you \u2019 ll need to leak those stories to the Germans. ALAN TURING And the rest of our military. JOAN CLARKE Can you do that? STEWART MENZIES Maintain a conspiracy of lies through the highest levels of our government? Yes, that sounds right up my alley. ON ALAN AND JOAN : Okay. Let \u2019 s do it. STEWART MENZIES -LRB- CONT \u2019 D -RRB- -LRB- smiling -RRB- Alan, I so rarely have cause to say this. But you are exactly the man I always hoped you would be.", "INT. TRAIN - DAY Alan and Joan ride the train back to Bletchley. She reaches out and puts her hand in his. They \u2019 re in this so deep now... But at least they \u2019 re in it together.", "EXT. BLETCHLEY PARK - LAWNS - SEQUENCE At 6am, dawn is threatening to break across the Park. ALAN TURING -LRB- V.O. -RRB- They codenamed it \u201c Ultra. \u201d", "INT. BLETCHLEY PARK - WREN\u2019S HUT - SEQUENCE But in the WREN \u2019 S HUT, the women eagerly await the coming of the day \u2019 s first messages \u2014 \u2014 And a sudden BEEP BEEP BEEP announces that they have. The WRENs quickly take down the first messages \u2014 ALAN TURING -LRB- V.O. -RRB- And it quickly became the largest store of military intelligence in the history of the world. A WREN removes the first few dozen from a pile \u2014 \u2014 And hands it over to another WREN \u2014", "INT. BLETCHLEY PARK - HUT 11 - SEQUENCE \u2014 In Hut 11, the WREN gives the day \u2019 s first messages to Hugh, who enters them into Christopher \u2014 ALAN TURING -LRB- V.O. -RRB- It was like having a tap on Himmler \u2019 s intercom. \u2014 Christopher HUMS \u2014 \u2014 And Hugh, after a few minutes, reads the day \u2019 s Enigma settings on the machine \u2019 s read-out : \u201c FSOQR \u201d", "INT. BLETCHLEY PARK - HUT 8 - DAY Jack turns his Enigma machine to the day \u2019 s setting \u2014 \u201c FSOQR \u201d \u2014 and one by one types in the newly intercepted messages, recording the now decrypted results in a BOOKLET. On the cover, the booklet is marked : \u201c ULTRA. \u201d ALAN TURING -LRB- V.O. -RRB- Secrecy became the primary concern. And for some reason they trusted me. Alan organizes stacks of similar ULTRA booklets when he has trouble finding one of them \u2014 He looks up to see Peter walking nearby. ALAN TURING Peter, do you have the 9:30 decrypts \u2014 But instead of answering, Peter BUMPS HARD against Alan \u2019 s shoulder, scattering Alan \u2019 s papers to the floor. Jack looks over. Peter keeps on walking. No one helps Alan as he bends down to clean up his papers. Peter LEAVES Hut 8 without speaking a single word. ON ALAN : He \u2019 s kneeling down in front of John \u2019 s MESSY DESK, picking up papers from the floor, when his eyes come level with something on the desk...... It \u2019 s a BOOK. Buried underneath CRYPTOGRAPHIC PAPERS. Alan stares at it strangely. Something about its shape and colour look familiar... He UNCOVERS it... IT \u2019 S A BIBLE. Holy shit. There \u2019 s a page dog-eared. Alan opens to the page \u2014 it \u2019 s Matthew 7:7. \u201c Seek and ye shall find... \u201d ON ALAN : JOHN CAIRNCROSS IS THE SOVIET SPY. Suddenly : JOHN CAIRNCROSS -LRB- O.S. -RRB- Peter will come around eventually. Alan turns and stands \u2014 there \u2019 s John, right behind him. ON JOHN : He sees something on Alan \u2019 s face. Something is wrong. He looks down at the desk... AND SEES THE UNCOVERED BIBLE. What \u2019 s John going to do? Alan is terrified... JOHN CAIRNCROSS -LRB- CONT \u2019 D -RRB-... Jack, could you give Alan and I a moment? Across the room, Jack looks over. Whatever is going on between Alan and John, he wants no part of it. Jack leaves. Alan is now alone with John, the Soviet spy. JOHN CAIRNCROSS -LRB- CONT \u2019 D -RRB-... The Soviets and us, we \u2019 re all on the same side. What I \u2019 m doing will help Britain. ALAN TURING I \u2019 ll tell Denniston. JOHN CAIRNCROSS No you won \u2019 t. Because if you tell him my secret, I \u2019 ll tell him yours. ON ALAN : Oh God, John was the one person he trusted. JOHN CAIRNCROSS -LRB- CONT \u2019 D -RRB- Do you know what they do to homosexuals? You \u2019 ll never be able to work again. Never be able to teach. Your precious machine \u2014 doubt you \u2019 ll ever see him again. ON ALAN : Looks down. He \u2019 s beaten. He puts an understanding hand on Alan \u2019 s shoulder. JOHN CAIRNCROSS -LRB- CONT \u2019 D -RRB- Until the history books are ready to call you a hero, sometimes you have to play the villain. And with that, John takes his bible and leaves. ON ALAN : What \u2019 s he going to do?", "INT. BLETCHLEY PARK - CENTRAL MANSION - DAY Alan borrows a phone in the central mansion. ALAN TURING -LRB- into phone -RRB- I need to speak to Menzies... ... But frustrated by the response he hears, Alan HANGS UP.", "INT. BLETCHLEY PARK - JOAN\u2019S FLAT - DAY Alan bursts into Joan \u2019 s flat to tell her what he \u2019 s found. ALAN TURING Joan! Joan! Are you there? It \u2019 s dark. He FLICKS ON THE LIGHT... REVEAL : The room has been ransacked. Clothes, books, papers scattered everywhere. ALAN TURING -LRB- CONT \u2019 D -RRB- \u2014 Joan?!? He quickly moves through the flat : What happened here? ALAN TURING -LRB- CONT \u2019 D -RRB- Joan, are you okay? Where are you? Runs to the back bedroom, where he finds...... Stewart Menzies. Calmly looking over some papers. ALAN TURING -LRB- CONT \u2019 D -RRB- Where \u2019 s Joan? STEWART MENZIES Military prison. ALAN TURING What have you done? STEWART MENZIES -LRB- holding up papers -RRB- Decoded Enigma intercepts. A stack of them under her nightstand. ON ALAN : Fuck. ALAN TURING I gave those to her. A year ago. When she was with the clerks I was\u2014 STEWART MENZIES \u2014 Yes yes yes, I \u2019 m sure. But Denniston has been looking for a Soviet spy, and he \u2019 s been looking for one inside Hut 8. ALAN TURING I know who the Soviet agent is. It \u2019 s not Joan. Menzies looks at Alan : Who is it if not her? ALAN TURING -LRB- CONT \u2019 D -RRB-... I found the bible... The spy is John Cairncross. Menzies SMILES. As if he \u2019 s impressed. STEWART MENZIES... God, how I wish you \u2019 d been the spy. You \u2019 re so much better at this than he is. ALAN TURING You knew Cairncross was the spy? STEWART MENZIES Well of course Cairncross was the bloody spy. -LRB- MORE -RRB- I \u2019 ve known that since before he got to Bletchley. Why do you think I had him placed here? QUICK CUT TO :", "INT. BLETCHLEY PARK - HUT 8 - DAY - FLASHBACK Flash to the first scene where Alan met his new team after arriving at Bletchley. Commander Denniston explains how Enigma works, while Menzies stands in the corner, observing. Menzies keeps a special eye on Cairncross as Alan and Hugh compete over who knows more about cryptography. STEWART MENZIES -LRB- V.O. -RRB- You said yourself he was a piss- poor mathematician. CUT BACK TO :", "INT. BLETCHLEY PARK - JOAN\u2019S FLAT - CONTINUED ALAN TURING You placed a Soviet agent at Bletchley? STEWART MENZIES It \u2019 s quite useful to be able to leak whatever we like to Stalin. QUICK CUT TO :", "EXT. BLETCHLEY PARK - MAIN GATE - DUSK - FLASHBACK A year earlier, John Cairncross exits the Main Gate of Bletchley carrying a SUITCASE \u2014 STEWART MENZIES -LRB- V.O. -RRB- Churchill is too damned paranoid. He won \u2019 t share a shred of intelligence with the Soviets. CUT TO :", "EXT. BLETCHLEY VILLAGE - STREET - NIGHT - FLASHBACK Cairncross walks through the village with the suitcase \u2014 STEWART MENZIES -LRB- V.O. -RRB- Even information that will help them against the Germans. So much secrecy... CUT TO :", "EXT. BLETCHLEY VILLAGE - STREET - NIGHT - FLASHBACK Cairncross comes to a MAILBOX, where under cover of night he OPENS HIS CASE \u2014 \u2014 Removing A FOLDER OF COPIED ENIGMA INTERCEPTS \u2014 \u2014 Which he then places in the mailbox. STEWART MENZIES -LRB- V.O. -RRB- Cairncross has no idea we know, of course. Really not the brightest bulb. Cairncross WALKS AWAY into the night. After he leaves, two MI-6 AGENTS come and UNLOCK THE MAILBOX\u2014 \u2014 Removing his FOLDER \u2014 \u2014 The Agents take SOME MESSAGES OUT, and put other NEW ONES BACK IN \u2014 \u2014 Before re-sealing the folder and putting it back in the mailbox \u2014 \u2014 And RE-LOCKING the mailbox lid. CUT BACK TO :", "INT. BLETCHLEY PARK - JOAN\u2019S FLAT - CONTINUED STEWART MENZIES That \u2019 s why I \u2019 ll need your help now to work out what to leak to John. What to feed the Soviets, as well as the British. ON ALAN : Flustered. Terrified. ALAN TURING I \u2019 m not a spy. I \u2019 m just a mathematician. STEWART MENZIES I know a lot of spies, Alan. You \u2019 re holding on to more secrets than the best of them. Menzies holds up the stolen decrypts. The threat is palpable. ALAN TURING You must promise to get Joan out of prison. STEWART MENZIES She \u2019 s at the market. She \u2019 ll be back in an hour. I lied. -LRB- puts the decrypts into his pocket -RRB- I \u2019 d better hold on to these. If anyone finds out about them, prison will be the least of her worries. ON ALAN : What choice does he have? He looks down. STEWART MENZIES -LRB- CONT \u2019 D -RRB- Oh Alan. We \u2019 re going to have such a wonderful war together.", "EXT. BLETCHLEY PARK - PATHWAY NEAR HUT 8 - DAY Joan walks towards Hut 8, showing her ID to the new GUARDS who are closely monitoring entry to the Huts. In front of Hut 8, Alan watches her. Steeling himself up for what he has to do. As she approaches, she sees Alan waiting for her. She smiles at him, but he doesn \u2019 t return it. Something is wrong.", "EXT. BLETCHLEY PARK - BEHIND HUT 8 - MOMENTS LATER Alan and Joan talk behind Hut 8. ALAN TURING... I need you to leave Bletchley. JOAN CLARKE -LRB- annoyed -RRB- What? ALAN TURING Menzies. I don \u2019 t trust... ON ALAN : He wants to tell her, but he can \u2019 t. It \u2019 s too dangerous. ALAN TURING -LRB- CONT \u2019 D -RRB-... I don \u2019 t think it \u2019 s safe here. JOAN CLARKE You think it \u2019 s safe somewhere else? ALAN TURING You need to leave, and you need to get very far away from me. JOAN CLARKE Alan. What \u2019 s happened? ON ALAN : This isn \u2019 t working. He \u2019 s going to have to try a different approach. ALAN TURING... We can \u2019 t be engaged anymore. Your parents will have to take you back and find you a husband elsewhere. JOAN CLARKE What is wrong with you? ALAN TURING... There \u2019 s something I have to tell you. I \u2019 m... I \u2019 m a homosexual. JOAN CLARKE Alright. ON ALAN : What? ALAN TURING Men, Joan. Not women. JOAN CLARKE So what? ALAN TURING I just said \u2014 JOAN CLARKE \u2014 So what? I had my suspicions. I always did. But we \u2019 re not like other people. We love each other in our own way, and we can still live the life together that we want. You won \u2019 t be the perfect husband? I can promise you I harboured no intention of being the perfect wife. I \u2019 ll not be fixing your lamb all day awaiting your return from the office, will I? I \u2019 ll work. -LRB- MORE -RRB- You \u2019 ll work. We \u2019 ll have each other \u2019 s company. We \u2019 ll have each other \u2019 s minds. Sounds like a better marriage than most. Because I care for you. And you care for me. And we understand one another more than anyone else ever has. ON ALAN : He needs to get rid of her, to save her, and she is making this impossible. ALAN TURING I don \u2019 t. JOAN CLARKE What? ALAN TURING Care for you. I never did. I only needed you to break Enigma. And now I \u2019 ve done it, so you can leave. She SLAPS HIM. JOAN CLARKE I am not going anywhere. I have spent entirely too much of my life worried about what you think of me, or what my parents think of me, or what the boys in Hut 8 or the girls in Hut 3 think, and you know I am done with it. This work is the most important thing I will ever do in my life. And no one will stop me. Least of all you. Joan turns to walk away, and then, angry, she turns back. She TOSSES HER WIRE ENGAGEMENT RING AT ALAN. JOAN CLARKE -LRB- CONT \u2019 D -RRB-... They were right. John. Hugh. Peter. You really are a monster. Alan watches her walk away, struggling to maintain his facade of icy indifference. CUT TO :", "INT. SHERBORNE SCHOOL FOR BOYS - HEADMASTER\u2019S OFFICE -  1927 Young Alan enters the HEADMASTER \u2019 S OFFICE. JOAN CLARKE -LRB- CONT'D -RRB- YOUNG ALAN You wanted to see me, Sir? HEADMASTER Turing. Sit down. YOUNG ALAN Is something the matter? HEADMASTER You and Christopher Morcom are quite close. YOUNG ALAN I wouldn \u2019 t say that. HEADMASTER Your mathematics teacher says you two are positively inseparable. YOUNG ALAN We \u2019 re the best students in the class. HEADMASTER He caught you passing notes the other day. YOUNG ALAN Cryptography. To pass the time. The class is too simple. HEADMASTER You and your friend solve maths problems during maths class because maths class is too dull? YOUNG ALAN He \u2019 s not my friend. HEADMASTER I \u2019 ve been told he \u2019 s your only friend. YOUNG ALAN Who said that? HEADMASTER Something has come up. About Morcom. YOUNG ALAN Why am I here? HEADMASTER Christopher is dead. YOUNG ALAN... I don \u2019 t understand. HEADMASTER His mother sent word this morning. The family was on holiday, you see. YOUNG ALAN I don \u2019 t understand. HEADMASTER He had bovine tuberculosis, as I \u2019 m sure he told you. This mustn \u2019 t be a shock, but all the same, I \u2019 m sorry. YOUNG ALAN You \u2019 re mistaken. HEADMASTER Did he not tell you? He \u2019 s been sick for a long time. Knew this was coming soon, but he had a stiff upper lip about it. Good lad. ON ALAN \u2019 S FACE : Christopher never told him. HEADMASTER -LRB- CONT \u2019 D -RRB- Are you all right, Turing? YOUNG ALAN Yes. Of course. As I said, I didn \u2019 t know him well. HEADMASTER Ah. Very well then. YOUNG ALAN May I leave, Headmaster? HEADMASTER Of course. Oh, but Turing? YOUNG ALAN Yes, Sir? HEADMASTER Do pay more attention in maths class, will you? CUT TO :", "INT. BLETCHLEY PARK - HUT 8 - 1943-5 - SEQUENCE Alan, Joan, John, Hugh, and Peter decrypt messages together for another two exhausting years. ALAN TURING -LRB- V.O. -RRB- The war dragged on for another two solitary years. Alan spends two years pressed shoulder-to-shoulder with the woman whose heart he broke. With the man whose dark secret he uncovered. With the man whose brother he allowed to die. ALAN TURING -LRB- V.O. -RRB- Every day we performed our blood- soaked calculus. Every day we decided who lived and who died. And every day we guided the Allied armies to victory without anyone knowing.", "EXT. MEDITERRANEAN SEA - SICILY (ARCHIVE FOOTAGE) - DAY INTERCUT WITH ARCHIVAL FOOTAGE : The FRONTLINE BATTLES whose outcomes, good and bad, are determined by the work of Hut 8. The MEDITERRANEAN FLEET is RAVAGED outside Sicily... 6,000 SHIPS launch for the surprise attack on Normandy... ALAN TURING -LRB- V.O. -RRB- Stalingrad? The Ardennes? Normandy? None of those victories would have been possible without the intelligence we produced.", "INT. BLETCHLEY PARK - HUT 8 - DAY IN HUT 8 : Peter and Hugh each decrypt a message, placing TWO BLUE PINS on the board, and then one RED. They look to Alan : Two British ships, and they can only save one of them. Alan runs a statistical analysis of their options. We see KEY WORDS : \u201c LIKELIHOOD OF DETECTION, \u201d \u201c CASUALTIES, \u201d \u201c MATERIAL LOSSES \u201d interspersed with mathematical equations. Alan places his results into a GREEN FOLDER. A MESSENGER comes in and takes the folder to \u2014", "INT. MI-6 - WAR ROOM - DAY AN MI-6 WAR ROOM : The Messenger delivers the Green Folder to Menzies and a TEAM OF MI-6 AGENTS. They look over Alan \u2019 s analysis and decide what military actions to take. The Agents TELEPHONE Churchill \u2019 s office in London.", "EXT. NORTH OF ALGIERS (ARCHIVE FOOTAGE) - DAY ARCHIVAL FOOTAGE : We see the impact of Hut 8 \u2019 s work as a dozen British ships are BLOWN OUT OF THE OCEAN just north of Algiers, sacrificed for the greater good in Operation Torch.", "EXT. BLETCHLEY PARK - HUT 8 - DAY BACK IN HUT 8 : The team learns of the outcome as they decode more German messages. Peter takes the BLUE PIN down from the map, tossing it angrily in the trash. He looks at Alan, who looks away \u2014 another ship they could not save.", "EXT. BLETCHLEY VILLAGE/ ENVIRONS - NIGHT OUTSIDE BLETCHLEY VILLAGE : Alan RUNS at night on a dirt path along the outskirts of Bletchley. He runs for miles, sweating, panting, until his legs almost give way. ALAN TURING -LRB- V.O. -RRB- People talk about the war as this epic battle between civilizations. Good versus evil, liberty versus tyranny. Armies of millions bleeding into the mud, fleets of ships that weighed down the oceans, packs of airplanes that dropped bombs until they blotted out the sun itself. But it wasn \u2019 t.", "INT. BLETCHLEY PARK - HUT 8 - NIGHT QUIET MOMENTS IN HUT 8 : Hugh lays a folded-up coat under a sleeping Peter \u2019 s head as a pillow. John makes tea for Joan. ALAN TURING -LRB- V.O. -RRB- The war was really just a half- dozen crossword enthusiasts in a tiny village in the south of England.", "EXT. WHITEHALL (ARCHIVE FOOTAGE) - DAY ARCHIVAL FOOTAGE : On V-E Day, Churchill speaks to millions from a balcony in Whitehall. Truman dedicates the victory to Roosevelt as Times Square erupts into drunken cheers. The whole world kisses. The whole world cries. ALAN TURING -LRB- V.O. -RRB- Was I God? No. Because God didn \u2019 t win the war. I did.", "EXT. BLETCHLEY PARK - DAY -  1945 All of Bletchley Park is celebrating the end of the war. Flags are being waved, people are dancing, cheering. But inside the central mansion :", "INT. BLETCHLEY PARK - CENTRAL MANSION - CONTINUOUS Alan and his team are assembled before Stewart Menzies. HUGH ALEXANDER... What happens now? Back to the university for us? STEWART MENZIES Yes. You \u2019 ve only one thing left to do before your service to your government is concluded. JOHN CAIRNCROSS What \u2019 s that? STEWART MENZIES Burn everything. HUGH ALEXANDER What? STEWART MENZIES We told you when you started that this was a top secret program. Did you think we were joking? HUGH ALEXANDER But the war is over. ALAN TURING This war is over. But there will be more. And we know how to break a code that everyone else thinks is unbreakable. STEWART MENZIES -LRB- with a smile at Alan -RRB- Alright. Tear it down, light it up, sweep away the ashes. None of you have ever met before. None of you have ever even heard the word Enigma. Have a safe trip home. Behave, and with a bit of luck none of you will ever see me \u2014 or one another \u2014 again in your lives. CUT TO :", "INT. MANCHESTER POLICE STATION - INTERROGATION ROOM -  1951 Alan Turing finishes telling his story to Detective Nock. DETECTIVE NOCK That \u2019 s... Unbelievable. ALAN TURING That \u2019 s the Imitation Game. DETECTIVE NOCK I don \u2019 t know what to do now. ALAN TURING Now, Detective, you get to judge. That \u2019 s how the game works. I answered your questions. You know my story. That \u2019 s the point of the game. We are all pretending to be something. Imitating something. Someone. And we are no more, and no less, than what we can convince other people that we are. So tell me : What am I? Am I a person? Am I a machine? Am I a war hero? Am I a criminal? DETECTIVE NOCK I can \u2019 t judge you. ALAN TURING Well then you \u2019 re no help to me at all. ON ALAN : Turning away. He \u2019 s done with Nock. CUT TO :", "INT. POLICE STATION - MANCHESTER - DAY -  6 MONTHS LATER A PLAINCLOTHES OFFICER walks through the police station, carrying a NEWSPAPER under his arm. He makes his way to \u2014 \u2014 Detective Nock \u2019 s desk. PLAINCLOTHES OFFICER Congratulations, Sir. The Officer drops the newspaper in front of Nock. The headline reads : \u201c CAMBRIDGE PROFESSOR SENTENCED FOR INDECENCY \u201d, above a photo of Alan. ON NOCK : This should make him happy. But instead he feels only empty and sick.", "INT. ALAN TURING\u2019S HOUSE - DAY We find Alan in his study. He \u2019 s gained weight since last we saw him \u2014 he \u2019 s grown paler as well. Haggard. And the place is a horrible mess. He compares his half-built NEW MACHINE to the plans on his desk \u2014 his work progresses. Slowly. ( This is the machine we saw in the opening scene, which appears different but related to the Bletchley machine \u2014 like a newer model of the same basic concept. ) The doorbell RINGS. Alan ignores it, focused on his work. It RINGS again. Irritated, he gets up and shuffles through his house \u2014 \u2014 He \u2019 s walking with an odd limp, like it \u2019 s hard for him to move his legs normally \u2014 \u2014 And as the bell keeps RINGING insistently he reaches the front door, opening it to find : JOAN CLARKE I had to find out from the bloody newspapers. CUT TO :", "INT. ALAN TURING\u2019S HOUSE - SITTING ROOM - MOMENTS LATER Joan takes a seat while Alan fusses, embarrassed at the state of the place and trying to clean up for her. JOAN CLARKE... You never responded to my letters. -LRB- silence from Alan -RRB- I would have come. I would have testified. ALAN TURING And what would you have said? That I wasn \u2019 t a homosexual? JOAN CLARKE I would have said something. This is serious. They could send you to jail \u2014 Alan tries to move a glass of water...... Which he DROPS, shattering it. ALAN TURING Damn it... JOAN CLARKE Your hands... You \u2019 re twitching. ALAN TURING No I \u2019 m not. He is. JOAN CLARKE Alan. ALAN TURING... It \u2019 s the medication. JOAN CLARKE The medication? ALAN TURING I have to go in for weekly oestrogen treatments. At the hospital. JOAN CLARKE What are you talking about? ALAN TURING The judge gave me a choice. Prison. Or \u201c hormonal therapy. \u201d JOAN CLARKE Oh my god. Oh my god. That \u2019 s \u2014 ALAN TURING \u2014 Chemical castration. Yes. To cure my homosexual predilections. Of course I chose that. I wouldn \u2019 t be able to work from prison. Joan is HORRIFIED. ALAN TURING -LRB- CONT \u2019 D -RRB- Well how would I even have got parts in jail? It just makes no sense. JOAN CLARKE All right. This is what we \u2019 re going to do. I \u2019 m going to speak to your doctors. I \u2019 m going to speak to your lawyer. We \u2019 re going to find a way out of this. ALAN TURING No. JOAN CLARKE You are not thinking clearly. There are a million chemicals flowing through your brain. This treatment\u2014 ALAN TURING \u2014 I \u2019 m fine. JOAN CLARKE Please let me help you. ALAN TURING I don \u2019 t need your help. JOAN CLARKE You do not have to do this all alone. ALAN TURING Alone? I \u2019 m not alone. I never have been. He looks lovingly at his machine \u2014 at Christopher. ALAN TURING -LRB- CONT \u2019 D -RRB-... Christopher has got so smart. If I stop the treatment, they \u2019 ll take him away from me. You can \u2019 t let them do that. You can \u2019 t. Don \u2019 t let them leave me alone. Joan looks at Alan. And at Christopher. His true love. Looking at his machine, Alan starts to have a small PANIC ATTACK \u2014 he \u2019 s getting more emotional, twitching more, getting teary \u2014 the hormones are flowing through him. JOAN CLARKE -LRB- re : Alan \u2019 s freak out -RRB- Here, it \u2019 s alright. It \u2019 s alright. Sit down. She sits him in a chair, trying to contain his hyperventilating. Alan, embarrassed at this uncontrollable display, tries to play it off, but of course he can \u2019 t stop it. With her hand on his shoulder, he notices her WEDDING RING. ALAN TURING -LRB- trying to seem normal -RRB-... It \u2019 s a much nicer ring than the one I got you. JOAN CLARKE His name is Jock. We work together in Eastcote. He \u2019 s gotten me into coin collecting. Can you believe it? Joan looks around the room for a tea cup, a glass of water, anything that isn \u2019 t mouldy she can have him sip from. She sees the newspaper she brought in, grabs it. JOAN CLARKE -LRB- CONT \u2019 D -RRB- Do you want to do a crossword? For old times \u2019 sake. It \u2019 ll only take five minutes. Or in your case, six. She tries to get him to smile at her joke. Joan opens the paper to a PUZZLE. Alan looks down at it. His fingers twitch. He stares at the puzzle, confused. He doesn \u2019 t know how to do it. Alan moves his hand away from the puzzle. ALAN TURING... Perhaps later. The treatment has wrecked his brain so badly that he can \u2019 t do crossword puzzles anymore. Joan watches and her heart utterly breaks. ON JOAN : He \u2019 s gone forever. And she knows it. Alan sees her sadness. He \u2019 s embarrassed, angry, bitter. ALAN TURING -LRB- CONT \u2019 D -RRB-... At least it worked out for one of us. -LRB- MORE -RRB- You got what you wanted, didn \u2019 t you? Work. A husband. A normal life. She looks at him quietly for a moment. JOAN CLARKE But no one normal could have done this. -LRB- gestures to Christopher -RRB- This morning I took a train through a city that would not exist if it wasn \u2019 t for you. I bought a ticket from a man who would likely be dead if it wasn \u2019 t for you. I read up on my work, a whole field of scientific inquiry that only exists because of you. If you wish you could have been \u2018 normal \u2019, I can promise you, I do not. The world is an infinitely better place precisely because you weren \u2019 t. ALAN TURING Is that what you think? JOAN CLARKE... I think that sometimes it is the very people who no one imagines anything of who do the things that no one can imagine. CUT TO :", "EXT. SHERBORNE SCHOOL FOR BOYS - DAY -  1927 Young Alan sits under the tree where Christopher first taught him about cryptography. He \u2019 s holding the book that Christopher gave him. He starts to cry. He \u2019 s alone now, and he will be for a very long time. CUT TO :", "INT. ALAN TURING\u2019S HOUSE - DAY -  1954 Alan sits at his desk, going over papers. He closes a book. Gets up. Walks past Christopher, giving him a look. He turns off the light, walking away down the dim hallway.", "EXT. ALAN TURING\u2019S HOUSE - DAY -  1954 A familiar scene : A HALF-DOZEN POLICE OFFICERS swarm the Manchester home of ( former ) mathematics professor Alan Turing. Detective Nock passes the double-parked police cars and ascends the front steps of Alan \u2019 s house. Remembers the first time he was here.", "INT. ALAN TURING\u2019S HOUSE - CONTINUOUS A CONSTABLE leads Detective Nock upstairs, gesturing into the open BEDROOM door. In the doorway, we see a team of COPS tending to something on the bed. There \u2019 s an APPLE on the nightstand. CONSTABLE Suicide, looks like. Half-eaten apple next to the bed. Some sort of white powder all over it. DETECTIVE NOCK Cyanide. -LRB- off the Constable \u2019 s look -RRB- You \u2019 ll find a tub of it downstairs. The Constable makes a curious face : How can you know that? Nock approaches the bed, and stares into the lifeless face of Alan Turing. ON NOCK : Alan Turing made the world a better place... And Nock killed him for it. CUT TO :", "EXT. BLETCHLEY PARK - NIGHT -  1945 Alan, Joan, Hugh, John, and Peter stand before the MASSIVE BONFIRE that \u2019 s been built in the center of the Park. TITLE : Alan Turing committed suicide in 1954. TITLE : His machine was never perfected, though it generated a whole field of research into what became nicknamed \u201c Turing Machines. \u201d Today, we call them \u201c computers. \u201d Hugh comes over and puts one arm around Alan, another around Joan. They have a moment : They did it. They won the war. John throws a stack of Enigma messages high into the air \u2014 \u2014 They watch as the papers flutter down into the fire. They laugh, and one by one they all join in : They FROLIC and PLAY as they throw every document, every slip of scratch paper, every bit of evidence they were there into the fire. TITLE : In 1990, John Cairncross publicly confessed to having been a Soviet agent. He was never prosecuted. TITLE : In 2013, Turing was granted an official pardon by the government. Approximately 49,000 other gay men were convicted and punished under the same code between 1885 and 1967. TITLE : The logo of Apple Computer - an apple with a bite taken out of it - has long been rumored to be a silent tribute to Turing. These rumors have never been confirmed. ALAN TURING -LRB- V.O. -RRB- Well then. ON ALAN AND THE TEAM : Hugging and playing as everything they did is burnt to a crisp. ALAN TURING -LRB- V.O. -RRB- Any questions? BLACK."], "labels": [0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 1.0], "summary": "In 1951, two policemen, Nock and Staehl, investigate the mathematician Alan Turing after an apparent break-in at his home. During his interrogation by Nock, Turing tells of his time working at Bletchley Park during the Second World War. In 1928, the young Turing is unhappy and bullied at boarding school. He develops a friendship with Christopher Morcom, who sparks his interest in cryptography. Turing develops romantic feelings for him, but Christopher soon dies from tuberculosis. When Britain declares war on Germany in 1939, Turing travels to Bletchley Park. Under the direction of Commander Alastair Denniston, he joins the cryptography team of Hugh Alexander, John Cairncross, Peter Hilton, Keith Furman, and Charles Richards. The team are trying to analyze the Enigma machine, which the Nazis use to send coded messages. Turing is difficult to work with, and considers his colleagues inferior; he works alone to design a machine to decipher Enigma messages. After Denniston refuses to fund the construction of the machine, Turing writes to Prime Minister Winston Churchill, who puts Turing in charge of the team and funds the machine. Turing fires Furman and Richards and places a difficult crossword in newspapers to find replacements. Joan Clarke, a Cambridge graduate, passes Turing's test but her parents will not allow her to work with the male cryptographers. Turing arranges for her to live and work with the female clerks who intercept the messages and shares his plans with her.  With Clarke's help, Turing warms to the other colleagues, who begin to respect him. Turing's machine, which he names Christopher, is constructed, but cannot determine the Enigma encryption settings quickly enough; the Germans reset them each day. Denniston orders it to be destroyed and Turing fired, but the other cryptographers threaten to leave if Turing goes. After Clarke plans to leave on the wishes of her parents, Turing proposes marriage, which she accepts. During their reception, Turing confirms his homosexuality to Cairncross, who warns him to keep it secret. After overhearing a conversation with a female clerk about messages she receives from the same German coder, Turing has an epiphany, realising he can program the machine to decode words he already knows exist in certain messages. One German coder always opens his first message with a standard plaintext German script. That reveals enough of the day's Enigma code that Christopher can quickly decode all the day's messages. After he recalibrates the machine, it quickly decodes a message and the cryptographers celebrate. They learn a convoy is about to be attacked, but Turing realises they if they suddenly reroute the convoy and attack the u-boats the Germans will realize Enigma is compromised and change the machinery. Therefore the team at Bletchley Park cannot act on every decoded message. Turing creates a statistical model to indicate which warnings to send to maximize destruction and minimize discovery. Turing discovers that Cairncross is a Soviet spy. When Turing confronts him, Cairncross argues that the Soviets are allies working for the same goals, and threatens to retaliate by disclosing Turing's sexuality. When the top MI6 agent Stewart Menzies appears to threaten Clarke, Turing reveals that Cairncross is a spy. Menzies reveals he knew this already and planted the messages Cairncross leaks to the Soviets for British benefit. Fearing for her safety, Turing tells Clarke to leave Bletchley Park, revealing that he is a homosexual. Clarke states she always suspected but insists they would have been happy together anyway. Turing then tells her he never cared for her, and only used her for her cryptography skills.  Heartbroken, she decides to stay anyway, deeming this the single most important task she'll undertake, and she now refuses to cow to what Turing or her parents want her to do, or think of her decisions.  After the war, Menzies tells the cryptographers to destroy their work, because MI6 wants governments to think they had unbreakable code machines. He tells the team that they should never see one another again or share what they have done. In 1952, Turing is convicted of gross indecency and, in lieu of a jail sentence, undergoes chemical castration so he can continue his work. Clarke visits him in his home and witnesses his physical and mental deterioration. She comforts him by saying that his work saved millions of lives. The epilogue reveals that after a year of government-mandated hormonal therapy, Turing committed suicide on June 7, 1954. In 2013, Queen Elizabeth II granted Turing a posthumous Royal Pardon, honouring his work which would eventually go on to create the modern computer.", "name": "The_Imitation_Game"}
{"scenes": ["INT. ZITO'S BREAD STORY - DAY Several dozen loaves of golden Italian bread are standing on end in a shaft of morning sunlight. They are standing on end in bins. In the window, ZITO'S can be read in reverse. We leave the loaves and DRIFT DOWN TO a Progresso Products calendar, which hangs from the wall by a nail. The month is November. Various phone numbers and delivery dates have been penned in in a rough scrawl. Now WE GO TO a white formica counter, scuffed and pocked from long use. On the counter, in a rinsed out olive jar filled with water, are three fat red roses. The TITLE APPEARS IN BLACK SCRIPT AGAINST THE WHITE BACKGROUND. MOONSTRUCK Now WE FAINTLY HEAR THE VOICE of Zito himself, and a low TAPPING SOUND. SOME CREDITS ROLL. ZITO'S VOICE -LRB- barely discernable. -RRB- Three times they cancel the order with me, and three times they come back. Who they kidding? They cheap, cheap, cheap. The other bread they get is no good. They save pennies. Everybody complain and they come back. `` Zito, your bread is the best.'' They're like children stupid in school who can not learn. The water. It's the water. You buy bread in Hoboken, you get Hoboken water. Hoboken water is dry. Ask anybody who knows. Ask your father. He knows. During Zito's plaintive words, WE LEAVE the roses and MOVE DOWN the counter TO a calculator being tapped very efficiently with the eraser end of pencil. When the results appear, the pencil notes the figure in a threadbare old ledger. NOW WE SEE ZITO He's a middle - aged Italian man with a kind face. But it's early in the day, and he's already been working for hours, so he's a little tired and disgruntled. ZITO You want me to make you some coffee? NOW WE SEE LORETTA FOR THE FIRST TIME She's entering a few final figures in the ledger. LORETTA is Italian, 37. Her hair black, done in a dated style, is flecked with grey. She's dressed in sensible but unfashionable clothes of a dark color. LORETTA What d'you know about coffee? Gim me a loaf of bread.", "EXT. ZITO'S BREAD STORE - DAY Loretta emerges with her little weathered leather bookkeeping satchel and a loaf of Zito bread in a white paper bag. She moves off briskly.", "EXT. A.J. CONTI FUNERAL CHAPEL - DAY This is a little Italian funeral parlor.", "INT. THE \"WAKE\" ROOM\" A generic little room filled with many flowers and wreathes, many folding chairs, a few OLD PEOPLE sitting and, up front, the star of the show, the CORPSE on display in his gold and formica casket. Before the casket is a little kneeler. We discover an OLD LADY there, who crosses herself and rises. She goes and sits by RUBY, another old women. She leans over and says. OLD WOMAN He looks great. RUBY That Al Conti is a genius.", "INT. OFFICE OF THE FUNERAL PARLOR First WE SEE a name plate on a desk. The plate reads ALFONSO CONTI. We HEAR his VOICE. CONTI'S VOICE I am a genius. The SHOT WIDENS TO INCLUDE the loaf of bread which is half cut up and being buttered. Next to the bread are two steaming mugs of coffee. We HEAR the subdued TAPPING of Loretta's tabulations. LORETTA'S VOICE If you're such an artistic genius, why ca n't you keep track of your receipts? How am I going to do your income tax? CONTI'S VOICE I am an artistic genius. The SHOT WIDENS and now we can see Al Conti and Loretta sitting at the desk having Zito's buttered bread and mugs of coffee. Loretta's got her calculator going and is entering figures in Al's black, gold - lettered ledger. LORETTA If you're an artistic genius, how come you got butter on your tie? He looks down and sees the stain. He's at a loss. LORETTA Give it here. I'll give you this, Al, you make good coffee. She downs her coffee, accepts the stained tie which Al has taken off, and slams the ledger shut.", "INT. ROBERT'S DRY CLEANERS - DAY - MORE CREDITS ROLL We are looking at a wall of dry - cleaned clothes bags. They are hanging from an automated grid. As we watch, the wall starts to move off to the left. A gap appears where no clothes are hung. The gap creates visual frame. In the frame is ROBERT. He is operating the grid with a little stick shift. He stops it and takes down a garment. He leaves the frame, heading off to the counter. When he moves away, WE SEE that Loretta is behind him, working her calculator, entering in a ledger. She slams the ledger shut, waves goodbye, and goes. After beat she reappears, produces Conti's tie, says something to Robert, who is out of view, leaves the tie, and", "INT. BUTCHER SHOP - DAY WE SEE a cleaver whacking an oxtail into section. Now WE SEE Loretta, a few feet away, tabulating on a chopping block that is partially obscured by a row of hanging rabbits, unskinned.", "INT. A FLORIST SHOP - DAY A long white box is being filled with red roses. We HEAR the FLORIST'S VOICE. FLORIST'S VOICE Red roses. Very romantic. The man who sends these knows what he's doing. Now WE SEE Loretta tabulating and the Florist working on the box of roses. LORETTA The man who sends those spends a lot of money on something that ends up in the garbage can. The Florist gives her a look and then smiles. FLORIST I'm glad everybody ai n't like you, Loretta. I'd be outta business. LORETTA Without me, you'd be out of business. I like flowers. She gives him a sudden, brief, blinding smile. It's the first time we've seen her smile. She has gold work around one of her two front teeth. The Florist grunts and hands her a red rose. Camera moves close to Loretta and the rose. END OF CREDITS", "EXT. THE GRAND TICINO - AN ITALIAN RESTAURANT - NIGHT A red neon sign hangs in the window. It's a quaint downstairs restaurant in Greenwich Village. A YOUNG COUPLE stop, look at the menu, become more interested in each other, kiss, and decide to go in.", "INT. THE GRAND TICINO - NIGHT White tablecloths and dark green walls, a tiny bar up by the door. The WAITERS all look a little alike. That's because they're all related. The place is about half full, and bustles along pleasantly. MUSIC A VIOLIN PLAYS a melancholy Neapolitan air. MR. JOHNNY and Loretta sit at a table for two talking quietly. They have their menus and glasses of red wine. Mr. Johnny is Italian, around 42. His wavy salt - and pepper hair is impeccably combed back ; but there is so much that it threatens to fall forward someday and engulf his face. He is wearing a pinky ring, a dark suit, a gold watch, and, on his face, a mustache and a look of incredible seriousness. Loretta is Italian, 37. Her black hair, done in a dated style, is flecked with grey. She is wearing a dark blouse, black skirt, and high heels. One of her teeth is framed with gold work. Mr. Johnny is really timid of life, an overgrown boy, who hides these qualities behind a veil of dignity. Loretta is tough and efficient, loyal and watchful ; she watches out for Mr. Johnny, and defends him against life. BOBO, an Old World Italian waiter, comes over to take their order. BOBO Are you ready? MR. JOHNNY Hello, Bobo. How are you tonight? BOBO Very good, Mr. Johnny. MR. JOHNNY We will both have the Salad Ticino. BOBO Uh - huh MR. JOHNNY And I'll have the special fish. LORETTA You do n't want the fish. MR. JOHNNY No? LORETTA It's the oily fish tonight. Not before the plane ride. MR. JOHNNY Maybe you're right. LORETTA Give him the manicotta, Bobo. Me, too. BOBO Yes, Miss Loretta. LORETTA -LRB- to Mr. Johnny. -RRB- That will give you a base. For your stomach. You eat that oily fish, you go up in the air, halfway to Sicily you'll be green and your hands will be sweating. MR. JOHNNY -LRB- smiles. -RRB- You look after me. They HEAR a distinguished MAN'S VOICE rise out of the babble. They turn and look. The man's name is PERRY. PERRY AND PATRICIA FROM LORETTA'S POV Perry is a university professor. PATRICIA is his girlfriend/student. He's in his 50's. She's about 25 years younger. She's getting her coat on in a huff. PERRY Patricia, please do n't go! PATRICIA What do you think I am, a talking dog? PERRY I was just making a point about the way you said. the way you stated your aspirations. PATRICIA You can kiss my aspirations! Professor! She storms out, leaving Perry muttering to himself. PERRY Kiss my aspirations. Oh, very clever. The height of cleverness. Waiter! An abnormally SHY WAITER stops. SHY WAITER Yes? PERRY Could you do away with her dinner, and any evidence of her, and bring me an big glass of vodka? SHY WAITER But absolutely! THE SHY WAITER begins to efficiently clear. MR. JOHNNY AND LORETTA EXCHANGE A GLANCE Mr. Johnny is amused. Bobo serves them their salad. MR. JOHNNY A man who ca n't control his woman is funny. LORETTA She was too young for him. Mr. Johnny considers this a point well taken. BOBO AND HIS NEPHEW EDDIE STAND NEAR THE KITCHEN Which can be seen through a serving window. They can look out over the restaurant tables. Bobo is melancholy and philosophical. EDDIE is a young waiter. EDDIE What ` samatter, Uncle Bobo? BOBO Tonight Mr. Johnny's gon na propose marriage. EDDIE How you know that? BOBO He arranged it with me. When he asks her, then he'll wave to me and I'll bring champagne. Good bachelor customer for twenty years. But who knows? Maybe he'll lose courage. EDDIE Heavy duty stuff. PERRY, FEELING NO PAIN, COLLARS THE SHY WAITER He holds out his empty glass. PERRY Can I get another one of these? SHY WAITER Definitely! Perry takes his arm. PERRY May I presume to ask you a question? SHY WAITER Sure! PERRY Do you have a girlfriend? SHY WAITER I am alone in the world. Perry lets go of his arm. He and the Shy Waiter commiserate a moment. Then, wordlessly, the Shy Waiter goes. PERRY That's very sad. BOBO IS CLEARING THE REMAINS OF MR. JOHNNY'S DINNER. He's already cleared Loretta's. BOBO How's things? LORETTA Fine, Bobo. We'll take the check. MR. JOHNNY No, I want to see the dessert cart. BOBO Very good. Bobo goes. Loretta is surprised. LORETTA You never have dessert. MR. JOHNNY Never is a long time. Mr. Johnny is uneasy. He massages his head. LORETTA What's the matter? MR. JOHNNY My scalp is not getting enough blood sometimes. Loretta looks at him strangely. Bobo rolls up the dessert cart. WE SEE Loretta and Mr. Johnny through the frame of the dessert cart. They turn and look at the desserts. MR. JOHNNY Have Something. LORETTA I should n't. MR. JOHNNY Will you marry me? LORETTA What? MR. JOHNNY Will you marry me? LORETTA Bobo, take the cart away. He does. LORETTA -LRB- continuing. -RRB- Are you proposing marriage to me? MR. JOHNNY Yes? LORETTA You know I was married and that my husband died. But what you do n't know is I think he and I had Bad Luck. MR. JOHNNY What do you mean? LORETTA We got married at the City Hall and I think it gave bad luck the whole marriage. MR. JOHNNY I do n't understand. LORETTA Right from the start we did n't do it right. Could you kneel down? MR. JOHNNY On the floor? LORETTA Yes, on the floor. MR. JOHNNY This is a good suit. LORETTA I helped you buy it. It came with two pairs of pants. It's for luck, Johnny. When you propose marriage to a woman, you should kneel down. MR. JOHNNY Alright. Mr. Johnny slowly gets out of his chair. There's not enough room for him to kneel down. He has to ask two off - duty PRO WRESTLERS who are eating dinner to move their chairs. They do so with bemused expressions. Their names are BOB and MOOK. SHY WAITER BRINGS PERRY A FRESH GLASS OF VODKA ASKS THE SHY WAITER PERRY Is that man praying? MR. JOHNNY ON HIS KNEES ADDRESSES LORETTA JOHNNY So. Will you ma. LORETTA -LRB- interrupting. -RRB- Where's the ring? MR. JOHNNY -LRB- at a loss. -RRB- The ring? BOB AND MOOK ARE WATCHING MR. JOHNNY'S PERFORMANCE They are deadpan mugs. BOB -LRB- to Mr. Johnny. -RRB- A ring. That's right. MOOK I woulda sprung for a ring if it was me. BOBO AND EDDIE STAND NEAR THE KITCHEN WATCHING BOBO She's got him on his knees. He's ruining his suit. LORETTA AND MR. JOHNNY LORETTA You could use your pinky ring. MR. JOHNNY I like this ring. LORETTA You propose to a woman you should offer her a ring of engagement. Mr. Johnny takes off the ring and holds it out to her. MR. JOHNNY Loretta. Loretta Castorini Clark. On my knees. In front of all these people. Will you marry me? She meekly accepts the ring from him and takes his hands. LORETTA Yes, Johnny. Yes, John Anthony Cammareri. I will marry you. I will be your wife. Mr. Johnny slowly stands up, brushes off his knees. The restaurant has fallen utterly silent. Loretta smiles. They embrace. Loretta kisses him quickly. A MIDDLE - AGED WOMAN, SUSAN, IS MAUDLIN FROM THE PROPOSAL Bobo stands very near her table. She is about to applaud the proposal. She brings her hands together. Bobo's hand flashes out and neatly captures her hands before they can part again. The single sound dies abruptly in the silent room. LORETTA AND MR. JOHNNY Mr. Johnny is in control now. He looks around once, regally. MR. JOHNNY Bobo! The check! PERRY AND THE SHY WAITER LOOK AT MR. JOHNNY AND LORETTA PERRY I feel like I have just witnessed a car accident. The Shy Waiter sits down at Perry's table. SHY WAITER When I was twenty - seven years old, in Jersey City, I asked a woman to marry me. She had red hair. She smelled a jasmine. She wore black shoes with pointy white tips. PERRY What happened? SHY WAITER She did n't hear me. She asked me to repeat, so she could understand what I said. But I would n't repeat it. Outta shyness. So I'm a bachelor. MR. JOHNNY AND LORETTA He's helping her on with her coat. LORETTA What time is it? MR. JOHNNY Seven - thirty. LORETTA So we'll pick up the car, we'll make the plane in plenty of time. Mr. Johnny puts on his coat. MR. JOHNNY My mother will be happy I'm getting married. Bobo approaches with the bucket of champagne. He's flustered. BOBO I forgot to bring the champagne, Mr. Johnny. MR. JOHNNY I forgot to wave. We'll have it at the wedding.", "EXT. MIDTOWN TUNNEL - A CREAM COLORED LTD SPEEDING - NIGHT", "INT. THE CREAM LTD - NIGHT Loretta driving and Mr. Johnny sitting beside her. In the back seat are two suitcases. LORETTA What about the wedding? MR. JOHNNY My mother is dying. When she is dead, I'll come back and we'll be married. LORETTA How near is she to death? MR. JOHNNY A week. Two weeks. No more. LORETTA Then let's set the date. LORETTA How about a month from today? MR. JOHNNY Must it be so definite? Ca n't we just say that we will be married when I get back? LORETTA Where? At the City Hall? No! I want the whole wedding or we will have Bad Luck. For a whole wedding to be planned, a date must be set. MR. JOHNNY Alright. A month. In a month. LORETTA A month from today? MR. JOHNNY Yeah. LORETTA I'll take care of it, Johnny. I'll take care of the whole thing. All you have to do is show up.", "INT. A TERMINAL AT KENNEDY INTERNATIONAL AIRPORT - NIGHT CLOSE UP ON TV MONITOR - VIDEO INSERT Dialogue on clip : -LRB- Close - up on Ava Gardner & Gregory Peck kissing. Length of clip is 1:25 -RRB- AVA Oh, you're not going. You're staying. GREGORY No, I'm going. AVA The Shawfish? GREGORY Just across the bay, at the fuel depot. The men wanted to try to get home. I ca n't explain. AVA Then, I suppose the time has come say it's been nice Dwight Lionel. It's been everything. Oh, Dwight, I'm frightened. GREGORY I know, I am so sorry for so many things. I love you, Moira. I love you. I love you.", "INT. A TERMINAL AT KENNEDY AIRPORT - NIGHT Many PEOPLE, most of them Italian, are lined up to board the plane. A VOICE can be heard over the P.A. system. VOICE -LRB- over P.A. System. -RRB- International Flight Number Six - ohfour boarding for Rome and Palermo at Gate Twenty - six. MR. JOHNNY AND LORETTA ARE SAYING GOODBYE LORETTA Call me when you get in. MR. JOHNNY I'll call you when I get to Mama's house. LORETTA You've made me very happy, Johnny. He takes a piece of paper from his wallet. MR. JOHNNY There's one thing about this wedding I want you to do. Call this number. It's a business number. Ask for Ronny. Invite him to the wedding. LORETTA Who is he? MR. JOHNNY He's my younger brother. LORETTA You have a brother? MR. JOHNNY We have n't spoken in five years. There was some bad blood. I want you to call him and invite him to the wedding. Will you do it? LORETTA Sure. VOICE This is the last call for International Flight Number Six - ohfour boarding at Gate Twenty - six for Rome and Palermo. MR. JOHNNY I've got to go. He clumsily kisses her. Then he quickly turns and leaves. She waves, but he does n't look back.", "EXT AIRPORT RUNWAY - NIGHT Close shot on plane's wheels and under belly as it slowly begins to move. Red lights are flashing. AN OLD ITALIAN CRONE IS LOOKING OUT THE TERMINAL WINDOW In the background we see the accordion like ramp that was loading to the departing aircraft, slowly fold up. Loretta walks up beside her, and looks out the window, too. The crone is dressed in black and has a black scarf on her head. The Crone notices Loretta. CRONE Do you have someone on that plane? LORETTA Yeah. -LRB- smiles. -RRB- My fianc\u00e9. CRONE I have put a curse on that plane. My sister is on that plane. I have put a curse on that plane that it should explode. Burn on fire and fall into the sea. Fifty years ago she stole a man from me. Today she told me that she did n't even love him. She took him to feel strong with me. Now she goes back to Sicily. I have cursed her that the green Atlantic water should swallow her up. LORETTA I do n't believe in curses. CRONE -LRB- smiles. -RRB- Neither do I. The plane takes off. Loretta looks after it anxiously. All her hopes are on that plane.", "INT. A PARKING GARAGE IN LITTLE ITALY - NIGHT The LTD pulls into the entrance and Loretta gets out. An ATTENDANT appears. ATTENDANT Mr. Johnny's, right? LORETTA Right. The key's in it. ATTENDANT Good night. LORETTA Night. Loretta walks of into the night.", "EXT. THE SWEETHEART LIQUOR STORE - NIGHT Camera frames the window with a sweetheart in neon.", "EXT. THE SWEETHEART LIQUOR STORE - NIGHT Loretta walks up the street and enters the store.", "INT. THE SWEETHEART LIQUOR STORE - NIGHT Loretta walks in. IRV and LOTTE, the middle - aged couple who own and run the place, are having an argument. LOTTE I've seen how you look at her and it is n't right. IRV How do I look at her? -LRB- to Loretta. -RRB- Can I help you? LORETTA A split of Moet. LOTTE -LRB- to IRV. -RRB- Like a wolf. IRV -LRB- getting the split. -RRB- Like a wolf, huh? You never seen a wolf in your life. IRV -LRB- to Loretta. -RRB- That's seven - fifty - seven. Loretta pays and waits for her change. LOTTE I seen a wolf in everybody I ever met and I see a wolf in you. IRV -LRB- giving the change. -RRB- That makes ten. Thanks. Have a nice night. LORETTA You, too. Loretta walks out. IRV You know what I see in you, Lotte? LOTTE What? IRV The girl I married. Lotte, caught off - guard, blushes.", "EXT. THE CASTORINI HOUSE - NIGHT It's a big, old eccentric, three - story corner house. To one side, it's got a qated arch that leads to an inner courtyard where three cars could park. It's got two cast - iron balconies. About a third of the windows in the house are lit. From within can be HEARD the faint strains of VICKI CARR SINGING and one DOG BARKING. Loretta appears, carrying champagne, approaches the front door, unlocks it, and goes in.", "INT. THE CASTORINI HOUSE - THE FRONT HALL - NIGHT MUSIC VICKI CARR is SINGING `` IT MUST BE HIM.'' The front hall is typical of big old brownstones. There's a big old oak coat rack with a built - in mirror and an umbrella stand. There are several coats hanging from it. The floor is littered with boots. There's also a side table. On the table is a large cut - glass bowl filled with a couple of pounds of hard candy. Loretta comes in and takes off her coat. A single MAD HOWL is HEARD, followed by a PANDEMONIUM OF BARKING. FIVE DOGS charge into the hall to greet Loretta. They are totally cockeyed, crackpot mutts. Their names are JUDAS, LUCY, LEO FATBOY, AND JONES. LORETTA Hello, boys and girls. Guess what happened to me? The VOICE of the OLD MAN is heard calling out from upstairs. OLD MAN'S VOICE How long must I wait? Quanto tempo devo aspettare? The Five Dogs turn away from Loretta and charge up the stairs toward the voice. Loretta walks toward the living room.", "INT. THE CASTORINI HOUSE - LIVING ROOM - NIGHT This is the source of the Vicki Carr song, which is just ending. COSMO CASTORINI, Loretta's father is just turning off the old stereo. He is a powerful man, about 65, with a huge shock of white hair and gold wire glasses. He's wearing a big old red silk robe over blue pajamas, and royal blue slippers. The room it filled with lumpy upholstered furniture, once grand, now threadbare ; shawls and doilies cover holes in failing fabric. There's a fireplace containing a dying fire. Cosmo's wing chair, with his newspaper on it, is beside a lit fringed lamp. Cosmo sees Loretta as she comes in. COSMO Hi. He sits in his chair and puts his feet up on an old needlepoint ottoman. He starts to read the paper. LORETTA Where's Ma? COSMO Bed. LORETTA You're not sleepy? COSMO I ca n't sleep anymore. It's too much like death. LORETTA Pop, I got news. Cosmo puts down the paper and takes his feet off the ottoman. COSMO Alright. Let's go in the kitchen. Cosmo gets up and heads for the kitchen. He hums and continues as Loretta opens champagne.", "INT. THE CASTORINI HOUSE - KITCHEN - NIGHT Loretta and Cosmo sit at the kitchen table. It's a big tin table with a black - and - white design. Loretta has put two old - fashioned champagne glasses on the table, the split of champagne, a bag of sugar cubes, and a bottle of bitters. She pours the champagne, drops a little lump of sugar into each glass, and adds a dash of bitters. She hands one of the drinks to Cosmo. LORETTA Here. -LRB- She Toasts. -RRB- Ti amo. -LRB- Translated : I love you. -RRB- COSMO Ti amo. LORETTA You look tired. COSMO What's your news? LORETTA I'm getting married. COSMO Again? LORETTA Yeah. COSMO You did this once it did n't work out. LORETTA The guy died. COSMO What killed him? LORETTA He got hit by a bus. COSMO No! Bad luck! Your Ma and I been married fifty - two years an nobody died. You were married, what, two years, and somebody is dead. Do n't get married again, Loretta. It do n't work out for you. Who's the man? LORETTA Johnny Cammareri. COSMO Him? He's a big baby. Why is n't he here with you telling me? LORETTA He's flying to Sicily. His mother's dying. COSMO More Bad Luck! I do n't like his face, Loretta. I do n't like his lips. When he smiles I ca n't see his teeth. When will you do it? LORETTA In a month. COSMO I wo n't come. LORETTA You've got to come. You've got to give me away. COSMO I did n't give you away the first time. LORETTA And maybe that's why I had the Bad Luck. Maybe if you gave me away, and I got married in a church, in a wedding dress, instead of at the City Hall with strangers standing outside the door, maybe then I would n't had the Bad Luck I had. COSMO Maybe. LORETTA I did n't have no wedding cake, no reception or nothing. Johnny got down on his knees and proposed to me at The Grand Ticino. COSMO He did? LORETTA Yeah. COSMO That do n't sound like Johnny. Where's the ring? Loretta shows it. Cosmo examines it. LORETTA Here. COSMO It looks stupid. It's a pinky ring. It's a man's ring. LORETTA It's temporary. COSMO Everything is temporary. That do n't excuse nothing. LORETTA So you'll come to the wedding, right? COSMO Let's go tell your Mother. She smiles. He does n't. They rise from the table. THE CASTORINI HOUSE - DARKENED MASTER BEDROOM - NIGHT The door to the hall opens, and the light from without dimly illuminates a massive four - poster bed. Cosmo enters, followed by Loretta. He speaks into the dark a calm and measured summons. COSMO Rose. Rose. Rose. Rose. A lamp is switched on by the bed. By ROSE. Rose is in her 60'S, and is very, very beautiful. Her abundant white tresses frame a face of porcelain delicacy. She's wearing an old and richly beautiful white nightgown. ROSE Who's dead? COSMO Nobody. Loretta is getting married. ROSE Again? Johnny Cammareri. Cosmo goes and sits on the bed. COSMO I do n't like him. ROSE You're not gon na marry him, Cosmo. Do you love him, Loretta? LORETTA No. ROSE Good. When you love them they drive you crazy cause they know they can. But you like him? LORETTA Oh yeah. He's a sweet man. I wan na have a big church wedding, Ma. And a reception. ROSE And who's gon na pay for that? LORETTA Pop. COSMO WHAT? Rose starts laughing. LORETTA Father of the bride pays. Cosmo walks out. COSMO I have no money! ROSE You're rich as Roosevelt. You're just cheap, Cosmo. Cosmo shouts from the stairs. COSMO I wo n't pay for nothing. ROSE He did n't used to be cheap. He thinks if he holds on to his money, he will never die. LORETTA It's his duty as a father to pay for my wedding, Ma. MUSIC VICKI CARR, SINGING `` IT MUST BE HIM'', starts playing. Rose looks weary. ROSE Now he's gon na play that damn Vicki Carr record. And then when he comes to bed, he wo n't touch me.", "EXT. THE CASTORINI HOUSE - MORNING The first golden rays of sunlight touch the great old house. The front door opens. Close shot of dogs coming into camera as door opens. The OLD MAN comes out. The Old Man, who is Cosmo's father, is 83 years old. He is taking the Five Dogs out for their morning walk. He has their five leashes bundled in one hand. In the other hand, even though it is a cloudless November morning, he open black umbrella. He walks off down the block with the dogs.", "EXT. A SMALL CITY PARK SURROUNDED BY HURRICANE FENCE - DAY The Old Man and the Five Dogs appear and enter the park. He approaches a park bench where FELIX and LUCY are already sitting. Felix and Lucy are about the same age as the Old Man. They each have a well - behaved DOG. When the Old Man sits down, he lets the Five Dogs go. The Dogs run off, BARKING like mad. FELIX It's wrong to just let them go. OLD MAN -LRB- ignoring Felix. -RRB- Good morning, Lucy. LUCY Good morning. FELIX They run around, they mess up the whole park. OLD MAN What do you want me to do? Pick up after five dogs? I'm eighty - three years old. God in his heaven understands that I can not pick up after five dogs. FELIX You have too many dogs. The dogs can be HEARD in the distance. It sounds like they're killing each other. OLD MAN -LRB- goes back to ignoring Felix. -RRB- Lucy. There are big things going on in my house. My granddaughter Loretta, the only daughter of my son Cosmo, has engaged herself to be married a second time. LUCY I have heard that Johnny Cammareri got down on his knees in The Grand Ticino and proposed to her. OLD MAN My son does not like this Johnny Cammareri. He says he is a big baby. FELIX You should have one dog. Like Lucy. Like me. I wish I hadda gun. If I hadda gun, I would shoot four of your dogs. The Old Man makes a low, threatening noise. LUCY Do n't fight. OLD MAN My granddaughter wants my son to pay for the wedding. But he does not want to pay. LUCY He should pay. OLD MAN I do n't know. LUCY He owes her a wedding from the first time when there was none. OLD MAN Maybe. I do n't know. He has not asked my advice. If he asks my advice, I do n't know what I will say. The SOUND of the DOGS becomes intense again. FELIX I wo n't have to shoot those dogs. They will kill each other. OLD MAN You think so, huh, Stupid? Those dogs love each other.", "EXT. THE CASTORINI HOUSE - DAY The gates in the big archway are opened from the inside. It's Cosmo. He's wearing a good but old - fashioned suit, an overcoat, and a homburg. He's pulled his car, a 1965 black Buick, up to the gate. Now that he has the gates open, he gets in the car and drives out to the curb. He gets out and goes back to lock the gates. As he does this, the Old Man approaches the house with the Five dogs and the open umbrella. The Old Man and the Dogs go to the front door of the house. Cosmo goes to the door of his car. The two men, father and son, see each other at the moment they grab their respective door handles. They each raise a hand in greeting ; it is the same gesture for both men, an eccentric chopping motion. Then they open their respective doors. The Old Man disappears within the house. Cosmo drives slowly away in his car.", "INT. THE CASTORINI HOUSE - KITCHEN - DAY A RED - HOT, WELL - SEASONED CAST IRON FRYING PAN Receives a big lump of butter with a hissing gasp of satisfaction. A wooden spoon pushes the sinking lump around until the pan is coated. Two square slices of yellow bread with round holes punched in their middles land in the pan. Two circles of green pepper land next to the bread. A spatula flips over the bread which has become glistening gold on the cooked side. Two eggs are broken and dropped sunnyside into the holes in the bread. The circles of green pepper are pushed around by the spatula, scooped up deftly, and each is made to frame one of the eggs. A WOMAN'S HAND garnishes each bright yellow yolk with a slash of red pimento. The spatula reappears and lifts the results from the pan, and slides them onto two small dark blue plates. Now WE SEE that Loretta is just finishing setting the tin table for two. In the b.g., Rose is turning away from the big, old - fashioned six range gas stove where an old speckled coffee pot is steaming up a sun - drenched window. Rose comes toward the table with the laden blue plates. She's wearing a nice old apron over a blue housedress. She's thoughtful. As Rose comes to the table, Loretta in a blue denim work shirt and pants, goes to the stove and gets the coffee. As Rose puts breakfast on the table, she speaks to Loretta, who's at the stove. ROSE Will you live here? LORETTA No. ROSE Why not? LORETTA Pop do n't like Johnny. Loretta returns with the coffeepot to the table, and pours. Then she takes the pot back to the stove. ROSE So we'll sell the house. LORETTA I got married before, you did n't sell. Loretta comes to the table. They sit down to breakfast. ROSE Grandma was still alive. Chiro was still home going to school. Now he's married and gone to Florida. If you and Johnny moved in, had a baby. LORETTA I'm thirty - seven years old. ROSE What's thirty - seven? I had Chiro after I was thirty - seven. It ai n't over till it's over. LORETTA Johnny has a big apartment. We'll live there. ROSE And we'll sell the house. LORETTA I'd like to stay, Ma. I love the house. But Pop do n't like Johnny. ROSE No. He do n't. The WALL PHONE in the kitchen RINGS. Loretta goes and answers it. LORETTA Hello? Yea, this is Loretta Castorini - yeah. Is that you Johnny?", "INT. A DARKENED BEDROOM IN PALERMO - DAY Mr. Johnny is calling on an old European - style phone. In the b.g. is the sickbed. In the sickbed lies VESTA, Mr. Johnny's mother, her grey hair spread out on a golden pillow. By the bed are THREE MOURNERS, old crones dressed in black. One clutches a missal, the other two clutch rosaries. All three are grieving in a steady low wordless whine. Mr. Johnny speaks into the phone in a confidential manner. There is some long - distance CRACKLE. MR. JOHNNY Ssh, it's me. I'm calling from the deathbed of my mother. LORETTA ON THE PHONE LORETTA How was your plane ride? MR. JOHNNY ON THE PHONE MR. JOHNNY The waitresses were very nice. -LRB- glances over at his mother. -RRB- My mother is slipping away. LORETTA ON THE PHONE VESTA -LRB- calling to the Heavens. -RRB- Quanto tempo devo aspettare? -LRB- now she aims more at Johnny. -RRB- How long must I wait?! MR. JOHNNY I ca n't talk long. LORETTA Have you told her we're getting married? MR. JOHNNY ON THE PHONE MR. JOHNNY Not yet. I'm waiting till a moment when she's peaceful. We HEAR Loretta's VOICE over his receiver. LORETTA'S VOICE Just do n't wait until she's dead. MR. JOHNNY Have you called my brother? LORETTA'S VOICE Not yet. MR. JOHNNY Will you do it today? Call him, make him come to the wedding. Five years is too long for bad blood between brothers. Nothing can replace your family. I see that now. LORETTA ON THE PHONE LORETTA Alright. I'll call him. Today. Listen, Johnny. Call me after you tell your mother. Alright? Alright. And do n't stand directly under the sun. You've got your hat, use your hat. Alright. Bye - bye. Loretta hangs up the phone. She thinks. Rose speaks from the table, where she's still sitting. ROSE How's the mother? LORETTA She's dying. But I could still hear her big mouth. ROSE Did he tell her? LORETTA Not yet. That old lady makes him sweat. -LRB- to herself. -RRB- Where's that card? Rose gets up and takes the dishes to the sink, Loretta fishes in her pocket and comes out with the business card Mr. Johnny gave her. She dials the number. ROSE Who Are you calling?", "INT. CAMMARERI PASTRY SHOP - DAY -LRB- INTERCUT W/LORETTA IN KITCHEN -RRB- CHRISSY, a woman with a Queens accent, answers. CHRISSY Cammareri's Bake Shop. LORETTA Is Ronny there? CHRISSY Hold on. -LRB- yells into intercom. -RRB- Ronny, the phone!", "INT. CAMMARERI PASTRY SHOP - OVEN ROOM - DAY -LRB- INTERCUT W/LORETTA IN KITCHEN -RRB- RONNY Yeah, this is Ronny. LORETTA I'm calling for your brother Johnny. He's getting married and he wants you to come. There's a long pause. Ronny's voice returns, hoarse with emotion. RONNY Why did n't he call himself? LORETTA He's in Palermo. RONNY What's wrong can never be made right. -LRB- hangs up phone. -RRB- LORETTA Let me come and talk to you. Loretta hangs up the phone. She looks at the card again, makes a decision and pockets the card. THE TOWNHOUSE/INT. THE BUICK - DAY As Cosmo drives away. He's in a very good mood. He's WHISTLING. He laughs to himself. CAMMARERI'S PASTRY SHOP - DAY And the street in front of it. Loretta arrives. She's wearing a long, navy - blue cloth coat and a knit hat. She looks up at the sign and at the business card in her hand, and enters the shop.", "INT. CAMMARERI'S PASTRY SHOP - DAY It's a nice Italian bake shop. Three Italian women, CHRISSY, BARBARA, and MA wait on THREE WOMEN SHOPPERS at the counter. CHRISSY and BARBARA are in their late 20's or early 30's ; MA is old, old. Loretta comes in and speaks to CHRISSY. LORETTA Is Ronny Cammareri here? CHRISSY He down at the ovens. What do you want? LORETTA I would like to speak to him.", "EXT. CAMMARERI'S PASTRY SHOP - DAY Chrissy comes out and Loretta follows. They walk around to an outdoor staircase that descends into the sidewalk. Chrissy shouts down. CHRISSY Hey, RONNY.", "EXT. AN OLD DOOR AT THE FOOT OF THE STAIRCASE - DAY The door slides open, revealing ROCCO, a baker missing a few teeth. He is surrounded by bread. ROCCO What! CHRISSY'S VOICE Somebody to see Ronny. Rocco slides back the door all the way. Chrissy and Loretta make their way past him. He slides the door three quarters shut behind them.", "INT. THE BASEMENT OVEN ROOM - DAY There are two coal - fired ovens, one at either end of the room. There is a large wooden table roughly center. And various pieces of baking equipment, dough - mixers, etc., scattered willy - nilly. And everywhere there is bread. PIETRO, a baker, is working at one of the ovens with a long wooden spatula. RONNY is working at the other oven. Actually, he is just staring in the open door at the baking bread and burning coals. He's dressed in black jeans streaked with flour, a white restaurant shirt, white cotton gloves, and around his neck, a red handkerchief. He is black - haired, handsome and intense. ROCCO Ronny! RONNY What! ROCCO Somebody here to see you. Ronny turns and takes in Loretta. RONNY Have you come from my brother? LORETTA Yes. RONNY Why? LORETTA I'm going to marry him. RONNY You are going to marry my brother? LORETTA Yes. Do you want. RONNY I have no life. LORETTA Excuse me. RONNY I have no life. My brother Johnny took my life from me. LORETTA I do n't understand. Everything in the oven room has stopped and everyone is watching. RONNY And now he's getting married. He has his, he's getting his. And he wants me to come? What is life? He picks up the wooden spatula and slides it into the oven. LORETTA I did n't come here to upset you. Ronny slides a bunch of loaves out of the oven on the spatula, turns them around, and slides them back in. RONNY They say bread is life. So I bake bread, bread, bread. -LRB- He's picking up loaves of bread from one of the boxes on the floor, and casually tossing them across the room. -RRB- And the years go by! By! By! And I sweat and shovel this stinking dough in and outta this hot hole in the wall and I should be so happy, huh, sweetheart? You want me to come to the wedding of my brother Johnny?! Where is my wedding? Chrissy! Over by the wall! Gim me the big knife! CHRISSY No, Ronny! Barbara appears in the doorway and comes down the stairs into the room. RONNY Gim me the big knife! I'm gon na cut my throat! LORETTA Maybe I should come back another time. RONNY No, I want you to see this! I want you to watch me kill myself so you can tell my brother on his wedding day! Chrissy, gim me the big knife! CHRISSY I tell you I wo n't do it! RONNY -LRB- to Loretta. -RRB- Do you know about me? BARBARA Oh, Mr. Cammareri! RONNY Nothing is anybody's fault, but things happen. -LRB- holds up his left hand to Loretta. -RRB- Look. He pulls off the glove. The hand is made of wood. RONNY It's wood. It's fake. Five years ago I was engaged to be married. Johnny came in here, he ordered bread from me. I put it in the slicer and I talked with him and my hand got caught cause I was n't paying attention. The slicer chewed off my hand. It's funny'cause - when my fianc\u00e9 saw that I was maimed, she left me for another man. LORETTA That's the bad blood between you and Johnny? RONNY That's it. LORETTA But that was n't Johnny's fault. RONNY I do n't care! I ai n't no freakin monument to justice! I lost my hand, I lost my bride! Johnny has his hand, Johnny has his bride! You come in here and you want me to put away my heartbreak and forget? He goes to the big table, which is floured and covered with bread. He sweeps everything off the tabletop during the next. RONNY Is it just a matter of time till a man opens his eyes and gives up his one dream of happiness? Maybe. Maybe. All I have. Have you come here, Stranger, Bride of my Brother, to take these last few loaves from my table? Alright. Alright. The table is bare. He stares at it blankly. He wanders away, to the back room where the flour sacks are kept. We hear a single sob escape him from that room, and then silence. Everyone in the oven room looks after him. Then Chrissy approaches Loretta. She holds the big knife at her side. CHRISSY This is the most tormented man I have ever known. I am in love with this man. He does n't know that. I never told him cause he can never love anybody since he lost his hand and his girl. She holds out the knife. CHRISSY Here. Why do n't you just kill him? It would be so much more kind than coming here and inviting him to a wedding like he'll never have. Loretta considers Chrissy, decides what she's going to do, and goes to the flour room.", "INT. OF THE FLOUR ROOM - DAY Many 50 lb. bags of flour are stacked under a bare electric bulb. A rough stone staircase opposite is lit by daylight from above. Ronny, quietly distraught, stands leaning by his forehead against a stack of flour. Loretta approaches him. She feels for him. LORETTA Where you live? He points to the stone staircase. RONNY Upstairs. She touches his shoulder. LORETTA Come on. He follows her up the stairs.", "EXT. THE STAIRCASE ENTRANCE ON THE STREET Loretta and Ronny emerge. He gestures. They enter the apartment building behind the bakery.", "INT. THE PEACOCK CAFE \u2014 DAY It's a dark Italian coffee and dessert house. Reproductions of Roman statuary adorn grottos and alcoves. In the back is a glass case displaying various desserts, and behind the case, a big burnished gold cappuccino machine. The place is almost empty. MUSIC An album of `` NEAPOLITAN FOLK SONGS'' is PLAYING on the cafe's SOUND SYSTEM. The CAMERA TRAVELS along the face of an exposed brick wall, DISCOVERING busts of Romans occasionally, and then IT COMES TO the figure of COSMO. He's sitting at a table which is inset into a nook, so we can not see who he's with. DARK NOOK IN THE CAFE At a little table away from prying eyes, Cosmo sits with MONA, his girlfriend. Mona is a pretty but overripe Italian woman in her late forties. She's all done up, and she looks at Cosmo with adoration. COSMO And then there is copper, which is the only pipe I use. It costs money. But it costs money because it saves money. MONA And what did they say? COSMO The man understood me. The woman wanted to be cheap, but the man saw that I was right. MONA You have such a head for knowing. You know everything. COSMO I brought you something. He takes out a small velvet box and hands it to her. COSMO It's a present. She opens the box. It's a gold bracelet with a pattern of stars and birds. MONA Oh, Cosmo! COSMO They are little stars and birds. Birds fly to the stars, I guess.", "EXT. RONNY'S APARTMENT BUILDING - DAY A three - story walk - up above Cammareri's Bakery.", "INT. RONNY'S APARTMENT - DAY It's a two - bedroom apartment. The decor reflects Ronny's love of the opera. The furniture is overstuffed, fringed in the colors of Italian passion. But it is all a bit faded, the remains of an old flamboyance. The walls are decorated with opera posters ; and over the fireplace there is a painting depicting a scene from `` La Boheme'' : Mimi is standing in the snow. Ronny stares at the picture of Mimi in the La Boheme poster. Loretta comes in from the kitchen and sets down a cup of coffee. LORETTA You ready for the coffee? Loretta moves back into the kitchen. Ronny turns and watches as she walks down the hall. RONNY Loretta. What's that smell? LORETTA I'm making you a steak. RONNY You do n't have to help me. LORETTA I know that. I do what I want. RONNY I like it well done. LORETTA You'll eat this bloody to feed your blood.", "INT. RONNY'S APARTMENT -DINING ROOM - DAY CU of Ronny's artificial hand, holding a fork stuck in a steak. With his right he is cutting his steak. He switches hands and eats hungrily. Loretta watches. RONNY This is good. Uhh. LORETTA Loretta. RONNY Where'd Johnny find you? LORETTA He knew my husband who died. RONNY How'd he die? LORETTA Bus hit him. RONNY Fast. LORETTA Instantaneous. RONNY When you get engaged? LORETTA Yesterday. Ronny drops his knife and fork and turns away. Loretta is not surprised and does not move. RONNY Why? LORETTA Why what? RONNY I do n't know. LORETTA -LRB- smiles. -RRB- So. Five years ago your hand got cut off and your woman left you for another man. No woman since then? RONNY No. LORETTA Stupid. RONNY When your husband get hit by the bus? LORETTA Seven years ago. RONNY How many men since then? LORETTA Just Johnny. RONNY Stupid yourself. LORETTA No. Unlucky. I have not been lucky. RONNY I do n't care about Luck, you understand me? It ai n't that. LORETTA What? Do you think you're the only one ever shed a tear? RONNY Why you talking to me? LORETTA You got any whiskey? How ` bout giving me a glass of whiskey?", "EXT. STREET NEAR BAKERY - DAY SHOT OF COSMO & MONA IN THE BUICK The car has just come to a stop. We see Cosmo & Mona kiss. She exits car. Cosmo glances around with a slightly guilty look and pulls away. LORETTA AND RONNY AT THE TABLE WITH A BOTTLE OF WHISKEY Camera is close on Scotch being poured into two glasses. Loretta picks up her glass and swallows a healthy dose. RONNY She was right to leave me. LORETTA You think so? RONNY Yes. LORETTA You really are stupid, you know that. Loretta pours herself another shot. RONNY You do n't know nothing about it. LORETTA I was raised that a girl gets married young. I did n't get married until I was twenty - eight. I met a man. I loved him. I married him. He wanted to have a baby right away. I said no. Then he got hit by a bus. No man. No baby. No nothing! I did not know that man was a gift I could not keep. I did n't know. You tell me a story and you think you know what it means, but I see what the true story is, and you ca n't. -LRB- she pours them both another drink. -RRB- She did n't leave you! You ca n't see what you are. I can see everything. You are a wolf! RONNY I'm a wolf? LORETTA The big part of you has no words and it's - a wolf. This woman was a trap for you. She caught you and you could not get away. -LRB- She grabs his wooden hand. -RRB- So you chewed off your foot! That was the price you had to pay to be free. -LRB- throws his hand down. -RRB- Johnny had nothing to do with it. You did what you had to do, between you and you, and I know I'm right, I do n't care what you say. And now you're afraid because you found out the big part of you is a wolf that has the courage to bite off its own hand to save itself from the trap of the wrong love. That's why there has been no woman since that wrong woman. You are scared to death what the wolf will do if you make that mistake again! RONNY What are you doing! LORETTA I'm telling you your life! RONNY Stop it! LORETTA No! RONNY Why are you marrying Johnny? He's a fool! LORETTA Because I have no Luck! RONNY -LRB- pounding on the table. -RRB- He made me look the wrong way and I cut off my hand. He could make you look the wrong way and you could cut off your whole head! LORETTA I am looking where I should to become a bride! RONNY A bride without a head! LORETTA A wolf without a foot! Ronny stiff - arms everything off the dining table and grabs Loretta. They kiss passionately. He pulls her up on the table and over the table to him. They are in each other's arms. They are on fire. Loretta pushes him away, gasping for air. LORETTA Wait a minute! Wait a minute! She changes her mind and lunges into another kiss. They stop again after a long moment. They really have n't breathed. They both suck in air and look at each other in wonder and fear and passion. RONNY It's like I'm falling! It's like I'm in the ocean! They kiss again. When they pull apart again, Loretta is crying. LORETTA I have no Luck! He picks her up in his arms. RONNY Son of a bitch! LORETTA Where are you taking me? RONNY To the bed. LORETTA Oh. Oh God. I do n't care about anything. I do n't care about anything! Take me to the bed. He carries her away, into the bedroom. MUSIC : `` O SOAVE FANCIULLA'', from `` La Boheme.'' The MUSIC CONTINUES THROUGH THE NEXT SCENE.", "INT. RONNY'S APARTMENT - BEDROOM Ronny is laying her down in the bed. He is over her. They look into each other's eyes. RONNY I ca n't believe what is happening. LORETTA Me neither. RONNY I was dead. LORETTA I was dead, too. They kiss. When they part there is a drop of blood on Loretta's lips. RONNY Your blood. LORETTA All my life I have never reached a man. I knew that I would reach my husband, but I took my time and he was dead. Ronny. RONNY Loretta. LORETTA I want to cut you open and crawl inside of you. I want you to swallow me. RONNY I've got you. LORETTA Get all of me. Take everything. RONNY What about Johnny? LORETTA You're mad at him, take it out on me, take your revenge on me! Take everything, leave nothing for him to marry! Hollow me out so there's nothing left but the skin over my bones. Suck me dry! RONNY Alright. Alright. There will be nothing left. Their eyes are boiling with fierce animal tears. They have opened their souls to each other and they are coming together. The MUSIC SWELLS to a terrible triumph.", "EXT. THE CASTORINI HOUSE - NIGHT Dog whines over exterior.", "INT. THE CASTORINI HOUSE - AN UPSTAIRS BEDROOM - NIGHT With five beds for dogs. Four of the beds are empty and on the fifth Judas is whining. He looks around at the other beds. Where is everybody? He goes out the bedroom door. THE CASTORINI STAIRCASE - NIGHT Judas is running down the stairs and into the hall. We FOLLOW HIM down the hall. The hall is only dimly lit. He finds the four other dogs. They are crowded at a narrow doorway. From the doorway comes a golden light.", "INT. THE CASTORINI HOUSE - DINING ROOM - NIGHT THE PLEASED FACE OF COSMO THROUGH A VEIL OF STEAM The CAMERA PULLS BACK. We are in the Castorini dining room. Cosmo sits at the head of the table, a napkin tucked into his shirt. Rose has just laid down a massive platter of steaming baked fish. Already on the table is a platter of pasta, loaves of bread, a big bowl of salad, two bottles of wine, and an appetizer plate of salami and pimento. Seated at the table is COSMO, the Old Man, and RAYMOND and RITA CAPPOMAGGI. Raymond is rotund, moon - faced, bald, somewhere in his fifties. He has a pencil - thin mustache over his small mouth. His wife, Rita, looks very like him, except she has hair on her head and none on her lip. Raymond is Rose's brother. There are two empty places at table, for Rose and Loretta. COSMO Where's Loretta? We're gon na start without her. ONE OF THE ENTRANCE WAYS TO THE DINING ROOM There is an accordion gate across it. Behind the gate, the Five Dogs stare at the people having dinner. ROSE'S VOICE She must be eating out. RAYMOND'S VOICE She do n't know what she's missing. ROSE'S VOICE It's not like her not to call. RITA'S VOICE Well, she's got a lot on her mind. THE DINING TABLE - RITA IS LOADING UP HER PLATE RITA I mean, can we talk about it, Rose? Everybody's heard. She's getting married again. COSMO I do n't wan na talk about it. RAYMOND Johnny Cammareri. I think it's great and about time. What's she gon na do with the rest of her life she do n't get married? COSMO I do n't wan na talk about it. The Old Man has piled his plate high with food. Now he stands up, walks over to the Dogs, and puts the plate down in their midst. The Dogs attack the food and each other. The Old Man walks back to the table and sits down. He looks down at the empty place in front of him, a little sad. COSMO My father needs a plate. Rose gets another plate from a sideboard and puts it in front of the Old Man. He immediately, methodically begins to fill his new plate. Rose goes to her place and sits down. RAYMOND Cosmo. Many years ago, when they told me you were marrying my sister, I was happy. When I told Rose I was marrying Rita, she was happy. RITA Marriage is happy news. The Old Man laughs uproariously, subsides, goes back to filling his plate. COSMO Rose, pass the wine. RAYMOND I never seen anybody so in love like Cosmo back then! He'd stand outside the house all day and look in the windows. I never told you this cause it's not really a story. But one time I woke up in the middle of the night cause this bright light was in my face. Like a flashlight. I could n't think a what it was. I looked out the window, and it was the moon! Big as a house! I never seen the moon so big before or since. I was almost scared, like it was gon na crush the house. And I looked down, and standing there in the street was Cosmo, looking up at the windows. This is the funny part. I got mad at you, Cosmo! I thought you brought this big moon over to my house cause you were so in love and woke me up with it. I was half asleep I guess and did n't know no better. COSMO You were altogether asleep. You were dreaming. RAYMOND No. You were there. Raymond stares at Cosmo, nodding, remembering. There's a lull at the table, the SOUND of SILVERWARE. COSMO I do n't wan na talk about it. ROSE -LRB- suddenly angry. -RRB- Well, what do you wan na talk about! COSMO Rita. Pass the wine. ROSE Why you drinking so much? The Old Man gets up with his newly filled plate and heads for the Dogs. ROSE Old Man, if you give another piece of my food to those dogs, I'm gon na kick you till you're dead! The Old Man reverses direction and heads back to his chair. He sits down and starts to eat.", "EXT. THE CASTORINI HOUSE - NIGHT Over the house is a great big full moon.", "INT. THE CASTORINI HOUSE - MASTER BEDROOM - NIGHT The lights in the bedroom are still on. Cosmo is in bed, in his pajamas, asleep. Rose comes in her nightgown. She looks at Cosmo. He's snoring lightly. ROSE Cosmo? He does n't stir. She goes to him and runs her hand through his hair. ROSE You drank too much and now you sleep too hard, and later you'll be up when you should be down. She kisses his cheek. Then she turns out the lights. When the electric lights go out, moonlight floods the room. She goes to the window and looks out through the curtains at the moon. Rose puts her face in her hands and quietly cries.", "EXT. ROSE'S POV SHOT OF MOON FROM CASTORINI HOUSE - NIGHT RESUME INT. CASTORINI HOUSE - MASTER BEDROOM - NIGHT -LRB- Rose crying.", "INT. RONNY'S APARTMENT - BEDROOM - NIGHT The bedroom is flooded by moonlight. Loretta wakes up, a little alarmed. LORETTA What's that? Ronny wakes up, a little alarmed. RONNY What? LORETTA That light. RONNY I do n't know. I think it's the moon. Loretta goes to the window wrapped in a white sheet from the bed. The window is glowing with moonlight. The moonlight strikes her, and she is caught in its spell. LORETTA Oh. Ronny appears behind her, pulling on a robe. They speak in low voices, as if they were in church. RONNY It's so bright. LORETTA I've never seen a moon like that. RONNY It makes you look like an angel. She turns and looks at him. They kiss. They break apart. Ronny looks up at the moon. RONNY Yeah. Looks like a big snowball.", "EXT. THE CAPPOMAGGI HOUSE NIGHT Shot of the house with the moon overhead.", "INT. RAYMOND AND RITA CAPPOMAGGI'S BEDROOM - NIGHT There is a big window right by the bed, and in the window is the moon. Raymond and Rita are in their bed, asleep. Raymond wakes up, and sees the moon in the window. He's stunned and excited, but he too speaks in this low voice of respect. RAYMOND Rita. Rita. RITA -LRB- waking up. -RRB- What? What? RAYMOND Look. RITA Oh. RAYMOND It's Cosmo's moon. RITA What are you talking about, Raymond? Cosmo ca n't own the moon. RAYMOND I mean it's that moon I was talking about at dinner. -LRB- looks through the window, down into the street. -RRB- Is he down there? No. RITA Is who down there? RAYMOND Cosmo. RITA What would he be doing down there? RAYMOND I do n't know. RITA You know, in this light, and with that expression on your face, you look about twenty - five years old. Raymond smiles at her meekly.", "EXT. THE CASTORINI HOUSE - NIGHT Over the house is still the great big full moon. The front door opens and out comes the Old Man with the five Dogs. The Old Man is in a greatcoat and a felt hat, and he's smoking a cigar. He stops on the top step and lets go a huge plume of cigar smoke. Then he starts off with the Dogs down the street.", "EXT.. EAST RIVER - NIGHT The moon and nothing else. Then a cigar is thrown into it and sends it shimmering. It was the moon reflected in water. Now the CAMERA PULLS BACK and WE SEE the Old Man and the Five Dogs are standing on a ruined pier. The moon gleams up from the Hudson River. The Old Man speaks to the Dogs. OLD MAN Alright now. Howl. Howl. The Dogs do not howl. So the Old Man, by way of demonstration, howls at the moon. He looks to the Dogs to follow suit. They do nothing. He howls at the moon again. The Dogs do nothing. The CAMERA CONTINUES TO PULL BACK until WE CAN SEE the whole pier, with the Old Man and the Dogs on it, and the moon above them. The Old Man, frustrated now, cries out. OLD MAN How long must I wait? Quanto tempo devo aspettare! The Dogs start to HOWL. The Old Man, pleased as the Mad Hatter he is, laughs and laughs.", "EXT. EAST RIVER - DAY Transition from moon reflecting in the water to dawn.", "INT. RONNIE'S APARTMENT - BEDROOM - DAY Morning sun floods the room. Close on Loretta, she wakes up. LORETTA Oh my God. RONNY What? Loretta jumps from bed, grabs her clothes to cover herself, and backs into closet. LORETTA What? What have we done? RONNY -LRB- perturbed. -RRB- Take it easy. LORETTA -LRB- from closet as she hurriedly gets dressed. -RRB- This time I was trying to do everything right. RONNY -LRB- he grabs a bathrobe, pulls it on, puts it on and moves towards the closet. -RRB- Do n't just become excited. LORETTA I thought if I stayed away from the City Hall, I wo n't have that Bad Luck I had again. RONNY You're trying to make me feel guilty. LORETTA I'm marrying your brother! RONNY All right, I'm guilty. I confess! LORETTA You're invited to the wedding! It's in a few weeks. Why did n't you do like him and be with your dying mother in Palermo? RONNY She did n't like me. LORETTA You do n't get along with anybody! RONNY What did you do? LORETTA What did I do? RONNY You ruined my life. LORETTA That's impossible! It was ruint when I got here! You ruint my life! RONNY Oh no I did n't! Loretta emerges from the closet, tucking in her blouse. LORETTA Oh yes, oh yes you did! You've got those bad eyes like a gypsy! Why did n't I see it yesterday! Bad Luck! Is that all I'm ever gon na have? Why did n't I just pick up a stone and kill myself years and years ago? I'm gon na marry him! RONNY What? LORETTA Last night never happened, you hear me? I'm gon na marry him anyway and last night never happened, and you and I are gon na take this to our coffins! RONNY I ca n't do that! LORETTA Why not? RONNY I'm in love with you! Loretta stares at him in alarm, slaps his face, then studies his face to see the effect of the slap. She is dissatisfied and slaps him again. LORETTA Snap out of it! RONNY I ca n't! LORETTA Alright. Then I must never see you again. The bad blood will have to stay there between you and Johnny for all time. You wo n't come to the wedding. RONNY I'll come to the wedding. LORETTA I'm telling you you ca n't. RONNY But he wants me to come! LORETTA But that's cause he do n't know! RONNY Alright. I will not come. Provided one thing. LORETTA What? RONNY That you come with me tonight. Once. To the Opera. LORETTA What are you talking about? RONNY I love two things. I love you, and I love the Opera. If I can have the two things that I love together for one night, I will be satisfied to give up the rest of my life. LORETTA Alright. RONNY Alright. Meet me at the Met. LORETTA Alright. Where's the Met? CATHOLIC CHURCH IN LITTLE ITALY - DAY Camera moves from stained glass windows to confessional. Loretta is next in line of THREE SINNERS waiting to go into the confessional. A FORGIVEN WOMAN emerges from the curtained booth and walks off to pay her penance. Loretta goes into the booth.", "INT. CHURCH - CONFESSIONAL - DAY Loretta kneels. The slide opens and an OLD PRIEST'S FACE can be seen in outline through the screen. LORETTA Bless me, Father, for I have sinned. It's been two months since my last confession. PRIEST What sins have you to confess? LORETTA Twice I took the name of God in vain, once I slept with the brother of my fianc\u00e9, and once I bounced a check at the liquor store - but that was really an accident. PRIEST Then it was not a sin. But what was that second thing you said, Loretta? LORETTA I. a. slept with my fianc\u00e9's brother. PRIEST That's a pretty big sin. LORETTA I know. PRIEST You should think about this. LORETTA I know. PRIEST Alright. This is your penance. Say two rosaries and. be careful, Loretta. Reflect on your life. LORETTA Alright. PRIEST I absolve you in the name of the Father, and of the Son, and of the Holy Spirit, Amen.", "INT. CHURCH - DAY Loretta comes out of the confessional and enters a pew. She crosses herself. Then she recognizes the back of a woman's head a few pews down. She gets up, walks down the aisle, and kneels down next to her mother, Rose. LORETTA Hi. ROSE -LRB- looking up from her prayers. -RRB- Where you been? LORETTA I do n't wan na talk about it. ROSE Just like your father. I lied to him. He thinks you came home last night. LORETTA Thanks. What's the matter with you? ROSE Cosmo's cheating on me. LORETTA What! How do you know? ROSE A wife knows. LORETTA Then you do n't know. You're just imagining it. He's too old. Rose starts to reply, but then decides it's not worth the argument. LORETTA I wo n't be home for dinner. Loretta crosses herself quickly, gets up, and leaves. Rose looks after, and then goes back to her prayer.", "INT. CAMMARERI'S BAKERY - DAY Feminine hands apply the final decorative touches of blue icing to a wedding cake. Then the hands set the plastic bride and groom on the pinnacle. The CAMERA PULLS BACK. Barbara is viewing her handiwork, a wedding cake on a stainless steel wheeled cart. She's in the back part of the bakery. Barbara is pleased with her creation. We TRAVEL WITH HER as she rolls the cart out to the front of the store where Chrissy is waiting on a huge man named HARVEY. She hands him a tiny box, which he takes meekly. HARVEY See you tomorrow, Chrissy. CHRISSY Okay, Harvey. Harvey lumbers off as Barbara enters the front of the store with the cake on its cart. Barbara calls Chrissy's attention to the cake. BARBARA So what do you think? CHRISSY About what? BARBARA The cake! CHRISSY -LRB- without enthusiasm. -RRB- Where's Ronny? How come he ai n't come down? BARBARA How should I know? The PHONE RINGS. Chrissy answers it. CHRISSY Hello, Cammareri's? Hi. Uh - huh. Okay. She hangs up. CHRISSY That was Ronny. He do n't feel good. He ai n't gon na be down today. Chrissy comes out from behind the counter. She's staring at the cake. BARBARA What, is he still upset? Without warning, Chrissy whacks the little bride and groom off the cake and on to the floor. CHRISSY It's that bitch! Barbara looks at her, shocked.", "EXT. CAPPOMAGGI'S ITALIAN PROVISIONS - DAY An Italian specialty store in Little Italy.", "INT. CAPPOMAGGI'S STORE - DAY Provolones and salamis hang from above. To the one side is a deli counter, to the other a series of tables displaying cheeses by the pound, packaged cakes, etc.. In the back are a few tables and a kitchen with counter. Up front, behind the deli counter, stands Rita Cappomaggi in a blue apron. Out by the tables, Raymond unpacks some jars of olives. In the back, a TRUCK DRIVER can dimly be seen eating his lunch. RAYMOND -LRB- to Rita. -RRB- I feel great I got no sleep but I feel like Orlando Furioso! RITA -LRB- looks around cautiously, then speaks. -RRB- You were a tiger last night. RAYMOND And you were a lamb. As soft as milk. RITA Shut up. They'll hear you in the back. RAYMOND So what? The pleasure of marriage is you sleep with the woman and then you do n't worry about nothing. Hey, how about a date tonight, Rita. Let's eat pasta and roll around. RITA -LRB- scandalized. -RRB- Raymond, Raymond, lower your voice! What's got into you? RAYMOND I do n't know! That moon! That crazy moon Cosmo sent over! Loretta walks in. LORETTA Hi. RAYMOND Hey there. -LRB- sings. -RRB-. YOU WITH THE STARS IN YOUR EYES. LORETTA -LRB- to Rita. -RRB- What's the matter with him? RITA You got me. RAYMOND You see that moon last night? LORETTA -LRB- suspicious and guilty. -RRB- What about the moon? RAYMOND Did you see it? LORETTA -LRB- she lies, nervous. -RRB- No. RAYMOND Oh. LORETTA Listen, I got ta go. I'll take the deposit to the bank but I'll do the books tomorrow. I got ta go. RAYMOND You got ta date? RITA What are you talking about, you fool? Her fianc\u00e9's in Palermo. RAYMOND Oh. Right. LORETTA I got things to do. RITA Sure you do. You got all that wedding stuff. LORETTA Right. RAYMOND Well, that's romantic, too. -LRB- SINGS. -RRB-. IS N'T IT ROMANTIC. He is walking towards the back now. He shouts to somebody in the kitchen. RAYMOND HEY. Make me a bowl of minestrone. The women are left alone. RITA What's the matter? You look crazy. LORETTA I got a lot on my mind, Aunt Rita.", "INT. A CHURCH BASEMENT It's been set up for a church bazaar. There are several wheels of fortune, many stuffed animals, coffee urns, cakes, a game of ring toss, etc.. AS THE CAMERA inventories the contents of the various stands - a LITTLE NUN sleeps in one of them - we HEAR the Old Man's VOICE. OLD MAN'S VOICE I've got a lot on my mind. Things are getting bad in my house. My daughter - in - law is mad at my son because he will not pay for the wedding. A TUB OF APPLES FLOATING IN WATER An old, gnarled hand reaches in and pulls one out, dries it with a towel. The CAMERA PULLS BACK REVEALING that the hand belongs to Lucy, who is standing behind a table with the Old Man and Felix. She hands the apple to the Old Man, who drives a small wooden stake into it with a little wooden hammer. Then the Old Man hands this staked apple to Felix, who dips it into a deep metal pot. It emerges shining with red candy goo. Then Felix sets the candled apple onto a papered tray where a dozen already sit. They repeat this process. But the Old Man, because his thoughts are elsewhere, takes forever to drive the stake into the apple. This frustrates Felix. OLD MAN At dinner, my daughter - in - law threatened to kill me. Things are very bad in my house. FELIX Hurry up. LUCY Do n't fight. OLD MAN If I hit the stick too hard, the apple will split. If I am too timid, the apple will fall off the stick. FELIX We're supposed to do fifty apples. We only got twelve done. OLD MAN I do n't know what to advise my son. I think he should pay for the wedding, but it is important that he do n't look ridiculous. LUCY Do n't make yourself sick. OLD MAN Cosmo drank five glasses of wine at dinner. LUCY Talk to him. OLD MAN I will. But I must find the right moment. LUCY Did you see the moon last night? The Old Man's eyes light up. He looks at Lucy. OLD MAN Yes! FELIX -LRB- in despair. -RRB- Hurry up, hurry up. We open in five minutes.", "INT. CAPPOMAGGI'S STORE - DAY EIGHT NEAT STACKS OF MONEY BEING RUBBERBANDED By a woman's hands. The last stack is topped with a filled out deposit slip. The banded stacks are then stuffed into a night - deposit bag. The CAMERA PULLS BACK a bit to INCLUDE a ledger. A last entry is made, and the ledger is shut. The CAMERA PULLS BACK more, and now WE SEE Loretta reaching for her coat. She puts it on, picks up the deposit bag, and sees Rita. LORETTA Bye, Aunt Rita. RITA Bye, bye, honey. See you tomorrow? LORETTA Yeah, I'll be in. Loretta goes out the door, with Rita looking after, thoughtful.", "EXT. THE CINDERELLA BEAUTY SHOP - DAY Loretta walks - down the street and comes to the CINDERELLA BEAUTY SHOP, fidgets a moment, looks around to see if anybody's looking, and goes in. WE SEE her through the window talking to MILDRED, who handles appointments. Mildred nods, points, and Loretta goes back into the store.", "INT. CINDERELLA BEAUTY SHOP - DAY WE DISCOVER an uneasy Loretta sitting in a beauty chair with BONNIE, her hairdresser about to start. Bonnie is a little bored. BONNIE So? You want the usual? LORETTA I want you to get rid of the grey. TRANSFORMATIONAL MUSIC STARTS HERE AND CONTINUES THROUGH THE FOLLOWING SCENES. This music should convey that Loretta is turning from a frumpy pumpkin into a sleek and beautiful coach. Bonnie wakes up upon hearing this startling news and gets very excited. BONNIE I've been wanting to do this for three years! Let me show you some magazines! You've got to get a manicure! And your eyebrows! Sheila! I'm gon na need help! SHEILA, another beautician, joins Bonnie, and they both get very excited and start showing Loretta and each other magazines. They argue merrily about what they should do, leaving Loretta far behind. A MANICURIST joins them, with her stuff and starts soaking Loretta's nails. A MONTAGE FOLLOWS They're plucking her eyebrows. They're cutting and dying her hair. They're painting her nails.", "EXT. CINDERELLA BEAUTY SHOP-DAY Loretta comes out. Her hair is jet black and done in a much more stylish way. She looks great. She looks around as if she has committed a crime, and walks off quickly", "EXT. A DOWDY DRESS SHOP - DAY Loretta looks in the windows, is dissatisfied, and walks on.", "EXT. A BOLD DRESS SHOP - DAY A stylish dress shop called INSINUATION. Loretta looks in the window, is intimidated, and walks on. A moment passes. She reappears. Tentatively, she enters.", "INT. INSINUATION - DAY Loretta approaches a young woman, MER, who works there. Mer is about thirty, trendily dressed, and French. Mer and Loretta greet and talk. Loretta makes vague gestures trying to convey what she wants, but the truth is she does n't know what she wants. Mer takes the situation in hand. There follows a MONTAGE of Mer showing Loretta various dresses, some outlandish, some beautiful, some incomprehensible. Loretta tries on several of the dresses in a big triple mirror. Some horrify her, some frighten her because they're so sexy, one bores her. We do n't see the dress that she ultimately does buy.", "EXT. INSINUATION - DUSK Loretta walks out with a big shopping bag. She walks away down the street. WE FOLLOW Loretta away down the street. She comes to a BRIDAL SHOP with a big bride dummy shown off in the window She stops and looks at the bride. She walks close to the window and stares in hard. Then she slowly backs up from the bride. Two NUNS are walking by. Loretta, backing up from the dummy, bumps into the Nuns. She's flustered, makes a brief apology, and hurries away, casting a furtive last glance at the shop window. END OF MUSIC THE TRANSFORMATIONAL MUSIC COMES TO A CLOSE.", "EXT. THE CASTORINI HOUSE - DUSK Night is falling. Loretta appears and enters the house.", "INT. THE CASTORINI HOUSE - THE FRONT HALL - NIGHT As Loretta enters she drops her bag and, as she takes off her coat, calls. LORETTA Ma! Grandpa! No? Okay. A SINGLE BARK is HEARD from the top of the stairs. She looks up. A WOODEN ACCORDION GATE SEALS OFF THE TOP OF THE STAIRS Visible behind the gate are a couple of dogs.", "INT. THE CASTORINI HOUSE - KITCHEN - NIGHT Loretta goes through a door and into the kitchen. She opens the refrigerator and a cabinet, and makes herself a scotch on the rocks. She sips it and starts to HUM in an understated way. She takes her drink and wanders out of the kitchen. LORETTA WALKS INTO THE LIVING ROOM She walks to each lamp in the room and turns it on. There are many table and standing lamps throughout the room. LORETTA IS LIGHTING THE FIRE Which was already built in the fireplace. It catches on nicely. She puts her drink down and gets a big standing antique mirror on rollers from its place against the wall. She wheels it to a central place in the room. Satisfied, she picks up her drink again, leaves the room for a moment, and then returns with her shopping bag. She throws it on a chair. Then she goes to the stereo and looks through the albums. She selects one and puts it on. MUSIC Loretta waltzes around in front of the mirror, flirting with herself in a very serious way. She starts to unbutton her blouse.", "EXT. THE CASTORINI HOUSE - NIGHT The moon is overhead as music continues to PLAY. The CAMERA SOARS UP CLOSE to the moon, until it completely FILLS THE FRAME with its magic. The moon dissolves into :", "INT. THE CASTORINI LIVING ROOM - NIGHT CLOSE - UP of LORETTA'S FACE as she puts the final touches on her make - up. Music continues to PLAY. The CAMERA PULLS BACK. WE SEE her full figure. She has changed into her evening dress and put on her heels. She's swaying to the music. The evening dress is sensational. She leans forward and kisses the mirror. WE SEE THE LIPSTICK KISS ON THE MIRROR In the mirror, all around the kiss, is reflected the fire.", "EXT. EAST RIVER NIGHT The moon is reflected in the water as WE SEE the dock of the night before. We can SEE Jersey lit up across the river. But then something starts to replace Jersey. It's a huge white liner coming down the river now, all of her lights burning, heading back out to sea. FLASHBULBS go off along the deck. We watch the length of the great ship pass as the MUSIC PLAYS END OF MUSIC", "EXT. LINCOLN CENTER PLAZA - NIGHT LINCOLN CENTER - LORETTA'S POV CROWDS OF PEOPLE in beautiful clothes fill the plaza created by the three great buildings. A glorious fountain filled with lights forms the centerpiece. Behind the fountain, grand and splendidly lit, is the magical Metropolitan Opera House. Two huge Chagalls, one to the right and one to the left, inhabit the face of the building, filling it with marvelous color. LORETTA COMES TO THE FOUNTAIN The fountain is quiet and dark now. Loretta is puzzled. She remembers that it was going. While she looks, it lights up. Then small jets of water begin to appear. Then larger jets. Then with a roar the central shaft of water rises high, higher into the night sky. She follows the column of water with her eyes up into the sky. Right above the crest of the water, like a beanball on a seal's nose, is the moon. FROM OVER LORETTA'S SHOULDER WE SEE THE RUSHING WATER Forming an opaque wall before her. Then the fountain, for its next piece of aquatic choreography, drops away to nothing quite suddenly. And there, facing Loretta, on the opposite side of the fountain, is Ronny. He's looking incredibly handsome and dashing in a tuxedo and topcoat and, of course, gloves. He smiles slightly and raises a hand in greeting. Loretta, caught off guard, smiles brilliantly at him. Then she remembers her situation and starts to put on her usual serious expression. But the fountain has rushed up into the sky again, obscuring her attempt at composure from, Ronny. Ronny COMES INTO VIEW again, walking toward Loretta around the fountain's perimeter. He comes close to her. RONNY Hi. LORETTA Hi. RONNY You look beautiful. Your hair. LORETTA I thought I'd try it. -LRB- qrudgingly. -RRB- You look good. RONNY Thank you. He goes to kiss her. She takes a step back. LORETTA I said I'd go to the opera with you. Nothing else. Ronny immediately relents, gently takes her arm, and they walk off in the direction of the opera house. ONE OF THE CHAGALL'S FROM IMMEDIATELY IN FRONT OF THE MET Ronny and Loretta looking up at it. LORETTA Who painted that? RONNY Marc Chagall. A Russian. LORETTA Kinda gaudy. RONNY He was having some fun. Yeah, well he's dead. -LRB- he smiles. -RRB- Come on, let's go in. Ronny and Loretta join the crowd streaming into the building.", "INT. THE OPERA HOUSE - NIGHT Ronny and Loretta enter, giving tickets to usher.", "INT. OPERA HOUSE - COATCHECK - NIGHT Ronny and Loretta checking their coats. Ronny's coat is already off, and he's helping Loretta off with hers. He hands her coat to the CHECKER and pockets the check. Then he turns and sees Loretta in her dress for the first time. He's stunned by her beauty. He's at a loss. He mumbles. RONNY Thank you! LORETTA For what? RONNY I do n't know. For your hair. For your beautiful dress. For. you know, I feel like a man again. You know I love the Opera. You know it's been a long time since I've been to the Opera. His eyes are bright with tears. Loretta is touched and starts to put her hand out to him. But she stops herself. LORETTA So. Where are we sitting? RONNY Come on. He takes her arm. They pass under the great chandelier and go into the house. THE OPERA HOUSE - NIGHT THE CAMERA PICKS OUT A SERIES OF COUPLES The first couple is PEGGY and CLIVE, a very distinguished pair of silver - haired lovers dressed magnificently. They are in their seats, delighted to be where they are, holding hands. Next is the CELEBRITY COUPLE. Maybe Jackie O and her son, John. They are seated and people are looking at them. Next is Cosmo and Mona. Cosmo is helping Mona to sit down, something she could probably handle herself. He's wearing good but old - fashioned suit. She is in a dress that makes her look like a big piece of hard candy. Next is Ronny and Loretta. They are sitting in the first row of the First Circle ; in other words, very good seats. They are holding their programs. Loretta opens her program. THE OPEN PROGRAM - LORETTA'S POV The opera is LA BOHEME. But then the page fades away into the dark as the house lights go down. WE SEE RONNY AND LORETTA FROM BEHIND Ronny leans his head toward her and whispers. RONNY Here we go. As the lights come up in the orchestra pit. The CONDUCTOR takes his place. The AUDIENCE APPLAUDS. He bows and turns to the orchestra. The OVERTURE begins and PLAYS UNDER NEXT.", "EXT. THE GRAND TICINO - NIGHT The OVERTURE PLAYS THROUGH this ESTABLISHING SHOT and then FADES AWAY at the start of the NEXT SHOT. WE SEE Rose enter the restaurant.", "INT. THE GRAND TICINO - NIGHT The dinner crowd is in and most of the tables are occupied. The entranceway door opens and Rose enters. She's got herself up very nice. The host, JIMMY, quickly approaches her. She's very dignified. JIMMY Hello, Mrs. Castorini. Who's coming? ROSE It's just me. I want to eat. JIMMY Okay. JIMMY I got a table for you right now. Jimmy leads her to a table for two against the wall. JIMMY This alright? ROSE Fine. He seats her. JIMMY Enjoy your meal. Jimmy breezes off. There's another table - for - two against the wall to Rose's front. WE SEE a woman's back from Rose's POV, and a pretty head of hair. This woman, whose name is SHEILA, is having an argument with the man across from her. But the man's face is blocked by Sheila's back and head, and the argument is too low to be made out. Bobo approaches Rose's table. BOBO Good evening Mrs. Castorini. You eating alone tonight? ROSE Hello, Bobo. Yes. Let me have a martini, no ice and two olives. BOBO Very good. Bobo heads off for the bar. The couple at the next table catches Rose's attention again, and their argument becomes a little louder. SHEILA'S VOICE I'm trying to explain to you how I feel. Every time I try to explain how I feel, you explain how you feel. I do n't think that's really much of a response. UNSEEN MAN'S VOICE Well, its the only response I've got. Bobo reappears with the martini and serves it. BOBO You wan na see a menu? ROSE Not yet. I'll wave. Bobo is gone. Rose is mildly intrigued with the argument at the next table now. She tries to see past Sheila, to see the man, but she ca n't without making too big a move. The argument goes on. SHEILA'S VOICE I really do hate it though, when you take that tone with me. Like you're above it all and is n't it amusing. MAN'S VOICE But it is, is n't it? SHEILA'S VOICE Not to me! This is my life, no matter how damned comical it may seem to you. I do n't need some man standing above the struggle while I roll around in the mud! MAN'S VOICE I think you like the mud and I do n't. That's fair, is n't it? If I do n't care to. Sheila stands up abruptly and flings a glass of water in the man's face. She pulls her coat off the back of her chair and stalks off. This whole operation took about two seconds. When she stalks off, the face of the man becomes visible to Rose for the first time. It's Perry, the professor in his 50's, who appeared and was treated in a similar way in the earlier scene in this restaurant. His face is covered with beads of water. He pats his face with his napkin and apologizes to CUSTOMERS at neighboring tables. PERRY Sorry about that, folks. She's a very pretty mental patient. The Shy Waiter arrives to assist Perry in drying himself. PERRY Do n't mind about me. But could you do me a favor and clear her place and take away all evidence of her, and bring me a big glass of vodka? SHY WAITER Absolutely! The Shy Waiter heads for the bar. For the first time, Perry notices Rose. They are facing each other with no obstacles in the way now. PERRY I'm sorry if we disturbed you. ROSE I'm not disturbed. By you. PERRY My lady friend has a personality disorder. ROSE She was just too young for you. The Shy Waiter serves Perry his drink. PERRY -LRB- to the Waiter. -RRB- Thanks, comrade. SHY WAITER It's nothing! The Shy Waiter goes. PERRY -LRB- Rose's comment strikes home. -RRB- Ouch. Too young! I just got that. You know how to hurt guy. How old are you? ROSE None of your business. He drops his posturing. PERRY Sorry. That was rude. ROSE Will you join me for dinner? PERRY Are you sure? She nods. PERRY Then I'd be delighted. I hate eating alone, and it's amazing how often I end up doing just that. ROSE AND PERRY ARE HALFWAY THROUGH THEIR DINNER ROSE What do you do? PERRY I'm a professor. I teach communications at N.Y.U. ROSE That woman was a student of yours? PERRY Sheila? Yes she was. Is. Was. ROSE There's old saying my mother told me. Would you like to hear it? PERRY Yes. ROSE Do n't shit where you eat. PERRY -LRB- taken aback, then recovering. -RRB- I'll remember that. What do you do? ROSE I'm a housewife. PERRY Then why are you eating alone? ROSE I'm not eating alone. Can I ask you a question? PERRY Go ahead. ROSE Why do men chase women? PERRY -LRB- considers. -RRB- Nerves. ROSE I think it's because they fear death. PERRY Maybe. Listen. You wan na know why I chase women? I find women charming. PERRY I teach these classes I've taught for a million years. The spontaneity went out of it for me a long time ago. I started off, I was excited about something and I wanted to share it. Now it's rote, it's the multiplication table. Except sometimes. Sometimes I'm droning along and I look up, and there's this fresh young beautiful face, and it's all new to her and I'm this great guy who's just brilliant and thinks out loud. And when that happens, when I look out among those chairs and look at a young woman's face, and see me there in her eyes, me the way I always wanted to be and maybe once was, then I ask her out on a date. It does n't last. It can go for a few weeks or a couple of precious months, but then she catches on that I'm just a burnt out old gasbag and that she's as fresh and bright and full of promise as moonlight in a martini. And at that moment, she stands up and throws a glass of water in my face, or some action to that effect. ROSE What you do n't know about women is a lot.", "INT. THE OPERA HOUSE-LOBBY-NIGHT INTERMISSION. THRONGS OF PEOPLE talking, talking, talking. Piled up at the bars to get drinks.", "INT. OPERA HOUSE - LOBBY/WOMEN'S BATHROOM - NIGHT Outside the women's bathroom, with its huge line waiting to get in.", "INT. OF THE WOMAN'S BATHROOM Loretta and THREE OTHER WOMEN freshen their makeup before a mirror. The woman next to Loretta leaves and is replaced by Mona. Mona and Loretta stand side by side freshening their makeup.", "INT. OF THE OPERA HOUSE - LOBBY - NIGHT MANY PEOPLE pressing to the bar to buy drinks. Cosmo and Ronny achieve the bar's perimeter at the same moment, and start to order.", "INT. OPERA HOUSE - LOBBY - NIGHT A CONCESSIONAIRE selling special glossy LA BOHEME programs. ELSEWHERE IN THE LOBBY DURING INTERMISSION Ronny and Loretta are standing by a column holding drinks. Loretta is looking around. LORETTA They get some turnout for this stuff. RONNY It's the best thing there is. LORETTA I like parts of it, but I do n't really get it. IN ANOTHER PART OF THE LOBBY DURING INTERMISSION Cosmo and Mona are sitting on a bench. MONA You have n't once said you like my dress. COSMO I like your dress. -LRB- he thinks. -RRB- It's very bright. He looks around. MONA Why you looking around so much? COSMO I do n't know. I got a feeling. MONA I'm wearing your bracelet. He nods, still looking around. CHIMES SOUND THROUGHOUT LOBBY Indicating the end of intermission. The Audience starts to file back into the theatre.", "EXT. THE GRAND TICINO - NIGHT Rose and Perry emerge from the restaurant. PERRY May I walk with you a ways? ROSE Sure. They set off to the left.", "EXT. THE CASTORINI HOUSE - NIGHT The door opens, and the Old Man comes out, in his great coat and hat, with the Five dogs. He strikes off to the right.", "EXT. STREET I - NIGHT Rose and Perry come around a corner and pass a store. They pause and look at the Christmas decorations in the window. They continue walking.", "EXT. STREET II - NIGHT The Old Man and the Dogs have stopped by a big tree. Which the dogs adore.", "EXT. STREET I - NIGHT Rose and Perry walking. They exit camera left.", "EXT. STREET II - NIGHT The Old Man drags the Dogs away from the tree and sets off camera right.", "EXT. STREET I - NIGHT Rose and Perry walking to the left.", "EXT. STREET II - NIGHT The Old Man and the Dogs walking to the right.", "EXT. STREET I - INTERSECTION OUTSIDE LAUNDROMAT - NIGHT Rose and Perry are walking towards camera. Rose stops short, stunned and alarmed by what she sees before them.", "EXT. STREET II - INTERSECTION OUTSIDE OF LAUNDROMAT - NIGHT The Old Man pulls up the Dogs. Aghast by what he sees before him.", "EXT. STREET III - INTERSECTION OUTSIDE LAUNDROMAT Perry and Rose face the Old Man and the dogs. In a silent standoff. Perry is puzzled, but has the sense to say nothing. After a long moment, the Old Man silently steers his dogs past them. He walks away down the dark street, silently disappearing into the gloom. Perry and Rose never move, but follow his slow progress until he disappears. PERRY You knew that man? ROSE Yes.", "INT. OPERA HOUSE - NIGHT THE STAGE - THE OPERA IS IN PROGRESS It's the SCENE in which MIMI is standing in the falling snow. She SINGS to RUDOLPH. It is a beautiful, poignant moment. The snow is falling, falling. Mimi is SINGING her heartbreaking aria of farewell. The lighted tavern window is behind them, glowing with a golden light. WE SEE RONNY'S FACE He's staring intently at the stage with shining eyes. He wants to share this moment with Loretta, but he is timid she will not feel as he does. WE SEE LORETTA'S FACE A single tear trails down her cheek. Otherwise, she is almost succeeding in hiding that the opera is moving her. She notices Ronny's hand creeping towards hers, but makes no move towards it. THE STAGE - MIMI STILL SINGING SADLY IN THE SNOWFALL She and Rudolph join hands. RONNY AND LORETTA grab each other's hand fiercely. At last, they look at each other. She is admitting that she is affected by the opera. He is grateful that she admits it.", "INT. OPERA HOUSE - AUDIENCE \u2014 NIGHT Audience exits.", "INT. OPERA HOUSE-LOBBY - NIGHT The lobby overflowing with the AUDIENCE coming out.", "INT. OPERA HOUSE - COATCHECK - NIGHT Ronny and Loretta at the coatcheck. Loretta dabs her eyes and blows her nose. LORETTA That was just so. awful! RONNY Awful? LORETTA Beautiful. Sad. She died! RONNY -LRB- giving the check to the checker. -RRB- Yeah. LORETTA I could n't believe it! I did n't think she was going to die. I knew she was sick. Ronny gets the coats and helps her on with hers. RONNY She had TB. Ronny is putting on his coat. LORETTA I know. She was coughing her brains out. And still, she had to sing all the time. Loretta has stopped suddenly, transfixed by the sight before her. Loretta and Ronny are standing face - to - face with Cosmo and Mona. Mona's wearing a coat like a wrapper for hard candy. Cosmo is wearing his coat and has his hat in his hand. Stunned at seeing Loretta, he unconsciously puts his hat on. Then he thinks about it and takes it off again. He looks at Ronny. Then he looks at Mona. LORETTA Pop? Ronny looks at Loretta. He waits to follow her lead. COSMO Wait for me by the doors, Mona. Mona obeys after looking curiously at Loretta. LORETTA Pop? What are you doing here? Cosmo approaches Ronny. COSMO Excuse me. He takes Loretta's arm and steers her a distance away for a confidential exchange. LORETTA Mona? COSMO What'd you do to your hair? LORETTA I got it done. COSMO What are you doing here? LORETTA What are you doing here? COSMO Who is this man? You're engaged! LORETTA You're married. COSMO You're my daughter. I wo n't have you acting like a tramp! LORETTA You're my father. COSMO Alright. I did n't see you here. LORETTA I do n't know whether I saw you or not. Cosmo puts on his hat again. He glares at Ronny. He looks at Loretta, but he's at a total loss. At last, he stalks off. Loretta looks after him, angry and disturbed. COSMO AND MONA GOING OUT THE DOORS FROM LORETTA'S POV LORETTA LOOKING AFTER THEM, STRICKEN Ronny appears at her side, solicitous. RONNY Let's get outta here. I'll buy you a drink. Loretta, still looking after, slowly shakes her head. LORETTA That was n't my mother.", "EXT. CASTORINI HOUSE - NIGHT Rose and Perry stand on a sidewalk under a street light dimly shining. About half a block away stands the Castorini house. They regard it. Over the house hangs the moon, cut through now with a sharp grey cloud. Rose and Perry's VOICES can be heard. ROSE'S VOICE That's my house. PERRY'S VOICE You mean the whole house? ROSE'S VOICE Yes. PERRY'S VOICE My God, it's a mansion! ROSE'S VOICE It's a house. PERRY'S VOICE I live in a one - bedroom apartment. What exactly does your husband do? ROSE'S VOICE He's a plumber. PERRY'S VOICE Well. That explains it. The SOUND of the WIND can be heard rising up. NOW WE SEE ROSE AND PERRY CLOSE UP The rising cold wind stirs their hair. They both shiver slightly. PERRY Temperature's dropping. ROSE Yes. PERRY I guess you ca n't invite me in? ROSE No. PERRY People home. ROSE No. I think the house is empty. I ca n't invite you in because I'm married and because I know who I am. You're shaking. PERRY I'm a little cold. ROSE You're a little boy and you like to be bad. PERRY We could go to my apartment. You could see how the other half lives. ROSE I'm too old for you. PERRY I'm too old for me. That's my predicament. ROSE Good night. She kisses him on the cheek. PERRY Good night. Can I kiss you on the cheek, too? ROSE Sure. He kisses her on the cheek. PERRY I'm freezing ROSE Good night. She walks away, towards the house. Perry, shivering, looks after.", "INT. THE BOERUM CAFE - A BROOKLYN BAR - NIGHT Ronny and Loretta sit at the bar. They are just finishing a couple of Old - Fashions. The barman, AL, inspects their drinks. AL Another Old - Fashion? RONNY Loretta? LORETTA No thanks. RONNY -LRB- to Al. -RRB- I think that's it. Al nods and walks off. Ronny leans forward to Loretta. RONNY What do you want to do now? LORETTA I wan na go home.", "EXT. A COLD AND EMPTY MANHATTAN STREET - NIGHT Ronny and Loretta are walking. Their breath is coming out in long plumes. LORETTA It's really cold. RONNY Yeah. It smells like snow. They walk in silence for a moment, then Loretta speaks. LORETTA My mother guessed that my father was seeing somebody and I told her she was crazy. She looked like a real piece of cheap goods. But who am I to talk? Her eyes are full of tears. RONNY What's the matter? LORETTA How can you ask me that? RONNY You're making me feel guilty again. LORETTA You are guilty. I'm guilty. RONNY Of what? Only God can point the finger, Loretta. LORETTA I know what I know. RONNY And what do you know? You tell me my life? I'll tell you yours. I'm a wolf? You run to the wolf in me, that do n't make you no lamb! You're gon na marry my brother? Why you wan na sell your life short? Playing it safe is just about the most dangerous thing a woman like you could do. You waited for the right man the first time, why did n't you wait for the right man again? LORETTA He did n't come! RONNY I'm here! LORETTA You're late! RONNY We're here.", "EXT. RONNY'S APARTMENT BUILDING - NIGHT She looks. It's Ronny's building. LORETTA This is your place. RONNY That's right. LORETTA This is where we're going! RONNY Yeah. LORETTA The deal was if I came to the Opera with you you'd leave me alone forever. She looks for his response. He makes none. LORETTA I went with you. -LRB- pause, nothing. -RRB- Now I'm gon na marry Johnny and you're gon na leave me alone. -LRB- pause, nothing. -RRB- Right? -LRB- nothing. -RRB- A person can see where they've messed up in their life, and they can change how they do things, and they can change their Luck. Maybe my nature does draw me to you, but I do n't haveta go with that. I can take hold of myself and say yes to some things and no to something that's just gon na ruin everything! I can do that. Otherwise, what is this stupid life that God gave us for what? -LRB- pause, nothing. -RRB- Ronny? Are you listening to me? RONNY Yeah. LORETTA I'm really afraid. RONNY Why? LORETTA I'm afraid of who I am. RONNY I was. LORETTA And you're not now? He shakes his head. LORETTA Why not? RONNY I do n't know. Everything seems like nothing now against that I want you in my bed. I do n't care if I burn in hell. I do n't care if you burn in hell. The Past and Future is a joke to me now. I see that they're nothing, I see they ai n't here. The only thing that's here is you. And me. I want you to come upstairs. Now. I tried to take everything last night, like you told me, but I could n't. I could n't take everything in a hundred years. It's the way we are. We compound each other. LORETTA Let me go home. RONNY No. LORETTA Let me go home. RONNY No. LORETTA I'm freezing to death. RONNY Come upstairs. I do n't care why you come. No, that's not what I mean. Loretta, I love you. Not like they told you love is and I did n't know this either. But love do n't make things nice, it ruins everything, it breaks your heart, it makes things a mess. We're not here to make things perfect. Snowflakes are perfect. The stars are perfect. Not us. We are here to ruin ourselves and break our hearts and love the wrong people and die! The storybooks are bullshit. Come upstairs with me, baby! Do n't try to live your life out to somebody else's idea of sweet happiness. Do n't try to live on milk and cookies when what you want is meat! Red meat just like me! It's wolves run with wolves and nothing else! You're a wolf just like me! Come upstairs with me and get in my bed! Come on! Come on! Come on! Loretta follows Ronny into his building. NOW WE SEE THE STREET Just as the door shuts. A moment passes. Lights go on in Ronny's apartment. Out of a doorway on the opposite side of the street steps the figure of a woman. She walks to the middle of the deserted street and looks up at the lighted windows. NOW WE SEE THE WOMAN CLOSE UP - IT'S CHRISSY FROM THE BAKERY Her heart is about to break. She loves this man. She looks up at the lighted windows, her feelings hanging by one slender, slender thread. MUSIC It's `` MIMI'S ARIA'' - from the snow scene in LA BOHEME. WE SEE THE STREET WITH THE FIGURE LOOKING At the lighted window above. `` MIMI'S ARIA'' PLAYS. This tableau reminds us of the scene in the opera where MIMI stands in the snow. The MUSIC PLAYS and the WOMAN SINGS for a long moment. Then, the lights in the apartment go out. Chrissy shudders almost imperceptibly. Her heart has broken. She hangs her head. Then she lifts her head and slowly walks away down the street.", "EXT. KENNEDY INTERNATIONAL AIRPORT - RUNWAY - NIGHT With a great and abrupt ROAR, a big jet is landing.", "INT. KENNEDY INTERNATIONAL AIRPORT - TERMINAL - NIGHT PASSENGERS are pouring into the terminal from the plane. Most of them are Italian or Italian - Americans. Suddenly, Mr. Johnny appears out of the shifting crowd, up very CLOSE to the CAMERA. He looks alert, determined, geared up for action. MR. JOHNNY AT THE LUGGAGE CAROUSEL He pulls his two suitcases off the carousel with one quick powerful jerk.", "EXT. KENNEDY INTERNATIONAL AIRPORT - TERMINAL - NIGHT Mr. Johnny sticks out his hand and a cab immediately rushes to him.", "INT. OF THE CAB Mr. Johnny leans forward to the DRIVER and says in a very definite, determined way. MR. JOHNNY 19 Cranberry Street.", "EXT. KENNEDY INTERNATIONAL AIRPORT - NIGHT The cab rushes off into the night.", "EXT. CASTORINI HOUSE - NIGHT The cab pulling up to the Castorini house. The living room windows are all lit up. VICKI CARR can be made out SINGING `` IT MUST BE HIM''. Mr. Johnny gets out of the cab, gets his luggage, and heads for the front door. He RINGS THE BELL. The door opens. It's Rose. MUSIC floods out around her. MR. JOHNNY Hello. I'm sorry to call so late. Rose is a little tipsy. ROSE Moving in? MR. JOHNNY I came right from the airport. ROSE Come on in. She holds the door open for him and he goes in past her carrying his suitcases. She closes the door.", "INT. CASTORINI HOUSE \u2014 THE FRONT HALL - NIGHT MR. JOHNNY Can you wake up Loretta? I need to talk to her. ROSE She's not home yet. Take off your coat and come in the living room. I'll make you a drink. I wan na talk to you.", "INT. CASTORINI HOUSE - LIVING ROOM \u2014 NIGHT Rose comes in with two scotches on the rocks. He takes one. MR. JOHNNY Thank you. She turns off the stereo, and then sits down across from him. ROSE So. MR. JOHNNY Where is she? ROSE Out. I do n't know where. I was waiting up for my husband. MR. JOHNNY It's late. ROSE Yes. There's a pause. Mr. Johnny is uncomfortable with it. MR. JOHNNY Maybe I should go? ROSE What are you doing here? You're supposed to be in Palermo. MR. JOHNNY That's what I came to tell Loretta. There's been a miracle. ROSE A miracle. Well, that's news. MR. JOHNNY My mother's recovered. ROSE You're kidding? MR. JOHNNY The breath had almost totally left her body. She was as white as snow. And then she completely pulled back from death and stood up and put on her clothes and began to cook for everyone in the house. The mourners. And me. And herself! She ate a meal that would choke a pig! ROSE That's incredible. MR. JOHNNY Yes. The front door can be HEARD SLAMMING, out of view, and then Dogs can be HEARD BARKING. Mr. Johnny and Rose look to the entranceway. The Old Man appears there, holding the Five Dogs. ROSE Hello Pop. The Old Man looks at Rose. He is a specter. He stares, and then he makes a long low accusing NOISE. Then he disappears. MR. JOHNNY Who was that? ROSE That was my father - in - law, who has a wrong idea in his head. Listen, Johnny, there's a question I want to ask you. And I want you to tell me the truth if you can. Why do men chase women? MR. JOHNNY Well. There's the Bible story. God took a rib from Adam and made Eve. Maybe men chase women to get the rib back. When God took the rib, he left a hole there, place where there used to be something. and the women have that. Maybe a man is n't complete as a man without a woman. ROSE But why would a man need more than one woman? MR. JOHNNY I do n't know. Maybe because he fears death. Rose leaps up, very excited. ROSE That's it! That's the reason! MR. JOHNNY I do n't know. ROSE No, that's really it. Thank you for answering my question. The FRONT DOOR SLAMS again. Mr. Johnny and Rose look to the entranceway. Cosmo appears there. COSMO Hi. -LRB- taking in Mr. Johnny. -RRB- Hi. MR. JOHNNY Hello, Mr. Castorini. ROSE Where you been? COSMO I do n't know, Rose. I do n't know where I've been, and I do n't know where I'm going. -LRB- to Mr. Johnny. -RRB- You should have your eyes opened for you, my friend. MR. JOHNNY I have my eyes open. COSMO You do, huh? Stick around. Do n't go on any long trips. MR. JOHNNY I do n't know what you mean. COSMO I know you do n't. That's the point. I'll say no more. MR. JOHNNY You have n't said anything. COSMO And that's how much I'm saying. ROSE Cosmo? COSMO What? ROSE I just want you to know. No matter what you do. You are going to die, just like everybody else. COSMO Thank you, Rose. ROSE You're welcome. COSMO I'm going to bed now. Mr. Johnny stands up. Cosmo walks off, out of view. MR. JOHNNY I'm going. COSMO'S VOICE -LRB- from top of stairs. -RRB- Good! ROSE -LRB- to Mr. Johnny. -RRB- He does n't like you. Thank you for answering my question. MR. JOHNNY You do n't know where Loretta is? ROSE No idea. MR. JOHNNY Then tell her I'll come by in the morning. We need to talk. ROSE Okay, I'll tell her.", "EXT. THE CASTORINI HOUSE - DAWN We watch the effect of the sun coming up on the house. It begins in darkness, and goes through the many graduations of light very quickly until it's lit by the light of bright morning. THE FRONT DOOR OPENS AND THE OLD MAN AND THE DOGS COME OUT He's got them on their leashes and, over his head, he carries the black umbrella. He walks off toward the park and disappears.", "EXT. STREET - DAY - LORETTA IS WALKING Along a sidewalk a couple of blocks away. She is a wreck. She's still in her clothes of the night before. She has n't slept. Her hair's a bit funny. And she's tormented by the complications in her life. And, at the same time, she looks great. She looks like she's been loved up and down. She has a hickey on her neck. Her eyes are dreamy and her walk is slow, utterly careless, and sexual. She's carrying, crunched in her hand, her program from La Boheme. She starts SINGING. We follow her as she SINGS and walks. WE WATCH LORETTA WALKING FROM THE BACK NOW She's still muttering. She comes to a tin can. She kicks lt. She comes to it again. She kicks it again.", "EXT. THE CASTORINI HOUSE - DAY Loretta appears kicking her can. She abandons the can and enters the house.", "INT. THE CASTORINI HOUSE - KITCHEN - DAY Rose is at the stove. The kitchen is filled with steam and sunlight. Rose is stirring a pot filled with oatmeal. Another range has the coffeepot heating. Loretta shuffles into the kitchen, goes to the tin table, and sits down. There are red roses on the table. Rose sees Loretta. ROSE What the hell happened to you? LORETTA Well. I do n't really know where to start. ROSE Your hair's different. LORETTA Everything's different. ROSE Are you drunk? LORETTA No. Are you drunk? ROSE No. But I have a hangover. LORETTA Where's pop? ROSE Upstairs. Johnny Cammareri showed up last night. Loretta is suddenly electrified. LORETTA What? He's in Sicily! ROSE No more he's not. LORETTA He's with his dying mother! ROSE She recovered. LORETTA WHAT! She was dying! ROSE It was a miracle. LORETTA A miracle? This is modern times! There ai n't supposed to be miracles any more! ROSE I guess it ai n't modern times in Sicily. He came right from the airport. He wanted to talk to you. You got a love bite on your neck. He's coming back this morning. With a long low MOAN, Loretta lowers her head to the table.", "EXT. STREET - DAY Ronny is walking along the same stretch of sidewalk as Loretta just was. He looks like hell, too. His hair is wild and he has n't slept. He's thrown on an old leather jacket and brown leather gloves. He has a love bite on his neck, too. He starts to SING `` O SOAVE FANCIULLA''. He SINGS it any old way, occasionally getting a good attack, occasionally just muttering his way through. SINGS as much of it as he remembers, which is a lot. WE WATCH RONNY WALKING FROM THE BACK NOW He's SINGING away, carelessly sauntering along. He passes an ITALIAN COUPLE of middle age. They smile as they recognize what he is singing. They start to SING along with him. They SING till they get to the ceiling of the aria, and to a resting place a little beyond. Then they nod to each other appreciatively and go on their ways, Ronny turning his back to the CAMERA, and they WALKING INTO IT.", "EXT. THE CASTORINI HOUSE - DAY Ronny appears and approaches the door. HE KNOCKS, waits, and then RINGS THE BELL. Rose answers the door and invites him in.", "INT. THE CASTORINI HOUSE - KITCHEN Rose walks in with Ronny behind her. There's no one in the kitchen. Rose calls out. ROSE It's not Johnny. Loretta comes out of a closet, where she was hiding. She's very surprised to see Ronny. LORETTA Ronny! RONNY Is Johnny here? LORETTA He's coming. RONNY Good! We can get this out on the table. -LRB- to Rose. -RRB- I'm Ronny, Johnny's brother. -LRB- Shakes her hand. -RRB- ROSE Nice to meet you. You've got a love bite on your neck. Your mother's recovered from death. RONNY Oh. Good. We're not close. I'm not really moved. LORETTA You've got ta get outta here. RONNY No. I'm gon na wait. LORETTA -LRB- arguing with Ronny. -RRB- Ronny, please. ROSE Would anyone like some oatmeal? LORETTA continues arguing. RONNY -LRB- ignores Loretta. -RRB- Yes, I would like some oatmeal. Ronny and Loretta sit down and Rose serves them oatmeal. COSMO WALKS IN dressed for business. He regards the trio, puts on his hat in shock and then takes it off again. ROSE Cosmo, this is Ronny, Johnny's brother. COSMO His brother. Cosmo sits down. Rose puts a bowl of oatmeal in front of him. He absently begins to eat it. A silence reigns. Then he puls down his spoon. COSMO You're Johnny's brother? RONNY Yeah. Cosmo picks up his spoon and they all eat silently once more. The SOUND OF DOGS BARKING comes up and then fades away. THE OLD MAN WALKS IN He looks at the assemblage. The assemblage looks at him. He points at Rose. Then his pointing drifts to Cosmo and his hand opens in a gesture of supplication. OLD MAN I am old. The Old are not wanted. And what they say has no weight. But, my son, I must speak. You should pay for the wedding of your only daughter. You are breaking your house through pride. There. I've said it. COSMO It's okay, Pop. If she gets married, I'll pay for the whole thing. The Old Man lets go a great noise of relief, sits down at the table, and waits. Rose brings him a bowl of oatmeal. He is content now, and eats his oatmeal with great relish. The others eat with a more meaningful silence. Rose puts down her spoon. She looks at the table, but she is speaking to Cosmo. ROSE Have I been a good wife? COSMO Yes. ROSE I want you to stop seeing her. Everyone stops eating. A tremendous silence falls. An old clock goes tick, tick, tick. Suddenly Cosmo smashes his fists to the table and stands. He does n't look at Rose during this. Then slowly, he sits down. COSMO Okay. ROSE And go to confession. COSMO -LRB- still not looking at her. -RRB- A man. under stands one day. that his life is built on nothing. And that's a bad, crazy day. ROSE Your life is not built on nothing. Ti amo. She puts her hand across the table to him. COSMO Ti amo. He slides his hand out and takes her hand. Slowly, he lifts his eyes. Their eyes meet. It's the first time he's been able to hold her gaze in this whole story. The DOORBELL RINGS. LORETTA It's Johnny. I'll get it. Loretta's tone is fatal. RONNY I'll get it. Rose gets up. ROSE I'll get it. She goes to answer the door. RONNY -LRB- goes for the door. -RRB- No, I'll tell him. LORETTA No, I'll tell him. -LRB- to her father. -RRB- What am I going to tell him? COSMO Tell him the truth, Loretta they find out anyway. Loretta looks at her father. LORETTA I love you Pop. It's a private moment. But who appears at the kitchen door is not Johnny. It's the CAPPOMAGGIS. They have their coats on and they look very serious and concerned and timid. RITA Hi Loretta. LORETTA Hi. RAYMOND Hi, Loretta. LORETTA Hi. Why ai n't you at the store? RITA Is there anything you want to tell us, honey? LORETTA You? No. RAYMOND We just come from the bank. LORETTA The bank. OH MY GOD, I FORGOT TO MAKE THE DEPOSIT! RITA -LRB- to Raymond. -RRB- She's got it. RAYMOND I knew she had it. Loretta runs out of the kitchen and reappears with her everyday bag. She takes out the night deposit bag and hands it to Raymond. RITA We did n't know what to think. You were so weird yesterday, and then this morning, we go to the bank and no bag. RAYMOND -LRB- a sudden outburst to Loretta. -RRB- WE NEVER SUSPECTED YOU! Raymond covers his face to hide his emotion. Rita, meanwhile is clearing the oatmeal bowls. ROSE Listen. Who wants coffee? There is a general acknowledgment. Everybody wants coffee. Rose passes out white mugs and begins pouring steaming drafts of coffee. Raymond and Rita are standing. The rest are sitting. RITA So what are we doing? ROSE We're waiting for Johnny Cammareri. Rita nods. A silence. RONNY I'm his brother. TA -LRB- taking and shaking his hand. -RRB- Nice to meet you. I'm Rita Cappomaggi. RAYMOND -LRB- taking and taking his hand. -RRB- I'm Raymond Cappomaggi. I'm Rose's brother. RONNY Nice to meet you. Silence. Then the Old Man erupts. OLD MAN Somebody tell a joke! The DOORBELL RINGS. And RINGS AGAIN. Everyone is frozen for a moment, then Rita mobilizes. RITA I'll get it. She goes. Loretta puts down her coffee and deep breathes, preparing herself. LORETTA I'm getting palpitations! She pushes away her coffee. RAYMOND I thought he was in Palermo. RITA APPEARS WITH MR. JOHNNY IN TOW Rita continues into the room, leaving Mr. Johnny in the doorway. He is in a dark, vested suit. He is a little bewildered by the crowd of people, but succeeds in hiding most of his discomfort. RITA It's Johnny Cammareri. LORETTA Johnny. MR. JOHNNY Loretta. RONNY Johnny. MR. JOHNNY Ronny! Our mother has recovered from death! RONNY Good. MR. JOHNNY Have you come to make peace with me? RONNY Well. Yeah. You may not want to. MR. JOHNNY Of course I want to. LORETTA I do n't know. But Johnny, how did your mother recover? She was dying. MR. JOHNNY We should talk alone. LORETTA I ca n't. I need my family around me now. MR. JOHNNY Well. I told my mother that we were to be married. And she got well. Right away. RONNY I'm sure she did. MR. JOHNNY It was a miracle! LORETTA Johnny, I have something to tell you. MR. JOHNNY I have something to tell you. But I must talk to you alone. LORETTA I have no secrets from my family. MR. JOHNNY Loretta, I ca n't marry you. LORETTA WHAT? MR. JOHNNY If I marry you my mother will die. The Old Man laughs a loud sudden laugh, and then subsides. LORETTA What the hell are you talking about? We're engaged. RONNY Loretta, what are you talking about? LORETTA I'm talking about a promise. You proposed to me! MR. JOHNNY Because my mother was dying! But now she's not. RONNY You're forty - two years old, Johnny, and Mama is still running your life. MR. JOHNNY And you are a son who does n't love his mother! LORETTA And you're a big liar! I've got your ring here! MR. JOHNNY I must ask for that back. Loretta struggles and pulls off the ring. LORETTA Here! Take your stupid pinky ring. -LRB- she throws it at Johnny. -RRB- Who needs it? The engagement's off. Mr. Johnny retrieves the ring. MR. JOHNNY In time, you will see that this is the best thing. LORETTA In time, you will drop dead, and I will come to your funeral in a red dress. RONNY Loretta? LORETTA What! RONNY Will you marry me. MR. JOHNNY What? LORETTA Where's the ring? Ronny looks to Mr. Johnny a little sheepishly. RONNY Could I a. borrow that ring. Mr. Johnny, in shock, hands it over to Ronny. RONNY Thanks. He kneels down before Loretta. He presents the ring to her. RONNY Will you marry me, Loretta Castorini Clark? LORETTA Before all these people, yes, I will marry you, Ronny Cammareri! She takes the ring. Ronny and Loretta kiss. ROSE Do you love him, Loretta? LORETTA Yeah, Ma, I love him awful. ROSE Oh God, that's too bad. Ronny and Loretta enter into a long kiss. The Old Man starts to cry. Cosmo leans forward to the Old Man solicitously. COSMO What's the matter, Pop? OLD MAN -LRB- Lifts his head and cries out. -RRB- I'M CONFUSED! Loretta pushes Ronny away, breaking the kiss. They have both neglected to breathe the whole time they were kissing. They are both gasping for air, especially Loretta. LORETTA Wait a minute! Wait a minute! But then she looks at Ronny, and lunges back to him, diving into another kiss like a mermaid diving into the bluest ocean. MUSIC `` O SOAVE FANCIULLA'' from `` La Boheme,'' COMES UP and engulfs the lovers, the family, the world. WE SEE the faces of the lovers swirl away into a golden and diamond light, and EIGHT FULL CHAMPAGNE GLASSES Glistening in sunlight on the white tabletop. Into each is dropped a lump of sugar. A bottle of recently employed bitters sits nearby with its cap off -LRB- like a respectful peasant in aristocratic company. And the roses in the center. Now the CAMERA PULLS BACK. WE SEE the table is surrounded. Cosmo is dropping the last of the sugar cubes in the last glass of champagne. Rose is by him. Rita and Raymond are side by side, as are Ronny and Loretta. The Old Man sits, staring at his son, intent and approving. But where is Mr. Johnny? COSMO Everybody take a glass. Everybody takes a glass. The Old Man takes one and gets up OLD MAN -LRB- to Cosmo. -RRB- Wait. The Old Man takes the glass and walks over to a corner of the kitchen where Mr. Johnny, deeply disturbed and somewhat catatonic, sits on a step - ladder. OLD MAN -LRB- continuing ; to Mr. Johnny, offering the glass. -RRB- Here. MR. JOHNNY I do n't want it. But the Old Man, wise and merry and tough, presses the glass on Mr. Johnny, who takes it. COSMO, THE HEAD OF THE FAMILY NOW, LIFTS HIS GLASS COSMO To. the family. Right? Ti amo. They all lift their glasses. CLOSE - UP OF ROSE'S FACE ROSE Ti amo. CLOSE - UP OF RAYMOND AND RITA RAYMOND That's right. Rita nods. A CLOSE - UP OF RONNY AND LORETTA DRINKING THEIR CHAMPAGNE And looking into each other's eyes. CLOSE - UP OF THE OLD MAN Who knocks back his drink lustily, and then with a glittering eye looks away from the table. MR. JOHNNY FROM THE OLD MAN'S POV Mr. Johnny sits without moving, holding his glass. A long moment passes. Mr. Johnny is thinking. Then he nods to himself. He lifts his glass and murmurs for no one to hear MR. JOHNNY To family. CLOSE - UP OF THE OLD MAN LOOKING AWAY FROM MR. JOHNNY And he laughs his laugh. This laugh could kill him. The CAMERA PULLS BACK a little. He pounds the table and knocks over the roses. A CLOSE - UP OF THE RED ROSES ON THE WHITE TABLETOP CLOSING BLACK CREDITS ROLL AGAINST THE WHITE BACKGROUND. THE END"], "labels": [1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0], "summary": "Thirty-seven-year-old Loretta Castorini, an Italian-American widow, lives in Brooklyn Heights, New York, with her family: father Cosmo; mother Rose; and paternal grandfather. Her boyfriend, Johnny Cammareri, proposes to her before leaving for Sicily to be with his dying mother; Loretta is insistent that they carefully follow tradition as she believes her first marriage was cursed by her failure to do so, resulting in her husband's death after two years. Johnny asks Loretta to invite his estranged younger brother Ronny to the wedding.  Loretta returns home and informs her parents of the engagement.  Cosmo dislikes Johnny and is reluctant to pay for the \"real\" wedding that Loretta insists on, while Rose is pleased that Loretta likes Johnny but does not love him; she believes that one can easily be hurt by a partner whom one loves. When Loretta goes to see Ronny at his bakery, he reveals that he has a wooden prosthetic hand and blames Johnny for his loss in a moment of inattention, after which his fianc\u00e9e left him. Loretta insists that they discuss things in his apartment, where she cooks a meal and then tells him that she believes he is a \"wolf\" who cut off his own hand to escape the trap of a bad relationship. Ronny reacts furiously and passionately, kissing Loretta and then carrying her to his bed where they make love. That evening, Rose's brother Raymond and his wife Rita join Rose and Cosmo for dinner and they wonder where Loretta is. Raymond recalls a particularly bright moon like the one shining now that he thought long-ago was brought to the house when Cosmo was courting Rose. The next morning, Loretta tells Ronny they can never see each other again but agrees to go with him to the opera (his other great love) that night. She then goes to church and confesses her infidelity and afterwards calls at Raymond and Rita's store to close out the cash register. On leaving, she impulsively goes to the hair salon and buys a glamorous evening gown and shoes. Loretta is deeply moved by her first opera, Puccini's La boh\u00e8me.  But as they leave, she sees Cosmo together with his girlfriend Mona and confronts her father.  Since Loretta is with Ronny, he suggests that they agree that they did not see each other at all. Loretta had meant to return home, but Ronny desperately persuades her into another tryst.  That same night, Rose decides to dine alone at a restaurant and sees a college professor, Perry, being dramatically dumped by a female student. Rose invites him to dine with her instead, allowing him to walk her home but refusing to invite him in \"because I\u2019m married\". Later, Johnny unexpectedly returns from Sicily after his mother's \"miraculous\" recovery and calls at the house; since Loretta is not there, Rose asks him instead why men chase women and agrees that it is because they fear death. Returning home next morning, Loretta is distressed to learn from Rose that Johnny will be there soon.  But it is Ronny that arrives, and Rose invites him for breakfast over Loretta's objections.  Cosmo and his father emerge from upstairs, and Grandpa insists that Cosmo agree to pay for Loretta's wedding. Rose then confronts Cosmo and demands that he end his affair; he is upset but gives in and, at Rose\u2019s insistence, also agrees to go to confession. Both then affirm their love for each other. Now Raymond and Rita arrive, concerned that Loretta had not deposited the previous day's takings at the bank, and are relieved to learn that she merely forgot and still has the money. When Johnny finally arrives, he breaks off the engagement, superstitiously believing that their marriage would cause his mother's death. Loretta berates Johnny for breaking his promise and throws the engagement ring at him. Seizing the moment, Ronny borrows the ring and asks Loretta to marry him, to which she agrees. The family toasts the couple with champagne and Johnny joins in at the grandfather's urging, since he will now be part of the family after all.", "name": "Moonstruck"}
{"scenes": ["\"THE THING\" MACREADY, 35. Helicopter pilot. Likes chess. Hates the cold. The pay is good. GARRY, 46. The station manager. Stiff. Ex - army officer. Wears a handgun. CHILDS, 33. Six - four. Two - fifty. Black. A mechanic. Can be jolly. But do n't mess. BLAIR, 50. Sensitive. Intelligent. Unassuming. An assistant biologist. DR. COPPER, 45. Professional. A decent man. A good doctor. PALMER, 27. Second string chopper pilot. Crack mechanic. Long hair. Slight sixties acid damage. NAULS, 22. The cook. Bright. Black. Irreverent. But kindhearted. Roller skates. NORRIS, 44. Stocky. Rugged looking. A geophysicist. An incipient heart condition. BENNINGS, 38. A meteorologist. Dutiful. An old pro. CLARK, 24. The dog handler. Likes it here. Good at his job. SANCHEZ, 21. The radio operator. Hates it here. Lousy at his job. In the winter of 1982 these men were commissioned by the United States National Science Foundation to gather data concerning the physical and natural sciences on the continent of Antarctica. THE MAIN COMPOUND OF U.S. OUTPOST # 31 The interior is a cramped and never ending maze of hallways, passageways and doors which connect the many rooms and compartments within the compound. Sturdy, but prefabricated materials have been used in its construction. There is a laboratory. An infirmary. A kitchen and mess hall. A communications room and sleeping quarters. Other cubicles are for storage and supplies. The most spacious area of the building, and the main center of activity, is the Rec Room. Of the many entrance ways to this room can be seen the small work chambers with their sophisticated computers and other scientific equipment. The below quarter houses the generator and still other compartments for storage. A long underground tunnel connects the main compound to the dog kennel. A STARRY BLACKNESS From out of the billions, the smallest of specks drives slowly forward. It closes ; getting larger ; its features becoming more identifiable : a vessel. Flip - flopping ; out of control. Its stern roaring with flame. It passes ; its blue fire surging into the screen. `` THE THING'' A thundering. BLIND AND FERAL WHITENESS. Glacial desert. gusts of snow. superimpose : ANTARCTICA, 1982, WINTER. A SOUND Loud and strident. A helicopter streaks across frame. It travels precariously close to the ground ; its chassis battered and swayed by the wind.", "INT. COPTER Red dials beam on the faces of two men. One carries a rifle and searches the horizon with binoculars. The other pilots. Their unkempt faces, their blazing eyes notate a wildness. They bark at each other in some Scandinavian tongue. Two men arguing like mad and desperate children. The man with the binoculars sights something.", "EXT. HORIZON - BINOCULARS' POV - A DOG It turns and snarls at the craft some fifteen hundred yards to its rear. Then whirls and gallops off. A gun blast kicks up snow at its heels.", "INT. COPTER Another blast of rifle fire as the man takes issue with his prey. The pilot slams a fist into his gunman friend and implores for better aim. The craft swoops lower and the engine is put into full throttle.", "EXT. HILL - THE DOG running feverishly up and over a hill of ice. A weather - beaten, wooden sign sticks up on the other side : U.S. NATIONAL SCIENCE FOUNDATION - OUTPOST # 31 A rifle blast kicks up more snow.", "EXT. COMPOUND OF U.S. OUTPOST #31 A large, almost snow - covered building. Not far from that a tall, meteorological balloon tower. A scattering of several small shacks at varying distances from the main compound. The smaller hovels are connected by wooden planked walkways and steadying ropes. Multicolored pennants stick put of the snow marking pathways and directions to outdoor experiments. A tractor and two helicopters sit idle, covered with mounds of continuously mounting snow. TWO MEN, NORRIS AND BENNINGS standing some thirty yards from the main building are in the process of letting up a large red balloon. Childs, a hefty black man, is twenty yards away tinkering with a snowmobile. Their beards are caked with ice. It is winter and it is harsh. The faint sound of the copter turns their attention. THE COPTER flying ever lower now. The man with the gun leans dangerously outside and fires away at the dog as it nears the outpost. THE MEN outside the compound look to one another, incredulous. THE COPTER much too low now, and chastised by the wind, attempts a high - speed landing, directly on the heels of the sprinting dog. It bounces violently on the hard - packed surface. Once. Twice. Passing the dog. A third bounce sends it skidding. It flips ; its blades snapping off like toothpicks. It lands belly - up, soundless except for the whine of its engine. The man with the gun rolls out before the explosion.", "INT. MAIN COMPOUND The half a dozen men, playing cards, monitoring equipment, listening to music - spring to their feet, startled.", "EXT. COMPOUND The dog reaches Norris and Bennings, as they awkwardly wade through the snow, toward the downed copter. THE SURVIVOR of the crash, his eyes crazed with determination, struggles to his feet. Heedless of his companion, he double - times his way to the men and the dog. He reloads his gun and bellows in his Scandinavian tongue. Norris and Bennings have no idea what he is saying. The survivor waves his arms as if shooting them off, screaming as he does so ; his face now caked with blood. The two men are bewildered. The dog jumps up, licking and pawing them, imploring for safety. Blam! The visitor fires. The men jump back in disbelief. NORRIS What the fu. Blam! Blam! The crazed visitor screams and fires as he stalks after them. His countenance ablaze, mad. Ice and snow kick up about the terrified Americans. A bullet smacks into the dog's hip, sending it skidding and howling in pain. Childs, the black man by the snowmobile, takes cover, diving behind his machine. Bennings is hit. Norris pulls, drags him back toward the compound. The dog crawls along beside them. The intruder is relentless in his assail. He runs, screaming, firing, screaming, reloading and firing.", "INT. COMPOUND Total confusion. Some watch helplessly through the small, fogged - up and translucent windows. Others try to mobilize grabbing for their heavy jackets. CLOSE ON A.357 MAGNUM as it efficiently breaks through a windowpane and into the cold. A steady hand grips it firmly. THE SCANDINAVIAN getting closer. Kablam! Suddenly, his head jerks back. He falls to his knees and then face down into the snow. NORRIS AND BENNINGS stare blankly, but relievedly at the fallen man. The dog whimpers in pain. CHILDS pokes his head out from under the snowmobile.", "INT. MAIN COMPOUND - REC ROOM The rumbling of voices fades. The men adjust their eyes to station manager Garry, as he extracts his gun from the broken window, relieves it of its spent shell and puts it away.", "EXT. BURNING COPTER Several men spray snow on the burning wreckage. There is no hope for the pilot.", "INT. COMPOUND CLOSE ON THE PALLID FACE OF THE SCANDINAVIAN INTRUDER A neat round hole is set in the middle of his forehead. Station manager Garry holds up something akin to an ID. GARRY Norwegian. Jans Bolen. Fuchs, a young and sensitive - looking biologist, stands closest to the large area map of Antarctica. Several men sit and stand around viewing the body that lies on two brought - together card - tables. FUCHS Got ta be from the Norwegian camp. GARRY How far's that? FUCHS ` Bout eighty kilos southwest. GARRY -LRB- surprised. -RRB- That far? Garry directs his attention to Childs, the large black man who had been working on the snowmobile. Next to him sits Norris, the rugged - looking, fortyish, geophysicist, who was one of the men being shot at. GARRY You catch anything he was saying? CHILDS Am I starting to look Norwegian to you, Bwana? Garry motions inquiringly to Norris. NORRIS Yeah. I caught that he wanted the better part of my ass to come apart.", "INT. INFIRMARY Dr. Cooper, mid - forties, works on the outstretched leg of Bennings, the meteorologist. Clark, the dog handler, is mending the hip of the wounded dog off in the corner. Bennings lets out with an ouch. DR. COPPER Do n't `` ouch'' me. Two stitches. It just grazed you. He helps a shaken Bennings up off the table. BENNINGS What in the hell were they doing? Flying that low. shooting at a dog. at us. DR. COPPER Stir crazy. Cabin fever. Who knows. The dog yelps and whimpers as Clark tries to calm him. CLARK I'll be here a while. Shell's pretty deep.", "INT. RADIO ROOM Blair, senior biologist, fifty, balding, leans against the entrance door. He looks on as the young, bored - looking radio operator, Sanchez, attends to his equipment. Bursts of static. SANCHEZ It's no go. BLAIR Well, get to somebody. Anybody. We've got to report this mess. SANCHEZ Look, I have n't been able to reach shit in two weeks. Doubt if anybody's talked to anybody on the whole continent.", "INT. HALLWAY Nauls, the cook, glides along on his roller stakes down one of the many narrow hallways that connect the various compartments of the main compound. He is black, a little mischievous, about twenty - two. He comes to a flashy skidding stop at one of the entrances to the rec room area, where the men are gathered with the dead Norwegian. NAULS Maybe we at war with Norway. Palmer, a spacy, twenty - seven year old, novice pilot and mechanic, grins as he lights a joint. He directs a remark to station manager Garry. PALMER Was wondering when `` El Capitan'' was going to get a chance to use his pop gun. Garry rebukes him with a stern look and then turns to Fuchs. GARRY How long have they been stationed there? Fuchs leafing through a pile of papers. FUCHS Says here about eight weeks. Dr. Copper enters the room. Bennings limping after him slightly. GARRY -LRB- shaking his head. -RRB- That's not enough time for guys to go bonkers. NAULS Bullshit, Bwana, sweetheart. Five minutes is enough to put a man over down here. PALMER Damn straight. NAULS I mean Palmer been the way he is since the first day. Palmer smiles and flips the cook the bird. GARRY How many in their party? FUCHS -LRB- referring. -RRB- Started with six. There'd be four others left. DR. COPPER How do you know? The men's attention turn to Copper. DR. COPPER Guys as crazy as that could have done a lot of damage to their own before they got to us. GARRY Nothing we can do about that. DR. COPPER Yes, there is. I'd like to go up. GARRY In this weather? DR. COPPER -LRB- turns to. -RRB- Bennings? BENNINGS Winds are going to let up a tad, next couple of hours. GARRY A tad? BENNINGS Ca n't condone it myself. But it is a short haul. Hour there, hour back. Garry still does not much like the idea. Palmer takes another hit off his joint. PALMER Shit, Doc, I'll give you the lift if. GARRY Forget it, Palmer. Doc, you're a pain in the ass. GARRY -LRB- turns. -RRB- Norris, go get MacReady. Slight laughter from some of the men. NORRIS -LRB- grins. -RRB- MacReady ai n't going nowhere. Bunkered in till spring. GARRY Just go get him. NORRIS -LRB- stands. -RRB- Anyway, he's probably ripped.", "EXT. U.S. OUTPOST #31 Norris, bundled in his sixty - five pounds of clothing, exits the main compound. He walks the prefab wooden planks up the precipice ; his destination is someone a hundred yards up the slope - to a shack. He grabs onto the steadying ropes and pulls himself against the wind and blowing sleet.", "INT. MACREADY'S SHACK - CLOSE ON ICE CUBES being dumped into a glass, followed by the pouring of whiskey. An electronic Voice is heard. VOICE Bishop to knight four. MacReady takes a sip of his drink ; makes his way over to his electronic chess game. A large Mexican sombrero hangs on his back. He is tall ; about thirty - five. His shack is sparse but unkempt. A few centerfolds on the wall are interspersed by an occasional poster of some Mediterranean or South American paradise. The chess game is of larger than normal size. The pieces move automatically with the press of a button. He sits down and chuckles over his opponent's bad move. MACREADY Poor little son of a bitch. You're starting to lose it, are n't you? He confidently taps out his move. His companion's response is immediate. VOICE Pawn takes queen at knight four. MacReady's grin slowly fades as he examines the board. There is a pounding at his door. MacReady broods for a bit, heedless of his visitor and makes his next move. VOICE Rook to knight six. Check. More impatient pounding. MacReady glares at his opponent for a beat. He bends forward, opens up a flap containing the chess game's circuitry and pours in his drink. There ensues a snapping, popping sound as smoke and sparks rise from the machine ; followed by a flush of chess gibberish. MacReady gets up from his seat, mumbling on his way to the door. MACREADY Cheating bastard. He opens the door. Norris steps in followed by a flurry of snow and wind. NORRIS You jerking off or just pissed? MACREADY We got any more of those electronic chess things down in supply? NORRIS Get your gear on. MACREADY What for?", "EXT. OUTPOST One of the grounded choppers is being readied for take - off. Childs holds a huge industrial torch to the engine, warming it up.", "INT. MAIN COMPOUND - CORRIDOR Garry, Bennings, Dr. Copper, Palmer and MacReady wind their way through the slender corridors on their way to the chopper. Dr. Copper carries a satchel of medicine supplies. MacReady, going over his flight chart, looks mad as hell. Dialogue overlaps. MACREADY Craziness. This is goddamn insane. GARRY Quit the griping MacReady. Sooner you're there - sooner you're back. MACREADY It's against regulations to go up this time of year! DR. COPPER Screw regulations! Four guys could be crawling around on their bellies out there! MACREADY So, I do n't want to end up crawling around with them when we go down. GARRY Look, if you're going to keep bitching, MacReady - Palmer's offered to take him up. MACREADY What are you talking?! He's had two months training in those choppers! PALMER -LRB- defiant. -RRB- Four! MACREADY -LRB- to Bennings. -RRB- What is it out there, anyway? Forty - five knots? BENNINGS Sixteen. MACREADY -LRB- disgusted. -RRB- And the horse you rode in on. Sixteen for how long?! You ca n't predict this time of year.", "INT./ EXT. CHOPPER Dr. Copper sits next to MacReady, who is at the controls. MacReady tightens the string of his sombrero around his neck and starts up its choking engine. MacReady fights violently with the controls as he struggles to get the craft into the air. It finally rights itself and moves up and off into the grey - white sky.", "INT. MAIN COMPOUND A couple of the men mingle in the area. Clark, the dog handler, looks out the window. CLARK Mac's really taking it up, huh? The dog, a large bandage on his hip, wades through the room. Under tables. Past men's legs. It hobbles slightly. No one takes notice.", "EXT. THE CHOPPER moves over a ridge of ice. Columns of smoke can be seen rising ominously from a quarter mile off.", "INT. CHOPPER - POINT OF VIEW As they near, the smoke looms thicker. A black, tar - like gush ; billowing up into the grey sky from the whiteness below.", "EXT. NORWEGIAN CAMP Smoke climbs upward in the f.g. MacReady sets his craft down. Pull back to reveal the camp itself : resembling the aftermath of a western fort, sacked and ravaged by Indians. Small fires and debris are strewn everywhere. The prefab Administration Building exposes gaping holes. Smoke rises from the almost entirely snow - buried Quonset huts. Embers swirl in every direction.", "INT. CHOPPER The two men look at each other in silence. They get out. CLOSE ON A LARGE, MAKESHIFT FUNERAL PYRE smoldering to a close. A hastily conceived crematorium. Wood, books, furniture, tires, anything that will burn has been mixed together with the charred remains of several dogs and the body of a man. Curious mounds of a melted and blackened goo are heaped within the mess. A small can of gasoline lies nearby. A large oil drum not far off. MACREADY AND COPPER their faces ashen as they take in this grotesque sight. MacReady turns to view the Norwegian compound. He then exchanges a look with Copper. MacReady heads back toward the chopper. THE CHOPPER MacReady unhinges the shotgun that is latched to the panel behind the seats.", "EXT. THE MAIN BUILDING - THE DOOR MacReady and Dr. Copper stand hesitantly amidst the wisps of snow and embers. MacReady tries the door. It is unlocked. He slowly pushes it open with his gun. A creaking. A long pitch - black corridor. Copper shines a flashlight. DR. COPPER Anybody there?! No answer. Just wind. They exchange a look and enter.", "INT. NARROW CORRIDOR The two men move slowly. It is dank and cold. Their breath, bleating like exhaust. A soft, steady wind howls overhead. The flashlight is not much help. Further down, they hear a faint hissing sound. As they get closer it more resembles static. The flashlight finds a door at the end of the corridor. The sputtering static comes from within. The face of the door has been shredded. An ax sticks out from its middle. MacReady wrenches out the ax. There is blood on it. The men acknowledge this for a beat. MacReady tries the knob. It opens slightly. Something is blocking it from the other side. MACREADY Anybody in there?! Nothing. DR. COPPER We're Americans! Nothing. MACREADY Come to help you! MacReady pushes against the door. MACREADY Give me a hand. They push, shove, grunt. The door gives a bit. Finally more. It widens enough for MacReady to see that a large computer - like machine is blocking their path. MacReady wedges in and shines the flashlight. It is the communications room. Holes in its roof have allowed in the freezing cold. The flashlight exposes the back of the radio chair. One more nudge allows them into the room. A beat as they catch their breath. MacReady spots a Coleman lantern. He lights it with a match. Holds it up. The brighter light exposes the top of a man's head sitting in the radio chair. MACREADY Hey, Sweden! You okay? The chair rocks slightly with the gentle breeze. They inch closer. A yard from the chair, MacReady stops the Doctor. He pokes his gun at the chair's back. MACREADY Sweden?! Dr. Copper spots something. From the man's wrist on the armrest, he follows a long, yarn - thick, red line, ending in a pool of frozen blood on the floor. The two men step around the chair. The Norwegian stares up in blanched death. A gaping black hole for a mouth. His throat and wrists slit. An old - fashioned straight razor in his lap. MacReady turns off the hissing radio, and marches to the other door. It is locked and barricaded. DR. COPPER -LRB- more to himself. -RRB- My God, what in hell happened here? MACREADY Come on, Copper. The two men free a machine - like obstacle from the other exit. MacReady opens a lock and pushes the door open. More blackness. Stronger wind. Copper holds the lantern high as they make their way down a row of wooden steps and into a cavernous, underground causeway. MACREADY Hey, Sweden! DR. COPPER -LRB- irritated. -RRB- They're not Swedish, goddamn it, they're Norwegian, MacRe - Whap! Something slaps into the Doctor's face from the darkness. The lantern crashes to the ground. The Doctor stumbles, falls. MacReady grabs the flashlight and whirls in different directions. A panting beat. Silence. Dr. Copper holds up what hit him. A thick centerfold, buffeted by the wind. MacReady takes it. MACREADY Norwegian of the Month, Doc. Harmless. MacReady pockets it for further viewing.", "INT. THE NARROWEST OF CORRIDORS The supporting beams have long since buckled and cracked from the constantly moving ice underneath. The evidence of fire has further weakened the foundations. The wood creaks overhead. Bits of ice and silt trickle down. The two men walk hunched, cautious. MacReady gingerly tries to make his way around a broken and smoldering beam. He brushes it gently sending a shower of debris from the yawning roof. The two men wait until it subsides and then moves on. Further down. MacReady's knee bumps into something along the wall, causing him to stumble slightly. He shines his light on it. An arm is sticking out of a steel door about three feet off the ground. The door has been slammed shut. The arm pinned, its fist still gripping a small welding torch. The flame long since gone out. MACREADY -LRB- wincing. -RRB- Holy shit. He tries the door. Unlocked. It opens. The arm drops to the ground. It has been severed by the force of the slam. Its owner is nowhere to be seen. MacReady, sickened, coughs. Dr. Copper mumbles. DR. COPPER Christ. They step over the arm and into another slim passageway. Moving along they come to rest in front of a door with Norwegian lettering on it. MacReady pushes it open with his foot. Dozens of papers fly about, flailed by the holes in the Quonset hut - style roof. The place is a wreck. They enter. MacReady surveying the small room with his flashlight. DR. COPPER Laboratory. Broken beakers, test tubes, a microscope are illuminated. MacReady notices a video camera. MACREADY Portable video unit. Copper makes his way over to the main work table. He shuffles through papers, glancing at the writing. MACREADY Anything? DR. COPPER All in Norwegian. Dr. Copper bends down and begins gathering the papers, strewn about the room. MACREADY What are you doing? DR. COPPER Could be important work. Might as well bring it back. MACREADY It's getting late. Hurry it. I'm going to check the last few rooms. He exits. Amongst the rubble, Dr. Copper finds a pocket tape recorder and several cassettes. He selects a tape and is about to pop it in when he senses something to his rear. He turns. Looks. A beat. Nothing.", "INT. HALLWAY MacReady shoves himself into another room.", "INT. ROOM Debris and wood flush down on him. The receding ceiling had been blocking the door from above. He brushes his coat and shines the light upwards. The ceiling is a shambles. He then shines the light deeper into the room.", "INT. NORWEGIAN LAB Dr. Copper is playing the small tape recorder. A casual Norwegian voice drones on as if making notes. He fast forwards. The same casual drone. MACREADY -LRB- O.S. -RRB- Copper, come here!", "INT. ROOM Dr. Copper enters, squeezing in, through the door. The wood cracks overhead. More debris comes falling down. MACREADY Careful. It's about to go. Copper dusts himself. MacReady stands before a huge block of ice. Fifteen feet long. Six feet wide. Four feet tall. It has partially melted, but its thawing process has been stopped by the now freezing temperatures within the outpost. Its one curious feature : the middle has been thawed and scooped out. Giving it the appearance of a large bathtub. The two men study it uncomprehendingly. MacReady's gaze turns to a large metal cabinet at his left. He moves for a closer look. Several photographs are pasted to its door. Small snapshots of the Norwegians at work and play. He tries to open it. Stuck. The partially caved - in ceiling is slightly blocking the top of the door. He tries again, careful not to dislodge the wood and plaster above. Bits of dust float down. DR. COPPER Watch it. His grip is too strong. It gives suddenly, unexpectedly. The large metal door flies open. Large chunks splash from the ceiling. They come thumping to the floor, behind and in front of the open cabinet door. MacReady coughs and waves away the dust. He peers inside. Nothing much. Some empty shelves. Some small scientific gear. His flashlight then locates a large photograph taped to the inside of the cabinet door. It is a picture of five Norwegians, arm in arm, all smiles, toasting each other. They are on either side of the frozen block of ice, pridefully displaying it for the camera. The block looks much thicker. Its interior opaque. MacReady looks to the block of ice and then back to the photograph. He untapes it, pockets it and shuts the door. An armless corpse swings into his face from behind the closing door. Dislodged from the ceiling, the body and MacReady go crashing to the floor.", "INT. U.S. OUTPOST - RECREATION ROOM The loud beat of Warren Zevon's song, `` The Werewolves of London,'' can be heard throughout the compound. The room is empty. Close on a video pong game, its ball of light lazily traveling back and forth. The dog, its tail wagging, its bandage on, walks by.", "INT. KITCHEN Zevon's record is blasting from Nauls' stereo. He skates from the big walk - in freezer and plunks down a large side of beef on the wood - cutting table to thaw. He skates from pot to pan keeping time with his sounds. He smells. Tastes. Adds a little something here, a touch there. He clearly enjoys his work. Station Manager Garry stops past the open door. GARRY Turn that crap down, Nauls. You can hear it all over the camp! NAULS Oui, Bwana. Can do. He skates over and turns it down, but not much.", "INT. COMMUNICATIONS ROOM Garry enters and sees that Sanchez has nodded off in front of his receiver. His headgear is still on. Garry walks over and turns up the volume, the static jolting Sanchez awake. SANCHEZ Hey, man! GARRY You reach anybody yet? SANCHEZ We're a thousand miles from anybody else, man. It's going to get a hell of a lot worse before it gets better. GARRY Well, stick to it.", "INT. COMPOUND CORRIDOR An empty hallway. Larger than most. Doors to several sleeping quarters on either side. The dog slowly walks through. One of the doors is open up ahead of his left. The dog stops in front of it and looks in. Someone is inside. Inside the small cubicle, a slight portion of a man's back can be seen as he sits bent over a chair ; his large shadow displayed on the wall. Back in the corridor. The dog looks up the hall once and casually to the other end. No one. He enters the room. The sound of a man's voice, too indistinct to tell whose, mumbles : MAN'S VOICE Hello boy. A beat. The sound of a glass breaking. A muffled scuffling. The door is slammed shut from the inside. And then silence.", "EXT. COMPOUND Fuchs, the young biologist, is finishing up his daily jog around the compound. He stops at the end of a long Quonset hut almost completely buried in the snow. The hut is fifty yards long and connects to the main compound. He enters a tunnel from a latch door up top.", "INT. TUNNEL He jogs down the steps, passing the underground dog kennel and trots toward the compound through the long narrow tunnel. He passes and waves to Clark, who rolls along a wheelbarrow of dog food. CLARK opens the door to the small kennel and serves up the dinner. The dogs, about seven of them, yelp and bark eagerly.", "INT. UNDERGROUND PASSAGEWAY near the fuel supply bladders. Older and more rickety than the quarters above. Childs waltzes through, humming, a big smile on his face. He stops at a door with six locks on it. Different kinds. Combination locks, key locks, etc.. He opens each one separately.", "INT. STORAGE ROOM Inside are several marijuana plants. Sun lamps beam down on them. Childs inspects them with a wide grin. CHILDS How my brothers and sister doing today? Doin' fine. He moves over to a tape deck, selects a cassette, grins back at the plants and turns it on. CHILDS What say to some nice Al Green for my babies, huh? He waters them carefully, as Al Green sings softly. He hears a panting and turns around to see the dog. His bandage is gone. CHILDS What you? You get the hell on out of here. The dog is shooed off. Childs turns back grumbling. CHILDS Comin' in here. goin' to urinate on my babies.", "INT. MAIN COMPOUND - HALLWAY Blair passing through, holding a chart and carrying a rack of test tubes, notices a large bandage on the floor. He picks it up, inquiringly. It is mangled and shredded.", "INT. GENERATOR ROOM Palmer works on the generator. He hears the sound of approaching propeller blades from outside. And then the sound of his tool box crashing to the floor. He turns to see what caused the ruckus. The dog, who has entered the shed, has jumped on the work table and upended the tool box on its eagerness to look out of the above window. Palmer curses under his breath and calls out. PALMER Clark! Will you kennel this goddamn dog? -LRB- bangs wrench against pipe. -RRB- Hey, Clark?! THE DOG It paws at the window and watches as the chopper, carrying MacReady and Dr. Copper, fights against the newly arrived heavy winds and lands safely.", "INT. STATION MANAGER GARRY'S QUARTERS Garry, MacReady, Dr. Copper, Norris, Bennings, Blair and his assistant, Fuchs, are present. The small Norwegian video unit has been set up and its contents are being viewed on a TV screen. Grainy, home movie - ish, no sound. The proceedings are grim. Shots of the Norwegian's at work. Others of them playing soccer on ice. Generally the footage is a prosaic record of their day - to - day life. Norris shuffles the bundle of notes Dr. Copper brought back with him. NORRIS Seems they were spending a lot of time at a place four miles northeast of their camp. GARRY What were they involved in? MacReady, working on the video machine, answers. MACREADY Little ice core drilling. some seismology. glaciology. same old shit we do. The present footage is a shot of them all naked and probably drunk, holding a sign across their waists as they stand outdoors in super - freezing weather. BENNINGS How much more of this crap is there? DR. COPPER About nine more hours. BENNINGS We ca n't learn anything from this. DR. COPPER Probably right. MacReady turns on the light and shuts off the video machine. He then slides the portable tape deck across the table to Dr. Copper. They exchange a look. DR. COPPER MacReady and I were listening to some of these cassettes on the way back. -LRB- somberly. -RRB- Like you gentlemen to hear it. A Norwegian voice drones on calmly, making verbal notes. Norris shrugs. BENNINGS What do you want from us? MACREADY -LRB- flat. -RRB- Just listen. Dr. Copper fast forwards. The calm voice continues. And then a loud blast, followed by pounding. The sounds of confusion. Voices. Loud. Frenetic. Men's feet running up and down wooden floorboards. A gurgling. A hissing. Screams. And then a screeching. More blasts mixed with the din of wild, carnage - wrought cries. And then more screeching. A screeching unlike anything these men have ever heard. The men look from one another in silence as they listen. Dr. Copper turns it off. DR. COPPER Goes on like that quite awhile. -LRB- beat. -RRB- What do you gentlemen make of it? GARRY Could be anything. Men in isolation. some beef that snowballed. got out of hand. NORRIS Maybe the whole camp got bent. Something they ate. What about food poisoning, Doc? Dr. Copper taps the tape deck pensively. DR. COPPER Maybe. He glances at MacReady, and then back to the others. DR. COPPER There's something else we want you to see.", "INT. INFIRMARY Dr. Copper and MacReady begin dumping the heavy contents of a large plastic trash bag onto the slab. DR. COPPER We found this. Displayed on the slab is what appears to be the corpse of a man. Badly charred. What is left of the trousers and shoes of the bottom torso are ripped and split, as if his legs and feet had burst from the inside. His upper body is an almost undecipherable gnarled mass of protoplasmic mush. The head is strangely disfigured and looks larger than normal. It is situated not on its shoulders but near the abdomen. Tendon - like appendages are wrapped around the carcass and sticking up and out in odd postures. One is wrapped around the body's left leg. The shirt has been ripped and lies shredded in the tar - like mess. The men grimace. DR. COPPER I know he's pretty badly burned. but could fire have done this? Blair, sickened but fascinated, pokes at the tendon - like things and the tarry goo. DR. COPPER Blair, I'd like you and Fuchs to help me with autopsies on this one and the one Garry shot this morning.", "INT. REC ROOM - LATER - CLOSE ON A TABLE HOCKEY GAME Foosball. Nauls and Clark are going at it hot and heavy. Sanchez sits off in a corner thumbing through an old issue of Photoplay. Bennings, Norris and Garry are engaged in a card game. Bennings is about to play a card when he feels something under the table. He looks. It is the dog. BENNINGS Clark, will you put this mutt with the others where he belong?!", "INT. LAB larger than most of the other rooms and well - equipped. Dr. Copper is performing an autopsy on the Norwegian intruder, killed early that morning. Blair sits over his microscope, while Fuchs prepares slides. The other body is draped with a sheet, waiting its turn. Dr. Copper pulls off his gloves. DR. COPPER Nothing wrong with this one. Physiologically, anyway. -LRB- to Blair. -RRB- Find anything toxic? BLAIR No drugs. alcohol. Nothing.", "INT. TUNNEL Clark leads the dog through the long, cold tunnel toward the kennel. A new dressing has been placed on its hip. He unlatches the door to the kennel and leads him in.", "INT. KENNEL About twenty feet long, five feet wide. Poorly lit. Cramped with dogs. Some of them sleeping. Others pacing around and curious, greet their new companion, sniffing, panting and rubbing up against him. Clark pats the dog and several others, then leaves, latching the door behind him.", "INT. SLEEPING CUBICLE Childs lies in his cot watching a small television. The show is a tape of an American TV game show. He has seen this one too many times, extracts the cassette and injects another game show. Palmer is stretched out in the other cot, reading a comic book and smoking a joint. Childs beckons for it and takes a hit.", "INT. PUB A small area, just off the rec room. Set up like a bar. MacReady is alone looking over the rest of the videotapes from the Norwegian outpost. Mundane to esoteric chores of Antarctic camp life. He looks bored.", "INT. LAB Blair, hovering over the microscope, lays in a slide, focuses and motions for Dr. Copper to take a look. Copper is confused as he examines. He shrugs. DR. COPPER I do n't understand. Fuchs takes the opportunity to look. Blair moves over to the disfigured corpse and indicates one of the fibrous, tendon - like appendages. BLAIR It's tissue from one of these sinewy rods. Fuchs is befuddled as he examines. FUCHS What in the world kind of cell structure is this? BLAIR That's the point. DR. COPPER -LRB- tired. -RRB- I do n't get you, Blair. BLAIR I'm not sure it is any kind of cell structure. Biologically speaking. DR. COPPER -LRB- sighing. -RRB- This really is n't my field, Blair. Let's wrap for the day. Dr. Copper undoes his lab coat and lays it over a chair as he exits. Blair stares down ominously at the mutilated body.", "EXT. COMPOUND - NIGHT A steady stream of sleet pounds the compound and small surrounding shacks.", "INT. REC ROOM Vacant. The wall clock reads four - thirty.", "INT. HALLWAY Sleeping cubicles on either side. The sound of snoring.", "INT. PUB Bleary - eyed, MacReady is in the process of blowing up some strange inflatable object. As he puffs away, he still keeps an eye on the Norwegian video tapes. His balloon begins to take shape. It blossoms into a life - size replica of a full - breasted woman. Something on the tape catches his eye. He rewinds, then starts it forward again. The screen shows the Norwegians on the surface of what appears to be an enormous, flat glacier. They are spread out on the ice around a large odd oval shape ; their arms outstretched. It fades to black and then a Norwegian comes on mugging childishly in front of the camera, apparently quite pleased with something. The tape fades to black again and the picture reappears. This time they have marked off the large oval area with flag sticks. Closer shots show three of the men digging a deep hole into the ice. There is a small patch of something dark and metallic at the bottom. MacReady leans forward, intrigued. The men are now sinking something deep into the ice at various points around the markings. MacReady squints and mumbles to himself. MACREADY Decanite? Thermite charges? The tape jump cuts again showing a long shot of the markings. No Norwegian in sight. An explosion kicks up the ice. A beat as the ice sprays to the ground. Then the camera appears to shake as the ground beneath it quivers. Another immense explosion follows. An earthquake - like force throws the camera to the ground. MACREADY What in. The tape continues, distorted, unviewable. A distinct crack in the lens. MacReady lets go of his companion and quickly rewinds. The deflating mannequin is sent sputtering around the room.", "INT. KENNEL - NIGHT Most of the dogs are sleeping or lounging. The new dog watches them calmly, silently. He takes several steps towards a group of about five dogs and sits upright. Completely still. He stares at them. A beat. The dogs are aware of something. They begin to seem a bit confused, uncomfortable. The new dog continues to stare. Sitting rigidly, unnaturally still. His eyes dead, lusterless black spheres. Bewildered, a few dogs start to pace. As if sensing something : a portent. A danger. But so odd. They begin a soft, purring growl. The new dog remains a statue. The growling builds. More dogs begin to pace. Nervously. Faster, encircling. Emitting hisses, snarls. The lack of response driving them into a frenzy. Barks. Growls. More frenetic pacing. The din escalating. Three dogs start to close in on the stranger. They attack. THE SHADOW OF THE NEW DOG against the kennel wall. The shadow suddenly lurches upward, seeming larger. The kennel roars.", "INT. PUB MacReady is still going over bits of the same footage, fascinated. He hears the far - off clamor of the dogs.", "INT. NAULS' QUARTERS He, too, bothered by the noise, tosses and turns in his sleep.", "INT. CLARK'S QUARTERS Clark snores. MacReady has entered. MACREADY Clark. No response. MacReady nudges him. Clark rolls away, annoyed. MacReady pinches his snoring nose, cutting off the air. Clark sits up, groggy. MACREADY Dogtown's going nuts. Take care of it.", "INT. TUNNEL Clark, sleepy, irritated, makes his way down the freezing corridor. The wind soughing loudly overhead. CLARK reaches the kennel door. The savage outpouring of noise from within baffles and angers him. He unlatches the door. CLARK What's got into. Smack! Just as he opens the door, two dogs, as if jettisoned from a cannon, knock him off his feet. Growls, barks, snarls. And a screeching from within.", "INT. KITCHEN MacReady is fetching himself a beer. The sound of the far - off screeching. He freezes. A beat. He turns and sprints. HIS BEER CAN as it smashes the glass of the fire alarm. He pulls the lever.", "INT. TUNNEL The alarm is blaring throughout the camp. MacReady, Garry, Norris run through the narrow tunnel led by Clark. MacReady carries a shotgun. Garry, half - dressed, has his.44. Clark, a fire ax. CLARK I do n't know what the hell's in there, but it's weird and pissed off, whatever it is.", "INT. HALLWAY Chaos. Men, half - naked, bounce from their cubicle. Pulling on their pants, digging into shoes.", "INT. CHILDS' CUBICLE Childs is grappling with his belt buckle. CHILDS Mac wants the what?! BENNINGS -LRB- at the doorway. -RRB- That's what he said. Now! Move! Bennings is off.", "INT. TUNNEL as the men approach the locked kennel door. The two dogs, thrown into Clark, back ferociously and scratch at the door trying to get back in. One is badly bloodied. The fight inside rages on. MacReady and Clark brace themselves by the narrow door. Norris and Garry hold back the two hysterical dogs. Clark undoes the latch and he and MacReady enter the kennel. The light has been broken and it is pitch black. MacReady snaps on his flashlight. Norris and Garry ca n't contain their animals and the dogs burst into the room. They smash into MacReady and send him sprawling. Total confusion : the dogs ; the men ; the screeching ; the blackness. CLARK Mac, where are you? MacReady gropes for his flashlight and rights himself. He finds Clark. Then shines it around the cramped room trying to get his bearings. The light finds a mass of dogs in a wild melee in the corner. Barking mixed with hissing, a gurgling, a screeching. Dogs being hurled about and then charging back into the fray with a vengeance. The flashlight illuminates parts of some `` thing.'' A dog. But not quite. Impossible to tell. It struggles powerfully. Garry pokes his head into the blackness. GARRY What's going on, damn it? MacReady aims his shotgun at the entire pack. MACREADY I'm going to shoot. CLARK No! Wait! Clark wades into the pack, grabs at dogs' hides and throws them back. He then wields his ax into the fray, chopping and hacking away at the gurgling, hissing silhouette. From out of nowhere, a large, bristly, arachnid - like leg springs up and wraps around Clark's ax. It sends Clark smashing violently into the wall. OUTSIDE More men running, nearing the kennel. Several squeezing in with Garry, trying to get a look. INSIDE MacReady fires several rounds. A dog is flung at him, knocking him and his flashlight once more to the ground. Garry squeezes in and begins blasting away in the direction of the hissing and screeching. A dog is hit. MacReady crawls for his flashlight. MACREADY Clark? Where are you? Clark! Blam. Blam. Garry continues firing at the silhouette.", "INT. TUNNEL Childs, huffing and puffing, lugs the huge industrial torch toward the crowded kennel doorway. CHILDS What's happening? MACREADY -LRB- O.S. -RRB- Childs, you got the torch? You get your ass in here!", "INT. KENNEL Childs scrunches in, disoriented by the blackness, and bumps into Garry, knocking him off balance. CHILDS Where are you? MacReady signals with his flashlight and then points it at the gathering of snarling dogs. MACREADY Torch it over there! CHILDS The dogs? MACREADY Screw the dogs! Torch it! Childs lets loose with a burst of blue flame. A mewing, a screeching. Part of the kennel starts to burn. GARRY -LRB- panic. -RRB- We're on fire! MACREADY Do n't let up, Childs! GARRY -LRB- to outside. -RRB- Extinguishers. Childs moves closer, continuing his assault on the hissing, gurgling presence. Men charge into the room and begin spraying dogs and burning walls. Dogs and men choke and cough amidst the smoke and CO2. The screeching lessens. The hissing and gurgling fade. Childs turns off his torch.", "INT. REC ROOM - NEXT MORNING Those of the men that have gathered exhibit a pale and quiet uneasiness. Blair, in silent awe, stands over the badly burned corpses of two interlocking dogs, that lie before him on a table. They are connected as if they were one animal. Though, the one wearing the remnants of Clark's bandage is much larger and appears less dog - like. Its entire torso is cracked and peeled, as if its innards were trying to burst out. Odd appendages, recoiled and withered by the flame, are wrapped grotesquely about both bodies. Clark, his eyes set in glassy stare, sits in shock. Nauls comforts him. Childs stands nearby smoking a joint and staring at the floor. Blair, transfixed, continues hovering over the united cadavers. Weighing. Thinking. A very worried look on his face. The dead bodies of two other dogs from the kennel are not far off.", "INT. INFIRMARY Fuchs is attending to the shredded bodies of three other badly wounded dogs.", "INT. REC ROOM Nauls pats Clark on the shoulder and grins, trying to pick up his spirits. NAULS It's okay now, man. It's dead. It's over. -LRB- beat. -RRB- You see. Clark turns to him with a childlike smile. CLARK I know. Mr. Childs killed it. I saw. NAULS Right, man. Right.", "INT. SMALL WORKROOM Norris is going through some maps. MacReady is bent over his shoulder. Norris finds the one he's looking for. NORRIS Here. This is where they were spending most of their time. Bennings pokes his head in the room. BENNINGS Pretty nasty out, Mac. Thirty - five knots. MACREADY Screw it, I'm going up anyway.", "INT. MAIN COMPOUND - MORNING Station Manager Garry has joined Blair by the stuck - together bodies. Blair motions to the bandage. BLAIR Was that dog, the Norwegian dog? GARRY I just ca n't comprehend any of this. It was just a dog. CHILDS -LRB- evenly. -RRB- `` twere n't no dog, Bwana. BLAIR That tape MacReady showed us this morning. GARRY Could n't make much of it myself. BLAIR I've asked him to try and locate the site. Okay with you? GARRY Sure. You think there's a connection? BLAIR Maybe.", "EXT. CHOPPER high above the Antarctic expanse.", "INT. CHOPPER MacReady pilots. Young Palmer and Norris are with him. It is clear but the winds are troublesome. The ride is a shaky one. Norris refers to their map. He points. NORRIS One of their sites would be directly over here. They aim for a large mountainous wall. As they go up and over. they see : FLAT, GLACIAL EXPANSE On the surface, an enormous blackened oval shape.", "INT. U.S. OUTPOST #31 - LAB All the bodies of the dogs have been brought in. Fuchs stands by as Blair studies through his microscope. INSERT - A MICROSCOPIC SAMPLING of two cells. They appear to be much different from each other. They are joined at the ends but are completing the process of breaking off from each other. ON BLAIR A disturbed look on his face. He checks his watch, as if timing the procedure.", "EXT. GLACIER - TRACKING WITH MACREADY, NORRIS AND PALMER as they walk along the ice. They come to a stop at the edge of a sharp drop. Pull back to reveal - the massive black hole about fifteen feet beneath the ice. Charred, gnarled and mangled metal are all that is left of what was once an enormous sphere. MacReady's and Norris' eyes meet each other in silence. Palmer is in awe. PALMER Wow. MacReady finds a burst thermite canister. He and Norris climb down. They move along amongst the wreck. Almost everything but the skeletal superstructure has disintegrated into a fine ashy powder. Norris digs for ice samples at the perimeter of the wreckage, while MacReady browses through the center. Palmer continues to marvel, as he walks around the oval, atop the ice. MacReady returns and kneels down next to Norris as the latter examines a piece of metal. NORRIS Magnesium of some type. or some kind of strange alloy. -LRB- looks out at debris in disgust. -RRB- And those poor dumb bastards had to go and blow the hell out of it. MACREADY So what do you make of it? NORRIS You know damn well what we both make of it. MACREADY No chance it could have been some new kind of test craft? Norris shakes his head no. NORRIS Seismic activity has been pushing this are up from way down for a long time. -LRB- holds up ice sample. -RRB-. This ice it was buried in. It's over a hundred thousand years old. Palmer calls out, waving them over.", "EXT. GLACIER The two men join Palmer about fifty yards from the oval. A large rectangular chunk has been cut out of the ice. It is fifteen feet long, six feet wide and eight feet deep. MacReady kneels down to observe. A beat. A gust of wind picks up the snow at their feet.", "INT. REC ROOM - NIGHT Fascinated, a few of the men are reviewing the Norwegian video tapes of the finding of the mysterious craft. MacReady sits quietly by his chess set contemplating a large glass of Scotch. Clark, less interested than the others, is flipping through the Norwegian nudie magazine. Blair, looking worried, sits off in a corner, pondering the photo of the block of ice and fingering a piece of crumbled - up metal brought back from the site. Childs, viewing the tapes, ca n't quite believe it all. CHILDS Okay now, Mac, run this by me again. Thousands of years ago this rocket ship crashes, right? And the. MacReady is not listening. CHILDS MacReady! MACREADY Look, I'm just guessing. CHILDS Well, go on.", "INT. KITCHEN Nauls, about to prepare dinner, scowls as he rummages through his many cabinets. NAULS Where's that big ol' steel pot of mine?! Damn! He turns to examine the cabinets above the large stove. He spots something in the nearby kitchen trash can. Disgusted, he pulls out a torn and shredded pair of long johns.", "INT. REC ROOM MacReady theorizes. MACREADY So it crashes, and this guy, whoever he is, gets thrown out, or walks out, and ends up freezing. CHILDS I just ca n't believe this voodoo bullshit. You believe this voodoo bullshit, Blair? Blair says nothing, lost in thought. Palmer, stoned, a joint dangling from his mouth, is searching for information through stacks of old issues of The National Enquirer and The Star. PALMER -LRB- rambling. -RRB- Happens all the time, man. They're falling out of the skies like flies. Government knows all about it. Chariots of the Gods, man. They practically own South America. I mean they taught the Incas everything they knew. CHILDS Cool it, Palmer! Palmer shakes a magazine at him adamantly. PALMER Read von Daniken! Have you read von Daniken? Get your facts straight! Clark marvels at a particular photo. CLARK Jesus, why would those guys ever want to leave Norway? Nauls skates into the room. He shakes the crumpled - up pair of long johns in his fist. NAULS Which one you muthers been tossing his dirty underwear in the kitchen trash?! He flings it across the room. It lands on MacReady's chess set. NAULS I want my kitchen clean. Germ free! Nauls spins on his skates and storms off. MacReady fetches the strangely shredded underwear and rolls it up, while Childs paces. CHILDS So, MacReady, come on now. These Norwegian dudes come by. find him and dig him up. MacReady tosses the ball of cloth across the room into a trash bin. MACREADY Yeah, they dig him up and cart him back. He gets thawed out, wakes up and scares the shit out of them. And they get into one hell of a brawl. CHILDS Now how's this motherfucker wake up after thousands of years in the ice, huh? MACREADY -LRB- annoyed. -RRB- I do n't know how. Because he's different than we are. Because he's a space guy. What do you want from me, anyway. Go ask Blair. CHILDS You buy any of this, Blair? A beat as Blair stares straight ahead, transfixed. He speaks softly, to no one particular. BLAIR It was here. got to that dog. It was here in this camp. The men take in his grave countenance. GARRY So? So what? It's over with. Blair turns to them. A pause. The men search his face. BENNINGS -LRB- edgy. -RRB- Well, is n't it?", "INT. LAB - CLOSE ON A SHEET as Blair rips it off exposing the tangled mess of interlocking dogs. Pull back. All the men have gathered. Some of the men settle into chairs, others stand. BLAIR Whatever that Norwegian dog was. It. It was capable of changing its form. -LRB- indicates their dog. -RRB-. when it attacked our dog. it somehow was able to digest. or. absorb it. and in the process shaped its own cells to imitate our dog's cells exactly. -LRB- holds up gooey dog leg. -RRB-. This for instance is n't dog at all - it's imitation. We got to it before it had time to finish or. NAULS Finish what? BLAIR I think the whole process would have taken an hour. maybe more. And then I suppose both would have changed back to dog form. PALMER Well, that Thing in the ice sure were n't no dog. BLAIR -LRB- impatient. -RRB- Of course not. But whatever it was revived, it. Well, The Thing was probably disoriented. and realized it could n't survive for long in our atmosphere. But being the incredibly adaptable creature it was. it tried to become something that could. Before the Norwegians killed it. it somehow got to this dog. CLARK What do you mean `` got'' to the dog? BLAIR It was a life form that was able to imitate and reproduce, whatever it ate or absorbed, cell for cell. Silence. BLAIR The concept is staggering. I know. I. I do n't fully understand it myself. CHILDS -LRB- skeptically, points. -RRB- You're saying. that big muther in the ice, became the dog. BLAIR -LRB- nodding. -RRB- I think we're talking about an organism. that could imitate other life forms. perfectly. It could have gone on and on. It could have become one dog. It could have become as many dogs as it wanted to - and without losing any of its original mass. NORRIS You been into Childs' weed, Blair? Blair slams his fist on the slab. BLAIR Look, I know it's hard to believe. GARRY -LRB- breaking in. -RRB- So what's our problem? BLAIR Well. there's still some cell activity. it's not entirely dead yet. Several of the men nearest the carcasses jump back knocking over a chair.", "EXT. COMPOUND - NIGHT - CLOSE ON THE DOG CARCASSES lying on the snow. Splash. They are being soaked with gasoline. FUCHS -LRB- O.S. -RRB- -LRB- in violent protestation. -RRB- You ca n't do this! You ca n't burn these remains. Pull back. Fuchs is beside himself. Childs has the large torch. MacReady empties another can on the bodies. Dr. Copper stands nearby. MACREADY And the horse you rode in on, Fuchs. -LRB- to Childs. -RRB- Light it up. Childs lights the tip. Fuchs makes a determined move for the torch. FUCHS Well, I'm not going to let this happen. Childs struggles with him for a beat and then flings him to the ground. Dr. Copper grabs him preventing him from getting back up. Childs splays the remains with a jet of flame. Fuchs shakes his head in frustration and disgust. FUCHS I just ca n't believe it. We're going to go down as the biggest bunch of assholes in history. MACREADY Fuck history. At least we're going to live to be an old bunch of assholes.", "INT. KENNEL - NIGHT The night feeding. Clark dishes out the food. Blair is taking blood samples from the remaining three dogs. BLAIR -LRB- perplexed, bothered. -RRB- Clark, did you notice anything strange about that dog? Just anything at all? Any little thing? CLARK No. Just that he recovered real quick. That night when I found him in the rec room, he had already scraped off his bandage. Before I put him with the others, I redressed his wound and noticed it had healed up real good. A beat as Blair stares at Clark. BLAIR That night? CLARK -LRB- pets dog vigorously. -RRB- Yeah. BLAIR What was he doing in the rec room? CLARK Well, after I worked on him - thought I'd let him rest. Left the room for a bit. When I came back, he was gone. BLAIR Well, where was he? Where did he go? CLARK Do n't know. Looked for him for a bit. could n't find him. BLAIR -LRB- a long beat. -RRB- You're saying he was n't put into the kennel until the night? Clark seems uneasy under Blair's intense gaze. CLARK Well. yeah. Blair stands, his eyes still glued to Clark. BLAIR How long were you with the dog? Alone, I mean? CLARK Ah. He was hurt bad. Bullet nicked an artery. I do n't know. An hour. hour and a half. Blair's eyes glaze as if in revelation. CLARK What the hell you looking at me like that for? BLAIR Nothing. Nothing at all. He backs out of the kennel.", "INT. HALLWAY - COMPOUND Irritated, distressed, station manager Garry moves briskly down the hall. Blair, worried and pale, tries to keep up with him. BLAIR It could have gotten to somebody. GARRY Anybody sick? BLAIR No, I. I do n't mean infection. or disease. Garry stops at the entrance to the communications room. GARRY Any luck yet? Sanchez shrugs. SANCHEZ Couple seconds of an Argentine disco station. GARRY Well, stick with it. I want you at it round the clock. We got to get help in here. BLAIR -LRB- alarm. -RRB- No. No, you ca n't let anyone in here. That dog was all over this camp. Bennings interrupts, entering the hallway, referring to his meteorological chart. BENNINGS -LRB- to Garry. -RRB- Travel - wise, tomorrow may be okay. But after that some pretty nasty northeasterly shit's coming in. FUCHS Goddamn fools. The men outside come stomping through the hallway. BLAIR -LRB- pleading. -RRB- Listen to me, Garry. Please. GARRY -LRB- to MacReady. -RRB- If the weather clears enough before we reach anybody - I'm sending you and Doc up to MacMurdo. BLAIR No! You ca n't let people leave. MACREADY I ai n't going anywhere in anything over forty knots, Garry. GARRY -LRB- snapping. -RRB- The hell you wo n't, MacReady! BLAIR Do n't you understand?! That Thing did n't want to become a dog. GARRY -LRB- fed up. -RRB- Damn you, Blair! You've already got everybody half - hysterical around here. BLAIR You ca n't let anybody leave! GARRY I've got six dead Norwegians on my hands, a burned up flying saucer, and we've just destroyed the scientific find of the century. Now fuck off! Close on Blair, ashen - faced, falling silent. As if in a daze, he watches the men as they continue to converse. Suspicious, frightened.", "EXT. COMPOUND - NIGHT Pitch black except for the barest of lighting which outlines the building. Wind. The swirl of ice.", "INT. MACREADY'S CABIN - NIGHT Far away from the others, MacReady sits in his little hovel putting the final screw into his mended chess set. On the other side of the set, his busty, inflatable companion has been propped up in a chair. His sombrero hangs down her back, keeping her in place. Hawaiian music plays from his tape deck. MACREADY All set. He puts down his screwdriver, holds up his glass and offers a toast with a big grin. MACREADY To us. He clinks the drink he has made for her that rests on her side of the board. He sips. He turns on the machine and makes his first move. MACREADY Now go easy on me, Esperanza. I'm just a beginner. The set answers for Esperanza. CHESS VOICE Rook takes bishop at Queen four - Rook take pawn at Queen two - Rook takes Queen at Queen one - Checkmate. MACREADY Aw shit. He flips open the circuitry panel in disgust. He tosses his screwdriver on the board and grabs his drink, downing it. MACREADY Sorry, hon. He reaches inside his ice bucket. Empty. MACREADY Never any damn ice around here.", "EXT. MACREADY'S CABIN - NIGHT MacReady exits. He swacks at a nearby bank of ice with a small ice pick. MACREADY Now in Mexico. Tahiti. They got ice. They got ice coming out of their ears. The sound of a clanking. He turns his attention. Metal against metal. Strange. MacReady listens. It appears to be coming from far off below, near the camp. MACREADY as he makes his way down with the aid of the steadying ropes. The clanking louder now. He senses the direction. MACREADY at the bottom near the main compound. The sound has stopped. He looks around in the near blackness. A beat. THE CHOPPERS sitting idle in the dark. MacReady approaches. The door to one of the cockpits is slightly ajar. He opens it cautiously.", "INT. CHOPPER MacReady slips in. He turns on a flashlight. The controls have been mangled. Beaten with something heavy. Bang! MacReady, startled, turns. Like the sound of a gun. Coming from the main compound.", "INT. COMPOUND - MAIN ENTRANCE Confusion. Shouts. MacReady enters. He grabs Palmer as he and Bennings rush by. MACREADY What's. PALMER Blair. He's gone berserk. BENNINGS He's in the radio room. Got a gun. Beat on Sanchez something fierce. HALLWAY - RADIO ROOM ENTRANCE The men are on either side of the open radio room doorway. Garry peeks his head in. A gunshot blast forces him back. RADIO ROOM Sanchez lies on the floor, groaning. Blair holds the gun on the door. He wields a fire ax with the other hand and smashes down on the radio. BLAIR Anybody interferes, I'll kill! Nobody's getting in or out of this camp. HALLWAY MacReady has joined the others. MACREADY He smashed one of the choppers up good. Childs, go check the other one and the tractor. Childs is off. RADIO ROOM Blair crunches the ax down once again, while keeping an eye on the door. BLAIR You think I'm crazy? Fine! Most of you do n't know what's going on - but I'm damn well sure some of you do! -LRB- crunch. -RRB- BACK TO HALLWAY NORRIS The back window. A couple of us could maybe surprise him. MACREADY Too damn dangerous. BACK TO RADIO ROOM BLAIR You think this Thing wants to become an animal? Dogs ca n't make it 1000 miles to the sea. No skua gulls to imitate this time of year. No penguins this far inland. Do n't you understand?! It wanted to become us! He brings the ax down hard on the radio. BACK TO HALLWAY Childs runs up, out of breath. CHILDS He got both choppers and the tractor. I do n't know how bad yet. Garry readies his large.357 Magnum. MACREADY No, wait a minute. -LRB- to Norris. -RRB- The fuse box. Norris double - times down the hall. MacReady turns the corner and into the rec room. He grabs one of the thick card tables. MacReady returns with the table to the hallway. BLAIR Ca n't you see? If one cell of this Thing got out it could imitate every living thing on Earth. Nothing could stop it! Nothing! MACREADY -LRB- humoring. -RRB- Look Blair, maybe you're right about this. But we've got to be rational. We've got to talk this over. I'm unarmed and I'm coming in. BLAIR No, you're not! I do n't trust any of you! NORRIS reaches the fuse box. He opens it. HALLWAY MacReady readies the table like a shield. MACREADY If you're right we've all got to stick together. The lights go out. MacReady charges into the black room. Blair fires. MacReady barrels into him, knocking him to the ground. He pummels him with a right hand and manages to control the gun. The others dive in and pile on.", "EXT. COMPOUND Heavily - clothed, MacReady, Fuchs and Dr. Copper help a dazed Blair to a toolshed some seventy - five yards from the main compound.", "INT. TOOLSHED More spacious than MacReady's. Very livable. Two windows. Blair has been placed on the cot. Dr. Copper injects him with a sedative. BLAIR Why am I here? DR. COPPER It's for your own protection, Blair. MACREADY And mainly ours.", "EXT. SHACK Fuchs and MacReady nail boards over the windows. MACREADY Leave a bit of an opening so he can see out. Blair's droopy - eyed, heavily drugged features loom up at MacReady through the window. MACREADY How you doin', old boy? BLAIR -LRB- softly. -RRB- I do n't know who to trust. MACREADY -LRB- humoring. -RRB- Know what you mean, Blair. Trust is a tough thing to come by these days. Just trust in the Lord. BLAIR -LRB- beat. -RRB- Watch Clark. MACREADY What? BLAIR Watch him close. Ask him why he did n't kennel the dog. Blair's face disappears from the window.", "EXT. COMPOUND - DAY Harsh and grey. Getting very dark as winter takes a stronger hold. Bennings is dumping the trash in a large hole in the snow which acts as the trash dump. Bennings finishes and drags the empty bins past Palmer and Childs, who are fixing the wounded choppers.", "INT. RADIO ROOM The radio looks a mess. Norris and Sanchez, a bandage wrapped around his head, examines the damage. He is in pain and still looks a little groggy. SANCHEZ I'll see what I can do. But they did n't teach me much about fixing these things. Norris smiles and pats him comfortingly. NORRIS They did n't teach you much about working them either.", "INT. MESS HALL - MORNING CLOSE ON A BUFFET OF EGGS, BACON, TOAST, ETC.. Pull back. The men help themselves. It is a cramped, elongated room. Dr. Copper approaches Nauls and hands him a capsule. DR. COPPER Put this in Blair's juice before you take him his tray. Clark comes running into the room, pallid, out of breath. The men turn to look. CLARK The dogs.", "INT. THE KENNEL Empty. Clark and Garry examine the latch of the kennel door. GARRY Does n't look broken. CLARK No. Door was wide open. I know I latched it.", "EXT. COMPOUND ABOVE THE UNDERGROUND KENNEL CLOSE ON THE DOGS' TRACKS in the snow. They lead from the kennel's open stairwell and out onto the ice. All the men have gathered. CLARK All three of them took off. MacReady is writing down what appears to be a list on a pad. DR. COPPER How long do you suppose they've been gone? CLARK I have n't seen them since their last feeding. Could be as much as twenty - four hours. MACREADY They could n't have gotten that far in this weather. Garry and several others turn to MacReady quizzically. GARRY You're not thinking of going after them, are you? MACREADY I am going after them. NORRIS What in the hell for? Even if Blair's right - they'll just die out there. No food. They're over a thousand miles from anything. PALMER Chopper are n't going to be ready for days. MacReady hands his list to Bennings. MACREADY Get these things out of supply and meet me over by the snowmobiles. GARRY You're not going to catch them in one of those with the start they got. MACREADY Palmer, how long would it take you to strap those big four - cylinder carburetors on? PALMER -LRB- grins. -RRB- Oh, I got you. Not too long. MACREADY Then get a move on. Childs, come with me. He puts his arm around Childs and pulls him along. The others watch them walk off, a little bewildered. GARRY -LRB- shouting after them. -RRB- Besides, what are you going to do when you catch up to them? Bennings is reading MacReady's list. BENNINGS Holy shit. -LRB- hands list to Garry. -RRB- Whatever he's going to do, he ai n't fucking around.", "EXT. OUTDOOR WORK AREA - CLOSE ON THE BARREL of the large torch. A fierce stream of flame bursts from its nozzle. Pull back. The stream has shot out some fifteen feet. Childs has been modifying it. CHILDS I can get maybe another five or six feet out of it. MACREADY That's good enough. CLOSE ON PALMER as he works on the snowmobiles. Into frame rolls a wheelbarrow on sleds. A box marked DYNAMITE is its most prominent article. Pull back. Bennings reads off the list of supplies. BENNINGS All right. Box of dynamite. box of thermite. three shotguns. box of flares. two flare guns. thirty cans gasoline. and a case of alcohol. MACREADY Let's load'em.", "EXT. ANTARCTICA - ICESCAPE The two vehicles rip across the hard, flat ice, bolstered by the added horsepower. They follow the still visible dog tracks in the snow. THE SUN sliding across the horizon, signaling midday. The snowmobiles whoosh past. Bennings drives the one loaded with supplies. MacReady and Childs double up on the other. MACREADY steadying his binoculars, while Childs drives, spots something up ahead. The vehicles slow down and come to a halt. Something lies just ahead of them in the whiteness, in the middle of the dog tracks. THE MEN kneel down by the `` something.'' It is the half - eaten remains of a dog. Its hind legs and lower stomach picked clean. Its ripped hide, flapping in the wind. Its top half missing. CHILDS What is it? MacReady follows the line of continuing dog tracks. MACREADY Maybe dinner. BENNINGS Dogs do n't eat each other. MACREADY -LRB- beat. -RRB- I know. CHILDS Where's the other half? MACREADY Probably the next meal. MacReady moves to the snowmobile and grabs a two - gallon can of gasoline. He turns to Bennings. MACREADY Where these tracks headed? BENNINGS Nowhere. Just straight to the ocean. A beat as MacReady takes this in. He pours the gas over the remains and sets it aflame. MACREADY Let's move. Childs and Bennings are not that anxious to continue. CHILDS They could be hours ahead of us, Mac. BENNINGS Gon na get dark soon, too. Supposed to be fifty below tonight. MacReady gets on and revs up the engine. MACREADY Turn back if you want. Childs and Bennings return shrugs. THE SUN making its last pass, rolling off the horizon. Only a slight orange hue left. THE SNOWMOBILES move slower, positioned on either side of the tracks. The tracks abruptly change direction. The men come to a stop. It is much colder now. Their beards, a mask of white powder. MacReady surveys the new direction. They are headed toward a far - off ridge of bluffs. Large, windswept mounds of ice. THE SNOWMOBILES as they move through a valley of newly - formed dunes and tall ice cliffs. The last of the sun obscured, the headlamps are turned on and pointed at the tracks. The men look behind, in front, and from side to side, as they proceed cautiously through the maze. Up ahead MacReady spots : A DOG It sits, its back to them, unconcerned, heedless of their arrival. It is munching on the other half of the dog carcass. The men stop their machines some twenty yards from it. They are hemmed in at the valley's narrowest point. Childs, carrying the torch, and MacReady, armed with a thermite bomb, wade awkwardly but carefully toward the animal in their snowshoes. Bennings stands back by the snowmobiles. Childs and MacReady spread out some dozen feet from the dog. It continues to pay them no mind, content to chew its food. CHILDS Where's the other one? Bennings surveys the tops of the snow bluffs that encircle them with his flashlight. MACREADY -LRB- to dog. -RRB- Where's your buddy, boy? Huh? No response. MacReady searches the near vicinity with his light. All three are growing uneasy. MACREADY Let that thing fly, Childs. Do n't let up until he's ash. Childs turns on the gas and lights the tip. Bennings is still watching the bluffs. Something from beneath the snow reaches up and grabs his feet. He is ripped back down through the hard snow in one incredibly powerful motion. He screams, his head the only thing sticking out of the ice. Childs and MacReady turn, confused, unable to see anything be Bennings' screaming head. They rush toward him. MacReady stumbles. The sound of a snapping, a crackling to MacReady's rear. He freezes ; turns back to the dog. Its back is still to him ; its coat of hair sticking up like that of a porcupine. It snarls ; its face turns slowly toward him. Its skin splitting ; its mouth ripping open wildly. MACREADY Childs! Childs stops, confused as to who to help first. He notices the dog hunched and ready to spring. He steps back toward MacReady. The dog/Thing leaps for MacReady ; an incredible jump of some twenty feet. Childs lets loose a blast, hitting the dog in midair ; the force of the spray knocking it back and tumbling to the ice in flames. MacReady throws his thermite canister. It discharges and engulfs the screeching animal in fire. BENNINGS howling in pain. The ice underneath him thrashes violently. Childs and MacReady stand by helplessly, unable to see what has him or what action to take. Childs moves closer to help. MACREADY -LRB- pulls him back. -RRB- Stay back! Bennings' head disappears with a sudden jerk through the ice. The ice continues to rumble like boiling water, moving in different directions. Part of Bennings' body pops up in a different area and is just as quickly pulled back down. MacReady and Childs watch on in frustration and anger. CHILDS What we going to do?! MACREADY How the fuck do I know?! Bennings' head and shoulders then surface near one of the snowmobiles. Something has him. Unclear as to what. The jowls of a dog. But huge. Bennings' heavy clothing begins to rip, tear, as if his skin underneath was bulging out. The jowls seem to be absorbing his head. MacReady runs for the snowmobile. MACREADY Torch them! CHILDS But. MACREADY He's gone already! Do it! Childs blasts away. The ice begins to melt as Bennings and whatever has him catch fire. A screeching. MacReady grabs cans of gas from the snowmobiles. Suddenly a steel - like, arachnid - shaped arm shoots out in pain and with incredible force pierces the fiberglass chassis of the snowmobile. MacReady is knocked back. He recovers and dumps cans of gasoline on the writhing mess. He dives and rolls away from the lunging appendage. He and Childs watch on as Bennings and The Thing roar in flame. Behind them, the other dog/Thing continues to burn. The screeching, mewing and gurgling wails on, all about them. They look to each other in disbelief, their faces illuminated by the flickering flames. The strident sounds beginning to subside. THE SUN Its slim, orange arc sets, signaling the start of the Vernal Equinox. And the beginning of six months of darkness.", "INT. COMPOUND - REC ROOM The men are interrogating Clark. He is frazzled and defensive. CLARK I'm telling you I do n't remember leaving the kennel unlatched. Childs is holding the industrial torch directly in his face. CHILDS Bullshit! You left it open so they could get out!", "EXT. TRASH DUMP MacReady, waist - deep in trash and snow, searches for something.", "INT. REC ROOM The interrogation continues. CLARK Would I even have told you they were gone if I had anything to hide? GARRY But why did n't you kennel that dog right away? CLARK I told you I could n't find. -LRB- pushes torch away. -RRB-. get that out of my face. Childs grabs him by the collar and rips him off his chair. CHILDS Do n't you be telling me. Nauls steps between them. NAULS -LRB- to Childs. -RRB- Lighten your load, sucker. You ai n't the judge and executioner around here! CHILDS Who you trying to protect, mutherfucker? I'm telling you this S.O.B. could be one of them. Garry breaks it up, pulling them apart. MacReady enters from the outside. A bundle is tucked under his arm. GARRY Hold on, damn it. We're getting nowhere. If this bit of Blair's about absorbing and imitating is true. then that dog could have gotten to anybody. DR. COPPER And if it got to Clark. Clark could have gotten to anybody. MacReady moves over to the table. DR. COPPER Theoretically any of us could be whatever the hell this thing is. Norris shakes his head, rubbing his chest in slight discomfort. NORRIS It's just too damn wild - I ca n't believe it. MacReady pushes his sombrero back over his head. MACREADY Well, you can believe it now. He drops the bundle he had been holding on the table between the men. It is the shredded pair of long johns. MACREADY Nauls found this yesterday. It's ripped just like the clothing on the Norwegian we brought back. The same thing was happening to Bennings' clothes when it got to him. Seems these Things do n't imitate clothes. Just flesh and bone. The men look from one another. Silence. MacReady picks it up and examines the label. MACREADY Size large. -LRB- grins. -RRB- What do you wear, Clark? Clark stews. CLARK So what? NORRIS I wear a size large, too. MACREADY So do I. So do most of us. The uneasiness in the room grows. MACREADY Doubt if it got to more than one or two of us. But it got to someone. -LRB- beat. -RRB- Somebody in this room ai n't what he appears to be. A pause as all eyes travel from man to man. SANCHEZ -LRB- scared. -RRB- Well, what we going to do? Norris turns to Dr. Copper and Fuchs. NORRIS Can there be. some kind of test? To find out who's what? DR. COPPER A serum test possibly. FUCHS Right. Why not? GARRY What's that? DR. COPPER It's a simple blood typing test. This Thing's blood chemistry is different than ours. Basically we mix someone's blood with uncontaminated human blood. If we do n't get the proper serum reaction - then that person is n't human. CHILDS Whose uncontaminated blood we going to use? DR. COPPER We've got blood plasma in storage. GARRY How long will it take you to prepare this? DR. COPPER A couple of hours. GARRY Well, get to it. Garry unhinges a key from his belt and hands it to Dr. Copper. Dr. Copper and Fuchs head for the infirmary. PALMER How's that Thing get to the dogs? I though we stopped it in time. MACREADY Copper thinks they swallowed pieces of it during the fight. PALMER And that was enough? DR. COPPER -LRB- O.S. -RRB- Garry. The rest of you! Come here!", "INT. INFIRMARY The men rush in. Fuchs and Copper stand by the open plasma storage refrigerator. The inside is a mess of dried blood. The bladders have been ripped open. Copper is ghastly pale. DR. COPPER Somebody got to the blood. sabotaged it. NAULS Oh, my God. A horrified silence. MACREADY Was it broken into? FUCHS No. Somebody opened it. Closed it. And then locked it. Sanchez twitches, terrified. MACREADY Well, who's got access to it? DR. COPPER I guess I'm the only one. GARRY And I've got the only key. Several pairs of eyes turn to Garry. MACREADY Would that test have worked? DR. COPPER I think so. NORRIS Somebody else sure as hell thought so. MACREADY Who else could have used that key? GARRY Ah. no one. I give it to Copper when he needs it. MACREADY Could anyone have gotten it from you? DR. COPPER I do n't see how. when I'm finished I return it right away. NORRIS When was the last time you used it? DR. COPPER -LRB- uneasy. -RRB- A day or so ago. I guess. Garry senses the nervous and inquiring eyes on him. GARRY I suppose. well, it's possible someone might have lifted it from me. But. CHILDS That key ring of yours is always hooked to your belt. Now how could somebody get to it without you knowing? GARRY -LRB- upset, flustered. -RRB- Look, I have n't been near that. that refrigerator. Silence as the men continue to stare. Sanchez is perspiring. GARRY Copper's the only one who has any business with it. The eyes shift from Garry to Copper. DR. COPPER Now. wait a second, Garry, you've been in here on several occasions. FUCHS And the Doc thought of the test. CHILDS -LRB- anger. -RRB- So what?! Is that supposed to leave him in the clear?! Bullshit! Sanchez bolts out the door. Stunned for a beat, the others chase after him. GARRY Hey, Sanchez! SANCHEZ in terror, runs at top speed through the narrow corridors. Opening and shutting doors. The others are in pursuit. They shout for him to stop. SANCHEZ as he reaches a small armory. A glass case set into the wall. A half dozen rarely used guns are inside. He tries the handle. Locked. He hears the clamor of feet and voices as the others are nearing. He breaks the glass and grabs a shotgun. Then a box of shells. He frantically tries to load, but is too nervous. The others arrive at the end of the hallway. Garry pulls his handgun and points. GARRY Put that down! SANCHEZ -LRB- trembling. -RRB- No. GARRY I'll put this right through your head. No one doubts Garry's sincerity. SANCHEZ You guys going to let him give orders? I mean he could be one of those Things. The other regard Garry tensely. No one oblivious to the fact, that Sanchez just might be right. MACREADY -LRB- calm. -RRB- Put it away, Sanchez. Just put it away. Still trembling, he tosses the shells back into the broken case, leans the gun against the wall and begins to sob. Nauls skates over to comfort him. The men watch as Garry lowers his gun. He turns to them. GARRY I do n't know about Copper. But I did n't go near that plasma. -LRB- beat. -RRB- But I guess you'll all rest easier if someone else is in charge. He hands his gun to Norris. GARRY Ca n't see anyone objecting to you, Norris. NORRIS Sorry, gentlemen. -LRB- rubs chest. -RRB-. Do n't think I'd be up to it. Have n't been feeling well lately. Childs goes for the gun. CHILDS I'll take it. MacReady beats him to it. MACREADY Maybe it should be someone a bit more even - tempered, Childs. Childs glares. MACREADY -LRB- to others. -RRB-. Any objections? Roving eyes pass about the hallway. Nobody is sure who to trust. MacReady seems as good as any.", "INT. REC ROOM The men have gathered to discuss plans. Furtive and untrustworthy glances are passed around the room. MACREADY From what we know this Thing likes to go one on one. So we stick together as much as possible. In two's and three's. Childs points to Garry, Dr. Copper and Clark. CHILDS What do we do about those three? MACREADY We got morphine, do n't we. Fuchs nods. MACREADY Well, we keep them loaded. Stash them here in the rec room and watch'em twenty - four hours. PALMER -LRB- ears perk up. -RRB- Morphine? You know I was pretty close to that dog, too. Palmer is ignored. NORRIS We should sleep in shifts. MACREADY Right. Half of us awake at all times. SANCHEZ How we going to try and find out who's. you know, who's who? MACREADY -LRB- to Fuchs. -RRB- Can you think of any other tests? FUCHS I'll try. I could sure use Copper's help though. CHILDS You can eighty - six that thought right now, man. Dr. Copper eyes his accuser solemnly. MACREADY Also. When this Thing turns. it turns slowly at first. I think we can handle it in that state. But if it ever got to full power. from what I saw of that Norwegian camp. well, I just do n't know. It would probably take it an hour or more to get like that. So no matter what anybody's doing, we all return to this room every twenty minutes. Anybody gone longer than that. anybody trying to leave. we kill'em.", "EXT. COMPOUND - DARKNESS It is the dead of winter. Six months of darkness ahead. Palmer fights the cold as he works dismantling the engine of the helicopter. He frowns, searching for something. PALMER -LRB- mumbles. -RRB- Where's that magneto? Ca n't find a darn thing around here any more.", "INT. REC ROOM Copper, Clark and Garry sit moodily together on a couch. Norris awkwardly prepares to give them their injections. He is new at this. Childs stands guard with his torch. Dr. Copper offers to help. DR. COPPER I'll do it. You're going to break the needle in my arm. CHILDS No, Doc. He's doing a real fine job.", "EXT. COMPOUND MacReady and Sanchez are foraging through the trash dump. MACREADY Look for shoes, too. And burned cloth.", "INT. RADIO ROOM Norris has begun dismantling the radio. He rubs at his chest as he disengages the headset.", "INT. HALLWAY Following Nauls as he skates through the labyrinth. Checking waste bins. Pausing to look behind shelves and any obscure hiding place. MacReady passes him coming the other way. NAULS That thing's too smart to be hiding any more of its clothes, MacReady. MACREADY Just keep looking.", "INT. LAB Fuchs is poring over a book. Several others lie open on his desk. MacReady pokes his head in the lab. MACREADY How's it going? FUCHS Nothing yet. But, MacReady, I've been thinking. If our dogs changed by swallowing parts of that other one. We better see to it that everyone prepares their own food and we eat out of cans. MACREADY Gotchya.", "EXT. COMPOUND A siren goes off, signaling the end of a twenty - minute period. Sanchez pulls himself out of the trash dump. Palmer carries a large part of a helicopter engine toward the compound.", "INT. COMPOUND The hallway near the supply storage cubicle. MacReady holds the door open as Palmer makes his way to him lugging the heavy helicopter part. Childs passes by from the other direction. PALMER Childs, where's that magneto from Chopper One? CHILDS Ai n't it there? He passes by. PALMER No it ai n't there. Would I be asking if it were there? MACREADY Move it, Palmer.", "INT. SUPPLY STORAGE ROOM Palmer sets down the heavy part. Norris follows him inside with a bundle of radio gear. They move back out into the hallway. MacReady locks the door behind them. HALLWAY The three move down the hall toward their appointed rendezvous at the rec room. MACREADY -LRB- to Palmer. -RRB- Start taking apart those snowmobiles next, huh?", "INT. KITCHEN Cramped. Several of the men are preparing their food. Opening cans. Heating them in pots.", "EXT. COMPOUND Nauls wearily approaches Blair's tool shed with a tray of food. He hears a pounding from within. NAULS I got your goodies, superdude. He peeks in through the opening in the boarded - up window. Blair is nailing himself in from the inside. He looks pretty crazed. NAULS What you doin'? BLAIR Nobody's getting in here. You can tell them all that! NAULS Well, who the hell you think wants to get in there with you? Nauls slides the tray in the slot. It is immediately shoved back out and topples onto the ice. Some of the food has splashed on Nauls' heavy coat. NAULS Now why'd you go and. BLAIR And I do n't want any more food with sedatives in it. I know what you're up to. Do n't think I do n't. And if anyone tries to get in here - I've got rope. I'll hang myself before it gets to me. NAULS You promise? Nauls picks up the tray, heads back mumbling. NAULS Crazy white scientist motherfucker.", "EXT. COMPOUND Palmer works on the snowmobile. Sanchez resumes searching through the trash.", "INT. BALLOON TOWER MacReady slashes into the huge uninflated weather balloons, rendering them useless. Tanks of helium and hydrogen are stacked nearby.", "INT. KITCHEN Nauls does the dishes. His cassette plays in the b.g.", "INT. REC ROOM Childs continues guarding the three men. CLARK Got ta go to the can, Childs. Childs follows him to the other end of the room. CHILDS Be quick. Clark walks to the head. Childs moves back to the middle of the room. As the guard he is much more vulnerable in this position. Being split between his prisoners. The lights begin to flicker. The soft purr of the generator begins to fade. CHILDS Oh, no. The lights go out. Nauls calls from the kitchen. NAULS -LRB- O.S. -RRB- Childs! That a fuse? CHILDS No. The generator. You got the auxiliary box just off the kitchen. Get to it. -LRB- fumbling around. -RRB- Where's the damn flashlight? -LRB- calling out. -RRB- You fellas okay over there? Dr. Copper giggles in the dark. CHILDS Cut that out, Copper. -LRB- beat. -RRB- Nauls? What's taking you?! NAULS -LRB- O.S. -RRB- I'm working it! Nothing's happening! CHILDS That's impossible, man! Okay, Clark, out of the john where I can see you! NAULS -LRB- O.S. -RRB- It's shorted out or something! CHILDS -LRB- shouting. -RRB- Clark, you come on out here! Childs lights the tip of his torch, allowing him a strong candlelight. Garry is no longer in the room. CHILDS Where's. Where's Garry? Dr. Copper looks numbly at the empty seat next to him. Childs finds the portable siren and blares it.", "EXT. COMPOUND MacReady, Palmer and Sanchez heed the call and head for the compound.", "INT. REC ROOM Childs jerks his head around in different directions. CHILDS Where are you, Garry? Do n't you move an inch, Copper. -LRB- shouts. -RRB- Nauls, bring me a goddamn flashlight!", "INT. KITCHEN Pitch black. NAULS Somebody's taken it. I ca n't find it! CHILDS -LRB- O.S. -RRB- Clark, you want me to come in after you?!", "INT. HALLWAY MacReady, Sanchez and Palmer come in from the outside. They bump into each other trying to get their bearings from the lack of light. Palmer, the only one who seems to have one, turns on his flashlight. MACREADY -LRB- shouting. -RRB- What's happened?! NORRIS -LRB- O.S. -RRB- MacReady, that you? MACREADY Yeah! NORRIS -LRB- O.S. -RRB- It's the generator I think! No power. MACREADY -LRB- to Palmer. -RRB- Well, let's get down there. CHILDS -LRB- O.S. -RRB- MacReady! MACREADY What? CHILDS -LRB- O.S. -RRB- Garry's missing! MACREADY -LRB- to self. -RRB- Oh, shit! -LRB- shouts. -RRB- Well, hang on! CHILDS -LRB- O.S. -RRB- Gee, thanks!", "INT. GENERATOR ROOM Palmer and MacReady stumbling down the stairs. MacReady turns around, looks. MACREADY Where's Sanchez? Both look around. Sanchez is gone. Palmer's light finds the motionless generator. He examines it. PALMER The fuel pump. it's gone. -LRB- frantic. -RRB- You've got to get up to supply, Mca. If we do n't get this thing started soon, it'll freeze on us and we'll never get it going. MacReady dashes upstairs into the darkness.", "INT. HALLWAY The lab door is opened. Fuchs holding a small candle walks out. As he passes, the shoulder of a man springs into frame.", "INT. GENERATOR ROOM Palmer is feverishly working underneath the generator on his back.", "INT. REC ROOM The temperature continues to drop rapidly. Childs swats himself to keep warm, while still keeping an eye on Dr. Copper and the rest of the room.", "INT. HALLWAY MacReady rushes out of the supply room, with a fuel pump, bumps into somebody. MACREADY Who. Who is that? The silhouette moves on down the hallway. MACREADY Sanchez? Hey, who. PALMER -LRB- O.S. -RRB- Mac, where the hell is that pump!", "INT. GENERATOR ROOM MacReady holds the flashlight for Palmer. Their breath, puffs of white smoke. PALMER Somebody definitely messed with it. MACREADY We going to make it? PALMER Hope so. Another ten, fifteen minutes. What I do n't get is. The sound of a screeching. From somewhere in the compound. The two men's faces, locked in fear.", "INT. REC ROOM The generator has been repaired ; the lights within the compound are back on. Grim and tense. Everyone is present but Fuchs. Eyes flit from man to man. Palmer, Nauls and Sanchez are spread out about the room, keeping as much distance as possible from the rest. Norris and Childs are tying the Doctor, Clark and Garry to the couch. MacReady prepares several makeshift blowtorches as he kneels on the ground. SANCHEZ Where were the flashlights? MACREADY Screw the flashlights. Where the hell were you? PALMER Tons of stuff's been missing around here. Magnetos, cables, wire. NAULS Kitchen things, too. MACREADY Anybody see Fuchs. or hear him? Huh? No answer as the men's faces roam the room. Childs glares at Garry as he begins to tie him in. CHILDS Where'd you go? Garry's groggy features stare blankly. CHILDS I said where? Where'd you go?! GARRY Was dark. find a light. CHILDS You lying bastard. Garry struggles to his feet, affronted. GARRY -LRB- slurring. -RRB- I rather do n't like your tone. He grabs Childs by the collar. CHILDS You sit back down. Childs whales on him with a right hand. Both go tumbling over the couch. MacReady and Norris dive in breaking it up. NORRIS Enough. MacReady, furious, pulls Childs away. Norris breathing heavily from the activity, massages his chest. The strong, stormy winds overhead batter the roofing. MacReady glances up. He and Childs release each other. MACREADY That storm's going to start ripping any minute - so we do n't have much time. He thrusts one of the blowtorches hard into Childs' stomach. MACREADY We've got to find Fuchs. When we find him - we kill him. SANCHEZ Why? MACREADY If he's one of those Things, we've got to get to him before he changes. Nauls, you and Childs and I'll check the outside shacks. He tosses torches to Sanchez and Palmer. MACREADY Sanchez, you and Palmer search the inside. PALMER I ai n't going with Sanchez. Sanchez snaps his head toward Palmer. Palmer looks at the others. PALMER I ai n't going with him. I'll go with Childs. SANCHEZ Well, screw you, man! PALMER I ai n't going with you! CHILDS Well, who says I want you going with me?! MACREADY Cut the bullshit. Okay, Sanchez, you come with us. Norris. you stay here. -LRB- refers to tied - up men. -RRB- Any of them move - you fry'em. And if you hear anything, anything at all you let loose the siren. We all meet back here in twenty minutes regardless. -LRB- a beat. -RRB- And everybody watch whoever you're with. Real close. The men survey each other. MACREADY Let's move.", "EXT. COMPOUND - NIGHT MacReady and Nauls, wearing their snowshoes and using flares for light, pull themselves along the steadying rope that leads to Blair's shed. They are careful to keep an eye on each other as they move along. Sanchez heads off in the direction of another shack.", "INT. COMPOUND - HALLWAY One of the many doors creak open. Childs and Palmer stealthily move into the next corridor. Palmer falls a few steps behind. PALMER What'd we ever do to these Things anyway. Childs freezes and snaps his head around facing Palmer. A beat. PALMER What? CHILDS Do n't walk behind me. Another beat. PALMER Right. He moves to the other side of the wall, parallel with Childs. They continue on, skimming along the sides of the corridor in plain view of one another.", "EXT. COMPOUND Nauls and MacReady arrive at Blair's shack. They peer in through the spaces between the boards. A weak light burns as Blair is seated eating out of a can. A hangman's noose dangles from the ceiling nearby. MACREADY Hey, Blair! Blair jumps in fear, spilling his can. MACREADY Has Fuchs been out here? Blair approaches the boarded - up window. He looks haggard and afraid. BLAIR I've changed my mind. I'd. I'd like to come back inside. I do n't want to stay out here any more. Funny things. I hear funny things out here. MACREADY Have you come across Fuchs? BLAIR Fuchs? No, it's not Fuchs. You must let me back in. I wo n't harm anyone. I promise. MACREADY We'll see. He and Nauls trudges off. Blair shouts after them. BLAIR I promise! I'm much better now! I'll be good! I'm all better! Do n't leave me here!", "INT. REC ROOM Norris continues his watch on the sedated trio. He anxiously tries to keep an eye on the various entrances behind and in front of him. He rubs his chest in pain. DR. COPPER I'm getting worried about you. You ought to have a checkup. NORRIS Let's just not get worried about anything just now. DR. COPPER -LRB- yawning. -RRB- After all this mess then. NORRIS -LRB- nodding. -RRB- After all this mess.", "EXT. COMPOUND - THE SLOPE TO MACREADY'S SHACK The winds are thick and vicious now. MacReady and Nauls pull themselves along the rope fighting their way up the slope. A violent gust sends MacReady's body horizontal, but still hanging onto the rope. The wind slaps him back down. His flare and torch tumble back toward Nauls. Nauls saves the torch from rolling down the hill. MacReady, lying vulnerable, watches Nauls pull his way toward him. He tenses. Nauls reaches him. A beat. He hands back his torch. Relieved, MacReady pulls himself upright.", "INT. COMPOUND - KITCHEN - CLOSE ON THICK POWER CABLES that line the wall. They have been torn apart. Childs and Palmer examine. PALMER Auxiliary light cables? Been cut. CHILDS Cut, bullshit. Been pulled apart.", "EXT. MACREADY'S SHACK as they reach the top. The remaining flare their only light. Very dark. They stand on either side of the door. MacReady shoves it open. Pitch black inside. MacReady flips the light switch. Does n't work.", "INT. SHACK They enter. Hunched. Torches ready. The place is a mess. The winds as strong as on the outside. The single flare illuminating the ceiling. Almost all of the corrugated, steel roofing is gone. As if ripped off. NAULS -LRB- shouting to be heard. -RRB- Where's the roof?! MacReady stares up incredulous, as they advance through the room. NAULS This storm do that? MACREADY -LRB- shouting. -RRB- Could n't be possible. Must have weighted a ton and a half. Nauls kicks over a chair. A naked, fleshy object bounds high into the air. Nauls thrusts out his torch, catching the breasts of the inflatable woman. She pops and is sucked out through the hole in the roof. Nauls tries to catch his breath. NAULS Goddamn white women.", "INT. COMPOUND Underground, rickety corridor. Palmer stands by as Childs undoes the many locks to the room that houses his plants. One by one. Palmer twists his head in every which direction. Nervous. Childs pulls open the heavy door. A flush of snow and wind push them back. They wedge their bodies at the entrance to the lightless room. CHILDS My babies. They enter. The light from the hall exposes the completely smashed - in window high above the plants. The plants look frozen. PALMER Somebody broke in. CHILDS Now who'd go and do. Saddened, angry, Childs goes to check the damage to his plants. Palmer, his face set in horror, yanks him back. PALMER Childs! CHILDS Let go of me. PALMER Do n't get near'em. The plants! They're alive. Those things can imitate anything. CHILDS What's it going to do, being a plant? Palmer readies his small torch. PALMER We got to burn'em. CHILDS Now hold on, you dumb. Palmer sprays them with flame. Childs pushes him to the ground, and tries to swat out the fire. CHILDS You stupid, sonofa. Palmer, his mouth agape with terror, screams and points to the closing door to their rear. Childs whirls. FUCHS One arm outstretched, swings into view. An ax, embedded deep into his chest, pins his frozen body to the inside of the door.", "INT. REC ROOM Norris startled by the scream, turns on the siren.", "INT. PLANT ROOM Sanchez has joined Childs and Palmer. The body of Fuchs is still pinned to the door. Sanchez tries to wrench the ax loose. It is too deeply embedded and wo n't budge. SANCHEZ Whoever put this through him. Sanchez observes Childs' hulking frame and adds pointedly : SANCHEZ is one bad - ass and strong muther. CHILDS No one's that strong, boy!", "INT. PASSAGEWAY Tracking with the three men. Opening and closing doors, as they make their way back to the rec room. They keep their distance from each other, watching each other while they walk. PALMER Why did n't it imitate Fuchs? Is n't that its number - to get more recruits. CHILDS Was n't enough time. Generator was out, what? Thirty minutes. Takes the bastards an hour, maybe two to absorb somebody. SANCHEZ Why Fuchs? CHILDS He was working on a test. Fuchs must have been onto something. These bastards got scared and got rid of him. -LRB- suddenly realizing. -RRB-. Hey. Where's.", "INT. COMPOUND - CLOSE ON PALMER'S FACE shouting down a passageway. PALMER MacReady! CLOSE ON CHILDS bellowing. CHILDS Nauls! MacReady!", "EXT. COMPOUND A strong driftwind streams snow across the ground obscuring everything but the very top of the buildings. The siren screams.", "INT. REC ROOM Rigid, immobile faces. Listening to the storm overhead. CHILDS How long they been out now? NORRIS Forty. Forty - five minutes. Silence, as the uneasy eyes measure one another. CHILDS We better start closing off the outside hatchways. VARIOUS ANGLES OF THE COMPOUND Childs, Sanchez and Palmer - closing off and bolting the entrances to the camp. NORRIS -LRB- O.S. -RRB- All of you! Come here!", "INT. COMPOUND MAIN HALLWAY - POINT OF VIEW - THE MEN Through the fogged - up windows, a figure can be seen approaching the main compound. It pulls and drags its way along the guide rope, fighting the gale force winds. THE MEN weapons in hand, huddle at the main doorway. They unbolt it. Sleet and hail send Nauls rolling in from the outside. The men force the door back and lock it. The weary Nauls kneels on the floor and gasps for air. The others surround him. PALMER Where's MacReady? Nauls weighs each of them ominously, while digging down underneath his heavy jacket. NAULS Cut him loose of the line up by his shack. CHILDS Cut him loose? NAULS When we were up poking around his place. I found this. He pulls out a thick bundle of heavy clothing. It is mutilated and partially burned. He holds out the jacket to show the inside collar. Close on name tag - it reads : R.J. MACREADY The men, as they examine in a hush. NAULS It was stashed in his old coal furnace. wind must have dislodged it. I do n't think he saw me find it. The men continue to examine in various states of disbelief. NAULS Made sure I got ahead of him on the towline on the way back. cut him loose. SANCHEZ -LRB- incredulous. -RRB- MacReady? NAULS He's one of them. SANCHEZ -LRB- scared. -RRB- When do you think it got to him? PALMER Could have been anytime. Anywhere. CHILDS -LRB- to Nauls, suspicious. -RRB- If it did get to him. NAULS Look, man. PALMER When the lights went out. NORRIS Would have been a perfect time. PALMER Right. Garry was missing. -LRB- pointedly. -RRB-. And Sanchez. SANCHEZ -LRB- goes for him. -RRB- Fuck you, Palmer. Childs and Norris separate them. NORRIS This is just what it wants. to pit us against each other. A pounding at the door sends the men jerking backward. Nauls scampers to his feet. They tense. MACREADY -LRB- O.S. -RRB- Open up! No answer as the men surround the door, their weapons ready. Fear. MACREADY -LRB- O.S. -RRB- Hey, somebody! Open up, it's me, MacReady. -LRB- still nothing. -RRB-. Come on, damn it. The towline snapped. Been crawling around like a seal out here. NAULS -LRB- harsh whisper. -RRB- Bullshit! He's got to know damn well I cut it! The men keep their voices low. PALMER Let's open it. CHILDS Hell no. More pounding. SANCHEZ -LRB- shaking. -RRB- You think he's changed into one of those Things? NORRIS He has n't had enough time. CHILDS Nothing human could have made it back here in this weather without a guideline. MACREADY -LRB- O.S. -RRB- Where is everybody?! I'm half frostbit! PALMER Let's open it. Now. CHILDS -LRB- edgy, hostile. -RRB- Why you so damn anxious to let him in here. PALMER -LRB- slightly trembling. -RRB- He's so close. Maybe our best chance to blow him away. CHILDS No. Just let him freeze out there. SANCHEZ -LRB- voice cracking. -RRB- What if we're wrong about him? CHILDS Then we're wrong. The muffled breaking of a window down the hall. The men turn. PALMER The supply window! SANCHEZ -LRB- terror. -RRB- What we going to. NORRIS All right. all right. we've got no choice now.", "INT. SUPPLY ROOM Pitch black. MacReady's voice is heard cursing as he appears to be stumbling around, looking for a light switch. He responds to the muffled voices at the door. MACREADY What's going on out there? HALLWAY Palmer stands by as Childs tries the knob. Locked. CHILDS Damn it, he's got the keys. Childs rips a nearby fire ax off the wall and begins hacking away at the door.", "INT. SUPPLY ROOM MACREADY What are you doing? CHILDS -LRB- O.S. -RRB- You're a dead man, MacReady - or a dead whatever the hell you are! MacReady begins to rummage through the supplies in the darkness. CHILDS -LRB- O.S. -RRB- We found your clothes - the ones you tried to burn. MACREADY What clothes? CHILDS -LRB- O.S. -RRB- You been made, MacReady. Childs chops away. MacReady desperately continues rummaging through the supplies. MACREADY Someone's trying to mark me, you bastard. trying to frame me. HALLWAY Childs cautions to Palmer as he prepares for one last blow. CHILDS Move in slow now. Crunch. The door gives. The men move in. Their blow torches ready. They freeze. MacReady stands before them holding a lighted flare. His hair and clothing are covered with snow ; his cheeks and nose blackened by frostbite. Tucked under his arm is an entire box of dynamite. He holds the flare dangerously close to the open box. MACREADY Anyone messes with me - the whole camp goes. He appears to mean it. They do n't seem anxious to test him. MACREADY Put those torches on the floor and back off. They do. He follows them out into the hall. HALLWAY The men step backwards carefully. MACREADY back way off. They heed, retreating further down the hall. MacReady glances behind him. MACREADY Where's the rest. Nauls and Norris, who have silently crept in through the supply window, come flying through the hacked - up door and barrel into MacReady. Both going straight for the flare. MacReady spins Nauls off and rips into Norris, sending him crashing violently into the wall. Nauls tackles MacReady's legs, pulling him to the floor. The others rush him. MacReady, still in control of the dynamite and flare, bellow : MACREADY So help me I mean it! They skid to a halt. Nauls crawls away, quickly. NAULS It's cool, man. We ai n't near you, man. Stay cool. PALMER Yeah, man, really. Just relax. MACREADY Anybody touches me. we go. Norris, lying on the floor, coughs as if gasping for breath. He quivers for a moment and then is still. Nauls crawls over to him and shakes him. A beat. NAULS I do n't think he's breathing. Nauls listens to Norris' chest. MacReady stands. MACREADY Go untie the Doc. Get him in here. Bring the others, too. -LRB- grins menacingly. -RRB- From now on no one gets out of my sight.", "INT. INFIRMARY Norris' body is plopped on the examination table. Copper stumbles and is steadied by some of the men. MacReady continues to keep his distance. Copper places an oxygen mask over Norris' face. He then rips open his shirt. MACREADY So you sweethearts had yourselves a little trial. I just may have to kill you on general principle, Nauls. Copper begins swathing Norris' chest with a gelatin substance. MACREADY Ever occur to the jury that anybody could have gotten to some of my clothes and stuck them up. CHILDS We ai n't buying that. DR. COPPER Damn it, quit the bickering and give me a hand. Wheel that fibrillator over here. Sanchez pushes over the portable fibrillator. Copper climbs up on the table and straddles Norris' chest. Unnoticed, Clark paws the contents of the instrument tray behind his back. DR. COPPER Palmer, turn on that oxygen and hold the mask over his face. Childs, grab his shoulders. They do so. Copper holds electrical prongs over Norris' chest. CHILDS -LRB- to MacReady, threatening. -RRB- You're going to have to sleep sometime. DR. COPPER Quiet down. -LRB- to Sanchez. -RRB-. turn that thing on. Sanchez depresses the `` on'' button. DR. COPPER Now hold him. MACREADY I'm a real light sleeper, Childs. DR. COPPER Enough, MacReady! Dr. Copper presses the prongs onto Norris' chest and shoots a bolt of current. Norris' body heaves upward. A slight crackling sound and an odd chirp through the oxygen mask. DR. COPPER Again. More current this time, Sanchez. Buzzz. Several more jolts from the prongs. Clark's hand has found a scalpel. He gently lifts it out, bringing it to his side. MACREADY And if anyone tries to wake me. DR. COPPER Damn you, MacReady! Norris' body begins bounding up. More crackling and popping. His chest begins to break up and spread. The mask pops off - a hideous mewing escaping from Norris' distorted mouth. The men jump back, incredulous. Dr. Copper scrambles off his chest and flops to the floor. SANCHEZ God. what? They watch on in stunned horror as The Thing that was Norris begins to change, to spread awkwardly on the slab. Its clothes tearing. A shoe splits in half and falls to the floor, exposing the beginnings of a talon. MacReady charges toward it, shooing the men off. MACREADY Get out of the way! He unloads with a stream of flame. The body writhes in pain, belching and hissing. The slab catches fire. It struggles, lunges for the floor, straightens up, and moves a few feet. A black and yellow substance rips through its trousers and squirts to the floor. Norris' body collapses on the fibrillating machine in flames. Extinguishers are ripped from the walls and put to work. MacReady watches the smoking particles of ooze in fascination, as they twitch and mew on the floor. Within seconds the fire is out. The men stand around in awe as they look upon The Thing that was once Norris. MacReady continues to observe the small particles. Their tiny squeals abating into silence.", "INT. REC ROOM MacReady, still carrying the industrial torch, has maneuvered all the men into the room. He holds Garry's.44. He has untaped the explosives from his chest and laid them on the nearby table next to two more boxes of dynamite. CLARK What you got in mind, MacReady? MACREADY A little test. PALMER What kind of test? MACREADY I'm sure a lot of you already know. He tosses a ream of steel cable and some rope to Palmer. MACREADY Palmer, you and Copper tie everyone down. Real tight. CHILDS What for? MACREADY For your health. GARRY -LRB- to others. -RRB- Let's rush him. He's not going to blow us all up. MACREADY Damn if I wo n't. CHILDS -LRB- a beat. -RRB- You ai n't tying me up. MACREADY Then I'll have to kill you. CHILDS Then kill me. MacReady points the.44 at Childs' head. MACREADY I mean it. MacReady cocks his gun. Childs holds his ground. CHILDS I guess you do. A beat. Clark springs for MacReady. Scalpel raised. MacReady spins and fires three shots, point - blank, the forces of the charges sending Clark flying backwards. The others, themselves about to pounce, stop - as MacReady whirls the torch and gun back toward them. THE MEN being tied securely to couches and chairs. MACREADY Tie up Clark, too. PALMER -LRB- bemused. -RRB- He's dead. MACREADY Norris looked pretty dead, himself. Bullets do n't kill these Things. MacReady turns on a Bunsen burner while he cuts the rubber covering off an electrical cord, exposing the copper wire. All the while, he keeps his eye on the men. CHILDS -LRB- muttering. -RRB- We should have jumped his ass. MACREADY Now Copper, you tie Palmer up. Copper starts to tie Palmer to the small couch next to Childs and Garry. MACREADY We're going to draw a little bit of everybody's blood. NAULS What are you going to do? Drink it? MACREADY Watching Norris in there. gave me the idea that maybe every part of you bastards is a whole. Every piece of you is self - sufficient, an animal unto itself. When a man bleeds it's just tissue. But blood from one of you Things wo n't obey. It's a newly formed individual with a built - in desire to protect its own life. When attacked, your blood will try and survive - and crawl away from a hot needle say. SANCHEZ grimacing as Dr. Copper pinches a scalpel to his thumb and collects a small portion of his blood in a dish. All the men have been tied up. Palmer, Childs and Garry on the small couch. The others, including the lifeless corpse of Clark, in chairs. Copper returns the plate to the table and sets it down in line with the other plates of blood that he has collected. The names of each man have been scribbled onto the plates. MacReady slides the Doctor a fresh plate. MACREADY Now you. Copper cuts his thumb, his blood dribbles onto the plate. He stands nervously for a beat. MACREADY Slide it back here. Copper pushes it toward MacReady. MACREADY Now step way back. Copper steps backward, moisture beginning to collect on his brow. MacReady begins to heat the copper wire over the Bunsen burner. The men watch intently. The wire begins to glow. MacReady points the torch directly at the Doctor. Both of them perspiring. MacReady lifts the glowing wire from the flame. The Doctor is dead still. MacReady slowly touches the wire to the Doctor's plate. A soft hiss. MacReady heats it again and tries once more. The same soft hiss. MacReady and the Doctor both let out a sigh. MACREADY I guess you're okay. DR. COPPER -LRB- shaken, facetious. -RRB- Thank you. MACREADY I did n't think you'd use that fibrillator on Norris if you were one of them. He hands Copper the torch. MACREADY Watch them. He cuts himself with the scalpel and begins collecting his own blood. MACREADY Now I'll show you what I already know. He heats the wire and puts it to his plate. The same harmless hissing. All eyes continue to watch as he tries again. The same result. Childs mumbles. CHILDS Load of bullshit. MACREADY We'll see. Let's try Clark. He heats the wire and lays it in Clark's dish. The hissing. CHILDS So Clark was human, huh? MacReady nods. CHILDS So that make you a murderer. MacReady glances over the group. MACREADY Palmer now. He sets Palmer's plate in front of him and heats the wire. GARRY Pure nonsense. This wo n't prove a damn thing. MACREADY Thought you'd feel that way, Garry. You were the only one who could have gotten to that blood plasma. -LRB- placing the wire in Palmer's dish. -RRB-. we'll do you last. Screech! The blood howls, trying to crawl off the plate. Palmer bolts forward with incredible force, racing for MacReady ; his face splitting ; his mouth roaring - dragging the couch, Childs and Garry with him. He smashes into MacReady knocking him over the table. MACREADY Copper! It's all happened too fast. Copper tries to get off a burst of flame. The ever - changing Palmer breaks his bonds and leaps on the Doctor. The others sit helpless, struggling at their bindings. MacReady dives on Palmer's back and the three go rolling to the floor. Screeching. Crackling. MacReady pounds viciously at Palmer's head. A powerful, shirt - splitting arm sends him skidding across the floor. Copper momentarily has control of the torch. Just as he positions it, Palmer's mouth splits from his chin to his forehead and engulfs the entirety of the Doctor's head. The big torch slaps against the wall. Palmer bounds to his feet, wrapping his arms around the dangling, struggling body of Dr. Copper. The men are screaming hysterically. MacReady tries to fire up the bruised torch. Busted. Wo n't work. Frustrated, he charges up behind Palmer and begins hammering the thick steel instrument over his head. The shirt of Palmer's back erupts in MacReady's face. Splitting and ripping wildly, exposing the beginnings of yet another orifice. A blackened, iron - strong tongue lunges outward. Stunned, MacReady manages to elude it, diving for the top of the table by the boxes of dynamite. MacReady lights the fuse of a thick roll and bounds from the table. Palmer awkwardly spins in circles, swinging the Doctor's body like a propeller blade, struggling to keep on balance, as he advances on MacReady. The second orifice, spitting and snarling as it continues to take form. MacReady waits until Palmer's back spins around, facing him. Only two yards away, MacReady flings his lit roll into the ever - evolving second mouth and leaps onto the couch covering Childs and Garry with his body. A muffled boom, as the swallowed explosive ignites from deep within Palmer and sends his flesh splattering all over the room. MacReady rolls away from Childs and Garry as fast as he can. MACREADY perspiring profusely, his hand trembling slightly, prepares to continue the test. He heats the wire. The men are pouring sweat, white - knuckled. One of the smaller torches is pointed at Nauls. He closes his eyes. MacReady places the heated wire into his plate. Hiss. MacReady exhales. Nauls opens his eyes. MacReady unties Nauls with one hand, while the torch stays glued to the others. MacReady heats the wire once again. Both he and Nauls have torches aimed at Sanchez. Sanchez is near tears. The wire is dipped into the plate. Hisssss. Sanchez breaks down and sobs. CHILDS sits stoicly, while he watches the preparations for his turn. CHILDS Let's do it, Bwana. Nauls and Sanchez take aim five yards away. Fierce, determined. The wire comes off the flame into the plate. the harmless hissing. The muscles in Childs' face melt into a sigh. CHILDS Muthafu. ALL EYES snap towards station manager Garry. Childs, suddenly realizing who he is sitting next to, squirms. CHILDS Get me. get me the hell away from. cut me loose, damn it! Nauls rips away his bindings. The other two stand guard. Childs scrambles off the couch and onto the floor. GARRY stares grimly ahead. Childs soaks his clothing with a can of gasoline. He is then surrounded. The room tenses, adrenalin pumps, breathing halts. The burner. The torches. The wire. The plate. Garry's face. Hisssss. MacReady tries again. Hiss. The men breathe. Their torches are lowered. Nauls throws his on the floor. Sanchez and Childs flop down in chairs. MacReady wipes his face. A long silence. Sanchez weeps quietly with relief. GARRY I know you gentlemen have been through a lot. But when you find the time. I'd rather not spend the rest of the winter tied to this couch. A beat. Childs starts to giggle. The strain on MacReady's jaw begins to lessen. Garry sits catatonic. Nauls scowls at Childs' uncontrollable laughter. The infectious rasping causes MacReady a slight smile as he looks up, taking comfort in the sound of the raging Antarctic wind vibrating the roof. Nauls, untying Garry, grumbles, at Childs. NAULS Shut the damn hell up. Childs wipes his eyes and grins over toward MacReady. His smile fades, MacReady is now stone - faced. Childs' grin goes stale, in sudden realization. MACREADY -LRB- almost a whisper. -RRB- Blair.", "EXT. COMPOUND - NIGHT The wind rumbles. The storm is at its peak. MacReady, Childs and Nauls, guided by their flares, pull themselves along the steadying rope, headed, for Blair's shack. BLAIR'S SHACK The door is wide open. They pause by the entrance, trying to balance against the wind. They enter.", "INT. BLAIR'S SHACK Empty. A few of the floorboards are loosened. They pull them up. They stare down into a large hole beneath the planking. Something is down there. They pull up more boards. The hole is some fifteen feet deep. Its dimensions are the same as the shack. Its space is almost completely taken up by some strange metallic object. Crudely fashioned, a patchwork job, but streamlined. Sheets of corrugated steel are visible ; but cut apart and welded into the desired shapes. The object appears to be unfinished. NAULS What is it? MACREADY Everything that's been missing. CHILDS Spaceship of some kind. MACREADY Smart S.O.B.. He put it together piece by piece. NAULS Where was he trying to go? MACREADY Anyplace but here. MacReady pulls out a dozen tightly wrapped sticks of dynamite. MACREADY But he ai n't going to make it. Far off, amidst the howling gale - the screeching. The men jump. MacReady lights the fuse, as they make it to the exit. He tosses it in.", "EXT. COMPOUND ALONG THE ROPE The explosion echoes behind them. The men pull along. Their heads jerk in circles, searching into the blackness. Some twenty yards to their rear something swooshes down, severing the line. The wind sends the men tumbling along the ice. Childs loosens the line and is blown away, rolling out of sight. MacReady and Nauls have lost their torches. They pull feverishly along the ground trying to make it to the compound. The screeching closes in behind them. MacReady loses his grip on the rope and is blown toward the main building. He crawls along looking for an opening. Nauls slides near the outside entrance to the dog kennel. He climbs down through the open stairwell.", "INT. PLANT ROOM MacReady has found the broken window. He rolls through it, landing on the frozen plants below. Something smashes at the glass above his head, trying to get in. He sprints for the door. Fuchs' frozen body is still pinned to it with the ax. MacReady grapples with the stiff torso which blocks the knob. He finally gets it open and lets himself out, slamming and locking the door from the hall. Fuchs' body swings eerily, back and forth.", "INT. HALLWAY MacReady charges up the stairs from the plant room. He zooms down the twisting corridors, opening and closing doors. He rounds a bend and crashes into Nauls coming the other way.", "INT. REC ROOM - CLOSE ON SANCHEZ pouring gasoline into empty bottles, preparing Molotov cocktails. Garry is connecting an electrical device : wires attached to two portable generators. MacReady appears to be injecting something into empty contact capsules. The men work feverishly. Nauls rushes in with another box of dynamite. NAULS What about Childs? MACREADY Forget about Childs. He's over. Nauls begins cutting the wicks off the dynamite. GARRY Make'em short. They'll go off quicker if we need to use them. The wind belts into the roofing overhead. Garry sets the wiring to the main doorway. MacReady begins blocking off one of the other entrances with a large computer. SANCHEZ What if it does n't come? MACREADY It'll come. It needs us. We're the only thing left to imitate. -LRB- to Sanchez. -RRB- Give me a hand. They block off a door with two heavy electrical games. MACREADY -LRB- to Sanchez. -RRB- You and Nauls got to block off the west side bunks, the mess hall and the kitchen. NAULS -LRB- protest. -RRB- You crazy? He might be inside already? MACREADY Chance we got to take. We got to force him to come down the east side to the door we got rigged. Nauls starts lacing his skates. SANCHEZ He might just wait us out. MACREADY I'm going to blow the generator when you get back. He'll have to come for us - or freeze. MacReady further barricades the door with small couch. MACREADY We've got portable heaters - we'll last longer. Sanchez and Nauls start to leave. MACREADY Hold it. He dispenses the capsules. MACREADY Sodium cyanide. We place them between our cheeks and gums. This Thing ca n't imitate anything that's dead. A grim silence. MACREADY If it gets a hold of you - bite down. They're supposed to be fast and painless. Now move.", "INT. CORRIDOR Sanchez and Nauls inch their way through.", "INT. REC ROOM MacReady rips linen, soaks the strips in gas, and stuffs them in the Molotov bottles. Garry tests the current on the door. Popping, sparks, smoke. MACREADY Looks good. GARRY One thousand volts. Should be enough.", "INT. KITCHEN Nauls pushes a stove, reinforcing a locked door. Five yards away, Sanchez maneuvers the refrigerator in front of another outlet. Sanchez hears a quiet purring, bubbling sound. He turns to Nauls. SANCHEZ You hear that? NAULS Hear what? A blaring. They whip their attention to stereo speakers on either side of the kitchen. Rock music screams out. Top volume.", "INT. REC ROOM The same loud music. MacReady and Garry look to the three speakers attached to the walls. MacReady yells his incomprehension to Garry. Garry tries to respond. Their voices drowned out.", "INT. HALLWAY Empty. Another of the stereo speakers that line the walls, thunders.", "INT. KITCHEN Nauls, in sudden realization, screams over the din and points back in the direction they came. NAULS It's got into the pub! It's turned on the stereo! SANCHEZ What?! NAULS It's in between us and them! How we going to get back?! SANCHEZ I ca n't hear you.", "INT. REC ROOM MacReady, cursing, rips the speakers off the wall. MACREADY What are they doing out there?! The music is now subdued within the room, but continues booming throughout the camp. Nauls' scream can be barely heard. GARRY What's he saying?", "INT. KITCHEN - NAULS at the top of his lungs. NAULS MacReady! We been cut off! A sharp, red, talon - like fingernail, pierces the top of the door above Nauls' head. It saws downward, quickly. Black goo drips through the slit. The sawing obscured by the music. Sanchez, eyes bulging, points. Nauls turns. A claw rips through the wood. Nauls dives to the floor. In the opposite direction, behind Sanchez, another arm splits through the door and the refrigerator, extends itself five feet and yanks Sanchez back as if he were a puppet. Sanchez struggles, looking imploringly at Nauls. He bites down on his capsule. Nauls takes off like a speed skater.", "INT. REC ROOM The sound of the screeching over the music. MACREADY Got to get to the generator. He opens the door. Looks down the hall. No one. The speakers - blaring music. NAULS full speed down the maze. Left. Right. Totally reckless. He hits a straightaway. SANCHEZ'S BODY from out of nowhere, blasts through the hallway wall, directly in Nauls' path. A thick arm pins the body to the other side. Unable to stop, Nauls skids out of control, banging into the sides of the wall, his cyanide capsule flying out of his mouth. Whatever the rest of it is, it starts to crumble through the wall. Nauls dives over the arm, somersaults to his feet and takes off.", "INT. MAIN HALL MacReady, running, spots Nauls careening out of a turn, heading toward him. NAULS Get back! MACREADY The generator! NAULS Screw the generator! Nauls blazes by him. MacReady hears the snarls and screeches heading his way. He streaks after Nauls.", "INT. REC ROOM They make it in. Lock the door. MacReady tries to catch his breath. Nauls shakes, pants. NAULS Got Sanchez. World War Three would n't mess with this fucker. Can go through walls. And it's like all over the place. MACREADY Calm down and get in your position. NAULS Position, my ass. Garry fiddles with the two generators. GARRY I'm going to bump this up, much as I can. NAULS Boulder Dam might do it. The loud music in the compound is turned off. MacReady shuts off the lights. The men spread out. Silence.", "INT. REC ROOM The men watch all the doors. Dead silence. Dark. Whispers. GARRY How long's it been? MACREADY Little over two hours. NAULS Maybe it ai n't coming. MACREADY Then we go after him. NAULS Bet the last place you ever go. The sound of a door opening and closing. Far off. Another creaking door is opened. A rustling. Still far off. MacReady and Nauls spread further apart. The soft bubbling, cooling sound. A slight scratch at the door. Garry's hand tightens around the generator switches. The scratching gets more pronounced. MacReady cautions Garry with a whisper. MACREADY Wait. The door begins to pound from the outside. Nauls and MacReady light two cocktails each. The door booms. The room's foundations shake. The ceiling quivers. The gas bombs are cocked. From the roof The Thing roars down into their midst. Stunned, the men stumble back. MacReady throws his gas bomb. Nauls the same. For a moment it stands silhouetted in flame. Enormous. Grotesque. Garry bolts for the main door. The Thing's tongue spirals from his mouth and spears him. The good two - thirds of its body follows its tongue and engulfs Garry by the door. Another leg slaps Nauls to the ground. MacReady dodges still another appendage, dives on the generators and throws the switch. The current rips through the door. Garry dies instantly. One of The Thing's talons, still caught in the door, sends it writhing in pain. It literally rips the door from its latchings and pounds it to the ground, trying to shake it loose. Nauls, hobbles, scrambles, out of the opening. MacReady dives through the window and out into the storm.", "INT. COMPOUND - HALL The distant sound of a motor. Nauls, battered and bloodied, his leg apparently broken, crawls along the ground. Another sound, a bubbling and gurgling is heard well to his rear. But closing. The terror forces him to drag faster, oblivious to the pain. He reaches the bathroom stall. Crawls in. Locks it. The gurgling nears. Leaning on the toilet seat, he looks about himself, frantically. The Presence pauses at the door. A scratching. Nauls paws, rips at a cracked and weathered slab of wood, cutting his fingers as he tries to break it off the siding. A strong blow begins to breach the stall door. Nauls finally unhinges the piece of wood, brings the jagged end to one side of his throat and rips.", "INT. LAB WALL The motorized rumbling nears. The wall seems to explode. The tractor barrels into the lab. Its enormous shovel scooper tearing half the room to shreds. MacReady drives. His eyes glint like a wild man's ; he looks stark raving mad. His frostbite, now in an advanced stage, resembles black war paint. He clenches a stick of dynamite between his teeth, like a buccaneer's cutlass. Two large, compressed air tanks have been tied together at the top and are draped around his neck. They are marked - HYDROGEN. They are used for the weather balloons. He pulls the tractor to a stop, yanks the stick from his mouth, grins and bellows. MACREADY Okay, creep! Just you and me now! Be on your toes! We're going to do a little remodeling! MacReady guns it through the next wall and into the infirmary. Medical equipment goes flying. The machine is powerful ; the prefabricated walls buckling under its force.", "INT. COMPOUND A trail of viscous yellow ooze leads around a bend. Boom. MacReady rams into the mess hall, sweeping away tables, chairs. He sings out loud the lyrics of some Mexican song. All the while he keeps his eyes on everything. Through the kitchen. The foundation is crumbling. He sings on. NARROW PASSAGEWAY Gurgling and hissing. A taloned arm slinks around a corner in retreat. MACREADY -LRB- O.S. -RRB- Chime in if you know that words, old boy. MACREADY plows through several more rooms before ending up in the pub area. He backs it up and retrieves a bottle of liquor from the bar. MACREADY You like whiskey? Come on, join me for a drink. Be good for you. Grow fangs on your chest. He takes a drink and rams through another wall.", "INT. REC ROOM The tractor blazes into the rec room. MacReady parks it directly in front of the hole in the roof, created by The Thing when it surprised them earlier. MACREADY Damn it, ran out of gas. He pulls off the heavy hydrogen tanks and drapes them over the tractor. As he talks his eyes move like a hawk passing from roof, to doorways, to rubble. Wind and ice bristle through the gaping holes, stinging MacReady with the cold. He winces at his mittenless, blackened fingers. MACREADY Sweetheart, it's going to get mighty cold in here soon. You better make your move. I mean, hell, I'm only one person. He takes a swig from his bottle. MACREADY I know you're bugged because we ruined your trip, right? Spiffy little toy you had there. A slight tremor perks his eyes and ears. He looks up through the hole, then around. He lights a lighter and cups it in his hand near the stick of dynamite in his lap. MACREADY But your real hang up is your looks. A stronger tremor. The adrenalin pumps. MACREADY -LRB- wants him bad. -RRB- Atta boy. I know you're around. The floor shakes. MacReady stands, his head whirling around the room. MACREADY Come on, sucker. The tractor inches up off the ground. MacReady falls forward and looks straight down through the chassis and into the vile and grinning face below. A claw flashes up, splitting the steering wheel but missing his face. He depresses the ignition, bolting the tractor ten feet. He jumps, hanging onto the edge of the hole in the ceiling. The Thing's face and arms burst through the metal plating of the tractor. The reaching claws just miss him as he pulls himself through.", "EXT. ROOF He lights his fuse, drops in the stick, turns and runs. Half of The Thing's grotesque and angular torso bolts up through the hole, howling in fury. An appendage springs outward and winds around MacReady's jacket, hissing like acid into the fabric. An immense explosion. The hydrogen tanks send a white fireball fifty feet into the sky. The Thing's body disintegrating almost immediately. The force of the blast sweeps MacReady off the roof. He and the severed appendage crash to the hard ice in flames. He rolls over and over trying to smother the fire and tear off the insidious limb.", "INT. CAMP A ruin. One half of it burnt almost to the ground. MacReady wears a thick blanket which covers him like a shroud, from his shoulders to the floor. He walks bent over and in much pain, trying to blunt patches of fire with an extinguisher. It is futile. He gives up.", "INT. PUB AREA Mostly untouched by the fire, but like most of the rest of the camp, exposed to the outside. The storm has settled considerably. CLOSE ON MACREADY lighting a cigar. His hands are heavily wrapped. He pours himself a drink. A puffy white hand, missing two fingers, enters the frame and whirls a startled MacReady around. It is Childs. White and black blotches cover his frostbitten face. CHILDS Did you kill it? He looks as weak as MacReady. A beat. MACREADY I think so. CHILDS What do you mean `` you think so?'' Both men speak guardedly and stare at each other suspiciously. MACREADY Yeah. I got it. -LRB- refers to Childs' condition. -RRB- Pretty mean frostbite. Childs steps back, keeping his distance. He indicates his puffy white hand. CHILDS It'll turn black again soon enough. Then I guess I'll be losing the whole thing. -LRB- refers to feet. -RRB-. Think my toes are already gone. MacReady, carrying the bottle and glass, limps over and sits down behind a gaming table. There is a chess set and several decks of cards. The two men continue to eye each other. CHILDS So you're the only one who made it. MacReady begins setting up a non - electronic chessboard. MACREADY Not the only one. CHILDS The fire's got the temperature way up all over camp. wo n't last long though. MACREADY Neither will we. CHILDS Maybe we should try and fix the radio. try and get some help. MACREADY Maybe we should n't. CHILDS Then we'll never make it. MacReady puffs on his cigar. He reveals a small blowtorch from under the table and places it beside him on top. MACREADY Maybe we should n't make it. CHILDS -LRB- beat. -RRB- If you're worried about anything, let's take that blood test of yours. MACREADY If we've got any surprises for each other - we should n't be in any condition to do anything about it. -LRB- beat. -RRB- You play chess? They regard each other for a moment. Childs painfully sits down across from MacReady. CHILDS I guess I'll be learning. MacReady grins and hands the bottle to Childs. Childs smiles back and takes a healthy swig.", "EXT. COMPOUND - NIGHT The fires smolder on. Bright embers dance in the blackness - pushed by the soughing wind. THE END"], "labels": [1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0], "summary": "In Antarctica, a Norwegian helicopter pursues a sled dog to an American research station. The Americans witness the Norwegian passenger accidentally blow up the helicopter and himself. The Norwegian pilot fires a rifle and shouts at the Americans, but they cannot understand him and he is shot dead in self-defense by station commander Garry. The American helicopter pilot, R.J. MacReady, and Dr. Copper leave to investigate the Norwegian base. Among the charred ruins and frozen corpses, they find the burned remains of a malformed humanoid which they recover to the American station. Their biologist, Blair, performs autopsies on the remains and finds a normal set of human organs. Clark kennels the sled dog, and it soon metamorphoses and absorbs the station dogs. This disturbance alerts the team and Childs uses a flamethrower to incinerate the creature. Blair autopsies the new creature and learns that it can perfectly imitate other organisms. Recovered Norwegian data leads the Americans to a large excavation site containing a partially buried alien spacecraft, and a smaller, human-sized dig site. Norris estimates that the alien ship has been buried for at least 100,000 years. Blair grows paranoid that the creature could assimilate all life on Earth in a matter of years. The station implements controls to reduce the risk of assimilation. The \"dead,\" malformed humanoid creature assimilates an isolated Bennings, but Windows interrupts the process and MacReady burns the Bennings-Thing. Blair sabotages all the vehicles, kills the remaining sled dogs, and destroys the radio to prevent escape. The team imprisons him in a tool shed. Copper suggests a test to compare each member's blood against uncontaminated blood held in storage, but after learning that the blood stores have been destroyed, the men lose faith in Garry, and MacReady takes command. MacReady, Windows and Nauls find Fuchs's burnt corpse and surmise he committed suicide to avoid assimilation. Windows returns to base while MacReady and Nauls investigate MacReady's shack. On their return, Nauls abandons MacReady in a snowstorm, believing he has been assimilated after finding his torn clothes in the shack. The team debate whether to allow MacReady inside, but he breaks in and holds the group at bay with dynamite. During the encounter, Norris appears to suffer a heart attack. As Copper attempts to defibrillate Norris, his chest transforms into a large mouth and bites off Copper's arms, killing him. MacReady incinerates the Norris-Thing, but its head detaches and attempts to escape before also being burnt. MacReady is forced to kill Clark in self-defense when the latter lunges at him from behind with a knife. He hypothesizes that the Norris-Thing's head demonstrated that every part of the Thing is an individual life form with its own survival instinct. He sequentially tests blood samples with a heated piece of wire. Everyone passes the test except Palmer, whose blood jumps from the heat. Palmer transforms and infects Windows, forcing MacReady to burn them both. Childs is left on guard while the others go to test Blair. They find that Blair has escaped, and has been using vehicle components to assemble a small spacecraft. On their return, Childs is missing and the power generator is destroyed. MacReady speculates that the Thing intends to return to hibernation until a rescue team arrives. MacReady, Garry, and Nauls decide to detonate the entire station to destroy the Thing. As they set explosives, Blair kills Garry and Nauls disappears. Blair transforms into an enormous creature and destroys the detonator. MacReady triggers the explosives using a stick of dynamite, destroying the base. MacReady sits nearby as the station burns. Childs returns, saying he became lost in the storm while pursuing Blair. Exhausted and slowly freezing to death, they acknowledge the futility of their distrust and share a bottle of scotch.", "name": "The_Thing_(1982_film)"}
{"scenes": ["EXT. PHOENIX, ARIZONA - (DAY) - HELICOPTER SHOT Above Midtown section of the city. It is early afternoon, a hot mid - summer day. The city is sun - sunblanched white and its drifted - up noises are muted in blanched their own echoes. We fly low, heading in a downtown direction, passing over traffic - clogged streets, parking lots, white business buildings, neatly patterned residential districts. As we approach downtown section, the character of the city begins to change. It is darker and shabby with age and industry. We see railroad tracks, smokestacks, wholesale fruit - and - vegetable markets, old municipal buildings, empty lots. vegetable The very geography seems to give us a climate of nefariousness, of back - doorness, dark and shadowy. And secret. We fly lower and faster now, as if seeking out a specific location. A skinny, high old hotel comes into view. On its exposed brick side great painted letters advertise `` Transients - Low Weekly Rates - Radio in Every Room.'' We pause long enough to establish the shoddy character of this hotel. Its open, curtainless windows, its silent resigned look so characteristic of such hole - and - corner hotels. We move forward with purposefulness and - toward a certain window. The sash is raised as high as it can go, but the shade is pulled down to three or four inches of the inside sill, as if the occupants of the room within wanted privacy but needed air. We are close now, so that only the lower half of the window frame is in shot. No sounds come from within the room. Suddenly, we tip downward, go to the narrow space between shade and sill, peep into the room. A young woman is stretched out on the mussed bed. She wears a full slip, stockings, no shoes. She lies in and attitude of physical relaxation, but her face, seen in the dimness of the room, betrays a certain inner - tension, worrisome conflicts. She is MARY CRANE, an tension, attractive girl nearing the end of her twenties and her rope. A man stands beside the bed, only the lower half of his figure visible. We hold on this tableau for a long moment, then start forward. As we pass under the window shade,", "INT. THE HOTEL ROOM - (DAY) A small room, a slow fan buzzing on a shelf above the narrow bed. A card of hotel rules is pasted on the mirror above the bureau. An unopened suitcase and a woman's large, straw open - top handbag are on the bureau. On the table beside the bed there are a container of Coco - Cola and an unwrapped, untouched egg - salad sandwich. There is no radio. The man standing by the bed, wearing only trousers, T - shirt and sox, is SAM LOOMIS, a good - looking, sensual shirt man with warm humorous eyes and a compelling smile. He is blotting his neck and face with a thin towel, and is staring down at Mary, a small sweet smile playing about his mouth. Mary keeps her face turned away from him. After a moment, Sam drops the towel, sits on the bed, leans over and takes Mary into his arms, kisses her long and warmly, holds her with a firm possessiveness. The kiss is disturbed and finally interrupted by the buzzing closeness of an inconsiderate fly. Sam smiles, pulls away enough to allow Mary to relax again against the pillow. He studies her, frowns at her unresponsiveness, then speaks in a low, intimate, playful voice. SAM Never did eat your lunch, did you. Mary looks at his smile, has to respond, pulls him to her, kisses him. Then, and without breaking the kiss, she swings her legs over the side of the bed, toe - searches around, finds her shoes, slips her feet into searches them. And finally pulls away and sits up. MARY I better get back to the office. These extended lunch hours give my boss excess acid. She rises, goes to the bureau, takes a pair of small earrings out of her bag, begins putting them on, not bothering or perhaps not wanting to look at herself in the mirror. Sam watches her, concerned but unable to inhibit his cheery, humorous good mood. Throughout remainder of this scene, they occupy themselves with dressing, hair - combing, etc.. SAM Call your boss and tell him you're taking the rest of the afternoon off. It's Friday anyway. and hot. MARY -LRB- soft sarcasm. -RRB- What do I do with my free afternoon, walk you to the airport? SAM -LRB- meaningfully. -RRB- We could laze around here a while longer. MARY Checking out time is three P.M. Hotels of this sort are n't interested in you when you come in, but when your time's up. -LRB- a small anguish. -RRB- Sam, I hate having to be with you in a place like this. SAM I've heard of married couples who deliberately spend occasional nights in cheap hotels. They say it. MARY -LRB- interrupting. -RRB- When you're married you can do a lot of things deliberately. SAM You sure talk like a girl who's been married. MARY Sam! SAM I'm sorry, Mary. -LRB- after a moment. -RRB- My old Dad used to say ` when you ca n't change a situation, laugh at it.' Nothing ridicules a thing like laughing at it. MARY I've lost my girlish laughter. SAM -LRB- observing. -RRB- The only girlish thing you have lost. MARY -LRB- a meaningful quiet, then, with difficulty :. -RRB- Sam. This is the last time. SAM For what? MARY This! Meeting you in secret so we can be. secretive! You come down here on business trips and we steal lunch hours and. I wish you would n't even come. SAM Okay. What do we do instead, write each other lurid love letters? MARY -LRB- about to argue, then turning away. -RRB- I have n't time to argue. I'm a working girl. SAM And I'm a working man! We're a regular working - class tragedy! -LRB- he laughs. -RRB- MARY It is tragic! Or it will be. if we go on meeting in shabby hotels whenever you can find a tax - deductible excuse for flying down deductible here. SAM -LRB- interrupting, seriously. -RRB- You ca n't laugh at it, huh? MARY Can you? SAM Sure. It's like laughing through a broken jaw, but. He breaks off, his cheeriness dissolved, goes to the window, tries to raise the shade. It sticks. He pulls at it. It comes down entirely, and the hot sun glares into the room, revealing it in all its shabbiness and sordidness as if corroborating Mary's words and attitude. Sam kicks at the fallen shade, laughs in frustration, grabs on to his humor again. SAM And besides, when you say I make tax - deductible excuses you make me out a criminal. MARY -LRB- having to smile. -RRB- You could n't be a criminal if you committed a major crime. SAM I wish I were. Not an active criminal but. a nice guy with the conscience of a criminal. -LRB- goes close to mary, touches her. -RRB- Next best thing to no conscience at all. MARY -LRB- pulling away. -RRB- I have to go, Sam. SAM I can come down next week. MARY No. SAM Not even just to see you, to have lunch. in public? MARY We can see each other, we can even have dinner. but respectably, in my house with my mother's picture on the mantel and my sister helping me broil a big steak for three! SAM And after the steak. do we send Sister to the movies and turn Mama's picture to the wall? MARY Sam! No! SAM -LRB- after a pause, simply. -RRB- All right. She stares at him, surprised at his willingness to continue the affair on her terms, as girls are so often surprised when they discover men will continue to want them even after the sexual bait has been pulled in. Sam smiles reassuringly, places his hands gently on her arms, speaks with gentle and simple sincerity. SAM Mary, whenever it's possible, tax - deductible or not, I want to see deductible you. And under any conditions. -LRB- a smile. -RRB- Even respectability. MARY You make respectability sound. disrespectful. SAM -LRB- brightly. -RRB- I'm all for it! It requires patience and temperance and a lot of sweating - out. otherwise, though, it's only hard work. -LRB- a pause. -RRB- But if I can see you, touch you even as simply as this. I wo n't mind. He moves away and again the weight of his pain and problems crushes away his good humor. There is a quiet moment. SAM I'm fed up with sweating for people who are n't there. I sweat to pay off my father's debts. and he's in his grave. I sweat to pay my ex - wife alimony, and she's living on the other side of the world somewhere. MARY -LRB- a smile. -RRB- I pay, too. They also pay who meet in hotel rooms. SAM A couple of years and the debts will be paid off. And if she ever re - marries, the alimony stops. and then. MARY I have n't even been married once yet! SAM Yeah, but when you do. you'll swing. MARY -LRB- smiling, then with a terrible urgency. -RRB- Sam, let's go get married. SAM And live with me in a storeroom behind a hardware store in Fairvale. We'll have a lot of laughs. When I send my ex - wife her money, you can lick the stamps. MARY -LRB- a deep desperation. -RRB- I'll lick the stamps. He looks at her, long, pulls her close, kisses her lightly, looks out the window and stares at the wide sky. SAM You know what I'd like? A clear, empty sky. and a plane, and us in it. and somewhere a private island for sale, where we can run around without our. shoes on. And the wherewithal to buy what I'd like. -LRB- he moves away, suddenly serious. -RRB- Mary, you want to cut this off, go out and find yourself someone available. MARY I'm thinking of it. SAM -LRB- a cheerful shout. -RRB- How can you even think a thing like that! MARY -LRB- picking up handbag, starting for door. -RRB- Do n't miss your plane. SAM Hey, we can leave together ca n't we? MARY -LRB- at door. -RRB- I'm late. and you have to put your shoes on. Mary goes out quickly, closing door behind her. As Sam stares down at his shoeless feet,", "EXT. DOWNTOWN STREET - (DAY) - HIGH ANGLE Shooting down at hotel entrance. Mary comes out, walks quickly to a parked cab, gets in. The cab zooms up the awful street.", "EXT. LOWERY REAL ESTATE OFFICE - (DAY) A small, moderately successful office off the main street. A cab pulls up at the curb. We see Mary get out of cab, pay driver, cross pavement to the office door.", "INT. OUTER OFFICE - (DAY) Mary enters office, crosses to her desk, sits down, rubs her temples, finally looks over at Caroline, a girl in the last of her teens. MARY Is n't Mr. Lowery back from lunch? CAROLINE -LRB- a high, bright, eager - to - talk voice laced to - with a vague Texan accent. -RRB- He's lunching with the man who's buying the Harris Street property, you know, that oil lease man. so that's why he's late. -LRB- a pause, then, as Mary does not respond to the pointed thrust. -RRB- You getting a headache? MARY It'll pass. Headaches are like resolutions. you forget them soon as they stop hurting. CAROLINE You got aspirins? I have something. not aspirins, but. -LRB- cheerfully takes bottle of pills out of desk drawer. -RRB- my mother's doctor gave these to me the day of my wedding. -LRB- laughs. -RRB- Teddy was furious when he found out I'd taken tranquilizers! She rises, starts for Mary's desk, pills in hand. MARY Were there any calls? CAROLINE Teddy called. Me. And my mother called to see if Teddy called. Oh, and your sister called to say she's going to Tucson to do some buying and she'll be gone the whole weekend and. She breaks off, distracted by the SOUND of the door opening. MR. LOWERY and his oil - lease client, TOM CASSIDY enter the office. Lowery is a pleasant, worried - faced man, big and a trifle pompous. Cassidy is very faced loud and has a lunch - hour load on. He is a gross man, exuding a kind of pitiful vulgarity. CASSIDY Wow! Hot as fresh milk! You girls should get your boss to air - condition you up. He can afford it today. Lowery flashes an embarrassed smile at Mary, tries to lead Cassidy toward the private office. LOWERY Mary, will you get those copies of the deed ready for Mr. Cassidy. Cassidy pauses beside Mary's desk, hooks a haunch onto the desktop, smiles a wet smile at Mary. CASSIDY Tomorrow's the day! My sweet little girl. -LRB- laughs as Mary looks up at him. -RRB- Not you, my daughter! A baby, and tomorrow she stands up there and gets her sweet self married away from me! -LRB- pulling out wallet. -RRB- I want you to look at my baby. Eighteen years old. and she's never had an unhappy day in any one of those years! -LRB- flashes photo. -RRB- Mary glances, can not bring herself to smile or make some remark, continues sorting out the deed copies, tries to ignore the man's hot - breath closeness. LOWERY Come on, Tom, my office is air - conditioned. CASSIDY -LRB- ignoring Lowery. -RRB- You know what I do with unhappiness? I buy it off! You unhappy? MARY Not inordinately. -LRB- puts deed copy into Cassidy's too - close hand. -RRB- CASSIDY I'm buying this house for my baby's wedding present. Forty thousand dollars, cash! Now that ai n't buying happiness, that's buying off unhappiness! That penniless punk she's marryin'. -LRB- laughs. -RRB- Probably a good kid. it's just that I hate him. -LRB- looks at deed. -RRB- Yup! Forty thousand, says here. -LRB- to Lowery. -RRB- Casharoonie! He takes out of his inside pocket, two separate bundles of new $ 100 bills and throws them onto the desk, under Mary's nose. Caroline's eyes go wide at the sight of the glorious green bundles of bills, and she comes close to the desk. Cassidy leans terribly close to Mary, flicks through the bills, laughs wickedly. CASSIDY I never carry more than I can afford to lose! -LRB- closer to Mary. -RRB- Count'em! LOWERY -LRB- shocked, worried. -RRB- Tom. cash transactions of this size! Most irregular. CASSIDY So what? It's my private money! -LRB- laughs, winks, elbows Lowery. -RRB- And now it's yours. CAROLINE -LRB- staring at the money. -RRB- I declare! CASSIDY -LRB- whispering. -RRB- I do n't! That's how I'm able to keep it! -LRB- laughs. -RRB- LOWERY -LRB- hastily interrupting. -RRB- Suppose we just put this in the safe and then Monday morning when you're feeling good. CASSIDY Speakin' of feeling good, where's that bottle you said you had in your desk. -LRB- laughs, as if having given away Lowery's secret. -RRB- Oops! -LRB- to Mary, patting her arm. -RRB- Usually I can keep my mouth shut! He rises, reels toward Lowery's office, pauses, turns, speaks to Mary, meaningfully. CASSIDY Honest. I can keep any private transaction a secret. any pri. -LRB- stopped by Mary's cold gaze. -RRB- Lowery! I'm dyin' of thirstaroonie! Lowery starts after him, pauses, turns to Mary. Cassidy has gone into Lower's office. LOWERY -LRB- quietly. -RRB- I do n't even want it in the office over the weekend. Put it in the safe deposit box, at the bank, Mary. And we'll get him to give us a check on Monday - instead. He starts quickly away when it looks like Cassidy is going to come and pull him bodily into the office. When the men are gone and the door is closed, Caroline picks up a bundle, smiles at it. CAROLINE He was flirting with you. I guess he noticed my wedding ring. Mary has put one bundle into a large envelope and takes the other from Caroline. When the bills are away, she puts the filled envelope in her handbag, notices the remaining deed copies on her desk, picks them up, goes to the private office door, knocks, starts to open door as : LOWERY -LRB- O.S. -RRB- Come in.", "INT. LOWERY'S PRIVATE OFFICE - (DAY) Mary opens door, looks in. Cassidy is drinking from a large tumbler, winks at her without pausing in his drinking. Mary remains on threshold a moment, then crosses to the desk, talking as she goes. MARY The copies. Mr. Lowery, if you do n't mind, I'd like to go right on home after the bank. I have a slight. CASSIDY You go right home! Me and your boss are going out to get ourselves a little drinkin' done! -LRB- to Lowery. -RRB- Right? LOWERY -LRB- to Mary. -RRB- Of course. You feeling ill? MARY A headache. CASSIDY You need a week - end in Las Vegas. playground of the world! MARY I'm going to spend this week - end in bed. -LRB- starts out. -RRB- CASSIDY -LRB- to Lowery. -RRB- Only playground that beats Las Vegas! Mary goes back out into the outer office, closes door.", "INT. OUTER OFFICE - (DAY) Mary goes to her desk, takes the handbag, checks to make sure the money - filled envelope is tucked well down into it. During this : CAROLINE Are n't you going to take the pills? -LRB- as Mary shakes her head. -RRB- They'll knock that headache out. MARY I do n't need pills. just sleep. She goes to the door.", "INT. MARY'S BEDROOM - (DAY) A double bed in the foreground. We just see the far side as the CAMERA SHOOTS across. Mary enters the scene, clad only in her slip. Perhaps she is about to get into bed. Behind her is an open closet, but too dark inside for us to see any contents. As Mary turns to the closet the CAMERA LOWERS to show a close view of the $ 40,000 in the envelope on our side of the bed. Mary takes a dress from the closet and starts to put it on as the CAMERA RETREATS to reveal a packed but not yet closed suitcase also on the bed. Mary zips up her dress and then brings some final garments from the closet. She comes around to the suitcase and puts them on the top. Mary works with haste and in tension, as if acting on an impulse which might vanish as quickly as it came. The suitcase filled now, she checks around the room, then takes her handbag to the bed, puts in the money - filled envelope, and then slams the suitcase shut. Then filled she looks at her small bedroom desk, goes to it, removes a small file - envelope from one of the drawers. It is one of those brown envelopes in which one keeps important papers and policies and certificates. She checks its contents briefly, puts it on the bed, opens another desk drawer, takes out her bank book, tosses it on the bed. Then she packs both the file - envelope and the bank book, into her handbag, takes one quick last look around the room, picks up the handbag and the suitcase and goes out of the room.", "EXT. MARY'S GARAGE - (DAY) A two - car garage. One car is gone. Mary's car is parked in the driveway. The CAMERA is low enough so that we can easily read the Arizona number plate in the foreground. Mary comes out of house, starts for the trunk, intending to put the suitcase in, changes her mind, places the suitcase and her handbag on the front seat, gets in, starts the car, begins to back out of driveway.", "EXT. MAIN STREET IN MIDTOWN PHOENIX - (DAY) We are close on Mary's car, shooting in at her troubled, guilty face. She seems to be driving with that excess care of one who does not wish to be stopped for a minor traffic irregularity. She stops for a red light at a main intersection. FROM MARY'S VIEWPOINT - -LRB- DAY -RRB- We see Lowery and Cassidy crossing the street, passing right in front of Mary's car. MARY'S CAR - -LRB- DAY -RRB- Mary freezes.", "EXT. MAIN STREET IN MIDTOWN PHOENIX - (DAY) Cassidy, glancing into car, sees Mary, lets out a cheery exclamation, elbows Lowery. Lowery turns, sees Mary, smiles pleasantly, pulls Cassidy on. MARY'S CAR - -LRB- DAY -RRB- Mary watches the entire exchange with a look of stony horror on her face.", "EXT. MAIN STREET IN MIDTOWN PHOENIX - (DAY) Now we look closely at Lowery. As he reaches the curb, a small confusion brightens his face. He remembers that Mary intended to `` spend the weekend in bed.'' He considers, curiously, turns, looks back at her, a slight frown on his face. MARY'S CAR - -LRB- DAY -RRB- Mary sees the pause and the look.", "EXT. MAIN STREET IN MIDTOWN PHOENIX - (DAY) For a moment it even looks as if Lowery might be meaning to cross back to the car. MARY'S CAR - -LRB- DAY -RRB- Mary's tension is unbearable. And at that moment we hear the shrill shriek of the traffic cop's whistle. Mary zooms the car away.", "EXT. HIGHWAY - (DAY) Mary in car, driving, safely away from town. Her look is less tense now, and more purposeful. After a moment, she checks the fuel gauge, frowns, looks along highway for a gas station. MARY'S CAR - -LRB- DAY -RRB- Approaching and leaving city limits. MARY - -LRB- DAY -RRB- Looks at gas gauge. C.U. GAS GAUGE - -LRB- DAY -RRB-", "EXT. A GAS STATION - (DAY) We see Mary's car drive in, come to a stop. There are no other cars about, this being a gas station off the main highway, and the attendant is obviously in the shack. Mary looks worried about having to make this stop, keeps her face turned away from the shack, not wishing it to be seen. No one comes and for a moment Mary considers driving on, as if the emptiness of the station were a warning, an omen that she should listen to. But the gas registers almost empty. She has to blow her horn. A YOUNG MAN comes out of the shack, starts toward her car. At that moment, we HEAR the RINGING of the TELEPHONE in the shack. The Attendant walks a few steps further, toward Mary's car, then decides to go back and answer the phone. The phone's insistent ringing unnerves Mary. She starts her car, zooms off. We see the Attendant, phone in hand, in the doorway of shack. He looks after the departing car with little or no expression. CAR The car grows smaller as it races up the road. The sun is setting. There is something vaguely ominous about the darkening sky into which the car seems to be disappearing. MARY IN CAR - -LRB- NIGHT -RRB- The oncoming headlights hurt Mary's eyes. She is getting sleepy and her vision is blurring. Her eyes close, involuntarily, snap open again. She stretches than wide, as if forcing them to stay open. The oncoming lights seem to glare to a point beyond endurance. She murmurs `` Sam - Sam.''", "EXT. ROAD SHOULDER - (DAWN) We see Mary's car, dim in the early dawn, tilted on the soft shoulder of the road, looking somehow sad and pathetic, like a child's thrown - away toy. And from this angle it would appear that the car is empty. After a moment, during which there are no other vehicles passing, we see, coming from the far distance, a HIGHWAY PATROLMAN in a patrol car. He passes Mary's car, notes its apparent emptiness, U - turns, comes back up behind the car. He gets out and approaches the driver's side window.", "EXT. MARY'S CAR - (DAWN) The Patrolman looks down into the car.", "INT. CAR (DAWN) FROM HIS VIEWPOINT Mary turns with a start, sits up, is startled and unnerved by the sight of the Patrolman, and, as if by automatic reflex, turns the ignition and presses down on the starter.", "EXT. CAR (DAWN) The Patrolman holds up his hand. PATROLMAN -LRB- startled. -RRB- Hold it there! Mary slams down on the brake, tries to pull herself together. The Patrolman raps again, less gently. Reluctantly, Mary rolls down the window. The Patrolman studies her for a moment. PATROLMAN In quite a hurry. MARY Yes. -LRB- because he seems to be awaiting an explanation. -RRB- I did n't mean to sleep so long. I was afraid I'd have an accident last night, from sleepiness. so I decided to pull over. PATROLMAN You slept here all night? MARY -LRB- a faint edge of defensiveness. -RRB- Yes. As I said, I could n't keep my eyes. PATROLMAN -LRB- mere concern. -RRB- There are plenty of motels in this area. You should have. I mean, just to be safe. MARY I did n't intend to sleep all night! I just pulled over. have I broken any laws? PATROLMAN No, m ` am. MARY Then I'm free to go? PATROLMAN -LRB- a pause. -RRB- Is anything wrong? MARY Of course not! Am I acting as if. something's wrong? PATROLMAN -LRB- almost a smile. -RRB- Frankly, yes. MARY Please. I'd like to go. PATROLMAN Is there? MARY Is there what? -LRB- not waiting for an answer. -RRB- I've told you there's nothing wrong. except that I'm in a hurry and you're taking up my time. PATROLMAN -LRB- interrupting, sternly. -RRB- Now wait just a moment! Turn your motor off, please. Mary seems about to object, thinks better of it, turns off the ignition. PATROLMAN In the course of my duty, I never `` take up'' anyone's time, whether it's to give a warning, or a ticket, or help! Believe that, M'am. -LRB- a little softer. -RRB- Now if you woke up on the wrong side of. the car seat, that's one thing. But when you act as if I've just placed you under arrest. MARY I'm sorry. PATROLMAN No need to apologize. Mary starts the car, her face turned as if she wishes the matter were all settled and the Patrolman had already gone. The Patrolman is n't exactly one of those civil servants who demands a thank - you, but he does feel her manner is a bit too abrupt. He calls : PATROLMAN Wait a minute! MARY -LRB- jamming down the brake. -RRB- Now what? The Patrolman gazes at her a moment, then : PATROLMAN May I see your license? MARY Why? PATROLMAN Please. Mary pulls her handbag up from the floor, where she'd placed it when she stretched out for sleep. She puts her hand in it, rummages for her wallet, can not find it. The Patrolman is staring at her. She glances at him nervously, pokes in her bag a bit more, sighs, realizes she'll have to remove some of its contents. Nervously, badly controlling her fear, she takes out the money - filled envelope, and then the important papers envelope, filled then a couple of other items, places them on the seat, finally finds her wallet, opens it, hands it to him. He looks at the wallet, then at the car.", "EXT. ROAD SHOULDER - (DAWN) The Patrolman walks around to the front of the car, checks the license plate, and returns.", "INT. MARY'S CAR - (DAWN) The Patrolman peers in, checks the car registration on the steering wheel, returns Mary's wallet. She takes it, looks at him for a flicker of a moment. He says nothing. She starts ahead, fast.", "EXT. ROAD SHOULDER - (DAWN) The Patrolman stares after Mary as she drives off, then starts back to his automobile. MARY IN CAR - -LRB- DAWN -RRB- She is quite shaken, realizes she caused herself a great deal of trouble and placed herself in unnecessary danger. She is disturbed and angry and frightened at her inability to act normally under the pressure of guilt. As she drives, she glances into her rear - view mirror. MARY'S REAR - VIEW MIRROR - -LRB- DAWN -RRB- The Patrolman is following in his automobile, keeping behind her at a matched speed. MARY IN CAR - -LRB- DAWN -RRB- She glances out at her surroundings. MARY'S POV - -LRB- DAWN -RRB- The Freeway ahead.", "EXT. MARY'S CAR - (DAWN) She suddenly turns off the highway. MARY IN CAR - -LRB- DAWN -RRB- She checks her mirror. MARY'S REAR - VIEW MIRROR - -LRB- DAWN -RRB- The Patrolman is no longer following, has not turned off after her. MARY IN CAR - -LRB- DAWN -RRB- She breathes a sigh of relief, thinks a moment, makes a quick decision.", "EXT. USED CAR LOT - (DAY) The big sign reads `` California Charlie - Automobile Paradise.'' We see Mary's car drive onto the lot and stop. Mary gets out of the car, glances toward the lot office, turns her attention to the line of cars, notice the California licence plates on all of them. The CAR DEALER calls out from his office : CAR DEALER With you in a second! Mary nods, starts walking along the line of cars as if making a selection. Her eye is caught by the iron newspaper stand on the corner, just outside the lot. She stares at the papers, turns away, as if what she is fearing would have to be impossible, then, having to satisfy herself, goes to the stand, drops a dime in the iron slot, picks up a LOS ANGELES newspaper, starts back into the car lot as she glances worried at the front page. As she goes, we see, coming up the street toward the lot, the same PATROLMAN. He sees Mary, slows, swerves over to the opposite side of the street, stops by the curb. Mary, engrossed in the newspaper, and walking back ease the lot, does not see the Patrolman. The car dealer is out on the lot now, standing and waiting for Mary. As she approaches, lost in her newspaper, he smiles. CAR DEALER I'm in no mood for trouble! MARY -LRB- glancing up, thrown for a moment. -RRB- What? CAR DEALER -LRB- cheerfully. -RRB- There's an old saying, `` First customer of the day is always the most trouble!'' But like I said, I'm in no mood for it so I'm just going to treat you so fair and square you wo n't have one human reason to give me. MARY -LRB- interrupting. -RRB- Can I trade in my car and take another? CAR DEALER You can do anything you've a mind to. and bein' a woman, you will! -LRB- chin - indicating her car. -RRB- That yours? MARY Yes, it's. nothing wrong with it, I'm just. CAR DEALER Sick of the sight of it! -LRB- laughs. -RRB- Well, suppose you look around for something that strikes your eyes and meanwhile I'll have my mechanic give yours the once over and. want some coffee? I was just about. MARY No. Thank you. I'm in. a hurry. I just want to make a change and start. She stops suddenly, almost with a gasp. She has seen the Patrolman. THE PATROLMAN - MARY'S POV - -LRB- DAY -RRB- He is staring over at her, his face dispassionate.", "EXT. USED CAR LOT - (DAY) Mary has to force herself to look away. CAR DEALER One thing people never ought to be when they're buying a used car is in a hurry! -LRB- starting away toward her car. -RRB- But like I said, too nice a day for arguing. I'll just shoot this into the garage. He starts into Mary's car. She looks at him, in near panic, wanting to skip the whole thing. Torn, wondering if the presence of the Patrolman does n't negate the value of changing cars, wondering how she can get away, wondering if she'll be followed, or if the Patrolman will go away if she does stay here. All these panic - fears rush her mind and she can do nothing. The Car Dealer has driven her car into the garage. She stands in the middle of the lot, feeling like a shooting target. She looks toward the garage. THE GARAGE - MARY'S POV - -LRB- DAY -RRB- Mary's car is in it.", "EXT. USED CAR LOT - (DAY) Mary decides she can not back out now without arousing further suspicion, is compelled to look again at the Patrolman. THE PATROLMAN - MARY'S POV - -LRB- DAY -RRB- He still watches. With a self - angry sigh of resignment, she goes to a close car, looks at it. The Car Dealer is returning. CAR DEALER That's the one I'd've picked for you myself! MARY How much? CAR DEALER Go ahead! Spin it around the block. Now I know you do n't know anything about engine condition, but you can feel, ca n't you. and it's all in the feel, believe me, you feel that one around the block. MARY It looks fine. How much will it be, with my car? CAR DEALER You mean you do n't want the usual day and a half to think it over? -LRB- laughs. -RRB- You are in a hurry! Somebody chasin' you? MARY Of course not. Please. CAR DEALER Well. heck, this is the first time I ever saw the customer high - pressure the salesman! -LRB- laughs, sees she is in no mood for it. -RRB- I'd figure roughly. -LRB- looks at the car, then back at the garage. -RRB-. your car plus five hundred. MARY Five hundred. CAR DEALER Aha! Always got time to argue money, huh? MARY All right. As the car dealer looks at her in amazement, she reaches into her bag, feels the money - filled envelope, pauses. CAR DEALER -LRB- slowly. -RRB- I take it. you can prove that car's yours. I mean, out of state and all. got your pink slip and your. MARY I think I have the necessary papers. Is there a Ladies Room. CAR DEALER In the building. -LRB- indicates, continues to stare quietly. -RRB- Mary starts for the building, glancing once in the direction of the Patrolman. THE PATROLMAN - MARY'S POV - -LRB- DAY -RRB- He still sits, his motor throbbing, his face quiet.", "EXT. THE USED CAR LOT - (DAY) Mary goes into the office building.", "INT. LADIES ROOM - (DAY) Mary enters, locks door, takes envelope out of her handbag, extracts one bundle of bills from the envelope, counts off five, puts the bundle back into the envelope and the envelope back into the bag. Then she remembers, takes out the important papers envelope, goes through it, finds several papers having to do with her car, takes them all out, puts back the envelope, starts out of the ladies Room.", "EXT. THE USED CAR LOT - (DAY) The Car Dealer has moved the car of her choice out of the line. It stands in the clearing. CAR DEALER -LRB- too cheerfully. -RRB- I think you'd better give it a trial spin. Do n't want any bad word of mouth about California Charlie. MARY I'd really rather not. Please. Ca n't we just settle this and. CAR DEALER I'll be perfectly honest with you, Ma'am. It's not that I do n't trust you, but. MARY -LRB- interrupting. -RRB- But what? Is there anything so terribly wrong about. making a decision and wanting to hurry? Do you think I've stolen. my car? CAR DEALER No, M'am. I was only about to say, I've sent my mechanic out to give your car a little test. that's all. MARY -LRB- handing him the ownership papers and the new bills. -RRB- I'd like to be ready when he gets back. CAR DEALER Okay. If you'll come along. He starts toward the office building. Mary follows, closely, anxiously. She glances, sees : THE PATROLMAN - MARY'S POV - -LRB- DAY -RRB- He is still at the far curb.", "EXT. USED CAR LOT - (DAY) The Car Dealer goes into his office. Mary follows. THE PATROLMAN - -LRB- DAY -RRB- A second later, he starts his automobile, checks traffic, comes across the street, slowly, and drives onto the lot. He pauses a moment, then drives across the lot, passing the office, going on to the other exit, stops there as Mary's car is driven back onto the lot. The MECHANIC stops Mary's car, hops out, waves to the Patrolman. The Patrolman waves back, goes on a bit until he is behind Mary's car, stops again, looks over at the office. In a moment, Mary comes out, hurries across to her new car, gets in, starts the motor. The Mechanic yells : MECHANIC Hey! Miss? Mary pauses, turns, sees the Patrolman, then the Mechanic. Her face goes white. She does n't know which man called her. Then the Mechanic waves, starts forward with her suitcase. MARY -LRB- as Mechanic reaches car. -RRB- Just put it right in here, please. beside me. The Mechanic smiles, throws the suitcase in. Mary zooms off. As she drives out of lot we see the Mechanic, the Car Dealer and the Patrolman all looking after her. MARY IN NEW CAR ON ROUTE Mary is driving tensely. She checks the rear - view mirror, is more shocked than pleased when she sees. MARY'S REAR - VIEW MIRROR No sign of the Patrolman. MARY IN NEW CAR ON ROUTE She turns her face, looks out at the highway. ROUTE 99 - MARY'S POV It is heavy with traffic. MARY IN NEW CAR ON ROUTE Again she checks the mirror and although. MARY'S REAR - VIEW MIRROR There is still no sign of the Patrolman. MARY IN NEW CAR ON ROUTE She can not relax or feel safe, can not convince herself that nothing will come of the man's watching and suspicions. CAMERA IS CLOSE on Mary's face now, recording her anxiety, her fears. Her guilt shines bright in her eyes and she is a person unaccustomed to containing this much guilt in this realistic a situation. Suddenly, we hear the SOUND of the Used Car Dealer's laugh, hear it as clearly as Mary hears it in her imagination. The `` imagined voice'' we hear is actually the voice of the Car Dealer : CAR DEALER'S VOICE Heck, Officer, that was the first time I ever saw the Customer high - pressure the Salesman! Somebody chasing her? PATROLMAN'S VOICE I better have a look at those papers, Charlie. CAR DEALER'S VOICE She look like a wrong - one to you? PATROLMAN'S VOICE Acted like one. Mary blinks, shakes her head, as if trying to shake away these voices of her imagination. She checks the rear - view mirror. MARY'S REAR - VIEW MIRROR Still no sight of the Patrolman. MARY IN NEW CAR She tries to force herself to relax, almost succeeds when she is sprung to tension again by.", "EXT. HIGHWAY The sight of a police car. As she drives past, we hear the squeaky, unintelligible voice coming over the car radio. Mary zooms down on the gas, whizzes ahead.", "EXT. HIGHWAY 99 - LONG SHOT Mary's car dashing along. MARY IN NEW CAR Mary looks weary, tired with strain and with hard driving. Her eyes are heavy with worry and deep thought. OUT THE WINDSHIELD We can see that it is much later in the day, almost dusk. MARY IN NEW CAR We HEAR the sound of an agitated BUZZ of an intercom system, a sound emanating from Mary's imagination. After the second BUZZ, we HEAR the voice of Caroline. CAROLINE'S VOICE Yes, Mr. Lowery. LOWERY'S VOICE -LRB- a worried tone. -RRB- Caroline? Mary still is n't in? CAROLINE'S VOICE No, Mr. Lowery. but then she's always a bit late on Monday mornings. LOWERY'S VOICE Buzz me the minute she comes in. Again Mary shakes her head, forces herself to stop hearing these `` invented'' scenes of her imagination.", "EXT. HIGHWAY Now we cut to the view of the road, from Mary's viewpoint. Darkness of evening is coming. In the dim twilight we see the neon sign of roadside restaurants and gas stations beginning to blaze on.", "INT. MARY'S NEW CAR Back on Mary's face, and after a moment, the imagined voices again : LOWERY'S VOICE Call her sister! If no one's answering at the house. CAROLINE'S VOICE I called her sister, Mr. Lowery, where she works, the Music Makers Music Store, you know? And she does n't know where Mary is any more than we do. LOWERY'S VOICE You better run out to the house. She may be. unable to answer the phone. CAROLINE'S VOICE Her sister's going to do that. She's as worried as we are. A flush of painful guilt and regret rises up in Mary's face. She closes her eyes for one tight swift moment.", "EXT. HIGHWAY We cut again to the highway. The first oncoming headlights slash at the windshield.", "INT. MARY'S NEW CAR Cutting back to Mary, we can sense by the tense muscles of her face that she is driving faster. The oncoming headlights blurt at her. Suddenly we HEAR Lowery's voice, loud now and frightened, as if the anxiety in the man's voice was strong enough to break through Mary's effort to keep her mind silent and her imagination blank. LOWERY'S VOICE No! I have n't the faintest idea. As I said, I last saw your sister when she left this office on Friday. she said she did n't feel well and wanted to leave early and I said she could. And that was the last I saw. -LRB- a pause, a thought. -RRB-. wait a minute, I did see her, an hour or so later, driving. -LRB- a pause, then with solemn fear. -RRB- Ah, I think you'd better come over here to my office. Quick. -LRB- a pause, a click. -RRB- Caroline, get Mr. Cassidy for me.", "EXT. HIGHWAY It is completely dark now, night.", "INT. MARY'S NEW CAR We cut back to her face. LOWERY'S VOICE After all, Cassidy, I told you. all that cash. I'm not taking the responsibility. Oh, for heaven's sake, a girl works for you for ten years, you trust her! All right, yes, you better come over. FROM MARY'S VIEWPOINT", "EXT. THE ROAD AHEAD INT. MARY'S NEW CAR Fast cut back to Mary's face. Oncoming headlights throw a blinding light across her features. CASSIDY'S VOICE -LRB- undrunk, sharp with rage. -RRB- Well I ai n't about to kiss off forty thousand dollars! I'll get it back and if any of it's missin' I'll replace it with her fine soft flesh! I'll track her, never you doubt it! LOWERY'S VOICE Hold on, Cassidy. I still ca n't believe. it must be some kind of a mystery. I ca n't. CASSIDY'S VOICE You checked with the bank, no? They never laid eyes on her, no? You still trustin'? Hot creepers, she sat there while I dumped it out. hardly even looked at it, plannin' and. and even flirtin' with me! A look of revulsion makes Mary close her eyes. THROUGH THE WINDSHIELD AGAIN Big drops of rain begin to appear. CLOSEUP - MARY She is becoming aware of the rain starting. THROUGH THE WINDSHIELD The rain increasing and backlit by the oncoming headlights. CLOSEUP - MARY Mary starts the windshield wipers. THROUGH THE WINDSHIELD The wipers are having a battle with the now torrential rain. CLOSEUP - MARY Peering through the blurred windshield. CLOSEUP - THE CAR WHEELS slowing down in the flooding highway. CLOSEUP - MARY peering through the windshield. The oncoming lights are fewer. CLOSEUP - THE CAR WHEELS almost coming to a slow turn. THROUGH THE WINDSHIELD just blackness and rain. CLOSEUP - MARY peering. MARY'S VIEWPOINT An almost undiscernible light in the far distance, a neon sign blurred by the rain - sheeted windshield. MARY'S CAR She presses down, forces the car to move on through the flooded road.", "EXT. THE ROAD As we move closer, we see the neon sign more clearly and can faintly make out the large letters which read `` Motel.'' Mary stops the car, lowers the window slightly, looks out. We see the sign clearly now : `` BATES MOTEL.'' Mary opens the car door and dashes out into the rain and up onto the porch of the motel office.", "EXT. BATES' MOTEL - (NIGHT) Mary pauses on the porch. The lights are on within the office. She tries door, finds it open, goes into office. CAMERA FOLLOWS her into office. There is no one present. Mary goes to the desk, rings a small pushbell. There is no response. Mary rubs her forehead in weariness and frustration, goes back out onto the porch. She looks off in another direction, slightly behind the office, and sees. MARY'S VIEWPOINT - A LARGE OLD HOUSE - -LRB- NIGHT -RRB- A path from the motel office leads directly up to this house. There is a light on in one of the upstairs rooms. A WOMAN passes the window, pauses, peers out. We see her in clear silhouette. She quickly goes away from the window.", "EXT. PORCH OF BATES' MOTEL - (NIGHT) Mary, having seen the woman, expects now that she will get some attention. She stands a few moments, waiting. No one comes. Impatience and anger rise in Mary. She dashes out into the rain, to her car, gets in, opens the side window, begins to honk the horn. After a moment, a YOUNG MAN open the front door of the house, pauses, starts down the path. After a few steps, he turns and runs back into the house. Mary leaves her car, starts a dash for the shelter of the porch. As she runs, we see that the Young Man has gone back only to get an umbrella. Seeing that Mary is on her way to the porch, he runs quickly, the umbrella unopened in his hand. He gets to the porch a moment after Mary has reached it. He stops short, looks at her, then at the umbrella hanging useless in his hand, then back to her. There is something sadly touching in his manner, in his look. Mary's impatience goes and she smiles and this makes him almost smile. He gestures her into the office, standing back to indicate that he will go after her. She goes into the office.", "INT. OFFICE OF BATES' MOTEL - (NIGHT) The Young Man follows Mary in, closes the door. He is NORMAN BATES, somewhere in his late twenties, thin and tall, soft - spoken and hesitant. NORMAN Dirty night. MARY -LRB- not really a question. -RRB- You have a vacancy? NORMAN -LRB- simply, almost cheerfully. -RRB- We have twelve vacancies. Twelve cabins, twelve vacancies. -LRB- a pause. -RRB- They moved away the highway. MARY I thought I'd gotten off the main. NORMAN I knew you must have. No one stops here anymore unless they do. He is behind the counter now, pushing forward the registration book. NORMAN But it's no good dwelling on our losses, is it. We go right ahead lighting signs and following the formalities. Would you sign, please. Mary has placed her handbag on the counter. She takes the registration book, picks up the pen, is suddenly struck with the realization that she'd better use an alias. She writes the name Marie Samuels. NORMAN Your home address. Oh, just the town will do. MARY -LRB- glancing at newspaper sticking out of her handbag. -RRB- Los Angeles. She realizes he did n't ask her to tell him, merely to write it down. She smiles, writes Los Angeles beside the false name. Norman smiles, stops smiling out of embarrassment. NORMAN Cabin One. It's closer in case you want anything. right next to the office. CLOSEUP - NORMAN He removes a key for Cabin One. We see that there is a remaining key on the board. TWO SHOT - MARY AND NORMAN MARY I want sleep more than anything. Except maybe, food. NORMAN There's a big diner about ten miles on up. just outside Fairvale. MARY Am I that close to Fairvale? NORMAN Fifteen miles. I'll get your bags. He goes to door, opens it. The rain has slowed down considerably. He smiles at this fact, as if to communicate some pleasure he finds in it. Mary follows him to the door, goes out on the porch, waits and watches as Norman runs to her car, gets in, drives it to the parking space in front of Cabin One. Mary walks along the porch, waits before the door of Cabin One. Norman gets out of car, with suitcase, runs to the door, opens it, pushes the door open, puts his hand in and switches on a light. Mary goes into the cabin. Norman follows her.", "INT. CABIN ONE - (NIGHT) Norman places suitcase on bed, goes to the window, opens it. NORMAN Stuffy in here. -LRB- turns to her. -RRB- Well. the mattress is soft and there're hangers in the closet and. stationary with `` Bates' Motel'' printed on it in case you want to make your friends back home envious. and. the. over there. -LRB- he points to the bathroom, fairly blushes. -RRB- MARY The bathroom. NORMAN -LRB- quickly, starting to leave. -RRB- I'll be in the office if you want anything. just tap on the wall. MARY Thank you, Mr. Bates. NORMAN Norman Bates. He pauses at the door, gazes at her. She smiles. NORMAN You have something most girls never have. MARY I have? NORMAN There's no name for it. But it's something that, that puts a person at ease. MARY Thank you. Again. NORMAN -LRB- not really a question. -RRB- You're not going to go out again and drive up to that diner, are you? MARY No. NORMAN Then will you do me a favor? -LRB- without waiting for her response. -RRB- Will you have supper here? I was just about to, myself. nothing more than some sandwiches and a lot of milk, but I'd like it if you'd come up to the house and. I do n't set a fancy table but. the kitchen's awful homey. MARY I'd like to. NORMAN All right, you get your dresses hanging out and. change those wet shoes, and I'll come for you soon as it's ready. -LRB- starts out. -RRB-. with my trusty umbrella. -LRB- he laughs a small laugh, runs off. -RRB- Mary closes the door, goes to suitcase, opens it, starts to take out a dress. Her handbag is next to the suitcase. She glances down into it, pauses, drops the dress, reaches into the handbag, takes out the money - filled envelope, stares at it, almost with regret, filled contemplates hiding it, decides to, starts looking for a reasonable hiding place. She looks about, at the closet, the drawers etc., realizes all such places are obvious. Catching sight of the newspaper in her bag, she hits on a solution. She opens the newspaper, places the envelope within it, lock - folds the paper again and then places it on the bedside table as if it were there for later reading. She considers this for a moment, accepts it, goes to her suitcase to start unpacking. Suddenly the quiet is shattered by the shrill, ugly sound of a woman's voice, raised in anger. WOMAN'S VOICE No! I tell you no! Mary walks slowly to the window, realizing that the terrible voice is coming from the house behind the cabins. CAMERA FOLLOWS her to window and once there we see the light is still on in the upstairs bedroom and the voice is coming from that room. The rain has stopped and the moon is out. WOMAN'S VOICE I wo n't have you bringing strange young girls in for supper. -LRB- an ugly, sneering note creeps into the voice. -RRB-. by candlelight, I suppose, in the cheap erotic fashion of young men with cheap, erotic minds! NORMAN'S VOICE Mother, please. WOMAN'S VOICE And then what? After supper, music? Whispers? NORMAN'S VOICE Mother, she's just a stranger. hungry, and the weather's bad. WOMAN'S VOICE -LRB- mimicking cruelly. -RRB- Mother, she's just a stranger! -LRB- hard, cruel again. -RRB- As if men do n't desire strangers, as if. oh, I refuse to speak of disgusting things because they disgust me! You understand, Boy? WOMAN'S VOICE -LRB- pause. -RRB- Go on, go tell her she'll not be appeasing her ugly appetite with my food. or my son! Or do I have to tell her, cause you do n't have the guts? Huh, boy? You have the guts, boy? NORMAN'S VOICE -LRB- blurted cut fury and shame. -RRB- Shut up! Shut up! There is the SOUND of a door closing in that room up there. Mary has stood by the window, listening with mounting distress and concern and sympathy. She turns her face away now, gazes sadly at the little empty room. In a moment there is the SOUND of the house's front door slamming shut. Mary turns, looks out the window. FROM MARY'S VIEWPOINT - -LRB- NIGHT -RRB- We see Norman coming down the path, carrying a napkin - covered tray.", "INT. CABIN ONE - (NIGHT) Mary looks at him for a moment, then turns quickly, goes to the door, opens it and goes out onto the porch.", "EXT. THE MOTEL PORCH - (NIGHT) Mary pauses outside the door, is about to start forward when Norman comes round the building and walks along the porch, past the office, stopping only when he is close to her. He stares with painful embarrassment at the knowing look in her eye. MARY I've caused you some trouble. NORMAN Mother. -LRB- a hollow little laugh, an attempt at sardonic humor. -RRB-. what is the phrase. `` she is n't herself today''. I think that's it. MARY -LRB- looking at the tray. -RRB- You should n't have bothered. I really do n't have that much of an appetite. Norman flinches, realizing she has heard his mother's reference to Mary's appetite. NORMAN I'm sorry. I wish. people could apologize for other people. MARY Do n't worry about it. -LRB- a warm smile. -RRB- But as long as you've made us supper, we may as well eat it. Huh? She begins to back into her room. Norman starts to follow, hesitates as he sees the total picture of an attractive young woman and a motel room. Bringing down the tray of food, in defiance of his mother's orders, is about the limit of his defiance for one day. He can not go into Mary's room. NORMAN It might be nicer. warmer in the office. Without waiting for approval or disapproval, he turns, hurries to the office. Mary looks after him, her face showing amused sympathy, then follows.", "INT. THE MOTEL OFFICE - (NIGHT) Norman looks about, tray in hand, sees there is no reasonable place to spread out a supper. He turns, sees Mary standing in the doorway. NORMAN Eating in an office. -LRB- a rueful smile. -RRB-. to officious, even for me. I have the parlor behind this. if you'd like. Mary nods. Norman walks on, behind the counter and into the darkened parlor. Mary follows.", "INT. NORMAN'S PARLOR -(NIGHT) In the darkened room, lit only by the light from the office spilling in, we see Norman placing the tray on a table. Mary comes to the doorway, pauses. Norman straightens up, goes to lamp, turns on the light. Mary is startled by the room. Even in the dimness of one lamp, the strange, extraordinary nature of the room rushes up at one. It is a room of birds. Stuffed birds, all over the room, on every available surface, one even clinging to the old fashioned fringed shade of the lamp. The birds are of many varieties, beautiful, grand, horrible, preying. Mary stares in awe and a certain fascinated horror. CLOSE UP - THE VARIOUS BIRDS TWO SHOT - MARY AND NORMAN NORMAN Please sit down. On the sofa. As Norman goes about spreading out the bread and ham and pouring the milk, we follow Mary across the room. She studies the birds as she walks, briefly examines a bookcase stacked with books on the subject of `` Taxidermy.'' CLOSE UP - THE BOOKS ON TAXIDERMY MED. CLOSE SHOT - MARY She notices, too, the paintings on the wall ; nudes, primarily, and many with a vaguely religious overtone. Finally Mary reaches the sofa, sits down, looks at the spread. MARY You're very. kind. NORMAN It's all for you. I'm not hungry. Please go ahead. Mary begins to eat, her attitude a bit tense. She takes up a small slice of ham, bites off a tiny bite, nibbles at it in the manner of one disturbed and preoccupied. Norman gazes at her, at the tiny bite she has taken, smiles and then laughs. NORMAN You eat like a bird. MARY You'd know, of course. NORMAN Not really. I hear that expression, that one eats `` like a bird,'' is really a falsie, I mean a falsity, because birds eat a tremendous lot. -LRB- A pause, then explaining. -RRB- Oh, I do n't know anything about birds. My hobby is stuffing things. taxidermy. And I guess I'd just rather stuff birds because. well, I hate the look of beasts when they're stuffed, foxes and chimps and all. some people even stuff dogs and cats. but I ca n't. I think only birds look well stuffed because they're rather. passive, to begin with. most of them. He trails off, his exuberance failing in the rushing return of his natural hesitancy and discomfort. Mary looks at him, with some compression, smiles. MARY It's a strange hobby. Curious, I mean. NORMAN Uncommon, too. MARY I imagine so. NORMAN It's not as expensive as you'd think. Cheap, really. Needles, thread, sawdust. the chemicals are all that cost anything. -LRB- He goes quiet, looks disturbed. -RRB- MARY A man should have a hobby. NORMAN It's more than a hobby. sometimes. a hobby is supposed to pass the time, not fill it. MARY -LRB- after a pause, softly. -RRB- Is your time so empty? NORMAN Oh, no! -LRB- forcing brightness again. -RRB- I run the office, tend the cabins and grounds, do little chores for mother. the ones she allows I might be capable of doing. MARY You go out. with friends? NORMAN Friends? Who needs friends. -LRB- Laughs, then with gallows humor. -RRB- A boy's best friend is his mother. -LRB- Stops laughing. -RRB- You've never had an empty moment in your whole life. Have you? MARY Only my share. NORMAN Where are you going? I do n't mean to pry. MARY -LRB- A wistful smile. -RRB- I'm looking for a private island. NORMAN What are you running away from? MARY -LRB- Alert. -RRB- Why do you ask that? NORMAN No. People never run away from anything. -LRB- A pause. -RRB- The rain did n't last very long. -LRB- Turning suddenly. -RRB- You know what I think? I think we're all in our private traps, clamped in them, and none of us can ever climb out. We scratch and claw. but only at the air, only at each other, and for all of it, we never budge an inch. MARY Sometimes we deliberately step into those traps. NORMAN I was born in mine. I do n't mind it anymore. MARY You should. mind it. NORMAN Oh I do. but I say I do n't. -LRB- Laughs boyishly. -RRB- MARY -LRB- Staring at him, shaking her head softly. -RRB- If anyone ever spoke to me, the way I heard. The way she spoke to you, I do n't think I could ever laugh again. NORMAN -LRB- Controlled resentment. -RRB- Sometimes when she talks that way to me I'd like to. curse her out and leave her forever! -LRB- A rueful smile. -RRB- Or at least, defy her. -LRB- A pause, a hopeless shrug. -RRB- But I could n't. She's ill. MARY She sounded strong. NORMAN I mean. ill. -LRB- A pause. -RRB- She had to raise me all by herself after my dad died. I was only five. and it must have been a strain. Oh, she did n't have to go out to work or anything, Dad left us with a little something. anyway, a few years ago. Mother met a man. He talked her into building this motel. We could have talked her into anything. and when. Well. It was just too much for her when he died, too. And the way he died. Oh, it's nothing to talk about when you're eating. -LRB- Pauses, smiles. -RRB- Anyway, it was too much of a loss for my mother. she had nothing left. MARY -LRB- Critically. -RRB- Except you. NORMAN A son is a poor substitute for a lover. -LRB- Turns away as if in distaste of the word. -RRB- MARY Why do n't you go away? NORMAN To a private island, like you? MARY No, not like me. NORMAN It's too late for me. And besides. who'd look after her? She'd be alone up there, the fire would go out. damp and cold, like a grave. When you love someone, you do n't do that to them, even if you hate them. Oh, I do n't hate her. I hate. what she's become. I hate. the illness. MARY -LRB- Slowly, carefully. -RRB- Would n't it be better if you put her in. someplace. She hesitates. Norman turns, slowly, looking at her with a striking coldness. NORMAN An Institution? A madhouse? People always call a madhouse `` someplace.'' -LRB- Mimicing coldly. -RRB- Put her in Someplace! MARY I'm sorry. I did n't mean it to sound uncaring. NORMAN -LRB- The coldness turning to tight fury. -RRB- What do you mean about caring? Have you ever seen one of those places? Inside? Laughing and tears and cruel eyes studying you. and my mother there? Why? has she harmed you? She's as harmless as. one of these stuffed birds. MARY I am sorry. I only felt. it seemed she was harming you. I meant. NORMAN -LRB- High fury now. -RRB- Well? You meant well? People always mean well, they cluck their thick tongues and shake their heads and suggest so very delicately that. The fury suddenly dies, abruptly and completely, and he sinks back into his chair. There is a brief silence. Mary watches the troubled man, is almost physically pained by his anguish. NORMAN -LRB- Quietly. -RRB- I've suggested it myself. But I hate to even think such a thing. She needs me. and it is n't. -LRB- Looks up with a childlike pleading in his eyes. -RRB-. it is n't as if she were a maniac, a raving thing. it's just that. sometimes she goes a little mad. We all go a little mad sometimes. Have n't you? MARY -LRB- After a long thoughtful pause. -RRB- Yes, and just one time can be enough. -LRB- Rises. -RRB- Thank you. NORMAN -LRB- Cheerfully, correcting. -RRB- Thank you, Norman. MARY Norman. NORMAN You're not going to. to your room already? MARY I'm very tired. And I'll have a long drive tomorrow. All the way back to Phoenix. NORMAN Phoenix? MARY I stepped into a private trap back there - and I want to go back and. try to pull myself out. -LRB- Looking close at Norman. -RRB- Before it's too late for me, too. NORMAN -LRB- Looking at her. -RRB- Why do n't you stay a little while, just for talking. MARY I'd like to, but. NORMAN Alright. I'll see you in the morning. I'll bring you breakfast. What time will you. MARY Very early. Dawn. NORMAN Alright, Miss. -LRB- He has forgotten her name. -RRB- MARY Crane. NORMAN That's it. -LRB- He frowns, as if bothered by not being able to match the name to the memory of the name in the registration book. -RRB- MARY Good night. She goes out of the parlor. We see her, from Norman's viewpoint, as she crosses the small office, goes out into the night. Norman turns and looks at the table, and we see his face now. It is bright with that drunken - like look of determination and encouragement and like resolve. He starts to clean up the table, pauses as he hears the closing of Mary's door in the cabin next door. He holds still, listens. He goes into the office and looks at the book. C.U. - THE NAME `` SAMUELS'' M.S. - NORMAN He goes back into the parlor with a mystified expression. The sound of Mary moving about her room come over, soft SOUNDS, somehow intimate in the night quiet. Norman turns his ear from the direction of the SOUNDS, seems to be fighting an impulse to listen, or more than listen. But slowly, he is forced to surrender to the impulse and, resisting himself, he goes to the wall, presses the side of his head against it. The SOUNDS come louder, as if we too had our ear pressed against the wall. Now Norman looks at a picture hanging on the far end of the wall he is leaning against. Slowly he starts toward it. He reaches it, touches it, reluctantly lifts the small frame off the wall. A tiny circle of light hits Norman's face, coming from the hole in the wall behind the picture. This end of the room is very dim and thus we are able to see clearly the light striking Norman's face. We move close to Norman, extremely close, until his profile fills the screen. The tiny spot of light hits his eye. See the small hole through which the light comes. Norman peeps through. NORMAN'S VIEWPOINT Through the hole we look into Mary's cabin, see Mary undressing. She is in her bra and halfslip. She stoops over a bit, places her hands behind her upper back, begins to unhook her bra. NORMAN - ECU He watches as Mary removes her bra. We see his eye run up and down the unseen figure of Mary. NORMAN'S VIEWPOINT Mary, just slipping into a robe, covering her complete nudity. NORMAN He turns from the hole, faces us for a moment, continues turning until he can look out the small parlor window. We see, as he sees. THE HOUSE IN THE BACKGROUND NORMAN He turns his face away, quickly, resentfully. In his face we see anger and anguish. And then resolve. Quickly, precisely, he rehangs the picture over the hole in the wall, turns, starts out of the parlor. We see him go through the office and out onto the porch, not even bothering to close the door behind him.", "EXT. THE MOTEL OFFICE PORCH - (NIGHT) Norman walking along the porch, in the direction of the big house. Once on the path he pauses, looks up at the light in the bedroom window, then pulls himself up, squares his shoulders, strides manfully up the path. CAMERA follows behind him. He opens the door of the house, enters. We see him pause at the foot of the stairway, look up at the bedroom door just at the head of the stair. He holds for a moment, and then his resolve and courage evaporates. His shoulders slump, sadly, mournfully. He by - passes the stairs and slowly makes his way to the kitchen. At the far end of the hall. He enters the kitchen, drops wearily into a chair. After a moment, he stretches out a leg and gently pushes the kitchen door closed.", "INT. MARY'S MOTEL ROOM - (NIGHT) Mary is seated at the small desk, engrossed in figuring in a small notebook. We see from these figures a calculation which indicates her intention to make a restitution of the money she has used of the forty thousand dollars. We see, too, her bankbook. The paper reads thus : top figure, 40,000 ; directly beneath it 500, the amount used for the new car ; total after subtraction, 39,500. In another spot we see a figure which matches the balance in her bankbook ; 624.00. Beneath this is the figure 500, and the amount after subtraction, 124.00. She studies the figures, sighs, not wearily but with a certain satisfaction, with the pleasure that comes when one knows that at any cost one is going to continue doing the right thing. After a moment she tears the page out of the notebook and, rising, begins to rip it into small pieces. She goes into the bathroom, drops the pieces into the toilet bowl, flushes the toilet. Then she drops her robe and steps into the tub and turns the shower on.", "INT. MARY IN SHOWER Over the bar on which hangs the shower curtain, we can see the bathroom door, not entirely closed. For a moment we watch Mary as she washes and soaps herself. There is still a small worry in her eyes, but generally she looks somewhat relieved. Now we see the bathroom door being pushed slowly open. The noise of the shower drowns out any sound. The door is then slowly and carefully closed. And we see the shadow of a woman fall across the shower curtain. Mary's back is turned to the curtain. The white brightness of the bathroom is almost blinding. Suddenly we see the hand reach up, grasp the shower curtain, rip it aside. MARY - ECU As she turns in response to the feel and SOUND of the shower curtain being torn aside. A look of pure horror erupts in her face. A low terrible groan begins to rise up out of her throat. A hand comes into the shot. The hand holds an enormous bread knife. The flint of the blade shatters the screen to an almost total, silver blankness. THE SLASHING An impression of a knife slashing, as if tearing at the very screen, ripping the film. Over it the brief gulps of screaming. And then silence. And then the dreadful thump as Mary's body falls in the tub. REVERSE ANGLE The blank whiteness, the blur of the shower water, the hand pulling the shower curtain back. We catch one flicker of a glimpse of the murderer. A woman, her face contorted with madness, her head wild with hair, as if she were wearing a fright - wig. And then we see only the curtain, closed across the tub, and hear the rush of the shower water. Above the shower - bar we see the bathroom door open again and after a moment we HEAR the SOUND of the front door slamming. THE DEAD BODY Lying half in, half out of the tub, the head tumbled over, touching the floor, the hair wet, one eye wide open as if popped, one arm lying limp and wet along the tile floor. Coming down the side of the tub, running thick and dark along the porcelain, we see many small threads of blood. CAMERA FOLLOWS away from the body, travels slowly across the bathroom, past the toilet, out into the bedroom. As CAMERA approaches the bed, we see the folded newspaper as Mary placed it on the bedside table. CLOSE UP - THE NEWSPAPER beside the bed. The CAMERA now moves away over to the window and looks up to the house, and as it gets there we HEAR, coming from within the house, the SOUND of Norman's fearful, shocked voice. NORMAN'S VOICE Mother! Oh God, what. blood, blood. mother! We can not entirely distinguish these exclamations. After a moment or two of silence, Norman emerges from the front door, dashes down the path toward the motel.", "EXT. THE PATH - (NIGHT) Norman is coming AT CAMERA, running head - on. He dashes into an extreme close up and we see the terror and fear ripe in his face. CAMERA PANS as Norman races past, holds as Norman runs to the porch and quickly along it and directly to Mary's room.", "INT. MARY'S CABIN - (NIGHT) Norman pauses a moment in the doorway, glances about the room, hears the shower going, sees the bathroom door is open. He goes to the bathroom, looks in, sees the body. Slowly, almost carefully, he raises his hands to his face, covers his eyes, turns his face away. Then he crosses to the window, looks out at the house. Shot is so angled that we see the bedside table with the newspaper on it. After a moment, Norman moves from the window, sinks onto the edge of the bed. FRESH ANGLE - BEHIND NORMAN Norman sitting on bed, the bathroom in b.g. of shot. We can see only the hand of the dead girl, lying along the tile floor. Norman presses his eyes, fights to find a way out of his dilemma. Slowly, a kind of settling comes upon him, the peace that comes with decision. Norman rises, goes to the window, looks out, and then, with resolution, closes the window and draws the curtain across it. Then he crosses to the front window, facing the porch, and draws those curtains closed. Then he switches off the bedroom light, leaving the room lit only by the spill from the bathroom. He opens the front door, goes out.", "EXT. THE HOTEL PORCH - (NIGHT) Norman comes out of Mary's cabin, closes the door carefully behind him, goes along the porch to his office, goes in. We stay outside. Immediately, the `` Vacancy'' sign goes off, and then the motel sign goes off. As CAMERA GOES closer to the office, the lights within go off and we HEAR a closet door opening and then the SOUND of a pail being picked up. Norman comes out of office, closes door, looks cautiously about, goes along porch, carrying pail with mop in it, goes into Mary's cabin, closing the door after him.", "INT. MARY'S CABIN With the paper in the foreground, Norman enters. We can see him in the dim spill of light. He pauses by the door, then gathers his strength and goes into the bathroom. We HEAR him set the pail on the tiled floor, and then we HEAR the shower being turned off. And there is total silence. CAMERA MOVES FORWARD so that we can see into bathroom. CAMERA is ANGLED that we see Norman only from the waist up. Quickly and deftly he unhooks the shower curtain, emerges with it into the bedroom. CAMERA PANS down and we see him spread the shower curtain on the bedroom floor, just outside the bathroom door. He spreads the curtain so that one end of it comes up against the bathroom threshold and slightly over and onto the tile floor. Again he goes into the bathroom and CAMERA TILTS up so that we see only the upper half of Norman. He works carefully, with his arms extended away from his body, slowly pulls the dead body out of the tub, drags it across the tile floor and onto the spread - out shower curtain in the bedroom. Having arranged the body, he straightens up, examines his hands, sees bloodstains on them. He returns to the bathroom, goes to the hand - basin. CLOSE SHOT We see his hands being washed, see the bloodstains being diluted and washed away by the gush of the faucet water. NORMAN We see Norman shake his hands free of the water, then turn to the job of cleaning the bathroom. He places the pail in the tub, runs water into it, dips the mop in, swabs the tile floor. With a towel he wipes off the wall over the tub and the edges and sides of the tub and even the shower curtain rod. Then he takes a second towel and goes over the cleaned areas, carefully drying them. Finally he rinses and squeezes out the mop, empties the pail, cleans out the tub, and goes out into the bedroom.", "INT. MARY'S BEDROOM Norman steps carefully around the unseen body, crosses to the desk, starts going through Mary's handbag, in search of her car keys. He suddenly notices them lying on the desk, where he'd thrown them after parking her car. He picks up the keys, crosses the room, goes out.", "EXT. THE PORCH We see Norman pauses at the door, check cautiously, then hurry across the porch and into Mary's car. He circle - turns the car, so that its trunk is backed up to the turns porch, directly opposite Mary's door, as close as it can go. Then he alights, goes to the trunk, opens it with the key and, leaving the trunk lid raised, goes back into the cabin.", "INT. MARY'S ROOM From a raised angle, we see Norman bend down and begin to wrap the shower curtain around the body. We see the edges of the curtain as they are raised and laid down again. Then he picks up the wrapped body, crosses to the door, uses his foot to pull the door open, and, leaving the door open behind him, goes quickly across the porch and gently lays the body in the trunk. He closes the lid then, but does not lock it. He comes back into the cabin, closes the door completely, flicks on the light. Again the newspaper is in the foreground. For a moment he pauses, closes his eyes against the realization of what he is doing, then quickly pushes all thoughts away, continues with his work. With the room lighted, he now proceeds to gather up all Mary's articles and toss them into the suitcase. He checks all drawers and the closet, gets down and checks under bed and bureau, goes into the bathroom, checks that room again, comes back into the bedroom, looks about carefully, spots Mary's handbag, throws even that into the suitcase, is finally satisfied that all traces of the girl are gone from the room. Then he closes Mary's suitcase, picks it up. With his free hand he picks up the pail, in which are the mop and the used towels. He crosses to the door, switches off the light with his shoulder, pulls open the door, starts out.", "EXT. THE PORCH As Norman stands in the doorway, he is suddenly and blindingly lit by the bright headlights of a passing car. The flash of the lights and the SOUND of the SPEEDING CAR are over in a flicker of a moment, but it takes a few seconds for Norman to regain his former tense composure. Then he goes to the car trunk, raises it with his foot, throws the suitcase and the pail into it, slams it shut. He pauses a moment, then realizes he has left the bathroom light on in Mary's cabin. He returns to cabin. As he enters, his eye is caught by the newspaper on the bedside table. He goes to it, takes the newspaper, and looks once again into the bathroom. His glance goes right over the toilet bowl. He turns out the lights, crosses the darkened cabin, goes out onto the porch. He reopens the trunk, tosses in the newspaper and closes it. He goes around and jumps into the car and starts away. We HOLD on the trunk, follow it for a while, then", "EXT. THE SWAMP - (NIGHT) The car pulls away from a CLOSE ANGLE on the trunk and as CAMERA HOLDS we see that we are now in a swamp area. It is quiet except for the irritating noises of night insects. Norman stops the car at the very edge of the swamp, turns off the lights, gets out, leaving door open. He looks at the swamp, seems doubtful of its ability to swallow up the car, realizes he has no choice. He leans into the car, releases the emergency brake, starts to push. The front of the car begins to roll into the swamp. Suddenly there is the LOW, THROBBING SOUND of a motor. Norman freezes, listens. The SOUND grows louder and Norman realizes it is an airplane flying overhead. The car is rolling quickly now. Norman jumps away, slams the door shut, stands tense. The SOUND of the plane overhead grows louder. Norman looks up. NORMAN'S VIEWPOINT - THE BLACK SKY We see no plane. The SOUND of the motor is beginning to diminish. NORMAN We see the relief in his face. He looks at the car. More than two - thirds of it have already sunk into the swamp. The trunk alone seems to hold poised above the sand and slime, as if refusing to go the rest of the way. Norman begins to panic, he steps dangerously close, pushes with his foot. And slowly the car sinks, until finally it is gone and we hear only the gentle plop of the swamp's final gulp, and see only the small after - bubble, like a visual burp. Norman waits a moment, then begins stamping out the tire marks, so obvious in the wet ground around the swamp. He stamps and drags his feet over the markings as we : CLOSE UP NORMAN standing on the porch of the motel, leaning against a post. He is staring out into the night, a look of guarded, casual innocence on his face, as if he were taking one last moment of peaceful night air before retiring. Then he glances down and CAMERA follows his gaze. A hose is lying on the ground outside Mary's cabin, its stream of water obliterating the tire marks. After a moment, Norman's hand comes into shot, picks up hose, places it in a new position. As CAMERA PULLS BACK, we see that the water from the hose has erased and rearranged the road markings so that it would be impossible to tell that a car had been parked here. After a short wait, Norman goes to the hose - faucet, turns it off, unscrews the hose. As he rolls the hose, he walks away from the spot, past the office, heading for the path that leads to the house. He goes up the path, pauses at the steps of the house, tosses the curled hose onto the lawn, goes up the steps and into the house. CAMERA FOLLOWS him in, PAUSES as he pauses at the foot of the stairs. Norman goes up the stairs. On the landing he stops. The door to his mother's room is closed. Lying in a heap outside the door are a blood - stained dress and a pair of elderly - woman's shoes. From an EXTREMELY HIGH ANGLE, we look down on Norman as he bends to pick up the stained dress and shoes. He rolls the shoes into the dress, tucks the small, neat bundle under his arm, and starts down the stairs, heading for the basement.", "EXT. A LONG SHOT OF THE OLD HOUSE - (NIGHT) It stands silhouetted against the sky. There is a long wait. Then, slowly, a curl of smoke comes out of the chimney. FADE IN", "INT. BACK ROOM OF SAM'S HARDWARE STORE IN FAIRVALE - (DAY) Sam is seated at his desk, writing a letter. Sequence begins with CAMERA IN CLOSE, over Sam's shoulder, and we can read as mush as he has written of the letter. The letterhead reads `` Sam Loomis - Hardware,'' and the letter reads : `` Dearest right - as - always Mary : I'm sitting in this tiny back room which is n't big enough for both of us, and suddenly it looks big enough for both of us. So what if we're poor and cramped and miserable, at least we'll be happy! If you have n't come to your senses, and still want to. CAMERA begins PULLING AWAY as Sam turns the sheet of paper over, continues backing away out of the small back room and heads, backwards, down the corridor, we see a young clerk, BOB SUMMERFIELD, Sam's assistant, standing behind the counter, a look of handsome patience on his face. He is waiting on a meticulous, elderly woman customer, who is holding and examining a large can of insecticide. As CAMERA PASSES : WOMAN CUSTOMER They tell you what its ingredients are and how it's guaranteed to exterminate any insect in the world, but they do not tell you whether or not it's painless. And I say insect or man, death should always be painless. CAMERA, by this has reached the front door of the hardware store and we now see a girl standing just inside the door. She is an attractive girl with a rather definite manner, a look of purposefulness. She carries a handbag and a small overnight case. She is Mary's sister, LILA CRANE. Bob Summerfield has noticed Lila, smiles brightly at her, gives her an I'll - be - with - you - in - a - moment nod. Lila starts to walk toward the counter, never taking her eyes off Bob. As she approaches, she asks quietly : LILA Sam? SUMMERFIELD You want to see Sam? LILA Sam Loomis. SUMMERFIELD -LRB- yelling toward back room. -RRB- Sam! Lady wants to see you! Lila looks to the back room. The woman customer goes on worriedly examining the fine print of the insecticide can. Sam comes to the door of his room, pauses, looks at Lila a moment, starts toward her, his expression indicating that he does not know her. Lila studies him with a quiet, worried expression. SAM Yes? LILA May I talk to you? SAM -LRB- a bit mystified. -RRB- Sure. Lila glances at the customer and the clerk, turns, starts toward the front of the store. Sam holds a moment, then follows. As he reaches her, she turns, her eyes studying him intently as she says : LILA I'm Mary's sister. SAM Lila. LILA -LRB- quickly. -RRB- Is Mary here? Sam is mystified, and is also aware of the worried, hostile expression on Lila's face. He studies her for a quiet moment. Behind them is a display of various size carving knives. SAM Is something wrong? LILA I want to know if my sister is here. SAM Here? LILA With you. SAM Where? LILA I do n't know where. In your store, somewhere in your town. anywhere. SAM What's the matter? LILA Do n't you know? As Sam is about to speak, the Woman Customer comes sailing past, speaking as she goes and wearing a satisfied smile. WOMAN CUSTOMER All I can do is hope if it is n't painless, it's quick! She speaks `` quick'' with a kind of delicious bite, nods happily, goes on out of the store. Sam is now staring apprehensively at Lila. SAM What should I know? LILA To begin with, where Mary is. Do you? SAM No. I take it you do n't either? -LRB- As Lila shakes her head. -RRB- How long? LILA Last Friday. She left work, and home. I was in Tucson over the weekend. I have n't heard from her, not even a phone call. SAM And you thought she'd come up here, to me? If she had, what reason would she have for not calling you? LILA A good reason, I suppose. SAM -LRB- Slightly exasperated. -RRB- Well what do you think, we eloped or something? Or we're living in sin and. LILA Mr. Loomis, you're so busy being defensive that you have n't even reacted to the most serious fact of all. Mary is missing. SAM I was getting to that! LILA What do you know about it? SAM Nothing! You're putting me on the defensive. LILA Look, if you two are in this thing together, I do n't care, it's none of my business. But I want to see Mary. I want her to tell me she's all right and it's none of my business. Then I'll go back to Phoenix and. She stops, the anxiety and fear building up in her, her eyes beginning to fill with worried tears. Sam studies her for a moment, then turns and calls : SAM Bob? Run out and get yourself some lunch. SUMMERFIELD It's okay, Sam, I brought it with me. SAM Run out and eat it. Bob gets the message, goes out through the back way. Sam goes closer to Lila, speaks with soft seriousness. SAM What thing? LILA Huh? SAM What thing could we be in together? LILA -LRB- A pause. -RRB- I hate tears. -LRB- Takes out hankie. -RRB- SAM Is Mary. in trouble? LILA Yes. SAM Well why did n't she come to me. call me? LILA Not that kind. -LRB- Almost a smile. -RRB- You men and your egos. SAM -LRB- Seriously. -RRB- Never mind my ego. Let's talk about Mary. Their attention is distracted by a man who has strolled quietly into the room. He ignores them, walks past them, goes behind the counter, takes down a sign reading `` CLOSED FOR LUNCH,'' walks back to the door, closes door, hangs the sign across the door window, locks the door, turns to Sam and Lila, folds his arms, smiles a particularly unfriendly smile. ARBOGAST Let's all talk about Mary. SAM Who are you, friend? ARBOGAST Milt Arbogast, Private Investigator. -LRB- To Lila. -RRB- Where is she, Miss Crane? LILA I do n't know. ARBOGAST Would n't have been able to tail you if you did. SAM What's your interest? ARBOGAST Money. There is a moment's silence and then, unable to tolerate the sudden frightening happenings, Sam explodes. SAM Somebody better tell me what's going on and tell me fast! I can take so much and then. ARBOGAST -LRB- Interrupting calmly. -RRB- Your girl friend stole forty thousand dollars. Sam looks at Arbogast in utter shock and in that state asks one of those seemingly ridiculous questions. SAM Why? ARBOGAST -LRB- An almost amused smile. -RRB- Must've needed it. SAM What are you talking about? -LRB- To Lila. -RRB- What is this? LILA She was supposed to bank it, on Friday, for her boss. She did n't. And no one has seen her since. ARBOGAST -LRB- Looking at Sam. -RRB- Someone has seen her. Someone always sees a girl with forty thousand dollars. -LRB- To Sam. -RRB- She is your girl friend, is n't she? LILA Sam, they do n't want to prosecute, they just want the money back. It was all in cash. ARBOGAST -LRB- Correcting with Cassidy's word. -RRB- Casharoonie! LILA Sam, if she's here. SAM She is n't! A real look of anguish comes into Lila's face. And Arbogast studies it, then speaks. ARBOGAST You came up here on a hunch, Miss Crane? Nothing more? No phone call. from him, or from your sister herself? LILA -LRB- wearily. -RRB- Not even a hunch. Just hope. ARBOGAST With a little checking, I could get to believe you. LILA -LRB- anxiously. -RRB- I do n't care if you do or. I want to see Mary. before she gets in any deeper. SAM Did you check in Phoenix. hospitals. maybe she had an accident. a hold - up. ARBOGAST She was seen leaving town in her car. Seen by her very victims, I might add. SAM -LRB- after a moment. -RRB- I do n't believe it. -LRB- to Lila, slowly. -RRB- Do you? LILA -LRB- a thoughtful pause. -RRB- Yes. I just. did. The moment they told me. SAM You might have doubted for say five minutes or so, Sister. Lila turns from Sam, a flush of guilt and regret in her face. Arbogast looks at her, quiet sympathetically. ARBOGAST We're always quickest to doubt people who have a record for being honest. I think she's here, Miss Crane. Where there's a boyfriend. -LRB- Trails off, smiles encouragingly. -RRB- She wo n't be back there among the nuts and bolts. but she'll be in this town. somewhere. I'll find her. He nods, takes down the closed - for - lunch sign, sails it to the counter, opens door, goes out into the street. After a quiet moment : LILA I just listened. and believed everything they told me. ` She stole the money.' ` We do n't want to get her in trouble.' ` No do n't bring the police in'. SAM It was her boss' idea not to report it to the police? LILA No. The man whose money she. he talked so loud and fast, and I. I should've called the police. SAM He must have had a darn good reason for wanting them kept out of it. All that cash. LILA I ought to call the police right now! SAM No. LILA Why not? Sam, is she hiding here? Are you two planning to go away with the money? SAM How could I go away? I'm in debt up to my. -LRB- Smiles at the incongruity of his reply, then goes serious. -RRB- If she did steal that money. It's hard to believe she did because it's hard to see why she would. Unless she had some wild idea that it would help me. us. LILA She have n't even called you? SAM I did n't see her. and I did n't hear from her! Believe that! LILA I need to. I need to believe something. This is the first time I've ever come up against anything I could n't. understand. SAM You've led a charmed life. LILA No. I just think. anything can be explained. But Mary, doing a thing like this. I do n't know how to handle. SAM Maybe we can handle it together. -LRB- He smiles encouragingly. -RRB- LILA -LRB- A rueful shrug. -RRB- I came flying up here expecting to get some explanation. for all I know, she may be trying to get in touch with me, at home. I'd better go home. SAM -LRB- A thoughtful pause. -RRB- I think she'll contact me if she contacts anybody. Why do n't you stay here. When she shows up. or calls. be here. LILA -LRB- A long study, her suspicion of him evaporating. -RRB- You want me to stay here? SAM She'll need both of us. LILA -LRB- considers, then :. -RRB- Where. can I stay? SAM -LRB- brightly. -RRB- First rate hotel, fifty yards up the street. Come on. -LRB- as he reaches for the closed - for - lunch sign. -RRB- After we check you in we'll go to the drugstore and get you a sandwich. Then we'll come back here. and wait. He hangs the sign on the door, ushers Lila out, closes door behind him.", "EXT. STREET - (DAY) They emerge from the store and walk along to the hotel. As they enter, Arbogast is in the act of taking over a white Ford sedan from a rental car man. They glance at him and he returns a cynical look.", "EXT. HOTEL - (DAY) Outside another hotel we see Arbogast alight from the white car and go into new hotel.", "EXT. COUNTRYSIDE - (DAY) The white car speeding along the highway.", "EXT. NEW MOTEL - (DAY) Arbogast going into the office - we see the sign above him.", "EXT. BATES' MOTEL - (DAY) A high shot showing the freeway and Bates house and motel on the side old highway. A pause and then across the bottom of the picture a white car speeds by on the freeway.", "EXT. HOTEL - (DUSK) Another Hotel. Arbogast goes in.", "EXT. BATES' MOTEL - (DAY) The white car speeding along the freeway again going in the opposite direction to last time. Norman, a tiny figure, is seen going up the steps to his mother's house.", "EXT. BOARDING HOUSE - (DAY) Arbogast's search is getting down in the scale. This is an entrance to a cheesy boarding house. `` Rooms to Rent,'' etc.. He looks at his list and then goes in.", "EXT. BATES' MOTEL - (DAY) The white car goes by on the freeway again.", "EXT. ROOMING HOUSE - (DAY) Arbogast goes in.", "EXT. BATES' MOTEL - (TWILIGHT) Heavy traffic on the freeway. A beat or two - again the white car. It slows up opposite the distant motel. It makes a turn and goes back out of scene. A pause and it reappears on the old road and slowly makes its way toward the Bates' Motel.", "EXT. THE BATES' HOUSE AND MOTEL - (TWILIGHT) We now see Norman. He has brought out an old rocking chair and has placed it on the office porch and is sitting hunched in it. And he is darning one of his own socks. CAMERA HOLDS. Beyond the porch, and Norman, we see the old house and can barely make out, in the twilight dimness, the figure of his mother seated at the window. Here, too, there is that quality of quiet peace surrounded by a vague foreboding. Now Norman looks up at the SOUND of the approaching car. And continues looking as the car comes to a stop and Arbogast gets out. Arbogast gives the place a quick once - over, gazes at Norman, starts forward. In his steps and manner there is that bored, routine - logged quality of a man who has seen too many motels and asked question of too many hotel managers over too short a period of time. Norman rises as Arbogast comes forward. NORMAN -LRB- shoving sock in his pocket. -RRB- I always forget to put the sign on, but we do have vacancy. -LRB- Cheerfully. -RRB- Twelve in fact. Twelve cabins, twelve vacancies. ARBOGAST -LRB- pleasantly. -RRB- In the past two days I've been to so many motels, my eyes are bleary with neon. This is the first one that looked like it was hiding from the world at large. NORMAN I do n't really forget the sign, it just does n't seem. any use. -LRB- Points. -RRB- This used to be the main highway. -LRB- Starts for office. -RRB- Want to register, please? ARBOGAST Sit down. I do n't want to trouble you, just want to ask. NORMAN No trouble. Today's linen day. I change all the beds once a week, whether they've been used or not. dampness. I hate the smell of dampness. -LRB- Opening office door. -RRB- It's such a dank smell. Norman is holding the door open, so Arbogast walks in. Norman follows.", "INT. MOTEL OFFICE - (TWILIGHT) Norman switches on the overhead light, starts for the linen closet, suddenly pauses, turns, studies Arbogast, who has remained standing by the door. NORMAN You out to buy a motel? ARBOGAST No. NORMAN Oh. I thought. you said you'd been to so many in two days. What was it you wanted to ask? ARBOGAST I'm looking for a missing person. -LRB- takes out and opens wallet and extends it as he speaks. -RRB- My name's Arbogast, private investigator. -LRB- takes back wallet when Norman does n't look at it. -RRB- Trying to trace a young girl who's been missing almost a week. From Phoenix. -LRB- A look at Norman's frightened expression. -RRB- It's a private matter. family wants to forgive her. -LRB- smiles. -RRB- She is n't in trouble. NORMAN -LRB- forcing a smile. -RRB- I did n't think the police went searching for people who were n't in trouble. ARBOGAST I'm not the police. NORMAN Oh. He waits a moment, then opens closet, starts counting out sheets and pillow cases, keeps his back to Arbogast. Arbogast takes a photograph out of his pocket, talks as he crosses to Norman. ARBOGAST We have reason to believe she came this way. might have stopped in this area. -LRB- extends photograph, which Norman does n't glance at. -RRB- Did she stop here? NORMAN No. No one has stopped here in weeks. ARBOGAST Mind looking at the picture before committing yourself? NORMAN Committing myself to what? You sure talk like a Policeman. ARBOGAST Look at the picture. Please. Norman glances, briefly, turns away, lifts sheets and pillow cases off the shelf holds them close, almost protectively. NORMAN No. At least I do n't recall. ARBOGAST She might have used an alias. Mary Crane's the real name, but she might've registered. NORMAN -LRB- interrupting. -RRB- I do n't even bother with guests registering any more. I mean, little by little, you drop the formalities. -LRB- more relaxed, because Arbogast is listening with a pleasant smile. -RRB- I should n't even bother to change the linen. I guess habits die hard. Which reminds me. He goes to the wall, flips a light switch. NORMAN The vacancy sign. Just in case. We had a couple the other night, said if the sign has n't been on they'd have thought this was an old deserted mining town or something. ARBOGAST Now there's a couple even remarking about your sign, and see how easily you forgot them? NORMAN What? ARBOGAST You thought no one has stopped here in weeks. Now, try to remember if this girl. ARBOGAST -LRB- A pause, a study. -RRB- Maybe she even signed the register. because habits die hard. Let's check it, huh? Norman says nothing. Arbogast goes to the desk, pulls the registry book around, flips back a page or two. Norman simply stares at the man. Arbogast hums faintly, pleasantly, as he examines the pages. Then : ARBOGAST Yes sir! Marie Samuels. Interesting alias. He takes a slip of paper out of his pocket, lays it beside the signature in the registry book, all the while nodding and smiling nicely, as if this discovery will make Norman as happy as it is making him. ARBOGAST Do n't know where she got `` Marie,'' but `` Samuels'' figures. Her boy friend's name is Sam. -LRB- Turns to Norman, the smile gone. -RRB- Was she in disguise? Or do you want to check the picture again? NORMAN I did n't lie to you. I just have trouble keeping track of. time. Arbogast has reached him, the picture extended. Norman looks dutifully at it. NORMAN It was raining and her hair did n't look like that. damped out, I guess. ARBOGAST Tell me all about her. NORMAN She arrived kind of late, wet and hungry and she was very tired and went right to bed and left early. ARBOGAST How early? NORMAN Very early. Dawn. ARBOGAST Of which morning? NORMAN The following morning. Sunday. ARBOGAST No one met her? NORMAN No. ARBOGAST Or arrived with her. NORMAN No. ARBOGAST She did n't call anyone? Even locally? NORMAN No. ARBOGAST You did n't spend the whole night with her did you? NORMAN No! Of all. ARBOGAST How do you know she did n't make a call? NORMAN She was tired. She said she had a long drive ahead of her, in the morning. Yes, now I'm remembering very clearly because I'm picturing. When you make a picture of the moment in your mind, you can remember every detail. She was sitting back there, no she was standing up, with some sandwich still in her hand, and she said she had to drive a long way. ARBOGAST Back where? NORMAN What do you mean? ARBOGAST You said she was sitting `` back there,'' or standing rather. NORMAN Oh. My private parlor. She had an awful hunger. so I made her some supper. And then she went to bed and left in the morning. I did n't even see her leave. ARBOGAST How did she pay you? NORMAN What? ARBOGAST Cash or check? For the cabin. NORMAN Cash. ARBOGAST And when she left, she never came back. NORMAN Why should she? I'm sorry, I have work to do, Mr. if you do n't mind. ARBOGAST I do mind. If it do n't jell, it ai n't aspic! -LRB- smiles. -RRB- This ai n't jelling. NORMAN I do n't know what you expect me to know about. people come and go. ARBOGAST She is n't still here, is she? NORMAN Not at all! ARBOGAST Suppose I wanted to search the cabins, all twelve. would I need a warrant? NORMAN -LRB- as if pleasantly exasperated. -RRB- Look, if you wo n't believe me, go ahead. You can help me make beds if you like. -LRB- laughs, shakes his head. -RRB- Come on. He starts out. Arbogast pauses, momentarily confused by the young man's openness.", "EXT. THE MOTEL PORCH - (NIGHT) Norman walks down the porch, hesitates before Cabin One, walks on a bit toward Cabin Two, stops, turns to see if Arbogast is following. Arbogast has come out onto the porch, but is not following. He has walked to the opposite end of the porch and is standing at its edge, looking up at the old house. The upstairs window is in darkness. The neon of the Vacancy and Motel signs splash strange light over the scene. NORMAN Change your mind? Arbogast does not reply. Norman becomes apprehensive, starts to Arbogast, forcing himself to remain calm and cheerful. NORMAN I guess I've got one of those faces you ca n't help believing. ARBOGAST -LRB- to Norman, but continuing to stare at the house. -RRB- Anyone at home? NORMAN I live there. Alone. ARBOGAST Someone is sitting in that window. NORMAN My mother. Arbogast turns, gazes seriously at him. NORMAN She's. ill. Confined to her room. It's practically living alone. ARBOGAST -LRB- after a pause. -RRB- If this girl Mary Crane were here, you'd have no reason to hide her would you? NORMAN Of course not. ARBOGAST If she paid you well? NORMAN Now, look! ARBOGAST Or if she had you say. gallantly protecting her. you would n't be fooled. you'd know she was just using you. Would n't you? NORMAN I'm not a fool! And I'm not capable of being fooled! Not even by women! ARBOGAST I did n't mean that as a slur on your manhood. I'm sorry. NORMAN -LRB- disturbed now. -RRB- That's all right. maybe she could have fooled me. But. -LRB- a rueful smile. -RRB- She did n't fool my mother. ARBOGAST Your mother met her? -LRB- quickly. -RRB- Can I talk to your mother? NORMAN No. I told you, she's confined. ARBOGAST Just for a moment. She might have picked up a hint you'd miss. ARBOGAST Sick old women are sharp. Come on, I wo n't disturb. NORMAN No! Just no! I have one of those breaking points like any other man, believe it or not, and I'm near it. There's just so much pushing I can take and I think. ARBOGAST All right! -LRB- starts away, toward his car, pauses. -RRB- Might save me a lot of leg - work if I could just talk to your mother. But I'd need a warrant for that, wo n't I? Norman does not respond. Arbogast gets in his car, starts the motor. Norman looks up, studies the man's face, his own face showing apprehension. Arbogast backs the car around very slowly, his gaze divided between the old house and the lighted window of Cabin Two. As he turns the car out, his headlights light up the porch. Norman stands, watching him drive away.", "EXT. PHONE BOOTH - (NIGHT) The car pulls up and Arbogast gets out of car, leaving motor running. As he starts to walk across the highway, CAMERA PULLS AWAY and we", "EXT. HIGHWAY WITH TELEPHONE BOOTH - (NIGHT) Arbogast gets to the phone booth, enters. CAMERA STARTS FORWARD, and we see Arbogast remove a small notebook from his pocket, check on a number, drop a dime in the slot and dial this number. As we reach phone booth, ARBOGAST -LRB- into phone. -RRB- Miss Crane, please. -LRB- listens. -RRB- She leave a number? -LRB- listens. -RRB- Thanks. -LRB- hangs up, dials again, waits. -RRB- Lila there, Mr. Loomis? Arbogast. -LRB- waits. -RRB- Lila? Look, this is n't much, but it might make you feel a little better. Mary was up here. Spent last Saturday night at Bates' Motel, out here on the old highway. -LRB- listens. -RRB- Young fellow runs it, said Mary spent the night, left, period! -LRB- listens. -RRB- I did question him, believe me. I think I got all there was to get. Just have to try to pick up the scent from here. -LRB- listens. -RRB- Well. maybe that's because I do n't feel entirely satisfied. He's got a sick old mother, confined type, and I think she saw Mary and talked to her. Shame, too. confined old women love to talk to strangers. -LRB- listens. -RRB- I was, but I think I'll go back to the motel, first. -LRB- listens. -RRB- No, you stay put, Lila. With Loomis. I should be back in an hour. -LRB- listens. -RRB- All right. And Lila. You'll be happy to know what I think. I think our friend Sam Loomis did n't even know Mary was here. -LRB- smiles. -RRB- See you in an hour. Or less. He hangs up, gets out of the phone booth.", "EXT. BATES' MOTEL - (NIGHT) A distant view of the House and Motel. There is a light on in the house. There is also a light on in Norman's office. We see Norman emerge from his office and move along the porch toward the distant cabins. He carries sheets on his arm. He goes into the last cabin and switches the light on. Into the foreground the hood of the white Ford enters the scene and stops. Arbogast gets out. He goes over to the Motel office.", "EXT. MOTEL OFFICE - (NIGHT) Arbogast goes in.", "INT. OFFICE - (NIGHT) Arbogast looks around the empty office and calls. ARBOGAST Bates! He goes over to the door to the parlor and enters. He looks around the bird - ridden room. He stops short as he sees : C.U. - THE OLD SAFE IN THE CORNER C.U. - ARBOGAST goes over to it. He finds it unlocked. With a quick, cautious look around he opens it. C.U. - THE EMPTY SAFE C.U. - ARBOGAST straightens up and goes out.", "EXT. MOTEL OFFICE - (NIGHT) Arbogast comes out and looks off. He sees : THE LAST LIT CABIN The door ajar. C.U. - ARBOGAST - -LRB- NIGHT -RRB- would go along but he stops with a new thought. He turns around and looks off. L.S. - THE OLD HOUSE FROM HIS VIEWPOINT - -LRB- NIGHT -RRB- C.U. - ARBOGAST comes to a decision. He goes off. L.S. ARBOGAST dashes up the stone steps to the House. MEDIUM SHOT CAMERA HOLDS as Arbogast goes up onto the porch. The house is dark within except, as we can now see, for a faint spill of light in the foyer, light which comes from the upstairs hall. Arbogast goes to the living room window, looks in, sees only darkness. Then he goes to the door, listens for along moment, hears nothing. Very slowly, almost painfully, he turns the knob of the door and pushes gently with his arm and shoulder. The door begins to open. He allows it to open just enough for him to slip through and into the foyer.", "INT. FOYER OF BATES' HOUSE - (NIGHT) Arbogast gradually eases the door closed, stands against it, waiting. He looks up in the direction of the light, sees no one. The door at the head of the stairs is closed. Arbogast listens, holds his breath, hears what could be human sounds coming from upstairs but realizes these could also be the sounds of an old house after sunset. After a careful wait, he crosses to the stairs, starts up, slowly, guardedly, placing a foot squarely on each step to test it for squeaks or groans before placing his full weight on it. CAMERA FOLLOWS, remaining on floor level but TRAVELLING ALONG the stairway as Arbogast makes his way up. EXTREMELY HIGH ANGLE", "INT. STAIRWAY AND UPSTAIRS LANDING We see Arbogast coming up the stairs. And now we see, too, the door of the mother's room, opening, carefully and slowly. As Arbogast reaches the landing, the door opens and the mother steps out, her hand raises high, the blade of an enormous knife flashing. C.U. - A BIG HEAD OF AN ASTONISHED ARBOGAST The knife slashes across his cheek and neck. Blood spurts. The sudden attack throws him off balance. He stumbles back and staggers down the whole of the staircase. He frantically gropes for the balustrade as he goes backwards down the stairs. The CAMERA FOLLOWS him all the way. A wicked knife keeps thrusting itself into the foreground. As he collapses at the bottom, the black head and shoulders of Mrs. Bates plunges into the foreground as the CAMERA MOVES IN to contain the raising and descending murder weapon. FADE OUT FADE IN", "INT. BACK ROOM OF HARDWARE STORE - (NIGHT) Lila is sitting close by the phone, and looks as if she has n't moved from it in the last hour. Sam is pacing, occasionally stopping at the window, glancing out, pacing again. The ash tray close to Lila is filled. There is a thick atmosphere of smoke, tension and weariness in the small, otherwise cozy room. SAM -LRB- at window, quietly. -RRB- Sometimes Saturday night has a lonely sound. Ever notice, Lila? LILA -LRB- unable to keep up small talk. -RRB- Sam. He said an hour. Or less. SAM It's been three. LILA Are we just going to go on sitting here? SAM -LRB- suddenly cheerful. -RRB- He'll be back. Let's sit still and hang on, okay? LILA You have an awfully nice habit, Sam. SAM Hundreds! Which one is your pet? LILA Whenever I start contemplating the panic button, your back straightens up and your eyes get that God - looks - out - for - everybody look and. I feel better. SAM I feel better when you feel better. LILA -LRB- a pause - then she rises. -RRB- Where's the old highway? SAM You want to run out there, bust in on Arbogast and the sick old lady, shake her up and maybe spoil everything Arbogast's been building for the last three hours. LILA Yes. SAM That would n't be a wise thing to do. LILA Patience does n't run in our family. Sam, I'm going out there! SAM Arbogast said. LILA An hour! Or less! Sam stares at her, frowns in concern over her very real anxiety, goes to the phone, dials operator. SAM -LRB- into phone. -RRB- Got the number of the motel out on the old highway? Bates, I think. -LRB- waits. -RRB- LILA Sam! Why call when we can go? SAM And maybe pass Arbogast on the road? -LRB- into phone. -RRB- Thanks. He presses down the receiver, releases it, dials Bates' Motel. The faint other - end ringing tones can be heard, repeatedly, annoyingly. He waits. SAM -LRB- to Lila. -RRB- Probably on his way back right now. LILA Sam, I'm going. SAM -LRB- hangs up and picks up his jacket. -RRB- You'll never find it. He starts for the door. Lila follows after him into the store.", "INT. STORE He pauses halfway down, turns, puts his hands on her arms. SAM Stay here. LILA Why ca n't I go out there with you? SAM -LRB- looks at her. -RRB- I do n't know. -LRB- he collects himself. -RRB- One of us has to be here in case Arbogast's on the way. LILA -LRB- nervously. -RRB- Just wait here? SAM -LRB- a warm smile. -RRB- Contemplate your. panic button. He hurries down to the street door and out. CAMERA HOLDS on Lila as she stares after Sam. As she stands alone in the darkened store, all the hardware seems to take on sinister shapes. C.U. Among some bathroom fittings a nozzle from a shower falls onto the floor. MEDIUM SHOT Lila turns and picks if from the floor and puts it back in its place. She turns and again looks to the deserted street with a touch of anxiety. She gives a slight unconscious shiver.", "EXT. THE SWAMP - (NIGHT) Tall and lonely still against the moonlight, the figure of Norman, silhouetted. He does n't move, merely stands there at the edge of the swamp, staring down at the now calm and quiet face of it.", "EXT. THE MOTEL AND HOUSE - (NIGHT) All light are out, except the light in Norman's mother's room. And her figure can be seen sitting in the window, relaxed in a high - back chair, her face turned into the room. After a second, we hear the SOUND OF A MOTOR, and then Sam's small pick - up truck swings into the driveway. Sam stops the motor, automatically switches off headlights, pauses as he observes the silence and darkness of the area. Then he hops out of the cab, goes quickly to the office, knocks on the door. As he waits for a response, he looks down the long porch, studies the darkened cabins, knocks again, louder, looks in the other direction and sees the house and the figure at the one lit window. He stares a moment then calls loudly : SAM Arbogast?", "EXT. THE SWAMP The silhouette of Norman. He is still. Over shot, very dimly, comes the SOUND OF SAM'S VOICE, calling again for Arbogast. Norman turns slowly until, in silhouette, we see his profile, his chin lowered furtively as he looks over his shoulder in the direction of the house. There is silence for a moment, and then again the SOUND of Sam POUNDING at the door.", "INT. HARDWARE STORE - (NIGHT) The store is in darkness, only the glow from the back room spilling in. L.S. With CAMERA placed with its back to the street door, we can see the distant tiny figure of Lila seated and waiting in the back room beyond. There is a SOUND of a car pulling up. The tiny figure jumps up and runs all the way from the back room down the aisle of hardware and comes into a BIG HEAD. We see Lila's desperate anxious look. MEDIUM SHOT From her viewpoint we see Sam alighting from his truck and coming toward the door of the store. He enters. He and Lila exchange quiet glances. SAM He did n't come back here? LILA -LRB- worriedly. -RRB- Sam. SAM No Arbogast. No Bates. And only the old lady at home. -LRB- frowning. -RRB- A sick old lady unable to answer the door. or unwilling. LILA Where could he have gone? SAM Maybe he got some definite lead. Maybe he went right on. LILA Without calling me? SAM In a hurry. LILA Sam, he called me when he had nothing definite, nothing but a dissatisfied feeling. Do n't you think he'd have called if he had anything. SAM -LRB- interrupting. -RRB- Yes. I think he would have. Lila goes quiet. Sam starts toward the back room, pauses at the doorway, turns. Lila has remained by the door, looking out at the street. She feels his pause, turns, and for a moment they share at each other across the darkened room. SAM Let's go see Al Chambers. LILA Who's he? SAM He's the Deputy Sheriff around here. As he starts forward.", "EXT. STREET THE SHERIFF LIVES ON - (NIGHT) A dark, quiet, tree - ceilinged street, the small neat houses dim in the moonlight. Sam's pick - up truck comes down the street, pulls up before the house of Sheriff Chambers. CAMERA MOVES IN on Sam and Lila as they remain for a moment in the truck's cab, staring quietly at the sleeping house. SAM Our Deputy sleeps. LILA Well? SAM Nothing. Just. all the lights out. must be asleep. LILA -LRB- a small exasperation. -RRB- Does that mean we ca n't. SAM No. I'm just procrastinating. People hate when the doorbell rings in the middle of the night. -LRB- gives up, starts out. -RRB- Come on. He gets out of cab, goes around to help Lila. She is already out. CAMERA FOLLOWS them up the small path to the front door. Sam presses the bell button. Both he and Lila are almost knocked over by the shocking, clanging, ear - splitting BLAST OF THE BELL within the house, a ring which sounds more like a fire alarm than a doorbell. He tries to smile, fails. Lila does n't even try. The downstairs hall light goes on and a moment later the door is unhesitatingly opened by MRS. CHAMBERS, a small, lively stick of a woman wrapped in a thick flannel robe and a corona of hospitality. MRS. CHAMBERS Oh? SAM Sorry, Mrs. Chambers. I hate bothering you. MRS. CHAMBERS You did n't! -LRB- a cross look up at the bell. -RRB- It's tinkerbell. -LRB- a quick smile at Lila. -RRB- Al wants to be sure he'll hear it if anyone rings it in the middle of the night. -LRB- to Sam. -RRB- Well come on in, at least! As she opens the door wide,", "INT. DOWNSTAIRS HALL OF SHERIFF'S HOUSE - (NIGHT) Fat roses splatter the wallpaper. The stairs are carpeted. The lighting is bright. There is a perfectly fitting wall phone by the parlor arch. Mrs. Chambers goes to the stairway, yells up. MRS. CHAMBERS Albert! -LRB- a tiny wait, a smile as Sam and Lila enter. -RRB- Al Chambers! Sam is about to close the door behind him. Mrs. Chambers motions for him not to, scurries across the hall, leans outside, presses the doorbell. The RING within the house is even more shattering. She closes the door, starts to the stairway, pauses as the SOUNDS of movement above COME OVER SHOT. MRS. CHAMBERS Customers! SHERIFF CHAMBERS comes down the stairs, in a bathrobe which matches his wife's. He is a tall, narrow man with a face originally destined for Mount Rushmore. He nods at Sam, looks at him with wide - awake eyes and a no - nonsense concern. SAM We have a problem. MRS. CHAMBERS -LRB- to Lila. -RRB- Let's go out back and have some coca while the men are talking. LILA No, thank you. It's my problem, too. SAM I do n't know where to start. -LRB- a look at Lila. -RRB- Except at the beginning. LILA Yes. SAM -LRB- to Sheriff. -RRB- This is Lila Crane, from Phoenix. She's been here for a few days, looking for her sister. There's a private detective helping. and, well, we got a call tonight, from this detective, saying he'd traced Mary. MRS. CHAMBERS Mary is Lila's sister? SAM Yes. He traced her to that motel, out on the old highway. MRS. CHAMBERS -LRB- to the Sheriff. -RRB- Bates' Motel. -LRB- to Lila. -RRB- He has a mind like a mechanical brain and the more information you feed it. Go on, Sam. SAM He traced her there and called us to say he was going to question Mrs. Bates. MRS. CHAMBERS -LRB- a pleasant shock. -RRB- Norman took a wife? SAM No. An old woman, his mother. -LRB- to Sheriff, quickly. -RRB- That was early this evening. And we have n't seen or heard from him since. I went out to the motel, just got back. No one was in the office, and. LILA -LRB- interrupting, anxiously. -RRB- Will you help us? I think something's wrong out there! SHERIFF -LRB- after a considerate pause. -RRB- Now. Your sister is missing how long? LILA She left Phoenix a week ago yesterday. And no trace until. SHERIFF How'd you and this detective come to trace her to Fairvale? SAM They thought she'd be coming to me. SHERIFF Left Phoenix under her own steam? LILA Yes. SHERIFF -LRB- a pause. -RRB- She ai n't missing so much as she's run away. SAM Yes. SHERIFF From what? LILA -LRB- a look at sam, then :. -RRB- She stole some money. SHERIFF A lot? LILA Forty thousand dollars. SHERIFF And the police have n't been able to. SAM -LRB- interrupting. -RRB- Everyone concerned thought. if they could get her to give back the money. they could avoid involving her with the police. SHERIFF Explains the private detective. He traced her to the Bates place. What'd he exactly say when he called you? LILA Mary had been there, one night, and had left. SHERIFF With the forty thousand dollars? LILA He did n't mention the money. -LRB- anxiously. -RRB- What he said on the phone is n't important, is it? He was supposed to come back after he spoke to the mother, and he did n't! That's what I want you to do something about! SHERIFF Like what? LILA Go out there! Find somebody, ask some questions! -LRB- a pause. -RRB- I'm sorry if I seem over - anxious to you. I keep thinking. something's wrong. I have to know what! SHERIFF I think something's wrong, too, Miss.. But not the same thing. I think your private detective is what's wrong. -LRB- As Lila is about to object. -RRB- I think he got himself a hot lead as to where your sister was going. probably from Norman Bates. and called you to keep you still while he took off after her and the money. LILA He said he was dissatisfied. and was going back. MRS. CHAMBERS -LRB- to Sheriff. -RRB- Why do n't you call Norman and let him say just what happened, if he give the man a hot lead and he did just scooted off. it'll make the girl feel better, Albert. SHERIFF At this hour? SAM He was out when I was there. If he's back he probably is n't even in bed yet. SHERIFF He was n't out when you were there. He just was n't answering the door in the dead of night. like some people do. This fellow lives like a hermit. MRS. CHAMBERS Recluse. Kinder word. SHERIFF -LRB- to Sam. -RRB- You must remember that bad business out there. About ten years ago. SAM I've only been here five. Right now it feels like ten, but. LILA All right! Then call! At least, call! Mrs. Chambers goes to phone, dials operator. MRS. CHAMBERS -LRB- into phone. -RRB- Florrie, the Sheriff wants you to connect him with the Bates Motel. She hands the receiver to the Sheriff. He takes it, reluctantly, listens to the dim sound of RINGING on the other end. After a moment : SHERIFF -LRB- into phone. -RRB- Norman? Sheriff Chambers. -LRB- listens. -RRB- Been just fine, thanks. Listen, we got some worries here. Did you have a man stop out there tonight. -LRB- listens. -RRB- Well, this one would n't be a customer, anyway. A private detective, name of. MRS. CHAMBERS Arbogast. SHERIFF -LRB- into phone. -RRB- Arbogast. -LRB- listens. -RRB- And after he left? -LRB- listens. -RRB- No, it's okay, Norman. How's it been going out there? -LRB- listens. -RRB- Well, I think you oughta unload that place and open up closer in to the action, a smaller place, you know. but. LILA Please! SHERIFF -LRB- into phone. -RRB- Sorry I got you up, boy. Go back to sleep. Yeah, be glad to. -LRB- hangs up, turns to Mrs. Chambers. -RRB- Said to give you his regards. SAM -LRB- faint irony. -RRB- Was that all? SHERIFF This detective was out there and Norman told him about the girl and the detective thanked him and went away. LILA And he did n't go back? Did n't see the mother? The Sheriff looks long at Lila, shakes his head sympathetically. SHERIFF You should've called in the police the second you found your sister has skipped. You go starting private investigations, using people you do n't even know. LILA What difference does that. SHERIFF Your Detective told you a nakedfaced lie. MRS. CHAMBERS Barefaced. SHERIFF He told you he was n't coming right back cause he wanted to question Norman Bates' mother, right? LILA Yes. SHERIFF -LRB- a pause, then calmly. -RRB- Norman Bates' mother has been dead and buried in Greenlawn Cemetery for the last ten years! There is a long silence. Sam and Lila stare at the Sheriff. MRS. CHAMBERS I helped Norman pick out the dress she was buried in. Periwinkle blue. SHERIFF It ai n't only local history, Sam, it's the only murder - and - suicide case in Fairvale ledgers! Mrs. Bates poisoned this guy she was. involved with, when she found out he was married, then took a helping of the same stuff herself. Strychnine. Ugly way to die. MRS. CHAMBERS Norman found them dead together. In bed. SAM You mean that old woman I saw sittin' in the window was n't Norman Bates' mother? MRS. CHAMBERS -LRB- hopefully, happily. -RRB- Maybe you saw Mary! SAM I'd know the difference between Mary and an old woman. SHERIFF Now wait a minute, Sam. You sure you saw an old woman? SAM Yes! In the house behind the motel. I pounded and called but she. just ignored me. SHERIFF And you want to tell me you saw Norman Bates' mother. LILA It must've been. Arbogast said so, too. and he said the young man would n't let him see her because she was ill! The Sheriff stares at both of them, and when he finally speaks there is an almost inaudible tone or irony in his voice. SHERIFF Well, if the woman up there is Mrs. Bates. who's that woman buried out at Greenlawn Cemetery?", "INT. NORMAN'S PARLOR BEHIND OFFICE - (NIGHT) Norman sits in the dim, one - lamp light, the phone next to him, his hand still near it as if he had not been able to move his hand after hanging up. He is staring at the shrike - like bird which is perched on the lamp shade. Decision and resolution are beginning to show in his face. Suddenly he rises, starts quickly out of the room, tries to switch off the lamp as he goes and in so doing succeeds only in knocking the bird off the shade. He watches it fall, does not try to catch it. It hits the floor with a thud and sawdust spills out. He stares sadly at it, for a moment, then tends down, scoops up the sawdust, tries to press it into the split seam, picks up the bird, puts it in a drawer. Then he puts out the lamp, goes out, crosses the darkened office and goes outside.", "EXT. MOTEL AND HOUSE - (NIGHT) Norman comes off the porch, walks to the path and directly up to the house, opens the door and goes in.", "INT. DOWNSTAIRS HALLWAY AND STAIRWAY - (NIGHT) SHOOTING UP THE STAIRS Norman goes up, pauses one moment outside his mother's door, then opens it and goes in, leaving the door open. For a moment we hear only Norman's low, quiet voice, his words indistinguishable. Then we hear the cold shot of his mother's derisive laughter. MOTHER'S VOICE I am sorry, boy, but you do manage to look ludicrous when you give me orders! NORMAN'S VOICE Please, mother. MOTHER'S VOICE -LRB- Sharp, laughter all gone. -RRB- No! I will not hide in the fruit cellar! -LRB- A shrill laugh. -RRB- Think I'm fruity, huh? -LRB- Hard, cold again. -RRB- I'm staying right here! This is my room and no one will drag me out of it. least of all my big bold son! NORMAN'S VOICE -LRB- Rising now, anxiously. -RRB- They'll come now, Mother. He came after the girl and now someone will come after him! How long do you think you can go on. Mother, please, just for a few days, just so they wo n't find you! MOTHER'S VOICE -LRB- Mimicking. -RRB- Just for a few days. -LRB- Furious. -RRB- In that dank fruit cellar? No! You hid me there once, boy, and you wo n't do it again! Not ever again! Now get out! -LRB- A pause, quiet. -RRB- I told you to get out, boy! -LRB- A longer pause. -RRB- Norman! What do you think you're going to do? Do n't you touch me! Do n't! Norman! -LRB- A pause, then cajolingly. -RRB- All right, son, put me down and I'll go. I'll go on my own two feet. I can go on my own two feet, ca n't I? During all this the CAMERA has been slowly creeping up the stairs. It does not stop at the top however, but continues on the same high angle that we had in Scene 57. She starts to laugh, a terrible sound like an obscene melody. NORMAN'S VOICE I'll carry you, mother. Norman comes out of the room, his mother held in his arms, her head leaning against his shoulder. He carries her down the stairs, along the lower landing to the cellar stairs, and then down those stairs to the basement.", "EXT. FAIRVALE PRESBYTERIAN CHURCH - (MORNING) An overcast morning, but a sunny - faced crowd. The service is just over, there is contentment, and peace, and just a little I - went - to - church - smugness in the faces of the churchgoers as they come out of the chapel, and spread their separate ways away. Amongst the crowd, waiting and searching the faces, are Sam and Lila. In their expressions there is no peace, no contentment. CAMERA MOVES IN CLOSE. They are not speaking. Lila looks as if she has had no sleep. Suddenly, Sam becomes alert, takes Lila's arm, starts toward the church. CAMERA MOVES WITH THEM, stops as they approach Sheriff and Mrs. Chambers. The Sheriff stares rather sympathetically at Lila. Mrs. Chambers smiles nicely. SAM We thought, if you did n't mind, we'd go out to the motel with you. MRS. CHAMBERS He's already been. SHERIFF Went out before service. MRS. CHAMBERS Have you two had breakfast? SAM -LRB- To Sheriff, not a question. -RRB- You did n't find anything. SHERIFF Nothing. Here, let's clear the path. He moves away and the others follow. CAMERA PANS them to the curb. LILA -LRB- Interrupting. -RRB- Did he say anything about my sister? SHERIFF Just what he told your detective. She used a fake name, saw the register myself. Saw the whole place, as a matter of fact. That boy is alone there. SAM No mother. SHERIFF You must've seen an illusion, Sam. Now, I know you're not the seeing - illusion type. But no woman was illusion there and I do n't believe in ghosts, so there it is! LILA I still feel. SHERIFF Can see you do. Sorry I could n't make you feel better. You want to come to my office this afternoon and report a missing person. And the theft, is what you want to do! Sooner you drop this thing in the lap of the law, that's the sooner you'll stand a chance of your sister bein' picked up. How about that? LILA I do n't know. MRS. CHAMBERS It's Sunday. Come over and do the reporting at the house, ` round dinner time. Make it nicer. You too, Sam. She smiles brightly, as if having invited them over to discuss this year's charity fandango, takes the Sheriff's arm, starts away. The Sheriff nods as he goes. Sam and Lila are alone now, at the curb, before the deserted chapel. For a long moment they just stand there, their faces as gray and overcast as the sky. SAM Maybe I am the seeing - illusions type. LILA You're not. Sam takes her arm, starts walking her up the street toward the spot where his pick - up truck is parked. CAMERA FOLLOWS them. SAM Want me to drop you at the hotel? Or you want to come over to the store? Lila does not answer. They reach the truck. Lila looks directly at Sam as he helps her into the cab. LILA I wo n't feel satisfied unless I got out there, Sam. SAM Neither will I. He slams the door, hurries around truck, gets into driver's seat, starts motor. As the truck drives off, SAM AND LILA IN TRUCK - -LRB- PROCESS - HIGHWAY -RRB- For a moment, both are silent ; Sam watching the road as if there were other cars on it, Lila staring at nothing in particular, except perhaps her own inner fear. LILA I wonder if we'll ever see Mary again. SAM Of course we will. LILA Alive. Sam looks as if he'd like to say something humorous, something to cheer her. He can not. He remains silent. LILA We lived together all our lives. When we woke up one morning and found ourselves orphans, Mary quit college and got a job, so I could go to college. SAM Where'd you go to college? LILA I did n't. I got a job, too. -LRB- A pause. -RRB- I wonder if that hurt her, my not letting her sacrifice for me? Some people are so willing to suffer for you that they suffer more if you do n't let them. SAM -LRB- Almost to himself. -RRB- She was willing to lick the stamps. Lila looks quizzically at him, is too concerned to pursue it. LILA I wonder so many things about her now. Why she never told me about you. Funny, when you think there's an answer to everything, you think you know all the answers. SAM We were going to get married. Are going to get married! LILA Do you know how I found out about you? I found one of your letters. it was a nice letter, Sam. SAM This is the old highway. LILA I suppose. when you were able to marry her she'd have presented you, all shiny and proper. she always tried to be proper. SAM Watch your tenses. LILA Huh? SAM She always tries to be proper. Sam slows the truck to a stop, sighs, starts to light up a cigarette. Lila looks questioningly and impatiently at him. LILA You going to wait here for me? SAM I'm going with you. But we'd better decide what we're going to say and do when we walk in. LILA We're going to register. As man and wife. And get shown to a cabin. and then search every inch of that place, inside and. outside. SAM You wo n't believe it. -LRB- Starts motor. -RRB- But this will be the first time I've ever pulled one of those man - and - wife - renting - cabin capers! LILA -LRB- A tiny smile, first in hours. -RRB- I believe it. As truck starts to drive on,", "EXT. THE BATES MOTEL AND HOUSE - (DAY) The place is empty and silent and washed dirty by the deep gray of the cloudy sky. We see Sam's truck turning into the driveway and pulling to a stop. After a moment, Sam and Lila get out of the truck. FRESH ANGLE Close on Sam and Lila as they meet on the porch side of the truck. The motel office and the house beyond can be seen in b.g. of shot. Sam and Lila merely stare for a moment, then turn and gaze up at the house. There is no figure in the window and the shade is drawn. Same goes to the office door, peers in, knocks, opens door, enters. Lila remains on the driveway, beside the truck.", "INT. THE MOTHER'S ROOM - (DAY) CLOSE ANGLE on Norman standing by the window. He has pulled the curtains very slightly apart, is staring out and down at the motel, his eyes studying the lone figure of Lila, who is standing by the truck and looking up at the house. Norman studies her, and as her eyes look up at this very window he closes the curtains, turns away. We see the suspicion and fear in his face, the surge of panic and his struggle to contain it. Then he goes away. CAMERA remains on window, shooting out and down, and through the frail curtains we can see Sam as he comes out of the motel office and joins Lila.", "EXT. MOTEL OFFICE - CLOSE ON SAM AND LILA SAM -LRB- Unconsciously whispering. -RRB- I wonder where Norman Bates does his hermiting? LILA Someone was at that window. I saw the curtain move. Sam takes Lila's arm. SAM Come on. He starts with her toward the path which leads to the old house. CAMERA PANS with them, and as they turn around the office corner, they see Norman coming down the path toward them. They pause and Norman pauses. He does not smile, nor speak. His usual grin and soft friendliness are gone ; containment and impassivity lie in their place. SAM -LRB- Cheerfully. -RRB- Just coming up to ring for you. NORMAN -LRB- Coming forward. -RRB- I suppose you want a cabin. SAM We'd hoped to make it straight to San Francisco, but we do n't like the look of that sky. Looks like a bad day coming. does n't it. Norman walks past Sam, giving him the sort of quick, disapproving glance one gives a man who is obviously lying, goes onto the porch and into the office. Sam and Lila follow Norman.", "INT. MOTEL OFFICE - (DAY) Norman crosses to the desk, goes behind it, takes the key to cabin number twelve off the keyboard. Sam and Lila have entered and are almost to the desk - counter by this time. NORMAN I'll take you to. SAM Better sign in first, has n't we? Sam eyes scan the counter, looking for a registration book. NORMAN It is n't necessary. SAM -LRB- Interrupting with a friendly cheerfulness. -RRB- Uh, uh! My boss is paying for this trip. ninety percent business. and he wants practically notarized receipts. I better sign in and get a receipt. Norman stares at Sam, as if he'd like to yell at him, call him `` liar.'' Instead he reaches under the desk counter, brings out the registration book. Lila moves closer, studies the book as Sam signs in. Sam signs `` Joe and Mrs. Johnson.'' The signature and city of `` Marie Samuels'' and after it, the notation `` Cabin One,'' can be clearly seen three registrations above Sam's. When Sam has finished he closes book, hands it back to Norman. Norman does not take it, starts out from behind counter. NORMAN I'll get your bags. SAM Have n't any. NORMAN -LRB- after a stare. -RRB- I'll show you the cabin. As he starts for the door, Sam laughs. Norman stops, turns, looks at him. SAM First time I've seen it happen. -LRB- to Lila. -RRB- Check in any place in this country without bags, and you have to pay in advance. Sam smiles as if at a funny remark, takes a bill out of his pocket. NORMAN Ten dollars. Norman returns to Sam, takes the extended bill, is about to start out again. SAM That receipt? Norman goes reluctantly behind counter, lays down the key to cabin twelve, takes a receipt book out of the drawer under counter, starts to write. Lila steps up to the desk, picks up the key, quickly, starts out. LILA I'll start ahead. Norman looks up, gazes her as she goes out door.", "EXT. THE MOTEL - (DAY) Lila comes along the porch, pauses before cabin one, tries the door. It opens. She closes it quickly as she hears Sam and Norman coming out of the motel office, continues on down the porch. SAM -LRB- To Norman, who is following. -RRB- Do n't bother yourself. we'll find it. He goes on down the porch, does n't even glance at cabin one, walks quickly and catches up to Lila just as she reaches cabin twelve. CAMERA REMAINS with Norman, who is standing by the office door, looking after Sam and Lila, his face alert and no longer impassive. He waits a moment, after they have closed their cabin door, then crosses to the pickup truck. CAMERA MOVES with him. He studies the truck, then leans in through the driver's window, twists the registration card around, reads it. It gives the correct name and address of Sam Loomis. Norman comes back out of the window, glances once more toward cabin twelve, then at the old house. His suspicions are confirmed, and now there is the relaxation of relief in his face. He takes on a purposeful air, turns, strides up the path, up onto the porch of the house, opens the door, goes in.", "INT. CABIN TWELVE - (DAY) Lila is at the cabin's rear window, looking out, straining for a glimpse of the old house, which can not be seen from the window of this cabin. She turns, frustrated, anxious. Sam is standing at the foot of the bed, staring at the smooth coverlet, his brow creased in a sadness. LILA We should have asked for Cabin One. The one Mary was in. SAM I'm glad we did n't. He pulls his eyes from the bed, crosses to the desk, sits wearily, lights a cigarette. Lila watches him for a moment, feels a real compassion, goes to the bed, sits on its edge, turns again and looks at Sam's back. LILA We have to go into that cabin and search it, Sam. no matter what we're afraid of finding and no matter how much it may hurt. SAM I know. -LRB- A pause. -RRB- Do you think if something happened, it happened there? LILA -LRB- A pause, then :. -RRB- Sam, if you owned a useless business like this motel. one you probably could n't even sell. what would you need to get away, to start a new business, somewhere else? -LRB- As Sam studies her. -RRB- Forty thousand dollars? SAM How could we prove. -LRB- An almost hopeless laugh. -RRB- Well, if he opens a new motel on the new highway. say, a year from now. LILA There must be some proof that exists right now! Something that proves he got that money away from Mary. Some way! SAM What makes you sound so certain? LILA Arbogast! Sam, he liked me. or felt sorry for me. and he was starting to feel the same about you. I heard it when he called. in his voice, a caring. He would n't have gone anywhere or done anything without telling us. Unless he was stopped. And he was stopped, so he must have found out something! Sam considers a moment, nods agreement, rises. SAM We'll start with Cabin One. He goes to the door, opens it slightly, looks out, then, back to Lila : SAM If he sees us. we're just taking the air. Lila goes to the door. He holds it open and she goes out.", "EXT. THE MOTEL - (DAY) Sam closes the door, joins Lila, takes her hand. Together they walk along the porch in the direction of Cabin One. CAMERA FOLLOWS. They pause before the door of Cabin One. Sam motions Lila to wait, to hold still, then goes on to the office, opens the door, calls in : SAM Bates? He waits, there is no response. He goes in and in a moment comes back out, closes the door, goes to Lila. She has already opened the door of Cabin One and has started to enter.", "INT. CABIN ONE - (DAY) The blinds are closed and the room is almost night - dark. Sam comes in after Lila, closes the door behind him. For a moment they just gaze at the room, as if willing it to tell them some satisfactory story. Neither speaks. Then, in dark silence, they begin to search, going methodically and thoroughly through all drawers, the closet, the desk, searching under the bed and in dark corners, not knowing what they expect to find and yet expecting to find some thing. Lila opens the bathroom door, looks in. The windowless room is very dark. She switches on the light, goes in. Sam moves toward the bathroom, is about to follow her in when he notices which room it is and automatically catches himself up, backs out. SAM Sorry. LILA Hospital clean. SAM What? LILA The bathroom. Look at how clean it is. The one in our cabin is clean. but this is clean! Sam goes in, glances around, nods. Lila goes through the medicine cabinet, finds nothing but a glass and two tiny tabs of soap. Sam leans against the door - jamb, looks at the tub, the shower pipe above it. He continues to stare, more interested suddenly, as if bothered by some off - key evidence he ca n't put his finger on. Then he looks at the shower curtain rod. And realizes there is no shower curtain. He frowns, is about to say something when Lila, who has been momentarily out of shot, interrupts. Sam turns, CAMERA TURNS, and we see Lila is standing above the toilet bowl, a tiny piece of wet paper stuck to the tip of her right index finger. SAM What is it? LILA It did n't get washed down. It's figuring. the kind you tear up and get rid of. -LRB- Extending her finger toward Sam. -RRB- Some figure has been added to or subtracted from. forty thousand. Sam lifts the piece of paper off her finger, studies it, takes out his wallet, presses the wet scrap to his driver's license shield, puts it back in the wallet and puts the wallet away. LILA That's proof Mary was here! It would be too wild a coincidence for somebody else to. SAM -LRB- Reminding. -RRB- Bates never denied Mary was here. LILA -LRB- Reminded. -RRB- Yes. -LRB- A thought. -RRB- But maybe this proves that Bates found out about the money. SAM Do we simply ask him where he's hidden it? LILA Sam, that old woman, whoever she is. I think she told Arbogast something! And I want her to tell us the same thing! She starts out of the bathroom. Sam takes hold of her arm, stops her. SAM You ca n't go up there. LILA Why not? SAM Bates. CAMERA STARTS TO PAN AWAY from them, moves slowly over the room, very slowly. LILA'S VOICE -LRB- O.S. -RRB- Let's find him. One of us can keep him occupied while the other gets to the woman. SAM'S VOICE -LRB- O.S. -RRB- You wo n't be able to hold him still if he does n't want to be held. And I do n't like you going into that house alone, Lila. CAMERA HAS PANNED clear across to the opposite wall now, and is moving up closer and closer to the tiny - flowered wall paper, finally closing in on one small rosebud. LILA'S VOICE -LRB- O.S. -RRB- I can handle a sick old woman. Now we see that the rosebud has been cut out, that this is the reverse side of the hole Norman peeped through to watch Mary. And we see the pupil of Norman's eye now. SAM'S VOICE -LRB- O.S. -RRB- All right. I'll find Bates and keep him occupied. The eye moves away and there is a brief flash of light before the hole is covered, on the other side, by the wall - hung painting. FRESH ANGLE - LILA AND SAM They are about to start out. Sam stops her again. SAM Wait a minute. If you get anything out of the mother. -LRB- A thought. -RRB- Can you find your way back to town? -LRB- As Lila nods yes. -RRB- If you do get anything, do n't stop to tell me. Lila nods quickly, hurries to the door. Sam gets to it first, opens it a slight crack, looks out, then opens it wide enough for Lila and Himself to pass through.", "EXT. THE MOTEL - (DAY) ANGLE CLOSE on cabin one as Lila comes out, turns to her left, goes along porch toward cabin twelve. Sam remains at the door, then turns right, heading for the path. As he passes the office, he is shocked to see Norman standing just inside the open door. NORMAN Looking for me? SAM -LRB- Recovering. -RRB- Yes, matter of fact. -LRB- The friendly grin. -RRB- The wife's taking a nap and. I can never keep quiet enough for her. so I thought I'd look you up and. talk. NORMAN Satisfied with your cabin? SAM Fine. Sam starts into the office. Just before going in, he glances down the long porch, sees Lila standing outside the door of cabin twelve, waves her a tiny `` all clear'' signal. LILA CAMERA ANGLES to include Lila and her point of view. She watches Sam disappear into the office, waits until she hears the door close, then looks about for another way to reach the house. She sees the small alley at the end of this L of cabins, starts toward it.", "EXT. REAR OF MOTEL - S.C.U. LILA - (DAY) Behind the motel Lila hesitates. She looks ahead. LONG SHOT - -LRB- DAY -RRB- The old house standing against the sky. CLOSE UP - -LRB- DAY -RRB- Lila moves forward. LONG SHOT - -LRB- DAY -RRB- The CAMERA approaching the house. CLOSE UP - -LRB- DAY -RRB- Lila glances toward the back of Norman's parlor. She moves on. LONG SHOT - -LRB- DAY -RRB- The house coming nearer. CLOSE UP - -LRB- DAY -RRB- Lila looks up at the house. She moves forward purposefully. S.L.S. - -LRB- DAY -RRB- The house and the porch. CLOSE UP - -LRB- DAY -RRB- Lila stops at the house and looks up. She glances back. She turns to the house again. S.L.S. - -LRB- DAY -RRB- The CAMERA MOUNTS the steps to the porch. C.U. - -LRB- DAY -RRB- Lila puts out her hand. S.C.U. - -LRB- DAY -RRB- Lila's hand pushes the door open. We see the hallway. Lila ENTERS PAST CAMERA.", "INT. DOWNSTAIRS HALLWAY OF OLD HOUSE - (DAY) Lila closes the door, remains by it for a moment, quiet, listening. Her eyes scan the layout, the closed door which leads off the hallway, to the dining room on the right and the parlor on the left. Down at the end of the hall is the kitchen, the door wide open, the room beyond dim and silent. She notices the stairs leading down to the basement, stares at them, then back to the stairs leading to the second floor. She starts forward, and seems about to investigate the parlor and dining room.", "INT. THE MOTEL OFFICE - (DAY) Norman is behind the counter, standing, staring at Sam who is sitting relaxedly on a small sofa. Norman has the look of one who is protecting himself, as if the counter were a protective wall against the threatening world across it. SAM -LRB- Cheerfully, as if after a self - conscious pause. -RRB- I've been doing all the talking so far, have n't I? NORMAN Yes. SAM I always thought it was the people who are alone so much who do all the talking when they get the chance. Yet there you are, doing all the listening! -LRB- A pause. -RRB- You are alone here, are n't you? -LRB- As Norman does not reply. -RRB- It would drive me crazy. NORMAN That would be a rather extreme reaction, would n't it? SAM -LRB- Lightly. -RRB- Just an expression. -LRB- More seriously. -RRB- What I meant was. I'd do just about anything. to get away. Would n't you?", "INT. DOWNSTAIRS HALLWAY AND STAIRS OF OLD HOUSE - (DAY) Lila is halfway up the stairs. As she climbs she is startled by the creaks and groans of the old wood of the steps. She steps more carefully. CAMERA remains at foot of stair, TILTING UP as Lila climbs. She pauses at the head of the stair. The door on her right, which opens into the mother's room, is closed. To her left is another door, half - open. Directly before her is a third door, closed. She holds a long moment, trying to picture in her mind which room would look out on the front of the house, decides, chooses the correct door, the one on her right. She goes to it, knocks lightly.", "INT. THE MOTHER'S ROOM (DAY) - CLOSE ANGLE ON DOOR We hear Lila's second knock, then, faintly, her soft call. LILA'S VOICE -LRB- O.S. -RRB- Mrs. Bates? There is quiet for a moment, then the door begins to open, and we see Lila. She stands on the threshold, looking in at the room, instantly disturbed by it, almost chilled, her expression indicating an impulse to close the door and go away from this room forever. After a moment, she enters, leaving the door open behind her. CAMERA PULLS BACK AND AWAY and we now see the room as Lila sees it. It is ornate, damask - and - mahogany, thick and warm and ripe, an olla podrida of mismated furnishings and bric - a - brac of the last century. The bed is four poster, but uncanoped ; the dressing table is fancy and flounced with satin ; there is a great chiffonier, a big - doored wardrobe, a large, oval, full - length pier - glass -LRB- this against the wall directly opposite the door -RRB-, a satin recamier, an upholstered armchair by the window, a white marble fireplace, its grate cold but piled with ashes. And there is in the room an unmistakably live quality, as if even though it is presently unoccupied, it has not been long vacated by some musty presence. Lila glances at the bed. The damask coverlet is thrown over it, but it is not neat, there is the imprint of a body on it, a body which obviously has slept in a curled - up, womb - like position. Lila stares at it for a moment, up, then goes to the dressing table. Its top is scattered with boxes and jars of cosmetics and creams, traces of fresh powder, an opened bottle or perfume, a comb, and a brush with traces of hair in its bristles. Lila moves on, catches a glimpse of herself in the pier - glass, is startled, turns away, goes to the chiffonier, is about to open a drawer, sees the high wardrobe out of the corner of her eyes, goes to it, hesitantly. She opens one door. Fresh, clean, well pressed dresses hang neatly. Lila opens the other door. The sweaters and dresses and robes hang freely, none in moth - proof, storage - type bags. There is even a well - brushed collar of foxes. Along the floor of the wardrobe is a line of clean, polished shoes. Lila stares, then closes the door, turns, looks once again over the whole room, starts out,", "INT. THE UPSTAIRS HALLWAY OF THE OLD HOUSE - (DAY) Lila comes out of the mother's room, closes the door behind her, looks down the stairs, then starts across the hall to the room whose door is half - open. The room within is dark, the shades drawn full. Lila pauses on the threshold, reaches in, feels the wall, throws on a switch.", "INT. MOTEL OFFICE - (DAY) Sam has risen, is standing by the counter now. SAM I'm not saying you should n't be contented here, I'm just doubting that you are. I think if you saw a chance to get out from under. you'd unload this place. NORMAN -LRB- Angrily. -RRB- This place! This is n't' a place.' It's my only world. I grew up in that house back there. I was a happy child. My mother and I. we were more than happy. SAM And now that your mother's dead? Norman snaps a sharp, fast, ugly look at him. NORMAN My mother is not dead! SAM -LRB- Softly. -RRB- I did n't think so.", "INT. NORMAN'S ROOM IN THE OLD HOUSE - (DAY) Lila is standing in the doorway, staring at the room in sick dismay. The room is grotesque, a horrible, ludicrous fantasy of childhood held beyond the point of decency. It is a small room. The walls are fancied with romping silhouettes of teddy - bears and sailboats and carousels and fat cows jumping over aghast moons. The bed is small, far too short for a man of Norman's height. And yet the rumpled covers indicate that it is in this bed that Norman sleeps. Next to the bed is an old - fashioned toy chest. On its top there are a bird - in - a - cage lamp, a plain - bound book, and an ash tray filled with ashes and cigarette stubs. A grown man's shirt hangs on a child's clothes tree. Against one wall there is a narrow, high bookcase filled with thick, unchildish - looking books. On the small, white chest of drawers there is an old, child's victrola. The record on the turntable is discovered, on close inspection, to be Beethoven's Eroica Symphony. Lila studies the room, fascinated and repelled. She glances at the bookcase, comes into the room, goes to the bookcase and pulls out a thick, large, plain - bound book. She opens it. Her eyes go wide in shock. And then there is disgust. She slams the book closed, drops it.", "INT. THE MOTEL OFFICE - (DAY) Norman, behind the counter, has moved back against the wall. Sam is still on the other side of the counter, but is leaning forward, his eyes hard on Norman's face. Norman's face is no longer expressionless. It has the stark, high sheen of a cornered animal. SAM -LRB- Pressing. -RRB- You look frightened. Have I been saying something frightening? NORMAN I do n't know what you've been saying. SAM I've been talking about your mother. about your motel. How are you going to do it? NORMAN Do what? SAM Buy a new one! In a new town! Where you wo n't have to hide your mother! NORMAN Shut up! SAM Where will you get the money to do that, Bates. or do you already have it. socked away. a lot of it. NORMAN Leave me alone! SAM Forty thousand dollars! NORMAN Leave me alone! He is close to panic now. He turns, swiftly, dashes back into his private parlor. Sam goes quickly around the counter, follows.", "INT. NORMAN'S PRIVATE PARLOR - (DAY) Norman hears Sam following, wants to run, to never be reached by this man. He crosses the small room, drawn to the rear window, as if he might fly through it. Sam enters, pauses. Norman turns, back against the window, as unable to fly away as are the many still, stuffed birds. Sam registers a brief flicker of reaction when he sees the birds, but continues to gaze at Norman, hard. SAM I bet your mother knows where the money is. And what you did to get it. And I think she'll tell us. Something self - assured and confident in Sam's tone gives Norman a new, more terrified alarm. He turns his head, glances out the window at the old house. He looks back at Sam and there is terror in his voice. NORMAN Where's that girl? The girl you came with! Where is she? Sam does not respond, smiles a half - smile, turns to examine a stuffed owl. Norman looks back at the house. NORMAN -LRB- A horrible groan. -RRB- Oh, God!", "INT. UPSTAIRS HALL OF THE OLD HOUSE - (DAY) Lila, shaken and disturbed, almost sickened, is coming out of Norman's room. She has left the light on. She pauses in the middle of the landing, looks at the closed door opposite the stairs, goes to it, opens it, sees that it is the bathroom, pulls the door to, turns, starts toward the stairs.", "INT. NORMAN'S PRIVATE PARLOR - (DAY) Sam is lying on the floor, face downward, unmoving. A candlestick is on the floor, close by his head, still rocking as if just dropped. OVER SHOT comes the SOUND of Norman's footsteps and CAMERA TURNS in time to catch a brief glimpse of him going out into the office, almost at a run.", "INT. STAIRWAY OF THE OLD HOUSE - (DAY) Lila is on the top step, looking down toward CAMERA. She is listening, hoping to hear some human sound, some sound she might follow, pursue. She hears nothing. She starts down the stairs. Just below the halfway step, she looks at the front door, sees out through the door window : LILA'S VIEWPOINT - -LRB- DAY -RRB- Norman coming.", "INT. STAIRWAY OF THE OLD HOUSE - (DAY) For a moment Lila panics, then she hurries down the steps, can not go in the direction of the front door, remembers the stairway behind her, turns and runs in that direction. The SOUND of Norman bounding up the porch steps can be heard. Lila turns and dashes down the stairs which lead to the basement, going down far enough to conceal herself, crouching there. Norman enters the hallway, closes the door softly, listens. He glances once in the direction of the basement stairs. He seems about to smile, when suddenly all expression vanishes from his face, and he appears to enter a no - place, no - time state. He crosses to the stairway, goes up. Lila remains crouched on the basement stairs, listening to the SOUNDS of Norman. His footsteps on the stairs followed by the fast noises of doors opening, of fast moving about an upstairs room. Convinced that he is searching the upstairs for her, she decides to chance an escape. She starts up the steps, is about to turn into the hallway when her eye is caught by a glimmer of light down in the basement. She pauses, looks down, sees the crack of light coming from behind the not entirely closed door to the fruit cellar. The swift moving SOUNDS of Norman continue to come from upstairs. Lila is torn, knows she should get out of the house while she has the chance, is unable to resist the impulse to check that hidden - looking room down below, a room in which, she desperately believes, there must lie some answer to what happened to Mary. She turns and goes softly and quickly down the stairs.", "INT. THE BASEMENT OF THE OLD HOUSE - (DAY) Lila reaches the bottom, stops, listens, hears the stairboards creaking as footsteps fall hard and measured upon them. She turns, pulls open the fruit cellar door, looks in. The woman is sitting in a comfortable chair, the back of the chair, and the woman, turned to the door. Lila calls a harsh, frightened whisper. LILA Mrs. Bates? Lila goes into the room.", "INT. THE FRUIT CELLAR Lila goes to the chair, touches it. The touch disturbs the figure. It starts to turn, slowly, stiffly, a clock - wise movement. Lila looks at it in horror. It is the body of a woman long dead. The skin is dry and pulled away from the mouth and the teeth are revealed as in the skeleton's smile. The eyes are gone from their sockets, the bridge of the nose has collapsed, the hair is dry and wild, the cheeks are sunken, the leathery - brown skin is powdered and rouged and flaky. The body is dressed in a high - neck, clean, well - pressed dress, obviously recently laundered and hand - ironed. The movement of this stuffed, ill - preserved cadaver, turning as if in response to Lila's call and touch, is actually graceful, ballet - like, and the effect is terrible and obscene. Lila gazes for one flicker of a deathly moment, then begins to scream, a high, piercing, dreadful scream. And Lila's scream is joined by another scream, a more dreadful, horrifying scream which comes from the door behind her. NORMAN'S VOICE -LRB- O.S. -RRB- -LRB- screaming. -RRB- Ayeeeeeeeeeeeeeeeeeeeeee Am Norma Bates! Lila turns. NORMAN His face is contorted. He wears a wild wig, a mockery of a woman's hair. He is dressed in a high - neck dress which is similar to that worn by the corpse of his mother. His hand is raised high, poised to strike at Lila. There is a long breadknife in it. LILA Close on her face. She is dumb - struck. Her eyes are screaming. BACK TO NORMAN As he is about to start forward, a man's hand reaches in from the doorway behind, grabs Norman's wrist. Sam comes through the door, still holding tight to the wrist, pulling back the arm and at the same time throwing himself at Norman, football tackle style. SERIES OF CUTS - THE FIGHT Norman and Sam, struggling. The wild fury in Norman's face, the mad noise of his screams and vile curses. The terrified, fight - to - the - death look of Sam. The still, staring Lila. MRS. BATES A close of her face, She appears to be watching and enjoying the fight. Over the shot, the SOUNDS of the struggle, the screams of Norman.", "EXT. COURTHOUSE AT READING - (NIGHT) There are many people gathered about the steps, the curious and the concerned and the morbid. At the curb, a couple of newspaper cars, two or three police cars, and a mobile unit truck from the local television outlet. There is noise, and chattering as questions are asked and answers given, and the sounds of traffic, and of the television equipment being moved into the courthouse, for on - the - scene reporting, and the stern voices of policemen trying to keep people back. The scene has a bright glare about it, that quality of sudden light thrown on a fearful darkness. CLOSER ANGLE ON STEPS OF COURTHOUSE A POLICEMAN trying to make way for the television men, muttering `` keep back,'' etc., to the spectators. A TELEVISION MAN, carrying a piece of equipment goes through door, and CAMERA FOLLOWS him into the courthouse vestibule. Here, too, there is a crowd, composed of Policemen, Reporters, Television Men. The Television Men we have been following stops beside a Policeman. TELEVISION MAN -LRB- Indicating the front door he has just come in through. -RRB- You think they'll take him out that way? POLICEMAN -LRB- Looking at waiting crowd, shrugging. -RRB- Probably have to. -LRB- A rueful smile. -RRB- Besides, the taxpayers hate it when something gets slipped out the back door on them! Over this exchange, the buzz of other voices, the movement of men. CAMERA MOVES ON, down the corridor, gets to the door of the office of the Chief of Police just as a young fellow with a carton box filled with paper containers of sent - out - for coffee reaches this door. CAMERA HOLDS as the COFFEE BOY pauses a moment, then goes into the room.", "INT. OFFICE OF THE CHIEF OF POLICE - (NIGHT) Lila is seated in a chair, Sam standing close by. A bit apart from them, we see Sheriff Chambers, in quiet conference with the CHIEF OF POLICE, the COUNTY SHERIFF, the DISTRICT ATTORNEY. The Coffee Boy stands in the doorway. Sam goes to him, takes a container of coffee from the box, carries it to Lila, checking the notation on the lid as he goes. MED. CLOSE ON SAM AND LILA SAM -LRB- quietly. -RRB- It's regular. Okay? LILA -LRB- ruefully. -RRB- I could stand something regular. Sam smiles encouragingly, hands her the coffee. Sheriff Chambers ENTERS SHOT, gives Sam a container of coffee he has brought for him. Sam takes it, nods a thank you. For a moment no one speaks. Lila looks badly shaken, Sam disheveled, but contained. CHAMBERS You two can go on home if you like. -LRB- a sympathetic look at Lila. -RRB- Making that statement was enough for one night. SAM -LRB- to Lila. -RRB- Want to? LILA No. I'm all right. I'll feel better when all this is explained. if it can be. Sam looks a question at Sheriff Chambers. Chambers shrugs doubtfully. CHAMBERS If anybody gets any answers, it'll be the fellow talking to him now. the Psychiatrist. Even I could n't reach Norman. and he knows me. -LRB- to Lila. -RRB- You warm enough, Miss? Lila is about to answer, when she sees someone come into the room and rises anxiously. Sam and Sheriff Chambers turn, follow her gaze.", "INT. OFFICE OF CHIEF OF POLICE - FULL SHOT A young man with a serious, frowning face has just come into the room. He is DR. SIMON, the Psychiatrist. He goes to the desk where the box of coffee containers has been placed, takes up a container. DISTRICT ATTORNEY Did he talk to you? SIMON No. I got the whole story. but not from Norman. I got it from. his mother. Everyone gazes at him, mystified. He speaks as he removes lid from coffee container. SIMON Norman Bates no longer exists. He only half - existed to begin with. now, the other half has taken over. Probably for all time. LILA -LRB- With difficulty. -RRB- Did he kill my sister? SIMON Yes. and no. DISTRICT ATTORNEY Look, if you're trying to lay a lot of psychiatric groundwork for some sort of plea this fellow would like to cop. SIMON A psychiatrist does n't lay the groundwork. he merely tries to explain it. LILA But my sister is. SIMON Yes. I'm sorry. -LRB- to Chambers. -RRB- The Private Investigator, too. If you drag that swamp somewhere in the vicinity of the motel. -LRB- To the Chief of Police. -RRB- Have you any unsolved missing persons cases on your books? CHIEF OF POLICE Yes. Two. SIMON Young girls? CHIEF OF POLICE -LRB- nods, astounded, then :. -RRB- Did he confess to. SIMON -LRB- interrupting. -RRB- As I said, the mother. -LRB- Pauses, goes on afresh. -RRB- To understand it, as I understood it hearing it from the mother. That is, from the mother - half of Norman's mind, you have to go back ten years. to the time when Norman murdered his mother and her lover. -LRB- A pause, then as no one interrupts. -RRB- He was already dangerously disturbed, had been ever since his father died. His mother was a clinging, demanding woman. and for years the two of them lived as if there was no one else in the world. Then she met a man and it seemed to Norman she `` threw him over'' for this man. That pushed him over the thin line. and he killed them both. Matricide is probably the most unbearable crime of all. and most unbearable to the son who commit it. So he had to erase the crime, at least in his own mind. -LRB- A pause. -RRB- He stole her corpse. and a weighted coffin was buried. He hid the body in the fruit cellar, even `` treated'' it to keep it as well as it would keep. And that still was n't enough. She was there, but she was a corpse. So he began to think and speak for her, gave her half his life, so to speak. At times he could be both personalities, carry on conversations. at other times, the mother - half took over completely. He was never all Norman, but he was often only mother. And because he was so pathologically jealous of her, he assumed she was as jealous of him. Therefore, if he felt a strong attraction to any other woman, the mother side of him would go wild. -LRB- To Lila. -RRB- When Norman met your sister, he was touched by her. and aroused by her. He wanted her. And this set off his `` jealous mother'' and. `` mother killed the girl.'' After the murder, Norman returned as if from a deep sleep. and like a dutiful son, covered up all traces of the crime he was convinced his mother had committed. SAM Why was he. dressed like that? DISTRICT ATTORNEY He's a transvestite! SIMON Not exactly. A man who dresses in woman's clothing in order to achieve a sexual change. or satisfaction. is a transvestite. But in Norman's case, he was simply doing everything possible to keep alive the illusion of his mother being alive. And whenever reality came too close, when danger or desire threatened that illusion, he'd dress up, even to a cheap wig he brought, and he'd walk about the house, sit in her chair, speak in her voice. He tried to be his mother. -LRB- A sad smile. -RRB- And now he is. -LRB- A pause. -RRB- That's what I meant when I said I got the story from the mother. She thinks Norman has been taken away. because of his crimes. She insists she did nothing, that Norman committed all the murders just to keep her from being discovered. She even smiled a bit coquettishly as she said that. Of course, she feels badly about it. but also somewhat relieved to be, as she put it, free of Norman, at last. -LRB- A pause. -RRB- When the mind houses two personalities, there is always a battle. In Norman's case, the battle is over. and the dominant personality has won. Lila begins to weep softly, for Mary, for Arbogast, for Norman, for all the destroyed human beings of this world. Sam bends beside her, puts his arm about her, comforts her. CHAMBERS -LRB- To Simon. -RRB- And the forty thousand dollars? Who got that? SIMON The swamp. These were murders of passion, not profit. A POLICE GUARD puts his head in the door, speaks, in a near - whisper, to the Chief of Police. The Guard is carrying a folded blanket over his arm. POLICE GUARD He feels a little chill. can I bring him this blanket? The Chief of Police nods. The Guard goes away, and CAMERA FOLLOWS him out of the room and out into the hallway. Guard moves through the waiting men, heading down the corridor.", "INT. ANOTHER CORRIDOR IN COURTHOUSE A narrower corridor in the rear of the building. In f.g. of shot, we see a door, the top half of which is wire - covered glass. A GUARD in uniform is posted by the door, looking reprovingly at the two or three people trying to get a glance into the room. The Police Guard, carrying the blanket, comes down this corridor, goes to the door. CAMERA MOVES CLOSE. The uniformed Guard opens the door, allows the man to go in. Shot is RAKED so that we can not see into the room. After a moment, the Guard comes out and the uniformed Guard closes and locks the door and we", "INT. NORMAN'S DETENTION ROOM - (NIGHT) The walls are white and plain. There is no window. There is no furniture except the straight - back chair in which Norman sits, in the center of the room. The room has a quality of no - whereness, of calm separation from the world. The Police Guard has placed the blanket on Norman's knees. Norman, as we come upon him, is lifting the blanket, unfolding it. His face, although without makeup and without the surrounding softness of the wig, has a certain femininity about it, a softness about the mouth and a kind of arch womanliness about the brows. Calmly, Norman places the blanket about his shoulders, as if it were a cashmere shawl. CAMERA REMAINS in a position so that our view of Norman is a FULL ONE. When the shawl is in position, and Norman is settled, we HEAR, OVER SHOT, the voice of his mother, coming from the calm of his thoughts. MOTHER'S VOICE -LRB- O.S. -RRB- It's sad. when a mother has to speak the words that condemn her own son. but I could n't allow them to believe that I would commit murder. -LRB- A pause. -RRB- They'll put him away now. as I should have. years ago. He was always. bad. And in the end, he intended to tell them I killed those girls. and that man. As if I could do anything except just sit and stare. like one of his stuffed birds. -LRB- A pause. -RRB- Well, they know I ca n't even move a finger. And I wo n't. I'll just sit here and be quiet. Just in case they do. suspect me. A fly buzzes close, and then continues buzzing and flying about Norman's face. MOTHER'S VOICE -LRB- V.O. -RRB- They're probably watching me. Well, let them. Let them see what kind of a person I am. -LRB- A pause, as the fly lights on Norman's hand. -RRB- I'm not going to swat that fly. I hope they are watching. They'll see. they'll see. and they'll know. and they'll say. ` why, she would n't even harm a fly.' Norman continues to gaze ahead into nothing. THE SWAMP As END TITLES FADE IN, we see the swamp, the chain of a tow - truck. The chain is attached to Mary's car. The car is coming out of the swamp. FADE OUT THE END"], "labels": [0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 1.0, 0.0, 1.0], "summary": "During a Friday afternoon tryst in a Phoenix hotel, real estate secretary Marion Crane and her boyfriend Sam Loomis discuss their inability to get married because of Sam's debts. Marion returns to work, steals a cash payment of $40,000 entrusted to her for deposit, and sets off to drive to Sam's home in Fairvale, California. Marion hurriedly trades her car en route, arousing suspicion from both the car dealer and a California Highway Patrol officer. Marion stops for the night at the Bates Motel, located off the main highway, and hides the stolen money inside a newspaper. Proprietor Norman Bates descends from a large house overlooking the motel, registers Marion under an assumed name, and invites her to dine with him. After Norman returns to his house, Marion overhears Norman arguing with his mother about Marion's presence. Norman returns with a light meal and apologizes for his mother's outbursts. Norman discusses his hobby as a taxidermist, his mother's \"illness,\" and how people have a \"private trap\" they want to escape. Marion decides to drive back to Phoenix in the morning and return the stolen money. As Marion showers, a shadowy figure in a dress appears and stabs her to death. Soon afterward, Norman cleans up the murder scene, putting Marion's body, belongings, and the hidden cash in her car, and sinks it in a swamp. Marion's sister Lila arrives in Fairvale a week later, tells Sam about the theft, and demands to know her whereabouts. He denies knowing anything about her disappearance. A private investigator named Arbogast approaches them, saying that he has been hired to retrieve the money. Arbogast stops at the Bates Motel and questions Norman, whose nervous behavior and inconsistent answers arouse his suspicion. He examines the guest register and discovers from her handwriting that Marion spent a night at the motel. When Arbogast learns that Marion had spoken to Norman's mother, Arbogast asks to speak to her, but Norman refuses to allow it. Arbogast updates Sam and Lila about his search and promises to phone again in an hour. After he enters the Bates home to search for Norman's mother, the shadowy figure emerges from the bedroom and stabs him to death. Sam visits the motel when he and Lila do not hear from Arbogast. He sees a figure in the house whom he assumes is Norman's mother. Lila and Sam alert the local sheriff, who tells them that Norman's mother died in a murder-suicide ten years earlier. The sheriff suggests that Arbogast lied to Sam and Lila so he could pursue Marion and the money. Convinced that something happened to Arbogast, Lila and Sam drive to the motel. Sam distracts Norman in the office while Lila sneaks into the house. Suspicious, Norman becomes agitated and knocks Sam unconscious. As he goes to the house, Lila hides in the fruit cellar, where she discovers the mother's mummified body. She screams, and Norman, wearing his mother's clothes and a wig, enters the cellar and tries to stab her. Sam appears and subdues him. At the police station, a psychiatrist explains that Norman killed his mother and her lover ten years earlier out of jealousy. Unable to bear the guilt, Norman mummified his mother's corpse and began treating it as if she were still alive. He recreated his mother as an alternate personality, as jealous and possessive towards Norman as he felt about his mother. When Norman is attracted to a woman, \"Mother\" takes over. He had killed two other young women before Marion, and Arbogast was killed to hide \"his mother's\" crime. The psychiatrist concludes that \"Mother\" has now completely taken over Norman's personality. Norman sits in a jail cell and hears his mother saying that the murders were all his doing. Marion's car is retrieved from the swamp.", "name": "Psycho_(1960_film)"}
{"scenes": ["EXT. BATTLEFIELD, JENKINS' FERRY, ARKANSAS - DAY Heavy grey skies hang over a flooded field, the water two feet deep. Cannons and carts, half-submerged and tilted, their wheels trapped in the mud below the surface, are still yoked to dead and dying horses and oxen. A terrible battle is taking place ; two infantry companies, Negro Union soldiers and white Confederate soldiers, knee- deep in the water, staggering because of the mud beneath, fight each other hand-to-hand, with rifles, bayonets, pistols, knives and fists. There's no discipline or strategy, nothing depersonalized : it's mayhem and each side intensely hates the other. Both have resolved to take no prisoners. HAROLD GREEN -LRB- V.O. -RRB- Some of us was in the Second Kansas Colored. We fought the rebs at Jenkins' Ferry last April, just after they'd killed every Negro soldier they captured at Poison Springs.", "EXT. PARADE GROUNDS ADJACENT TO THE WASHINGTON NAVY YARD, ANACOSTIA RIVER - NIGHT Rain and fog. Union Army companies are camped out across the grounds. Preparations are being made for the impending assault on the Confederate port of Wilmington, North Carolina. Two black soldiers stand before a bivouacked Negro unit : HAROLD GREEN, an infantryman in his late thirties, and IRA CLARK, a cavalryman in his early twenties. ABRAHAM LINCOLN sits on a bench facing Harold and Ira ; his stovepipe hat is at his side. HAROLD GREEN So at Jenkins' Ferry, we decided war n't taking no reb prisoners. And we did n't leave a one of ` em alive. The ones of us that did n't die that day, we joined up with the 116th U.S. Colored, sir. From Camp Nelson Kentucky. LINCOLN What's your name, soldier? HAROLD GREEN Private Harold Green, sir. IRA CLARK I'm Corporal Ira Clark, sir. Fifth Massachusetts Cavalry. We're waiting over there. He nods in the direction of his cavalry. IRA CLARK -LRB- CONT'D -RRB- We're leaving our horses behind, and shipping out with the 24th Infantry for the assault next week on Wilmington. LINCOLN -LRB- to Harold Green : -RRB- How long've you been a soldier? HAROLD GREEN Two year, sir. LINCOLN Second Kansas Colored Infantry, they fought bravely at Jenkins' Ferry. HAROLD GREEN That's right, sir. IRA CLARK They killed a thousand rebel soldiers, sir. They were very brave. -LRB- hesitating, then -RRB- And making three dollars less each month than white soldiers. Harold Green is a little startled at Clark's bluntness. HAROLD GREEN Us 2nd Kansas boys, whenever we fight now we - IRA CLARK Another three dollars subtracted from our pay for our uniforms. HAROLD GREEN That was true, yessir, but that CHANGED - IRA CLARK Equal pay now. Still no commissioned Negro officers. LINCOLN I am aware of it, Corporal Clark. IRA CLARK Yes, sir, that's good you're aware, sir. It's only that - HAROLD GREEN -LRB- to Lincoln, trying to change the subject : -RRB- You think the Wilmington attack is gon na be - IRA CLARK Now that white people have accustomed themselves to seeing Negro men with guns, fighting on their behalf, and now that they can tolerate Negro soldiers getting the same pay - in a few years perhaps they can abide the idea of Negro lieutenants and captains. In fifty years, maybe a Negro colonel. In a hundred years - the vote. Green's offended at the way Clark is talking to Lincoln. LINCOLN What'll you do after the war, Corporal Clark? IRA CLARK Work, sir. Perhaps you'll hire me. LINCOLN Perhaps I will. IRA CLARK But you should know, sir, that I get sick at the smell of bootblack and I ca n't cut hair. Lincoln smiles. LINCOLN I've yet to find a man could cut mine so it'd make any difference. HAROLD GREEN You got springy hair for a white man. Lincoln laughs. LINCOLN Yes, I do. My last barber hanged himself. And the one before that. Left me his scissors in his will. Green laughs. TWO WHITE SOLDIERS have come up, two young kids, nervous and excited. FIRST WHITE SOLDIER President Lincoln, sir? LINCOLN Evening, boys. SECOND WHITE SOLDIER Damn! Damn! We, we saw you, um. We were at, at - FIRST WHITE SOLDIER We was at Gettysburg! HAROLD GREEN You boys fight at Gettysburg? DAMN I ca n't believe it's - FIRST WHITE SOLDIER -LRB- CONT'D -RRB- -LRB- to Green, with mild CONTEMPT -RRB- Naw, we did n't fight there. We just signed up last month. We saw him two years ago at the cemetery dedication. SECOND WHITE SOLDIER Yeah, we heard you speak! We... DAMN DAMN DAMN! Uh, hey, how tall are you anyway?! FIRST WHITE SOLDIER Jeez, SHUT up! LINCOLN Could you hear what I said? FIRST WHITE SOLDIER No, sir, not much, it was- SECOND WHITE SOLDIER -LRB- he recites, fast and MECHANICALLY : -RRB- `` Four score and seven years ago, our fathers brought forth on this continent a new nation, conceived in liberty and dedicated to the proposition that all men are created equal.'' LINCOLN That's good, thank you for - FIRST WHITE SOLDIER `` Now we are engaged in a great civil war, testing whether that nation or any nation so conceived and so dedicated can long endure. We are, we are, we are met on a great battlefield of that war.'' LINCOLN Thank you, that's - SECOND WHITE SOLDIER `` We have come to dedicate a portion of that field as a final resting place for those who here gave their lives that that nation might live. It is...'' -LRB- He chokes up a little. -RRB- FIRST WHITE SOLDIER His uncles, they died on the second day of fighting. SECOND WHITE SOLDIER I know the last part. `` It is, A VOICE -LRB- O.C. -RRB- Company up! Move it out! SECOND WHITE SOLDIER uh, it is rather -'' Soldiers all over the field rise up at the mustering of the troops. Names of regiments, brigades, divisions are called : all across the field, the men put out fires, put on knapsacks. LINCOLN -LRB- to the two white SOLDIERS : -RRB- You fellas best find your company. FIRST WHITE SOLDIER -LRB- SALUTING LINCOLN : -RRB- Thank you, sir. God bless you! LINCOLN God bless you. The second white soldier salutes, and the two move out. Green salutes Lincoln as well and glances at Clark, who remains, looking down. Green leaves. Clark looks up, salutes Lincoln and, turning smartly, walks toward his unit. Then he stops, turns back, faces Lincoln, who watches him. A beat, and then, in a tone of admiration and cautious admonishment, reminding Lincoln of his promise : IRA CLARK `` That we here highly resolve that these dead shall not have died in VAIN -- `` Clark salutes Lincoln again, turns again and walks away. Lincoln watches him go. As he walks into the fog, Clark continues reciting in a powerful voice : IRA CLARK -LRB- CONT'D -RRB- `` - That this nation, under God, shall have a new birth of freedom -- and that government of the people, by the people, for the people, shall not perish from the earth.'' Lincoln watches Clark until the fog's swallowed him up. TITLE : JANUARY, 1865 TWO MONTHS HAVE PASSED SINCE ABRAHAM LINCOLN'S RE-ELECTION THE AMERICAN CIVIL WAR IS NOW IN ITS FOURTH YEAR", "EXT. A SHIP AT SEA - NIGHT A huge, dark, strange-looking steamship, part wood and part iron, turreted like a giant ironclad monitor, is plowing through the choppy black waters of an open sea. Lincoln is alone, in darkness, on the deck, which has no railing, open to the sea. The ship's tearing through rough water, but there's little pitching, wind or spray. The deck is dominated by the immense black gunnery turret. LINCOLN -LRB- V.O. -RRB- It's nighttime. The ship's moved by some terrible power, at a terrific speed. Lincoln stares out towards a barely discernible horizon, indicated by a weird, flickering, leaden glow, which appears to recede faster than the fast-approaching ship. LINCOLN -LRB- V.O. -RRB- Though it's imperceptible in the darkness, I have an intuition that we're headed towards a shore. No one else seems to be aboard the vessel. I'm alone.", "INT. MARY'S BOUDOIR, SECOND FLOOR OF THE WHITE HOUSE - NIGHT The room's cozy, attractive, cluttered, part dressmaker's workshop, part repository of Mary's endless purchases : clothing, fabrics, knicknacks, carpets. Books everywhere. Lincoln reclines on a French chair, too small for his lengthy frame. He's in shirtsleeves, vest unbuttoned and tie unknotted, shoeless. He has an open folio filled with documents on his lap. MARY LINCOLN sits opposite, in a nightgown, housecoat and night cap. She watches him in her vanity mirror. She looks frightened. TITLE : THE WHITE HOUSE LINCOLN I could be bounded in a nutshell and count myself a king of infinite space... were it not that I have bad dreams. I reckon it's the speed that's strange to me. I'm used to going a deliberate pace. Mary looks at him, stricken with alarm. LINCOLN -LRB- CONT'D -RRB- I should spare you. I should n't tell you my dreams. MARY I do n't want to be spared if you are n't! And you spare me nothing. He looks down at the carpet, then back up at her. MARY -LRB- CONT'D -RRB- Perhaps perhaps it's the assault on Wilmington port. You dream about the ship before a battle, usually. LINCOLN -LRB- rapping lightly on his FOREHEAD : -RRB- How's the coconut? MARY Beyond description. She delicately touches her head. MARY -LRB- CONT'D -RRB- Almost two years, nothing mends. Another casualty of the war. Who wants to listen to a useless woman grouse about her carriage accident? LINCOLN I do. MARY Stuff! You tell me dreams, that's all, I'm your soothsayer, that's all I am anymore, I'm not to be trusted with - Even if it was n't a carriage accident, even if it was an attempted assassination - LINCOLN It was most probably an - MARY It was an assassin. Whose intended target was you. LINCOLN How's the plans for the big shindy progressing? MARY I do n't want to talk about parties! You do n't care about parties. LINCOLN Not much but they're a necessary - Mary studies Lincoln, thinking. Then a revelation : MARY I know... I know what it's about. The ship, it is n't Wilmington Port, it's not a military campaign! It's the amendment to abolish slavery! Why else would you force me to invite demented radicals into my home? Lincoln closes his folio. MARY -LRB- CONT'D -RRB- You're going to try to get the amendment passed in the House of Representatives, before the term ends, before the Inauguration. LINCOLN -LRB- STANDING : -RRB- Do n't spend too much money on the flubdubs. Mary stands, goes up to him. MARY No one's loved as much as you, no one's ever been loved so much, by the people, you might do anything now. Do n't, do n't waste that power on an amendment bill that's sure of defeat. Seeing that he's not going to discuss this, she turns away, walking to an open window. MARY -LRB- CONT'D -RRB- Did you remember Robert's coming home for the reception? Lincoln nods, though Mary is n't bothering to look at him. MARY -LRB- CONT'D -RRB- I knew you'd forget. She closes the window. MARY -LRB- CONT'D -RRB- That's the ship you're sailing on. The Thirteenth Amendment. You need n't tell me I'm right. I know I am. She watches as he leaves the room, smiling in bitter victory : she's right.", "INT. HALLWAY, LEAVING MARY'S BOUDOIR - NIGHT Lincoln encounters ELIZABETH KECKLEY, a light-skinned black woman, 38, Mary's dressmaker and close friend, holding a dark- blue velvet bodice embroidered with jet beads. LINCOLN It's late, Mrs. Keckley. ELIZABETH KECKLEY -LRB- holding out the bodice : -RRB- She needs this for the grand reception. Lincoln bends down to look at the intricate beading. ELIZABETH KECKLEY -LRB- CONT'D -RRB- It's slow work. He nods, smiles, straightens up. LINCOLN Good night. He continues down the hall. Mrs. Keckley starts to enter Mary's boudoir, then stops, sensing something amiss. She calls quietly after Lincoln : ELIZABETH KECKLEY -LRB- concerned, a little EXASPERATED : -RRB- Did you tell her a dream?", "INT. LINCOLN'S OFFICE, SECOND FLOOR, WHITE HOUSE - NIGHT A working room, sparsely furnished. Lincoln's desk is heaped with files, books, newspapers. The desk's near a window, now open. Comfortable chairs and a rocker are in a corner. Near the fireplace, in which embers are dying, there's a long table, eight chairs around it, settings by each chair of inkwells and pens. Dozens of maps cover the walls and the crowded bookcases. Lincoln opens the door and enters to find his 10 year-old son TAD LINCOLN near the hearth, sleeping, sprawled on a very large military map. Lead toy soldiers are scattered across it. A large mahogany box, imprinted ALEXANDER GARDNER STUDIOS, is open near Tad's head. The box contains large glass plates, each framed in wood ; these are photographic negatives. Tad's been looking at several, which lie near him on the map. Lincoln kneels by Tad and looks down at the map, a topographical and strategic survey of the no-man's land between Union and Confederate forces at Petersburg. He scrutinizes the precisely drawn blue and grey lines. He lifts one of the glass plates and holds it to the firelight : it's a large photographic negative of a young black boy. There's a caption, in elegant cursive script : `` Abner, age 12 - $ 500'' And another : `` Two young boys, 10 & 14 - $ 700'' Lincoln puts the plates back in the box and closes the lid. Carefully brushing the toy soldiers aside, he lies down beside Tad. He touches Tad's hair and kisses his forehead. Tad stirs as Lincoln gets on all fours ; without really waking up, knowing the routine, Tad climbs onto his father's back. Tad holds on as his father stands, weary, and maybe a little surprised to find his growing son slightly heavier than he was the night before. TAD -LRB- FAST ASLEEP : -RRB- Papa... LINCOLN Hmm? TAD Papa I wan na see Willie. LINCOLN -LRB- WHISPERING : -RRB- Me too, Taddie. But we ca n't. TAD Why not? LINCOLN Willie's gone. Three years now. He's gone. Lincoln carries Tad out of the room, closing the door.", "EXT. OUTSIDE THE TREASURY DEPARTMENT, WASHINGTON - MORNING A new flagpole is being dedicated. Lincoln, in a black overcoat and his stovepipe hat, and Treasury Secretary WILLIAM FESSENDEN, 59, stand by the pole. They face an audience of officials, clerks, dignitaries, wives, soldiers. A Marine band finishes a jaunty instrumental rendition of `` We Are Coming Father Abra'am.'' Two soldiers fasten a flag to the halyards. Lincoln moves into place ; as the crowd applauds, he takes a sheet of paper from inside his hat and glances at it. Then he looks up. LINCOLN The part assigned to me is to raise the flag, which, if there be no fault in the machinery, I will do, and when up, it will be for the people to keep it up. He puts the paper away. The audience waits, expecting more. LINCOLN -LRB- CONT'D -RRB- That's my speech. He smiles at them. They applaud, some laughing. As Lincoln turns the crank, hoisting the flag, a solo trumpet plays `` We Are Coming Father Abra'am'' and the audience joins in. Among them, Secretary of State WILLIAM SEWARD, 64, in a thick, exquisite winter coat and hat, and Lincoln's dapper assistant secretary, JOHN HAY, 27. Seward looks pleased. AUDIENCE `` We are coming, Father Abra'am, three hundred thousand more, From Mississippi's winding stream and from New England's shore...'' We leave our plows and workshops, our wives and children dear, With hearts too full for utterance, With but a silent tear. We're coming Father Abra'am...''", "EXT. A CARRIAGE, PENNSYLVANIA AVENUE, WASHINGTON - MORNING In a four-door carriage, top down, Seward sits opposite Lincoln. Hay, next to Seward, organizes papers in a portfolio on his lap. SEWARD Even if every Republican in the House votes yes - far from guaranteed, since when has our party unanimously supported anything? - but say all our fellow Republicans vote for it. We'd still be twenty votes short. LINCOLN Only twenty. SEWARD Only twenty! LINCOLN We can find twenty votes. SEWARD Twenty House Democrats who'll vote to abolish slavery! In my opinion - LINCOLN To which I always listen. SEWARD Or pretend to. LINCOLN With all three of my ears. SEWARD We'll win the war soon - It's inevitable, is n't it? LINCOLN Ai n't won yit. SEWARD You'll begin your second term with semi-divine stature. Imagine the possibilities peace will bring! Why tarnish your invaluable luster with a battle in the House? It's a rats' nest in there, the same gang of talentless hicks and hacks that rejected the amendment ten months back. We'll lose. Lincoln smiles. LINCOLN I like our chances now.", "INT. LINCOLN'S OFFICE, THE WHITE HOUSE - MORNING Lincoln is at his desk, Hay feeding him documents to read and sign. Seward warms himself by the fireplace, holding a brandy. SEWARD Consider the obstacles that we'd face. The aforementioned two-thirds majority needed to pass an amendment : we have a Republican majority, but barely more than fifty percent - LINCOLN Fifty-six. SEWARD We need Democratic support. There's none to be had. LINCOLN Since the House last voted on the amendment there's been an election. Sixty-four Democrats lost their House seats in November. That's sixty-four Democrats looking for work come March. SEWARD I know, LINCOLN They do n't need to worry about re-election, they can vote however it suits ` em. There's a knock at the office door. SEWARD But we ca n't, buy the vote for the amendment. It's too important. LINCOLN -LRB- to Hay : -RRB- um. Might as well let ` em in. LINCOLN -LRB- CONT'D -RRB- I said nothing of buying anything. We need twenty votes was all I said. Start of my second term, plenty of positions to fill. Hay opens the door to the outer office, admitting the sound of a sizable crowd. JOHN NICOLAY, 33, Lincoln's rather severe German-born senior secretary, ushers in MR. JOLLY, mid-40s, mud-spattered coat, hat in hands, followed by MRS. JOLLY, similarly road-worn, holding a suitcase. Lincoln stands. JOHN NICOLAY Mr. President, may I present Mr. and Mrs. Jolly who've come from Missouri to - MR. JOLLY From Jeff City, President. Lincoln shakes Mr. Jolly's hand. Mrs. Jolly curtseys. LINCOLN Mr. Jolly. Ma'am. This by the fire's Secretary of State Seward. Seward nods slightly as he lights a Cuban cigar. LINCOLN -LRB- CONT'D -RRB- Jeff City. Lincoln looks at the Jollys. They are worried and a little awed. LINCOLN -LRB- CONT'D -RRB- I heard tell once of a Jefferson City lawyer who had a parrot that'd wake him each morning crying out, `` Today is the day the world shall end, as scripture has foretold.'' And one day the lawyer shot him for the sake of peace and quiet, I presume, thus fulfilling, for the bird at least, its prophecy! Lincoln smiles. The Jollys do n't get it. Mr. Jolly looks back at Seward, who gestures for him to speak, then exhales a plume of smoke. MR. JOLLY -LRB- launching into his PREPARED SPEECH : -RRB- They's only one tollbooth in Jeff City, t' the southwest ` n this man Heinz Sauermagen from Rolla been in illegal possession for near two yar, since your man General Schofield set him up there. But President Monroe give that tollgate to my granpap and Quincy Adams give my pap a letter saying it's our' n for keeps. Mrs. Jolly got the - -LRB- to his wife : -RRB- Show Mr. Lincoln the Quincy Adams letter. Mrs. Jolly opens the suitcase and begins to dig frantically for the letter. LINCOLN That's unnecessary, Mrs. Jolly. Just tell me what you want from me. Seward exhales more smoke. Mr. Jolly starts coughing, while Mrs. Jolly tries to fan away the cigar smoke with the Quincy Adams letter. MRS. JOLLY Mr. Jolly's emphysema do n't care for cigars. SEWARD Madame. Do you know about the proposed Thirteenth Amendment to the Constitution - MRS. JOLLY Yes sir, everybody knows of it. The President favors it. SEWARD Do you? MRS. JOLLY We do. SEWARD You know that it abolishes slavery? MRS. JOLLY Yes sir. I know it. SEWARD And is that why you favor it? MRS. JOLLY What I favor's ending the war. Once't we do away with slavery, the rebs'll quit fighting, since slavery's what they're fighting for. Mr. Lincoln, you always says so. With the amendment, slavery's ended and they'll give up. The war can finish then. SEWARD If the war finished first, before we end slavery, would - MRS. JOLLY President Lincoln says the war wo n't stop unless we finish slavery- SEWARD But if it did. The South is exhausted. If they run out of bullets and men, would you still want your, uh - Who's your representative? LINCOLN Jeff City? That's, uh, Congressman Burton? MRS. JOLLY `` Beanpole'' Burton, I mean, Josiah Burton, yes, sir! LINCOLN -LRB- to Mrs. Jolly : -RRB- Republican. Undecided on the question of the amendment, I believe. Perhaps you could call on him and inform him of your enthusiasm. MRS. JOLLY Yeah... SEWARD Madam? If the rebels surrender next week, would you, at the end of this month, want Congressman Burton to vote for the Thirteenth Amendment? Mrs. Jolly is puzzled, and looks to Mr. Jolly. Then : MRS. JOLLY If that was how it was, no more war and all, I reckon Mr. Jolly'd much prefer not to have Congress pass the amendment. Mr. Jolly nods. Seward glances at Lincoln, then turns back to THE JOLLYS : SEWARD And why's that? Mr. Jolly's surprised : the answer's so obvious. MR. JOLLY -LRB- in a hoarse voice : -RRB- Niggers. MRS. JOLLY If he do n't have to let some Alabama coon come up to Missouri, steal his chickens, and his job, he'd much prefer that. Seward takes the letter from Mrs. Jolly and hands it to Lincoln. SEWARD -LRB- to Lincoln, quietly : -RRB- The people! I begin to see why you're in such a great hurry to put it through. LINCOLN -LRB- to Mr. Jolly : -RRB- Would you let me study this letter, sir, about the tollbooth? Come back to me in the morning and we'll consider what the law says. Lincoln stands. LINCOLN -LRB- CONT'D -RRB- And be sure to visit `` Beanpole'' and tell him that you support passage of the Amendment. As a military necessity. The Jollys nod, skeptical now. NICOLAY -LRB- to the Jollys : -RRB- Thank you. Nicolay escorts them out. Before he closes the door : LINCOLN Oh, Nicolay? When you have a moment. Nicolay nods and steps into the anteroom, where dozens more petitioners are waiting to speak with Lincoln. Hay confers with the doorman. Seward closes the door behind them. Lincoln kneels at the fireplace, stoking the fire. He puts more wood in, then stands. Seward watches him, then : SEWARD If procuring votes with offers of employment is what you intend, I'll fetch a friend from Albany who can supply the skulking men gifted at this kind of shady work. Spare me the indignity of actually speaking to Democrats. Spare you the exposure and liability. There is a sharp knock on the closed door, followed by two long ones. LINCOLN Pardon me, that's a distress signal, which I am bound by solemn oath to respond to. Lincoln opens the door. Tad enters, cross. TAD Tom Pendel took away the glass camera plates of slaves Mr. Gardner sent over because Tom says mama says they're too distressing, but- LINCOLN You had nightmares all night, mama's right to - TAD But I'll have worse nightmares if you do n't let me look at the plates again! LINCOLN Perhaps. SEWARD We ca n't afford a single defection from anyone in our party... not even a single Republican absent when they vote. You know who you've got to see. Nicolay enters. Lincoln turns to him. LINCOLN Send over to Blair House. Ask Preston Blair can I call on him around five o'clock. SEWARD -LRB- a shudder, a swallow of BRANDY : -RRB- God help you. God alone knows what he'll ask you to give him.", "INT. THE LIBRARY, BLAIR HOUSE, WASHINGTON - EVENING Lincoln's perched on the edge of an ottoman. LINCOLN If the Blairs tell ` em to, no Republican will balk at voting for the amendment. The room is baronial. PRESTON BLAIR, patriarch of his wealthy and powerful family, 72 years old, sits facing his son, MONTGOMERY BLAIR, 50, whip-thin. A fire blazes in a massive fireplace behind Monty. Preston's handsome, elegant daughter, ELIZABETH BLAIR LEE, 45, sits across from Monty, next to Tad, who's wearing a Union infantryman's uniform, a real musket by his side. MONTGOMERY BLAIR No conservative Republican is what you mean - PRESTON BLAIR All Republicans ought to be conservative, I founded this party - in my own goddamned home - to be a conservative antislavery party, not a hobbyhorse for goddamned radical abolitionists and - ELIZABETH BLAIR LEE Damp down the dyspepsia, daddy, you'll frighten the child. MONTGOMERY BLAIR -LRB- TO LINCOLN : -RRB- You need us to keep the conservative side of the party in the traces while you diddle the radicals and bundle up with Thaddeus Stevens's gang. You need our help. LINCOLN Yes, sir, I do. MONTGOMERY BLAIR Well, what do we get? ELIZABETH BLAIR LEE Whoo! Blunt! Your manners, Monty, must be why Mr. Lincoln pushed you out of his cabinet. PRESTON BLAIR He was pushed out - MONTGOMERY BLAIR I was n't pushed. ELIZABETH BLAIR LEE -LRB- CONT'D -RRB- -LRB- SMILING SARCASTICALLY : -RRB- Oh of course you were n't. MONTGOMERY BLAIR -LRB- to Tad : -RRB- I agreed to resign. abolishonists! PRESTON BLAIR He was pushed out to placate the goddamn radical ELIZABETH BLAIR LEE -LRB- CONT'D -RRB- -LRB- a nod at Tad : -RRB- Oh Daddy, please! PRESTON BLAIR You do n't mind, boy, do you? LINCOLN He spends his days with soldiers. TAD They taught me a song! PRESTON BLAIR Did they? Soldiers know all manner of songs. How's your brother Bob? TAD He's at school now, but he's coming to visit in four days! For the shindy! PRESTON BLAIR At school! Ai n't that fine! Good he's not in the army! TAD Oh he wants to be, but mama said he CA N'T - PRESTON BLAIR Dangerous life, soldiering. ELIZABETH BLAIR LEE Your mama is wise to keep him clean out of that. PRESTON BLAIR Now your daddy knows that what I want, in return for all the help I give him, is to go down to Richmond like he said I could, soon as Savannah fell, and talk to Jefferson Davis. Give me terms I can offer to Jefferson Davis to start negotiating for peace. He'll talk to me! MONTGOMERY BLAIR Conservative members of your party want you to listen to overtures from Richmond. That above all. Two black servants who have entered begin to pour and serve tea. MONTGOMERY BLAIR -LRB- CONT'D -RRB- They'll vote for this rash and dangerous amendment only if every other possibility is exhausted. PRESTON BLAIR Our Republicans ai n't abolitionists. We ca n't tell our people they can vote yes on abolishing slavery unless at the same time we can tell ` em that you're seeking a negotiated peace. The Blairs look at Lincoln, waiting for an answer.", "EXT. OUTSIDE BLAIR HOUSE - NIGHT A light snow's beginning to fall. A lacquered coach stands outside the house, the Blair crest in gold on its doors. Elizabeth Blair Lee, a blanket in her arms, comes out of the house, talking to LEO, an elderly black servant, formerly a slave belonging to the Blairs. They're followed by an elderly black woman in a housekeeper's uniform. ELIZABETH BLAIR LEE Leo, it's a hundred miles to Richmond. Get him drunk so he can sleep. LEO Yes'm. Elizabeth goes to the carriage, where Preston awaits. She passes the blanket through the carriage window and tucks it around her father. ELIZABETH BLAIR LEE Here, daddy. PRESTON BLAIR Oh! Thank you. ELIZABETH BLAIR LEE -LRB- fussing with the BLANKET : -RRB- Let's fix this up... PRESTON BLAIR Where's my hat? ELIZABETH BLAIR LEE Leo has your hat. All right? As Leo climbs into the carriage, Elizabeth kisses her hand, then slaps the kiss on her father's cheek. ELIZABETH BLAIR LEE -LRB- CONT'D -RRB- Go make peace.", "INT. LINCOLN'S OFFICE, WHITE HOUSE - MORNING The cabinet has assembled. Lincoln heads the table, Seward at his left and EDWIN M. STANTON, Secretary of War, 51, barrel- shaped, long bearded, bespectacled, at his right. Next to him are Secretary of the Navy GIDEON WELLES, 63, luxurious white hair ( it's a wig ) and a flowing snowy beard ; Postmaster General WILLIAM DENNISON, 50 ; Secretary of the Interior JOHN USHER, 49 ; Secretary of the Treasury WILLIAM FESSENDEN, 59 ; and Attorney General JAMES SPEED, 53. Nicolay and Hay are in chairs behind Lincoln, taking notes. LINCOLN -LRB- TO STANTON : -RRB- Thunder forth, God of War! Stanton clears his throat. He's noticed the singed edge. STANTON We'll commence our assault on Wilmington from the sea. -LRB- PEEVED : -RRB- Why is this burnt? Was the boy playing with it? LINCOLN It got took by a breeze several nights back. STANTON This is an official War Department map! SEWARD And the entire cabinet's waiting to hear what it portends. WELLES A bombardment. From the largest fleet the Navy has ever assembled. LINCOLN -LRB- TO WELLES : -RRB- Old Neptune! Shake thy hoary locks! Welles stands. WELLES Fifty-eight ships are underway, of every tonnage and firing range. Welles gestures on the map to the positions of many ships. STANTON We'll keep up a steady barrage. Our first target is Fort Fisher. It defends Wilmington Port. Stanton indicates the lines tracing artillery trajectories. These converge particularly heavily on Fort Fisher. JAMES SPEED A steady barrage? STANTON A hundred shells a minute. There's a moment of shocked silence. STANTON -LRB- CONT'D -RRB- Till they surrender. WILLIAM FESSENDEN Dear God. WELLES Yes. Yes. LINCOLN Wilmington's their last open seaport. Therefore... STANTON Wilmington falls, Richmond falls after. SEWARD And the war... is done. The rest of the cabinet applauds, foot stomping, table slapping. Only John Usher does n't join in. JOHN USHER Then why, if I may ask are we not concentrating the nation's attention on Wilmington? Why, instead, are we reading in the HERALD - -LRB- he smacks a newspaper on THE TABLE -RRB- - that the anti-slavery amendment is being precipitated onto the House floor for debate - because your eagerness, in what seems an unwarranted intrusion of the Executive into Legislative prerogatives, is compelling it to it's... to what's likely to be its premature demise? You signed the Emancipation Proclamation, you've done all that can be expected - JAMES SPEED The Emancipation Proclamation's merely a war measure. After the war the courts'll make a meal of it. JOHN USHER When Edward Bates was Attorney General, he felt confident in it enough to allow you to sign - JAMES SPEED -LRB- A SHRUG : -RRB- Different lawyers, different opinions. It frees slaves as a military exigent, not in any other - LINCOLN I do n't recall Bates being any too certain about the legality of my Proclamation, just it was n't downright criminal. Somewhere's in between. Back when I rode the legal circuit in Illinois I defended a woman from Metamora named Melissa Goings, 77 years old, they said she murdered her husband ; he was 83. He was choking her ; and, uh, she grabbed ahold of a stick of fire- wood and fractured his skull, ` n he died. In his will he wrote `` I expect she has killed me. If I get over it, I will have revenge.'' This gets a laugh. LINCOLN -LRB- CONT'D -RRB- No one was keen to see her convicted, he was that kind of husband. I asked the prosecuting attorney if I might have a short conference with my client. And she and I went into a room in the courthouse, but I alone emerged. The window in the room was found to be wide open. It was believed the old lady may have climbed out of it. I told the bailiff right before I left her in the room she asked me where she could get a good drink of water, and I told her Tennessee. Mrs. Goings was seen no more in Metamora. Enough justice had been done ; they even forgave the bondsman her bail. JOHN USHER I'm afraid I do n't - LINCOLN I decided that the Constitution gives me war powers, but no one knows just exactly what those powers are. Some say they do n't exist. I do n't know. I decided I needed them to exist to uphold my oath to protect the Constitution, which I decided meant that I could take the rebels' slaves from ` em as property confiscated in war. That might recommend to suspicion that I agree with the rebs that their slaves are property in the first place. Of course I do n't, never have, I'm glad to see any man free, and if calling a man property, or war contraband, does the trick... Why I caught at the opportunity. Now here's where it gets truly slippery. I use the law allowing for the seizure of property in a war knowing it applies only to the property of governments and citizens of belligerent nations. But the South ai n't a nation, that's why I ca n't negotiate with'em. So if in fact the Negroes are property according to law, have I the right to take the rebels' property from ` em, if I insist they're rebels only, and not citizens of a belligerent country? And slipperier still : I maintain it ai n't our actual Southern states in rebellion, but only the rebels living in those states, the laws of which states remain in force. The laws of which states remain in force. That means, that since it's states' laws that determine whether Negroes can be sold as slaves, as property - the Federal government does n't have a say in that, least not yet - -LRB- a glance at Seward, THEN : -RRB- - then Negroes in those states are slaves, hence property, hence my war powers allow me to confiscate ` em as such. So I confiscated ` em. But if I'm a respecter of states' laws, how then can I legally free ` em with my Proclamation, as I done, unless I'm cancelling states' laws? I felt the war demanded it ; my oath demanded it ; I felt right with myself ; and I hoped it was legal to do it, I'm hoping still. He looks around the table. Everyone's listening. LINCOLN -LRB- CONT'D -RRB- Two years ago I proclaimed these people emancipated - `` then, thenceforward and forever free.'' But let's say the courts decide I had no authority to do it. They might well decide that. Say there's no amendment abolishing slavery. Say it's after the war, and I can no longer use my war powers to just ignore the courts' decisions, like I sometimes felt I had to do. Might those people I freed be ordered back into slavery? That's why I'd like to get the Thirteenth Amendment through the House, and on its way to ratification by the states, wrap the whole slavery thing up, forever and aye. As soon as I'm able. Now. End of this month. And I'd like you to stand behind me. Like my cabinet's most always done. A moment's silence, broken by a sharp laugh from Seward. LINCOLN -LRB- CONT'D -RRB- As the preacher said, I could write shorter sermons but once I start I get too lazy to stop. JOHN USHER It seems to me, sir, you're describing precisely the sort of dictator the Democrats have been howling about. JAMES SPEED Dictators are n't susceptible to law. JOHN USHER Neither is he! He just said as much! Ignoring the courts? Twisting meanings? What reins him in from, from... LINCOLN Well, the people do that, I suppose. I signed the Emancipation Proclamation a year and half before my second election. I felt I was within my power to do it ; however I also felt that I might be wrong about that ; I knew the people would tell me. I gave ` em a year and half to think about it. And they re- elected me. -LRB- BEAT -RRB- And come February the first, I intend to sign the Thirteenth Amendment.", "INT. LINCOLN'S OFFICE, WHITE HOUSE - EARLY AFTERNOON Nicolay opens the door to the crowded outer office to admit perpetually worried JAMES ASHLEY, 42, ( R, OH ). Tad eyes him from a chair by the window. Lincoln enters the room with Seward. LINCOLN Well, Mr. Representative Ashley! Tell us the news from the Hill. Lincoln shakes his hand and warmly claps the discombobulated but flattered representative on the shoulder. JAMES ASHLEY Well! Ah! News - LINCOLN Why for instance is this thus, and what is the reason for this thusness? JAMES ASHLEY I... SEWARD James, we want you to bring the anti-slavery amendment to the floor for debate - JAMES ASHLEY Excuse me. What? SEWARD - immediately, and - You are the amendment's manager, are you not? JAMES ASHLEY I am, of course - But - Immediately? SEWARD And we're counting on robust radical support, so tell Mr. Stevens we expect him to put his back into it, it's not going to be easy, but we trust - JAMES ASHLEY It's impossible. No, I am sorry, no, we ca n't organize anything immediately in the House. I have been canvassing the Democrats since the election, in case any of them softened after they got walloped. But they have stiffened if anything, Mr. Secretary. There are n't nearly enough votes - LINCOLN We're charlesrs, Mr. Ashley! JAMES ASHLEY Whalers? As in, um, whales? Lincoln moves in, standing very close to Ashley. LINCOLN We've been chasing this whale for a long time. We've finally placed a harpoon in the monster's back. It's in, James, it's in! We finish the deed now, we ca n't wait! Or with one flop of his tail he'll smash the boat and send us all to eternity! SEWARD On the 31st of this month. Of this year. Put the amendment up for a vote. Ashley is agog.", "INT. THADDEUS STEVENS'S OFFICE IN THE CAPITOL - EVENING The room's redolent of politics, ideology ( a bust of Robespierre, a print of Tom Paine ), long occupancy and hard work. On the wall opposite a massive desk hangs a faded banner : `` RE-ELECT THADDEUS STEVENS, REPUBLICAN TICKET, 9TH CONGRESSIONAL DISTRICT, LANCASTER PENNSYLVANIA''. At the desk sits THADDEUS STEVENS ( R, PA ), 73, bald under a horrible red wig, a gaunt, powerful face resembling Lincoln's, though beardless and bitter. In the office are Ashley, Speaker of the House SCHUYLER COLFAX ( R, IN ), formidable Senator BLUFF WADE ( R, MA ), who's never smiled, and ASA VINTNER LITTON ( R, MD ). BLUFF WADE Whalers? JAMES ASHLEY That's what he said. BLUFF WADE The man's never been near a whale ship in his life! -LRB- TO STEVENS : -RRB- Withdraw radical support, force him to abandon this scheme, whatever he's up to - He drags his feet about everything, Lincoln ; why this urgency? We got it through the Senate without difficulty because we had the numbers. Come December you'll have the same in the House. The amendment'll be the easy work of ten minutes. ASA VINTNER LITTON He's using the threat of the amendment to frighten the rebels into an immediate surrender. SCHUYLER COLFAX I imagine we'd rejoice to see that. ASA VINTNER LITTON Will you rejoice when the Southern states have re-joined the Union, pell-mell, as Lincoln intends them to, and one by one each refuses to ratify the amendment? If we pass it, which we wo n't. -LRB- TO STEVENS : -RRB- Why are we co-operating with, with him? We all know what he's doing and we all know what he'll do. We ca n't offer up abolition's best legal prayer to his games and tricks. BLUFF WADE He's said he'd welcome the South back with all its slaves in chains. JAMES ASHLEY Three years ago he said that! To calm the border states when we were- THADDEUS STEVENS I do n't. This confuses the room. Stevens turns to Vintner Litton. THADDEUS STEVENS -LRB- CONT'D -RRB- You said `` we all know what he'll do.'' I do n't know. ASA VINTNER LITTON You know he is n't to be trusted. THADDEUS STEVENS Trust? I'm sorry, I was under the misapprehension your chosen profession was politics. I've never trusted the President. I never trust anyone. But... Has n't he surprised you? ASA VINTNER LITTON No, Mr. Stevens, he has n't. THADDEUS STEVENS Nothing surprises you, Asa, therefore nothing about you is surprising. Perhaps that is why your constituents did not re-elect you to the coming term. -LRB- collecting his cane and STANDING : -RRB- It's late, I'm old, I'm going home. Stevens limps to the door, opens it, and turns. THADDEUS STEVENS -LRB- CONT'D -RRB- Lincoln the inveterate dawdler, Lincoln the Southerner, Lincoln the capitulating compromiser, our adversary - and leader of the godforsaken Republican Party, our party - Abraham Lincoln has asked us to work with him to accomplish the death of slavery in America. -LRB- BEAT : -RRB- Retain, even in opposition, your capacity for astonishment. Stevens leaves, shutting the door. They watch him go, Ashley excited, Litton unmoved, insulted, skeptical.", "INT. PRIVATE DINING ROOM, OLD TAVERN IN WASHINGTON DC - NIGHT In a cramped private alcove, a low, sagging timber ceiling, sooty walls, sawdusted floor, ancient curtain closing it off, Seward sits at a small table with ROBERT LATHAM, an Albany NY political operative, RICHARD SCHELL, a Wall Street speculator, and W.N. BILBO, a Tennessee lawyer and lobbyist. A chandelier with candles drips wax on them. On the table, a leather folio lies open : prospectuses for jobs in the administration. Latham and Schell study these. Bilbo is studying Seward. SEWARD The President is never to be mentioned. Nor I. You're paid for your discretion. W.N. BILBO Hell, you can have that for nothin', what we need money for is bribes. It'd speed things up. SEWARD No. Nothing strictly illegal. ROBERT LATHAM It's not illegal to bribe Congressmen. They starve otherwise. RICHARD SCHELL I have explained to Mr. Bilbo and Mr. Latham that we're offering patronage jobs to the Dems who vote yes. Jobs and nothing more. SEWARD That's correct. W.N. BILBO Congressmen come cheap! Few thousand bucks'll buy you all you need. SEWARD The President would be unhappy to hear you did that. W.N. BILBO Well, will he be unhappy if we lose? A WAITRESS brings in a platter of roasted crabs, which she slams down on the table, and leaves. SEWARD The money I managed to raise for this endeavor is only for your fees, food, and lodgings. W.N. BILBO Uh huh. If that squirrel-infested attic you've quartered us in's any measure, you ai n't raised much. RICHARD SCHELL Shall we get to work? Bilbo takes a mallet to a crab, smashing it!", "INT. FLOOR OF THE HOUSE OF REPRESENTATIVES - DAY A gavel slams down on a sounding block in an attempt to silence the raucous tumult in the large chamber. It subsides enough for Colfax to be heard from his chair atop the central DAIS : SCHUYLER COLFAX The House recognizes Fernando Wood, the honorable representative from New York. TITLE : THE HOUSE DEBATE BEGINS JANUARY 9 Floor and balcony are full, although the desks of representatives from seceded states are bare and unoccupied. On the Democratic side, 81 members applaud FERNANDO WOOD ( D, NY ) as he takes the podium. The Democratic leadership, including GEORGE YEAMAN ( KY ), has gathered around House minority leader GEORGE PENDLETON ( OH ). On the Republican side of the aisle, enraged booing from the 102 Republicans, including HIRAM PRICE ( IA ), GEORGE JULIAN ( IN ), Vintner Litton and Ashley, all gathered around Stevens's desk. FERNANDO WOOD Estimable colleagues. Two bloody years ago this month, his Highness, King Abraham Africanus the First - our Great Usurping Caesar, violator of habeas corpus and freedom of the press, abuser of states' rights - HIRAM PRICE If Lincoln really were a tyrant, Mr. Wood, he'd' a your empty head impaled on a pike, and the country better for it! FERNANDO WOOD ( loud ) : - radical republican autocrat ruling by fiat and martial law affixed his name to his on a heinous and illicit Emancipation Proclamation promising it would hasten the end of the war, which yet rages on and on. Murmuring from the floor and the balcony, in the front row of which Mary and Elizabeth Keckley sit. Mary turns her gaze from the floor to watch Latham and Schell, a few seats away, scrutinize the floor, whispering, Latham taking notes. Schell holds the leather prospectus folio in his lap. Bilbo sits behind them. They study the other NY Democrats - CHARLES HANSON, NELSON MERRICK, HENRY LANFORD, HOMER BENSON, GILES STUART - who comprise a cluster of glum uncomfortable passivity on that side of the aisle. FERNANDO WOOD -LRB- CONT'D -RRB- He claimed, as tyrants do, that the war's emergencies permitted him to turn our army into the unwilling instrument of his monarchical AMBITIONS - ROBERT LATHAM ( whispering to Schell : ) The New York delegation's looking decidedly uninspired. Wood points at Stevens, granite-faced. Stevens's eyes burn back at Wood. FERNANDO WOOD -LRB- CONT'D -RRB- - and radical Republicanism's abolitionist fanaticism! This prompts shouts and boos from the Republicans. FERNANDO WOOD -LRB- CONT'D -RRB- His Emancipation Proclamation has obliterated millions of dollars' worth of personal property rights - Schell examines the Pennsylvania Democrats : an openly appalled ARCHIBALD MORAN, AMBROSE BAILER, and, chewing his thumb, a painful fake grin pinned to his face, ALEXANDER COFFROTH. Schell leans in to Latham. FERNANDO WOOD -LRB- CONT'D -RRB- - and `` liberated'' the hundreds of thousands of hopelessly indolent Negro refugees, RICHARD SCHELL Over in Pennsylvania - who's the sweaty man eating his thumb? ROBERT LATHAM Unknown to me. Seems jumpy RICHARD SCHELL Perhaps he'll jump. FERNANDO WOOD -LRB- CONT'D -RRB- bred by nature for servility, to settle in squalor in our Northern.. cities! Cheering and booing. In the Connecticut delegation, JOHN ELLIS winds his pocket watch, looking contemptuously at Wood. Schell makes a note. FERNANDO WOOD -LRB- CONT'D -RRB- But all that was not enough for this dictator, who now liberty W.N. BILBO Jesus, when's this son-of- sonofabitch gon na sit down? FERNANDO WOOD -LRB- CONT'D -RRB- seeks to insinuate his miscegenist pollution into the Constitution itself! RICHARD SCHELL John Ellis is going to break his watch if he does n't stop - FERNANDO WOOD -LRB- CONT'D -RRB- We are once again asked - nay, commanded - to consider a proposed thirteenth amendment which, if passed, shall set at immediate liberty four million coloreds while manacling the limbs of the white race in America. If it is passed - but it shall not pass! Wild cheering and booing. ROBERT LATHAM What's more interesting is how dismal and disgruntled Mr. Yeaman appears. FERNANDO WOOD -LRB- CONT'D -RRB- Every member of the House loyal to the Democratic Party and the constituents it ROBERT LATHAM He should be cheering right now, but... FERNANDO WOOD -LRB- CONT'D -RRB- serves shall oppose- W.N. BILBO Looks like he ate a bad oyster. Thaddeus Stevens calls out from his desk. THADDEUS STEVENS A point of order, Mr. Speaker, if you please? When will Mr. Wood - FERNANDO WOOD Mr. Speaker, I still have the floor and the gentleman from Pennsylvania is out of order! THADDEUS STEVENS - when will Mr. Wood conclude his interminable gabble? Some of us breathe oxygen, and we find the mephitic fumes of his oratory a lethal challenge to our pleural capacities. Wild cheering, applause from the Republicans. FERNANDO WOOD We shall oppose this amendment, and any legislation that so affronts natural law, insulting to God as to man! Congress must never declare equal those whom God created unequal! The Democrats cheer. Mary watches with concern. Mrs. Keckley is angry and uncomfortable. THADDEUS STEVENS Slavery is the only insult to natural law, you fatuous nincompoop! GEORGE PENDLETON Order! Procedure! Mr. Speaker, Mr. Wood has the floor!  -LRB- TO STEVENS : -RRB- Instruct us, Oh Great Commoner, what is unnatural, in your opinion? Niggrahs casting ballots? Niggrah representatives? Is that natural, Stevens? Intermarriage? THADDEUS STEVENS What violates natural law? Slavery, and you, Pendleton, you insult God, you unnatural noise. An avalanche of boos and cheers as Democrats surge towards Wood, Republicans towards Stevens. Ashley rushes to Colfax, CALLING : JAMES ASHLEY Mr. Colfax! Please, use your gavel! They are - -LRB- to the Democrats : -RRB- You are out of order! -LRB- TO COLFAX : -RRB- Direct the sergeant of arms to suppress this! -LRB- back to the Democrats : -RRB- We are in session!", "INT. SECOND FLOOR CORRIDOR OF THE WHITE HOUSE - MORNING The corridor as usual is lined with petitioners. They've lined up along both sides of the wall and are hooting, laughing, clapping and cheering, egging on Tad as, with furious concentration, he drives a cart pulled at considerable speed by a large and seriously annoyed goat down the hall. White House doorkeeper and unofficial child-minder TOM PENDEL follows, admonishing the petitioners as he goes. TOM PENDEL Please do n't encourage this! Do n't encourage this! ROBERT LINCOLN, 21, enters from the stairs carrying several pieces of large and heavy luggage. Tad sees him, jumps out of the goat cart, runs up to and tackles Robert, causing him to drop his luggage. They embrace as Pendel captures the goat and leads it away. TAD You're back you're back you're back you're back you're - ROBERT -LRB- LAUGHING -RRB- I am. Your goat got big. Robert disentangles himself from Tad and hands him a suitcase. ROBERT -LRB- CONT'D -RRB- Here, help me get one of these to my room. -LRB- a nervous glance at the door to Mary's bedroom SUITE : -RRB- Is she in there? As Robert hoists the rest of the luggage himself, Tad chatters and A PETITIONER comes forward. He grabs the trunk as Robert's lifting it. TAD She's asleep, probably, they went to see Avonia Jones last night in a play about PETITIONER You need help, sir? I can... ROBERT No, sir, I do n't. No. TAD Israelites. Daddy's meeting with a famous scientist now and he's nervous because of how smart the man is and the PETITIONER Could you bring your pa this letter I writ about my insolvency proceedings? TAD man is angry about, ` cause there's a new book that Sam Beckwith says is about finches, and finches' beaks, ROBERT Let it go please, thank you. You deliver your own goddamned petition, thank you... TAD about how they change, it takes years and years and years but - PETITIONER Please, please. Robert wrestles the trunk out of the man's grasp just as Mary enters the hall and sees him. MARY He's here... -LRB- calling down the hall : -RRB- He's here, Mrs. Cuthbert! He's here! -LRB- TO ROBERT : -RRB- Robbie... Oh Robbie! Robbie! ROBERT -LRB- EMBRACING HER : -RRB- Hi, mama. Hey. Hey... MARY -LRB- CONT'D -RRB- -LRB- OVERJOYED -RRB- Oh! She instantly eyes Robert's amount of luggage with suspicion. MARY -LRB- CONT'D -RRB- You're only staying a few days. Why'd you pack all of that? TAD - but what's made everyone really cross with the man, the man who wrote the finch book, is he says people are cousins to monkeys, but he ROBERT Well, I do n't know how long was going to say - I'M - MARY -LRB- CONT'D -RRB- -LRB- TO TAD : -RRB- Go tell your father Robert's home! TAD Mr. Nicolay says daddy's secluded with Mr. Blair. MARY Tell him anyway. Tad drops the suitcase and runs to the office. Mary strokes Robert's face, looking concerned. MARY -LRB- CONT'D -RRB- You forget to eat, exactly like him. ROBERT -LRB- LAUGHS -RRB- No... MARY You'll linger a few days extra, after the reception, before you go back to school. ROBERT Well, I do n't know if I'm gon na go back to - She stops him with an alarmed look. MARY We'll fatten you up before you return to Boston. ROBERT All right, mama. MARY All right. -LRB- beaming at him, ADORINGLY : -RRB- Oh Robbie...", "INT. LINCOLN'S OFFICE, WHITE HOUSE - MORNING Preston Blair, still in his traveling cloak, and Lincoln stand near the fireplace facing one another. PRESTON BLAIR Jefferson Davis is sending three delegates : Stephens, Hunter and Campbell : Vice President of the Confederacy, their former Secretary of State, and their Assistant Secretary of War. They're coming in earnest to propose peace. Both men look into the fire. Preston moves closer. PRESTON BLAIR -LRB- CONT'D -RRB- I know this is unwelcome news for you. Now hear me : I went to Richmond to talk to traitors, to smile at and plead with traitors, because it'll be spring in two months, the roads'll be passable, the Spring slaughter commences. Four bloody Springs now! Think of my Frank, who you've taken to your heart, how you'll blame yourself if the war takes my son as it's taken multitudes of sons. Think of all the boys who'll die if you do n't make peace. You must talk with these men! LINCOLN I intend to, Preston. And in return, I must ask you - PRESTON BLAIR No, this is not horsetrading, this is life and - THE - LINCOLN - to support our push for the amendment when it reaches There's a knock on the door. LINCOLN -LRB- CONT'D -RRB- Not now! Robert enters. Nicolay stands behind him, apologetic. LINCOLN -LRB- CONT'D -RRB- Oh. Bob. I'm sorry. Welcome home. He shakes hands with his son, stiffly. ROBERT Thank you. LINCOLN -LRB- to Robert : -RRB- -LRB- pointedly : -RRB- I'm talking to Preston Blair, ROBERT we - PRESTON BLAIR You're looking fit, Robert. Harvard agrees with you. ROBERT Mr. Blair. PRESTON BLAIR Fit and rested. LINCOLN -LRB- dismissing Robert, UNINTENTIONALLY ABRUPT -RRB- Just give us a moment please, Robert. Thank you. He turns to Preston. Robert, stung, hesitates, then leaves the room, Nicolay shutting the door behind him. PRESTON BLAIR I will procure your votes for you, as I promised. You've always kept your word to me. Those Southern men are coming. -LRB- taking Lincoln's hand -RRB- I beg you, in the name of Gentle CHRIST - PRESTON BLAIR -LRB- CONT'D -RRB- Talk peace with these men. LINCOLN Preston, I understand... LINCOLN -LRB- CONT'D -RRB- -LRB- SHARPLY -RRB- I understand, Preston.", "EXT. ON THE MALL - AFTERNOON JACOB GRAYLOR ( D, PA ) and Bilbo walk outside the Capitol. Graylor looks over the prospectuses. ROBERT LATHAM -LRB- V.O. -RRB- We have one abstention so far - RICHARD SCHELL -LRB- V.O. -RRB- Jacob Graylor - Graylor selects one and hands it to Bilbo. RICHARD SCHELL -LRB- V.O. -RRB- He'd like to be Federal Revenue Assessor for the Fifth District of Pennsylvania.", "INT. A BEDROOM IN THE ST. CHARLES HOTEL - NIGHT A small room, two beds, in disarray : newspapers, overflowing ashtrays, whiskey bottles empty on the floor. Latham and Schell stand at a table strewn with the remnants of a poker game. Bilbo lies on one of the beds. All three are in their shirtsleeves. Seward is at the table. ROBERT LATHAM - so the total of representatives voting three weeks from today is reduced to 182, which means 122 yes votes to reach the requisite two- thirds of the House. Assuming all Republicans vote for the amendment...? Seward nods, less assertively than Latham would like. ROBERT LATHAM -LRB- CONT'D -RRB- Then, despite our abstention, to reach a two-thirds majority we remain 20 yeses short.", "INT. THE OLD TAVERN, WASHINGTON - NIGHT Bilbo is drinking schooners of beer with EDWIN LECLERK ( D, OH ) and CLAY HAWKINS ( D, OH ). Hawkins listens as Bilbo gives his pitch. LeClerk looks at the prospectuses. ROBERT LATHAM -LRB- V.O. -RRB- For which we're seeking from among 64 lame duck Democrats. Fully 39 of these we deem unredeemable no votes. LeClerk throws his beer in Bilbo's face, soaking Bilbo and the prospectuses. Hawkins looks shocked. LeClerk storms out.", "INT. THE ROOM IN THE ST. CHARLES HOTEL - NIGHT W.N. BILBO The kind that hates niggers, hates God for making niggers. ROBERT LATHAM The Good Lord on High would despair of their occupied. SEWARD -LRB- DISTASTEFULLY : -RRB- Thank you for that pithy explanation, Mr. Bilbo. RICHARD SCHELL We've abandoned these 39 to the Devil that possesses them.", "EXT. A WORKING CLASS NEIGHBORHOOD IN WASHINGTON - DAY Schell stands at the door of a small, grubby row house. He presents the folio, warped from its beer bath, to WILLIAM HUTTON ( D, IN ), eyes red from crying, dressed in mourning black. Hutton slams the door in Schell's face. A funeral wreath that adorns the door falls to the ground. A daguerreotype attached to the wreath depicts a young officer, Hutton's brother Frederick.", "INT. THE ROOM IN THE ST. CHARLES HOTEL - NIGHT RICHARD SCHELL The remaining lame ducks, on whom we've been working with a purpose - Schell hands Latham a stack of folded prospectuses, each with a name scrawled on it. ROBERT LATHAM Charles Hanson.", "EXT. IN FRONT OF THE CAPITOL - TWILIGHT Representatives Merrick, Lanford, Benson, Stuart and Hanson, the New York lame ducks, descend the stairs, discussing the opening of the amendment debate, to which they've just been listening. Latham smoothly holds Hanson back from the group, extending a hand, the still pristine portfolio under his arm. He smiles as the other NY lame ducks proceed down the stairs, unaware, then nods his head back up toward the Capitol steps, where Bilbo and Schell wait. Latham opens the folio as he talks to Hanson.", "INT. THE ROOM IN THE ST. CHARLES HOTEL - NIGHT ROBERT LATHAM Giles Stuart.", "INT. THE TREASURY DEPARTMENT - DAY In the grand lobby there are Federal bank windows. Schell is in line at one of these behind Giles Stuart, who completes a transaction and leaves, counting money. Bilbo, barrelling the other way, intentionally slams into Stuart, causing him to drop his money. Bilbo and Schell both kneel to help. Schell places the open folio in Stuart's hands. As the men pile his recovered money into the folio, Stuart's puzzled, then intrigued. Schell gives him a meaningful look. CLOSE ON A SMALL WOODEN FILE BOX A folded prospectus, now with the name `` Stuart'' scrawled on it, is added to a growing file.", "INT. THE US PATENT OFFICE, WASHINGTON - DAY Visitors file past cabinets containing animal and plant specimens and inventions ; the line circles around a large case in which an amputated leg capped with a brass plate is displayed. A sign identifies it : LEFT LEG OF GENERAL DANIEL SICKLES, AT GETTYSBURG, JULY 5, 1863. ROBERT LATHAM -LRB- V.O. -RRB- Nelson Merrick. Latham looks through the case at Schell, who's next to Nelson Merrick, who nods, solemnly staring at the leg. Schell proffers Merrick the folio. Merrick flips through the folio. ROBERT LATHAM -LRB- V.O. -RRB- Homer Benson.", "INT. A WORKINGMENS' LUNCHROOM, WASHINGTON - DAY A hall packed with working men, soaped-up windows. A GYPSY FIDDLER saws away. Homer Benson, incongruous in a suit, slurps. As he lifts his spoon to his mouth, the folio is placed in front of him. He looks over, puzzled, as Schell smiles and extends a hand. Benson takes the folio. Schell slides his chair closer.", "INT. THE ROOM IN THE ST. CHARLES HOTEL - NIGHT Another prospectus joins the pile : `` Benson'' ROBERT LATHAM And lastly... Bilbo retrieves a paper from the floor and hands it to Seward. W.N. BILBO Clay Hawkins. Of Ohio.", "EXT. A WOODS ALONG THE POTOMAC RIVER - MORNING Bilbo walks with Clay Hawkins, who peruses the folio. Bilbo has a small covered wicker basket slung over his shoulder. Hawkins follows, happy and sick with fear. CLAY HAWKINS T-tax collector for the Western Reserve. Th-th-that pays handsomely. W.N. BILBO Do n't just reach for the highest branches. They sway in every breeze. Assistant Port Inspector of Marlston looks like the ticket to me. CLAY HAWKINS Uh, boats, they, they make me sick. Bilbo retrieves a snare ; a small bird is trapped by the foot. Bilbo stuffs the bird in the basket. CLAY HAWKINS -LRB- CONT'D -RRB- So just stand on the dock. Let the Assistant Assistant Port Inspector's stomach go weak. Bilbo eyes Hawkins, who anxiously eyes the folio.", "INT. LINCOLN'S OFFICE, WHITE HOUSE - EARLY EVENING Seward hands the last prospectus to Nicolay, who unfolds it, places it on top of the other prospectuses, and records details about Hawkins's appointment in a notebook. Seward smokes a cigar, Nicolay a pipe. Lincoln sits, feet up, examining a newspaper. SEWARD And lastly, Democratic yes vote number six. Hawkins from Ohio. LINCOLN Six. SEWARD Well, thus far. Plus Graylor's abstention. From tiny acorns and so on. LINCOLN What'd Hawkins get? JOHN NICOLAY -LRB- STILL WRITING : -RRB- Postmaster of the Millersburg Post Office. LINCOLN He's selling himself cheap, ai n't he? SEWARD He wanted tax collector of the Western Reserve - a first-term congressman who could n't manage re- election, I felt it unseemly and they bargained him down to Postmaster. -LRB- TO NICOLAY : -RRB- Scatter ` em over several rounds of appointments, so no one notices. And burn this ledger, please, after you're done. Lincoln stands. LINCOLN -LRB- TO NICOLAY : -RRB- Time for my public opinion bath. Might as well let ` em in. Nicolay helps Lincoln trade his shawl for his overcoat in preparation to meet the public. LINCOLN -LRB- CONT'D -RRB- Seven yeses with Mr. Ellis! Thirteen to go! SEWARD One last item, an absurdity, but - My associates report that among the Representatives a fantastical rumor's bruited about, which I immediately disavowed, that you'd allowed bleary old Preston Blair to sojourn to Richmond to invite Jeff Davis to send commissioners up to Washington with a peace plan. Lincoln is silent. A horrifying reality dawns for Seward : SEWARD -LRB- CONT'D -RRB- I, of course, told them you would never... Not without consulting me, you would n't... Because why on earth would you?", "EXT. IN AN OPEN FIELD NEAR PETERSBURG, VIRGINIA - EVENING THREE UNION CAVALRY OFFICERS consult with THREE CONFEDERATE CAVALRY OFFICERS, all mounted. The officers exchange documents and salutes. TITLE : NO MAN'S LAND OUTSIDE PETERSBURG, VIRGINIA JANUARY 11 The ranking Confederate trots to a buggy in which three Confederate officials sit : Vice President ALEXANDER STEPHENS, 53, short ; JOHN A. CAMPBELL, Assistant Secretary of War, 54 ; and Senator R.M.T. HUNTER, 56. They're well-dressed for winter, Stephens especially heavily bundled. Stephens, Campbell and the indignant Hunter leave the buggy and are escorted by Confederate officers to the waiting company of Union cavalry and infantry. A Union Army ambulance, a large American flag painted on one side, driven by TWO BLACK SOLDIERS, stands near broken wagons and a derelict cannon. ANOTHER BLACK SOLDIER stands at attention by the ambulance's rear door. The soldier, staring coldly at these men, gestures brusquely to the ambulance. The Confederate peace commissioners hesitate ; Hunter stares in horror at the black soldiers. Then Stephens pushes past Hunter. He nods to the soldier. ALEXANDER STEPHENS -LRB- with polite dignity : -RRB- Much obliged. He boards the ambulance. His fellow delegates follow in his wake, Hunter glaring with defiant hatred at the soldiers before climbing in.", "INT. LINCOLN'S OFFICE, WHITE HOUSE - EARLY EVENING Seward stands, stunned. Lincoln sits at the cabinet table. Nicolay is gone. SEWARD Why was n't I consulted?! I'm Secretary of State! You, you, you informally send a reactionary dottard, to - What will happen, do you imagine, when these peace commissioners arrive? LINCOLN We'll hear ` em out. SEWARD Oh, splendid! And next the Democrats will invite ` em up to hearings on the Hill, and the newspapers - well, the newspapers - the newspapers will ask `` why risk enraging the Confederacy over the issue of slavery when they're here to make peace?'' We'll lose every Democrat we've got, more than likely conservative Republicans will join ` em, and all our work, all our preparing the ground for the vote, laid waste, for naught. LINCOLN The Blairs have promised support for the amendment if we listen to these people - SEWARD Oh, the Blairs promise, do they? You think they'll keep their promise once we have heard these delegates and refused them? Which we will have to do, since their proposal most certainly will be predicated on keeping their slaves! LINCOLN What hope for any Democratic votes, Willum, if word gets out that I've refused a chance to end the war? You think word wo n't get out? In Washington? SEWARD It's either the amendment or this Confederate peace, you can not have both. LINCOLN `` If you can look into the seeds of time, And say which grain will grow and which will not, Speak then to me...'' SEWARD Oh, disaster. This is a disaster! LINCOLN Time is a great thickener of things, Willum. SEWARD Yes, I suppose it is - Actually I have no idea what you mean by that. Lincoln stands. LINCOLN Get me thirteen votes. -LRB- in a thick Kentucky ACCENT : -RRB- Them fellers from Richmond ai n't here yit.", "INT. INSIDE THE AMBULANCE WAGON - DAY The ambulance has come to a stop. The rear door opens and the soldiers immediately hop out. The commissioners squint, blinded, into the dazzling sunlight, at the River Queen, Grant's side-wheel steamer, docked on the banks of the James River. TITLE : US ARMY HEADQUARTERS CITY POINT, VIRGINIA JANUARY 12", "INT. LINCOLN'S BEDROOM, SECOND FLOOR OF THE WHITE HOUSE - LATE AFTERNOON Tad, in fancy military uniform, sits on the bed, Gardener's box of glass negatives open beside him. He holds up a plate to a lamp : An old black man with a thick beard and hair, shirtless. Tad looks at another plate : A young black woman, headscarf, huge ugly scar across her cheek and down her neck. He studies these with solemn concentration. ROBERT -LRB- O.C. -RRB- You drafted half the men in Boston! What do you think their families think about me? Lincoln is being dressed in formal wear by his valet, WILLIAM SLADE, a light-skinned black man in his 40s. Robert, already in his morning suit, is standing by the door. ROBERT -LRB- CONT'D -RRB- The only reason they do n't throw things and spit on me is ` cause you're so popular. I ca n't concentrate on, on British mercantile law, I do n't care about British mercantile law. I might not even want to be a lawyer - LINCOLN It's a sturdy profession, and a useful one. ROBERT Yes, and I want to be useful, but now, not afterwards! Slade hands Lincoln his formal gloves. LINCOLN I ai n't wearing them things, Mr. Slade, they never fit right. WILLIAM SLADE The missus will have you wear ` em. Do n't think about leaving ` em. ROBERT You're delaying, that's your favorite tactic. You wo n't tell me no, - WILLIAM SLADE -LRB- to Robert : -RRB- Be useful and stop distracting him. ROBERT but the war will be over in a month, and you know it will! LINCOLN -LRB- TO ROBERT : -RRB- I've found that prophesying is one of life's less prophet-able occupations! He accepts the gloves. Slade laughs a little, Robert scowls. Tad holds another glass negative up to the light. TAD Why do some slaves cost more than others? ROBERT If they're still young and healthy, if the women can still conceive, they'll pay more - LINCOLN Put ` em back in the box. We'll return them to Mr. Gardner's studio day after next. Be careful with ` em, now. -LRB- tugging at his gloves : -RRB- These things should've stayed on the calf. TAD -LRB- to Slade, putting the PLATES AWAY : -RRB- When you were a slave, Mr. Slade, did they beat you? WILLIAM SLADE I was born a free man. Nobody beat me except I beat them right back. There's a knock on the door and Mrs. Keckley enters. ELIZABETH KECKLEY Mr. Lincoln, could you come with me- WILLIAM SLADE -LRB- TO TAD : -RRB- Mrs. Keckley was a slave. Ask her if she was occupied. TAD Were you - LINCOLN ( shakes his head ) Tad. ELIZABETH KECKLEY -LRB- TO TAD : -RRB- I was beaten with a fire shovel when I was younger than you. -LRB- TO LINCOLN : -RRB- You should go to Mrs. Lincoln. She's in Willie's room. ROBERT She never goes in there. Lincoln starts towards the door just as John Hay enters, dressed in the uniform of a Brevet Colonel. JOHN HAY The reception line is already stretching out the door. Robert shoots an angry, envious glance at Hay's uniform as Lincoln, Slade, Mrs. Keckley and Hay leave. Robert calls to HIS FATHER : ROBERT I'll be the only man over fifteen and under sixty-five in this whole place not in uniform. TAD I'm under fifteen and I have a uniform. Robert storms out.", "INT. THE PRINCE OF WALES BEDROOM - CONTINUOUS Lincoln enters a dark room, its heavy drapes closed against the dim afternoon light. There are two beds. One is stripped bare. The other is canopied with a thick black veil. Mary, dressed in a deep purple gown with black flowers and beading, perfectly pitched between mourning and emergence, is seated at the head of the canopied bed. On a nightstand next to the bed there's a toy locomotive engine, a tattered book of B & O railroad schedules. Mary holds a framed photograph : an image of WILLIE, 12, handsome, bright-eyed, confident. Lincoln crosses to the window. MARY My head hurts so. -LRB- BEAT -RRB- I prayed for death the night Willie died. The headaches are how I know I did n't get my wish. How to endure the long afternoon and deep into the night. LINCOLN I know. MARY Trying not to think about him. How will I manage? LINCOLN Somehow you will. MARY -LRB- SAD SMILE : -RRB- Somehow. Somehow. Somehow... Every party, every... And now, four years more in this terrible house reproaching us. He was a very sick little boy. We should've cancelled that reception, should n't we? LINCOLN We did n't know how sick he was. MARY I knew, I knew, I saw that night he was dying. LINCOLN Three years ago, the war was going so badly, and we had to put on a face. MARY But I saw Willie was dying. I saw HIM - He bends and kisses her hand. LINCOLN Molly. It's too hard. Too hard. Mary stares up at him, her face heavy and swollen with grief.", "INT. THE EAST ROOM, WHITE HOUSE - LATE AFTERNOON Mary, radiant, her charm turned to its brightest candlepower, is greeting the Blairs, who are part of a long receiving line. The Blairs proceed from Mary to Lincoln. TITLE : GRAND RECEPTION JANUARY 15 The enormous room is splendid, decked with garlands of flowers, tall candelabra burning, flags from Army divisions. An orchestra plays. Lincoln and Tad stand together. Slade is near Lincoln. Mary's a distance away from Lincoln, to his right. Robert takes his place next to his mother, as conspicuous as he'd feared he'd be in his civilian clothes. A sea of people surround the President and his family. Nicolay, Hay and several clerks channel the crowd waiting to greet the Lincolns into the line : wealthy people, many more middle-class people, some working people and farmers, and many officers and soldiers. Tad watches his father shake hands. Lincoln is in his element. He stands close to each person, touches each one gently, stoops to be nearer them ; he puts everyone at ease. He's bothered only by the white kid gloves he's wearing. He tugs at the right-hand glove. WILLIAM SLADE -LRB- with a glance in Mary's -RRB- She's just ten feet yonder. I'd like to keep my job. Lincoln takes off the right-hand glove - his hand-shaking hand - but keeps the other glove on. Approaching Mary on the line, Stevens, Ashley, Senators Bluff Wade and CHARLES SUMNER, all in formal wear except Stevens. MARY Senator Sumner, it has been much too long. CHARLES SUMNER `` Oh, who can look on that celestial face and -'' Cutting him off, she pretends not to recognize Ashley. MARY And...? JAMES ASHLEY -LRB- CONFUSED -RRB- James Ashley, ma'am, we've met several times - But she ignores him and greets Stevens. MARY -LRB- her Southern accent becoming more lustrous : ) Praise Heavens, praise Heavens, just when I had abandoned hope of amusement, it's the Chairman of the House Ways and Means Committee! Stevens bows to her. THADDEUS STEVENS Mrs. Lincoln. MARY Madame President if you please! -LRB- LAUGHS -RRB- Oh, do n't convene another subcommittee to investigate me, sir! I'm teasing! Smile, Senator Wade. BLUFF WADE -LRB- NOT SMILING : -RRB- I believe I am smiling, Mrs. Lincoln. MARY I'll take your word for that, sir! THADDEUS STEVENS As long as your household accounts are in order, Madame, we'll have no need to investigate them. MARY You have always taken such a lively, even prosecutorial interest in my household accounts. THADDEUS STEVENS Your household accounts have always been so interesting. MARY Yes, thank you, it's true, the miracles I have wrought out of fertilizer bills and cutlery invoices. But I had to! Four years ago, when the President and I arrived, this was pure pigsty. Tobacco stains in the turkey carpets. Mushrooms, green as the moon, sprouting from ceilings! And a pauper's pittance allotted for improvements. As if your committee joined with all of Washington awaiting, in what you anticipated would be our comfort in squalor, further proof that my husband and I were prairie primitives, unsuited to the position to which an error of the people, a flaw in the democratic process, had elevated us. Lincoln, suddenly without anyone in line to receive, looks to see the backlog forming behind the radicals. He notes the exchange, but says nothing. Robert sees him looking. MARY -LRB- CONT'D -RRB- The past is the past, it's a new year now and we are all getting along, or so they tell me. I gather we are working together! The White House and the other House? Hatching little plans together? Robert leans in to her. ROBERT Mother? MARY What? ROBERT You're creating a bottleneck. MARY Oh! -LRB- TO STEVENS : -RRB- Oh, I'm detaining you, and more important, the people behind you! How the people love my husband, they flock to see him, by their thousands on public days! They will never love you the way they love him. How difficult it must be for you to know that. And yet how important to remember it. She gives him a slight, lethal smile. He holds the look ; his poker-face yields to a barely perceptible smile, amused and perhaps a little admiring.", "INT. THE WHITE HOUSE KITCHEN - EVENING The kitchen's piled with unwashed cookware, eggshells, flour bins, muffin and pastry molds, spoons and knives, the detritus of the preparations for the finger food served at the reception, which has now transitioned into a dance and is still underway upstairs. Music, the tramp of dancing feet and rhythmic clapping is audible. A BLACK FOOTMAN carrying a huge tray laden with dishes and cups comes down the stairs. He hastily beats a retreat when he sees Lincoln and Thaddeus Stevens quietly talking amid the mess. LINCOLN Since we have the floor next in the debate, I thought I'd suggest you might... temper your contributions so as not to frighten our conservative friends? THADDEUS STEVENS Ashley insists you're ensuring approval by dispensing patronage to otherwise undeserving Democrats. LINCOLN I ca n't ensure a single damn thing if you scare the whole House with talk of land appropriations and revolutionary tribunals and punitive thisses and thats - THADDEUS STEVENS When the war ends, I intend to push for full equality, the Negro vote and much more. Congress shall mandate the seizure of every foot of rebel land and every dollar of their property. We'll use their confiscated wealth to establish hundreds of thousands of free Negro farmers, and at their side soldiers armed to occupy and transform the heritage of traitors. We'll build up a land down there of free men and free women and free children and freedom. The nation needs to know that we have such plans. LINCOLN That's the untempered version of reconstruction. It's not... It's not exactly what I intend, but we shall oppose one another in the course of time. Now we're working together, and I'm asking you - THADDEUS STEVENS For patience, I expect. LINCOLN When the people disagree, bringing them together requires going slow till they're ready to make up - THADDEUS STEVENS Ah, shit on the people and what they want and what they're ready for! I do n't give a goddamn about the people and what they want! This is the face of someone who has fought long and hard for the good of the people without caring much for any of ` em. And I look a lot worse without the wig. The people elected me! To represent them! To lead them! And I lead! You ought to try it! LINCOLN I admire your zeal, Mr. Stevens, and I have tried to profit from the example of it. But if I'd listened to you, I'd've declared every slave free the minute the first shell struck Fort Sumter ; then the border states would've gone over to the confederacy, the war would've been lost and the Union along with it, and instead of abolishing slavery, as we hope to do, in two weeks, we'd be watching helpless as infants as it spread from the American South into South America. Stevens glares at him, then smiles. THADDEUS STEVENS Oh, how you have longed to say that to me. You claim you trust them - but you know what the people are. You know that the inner compass that should direct the soul toward justice has ossified in white men and women, north and south, unto utter uselessness through tolerating the evil of slavery. White people can not bear the thought of sharing this country's infinite abundance with Negroes. Lincoln reaches over to Stevens and gives his shoulder a vigorous shake. Stevens endures this. LINCOLN A compass, I learnt when I was surveying, it'll - it'll point you True North from where you're standing, but it's got no advice about the swamps and deserts and chasms that you'll encounter along the way. If in pursuit of your destination you plunge ahead, heedless of obstacles, and achieve nothing more than to sink in a swamp, what's the use of knowing True North?", "INT. MARY'S BOUDOIR, THE WHITE HOUSE - NIGHT Spectacles on, Lincoln unlaces Mary's corset. LINCOLN Robert's going to plead with us to let him enlist. He's unlaced enough ; she unhooks the front and steps out of her corset and petticoats, turns to him in her plain thin chemise and drawers. MARY Make time to talk to Robbie. You only have time for Tad. LINCOLN Tad's young. MARY So's Robert. Too young for the army. LINCOLN Plenty of boys younger than Robert signing up... MARY Do n't take Robbie. Do n't let me lose my son. There's a knock on the door. Mary turns to it, furious : MARY -LRB- CONT'D -RRB- Go away! We're occupied! Lincoln opens the door. Nicolay's standing there. JOHN NICOLAY Secretary Stanton has sent over to tell you that as of half an hour ago, the shelling of Wilmington harbor has commenced. Lincoln leaves with Nicolay. Mary watches, frozen, unable to let him go, knowing she ca n't stop him.", "INT. THE TELEGRAPH OFFICE, WAR DEPARTMENT - LATE NIGHT The telegraph office looks improvised, even after four years. Formerly the War Department library, it's lined with bookcases stuffed with bundled dispatches. Telegraph cables stretch across the ceiling to the cipher-operators' desks. Stanton, perpetually exhausted and impatient, storms down the stairs with Welles and the chief telegraph operator, MAJOR THOMAS ECKERT, 40, in his wake. STANTON They can not possibly maintain under this kind of an assault. Terry's got ten thousand men surrounding the Goddamned fort! Why does n't he answer my cables? WELLES MAJOR ECKERT Fort Fisher is a mountain of It's the largest fort they a building, Edwin. Twenty-two have, sir. They've been big seacoast guns on each reinforcing it for the last rampart - two years - They reach the desks for the key operators. Among these, SAMUEL BECKWITH, 25, and the key manager, DAVID HOMER BATES, 22, sit at their silent keys, waiting to receive news. Stanton scribbles furiously on Beckwith's small notepad. STANTON -LRB- CONT'D -RRB- They've taken 17,000 shells since yesterday! WELLES STANTON The commander is an old goat. I want to hear that Fort Fisher's ours and Wilmington MAJOR ECKERT has fallen! They said - STANTON -LRB- CONT'D -RRB- Send another damn cable! Stanton thrusts the cable at Beckwith, who taps it out immediately. Stanton turns to a table where the large map of Wilmington from the Cabinet meeting is laid out, heavily scribbled-on. GUSTAVUS FOX, assistant Secretary of the Navy, and CHARLES BENJAMIN, Stanton's clerk, are checking the marks on the map against a stack of dispatches. STANTON -LRB- CONT'D -RRB- The problem's their commander, Whiting. He engineered the fortress himself. The damned thing's his child ; he'll defend it till his every last man is gone. He is not thinking rationally, he's - LINCOLN -LRB- O.C. -RRB- -LRB- hollering! -RRB- `` Come on out, you old rat!'' Everyone's startled, and confused. They all turn to Lincoln, who sits in Major Eckert's chair, wrapped in his shawl. LINCOLN -LRB- CONT'D -RRB- That's what Ethan Allen called to the commander of Fort Ticonderoga in 1776. `` Come on out, you old rat!'' ` Course there were only forty- odd redcoats at Ticonderoga. But, but there is one Ethan Allen story that I'm very partial to - STANTON No! No, you're, you're going to tell a story! I do n't believe that I can bear to listen to another one of your stories right now! Stanton stalks out, shouting down the corridor as he goes : STANTON -LRB- CONT'D -RRB- I need the B & O sideyard schedules for Alexandria! I asked for them this morning! Lincoln pays no attention to Stanton's fulminations and continues with his story. LINCOLN It was right after the Revolution, right after peace had been concluded, and Ethan Allen went to London to help our new country conduct its business with the king. The English sneered at how rough we are, and rude and simple-minded and on like that, everywhere he went, till one day he was invited to the townhouse of a great English lord. Dinner was served, beverages imbibed, time passed, as happens, and Mr. Allen found he needed the privy. He was grateful to be directed thence - relieved you might say. Everyone laughs. LINCOLN -LRB- CONT'D -RRB- Now, Mr. Allen discovered on entering the water closet that the only decoration therein was a portrait of George Washington. Ethan Allen done what he came to do and returned to the drawing room. His host and the others were disappointed when he did n't mention Washington's portrait. And finally His Lordship could n't resist, and asked Mr. Allen had he noticed it, the picture of Washington. He had. Well, what did he think of its placement, did it seem appropriately located to Mr. Allen? Mr. Allen said it did. His host was astounded! Appropriate? George Washington's likeness in a water closet? Yes, said Mr. Allen, where it'll do good service : the whole world knows nothing'll make an Englishman shit quicker than the sight of George Washington. Everyone laughs. LINCOLN -LRB- CONT'D -RRB- I love that story. Beckwith's and Bates's keys starts clicking. They transcribe furiously. There's a general rush to the operators' desks. Lincoln walks quickly over, and is joined there by Stanton, who arrives just as the first dispatch has been completed and is being decoded. Stanton and Lincoln hold hands, as they've done many times, waiting for news of the battle. Bates hands the decoded cable to Benjamin, who reads it quickly, then announces to the room : CHARLES BENJAMIN Fort Fisher is ours. We've taken the port. WELLES And Wilmington? Eckert shakes his head as Beckwith hands him the next telegram. MAJOR ECKERT We've taken the fort, but the city of Wilmington has not surrendered. A beat as this sinks in. Then : STANTON How many casualties? Eckert looks up at Stanton and Lincoln, stricken.", "INT. THE HOUSE CHAMBER - DAY One representative's reading a paper with the headline : THE FALLEN AT WILMINGTON, followed by hundreds of names. Pendleton and Wood are conferring. FERNANDO WOOD Heavy losses. GEORGE PENDLETON And more to come. FERNANDO WOOD Sours the national mood. That might suffice to discourage him - GEORGE PENDLETON To what? To bring this down? Not in a fight like this. This is to the death. FERNANDO WOOD It's gruesome! GEORGE PENDLETON -LRB- GETTING UPSET : -RRB- Are you despairing, or merely lazy? This fight is for The United States of America! Nothing `` suffices''. A rumor? Nothing! They're not lazy! They're busily buying votes! While we hope to be saved by `` the national mood?!'' He looks over at Stevens, who's at his desk consulting with Ashley and Julian. GEORGE PENDLETON -LRB- CONT'D -RRB- Before this blood is dry, when Stevens next takes the floor, taunt him - you excel at that - get him to proclaim what we all know he believes in his coal-colored heart : that this vote is meant to set the black race on high, to niggerate America. FERNANDO WOOD George, please. Stay on course. GEORGE PENDLETON Bring Stevens to full froth. I can ensure that every newspaperman from Louisville to San Francisco will be here to witness it and print it. Colfax gavels the chamber to order, as George Yeaman approaches the podium. SCHUYLER COLFAX The floor belongs to the mellifluent gentleman from Kentucky, Mr. George Yeaman. GEORGE YEAMAN I thank you, Speaker Colfax. The Democrats applaud as Yeaman takes his place at the podium and surveys the chamber. GEORGE YEAMAN -LRB- CONT'D -RRB- Although I'm disgusted by slavery I rise on this sad and solemn day to announce that I'm opposed to the amendment. We must consider what will become of colored folk if four million are in one instant set free. Cheers and boos. ASA VINTNER LITTON They'll be free, George! That's what'll become of them! What'll become of any of us?! That's what being free means! Schell, Latham, and Bilbo are perched in their usual gallery seats, taking notes. RICHARD SCHELL Think how splendid if Mr. Yeaman switched. ROBERT LATHAM -LRB- shaking his head : -RRB- Too publicly against us. He ca n't change course now. W.N. BILBO Not for some miserable little job anyways. GEORGE YEAMAN And, and! We will be forced to enfranchise the men of the colored race - it would be inhuman not to! Who among us is prepared to give Negroes the vote? He's momentarily silenced by cheers and boos throughout the chamber. GEORGE YEAMAN -LRB- CONT'D -RRB- And, and! What shall follow upon that? Universal enfranchisement? Votes for women? Yeaman is stopped, baffled and dismayed by the explosion he's provoked.", "INT. AN EMPTY COMMITTEE ROOM, THE CAPITOL - DAY Hawkins enters and stops when he sees Pendleton and Wood. It's a trap. LeClerk follows, closing the door. FERNANDO WOOD Bless my eyes, if it is n't the Post Master of Millersburg Ohio! Hawkins looks at LeClerk, who guiltily avoids his glance. GEORGE PENDLETON Mr. LeClerk felt honor-bound to inform us. Of your disgusting betrayal. Your prostitution. FERNANDO WOOD Is that true, Postmaster Hawkins? Is your maidenly virtue for sale? Hawkins sinks.", "EXT. A WOODS ALONG THE POTOMAC RIVER - MORNING Bilbo and Clay Hawkins are again in the woods. Bilbo, with his basket, clutches a pair of noisy snared partridges. CLAY HAWKINS My neighbors hear that I voted yes for nigger freedom and no to peace, they will kill me. W.N. BILBO A deal's a deal and you men know better than to piss your pants just cause there's talk about peace talks. CLAY HAWKINS Look, I'll find another job. W.N. BILBO My neighbors in Nashville, they found out I was loyal to the Union, they came after me with gelding knives! Hawkins runs away from Bilbo. Bilbo chases him. CLAY HAWKINS -LRB- to himself, as he runs : -RRB- Any other job. W.N. BILBO YOU DO RIGHT, AND MAKE YOURSELF SOME MONEY IN THE BARGAIN - CLAY HAWKINS -LRB- turning back to Bilbo : -RRB- I want to do right! But I got no courage!!! Hawkins runs away, sobbing. Bilbo pursues. W.N. BILBO Wait!! You wanted, what was it, tax man for the Western Reserve, hell you can have the whole state of Ohio if you - Bilbo stops, winded. W.N. BILBO -LRB- CONT'D -RRB- Aw, crap.", "EXT. IN A BACK ALLEY, SOMEWHERE IN WASHINGTON - AFTERNOON Seward, smoking unhappily, strides toward his carriage, with Schell, Latham and Bilbo in pursuit. SEWARD Eleven votes?! Two days ago we had twelve!! What happened? ROBERT LATHAM There are defections in the ranks... RICHARD SCHELL It's the goddamned rumors regarding the Richmond delegation ROBERT LATHAM Yes! The peace offer! SEWARD Groundless. I told you that. ROBERT LATHAM And yet the rumors persist. RICHARD SCHELL They are ruining us. RICHARD SCHELL Among the few remaining representatives who seem remotely plausible there is a perceptible increase in resistance. Seward has reached the carriage, Bilbo alongside him. Before the Secretary of State can climb on board, Bilbo shuts the carriage door. Seward is outraged. W.N. BILBO Resistance, hell! Thingamabob Hollister, Dem from Indiana? I approached him, the sumbitch near to murdered me!", "EXT. A STREET IN GEORGETOWN - NIGHT Bilbo is talking to HAROLD HOLLISTER ( D, IN ), who pulls out a derringer. Bilbo bolts, dropping the folder. He stops, runs back, and bends to retrieve the folio as Hollister fires the gun over Bilbo's head.", "EXT. IN A BACK ALLEY, SOMEWHERE IN WASHINGTON - AFTERNOON Seward, now inside the carriage, slams the door. SEWARD Perhaps you push too hard. W.N. BILBO I push nobody. Perhaps we need reinforcements. If Jeff Davis wants to cease hostilities, who do you think'll give a genuine solid shit to free slaves? SEWARD Get back to it, and good day, gentlemen. Schell and Latham lean in to the carriage. RICHARD SCHELL We are at an impasse. ROBERT LATHAM Tell Lincoln to deny the rumors. Publicly. RICHARD SCHELL Tell us what you expect of us. SEWARD I expect you to do your work! And to have sufficient sense and taste not to presume to instruct the President. Or me. Schell steps up on the running board, intent. RICHARD SCHELL Is there a Confederate offer or not?", "EXT. THE JAMES RIVER DOCK AT CITY POINT, VIRGINIA - DAY ULYSSES S. GRANT, 43, 5' 7'', beard, uniform worn and rumpled, crosses the dock, followed by three aides. They approach the gangway for the River Queen.", "INT. THE RIVER QUEEN SALOON, CITY POINT, VIRGINIA - DAY Grant and the commissioners stand in an expansive cabin at the stern, patriotically decorated, large windows. Grant hands the commissioners' peace proposal back to them. He's scribbled notes all over the document. GRANT I suggest you work some changes to your proposal before you give it to the President. R.M.T HUNTER We're eager to be on our way to Washington. ALEXANDER STEPHENS Did Mr. Lincoln tell you to tell us this, General Grant? Grant fixes Stephens with a look - bemused, a little disappointed. GRANT It says...'' securing peace for our two countries.'' And it goes on like that. ALEXANDER STEPHENS I do n't know what you - GRANT There's just one country. You and I, we're citizens of that country. I'm fighting to protect it from armed rebels. From you. ALEXANDER STEPHENS But Mr. Blair told us, he, he told President Davis we were - GRANT A private citizen like Preston Blair can say what he pleases, since he has no authority over anything. If you want to discuss peace with President Lincoln, consider revisions. He lights a cigar. ALEXANDER STEPHENS If we're not to discuss a truce between warring nations, what in heaven's name can we discuss? GRANT Terms of surrender.", "EXT. THE JAMES RIVER DOCK AT CITY POINT, VIRGINIA - DAY As a somber Grant disembarks with his aides from the River QUEEN : GRANT -LRB- V.O. -RRB- `` Office United States Military Telegraph, War Dept. For Abraham Lincoln, President of the United States. January 20, 1865. I will state confidentially that I am convinced, upon conversation with these Commissioners, that their intentions are good and their desire sincere to restore peace and union. I fear now their going back, without any expression of interest...'' Seward's voice takes over from Grant's. GRANT -LRB- V.O. -RRB- -LRB- CONT'D -RRB- ``... from anyone in authority, SEWARD ``... from anyone in authority, Mr. Lincoln...'' Mr. Lincoln...''", "INT. SEWARD MANSION, LAFAYETTE SQUARE, WASHINGTON - NIGHT Seward's in a fancy robe and slippers, reading a telegram. SEWARD ``... will have a bad influence. I will be sorry should it prove impossible for you to have an interview with them. I am awaiting your instructions. U.S. Grant, Lieutenant General Commanding Armies United States'' Lincoln is in his coat, shawl over his shoulders, holding his hat. LINCOLN After four years of war and near 600,000 lives lost. He believes we can end this war now. My trust in him is marrow deep. Seward looks up at Lincoln, then down again at the telegram. He stands and crosses to Lincoln. SEWARD You could bring the delegates to Washington. In exchange for the South's immediate surrender, we could promise them the amendment's defeat. They'd agree, do n't you think? We'd end the war. This week. Lincoln has closed his eyes. SEWARD -LRB- CONT'D -RRB- Or. If you could manage, without seeming to do it, to - Lincoln shakes his head `` no.'' SEWARD -LRB- CONT'D -RRB- The peace delegation might encounter delays as they travel up the James River. Particularly with the fighting around Wilmington. Within ten days time, we might pass the Thirteenth Amendment.", "INT. HALLWAY, THE WHITE HOUSE - LATE NIGHT Lincoln, shawl still wrapped around him, walks the long empty hall.", "INT. LINCOLN'S OFFICE, WHITE HOUSE - LATE NIGHT Lincoln sits before an open window. He's dishevelled, in shirtsleeves an unbuttoned vest, next to an inkwell, papers and books of law scattered about, and a lit candle in a candlestick, guttering. Grant's telegraph is in one hand, and in the other hand, his spectacles and, dangling from a chain, his open pocket watch. His bare left foot keeps time with the watch's loud ticking. He stares out into the cold night.", "INT. JOHN HAY AND JOHN NICOLAY'S BEDROOM - EVEN LATER The room is spare and neat. Nicolay and Hay are asleep in their beds. Lincoln is sitting at the foot of Hay's bed, spectacles on, reading a petition, the others in his lap, pencil in hand. LINCOLN Now, here's a sixteen year old boy. They're going to hang him... Hay startles awake, then settles. He's used to this. LINCOLN -LRB- CONT'D -RRB- -LRB- he reads a little FURTHER : -RRB- He was with the 15th Indiana Calvary near Beaufort, seems he lamed his horse to avoid battle. I do n't think even Stanton would complain if I pardoned him? You think Stanton would complain? Nicolay stirs in the next bed. JOHN HAY Ummm... I do n't know, sir, I do n't know who you're, uh... What time is it? LINCOLN It's three forty in the morning. JOHN NICOLAY -LRB- not waking up : -RRB- Do n't... let him pardon any more deserters... Nicolay's asleep again. JOHN HAY Mr. Stanton thinks you pardon too many. He's generally apoplectic on the subject - LINCOLN He ought n't to have done that, crippled his horse, that was cruel, but you do n't just hang a sixteen year old boy for that - JOHN HAY Ask the horse what he thinks. LINCOLN - for cruelty. There'd be no sixteen year old boys left. -LRB- a beat, then : -RRB- Grant wants me to bring the secesh delegates to Washington. JOHN HAY So... There are secesh delegates? LINCOLN -LRB- scribbling a note, signing the petition : ) He was afraid, that's all it was. I do n't care to hang a boy for being frightened, either. What good would it do him? He signs the pardon. Then he gives Hay's leg a few hard thwacks and a squeeze. It hurts a little. Hay winces. LINCOLN -LRB- CONT'D -RRB- War's nearly done. Ai n't that so? What use one more corpse? Any more corpses? Putting the rest of the petitions on Hay's bed, he stands to leave. JOHN HAY Do you need company?", "INT. HALLWAY, THE WHITE HOUSE - LATE NIGHT As before, Lincoln continues his slow and solitary walk. LINCOLN -LRB- V.O. -RRB- Times like this, I'm best alone.", "INT. THE TELEGRAPH ROOM, WAR DEPARTMENT - PRE-DAWN Lincoln is seated at Eckert's desk, shawl wrapped around his shoulders, glasses on ; he stares down into his hat, held between his knees. Homer Bates and Sam Beckwith are waiting for him. Lincoln draws a handwritten note from his hat and carefully unfolds it. LINCOLN `` Lieutenant General Ulysses S. Grant, City Point. I have read your words with interest.'' Sam Beckwith transcribes Lincoln's words into code on a pad with a pencil. LINCOLN -LRB- CONT'D -RRB- `` I ask that, regardless of any action I take in the matter of the visit of the Richmond commissioners, you maintain among your troops military preparedness for battle, as you have done until now.'' He stops for a moment. Beckwith waits, pencil poised. Lincoln looks at the note, folds it, tucks it in a band inside his hat. LINCOLN -LRB- CONT'D -RRB- `` Have Captain Saunders convey the commissioners to me here in Washington.'' -LRB- ANOTHER PAUSE -RRB- `` A. Lincoln.'' And the date. SAMUEL BECKWITH -LRB- WHILE WRITING : -RRB- Yes sir. Lincoln places the hat on the floor. SAMUEL BECKWITH -LRB- CONT'D -RRB- Shall I transmit, sir? LINCOLN -LRB- a beat, then : -RRB- You think we choose to be born? SAMUEL BECKWITH I do n't suppose so. LINCOLN Are we fitted to the times we're born into? SAMUEL BECKWITH I do n't know about myself. You may be, sir. Fitted. LINCOLN -LRB- TO HOMER : -RRB- What do you reckon? HOMER BATES I'm an engineer. I reckon there's machinery but no one's done the fitting. LINCOLN You're an engineer, you must know Euclid's axioms and common notions. HOMER BATES I must've in school, but... LINCOLN I never had much of schooling, but I read Euclid, in an old book I borrowed. Little enough ever found its way in here - -LRB- touching his cranium -RRB- - but once learnt it stayed learnt. Euclid's first common notion is this : `` Things which are equal to the same thing are equal to each other.'' Homer does n't get it ; neither does Sam. LINCOLN -LRB- CONT'D -RRB- That's a rule of mathematical reasoning. It's true because it works ; has done and always will do. In his book, Euclid says this is `` self-evident.'' -LRB- A BEAT -RRB- D'you see? There it is, even in that two-thousand year old book of mechanical law : it is a self- evident truth that things which are equal to the same thing are equal to each other. We begin with equality. That's the origin, is n't it? That balance, that's fairness, that's justice. He looks at his scribbled note, then at Sam and Homer. LINCOLN -LRB- CONT'D -RRB- Read me the last sentence of my telegram. SAMUEL BECKWITH `` Have Captain Saunders convey the commissioners to me here in Washington.'' LINCOLN A slight emendation, Sam, if you would. Beckwith writes as Lincoln dictates. LINCOLN -LRB- CONT'D -RRB- `` Have Captain Saunders convey the gentlemen aboard the River Queen as far as Hampton Roads, Virginia, and there wait until...'' -LRB- BEAT -RRB- ``... further advice from me. Do not proceed to Washington.''", "INT. HOUSE CHAMBER, THE CAPITOL - LATE MORNING The chamber's noisy and packed. In the balcony's front row, a wall of newspapermen, notebooks at the ready. TITLE : HOUSE OF REPRESENTATIVES JANUARY 27 Ashley, Colfax, and Stevens approach Stevens's desk. Colfax nods towards the journalists in the balcony : SCHUYLER COLFAX The World, the Herald and the Times, New York, Chicago, the Journal of Commerce, even your hometown paper's here. JAMES ASHLEY -LRB- TO STEVENS : -RRB- Say you believe only in legal equality for all races, not racial equality, I beg you, sir. Compromise. Or you risk it all. Stevens sees Mary, with Mrs. Keckley, claiming front seats from two journalists.", "INT. HOUSE CHAMBER, THE CAPITOL - LATER Stevens, at the podium, is being challenged by Fernando Wood, standing at his desk. FERNANDO WOOD I've asked you a question, Mr. Stevens, and you must answer me. Do you or do you not hold that the precept that `` all men are created equal'' is meant literally? All eyes are on Stevens, the chamber quiet except for a scratching sound : the journalists have begun scribbling. FERNANDO WOOD -LRB- CONT'D -RRB- Is that not the true purpose of the amendment? To promote your ultimate and ardent dream to elevate - THADDEUS STEVENS The true purpose of the amendment, Mr. Wood, you perfectly-named, brainless, obstructive object? FERNANDO WOOD You have always insisted, Mr. Stevens, that Negroes are the same as white men are. THADDEUS STEVENS The true purpose of the amendment - Stevens looks up at the balcony, at the waiting journalists, and Mary, who raises her eyebrows, then at Ashley and Litton at their desks. Seward watches from the balcony. Stevens returns to Wood. THADDEUS STEVENS -LRB- CONT'D -RRB- I do n't hold with equality in all things only with equality before the law and nothing more. FERNANDO WOOD -LRB- SURPRISED : -RRB- That's not so! You believe that Negroes are entirely equal to white men. You've said it a thousand TIMES - GEORGE PENDLETON -LRB- leaping to his feet -RRB- For shame! For shame! Stop prevaricating and answer Representative Wood! THADDEUS STEVENS I do n't hold with equality in all things, only with GEORGE PENDLETON -LRB- stands : -RRB- After the decades of fervent advocacy on behalf of the. colored race - THADDEUS STEVENS -LRB- CONT'D -RRB- equality before the law and nothing more JAMES ASHLEY -LRB- LEAPING UP : -RRB- He's answered your questions! This amendment has naught to do with race equality! Pendleton persists, through cheers and catcalls. THADDEUS STEVENS I do n't hold with equality in all things only with equality before the law and nothing more. GEORGE PENDLETON You have long insisted, have you not, that the dusk- colored race is no different from the white one. Among the amendment's supporters, including Vintner Litton, a GROUP OF WOMEN SUFFRAGISTS in the balcony, and Elizabeth Keckley, there's visible, audible shock and dismay at Stevens's capitulation. Mary's surprised by Stevens, and impressed. MARY -LRB- whispering to Mrs. KECKLEY : -RRB- Who'd ever've guessed that old nightmare capable of such control? He might make a politician someday - ELIZABETH KECKLEY -LRB- STANDING ABRUPTLY : -RRB- I need to go. Mary's startled. Mrs. Keckley leaves the balcony, pushing past journalists. On the floor : GEORGE PENDLETON Your frantic attempt to delude us now is unworthy of a representative. It is, in fact, unworthy of a white man! THADDEUS STEVENS -LRB- giving in to his anger : -RRB- How can I hold that all men are created equal, when here before me - -LRB- pointing to Pendleton : -RRB- - stands stinking the moral carcass of the gentleman from Ohio, proof that some men are inferior, endowed by their Maker with dim wits impermeable to reason with cold pallid slime in their veins instead of hot red blood! You are more reptile than man, George, so low and flat that the foot of man is incapable of crushing you! General uproar. GEORGE PENDLETON HOW DARE YOU! THADDEUS STEVENS Yet even you, Pendleton, who should have been gibbetted for treason long before today, even worthless unworthy you ought to be treated equally before the law! And so again, sir, and again and again and again I say : I DO NOT HOLD WITH EQUALITY IN ALL THINGS. ONLY WITH EQUALITY BEFORE THE LAW. Ashley sits, nearly weeping with relief, while the chamber explodes : laughter, applause, boos. GEORGE PENDLETON MR. SPEAKER, WILL YOU PERMIT THIS VILE BOORISH MAN TO SLANDER AND TO THREATEN ME AND - The journalists pack up their notebooks ; this is fun, but not newsworthy, and only a few bother to record it. Stevens limps out through the aisle to wild Republican applause. He looks up to the balcony ; Mary is looking down approvingly. He looks down before she can see him smile.", "INT. A CORRIDOR OUTSIDE THE HOUSE CHAMBER - LATER Stevens sits on a bench, alone, thinking, troubled. Asa Vintner Litton approaches him. ASA VINTNER LITTON You asked if ever I was surprised. Stevens nods. ASA VINTNER LITTON -LRB- CONT'D -RRB- Today, Mr. Stevens, I was surprised. You've led the battle for race equality for thirty years! The basis of, of every hope for this country's future life, you denied Negro equality! I'm nauseated. You refused to say that all humans are, well... human! Have you lost your very soul, Mr. Stevens? Is there nothing you wo n't say? Stevens nods, then, quietly : THADDEUS STEVENS I'm sorry you're nauseous, Asa, that must be unpleasant. I want the amendment to pass. So that the Constitution's first and only mention of slavery is its absolute prohibition. For this amendment, for which I have worked all of my life and for which countless colored men and women have fought and died and now hundreds of thousands of soldiers - no, sir, no, it seems there is very nearly nothing I wo n't say.", "EXT. THE STREETS OF WASHINGTON - MORNING Lincoln and Robert are in the buggy driven by the old soldier ; a young bodyguard soldier sits beside the driver, his rifle uselessly tucked under his legs. Lincoln is on one side reading over a stack of documents. Robert's on the other side of the buggy, staring sullenly at his feet. The buggy stops outside an army hospital. Lincoln packs up his papers. ROBERT I'm not going in. LINCOLN You said you wanted to help me. ROBERT This is - This is just a clumsy attempt at discouragement. I've been to army hospitals, I've seen surgeries, I went and visited the malaria barges with mama. LINCOLN She told me she did n't take you inside. ROBERT I snuck in after - I've seen what it's like. This changes nothing. LINCOLN At all rates, I'm happy to have your company. Stepping out of the buggy, he hands his folio to the bodyguard and enters the army hospital.", "INT. ARMY HOSPITAL - MORNING He's met in the antechamber by an ARMY SURGEON. LINCOLN Morning, Jim. ARMY SURGEON Hello, Mr. President. LINCOLN Good to see you again. They move into the main ward, Lincoln removing his hat. LINCOLN -LRB- CONT'D -RRB- Well, boys, first question : You getting enough to eat? He walks from bed to bed, shaking hands with each patient. Most are amputees. FIRST PATIENT Hello, sir. LINCOLN What's your name, soldier? FIRST PATIENT Robert. LINCOLN Robert. Good to meet you, Robert. SECOND PATIENT Nice to meet you. LINCOLN What's your name? SECOND PATIENT Kevin. LINCOLN Tell me your names as I go past. I like to know who I'm talkin' to. Kevin. THIRD PATIENT Mr. President. John. LINCOLN John. I've seen you before. FOURTH PATIENT Mr. President...", "EXT. OUTSIDE THE ARMY HOSPITAL - MORNING Robert, brooding, waits in the buggy. Hearing a creaking, rumbling sound, Robert turns to see TWO BLACK ORDERLIES in grey uniforms wrangling a large top-heavy wheelbarrow, covered with filthy canvas. One orderly pushes while the other keeps the barrow from tipping over. Robert notices, in the barrow's wake, a trail of blood. He gets out of the buggy and follows as the orderlies turn a corner of the building. Behind the building, where the ground is bare, pitted with puddles of water, Robert watches as the orderlies reach the edge of a shallow pit. One orderly pulls the canvas back, revealing severed legs, arms, hands, rotten, burnt, shattered by bullet or bomb. Robert watches as they toss the remains into the pit. Quicklime is shoveled atop the limbs. Robert walks away, unsteady. Around the corner, he fumbles through his pockets for rolling paper and tobacco. He locates these and tries to focus on rolling a cigarette, his hands shaking. He tries harder to control his hands, his feelings, but he ca n't. He has a panic attack, crying, hiccupy shallow breathing, face flushed. Frustrated, he throws down the cigarette and tries to hold back tears. LINCOLN -LRB- O.C. -RRB- What's the matter, Bob? Robert looks up, mortified, to see Lincoln watching him with concern. He wipes his eyes, his mouth. ROBERT I have to do this! And I will do it and I do n't need your permission to enlist. LINCOLN That same speech has been made by how many sons to how many fathers since the war began? `` I do n't need your damn permission, you miserable old goat, I'm gon na enlist anyhow!'' And what would n't those numberless fathers have given to be able to say to their sons - as I now say to mine - `` I'm commander-in-chief, so in point of fact, without my permission, you ai n't enlisting in nothing, nowhere, young man.'' ROBERT It's mama you're scared of, not me getting killed. Lincoln slaps Robert in the face. It shocks them both. Lincoln tries to embrace Robert, but Robert shoulders past him and walks back toward the front of he building. He turns. ROBERT -LRB- CONT'D -RRB- I have to do this! And I will! Or I will feel ashamed of myself for the rest of my life. Whether or not you fought is what's gon na matter. And not just to other people, but to myself. I wo n't be you, pa. I ca n't do that. But I do n't want to be nothing. He hurries away. LINCOLN We ca n't lose you.", "INT. MARY'S BOUDOIR, SECOND FLOOR OF THE WHITE HOUSE - NIGHT Outside, driving rain and wind. Lincoln sits by the window, in his coat, vest and tie, hair combed neatly. LINCOLN He'll be fine, Molly. City Point's far from the front lines, from the fighting, he'll be an adjutant running messages for General Grant. Mary sits at her vanity in a beautiful evening dress, pale with rage. MARY The war will take our son! A sniper, or a shrapnel shell! Or typhus, same as took Willie, it takes hundreds of boys a day! He'll die, uselessly, and how will I ever forgive you? Most men, their firstborn is their favorite, but you, you've always blamed Robert for being born, for trapping you in a marriage that's only ever given you grief and caused you regret! LINCOLN That's not true - MARY And if the slaughter of Cold Harbor is on your hands same as Grant, God help us! We'll pay for the oceans of spilled blood you've sanctioned, the uncountable corpses we'll be made to pay with our son's dear BLOOD - Lincoln rises from the window seat, angry. LINCOLN Just, just this once, Mrs. Lincoln, I demand of you to try and take the liberal and not the selfish point of view! You imagine Robert will forgive us if we continue to stifle his very natural ambition?! MARY -LRB- with a mocking smile : -RRB- And if I refuse to take the high road, if I wo n't take up the rough old cross, will you threaten me again with the madhouse, as you did when I could n't stop crying over Willie, when I showed you what heartbreak, real heartbreak looked like, and you had n't the courage to countenance it, to help me - LINCOLN That's right. When you refused so much as to comfort Tad MARY I was in the room with Willie, I was holding him in - LINCOLN - the child who was not only sick, dangerously sick, but beside himself with grief? MARY my arms as he died! LINCOLN Oh but your grief, your grief, your inexhaustible grief! MARY How dare you throw that at me?! LINCOLN And his mother wo n't let him near her, ` cause she's screaming from morning to night MARY I could n't let Tad in! I could n't risk him seeing how angry I was! LINCOLN pacing the corridors, howling at shadows and furniture and ghosts! I ought to have done it, I ought have done for Tad's sake, for everybody's goddamned sake, I should have clapped you in the madhouse! MARY -LRB- CONT'D -RRB- THEN DO IT! Do it! Do n't you threaten me, you do it this time! Lock me away! You'll have to, I swear, if Robert is killed! Silence. Then : LINCOLN I could n't tolerate you grieving so for Willie because I could n't permit it in myself, though I wanted to, Mary. I wanted to crawl under the earth, into the vault with his coffin. I still do. Every day I do. Do n't... talk to me about grief. -LRB- BEAT : -RRB- I must make my decisions, Bob must make his, you yours. And bear what we must, hold and carry what we must. What I carry within me - you must allow me to do it, alone as I must. And you alone, Mary, you alone may lighten this burden, or render it intolerable. As you choose. She opens her mouth to make an angry reply, then stops, and watches as he leaves the room.", "INT. ODD FELLOWS' HALL, WASHINGTON - NIGHT Onstage, Gounod's Faust, Act Three, scene eight, the garden outside Marguerite's cottage, a gorgeously romantic night. MARGUERITE and FAUST are alone singing. The Lincolns, in their box, watch quietly. Elizabeth Keckley sits next to Mary. Mary turns to Lincoln. They speak in whispers. Mrs. Keckley tries not to listen but she ca n't help hearing what they say. MARY You think I'm ignorant of what you're up to because you have n't discussed this scheme with me as you ought to have done. When have I ever been so easily bamboozled? -LRB- BEAT -RRB- I believe you when you insist that amending the constitution and abolishing slavery will end this war. And since you are sending my son into the war, woe unto you if you fail to pass the amendment. LINCOLN Seward does n't want me leaving big muddy footprints all over town. MARY No one ever lived who knows better than you the proper placement of footfalls on treacherous paths. Seward ca n't do it. You must. Because if you fail to secure the necessary votes, woe unto you, sir. You will answer to me.", "EXT. THE PORTICO OF THE WHITE HOUSE - A SHORT WHILE LATER The carriage has pulled up and Mary is entering the White House. Lincoln helps Mrs. Keckley down from the carriage. She hesitates before proceeding in. Then she faces Lincoln. ELIZABETH KECKLEY I know the vote is only four days away ; I know you're concerned. Thank you for your concern over this, and I want you to know : They'll approve it. God will see to it. LINCOLN I do n't envy him his task. He may wish He'd chosen an instrument for His purpose more wieldy than the House of Representatives. ELIZABETH KECKLEY Then you'll see to it. Lincoln looks at her, considering. Then : LINCOLN Are you afraid of what lies ahead? For your people? If we succeed? ELIZABETH KECKLEY White people do n't want us here. LINCOLN Many do n't. ELIZABETH KECKLEY What about you? LINCOLN I... I do n't know you, Mrs. Keckley. Any of you. You're... familiar to me, as all people are. Unaccommodated, poor, bare, forked creatures such as we all are. You have a right to expect what I expect, and likely our expectations are not incomprehensible to each other. I assume I'll get used to you. But what you are to the nation, what'll become of you once slavery's day is done, I do n't know. ELIZABETH KECKLEY What my people are to be, I ca n't say. Negroes have been fighting and dying for freedom since the first of us was a slave. I never heard any ask what freedom will bring. Freedom's first. As for me : My son died, fighting for the Union, wearing the Union blue. For freedom he died. I'm his mother. That's what I am to the nation, Mr. Lincoln. What else must I be?", "INT. A BEDROOM IN THE ST. CHARLES HOTEL - LATE NIGHT The room is far filthier and more cluttered than before. Bilbo and Latham are playing cards. Schell is asleep in bed. W.N. BILBO My whole hand's gon na be proud in about five seconds, let's see how proud you gon na be. ROBERT LATHAM Oh, it is? What you got goin'? There's a quick knock on the door. W.N. BILBO Yeah? ROBERT LATHAM Go away!  -LRB- TO BILBO -RRB- That watch fob, is that gold? W.N. BILBO You keep your eyes off my fob! Seward enters, displeased, as they show their cards, laughing. ROBERT LATHAM Nines paired! W.N. BILBO Oh my God damn! SEWARD Gentlemen. You have a visitor. Latham jovially collects his winnings. He stops short when Lincoln steps into the room, cloak and stovepipe, very tall. W.N. BILBO Well, I'll be fucked. LINCOLN I would n't bet against it, Mr...? Schell startles awake as Bilbo puts down his cigar and wipes his hand on his vest. W.N. BILBO W.N. Bilbo. LINCOLN Mr. Bilbo. Gentlemen. ROBERT LATHAM Sir... W.N. BILBO Why are you here? No offense, but Mr. Seward's banished the very mention of your name, he wo n't even let us use fifty-cent pieces ` cause they got your face on ` em. LINCOLN The Secretary of State here tells me that, uh, you got eleven Democrats in the bag. That's encouraging. ROBERT LATHAM Oh, you've got no cause to be encouraged. Sir. Uh... RICHARD SCHELL Are we being... fired? Lincoln sits at the card table. LINCOLN `` We have heard the chimes of midnight, Master Shallow.'' I'm here to alert you boys that the great day of reckoning is nigh upon us. RICHARD SCHELL The Democrats we've yet to bag, sir. The patronage jobs simply wo n't bag ` em. They require more... convincing, Mr. President. Lincoln nods. He turns to Bilbo. LINCOLN Mm-hmm. Do me a favor, willya? W.N. BILBO Sure. LINCOLN Snagged my eye in the paper this morning. Governor Curtin is set to declare a winner in the disputed Congressional election for the - W.N. BILBO Pennsylvania 16th District. LINCOLN What a joy to be comprehended. Hop on a train to Philadell, call on the Governor - SEWARD -LRB- looking askance at BILBO'S APPEARANCE : -RRB- Send Latham. Or Schell. LINCOLN -LRB- TO BILBO : -RRB- No, he'll do fine, just polish yourself up first. Bilbo, cigar back in mouth, laughs. ROBERT LATHAM The incumbent is claiming he won it. Name of, uh... W.N. BILBO Coffroth. LINCOLN That's him. RICHARD SCHELL Coffroth. He is a Democrat. LINCOLN I understand he is. W.N. BILBO Silly name. LINCOLN Let Governor Curtin know it'd be much appreciated if he'd invite the House of Representatives to decide who won. He's entitled to do that. He'll agree to it. -LRB- TO SCHELL : -RRB- Then advise Coffroth, if he hopes to retain his seat, that he'd better pay a visit to Thaddeus Stevens. SEWARD Pity poor Coffroth.", "INT. THADDEUS STEVENS'S OFFICE, THE CAPITOL - NIGHT Stevens is at his desk, paperwork piled high. There's a knock at the door. THADDEUS STEVENS It opens! A nervous man enters hesitantly : Alexander Coffroth. Stevens glares at him with what looks like horror. Coffroth's frightened smile transforms into a rictus of pain. Then : THADDEUS STEVENS -LRB- CONT'D -RRB- You are Canfrey? ALEXANDER COFFROTH Coffroth, Mr. Stevens, Alexander Coffroth, I'm, I'm - THADDEUS STEVENS -LRB- SKEPTICAL -RRB- Are we representatives of the same state? ALEXANDER COFFROTH Y-yes sir! We sit only three desks APART - Stevens waves him into a chair. THADDEUS STEVENS I have n't noticed you. I'm a Republican, and you, Coughdrop, are a Democrat? ALEXANDER COFFROTH Well, I... Um, that is to say... I - THADDEUS STEVENS The modern travesty of Thomas Jefferson's political organization to which you have attached yourself like a barnacle has the effrontery to call itself The Democratic Party. You are a Dem-o-crat. What's the matter with you? Are you wicked? ALEXANDER COFFROTH Well, I felt, um, formerly, I - THADDEUS STEVENS Never mind, Coffsnot. You were ignominiously trounced at the hustings in November's election by your worthy challenger, a REPUBLICAN - ALEXANDER COFFROTH No, sir, I was not, um, trounced! Uh, he wants to steal my seat! I did n't lose the election - THADDEUS STEVENS What difference does it make if you lost or not?! The governor of our state, is...? A Democrat? ALEXANDER COFFROTH No, he's a... -LRB- baffled, terrified : -RRB- A, um, a Ruh... THADDEUS STEVENS Re. ALEXANDER COFFROTH Re. THADDEUS STEVENS -LRB- NODS -RRB- Pub. ALEXANDER COFFROTH Pub. THADDEUS STEVENS Li. ALEXANDER COFFROTH Li. THADDEUS STEVENS Can. ALEXANDER COFFROTH Can. Republican. THADDEUS STEVENS I know what he is. This is a rhetorical exercise. And Congress is controlled by what party? Yours? Coffroth does n't know whether to answer. He shakes his head. THADDEUS STEVENS -LRB- CONT'D -RRB- Your party was beaten, your challenger's party now controls the House, and hence the House Committee on Elections, so you have been beaten. You shall shortly be sent home in disgrace. Unless. ALEXANDER COFFROTH I know what I must do, sir! I will immediately become a Republican and vote yes for - THADDEUS STEVENS NO! Coffroth will vote yes but Coffroth will remain a Democrat until after he does so. ALEXANDER COFFROTH Why wait to switch? I'm happy to SWITCH - THADDEUS STEVENS We want to show the amendment has bipartisan support, you idiot. Early in the next Congress, when I tell you to do so, you will switch parties. Now congratulations on your victory, and get out.", "INT. A BEDROOM IN THE ST. CHARLES HOTEL - LATE NIGHT Continue with Lincoln and his operatives around the card table. LINCOLN Now give me the names of whoever else you been hunting. Schell, Latham and Bilbo exchange looks, then : ROBERT LATHAM George Yeaman. RICHARD SCHELL Yes. Yeaman. W.N. BILBO Among others. But Yeaman : That'd count. ROBERT LATHAM -LRB- HELPFULLY -RRB- Y-E-A-M-A-N Lincoln looks up from his notepad, smiling. LINCOLN I got it. ROBERT LATHAM Kentucky.", "INT. SEWARD'S OFFICE, STATE DEPARTMENT - DAY Seward sits at his grand desk, looking on with an anxious scowl. Lincoln sits on the edge of Seward's desk. Yeaman sits in a chair facing him. GEORGE YEAMAN I ca n't vote for the amendment, Mr. Lincoln. LINCOLN I saw a barge once, Mr. Yeaman, filled with colored men in chains, heading down the Mississippi to the New Orleans slave markets. It sickened me, ` n more than that, it brought a shadow down, a pall around my eyes. -LRB- BEAT -RRB- Slavery troubled me, as long as I can remember, in a way it never troubled my father, though he hated it. In his own fashion. He knew no smallholding dirt farmer could compete with slave plantations. He took us out from Kentucky to get away from ` em. He wanted Indiana kept free. He was n't a kind man, but there was a rough moral urge for fairness, for freedom in him. I learnt that from him, I suppose, if little else from him. We did n't care for one another, Mr. Yeaman. GEORGE YEAMAN -LRB- EMBARRASSED -RRB- I... Well, I'm sorry to hear that - LINCOLN Lovingkindness, that most ordinary thing, came to me from other sources. I'm grateful for that. GEORGE YEAMAN I hate it, too, sir, slavery, but - but we're entirely unready for emancipation. There's too many QUESTIONS - LINCOLN -LRB- LAUGHS -RRB- We're unready for peace too, ai n't we? When it comes, it'll present us with conundrums and dangers greater than any we've faced during the war, bloody as it's been. We'll have to extemporize and experiment with what it is when it is. Lincoln moves from the desk to take the seat beside Yeaman, no longer towering over him. He leans forward and rests a hand on Yeaman's knee. LINCOLN -LRB- CONT'D -RRB- I read your speech, George. Negroes and the vote, that's a puzzle. GEORGE YEAMAN No, no, but, but, but - But Negroes ca n't, um, vote, Mr. Lincoln. You're not suggesting that we enfranchise colored people. LINCOLN I'm asking only that you disenthrall yourself from the slave powers. I'll let you know when there's an offer on my desk for surrender. There's none before us now. What's before us now, that's the vote on the Thirteenth Amendment. It's going to be so very close. You see what you can do. Lincoln leaves Yeaman, considering.", "EXT. A WORKING CLASS NEIGHBORHOOD IN WASHINGTON - NIGHT Lincoln stands in front of William Hutton's row house, talking to Hutton. The funeral wreath still hangs on the door behind them, displaying the marks of time passing : faded, weatherbeaten, dusty. WILLIAM HUTTON I ca n't make sense of it, what he died for. Mr. Lincoln, I hate them all, I do, all black people. I am a prejudiced man. The door opens slightly behind Hutton. His wife looks out. Hutton exchanges a glance with her, and the door shuts again. LINCOLN I'd change that in you if I could, but that's not why I come. I might be wrong, Mr. Hutton, but I expect... Colored people will most likely be free, and when that's so, it's simple truth that your brother's bravery, and his death, helped make it so. Only you can decide whether that's sense enough for you, or not. Hutton walks slowly back to his house. LINCOLN -LRB- CONT'D -RRB- My deepest sympathies to your family. Lincoln goes back to his buggy. Hutton pauses at his door to watch Lincoln's buggy drive away.", "INT. LINCOLN'S OFFICE - NIGHT Lincoln is seated at the head of the cabinet table along with Seward. Ashley, Preston and Montgomery Blair. Hay and Nicolay sit in their usual chairs. PRESTON BLAIR -LRB- ANGRY : -RRB- We've managed our members to a fare- thee-well, you've had no defections from the Republican right to trouble you, whereas as to what you promised - Where the hell are the commissioners?! JAMES ASHLEY Oh God...  -LRB- TO LINCOLN : -RRB- It's true! You, you... lied to me, Mr. Lincoln! You evaded my requests for a denial that, that there is a Confederate peace offer because, because there is one! We are absolutely guaranteed to lose the whole thing - JAMES ASHLEY -LRB- CONT'D -RRB- - and we'll be discredited, We do n't need a goddamned the amendment itself will be abolition amendment! Leave tainted. What if, what if the Constitution alone! State these peace commissioners by state you can extirpate - appear today? Or worse, on the morning - LINCOLN I ca n't listen to this anymore! I ca n't accomplish a goddamned thing of any human meaning or worth until we cure ourselves of slavery and end this pestilential war, and whether any of you or anyone else knows it, I know I need this! This amendment is that cure! We're stepped out upon the world's stage now, now, with the fate of human dignity in our hands! Blood's been spilt to afford us this moment! He points around the table at Ashley, Monty, Preston. LINCOLN -LRB- CONT'D -RRB- Now now now! And you grousle and heckle and dodge about like pettifogging Tammany Hall hucksters! See what is before you! See the here and now! That's the hardest thing, the only thing that accounts! Abolishing slavery by constitutional provision settles the fate, for all coming time, not only of the millions now in bondage but of unborn millions to come. Two votes stand in its way, and these votes must be procured. SEWARD We need two yeses, three abstentions, or four yeses and one more abstention and the amendment will pass - LINCOLN You got a night and a day and a night and several perfectly good hours! Now get the hell out of here and get ` em! JAMES ASHLEY Yes but how? LINCOLN Buzzards' guts, man. Lincoln rises, and keeps rising, till he seems eight feet tall. LINCOLN -LRB- CONT'D -RRB- I am the President of the United States of America, clothed in immense power! You will procure me these votes.", "INT. THE HOUSE CHAMBER - DAWN The chamber is quiet and dark. Pages and clerks prepare the desks, laying out pens and paper, filling inkwells. TITLE : THE MORNING OF THE VOTE JANUARY 31, 1865 A CLERK is draping red-white-and-blue bunting on the desks of representatives from seceded states. These will of course remain unoccupied during the vote. The first Congressman to arrive, Thaddeus Stevens clumps in. He goes to his desk and sits. He looks around the empty chamber, ready and waiting.", "INT. THE HOUSE CHAMBER - MORNING, SEVERAL HOURS LATER Thaddeus Stevens is at his desk. The House is in session, the floor full of congressmen caucusing and arguing. The balcony's packed. Mary and Keckley sit at the front, Nicolay and Hay behind them. The Blairs are among other officials, rich people, foreign dignitaries. There's a sudden quiet, then murmuring. Ashley, Stevens and everyone on the floor look up, Ellis, Hollister, Hutton and Hawkins among these. In the balcony, twenty WELL-TO-DO BLACK PEOPLE, mostly men, are escorted by several Senators, including Sumner and Wade, to a reserved section of the balcony. The black people glance at their surroundings but are rigidly composed. Asa Vintner Litton sees them enter. He looks about, at the representatives caucusing, or staring up at the visitors. Something powerful strikes him. In a voice coarse with emotion, he calls up to the black visitors : ASA VINTNER LITTON We welcome you, ladies and gentlemen, first in the history of this people's chamber, to your House! There's tense applause. Some of the black guests bow ; most are n't sure how to respond. Yeaman watches this, deeply moved. Bilbo catches Hawkins's eye and waves. Hawkins looks anxiously around, blushing. Everyone is seated, and the place is packed. Schuyler Colfax is in his high seat atop the rostrum, the SERGEANT-AT-ARMS to his right. Colfax gavels the House into session. Ashley is at the podium. SCHUYLER COLFAX Mr. Ashley, the floor is yours. JAMES ASHLEY On the matter of the joint resolution before us, presenting a Thirteenth Amendment to our national Constitution, which was passed last year by the Senate, and which has been debated now by this estimable body for the past several weeks. Today we will vote... Cheers, boos, applause. JAMES ASHLEY -LRB- CONT'D -RRB- By mutual agreement we shall hear brief final statements - General cheering for this, laughing. JAMES ASHLEY -LRB- CONT'D -RRB- - beginning with the honorable George Pendleton of Ohio. Applause, boos. Pendleton, taking the podium, is handed several letters by Wood. He holds them over his head. The chamber's quiet. GEORGE PENDLETON I've just received confirmation of what previously has been merely rumored! Affidavits from loyal citizens recently returned from Richmond. They testify that Commissioners have indeed come north and ought to have arrived by now in Washington City! Bearing an offer of immediate cessation of our civil war! The chamber explodes. Through the ensuing ruckus : FERNANDO WOOD -LRB- to Ashley, fake shock : -RRB- Are there Confederate commissioners in the Capitol? JAMES ASHLEY I do n't... I have no idea where they are or if they've arrived or - FERNANDO WOOD If they've arrived?! GEORGE PENDLETON I appeal to my fellow Democrats, to all Republican representatives who give a fig for peace! Postpone this vote until we have answers from the President himself! In the balcony, Hay and Nicolay exchange worried glances. FERNANDO WOOD Postpone the vote! Ashley turns to Stevens : `` DO SOMETHING!'' as Pendleton's Democrats begin to chant `` POSTPONE THE VOTE!'' Mary, worried, looks from Mrs. Keckley to Preston Blair, who is focused on the leader of the conservative Republican representatives, AARON HADDAM ( R, KY ). Haddam looks up at Preston, awaiting instructions. Democrats and Republicans rush to the Speaker to support or protest the motion. In the balcony, Preston slowly stands, saddened and angry. FERNANDO WOOD -LRB- CONT'D -RRB- I have made a motion! Does anyone here care to second - Preston nods at Haddam : `` Go ahead.'' Haddam rises. AARON HADDAM -LRB- in a powerful voice : -RRB- Gentlemen. The conservative faction of border and western Republicans can not approve this amendment, about which we harbor grave doubts, if a peace offer is being held hostage to its success. Joining with our Democratic colleagues, I second the motion to postpone. The debate swells again as, in the balcony, Schell scribbles in a notebook while Latham whispers furiously in his ear. Latham rips the page out before Schell's finished ; Bilbo snatches it from him. ROBERT LATHAM Quick, man! Quick! Bilbo pushes his way out of the balcony. Nicolay, then Hay, follow on his heels. Mary sees this ; she's concerned.", "EXT. OUTSIDE THE CAPITOL - AFTERNOON Hay and Nicolay emerge. They see Bilbo running, far ahead. Hay immediately sprints after him and trips. Nicolay continues running.", "INT/EXT. WHITE HOUSE PORTICO, FOYER, STAIRS - AFTERNOON Bilbo puffs his way across the portico, through the door, and up the stairs. Hay gains on him. It's become a race! In the second floor hallway, Bilbo gets winded, and Hay dashes past him. Hay reaches the doors to Lincoln's office and flings them open.", "INT. LINCOLN'S OFFICE, THE WHITE HOUSE - AFTERNOON Lincoln is at his desk, working, when Hay bursts in. Bilbo appears in the doorway, beet-red and gasping for air. Hay's too winded to speak. Bilbo holds out the note, limp with sweat, and brings it to Lincoln. Lincoln reads it. LINCOLN This is precisely what Mr. Wood wishes me to respond to? Tad runs into the room, excited by the commotion. He wraps his arm around his father's neck, then tears wildly out of the room. LINCOLN -LRB- CONT'D -RRB- Word for word? This is precisely the assurance that he demands of me? W.N. BILBO Yes sir. As Nicolay heaves into the room in last place, wheezing terribly, Lincoln deliberates for a moment, then writes a note. He blots, folds and hands it to Hay, who immediately reads it, Nicolay looking on. LINCOLN Give this to Mr. Ashley. Hay looks at Nicolay, who ca n't speak ; he waves at Hay to speak for him. JOHN HAY I feel, um, I have to say, Mr. Lincoln, that this - -LRB- annoyed, impatient, to BILBO : -RRB- Could you please just step outside?! W.N. BILBO You gon na have a chat now, with with the whole of the House of Representatives waiting on that? Nicolay continues gasping, trying to speak. He ca n't. JOHN HAY -LRB- TO LINCOLN : -RRB- Making false representation to Congress is, it's, um - JOHN NICOLAY It's, it's - LINCOLN Impeachable. I've made no false representation. JOHN HAY But there are - -LRB- WHISPERING : -RRB- There is a delegation from Richmond. LINCOLN Give me the note, Johnnie. Hay gives Lincoln the note. Lincoln takes it, holding on to Hay's hand ; with his free hand, Lincoln passes the note to Bilbo. LINCOLN -LRB- CONT'D -RRB- -LRB- TO BILBO : -RRB- Please deliver that to Mr. Ashley.", "INT. THE HOUSE CHAMBER AND BALCONY - AFTERNOON Bilbo, pushing past the pages, runs in, holding the note, Ashley snatches it, reading as he makes his way to the podium. All eyes are on Ashley. JAMES ASHLEY From the President : The chamber falls silent. JAMES ASHLEY -LRB- CONT'D -RRB- `` So far as I know, there are no peace commissioners in the city nor are there likely to be.'' Applause, booing, furious discussion. GEORGE PENDLETON `` So far as I know-''?! That means nothing! Are there commissioners from the South or are n't there?! In the balcony, Mary looks to Mrs. Keckley. JAMES ASHLEY The President has answered you, sir! Your peace offer is a fiction! GEORGE PENDLETON That is not a denial, it is a lawyer's dodge! JAMES ASHLEY Mr. Haddam? Is your faction satisfied? Preston, in the balcony, hesitates. He looks at his daughter, who gives him a questioning look : `` Do you want this on your head?'' Preston does n't. He indicates to Haddam with a small shake of his venerable head : `` Drop it.'' AARON HADDAM The conservative Republican faction's satisfied, and we thank Mr. Lincoln. I move to table Mr. Wood's motion. SCHUYLER COLFAX Tabled! There's an angry response, but Wood and Pendleton sit, thwarted. JAMES ASHLEY Speaker Colfax, I order the main question. SCHUYLER COLFAX A motion has been made to bring the bill for the Thirteenth Amendment to a vote. Do I hear a second? ASA VINTNER LITTON I second the motion. SCHUYLER COLFAX So moved, so ordered. The Clerk will now - -LRB- a rap of the gavel -RRB- Quiet please. The noise of the chamber and balcony reduce to a rumble. SCHUYLER COLFAX -LRB- CONT'D -RRB- The clerk will now call the roll for voting. Thaddeus Stevens sits silently, tired, concentrated : the moment has come. THE CLERK OF THE HOUSE We begin with Connecticut. Mr. Augustus Benjamin, on the matter of this amendment, how say you? The chamber is completely silent for the first time. AUGUSTUS BENJAMIN Nay! The clerk records his vote. THE CLERK OF THE HOUSE Mr. Arthur Bentleigh. ARTHUR BENTLEIGH Nay! THE CLERK OF THE HOUSE Mr. John Ellis, how say you? JOHN ELLIS Aye! Angry shouts from Ellis's fellow Democrats, forcing Colfax to gavel for order. DEMOCRATIC SENATOR What?! Shameful! THE CLERK OF THE HOUSE Missouri next. Mr. Walter Appleton. WALTER APPLETON I vote no! THE CLERK OF THE HOUSE Mr. Josiah Burton. JOSIAH BURTON rises to his feet. He is very, very tall and thin. JOSIAH BURTON Beanpole Burton is pleased to vote yea! Mary watches from the balcony, pleased, but anxious. THE CLERK OF THE HOUSE The State of New Jersey. Mr. Nehemiah Cleary. NEHEMIAH CLEARY No. THE CLERK OF THE HOUSE Mr. James Martinson. JAMES ASHLEY Mr. Martinson has delegated me to say he is indisposed and he abstains. THE CLERK OF THE HOUSE Mr. Austin J. Roberts. JAMES ASHLEY Also indisposed, also abstaining. Shocked anger from the Democrats. Pendleton starts calculating votes on a sheet of paper. Wood grabs it and begins to calculate more rapidly. In the balcony, Mary keeps track on her own list. She writes carefully next to Roberts's name : `` 15 TO WIN'' THE CLERK OF THE HOUSE Illinois concluded. Mr. Harold Hollister, how say you? Hollister glowers next to Hutton, who's silently praying. HAROLD HOLLISTER No. THE CLERK OF THE HOUSE Mr. Hutton? Mr. William Hutton, cast your vote. Hutton looks up from his prayer. WILLIAM HUTTON William Hutton, remembering at this moment his beloved brother, Fredrick, votes against the amendment.", "INT. LINCOLN'S OFFICE, THE WHITE HOUSE - AFTERNOON Lincoln watches Tad stacking books to make a fort for his lead toy soldiers.", "INT/EXT. ROTUNDA AND FRONT DOOR OF THE CAPITOL - AFTERNOON A field telegraph has been set up near the steps, at the front of the enormous crowd that's assembled before the Capitol. Poles are held up in the crowd by soldiers along which the telegraph wire is stretched. A soldier stationed at the door of the Capitol relays the vote to another soldier manning the cipher key : SOLDIER Webster Allen votes no. The cipher operator instantly transmits.", "INT. GRANT'S TELEGRAPH ROOM AT CITY POINT - AFTERNOON OFFICERS are crowded in the small room, watching a SERGEANT transcribe as his cipher key clicks. SERGEANT Webster Allen, Illinois, Democrat, votes... no. The cipher key clicks again. SERGEANT -LRB- CONT'D -RRB- Halberd Law, Indiana, Democrat, votes... no. Grant observes this from the balcony above. Robert, in a captain's uniform, stands near him. Like his mother, Robert has a scorecard, and he's keeping track. Grant turns his back on the proceedings to light a cigar. He's concerned at how close the vote is. Behind him the count CONTINUES : SERGEANT -LRB- CONT'D -RRB- Archibald Moran... yes. Robert has been looking at Grant ; he returns to his score keeping. SERGEANT -LRB- CONT'D -RRB- Ambrose Bailer... yes.", "INT. THE HOUSE CHAMBER AND BALCONY - AFTERNOON The Clerk continues. THE CLERK OF THE HOUSE Mr. Walter H. Washburn. WALTER H. WASHBURN Votes no. THE CLERK OF THE HOUSE And Mr. George Yeaman, how say you? Yeaman does n't respond. The silence this causes lengthens, till representatives begin to look to see what's happened. Yeaman sits, staring ahead, not responding. Thaddeus Stevens, sensing something's happening, looks in Yeaman's direction. Yeaman, still staring ahead, mumbles something, but it's inaudible. THE CLERK OF THE HOUSE -LRB- CONT'D -RRB- Sorry Mr. Yeaman, I did n't hear you VOTE - GEORGE YEAMAN -LRB- rising to his feet -RRB- I said aye, Mr. McPherson. AYE!!! Great surprise, loud cheers and angry shouts. FERNANDO WOOD TRAITOR! TRAITOR! Yeaman looks ready to faint. To the consternation of the Democrats, a mob of gleeful Republicans rushes across the aisle that separates the two parties ; they surround Yeaman, shaking his hand, slapping him on the back. Colfax bangs the gavel. SCHUYLER COLFAX Order! Pendleton is speechless. Litton turns to Ashley, both astonished ; Ashley turns to Stevens, who watches, sharp, observant, giving nothing away. Mary updates her tally : `` 8 TO WIN'' SCHUYLER COLFAX -LRB- CONT'D -RRB- Order in the chamber! Yeaman collapses back into his seat. The room quiets. SCHUYLER COLFAX -LRB- CONT'D -RRB- Mr. MacPherson, you may proceed. THE CLERK OF THE HOUSE Mr. Clay R. Hawkins of Ohio. Hawkins seems to have been startled out of a reverie. Sick with fear, he looks up at the sound of his name. He ca n't speak. Wood and Pendleton watch this, deeply alarmed. Hawkins snaps out of it. CLAY HAWKINS Goddamn it, I'm voting yes. A huge reaction to this. LeClerk gapes at Hawkins. CLAY HAWKINS -LRB- CONT'D -RRB- -LRB- right at Pendleton and Wood! -RRB- I do n't care, shoot me dead! You shoot me dead I, I am voting yes! THE CLERK OF THE HOUSE Mr. Edwin F. LeClerk. LeClerk, seated next to Hawkins and transfixed by his courage, turns dazedly to McPherson. EDWIN LECLERK No. -LRB- then, standing abruptly : -RRB- Oh to hell with it, shoot me dead too. Yes! The noise gets wilder. Pendleton fixes LeClerk and Hawkins with a murderous look. EDWIN LECLERK -LRB- CONT'D -RRB- I mean, abstention. Abstention. Disgust briefly flashing across his face, McPherson crosses out and changes LeClerk's vote to an abstention. The cheering and booing degenerates to intense argument about what this means for the vote count. In the balcony, Bilbo looks at Hawkins, well-pleased. THE CLERK OF THE HOUSE Mr. Alexander Coffroth. Coffroth looks towards Stevens, who does n't look at him. ALEXANDER COFFROTH -LRB- proud of himself and happy about the reward HE'LL GET : -RRB- I. Vote. Yes. Applause. Stevens still does n't look at Coffroth, but, tickled, he grins and nods.", "INT. GRANT'S TELEGRAPH ROOM AT CITY POINT - AFTERNOON Grant stands with Robert at the balcony rail, waiting. SERGEANT James Brooks... nay. On a nearby board, a large map has been tacked backwards ; on its reverse side, the count is being scrawled by an officer, who marks off the votes in quintiles in columns marked YEA and NAY. SERGEANT AT ARMS Josiah Grinnell... yea. Meyer Straus...", "INT. THE HOUSE CHAMBER AND BALCONY - AFTERNOON STRAUS rises. MEYER STRAUS Nay. THE CLERK OF THE HOUSE Mr. Joseph Marstern? JOSEPH MARSTERN Nay. THE CLERK OF THE HOUSE Mr. Chilton A. Elliot? CHILTON A. ELLIOT No! THE CLERK OF THE HOUSE Mr. Daniel G. Stuart? DANIEL G. STUART I vote yes. Then, in a sequence of rapid cuts : THE CLERK OF THE HOUSE Mr. Howard Guilefoyle. HOWARD GUILEFOYLE Yea. THE CLERK OF THE HOUSE John F. McKenzie. JOHN F. MCKENZIE Yea. THE CLERK OF THE HOUSE Andrew E. Fink. ANDREW E. FINK Nay. THE CLERK OF THE HOUSE Mr. John A. Kassim. JOHN A. KASSIM Yea. THE CLERK OF THE HOUSE Mr. Hanready. AVON HANREADY Nay. THE CLERK OF THE HOUSE And Mr. Rufus Warren? RUFUS WARREN Yea.", "INT. LINCOLN'S OFFICE, THE WHITE HOUSE - AFTERNOON Tad is on Lincoln's lap. They're examining a book, the pages of which feature illustrations comparing the varieties of species of insects, zebras, finches.", "INT. THE HOUSE CHAMBER AND BALCONY - AFTERNOON The room is quiet and tense. THE CLERK OF THE HOUSE The roll call concludes, voting is completed, now - SCHUYLER COLFAX Mr. Clerk, please call my name, I want to cast a vote. GEORGE PENDLETON I object! The Speaker does n't vote! SCHUYLER COLFAX The Speaker may vote if he so chooses. GEORGE PENDLETON It is highly unusual, sir - SCHUYLER COLFAX This is n't usual, Mr. Pendleton, this is history. THE CLERK OF THE HOUSE How does Mr. Schuyler Colfax vote? SCHUYLER COLFAX -LRB- a look of surprise that this needs to be asked, then, stating the OBVIOUS : -RRB- Aye, of course. Laughter in the chamber. The Clerk tallies the vote, then passes the recorded vote to the Speaker. There's absolute silence. In the balcony, Mary checks her own tally, not quite believing it. SCHUYLER COLFAX -LRB- CONT'D -RRB- The final vote : eight absent or not voting, fifty six votes against, one hundred nineteen votes for. With a margin of two votes -", "INT. LINCOLN'S OFFICE, THE WHITE HOUSE - AFTERNOON Lincoln stands, waiting. The only sound is the ticking of the clock. And then the ticking is slowly drowned out as bells begin to peal throughout the city. Lincoln raises the window as Tad rushes to him. The bells are joined by a cannonade. The sound of jubilation fills his office. Lincoln turns from the window to Tad, who stares out eagerly, seeking out the source of the noise. Lincoln puts his hand on Tad's head. He looks down at his son, silent.", "INT. THE HOUSE CHAMBER, THE CAPITOL - LATE AFTERNOON Representatives throw papers in the air, embrace, weep, shout, dance, climb on desks. In the balcony, Mary stands slowly, beyond tears or joy ; Mrs. Keckley stands with her, smiling, crying. Preston Blair applauds vigorously. The black visitors join the general exultation, overwhelmed, some praying, others embracing and weeping. Latham's, Schell's and Bilbo's seats are empty ; they've gone. Ashley, grinning from ear to ear, tears streaming down his face, is hoisted up on shoulders and marched around the room, as on the floor and in the balcony, people start singing `` The Battle Cry of Freedom.'' Pendleton, with the face of someone who's seen his world collapse into ruin, walks straight at Yeaman, who's listening to the singing, deeply moved, his face full of wonder. Pendleton turns, without a word, and leaves the House. Yeaman laughs, and loudly joins in singing. Stevens clumps over to the Clerk of the House, who is placing his tallies and the official copy of the amendment bill in a folio. He looks up. THE CLERK OF THE HOUSE Congratulations, Mr. Chairman. THADDEUS STEVENS The bill, Mr. McPherson, may I...? The Clerk hands the bill to Stevens, who folds it and pockets it. THE CLERK OF THE HOUSE That's... That's the official bill. THADDEUS STEVENS I'll return it in the morning. Creased, but unharmed.", "EXT. A STREET, WASHINGTON - DUSK Celebrating crowds move towards the Mall, singing, carrying placards proclaiming the passage of the amendment. Thaddeus Stevens is hobbling in the opposite direction, making difficult headway against the crowd, pushed and shoved, unrecognized ; he shoves back, his ferocious scowl utterly at odds with the prevailing festive mood. He reaches a modest house, unlocks the door and steps inside.", "INT. THADDEUS STEVENS'S HOUSE - NIGHT Stevens is met at the door by LYDIA SMITH, a black woman in her fifties. As she helps him off with his coat, he takes a piece of paper from his pocket. THADDEUS STEVENS A gift for you. She takes it. THADDEUS STEVENS -LRB- CONT'D -RRB- The greatest measure of the Nineteenth Century. Passed by corruption, aided and abetted by the purest man in America.", "INT. THE BEDROOM IN THADDEUS STEVENS'S HOUSE - NIGHT Stevens, in his nightgown, takes off his wig. He's bald. He lies down in bed. Mrs. Smith is in bed already beside him. She's holding the paper he gave her. THADDEUS STEVENS I wish you'd been present. LYDIA SMITH I wish I'd been. THADDEUS STEVENS It was a spectacle. LYDIA SMITH You ca n't bring your housekeeper to the House. I wo n't give them gossip. -LRB- THE PAPER -RRB- This is enough. This is... It's more than enough for now. They kiss. He lies back. He grabs her hand. THADDEUS STEVENS Read it to me again, my love. LYDIA SMITH `` PROPOSED -'' THADDEUS STEVENS And adopted. LYDIA SMITH Adopted. `` An Amendment to the Constitution of the United States. Section One : Neither slavery nor involuntary servitude, except as a punishment for crime whereof the party shall have been duly convicted, shall exist within the United States, or any place subject to their jurisdiction.'' THADDEUS STEVENS SECTION TWO : LYDIA SMITH `` Congress shall have power to enforce this amendment by appropriate legislation.'' Thaddeus Stevens grins, nods, thinking, eyes sparkling.", "INT./EXT. THE DOCK AT FORTRESS MONROE, HAMPTON ROADS, VIRGINIA - LATE AFTERNOON Sailors cheer Lincoln's arrival. Lincoln walks across the gangway. Seward greets him amidst the cheers.", "INT. THE SALOON ON BOARD THE RIVER QUEEN, HAMPTON ROADS, VIRGINIA - DAY Lincoln, Seward and the commissioners are seated. Seward looks concerned at Lincoln's fatigue. ALEXANDER STEPHENS Let me be blunt. Will the southern states resume their former position in the Union speedily enough to enable us to block ratification of the Thirteenth Amendment? LINCOLN I'd like peace immediately. ALEXANDER STEPHENS Yes, and...? LINCOLN I'd like your states restored to their practical relations to the Union immediately. Silence. ALEXANDER STEPHENS If this could be given me in writing, as Vice President of the Confederacy, I'd bring that document with celerity to Jefferson Davis. SEWARD Surrender and we can discuss reconstruction. ALEXANDER STEPHENS Surrender wo n't be thought of unless you've assured us, in writing, that we'll be readmitted in time to block this amendment. R.M.T. HUNTER This is the arrogant demand of a conqueror for a humiliating, ABJECT - SEWARD You'll not be conquered people, Mr. Hunter. You will be citizens, returned to the laws and the guarantees of rights of the Constitution. ALEXANDER STEPHENS Which now extinguishes slavery. And with it our economy. All our laws will be determined by a Congress of vengeful Yankees, all our rights'll be subject to a Supreme Court benched by Black Republican radicals. All our traditions will be obliterated. We wo n't know ourselves anymore. LINCOLN -LRB- a nod, then : -RRB- We ai n't here to discuss reconstruction, we have no legal basis for that discussion. But I do n't want to deal falsely. The Northern states'll ratify, most of ` em. As I figure, it remains for two of the Southern states to do the same, even after all are readmitted. And I been working on that. ALEXANDER STEPHENS Tennessee and Louisiana. LINCOLN Arkansas too, most likely. It'll be ratified. Slavery, sir, it's done. Hunter storms out of the cabin. LINCOLN -LRB- CONT'D -RRB- If we submit ourselves to law, Alex, even submit to losing freedoms - the freedom to oppress, for instance - we may discover other freedoms previously unknown to us. Had you kept faith with democratic process, as frustrating as that can be - JOHN A. CAMPBELL Come sir, spare us at least these pieties. Did you defeat us with ballots? ALEXANDER STEPHENS How've you held your Union together? Through democracy? How many hundreds of thousands have died during your administration? Your Union, sir, is bonded in cannonfire and death. LINCOLN It may be you're right. But say all we done is show the world that democracy is n't chaos, that there is a great invisible strength in a people's union? Say we've shown that a people can endure awful sacrifice and yet cohere? Might n't that save at least the idea of democracy, to aspire to? Eventually, to become worthy of? At all rates, whatever may be proven by blood and sacrifice must've been proved by now. Shall we stop this bleeding?", "EXT. A CITY ON A SOUTHERN RIVER - NIGHT Like a vision of apocalypse, a city on the banks of a broad river is being consumed in a hellish fire, as artillery shells rend the dark sky asunder, raining down destruction.", "EXT. SIEGE LINES BEFORE PETERSBURG, VIRGINIA - MORNING The morning is grey, and a dense fog covers a vast field. Lincoln, his stovepipe hat atop his head, is mounted on a horse on a rise at one end of the field. Behind him, several UNION OFFICERS are also mounted. It's chilly ; the breath of the men and the horses is visible. TITLE : OUTSIDE PETERSBURG, VIRGINIA APRIL 3 Lincoln flicks the reins of his horse, which starts down the slope. The officers follow behind him. No one speaks. Lincoln rides slowly, his focus on the ground before him. Debris is scattered all around him, along with the bodies of fallen soldiers. He looks up and across the battlefield ; a terrible battle has concluded a couple of hours ago. Looking down, as he rides, he sees soldiers killed by artillery fire, whose bodies lie twisted, burned, headless, limbless, torn in two, blown out of their clothing or charred too badly to tell. He sees soldiers killed by rifle and bayonet, whose corpses are intact. At the beginning of his ride, all the dead and wounded are in Union blue, the casualties of Confederate cannon fire, felled as the Union army, about six hours earlier, began its final, successful drive to break through Confederate lines. As Lincoln and his escorts move across the battlefield, grey and blue uniformed corpses and badly wounded men intermingle. He reaches the other side of the field, passing a Confederate flag to enter the now-ruined town of Petersburg.", "EXT. THE THOMAS WALLACE HOUSE, GRANT'S TEMPORARY HEADQUARTERS, ON MARKET STREET, PETERSBURG - MORNING Grant, smoking his cigar, his uniform dusty and rumpled, is sitting on the small porch. He stares piercingly at Lincoln, in a rocker next to him, watching his troops pass by as they move in to secure the conquered town. Lincoln closes his eyes. He has grown older, the skin around his eyes is cobwebbed with fine creases, and his hair's thinner, softer, suffused with grey. His brow has grown smoother. LINCOLN Once he surrenders, send his boys back to their homes, their farms, their shops. GRANT Yes sir, as we discussed. LINCOLN Liberality all around. No punishment. I do n't want that. And the leaders - Jeff and the rest of ` em - if they escape, leave the country while my back's turned, that would n't upset me none. When peace comes it must n't just be hangings. GRANT By outward appearance, you're ten years older than you were a year ago. LINCOLN Some weariness has bit at my bones. -LRB- BEAT -RRB- I never seen the like of it before. What I seen today. Never seen the like of it before. GRANT You always knew that, what this was going to be. Intimate, and ugly. You must've needed to see it close when you decided to come down here. LINCOLN We've made it possible for one another to do terrible things. GRANT And we've won the war. Now you have to lead us out of it.", "EXT. THE MCLEAN HOUSE, APPOMATTOX COURT HOUSE, VIRGINIA - AFTERNOON OFFICERS OF THE CONFEDERATE AND UNION ARMY stand around in the afternoon sun. Everyone's solemn, even stunned by what's just happened. No one is speaking. TITLE : APPOMATTOX COURTHOUSE, VIRGINIA APRIL 9, 1865 ROBERT E. LEE comes down the steps of the McLean house, as a CONFEDERATE OFFICER brings his horse to him. His face is blank. Lee mounts his waiting horse. Lee should leave, having just surrendered to Grant inside ; but he's immobile. Some of the officers of both sides look at Lee, some ca n't bear it. Lee tries out various expressions : pride, defiance, blankness. Grant stomps onto the porch of the house, followed by his staff. Among them is Robert Lincoln. Grant, lost in thought, stops, taken aback, realizing that Lee's still there, astride his horse. Everyone looks at the two men who look awkwardly at one another. Then Grant removes his famous slouch hat. Everyone freezes for a moment, and then one by one, the officers of the Union Army remove their hats. Lee is visibly moved by this gesture of respect. He raises his hat, briefly, only an inch from his head. Then, pulling slightly on his horse's reins, he rides away.", "EXT. A BUGGY RIDE THROUGH WASHINGTON - AFTERNOON A beautiful spring afternoon. Lincoln and Mary are riding in the buggy, driven by the old soldier. MARY You've an itch to travel? LINCOLN I'd like that. To the West by rail. MARY -LRB- shaking her head no : -RRB- Overseas. LINCOLN The Holy Land. MARY -LRB- a laugh, then : -RRB- Awfully pious for a man who takes his wife out buggy-riding on Good Friday. LINCOLN Jerusalem. Where David and Solomon walked. I dream of walking in that ancient city. She seems sadder. They ride in silence. MARY All anyone will remember of me is I was crazy and I ruined your happiness. LINCOLN Anyone thinks that does n't understand, Molly. She nods ; then, tenderly : MARY When they look at you, at what it cost to live at the heart of this, they'll wonder at it. They'll wonder at you. They should. But they should also look at the wretched woman by your side, if they want to understand what this was truly like. For an ordinary person. For anyone other than you. Lincoln laughs, takes her hand. She leans against him. LINCOLN We must try to be happier. We must. Both of us. We've been so miserable for so long.", "INT. LINCOLN'S OFFICE - EVENING Lincoln's in the shirtsleeves and vest of his formal evening wear, his hair brushed down and plastered in place. William Slade is working the tie and gloves. James Ashley and Schuyler Colfax stand with him, holding glasses of scotch whiskey. Slade waits with Lincoln's coat, clothes brush, the stovepipe hat and gloves on the table. John Hay tears down several of the military maps, heavily marked, from the bookcases where they're tacked. He drops these on the floor. As they watch Hay : LINCOLN I did say some colored men, the intelligent, the educated, and veterans, I qualified it. JAMES ASHLEY Mr. Stevens is furious, he wants to know why you qualified it - SCHUYLER COLFAX No one heard the intelligent or the educated part. All they heard was the first time any president has ever made mention of Negro voting. LINCOLN Still, I wish I'd mentioned it in a better speech. JAMES ASHLEY Mr. Stevens also wants to know why you did n't make a better speech. They laugh. There's a knock on the door ; Nicolay enters. JOHN NICOLAY -LRB- TO LINCOLN : -RRB- Mrs. Lincoln's waiting in the carriage. She wants me to remind you of the hour, and that you'll have to pick up Miss Harris and Major Rathbone. Lincoln nods. Slade enters with Lincoln's hat, coat, and gloves. Lincoln begins to dress hurriedly. LINCOLN Am I in trouble? WILLIAM SLADE No, sir. LINCOLN Thank you, Mr. Slade. Slade hands Lincoln his gloves as Colfax and Ashley drain their drinks and rise. LINCOLN -LRB- CONT'D -RRB- I suppose it's time to go, though I would rather stay. He leaves the room.", "INT. AN EMPTY CORRIDOR, SECOND FLOOR OF THE WHITE HOUSE - CONTINUOUS On the way out, Lincoln tosses the gloves on a side table. Slade grabs them, considers chasing after Lincoln, then thinks better of it. He walks back towards the office. Then some strange feeling stops him, and he turns around again. Lincoln is walking away, past the petitioners' chairs, down the empty hallway. Slade watches till Lincoln turns the corner, and he's gone.", "INT. A THEATER - NIGHT The theater is adorned with patriotic bunting. Onstage, a Caliph's palace. A YOUNG MAN duels with scimitars against a huge, hideous AFRIT. A YOUNG WOMAN in chains cowers in distress. The young man gymnastically avoids being killed, then plunges his scimitar into the afrit's heart. The demon screams and topples to the ground. The audience gasps as a flame-colored, bejewelled bird rises up from the dead afrit's heart. The audience applauds. In the center box, Tad Lincoln is joining in, as is his companion for the evening, Tom Pendel. Onstage, the bird flies off, the young man is freeing the young woman, when the scene is halted by the red curtain lowering, surprising actors and audience. The music dies, the gas lights in the house are being raised as the owner of the theater, LEONARD GROVER, steps out before the curtain and walks to the center of the stage, pale and badly shaken. In the box, Tom Pendel glances quickly at Tad, who's fixed on the stage, eyes open, alarmed. The audience knows something's wrong. Their rising murmur of concern dies immediately when Grover raises his hands. LEONARD GROVER -LRB- VOICE SHAKING : -RRB- The President has been shot. There are screams of horror from the audience ; people leap from their seats. LEONARD GROVER -LRB- CONT'D -RRB- The President has been shot at Ford's Theater! The theater is a scene of complete pandemonium. People cry, jam the aisles, call to each other across rows of seats, shout questions at Grover, who's calling for calm, inaudible in the uproar. Tom Pendel is frozen in shock, then turns to draw Tad close to him. Tad pulls away and begins shrieking, clinging to the railing so tightly that Pendel ca n't pry him loose. Tad ca n't stop screaming, his eyes wide open, seeing nothing.", "INT. THE BEDROOM IN PETERSON'S BOARDING HOUSE - MORNING Mary is gently escorted into a tiny room. A small, hissing gas jet in the wall bathes the scene with green light. Stanton, Speed, GENERAL HENRY HALLECK and a MINISTER, are standing. Welles sits by the head of the bed. DR. CHARLES LEALE, a young army surgeon, and DR. ROBERT STONE, the Lincoln family's doctor, stand uselessly by the foot of the bed, while DR. JOSEPH BARNES, the Surgeon General, listens to Lincoln's faint breathing. Robert, in uniform, red-eyed, pale as a ghost, sits at the bedside and stares at his father, barely breathing. Lincoln lies in a crooked diagonal, his knees bent, on a bed he's too tall to fit properly, clad only in a nightshirt. Barnes moves his head closer, then closer. The room is utterly still. Barnes takes out his watch, looks at the time, softly clears his throat. DR. BARNES It's 7:22 in the morning, Saturday the 15th of April. It's all over. The President is no more. No one talks, or moves. Stanton looks at Lincoln's body. STANTON Now he belongs to the ages. Robert begins to weep. LINCOLN -LRB- V.O. -RRB- Fondly do we hope, fervently do we pray, that this mighty scourge of war may speedily pass away.", "EXT. THE EAST PORTICO OF THE CAPITOL - NOON Lincoln, wearing spectacles, stands at a podium before the Capitol Dome, still under scaffolding, under cloudy skies. He reads from the two pages. LINCOLN Yet, if God wills that it continue until all the wealth piled by the bondman's two hundred and fifty years of unrequited toil shall be sunk, and until every drop of blood drawn with the lash shall be paid by another drawn with the sword, as was said three thousand years ago, so still it must be said `` the judgments of the Lord are true and righteous altogether.'' He glances at his audience : 40,000 people from all over the country, wounded soldiers, civilians in black. And for the first time, in the crowd, not at its edges, hundreds of African Americans, civilians and soldiers. LINCOLN -LRB- CONT'D -RRB- With malice toward none, with charity for all, with firmness in the right as God gives us to see the right, let us strive on to finish the work we are in, to bind up the nation's wounds, to care for him who shall have borne the battle, and for his widow and his orphan, to do all which may achieve and cherish a just and a lasting peace among ourselves and with all nations. FADE TO BLACK. THE END"], "labels": [0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0, 1.0, 1.0], "summary": "In January 1865, United States President Abraham Lincoln expects the Civil War to end soon, with the defeat of the Confederate States. He is concerned that his 1863 Emancipation Proclamation may be discarded by the courts after the war and that the proposed Thirteenth Amendment will be defeated by the returning slave states. He feels it imperative to pass the amendment beforehand, to remove any possibility that freed slaves might be re-enslaved. The Radical Republicans fear the amendment will be defeated by some who wish to delay its passage; support from Republicans in the border states is not yet assured. The amendment also requires the support of several Democratic congressmen to pass. With dozens of Democrats being lame ducks after losing their re-election campaigns in the fall of 1864, some of Lincoln's advisors believe he should wait for a new Republican-heavy Congress. Lincoln remains adamant about having the amendment in place before the war is concluded and the southern states are re-admitted. Lincoln's hopes rely upon Francis Preston Blair, a founder of the Republican Party whose influence could win over members of the border state conservative faction. With Union victory in the Civil War highly likely but not yet secured, and with two sons serving in the Union Army, Blair is keen to end hostilities quickly before the spring thaw arrives and the armies march again. Therefore, in return for his support, Blair insists that Lincoln allow him to engage the Confederate government in peace negotiations. However, Lincoln knows that significant support for the amendment comes from Radical Republicans, for whom negotiated peace is unacceptable. Unable to proceed without Blair's support, Lincoln reluctantly authorizes Blair's mission. In the meantime, Lincoln and Secretary of State William Seward work to secure Democratic votes for the amendment. Lincoln suggests they concentrate on the lame-duck Democrats, as they will feel freer to vote as they choose and soon need employment; Lincoln will have many federal jobs to fill as he begins his second term. Though Lincoln and Seward are unwilling to offer monetary bribes to the Democrats, they authorize agents to contact Democratic congressmen with offers of federal jobs in exchange for their support. Meanwhile, Lincoln's son, Robert, returns from law school and announces his intention to discontinue his studies and enlist in the Union Army, hoping to earn a measure of honor and respect outside of his father's shadow before the war's end. Lincoln reluctantly secures an officer's commission for Robert. The First Lady is aghast, fearing that he will be killed. She furiously presses her husband to pass the amendment and end the war, promising woe upon him if he should fail. At a critical moment in the debate in the House of Representatives, racial-equality advocate Thaddeus Stevens agrees to moderate his position and argue that the amendment represents only legal equality, not a declaration of actual equality. Meanwhile, Confederate envoys are ready to meet with Lincoln to discuss terms for peace, but he instructs they be kept out of Washington as the amendment approaches a vote on the House floor. Rumor of their mission circulates, prompting both Democrats and conservative Republicans to advocate postponing the vote. In a carefully worded statement, Lincoln denies there are envoys in Washington, and the vote proceeds, passing by a margin of just two votes. Black visitors to the gallery celebrate, and Stevens returns home to his \"housekeeper\" and lover, a black woman. When Lincoln meets with the Confederates, he tells them slavery cannot be restored, as the North is united for ratification of the amendment, and several of the southern states' reconstructed legislatures would also vote to ratify. As a result, the peace negotiations fail, and the war continues. On April 3, Lincoln visits the battlefield at Petersburg, Virginia, where he exchanges a few words with Lieutenant General Ulysses S. Grant. On April 9, Grant receives General Robert E. Lee's surrender at Appomattox Courthouse. On April 14, a cheerful Lincoln expresses to his wife that they will be happy in the future and later meets members of his cabinet to discuss future measures to enfranchise blacks, before leaving for Ford's Theatre. That night, while Lincoln's son Tad is watching Aladdin and the Wonderful Lamp at Grover's Theatre, the manager suddenly stops the play to announce that the President has been shot. The next morning, at the Petersen House, Lincoln dies with a peaceful expression across his face; in a flashback, Lincoln finishes his second inaugural address on March 4.", "name": "Lincoln"}
{"scenes": ["Bamboozled BLACK SCREEN We HEAR the voice of MALCOLM X. MALCOLM X -LRB- V.O. -RRB- You've been hoodwinked. You've been had. You've been took. You've been led astray, run amok. You've been bamboozled. His followers ROAR. `` BAMBOOZLED'' WHITE LETTERS ON BLACK WE HEAR the VOICE of PIERRE DELACROIX. DELACROIX -LRB- V.O. -RRB- Satire. 1a. A literary work in which human vice or folly is ridiculed or attacked scornfully. B. The branch of literature that composes such work. 2. Irony, derision or caustic wit used to attack or expose folly, vice or stupidity.", "INT. APARTMENT - MORNING WE are in the living quarters of PIERRE DELACROIX. The windows overlook the Brooklyn Promenade and the majestic lower Manhattan skyline. DELACROIX -LRB- V.O. -RRB- Bonjour, my name is Pierre Delacroix. I'm a television writer, also a showrunner, a creative person. We see a tall figure move in and around the space. DELACROIX -LRB- V.O. ; CONT'D. -RRB- I'm one of those people responsible for what you view on your idiot box. CLOSE ON Monogrammed cuff sleeve - the initials P.D. DELACROIX -LRB- V.O. ; CONT'D. -RRB- The problem is not enough of you have been watching. CLOSE ON Monogrammed shirt pocket - the initials P.D. DELACROIX -LRB- V.O. ; CONT'D. -RRB- With the onslaught of the internet, video and interactive games, nine hundred channels to choose from and whatnot, our valued audience has dramatically eroded. CLOSE ON Razor cuts a path through a white foam on a black face. DELACROIX -LRB- V.O. ; CONT'D. -RRB- To put it in much more simple terms. Delacroix YELLS. DELACROIX -LRB- V.O. ; CONT'D. -RRB- Like rats fleeing a sinking ship. CLOSE ON The handsome face of Pierre Delacroix. DELACROIX -LRB- V.O. ; CONT'D. -RRB- People tuning out by the millions. Delacroix turns to the CAMERA and addresses US. DELACROIX -LRB- CONT'D. -RRB- Which is not good.", "EXT. TENEMENT - LOWER EAST SIDE - MORNING The tenement building is boarded up, condemned, bombed out, but a home, a shelter nonetheless.", "INT. TENEMENT - MORNING People to our surprise live in here. It is a commune. The homeless, people who have been left out, forgot about, written off, and do n't matter. The fringes of society. CHEEBA, a skinny Puerto Rican male, tries to wake a slumbering body under a mass of old newspapers. CHEEBA Yo, let's get to it. You do n't dance, we do n't eat. Simple as that. The mass begins to move. CHEEBA -LRB- CONT'D. -RRB- That's right. We slow. We blow. We snooze. We lose.", "INT. CNS TOWER - MORNING MANRAY, a young African - American dread - lock male, and Cheeba are getting set up in front of the entrance to the CONTINENTAL NETWORK SYSTEM building. CNS is one of the fledgling, upstart new networks, trying to battle with ABC, NBC, CBS, FOX, WB, and UPN. ANGLE ON Entrance. Cheeba is putting the portable floor down on the sidewalk. Manray sits on the curb, taking the sneakers off and putting on his tap shoes ; bottle caps are on the soles of the shoes instead of real taps. CHEEBA Good morning, ladies and gentlemen. I know everybody is in a hurry to work, ready to begin another day in this rat race. But do n't sleep us. I'm Cheeba and I introduce to you the world renown MANRAY, the man with the educated feet. Manray takes a small bow. A few, not many, people have stopped to look. CHEEBA -LRB- CONT'D. -RRB- As we continue our world wind tour, we would like to give you a little somethin', somethin' before you go off to make that money. I give you Manray. CLOSE ON Manray, who starts to do his thing, and when he starts doing his thing attention must be paid. ANGLE ON Crowd, as Manray gets busy, people gather to watch. ANGLE ON Delacroix, he is about to walk into the CNS building but stops to check out Manray. CLOSE ON Manray, he pounds out some intricate steps and freezes at the end of the move. ANGLE ON Crowd, who applaud as Cheeba unfolds a brown shopping bag and holds it out in front of them. CHEEBA -LRB- CONT'D. -RRB- Thank you very much but please do n't go without giving us some cheddar, cheese, money. We prefer two's than fews. People are digging into their pockets. CHEEBA -LRB- CONT'D. -RRB- I would like to add that both of us are homeless. Not that it means anything. A WOMAN is about to dump some change in the brown paper bag. CHEEBA -LRB- CONT'D. -RRB- I said homeless. Ladies and gentlemen. Senorita, do you know what that means? Cheeba looks at her and she quickly pulls out a 5 - spot from her purse and drops it into the bag. CHEEBA -LRB- CONT'D. -RRB- Muchos gracias. Cheeba works his way over to Delacroix. DELACROIX Good morning, Cheeba. CHEEBA Good morning to you, Mr. Delapot. DELACROIX De - la - croix. CHEEBA Y' know what I mean. Got a gig yet for Manray and I yet? DELACROIX Not yet. Delacroix hands Cheeba a ten dollar bill. CHEEBA Gracias. Delacroix moves towards the revolving doors of CNS. DELACROIX Manray, Sloan says you're too talented to be dancing on the street. MANRAY Well do something about it.", "INT. ELEVATOR - MORNING Delacroix is the lone person of color in the elevator.", "INT. CNS - MORNING Delacroix gets off the elevator, takes out his ID, slips it through the scanner and enters the reception area of CNS. DELACROIX Good morning, Marie. MARIE It's not gon na be a good morning for you if you do n't get into Dunwitty's staff meeting. DELACROIX What staff meeting? MARIE The staff meeting that started 30 minutes ago.", "INT. CONFERENCE ROOM - MORNING Delacroix walks, or better yet, slithers into the staff meeting that is already in progress. TWENTY WRITERS sit around an oval table, all are Caucasian except Delacroix, again he's the lone person of color, the `` fly in the buttermilk.'' DUNWITTY, Senior V.P. of the Entertainment Division of CNS looks at Delacroix and waits for him to sit down before he continues. DUNWITTY Monsieur Delacroix, this very important meeting commenced. Dunwitty looks at his Rolex Chronograph - Daytona Model. DUNWITTY -LRB- CONT'D. -RRB- exactly thirty - two minutes ago. DUNWITTY I'm sorry I'm late. DUNWITTY Do you know how much information can be dispensed in one minute alone? DELACROIX I did n't find out about this very important staff meeting until. Delacroix looks at his Jaeger - LeCoultre. DELACROIX -LRB- CONT'D. -RRB- Four minutes ago. DUNWITTY So are you telling me everyone knew about this get - together except you? DELACROIX I was n't told about this until Marie informed me as soon as I got off the elevator. All eyes are on Delacroix and he feels it. DUNWITTY People, you can attempt to pull a Rodman like our friend Delacroix, but I guarantee you'll be sent packing just like him. Dunwitty via remote turns off the lights and turns on an overhead projector. DUNWITTY -LRB- CONT'D. -RRB- These are the standings. Read'em and weep. As you can plainly see the Continental Network System is languishing. CLOSE ON Ratings charts. DUNWITTY -LRB- O.S. ; CONT'D. -RRB- Look at'em people. We are BOOTY, CA CA. We are DOO - DOO. Doo - doo on a stick, if you will. CLOSE ON Dunwitty. DUNWITTY -LRB- CONT'D. -RRB- I do not like to be the laughing stock of the broadcast industry. I have pride and people, you better start getting some too. These numbers have to go up. Dunwitty turns on the lights. JOAN, one of the writers, raises her hand. DUNWITTY -LRB- CONT'D. -RRB- Question? JOAN So what do you want us to do? DUNWITTY What I want everyone to do is write some material that is FUNNY. The junk you've been writing is about as funny as a dead baby. It's not funny, it's not new. It's not sexy. It, it, it. CLOSE ON Fish. FISH Sucks. ANGLE ON Conference room. DUNWITTY SUCKS. Thank you, Fish. This meeting is over but I want everyone to seriously think about what I said and how you can deliver. People scurry out. DUNWITTY -LRB- CONT'D. -RRB- Monsieur Delacroix, in my office now.", "INT. HALLWAY - MORNING The writers, beat down, come out of the conference room and move past SLOAN HOPKINS, a highly attractive African - American `` sistuh.'' Delacroix sees Sloan and holds her arm as they walk. He talks under his breath. SLOAN How was it? DELACROIX Why did n't you tell me about this staff meeting? SLOAN Nobody told me anything. DELACROIX What good are you if you do n't tell me stuff like this? SLOAN It was n't my fault. If I would have known, I would have known.", "INT. DUNWITTY'S OFFICE - MORNING Delacroix enters his corner office, which has huge action photos of ALI, JORDAN, GRIFFEY, TYSON, AARON and JABBAR on his walls, it is also decorated with African art throughout. ANGLE ON Office. Dunwitty looks at the floor - to - ceiling windows overlooking mid - town Manhattan. DUNWITTY Do you know what C.P. Time is? DELACROIX C.P. Time is Colored People's Time. The stereotypical belief that Negroes are always late. That Negroes have no sense of time - time except when it comes to music or dance. They both laugh. DUNWITTY Let's sit down over there. Dunwitty and Delacroix sit on the sofa. DUNWITTY -LRB- CONT'D. -RRB- I'm sorry about my blowup but I have to have a whipping boy every meeting. DELACROIX I understand. But again, in all honesty I was not informed. DUNWITTY Forget it. I believe you're my most creative person I've got on staff. You're hip. You know what's happening. I got some corny white boys and girls writing for me. Delacroix does n't join him in his laughter because he does n't know how to take that comment or where Dunwitty is headed with it. DUNWITTY -LRB- CONT'D. -RRB- I understand Black culture. I grew up around black people all my life. If the truth be told I probably know `` niggers'' better than you, Monsieur Delacroix. Please do n't get offended by my use of the quote - unquote N word. I got a black wife and three bi - racial children, so I feel I have a right to use that word. I do n't give a damn what Spike says, Tarantino is right. Nigger is just a word. If Dirty Ole Bastard can use it every other word so can I. DELACROIX I would prefer you not use that word in my presence. DUNWITTY NIGGER. NIGGER. NIGGER. NIGGER. Delacroix pounces on top of Dunwitty like a cat on a mouse and gives him a quick BROOKLYN BEAT DOWN. DELACROIX Say it again. C'mon, say it again. CLOSE ON Dunwitty. He's a bloody pulp. CLOSE ON Delacroix. He straightens his tie. DELACROIX -LRB- CONT'D. -RRB- Who's a nigger now? POW. This is a fantasy in Delacroix's mind. We go BACK TO REALITY. Everything's how we left it. DUNWITTY The material you've been creating is too white bread. White people with black faces. The Huxtable's, Cosby, revolutionary. But that's dead. We ca n't go down that road again. DELACROIX I do n't agree. The Negro middle class does exist, and it's rich material for a dramatic series or sitcom. DUNWITTY I'm telling you it's not. He goes to his desk, picks up Delacroix's scripts and starts throwing them one by one against the window. DUNWITTY -LRB- CONT'D. -RRB- The middle class black family moves into a white suburban enclave. The middle class black family moves into a small Southern town that is run by the KKK. The middle class single black father raises his teenage daughter. The middle class single black father raises his teenage daughter. The middle class single black mother raises her teenage son. And so on and so forth. It's too clean, too antiseptic. DELACROIX to white? I still feel all of my scripts would make good shows. DUNWITTY Delacroix, wake up, brother man. The reason why they did n't get picked up was because nobody - and I mean NOBODY - niggers and crackers alike wants to see that junk. DELACROIX I've never been given a fair shot. DUNWITTY You got your head stuck up your ass with your Harvard education and your pretentious ways. Brother man, I'm blacker than you. I'm keepin' it real and you're frontin', trying to be white. DELACROIX I'm an oreo, a sell out? Because I do n't aspire to do HOMEBOYS FROM OUT OF SPACE, SECRET DIARY OF DESMOND PFEIFFER, A PJ's or some as you might put it, some `` nigger'' show? I'm a Tom? I'm whiter than white and you're blacker than black? Is that what you think? DUNWITTY That's exactly what I think. I want you to create something that people want to see. Let's be honest, the majority of the people in the country are deaf, dumb and blind and I'm including 35 million African - Americans. You know and I know `` niggers'' set the trend, set the styles. This is a golden opportunity now. These idiots have to be led to the water. DELACROIX I'm not sure if I can deliver what you want. DUNWITTY You will or you'll be back at BET so quick you'll never know what hit you. I need a mid - season replacement and pronto. It will be on the fast track. DELACROIX What is it you want from me? Some plantation follies? Some sitcom that takes place on a watermelon patch? Some show that follows four nigger generations of junkies and crackheads? You want me to go back to the ante bellum days? DUNWITTY Yes! Yes! Yes! I want a show that will make headlines, that will have millions and millions of households tuned in, glued to their televisions every week. I want advertisers dying to buy on this show. I'm gon na squeeze this show out of you if it kills you.", "EXT. TENEMENT - NIGHT WE SEE a street lamp, and coming out of it are some wires. WE FOLLOW the wires into a tenement building. The residents have tapped into a street light courtesy of CON EDISON for power.", "INT. APARTMENT - NIGHT Cheeba stands in front of the makeshift kitchen, which includes a hot plate, and prepares a gourmet meal of a tasty Spanish dish. The clean apartment is furnished with stuff people have thrown out that they picked up on the street. MANRAY I'm starvin' like Marvin. CHEEBA My world famous, famous world Arroz con pollo will be ready very soon. MANRAY Hurry up, I wan na watch HBO. CHEEBA Did we get our bill yet? They both laugh. MANRAY I guess that will come with the rent, gas, and Con Ed bills, too. CHEEBA Ahh, the luxuries of life. MANRAY Yo, check it. This is good and all that but one day soon I want to have much Benjamins so I can have a nice crib and pay all my bills. You hear me. CHEEBA Chill, I'm the brains behind this outfit. MANRAY And I'm the feet. CHEEBA Yo, you got ta show some patience. You want me to snap my fingers and presto chango - you're an overnight sensation. Son, there is no such thing. MANRAY I'm tired of waiting.", "INT. DELACROIX'S APARTMENT - NIGHT He sits in front of a large flat - screen television, watching the Yankee game and eating his takeout Chinese food. On top of the monitor, he has attached a sign that reads `` FEED THE IDIOT BOX.''", "INT. SLOAN'S STUDIO APARTMENT - NIGHT She sits in front of her television, hand on remote, flipping channels and eating takeout Chinese food.", "INT. CHEEBA AND MANRAY'S APARTMENT - NIGHT They both are devouring the chicken with rice, as they watch bootleg HBO.", "INT. DELACROIX'S APARTMENT - NIGHT Delacroix sits at his desk, a ream of white bond paper in front of him, a box of number - two pencils and an electric pencil sharpener. DELACROIX -LRB- V.O. -RRB- I was never good at performing under the gun. CLOSE Pencil after pencil gets inserted and sharpened to a knife like point. DELACROIX -LRB- V.O. ; CONT'D. -RRB- Well, this was n't a gun, it was a bazooka and it was pressed dead blank right against my dome. CLOSE ON Delacroix, staring at the blank ream of paper. It is very intimidating. CLOSE ON Monitor. Bernie Williams is at the plate for the New York Yankees. CLOSE ON Sign atop monitor. Again, it reads `` FEED THE IDIOT BOX.''", "INT. SLOAN'S STUDIO APARTMENT She too is blank. A screen saver bobs and weaves on her laptop.", "INT. DELACROIX'S APARTMENT Delacroix grabs a pencil and put it to paper. CLOSE ON Paper. He doodles.", "INT. TENEMENT BUILDING - NIGHT Manray screws out the bare light bulb which is the sole source of illumination and lays down onto his mattress on the floor.", "INT. SLOAN'S STUDIO APARTMENT Sloan closes her laptop and jumps into her bed.", "INT. DELACROIX'S APARTMENT Delacroix is already in the bed, the lights are out. CLOSE ON Delacroix, who's wide awake.", "INT. TENEMENT BUILDING - NIGHT Manray and Cheeba are both sound asleep. CLOSE ON Cheeba, he has a sheet pulled over his head. CLOSE ON Manray, who's sawing logs, snoring loudly. OFF - SCREEN, WE HEAR A RUCKUS, A BIG COMMOTION. VOICES yelling. Police sirens, cars and trucks. ANGLE ON Apartment. Cheeba and Manray run to the window and look out. THEIR POV The street is filled with police cars, vans and wagons. Helicopters hover overhead with their searchlights on the building. CHEEBA Oh snap! It's a raid! Cheeba and Manray jump into their cloths.", "EXT. TENEMENT BUILDING - NIGHT Cops in riot gear storm into the tenement. A police chief barks over a speaker system. POLICE CHIEF Please evacuate this building. All of you are illegal residents of this condemned building. Please leave immediately, by order of the Mayor of New York City, Rudolph Giuliani.", "INT. TENEMENT BUILDING - NIGHT Stairwell. It's bedlam. The hundreds of SQUATTERS who have been living here all making a bad dash trying to flee the NYPD as they `` bumrush the show.'' ANGLE ON Floor. Cheeba and Manray try to push against the crowd. CHEEBA Not this way. Out through the fire escape. The COPS are running up the staircase. People try to escape with as many of their belongings that they can hold. MANRAY My tap shoes.", "INT. DELACROIX'S APARTMENT DELACROIX EUREKA! He jumps out of bed.", "INT. SLOAN'S STUDIO APARTMENT SLOAN Oh my God! She too jumps out of bed.", "EXT. TENEMENT BUILDING It is a MADHOUSE, BEDLAM. It's PANDEMONIUM. The Squatters are being seized as soon as they come out of the tenement. Searchlights go back and forth, as the cops make their arrests and fill the `` Paddy'' wagons. ANGLE ON Street. The Squatters are like ROACHES in a dark kitchen at night, scrambling as the lights turn on. Do you remember those old `` RAID'' commercials. `` Let's scram, IT'S RAID!''", "INT. DELACROIX'S APARTMENT - NIGHT The phone rings. CUT TO SPLIT SCREEN CU OF DELACROIX AND SLOAN Delacroix picks it up. They yell in unison. DELACROIX Manray! SLOAN Manray! DELACROIX How did you know? SLOAN It hit me like a ton of bricks. DELACROIX How can this be? You and me at the same time, the exact same thought. It's scary. SLOAN The idea was out there in the universe. Now what?", "INT. TENEMENT BUILDING - NIGHT Cheeba and Manray run down the fire escape and just elude a group of cops. ANGLE ON Fence. They lay still as the Fuzz run past them. MANRAY We ran out without my shoes and the floor. I got ta get my stuff. What about our savings? CHEEBA Are you crazy? The joint is crawling with cops now. You wan na go to Rikers? Go to the hoosegow? Manray looks at his friend, he knows he is right, at least this time.", "EXT. CNS BUILDING - EARLY MORNING Delacroix and Sloan sip hot coffee as they stand in front of their office building. DELACROIX Manray was under our nose the whole time. SLOAN Do you know how you will use him? DELACROIX Not yet, but this thing will never get made. SLOAN You lost me. DELACROIX Dunwitty wants a Coon show. And that's what I'm going to give him, it's going to be so racist, so negative, he wo n't have the balls to put it on the air. Hence I'll prove my point. SLOAN What point is that? DELACROIX The point being that him, the networks do n't want Black people on television unless they are buffoons. SLOAN Sounds risky to me. DELACROIX You getting cold feet? SLOAN I'm in till the end. DELACROIX Good. I'm going to need your support. SLOAN Ca n't you just quit? Walk away? DELACROIX And lose out on my money? The only way I get paid is if I get fired. And that's what I intend to do.", "EXT. CNS BUILDING - NEW DAY It is pouring rain and Delacroix and Sloan huddle under an umbrella. DELACROIX -LRB- V.O. -RRB- Everything was going according to plan. I was working on the outline. Dunwitty was off my back for now. CLOSE ON Delacroix. DELACROIX -LRB- V.O. ; CONT'D. -RRB- But there was a catch. A big catch. CLOSE ON Sloan. DELACROIX -LRB- V.O. ; CONT'D. -RRB- Manray and Cheeba were nowhere to be found.", "EXT. GRAND CENTRAL STATION - DAY Manray and Cheeba are soaking wet. They stand together in a doorway, trying to stay out of the elements. ANGLE ON Street. They run in the downpour. DELACROIX -LRB- V.O. -RRB- It was like they had disappeared off the face of the earth. CLOSE ON Cheeba. DELACROIX -LRB- V.O. ; CONT'D. -RRB- I had no contact numbers, no address, no beeper. CLOSE ON Manray. DELACROIX -LRB- V.O. ; CONT'D. -RRB- No nuthin', no clues.", "EXT. CNS BUILDING - NEXT MORNING It is a sunny and pleasant morning. Again, Sloan and Delacroix hold vigil. SLOAN Maybe something happened to them. Maybe they're lying in an alley bleed to death. DELACROIX Manray better not be bleeding to death. I need him. After we're done he can do whatever he wants to do, until then, he's ours. SLOAN You're beginning to sound like Dunwitty.", "EXT. TENEMENT BUILDING - MORNING Manray and Cheeba stand across the street from their former residence. All of the doors and windows have been boarded up and two cops stand watch. They both look defeated, dirty and hungry.", "INT. CNS LOBBY - NEXT DAY Sloan gets off the elevator and sees a skirmish. TWO SECURITY GUARDS are trying to escort Manray and Cheeba out of the building. CHEEBA His name is Delapoint. SECURITY GUARD #1 WE have no one by that name. CHEEBA Delapot. Dela - something. SECURITY GUARD #2 De La Soul ai n't here either. Let's go. Out. Off the premises. Manray turns around and sees Sloan. MANRAY Sloan! She knows us. The security guard stops. SLOAN It's alright. They are associates of Mr. Delacroix. SECURITY GUARD #1 Sorry, Ms. Hopkins. They both walked in off the street without an appointment. SECURITY GUARD #2 Do you need an escort? SLOAN That wo n't be needed.", "INT. DELACROIX'S OFFICE - DAY He sits in front of his TV and watches a tape of the old `` Amos'n' Andy'' show. Sloan leads Manray and Cheeba in. DELACROIX Eureka! Where've you been? He hugs them both. DELACROIX -LRB- CONT'D. -RRB- Sloan and I have been looking all over for you. CHEEBA You'd take no offense if we called you DeLa for short? DELACROIX No offense. CHEEBA Manray needs a job. Delacroix smiles at Sloan. MANRAY We got evicted from our home. We've both been on the streets for the last week. CHEEBA We was coming to see you. MANRAY If it's not too much trouble could you order us some food? CHEEBA We're starving. DELACROIX I apologize. What would you like to eat? Anything you want. TIME CUT", "INT. DELACROIX'S OFFICE - DAY A feast of McDonald's is taking place. Cheeba and Manray are stuffing Big Macs, Fish Deluxes and large french fries into their mouths. They were famished. DELACROIX I have this concept for a TV pilot. There's no guarantee it will get made but regardless, you'll still make some money. CHEEBA How much? DELACROIX First things first. I have to know if Manray is up for this. MANRAY What do I have to do? DELACROIX Some tap dancing, some singing. MANRAY Where do I sign? CHEEBA What kind of show is this gon na be? DELACROIX Different. MANRAY How different? DELACROIX Trust me. Of course I still have to pitch it to my boss, but we'll have an answer one way or the other. MANRAY DeLa, I'm aboard. As long as I get to hoof and get paid too! DELACROIX That's right. Money turns the wheel. CHEEBA What about in the mean time? Not the in between time? DELACROIX You'll both get an advance and you can stay with me. MANRAY Bet. DELACROIX I would like to change your name. MANRAY To what? DELACROIX You're now Mantan. MANRAY Mantan? I do n't even care as long as I'm dancing. Which reminds me, I need some new kicks.", "EXT. BROADWAY - DAY Manray holds two Capezio shopping bags of shoes as he walks next to Sloan. MANRAY I never had a really real pair before. SLOAN You've never had any formal training, either? MANRAY Not a class, not a thing, just picked stuff up by myself. SLOAN I wish I had your natural talent. God only makes that visit once in a while. MANRAY You sing and dance? SLOAN A little. I just graduated from NYU film school. Cinema studies. MANRAY So what's up with you and DeLa? SLOAN What do you mean? MANRAY Are you and him kicking it? Knocking boots. Y' knowwhatI ` mtalkin ` bout. SLOAN No, we're not knocking boots. I got this internship while I still was at NYU, DeLa was impressed with my get up and go and hired me to be his assistant. MANRAY I'm sure that was the only thing he was impressed with. You look beautiful like that. SLOAN If that was suppose to be a compliment, I thank you. MANRAY You're welcome. You should n't give up on performing. SLOAN Why do you say that? You've never seen me. MANRAY I think that would probably make you the happiest. When I'm hoofing, I mean really doing my thing, hitting it, nothing compares to that feeling in the world. SLOAN I envy you. That's the way I want to feel about my work.", "EXT. HARLEM STREET - NIGHT Sloan walks from the subway to her block. ANGLE ON Street. A huge black Chevy Suburban follows her, all the windows are tinted jet black, you can not see it all into it. She notices the vehicle and starts to walk faster. ANGLE ON Corner. As Sloan tries to cross at the corner, the Suburban pulls up in front of her, blocking her path. ANGLE ON Suburban. A tall black man jumps out of the Chevy. This is BIG BLACK. BIG BLACK Li'l Sister. ANGLE ON Corner. SLOAN You idiot. You almost gave me a massive coronary. BIG BLACK I did n't mean to scare you like that. SLOAN Well you did. BIG BLACK Give me some? SLOAN I'm not huggin' you in the middle of the street. You must be crazy, Julius. BIG BLACK Whoa, hold up li'l sis'. I done told you ` bout that. Julius ai n't my name, you better recognize Hopkins was our slave name. My true name is. SLOAN I'm not callin you Big Black Africa. Mommy and Daddy named you Julius. BIG BLACK BIG BLACK is the first name and AFRICA is the last. He hugs her, she becomes lost in his huge arms and laughs.", "INT. SLOAN'S STUDIO APARTMENT - NIGHT Big Black is rummaging through his sister's refrigerator. BIG BLACK Damn, Sis, you do n't keep no food up in here in dis' piece. SLOAN I order out mostly. So what do I owe this visit to? BIG BLACK My group we need some exposure. Was wondering if you could hook a brother up? SLOAN Hook you up? The Mau - Mau's? You must be smoking. Why in the world would I want to hook up a bunch of red, black and green flag - waving pseudo revolutionairies? BIG BLACK So now I see where you're coming from. Just because we ai n't rapping about Gucci, Timberland, Rolex, Benz, Cristal, ho's and bitches, we're pseudo. SLOAN Who are you revolting against? BIG BLACK We're revolting against the powers that be, that been enslaving the minds and hearts of all people of color. And we wo n't stop rapping till we bring about the overthrow of the government of the U.S. of A. SLOAN Please. BIG BLACK If you were really down you would get us together with that boss of yours. What's his name again? SLOAN Delacroix. BIG BLACK Yeah, him. SLOAN What makes you think he would write a show about the Mau - Mau's. BIG BLACK C'mon, why not? The Monkees had a show. Look at all that other junk that's on TV. We got underground cult following. SLOAN You do n't have the demographics. BIG BLACK So are you telling me that you would n't even introduce me to Delacroix or set up a meeting? I'm talking ` bout me, your only brother, ya own flesh and blood, hook a brother up, youknowwhatI ` msayin'. SLOAN That ` swhatI ` msayin'. I'm not blowin' my young career, brother or no brother, for you or anybody else. BIG BLACK There is a name, a term for your kind, the likes of you. Back in slavery days, you would be classified as a house nigga. SLOAN If you think I'm a house nigga then that's your prerogative. You got your ways to affect change, I have mine. And I would appreciate it very much if you took ya field nigga ass out of my house. BIG BLACK My own sister throwin' me out. I hope to seeya later when you get ya mind right. Do n't bother letting me out. SLOAN That's mighty black of you. Big Black slams the door.", "INT. DUNWITTY'S OFFICE - MORNING One by one, the team enters the office and sits down on the sofa. DUNWITTY Delacroix, I'm glad you got your mind right. DELACROIX It's right and tight. Good morning, let me introduce you to everybody. You know my assistant, Sloan. SLOAN Hello. DELACROIX This is Cheeba. CHEEBA Nice to meet you. DELACROIX And this is Manray. MANRAY How do you do? DUNWITTY Good. I like the names. Very theatrical. DELACROIX We're all happy to be here and I'm going to paint a picture for you. DUNWITTY I'm wid it. DELACROIX I've done a lot of soul searching and once again you are right. In my previous work it's been all surface, superficial. I have never really dug deep. Not anymore. As Mark Twain fully understood satire is the way. Race has always been a hot button in this country's history and it needs to be pushed harder. If we are ever to live side by side in peace and harmony. It's about promoting racial healing. DUNWITTY Go on. Good so far. DELACROIX I know you're familiar with minstrel shows. They came about at the turn of the 19th century. It was a variety show in which the talent was in blackface - singing, dancing, telling jokes, doing skits. Dunwitty, I ask you when was the last time there was a good variety show on the air. Carol Burnett? HeeHaw? DUNWITTY Word! DELACROIX So let's take this great form, this very American tradition of entertainment into the 21st century, into the new millennium. DUNWITTY The name of the show? DELACROIX It is called : MANTAN - THE NEW MILLENNIUM MINSTREL SHOW. DUNWITTY I'm lovin' it. You know how I know? Because I'm getting a boner, my Johnson is hard, no disrespect my sister. Dunwitty starts walking around his office, pumping his first. DUNWITTY -LRB- CONT'D. -RRB- I'm feelin' dis'! DELACROIX It will take a lot of courage and backbone on the part of the CNS to get this on the air. In fact, I would understand fully if the subject matter is deemed too risque, too controversial. DUNWITTY Do n't worry about that, that's my department. Now who do we cast? We need a star. Can Whoopi sing or dance? DELACROIX I do n't know if Whoopi is the way to go. DUNWITTY Are these our two stars, sitting here in front of my nose? Which one is Mantan again? MANTAN That's me. DELACROIX And Cheeba is Sleep'n' Eat. CLOSE ON Cheeba. A look of surprise is on his face. Complete, utter surprise. DUNWITTY That's a great handle. DELACROIX Mantan and Sleep'n Eat. Two real coons. I know we're way out there but it's satire. DUNWITTY I want you take it there. All the way to the edge and back. Sloan looks at Delacroix with concern. DELACROIX Every week we follow the trials and tribulations of two real coons - Mantan and Sleep'n Eat. The Dusky Duo. DUNWITTY What are there character traits? DELACROIX Ignorant, dullwitted, lazy, and unlucky. DUNWITTY Exactly! DELACROIX Mantan is an uneducated Negro who always by some stroke of unbelievable stupidity makes his best laid plans go haywire. DUNWITTY And Sleep'n Eat is his comical sidekick? DELACROIX Yep, you guessed it. DUNWITTY This could be bigger than `` Amos and Andy.'' DELACROIX Protest finally forced `` Amos and Andy'' off the air. Could stop us from ever getting on. DUNWITTY Let'em try. I will kill to make this happen. Delacroix looks at Sloan. DELACROIX Negroes would be in an uproar. DUNWITTY So what. We would just give the NAACP a donation that would be the end of that. No such thing as bad publicity. So what. Earlier you said singing and dancing. DELACROIX Mantan right here is a gifted hoofer. He has educated feet. DUNWITTY Who are the other characters? DELACROIX Do we have characters? How about Honeycutt, Snowflake, Rastus, Nigger, Jim, Sambo, Jungle Bunny, and how could we forget Aunt Jemima. Dunwitty is dying with laughter. He's the only one. DUNWITTY We gon na hit'em wid da BOMB DICKEY on dis' one. What's the setting? DELACROIX In the projects. Like Eddie Murphy's `` The PJ's.'' DUNWITTY Ya first bad move. Projects been done. That's one of the problems now, everything, movies, TV, are set in the urban jungle, da hood. That's so tired. Mantan's Millennium Minstrel Show should be set on a plantation. In Alabama. And every week these Alabama porch monkeys will make us cry, make us laugh, make us look at our own humanity. Make us feel good to be alive. DELACROIX I do n't know about that plantation angle. DUNWITTY What are you talkin' ` bout? It's the move. Stay wid me now. We're movin' fast. What does everybody else think about this? SLOAN We'd get a lot of mail. She laughs, it's a fake one at that. SLOAN -LRB- CONT'D. -RRB- Mr. Dunwitty, there would n't be another show like it. CHEEBA I've always wanted to be on television. DUNWITTY I like you. Sleep'n Eat. That's funny. Mantan, how do you feel about performing in black face? MANTAN As long as the hoofing is real, that I can do my thing, I can blacken up. Let me hit it, beats and rhythms, express myself. DUNWITTY Show me a little somethin' somethin'. Mantan starts to put on his new tap shoes. DUNWITTY -LRB- CONT'D. -RRB- Delacroix, you dug deep, deeper than deep. Mantan is ready. MANTAN I'm gon na give you just a taste. My tap shoes are brand new. I have n't trained'em yet. He starts to work out. MANTAN -LRB- CONT'D. -RRB- Rhythms, rhythms, rhythms. Beats, beats, beats. No Fred Astaire here, baby. Just rawness. Dunwitty clears his desk of everything, just knocks stuff flying onto the floor. And Mantan taking the cue, jumps up on his desk and really starts hitting it. CLOSE ON Delacroix, as he watches his creation, it's not a happy face. CLOSE ON Mantan, he's bringing it home. With the final move, he leaps off the desk into the middle of the office, and FREEZES. ANGLE ON The office. DUNWITTY That ` swhatI ` mtalkin'' bout. That ` swhatI ` mtalkin'' bout! He's off the hiz - hook! DELACROIX We think so. DUNWITTY Sleep'n Eat, what do you do? CHEEBA I play the straight man. I do some singing and dancing also. I also manage Mantan. DUNWITTY Oh you do so? CHEEBA I'm the man behind the man behind the man. DUNWITTY You da man. CHEEBA No, you da man. DUNWITTY I'm gon na run upstairs with this. If CNS does n't want to do this, somebody else will have da balls to pull the trigger. I want to thank each and every one of you. This is great, Delacroix. I'll get back to you later today.", "EXT. STREET - DAY Cheeba and Mantan are walking in midtown Manhattan. They both have a pep in their step, money in their pockets, and a roof over their heads. CHEEBA Life is beginning to look up. It's all good in da neighborhood. MANTAN You might be right. CHEEBA Why are you smiling so? His smile is a mile wide. MANTAN I'm not smiling. CHEEBA Naw, not you. It ca n't be. That hottie Sloan Hopkins. MANTAN It's that bad, huh? It's all over my face. CHEEBA No shame in ya game. She got ya nostrils, ya chnoz is wide open. Sloan's what we certified ladies' men call low hanging fruit. MANTAN Certified ladies' man, huh? CHEEBA She's also moorish. MANTAN What's that? CHEEBA Moorish. Ya get a little taste of dat booty, ya wan na get some MORE. MANTAN Seconds and thirds, too. CHEEBA Sloan is all ` dat. I try her. I'm a tri - sexual. MANTAN You'd try anything. I got first dibs. You get ya own stuff. CHEEBA Naw, just jokin'. That's you. That's you.", "INT. DELACROIX'S APARTMENT - NIGHT Delacroix sits with Manray and Cheeba in the living room. DELACROIX I want you to start using the name Mantan and not Manray if you do n't mind. MANRAY Why? DELACROIX You have to start getting into your character. CHEEBA At the risk of sounding ignorant. Cheeba turns quickly towards Manray. CHEEBA -LRB- CONT'D. -RRB- do n't say a word but who is this cat Mantan you keep talkin' ` bout? Delacroix hits the remote button. The TV and VCR are powered. CLOSE ON Television. We see MANTAN MORELAND in some obscure movie. DELACROIX -LRB- O.S. -RRB- This is Mantan Moreland. CLOSER ON Television. Mantan reacts to seeing a ghost. DELACROIX -LRB- O.S. ; CONT'D. -RRB- He was a clown, a buffoon but he was funny. ANGLE ON Living room. CHEEBA That ai n't funny. MANRAY DeLa, I do n't know ` bout this. DELACROIX Gentlemen, the show, our show will be satirical. You know what that is, do n't you? Trust me on this one. CHEEBA We might need some mo' money behind this. DELACROIX That can be done. MANRAY Mantan? DELACROIX Mantan!", "INT. RECORDING STUDIO - NIGHT THE MAU - MAU's in full effect, bob their heads to the funky track that blasts from the studio monitors. ANGLE ON Studio. They pass around joints that look like they've been on steroids and 64 ounce JUGULARS of DA BOMB MALT LIQUOR - liquid crack, the preferred alcoholic beverage of GHETTO NEGROES. All the members of the MAU - MAU's are AFRICAN AMERICAN except one. There is one Caucasian member. He goes by the name 1/16th BLACK, the engineer tech - whiz kid computer geek. 1/16TH BLACK Yo, Big Black, we needs a name for this joint. BIG BLACK How ` bout. Big Black takes a long, long drag on a joint, then he quickly empties a 64 oz. in one swing without missing a beat, without missing a head nod. BIG BLACK -LRB- CONT'D. -RRB- Black Iz Black? The whole group goes crazy with the title of the song. DOUBLE BLACK That's da bomb. MO BLACK That's gon na give me some inspiration. JO BLACK Gon na make me get my flow on. BIG BLACK We should call dis da BLACK album. Everyone starts high - fiving each other. SMOOTH BLACK Yo, check it out. We have never conformed to none of the white man's rules and regulations and later for that ole slave owner Webster. Therefore I respectfully submit BIG BLACK that we from now on, hence forth and whatnot spell BLACK : B - L - A - K, not B - L - A - C - K. HARD BLACK I feel dat. 1/16TH BLACK B - L - A - K. BLAK. The darkest of all colors, the opposite of white. A member of an African people. But check it out, here's where the grey people try to get slick with their trickery. Listen to the full connotations. GLOOMY. DEPRESSING. EVIL. WICKED. ANGRY. SULLEN. BLAK OUT. BLAK LISTED. BLAK BALL. Need I say more. BIG BLACK B - L - A - K it is.", "INT. HOUSE - NIGHT A middle - aged African - American woman is working in the kitchen. Delacroix sits at the kitchen table talking with her. This is his MOM, ORCHID DOTHAN. Orchid puts a plate of food in front of her son. ORCHID You must think I'm some kind of fool. DELACROIX It looks delicious. ORCHID You hear me talkin' to you. The only time you come up here when something is wrong. DELACROIX C'mon, Mommy, do n't start with that I'm an ungrateful son stuff. ORCHID I said no such thing. All I said is that something must be wrong. She sits down with him. ORCHID -LRB- CONT'D. -RRB- How's the food? DELACROIX Ca n't beat it with a hammer. Well, since you asked, it looks like I may have a new show, a pilot being shot. ORCHID That's wonderful. Is n't that what you always wanted, a show of your own? He talks between mouthfuls. DELACROIX It was. It is. But this is a different kind of show. ORCHID If at first it's not what you want, just work that much harder, Peerless. DELACROIX Mommy, please do n't call me that. ORCHID Son, Peerless is your name. Now you might be one of these Hollywood types, change your name and all that but Peerless Dothan is on your birth certificate. DELACROIX I know what's on my birth certificate. You heard from Daddy? ORCHID I guess he's still on the road. What kind of show is this? Are they some Negroes in it without being buffoons? DELACROIX To answer your question, there are a lot of Negroes in it and what is your definition of buffoons? ORCHID Peerless, I did n't raise a buffoon. We have enough of those on television already. DELACROIX Please let me know when you hear from Daddy, get a number or something. ORCHID I will. And good luck with your show. I hope it's a huge success. You've worked very hard. You deserve it. Delacroix gets up from his seat and hugs his mother.", "INT. RESTAURANT - NIGHT A celebration is going on as Delacroix, Sloan, Cheeba and Mantan sit at a table. ANGLE ON Table. Cheeba and Mantan are giddy. Sloan looks at Delacroix who is visibly not happy. SLOAN You okay? DELACROIX I feel like somebody hit me upside da head with a sledgehammer. CHEEBA DeLa - what's the matter with you. MANTAN You ai n't happy about the green light? SLOAN People show their happiness in a lot of different ways. MANTAN Well, homeboy, looks like he's at a funeral. DELACROIX I'm happy for all of us. It's just we have a great responsibility now. The pressure is on. MANTAN Pressure? DeLa, you do n't know what the hell real pressure is. SHEEETT! This is lightstuff. Now when you scramblin' out on the street in da January winter and the hawk is talkin' to you with NO money and NO prospects of money anytime soon, now that there is some pressure. DELACROIX I did n't mean it to sound like that. MANTAN That's the way it came out. Let me ask you one question. Have you ever been in want, in need your entire privileged life? DELACROIX Now I'm privileged?! Why? Because I did n't grow up on food stamps and welfare? Because I did n't call home a cardboard box? No, I never ever went to bed hungry and I'm proud of it, too. Whoever told you that living in poverty earns you somekind of badge of honor flat out lied to you. MANTAN The point I'm trying to make is that this is a blessing. It's going to be fun doing this show and we should all look at it that way. Delacroix gets up from the table and leaves. CHEEBA What's wrong with him? MANTAN Must be the pressure. Cheeba and Mantan laugh, give each other some dap. A highly attractive PUERTO RICAN female walks over to their table. This is JESSICA GRILLO. JESSICA Sorry I'm late. Cheeba and Mantan are in awe. SLOAN Hey, girl. This is my best friend, Jessica Grillo. I invited her down to celebrate with us. CHEEBA I'm Cheeba. MANTAN I'm Mantan. They both rise. CHEEBA Please, have a seat. MANTAN Sloan never told us she had friends like you. CHEEBA In fact, we never knew she had any friends period. SLOAN Later for you. JESSICA She has a lot of friends CHEEBA Male? JESSICA Yes. MANTAN A lot? SLOAN Enough. Sloan and Jessica laugh at the expense of these guys. JESSICA I propose a toast. She grabs an empty glass and pours herself some champagne. JESSICA -LRB- CONT'D. -RRB- To the success of your show. Good luck. Everyone raises their glasses. CLINK! SLOAN Excuse me. Sloan gets up from the table and takes after Delacroix. ANGLE ON Steps. Sloan catches up with Delacroix at the rest room area. SLOAN -LRB- CONT'D. -RRB- Wait here. She goes to the ladies' cubicle. CLOSE ON Delacroix. He leans against the wall. ANGLE ON Bathroom door. Sloan comes out, grabs him inside.", "INT. LADIES' ROOM - NIGHT Sloan locks the door. SLOAN What is your problem? DELACROIX My problem is MANTAN THE NEW MILLENIUM MINSTREL SHOW. SLOAN Why did you even come up with that shit if you did n't want it made? DELACROIX It was the principle. Dunwitty had to be enlightened. I was making a point. I take pride in my work. Plus, I already told you I was n't gon na walk away from my money. SLOAN Fuck da money. Why do through all this effort? Why? Are you looking for love from Dunwitty? For respect? Dunwitty and his likes do n't give a goddamn about you. So now what are you gon na do? Someone begins to pound on the bathroom door. WOMAN'S VOICE -LRB- O.S. -RRB- Will you please let me in? I have to use the toilet. SLOAN You're gon na have to hold it in because we're not finished yet. She returns her attention to Delacroix. SLOAN -LRB- CONT'D. -RRB- QUIT then. DELACROIX Even if money was n't an issue, Dunwitty will still go ahead without me and that could be more dangerous. SLOAN What's the chances of MANTAN being picked up? DELACROIX I would n't bet against it. My Negroidal ass is stuck between the proverbial rock and a hard place. SLOAN Like I said, all this for some twisted, distorted sense of principal. Dunwitty, he just tolerates your Negroidal ass, he does n't respect it. The banging starts again. MANAGER'S VOICE -LRB- O.S. -RRB- Please open this bathroom door immediately. You are being very inconsiderate. Sloan unlocks the door and they exit. ANGLE ON Ladies' bathroom. Sloan and Delacroix file past the strange looks of the manager and FIVE WOMEN waiting to use the bathroom as they rush in.", "INT. DUNWITTY'S OFFICE - MORNING DELACROIX I strongly feel that a Negro should direct this. This kind of satire is a high wire act in a gale storm. One misstep and we're doing `` Amos and Andy.'' Only a Negro will have the sensitivity and cultural awareness to navigate this dangerous terrain. DUNWITTY To hire someone solely on their ethnicity, gender or religion is not right. It's un - American. I will hire someone who is most qualified for this particular job. DELACROIX I was hoping to perhaps direct some episodes myself, if not the pilot soon after. DUNWITTY I want a hot, young white director. Maybe the kid, that pheenom who just did that hot new sexy Madonna video. DELACROIX You're telling me some white boy is gon na direct this pilot? DUNWITTY I just want you to meet him. Keep an open mind. DELACROIX Besides, what does he know about Negroes? DUNWITTY Probably nuthin', but that's why it's such a sexy way to go. Sometimes an outsider has a fresh new outlook, a different unique perspective. A black director, y' know what he's gon na do given the subject matter? With this kid, the possibilities are endless. DELACROIX What are his qualifications besides being a white male and directing a hot new sexy freaky Madonna video? DUNWITTY If Spielburg can direct `` The Color Purple'' and `` Amistad'', our whiz kid can direct the Mantan pilot. DELACROIX That's exactly my point. Has he even directed actors before in anything? DUNWITTY No! Just meet the guy. That's all I'm asking. Look, I'll even let you choose your own musical director. You can have that. DELACROIX In the immortal words of Derrick Coleman, WHOOOPDEEDAMNDOO! DUNWITTY Derrick Coleman, he possessed all the talent in the world, coulda, shoulda, been a great ballplayer but alas D.C. did n't want it bad enough. Delacroix, do you want it? Bad enough to kill for it? Do you want it that much. Delacroix stares at Dunwitty.", "INT. CONFERENCE ROOM - NEXT DAY Delacroix, followed by Sloan, enters the room full of writers. CLOSE ON Delacroix He surveys the room. P.O.V. - DELACROIX All of the writers are Caucasian - male and female. Every single last one. ANGLE ON Conference room. Delacroix and Sloan sit down at the head of the long oval table. DELACROIX Good morning, for those of you who do n't know me, I'm Pierre Delacroix. I'm running things and this here is my assistant Sloan Hopkins. SLOAN Hello. DELACROIX I've never worked with any of you and you've never worked with me so we'll be starting from scratch. I'm a fair person, a straight shooter and I do n't hold my tongue. Everybody up in here should know I had nothing to do with you being hired. I would have preferred at least one other Negro writer. Any questions? Comments? MONA raises her hand. DELACROIX -LRB- CONT'D. -RRB- Yes, your name? MONA He, I'm Mona. DELACROIX Hi, Mona. MONA I perfectly understand where you're coming from. As a minority I can relate to your struggle also. But I think you should give us all a chance. We want this pilot to be successful just as much as you. Please do n't be so quick to judge us based only on our whiteness. DELACROIX Oh, is that what I'm doing? BETH jumps in. BETH I think because of our background we can bring a unique perspective to Mantan. SETH pipes in also. SETH A fresh pair of eyes. A new look, insight, new angle that has n't been seen before. DELACROIX I've heard this somewhere before. David raises his hand. DAVID My name is David. I do think it would be better to have some African - American writers but for whatever reason they are not here. I do n't know if they could n't find any people with experience, they would n't work for the pay or refused to work for the show. I do n't know and nobody in this room probably knows either. I'm looking at this as a unique opportunity. We all should. I'm a damn good writer and I'm ready to go to work. Everyone in the room applauds. Sloan looks at Delacroix. FREEZE FRAME DELACROIX -LRB- V.O. -RRB- This thing was rigged, the deck was stacked, the fix was in. Could Don King be near? Good thing Sloan had my back. She's my rock. This was going to be a whole lot of work. UN - FREEZE FRAME DELACROIX -LRB- CONT'D. -RRB- David, I appreciate your comments. Anybody got an ideas? Everybody just talk out loud. MONA I've always liked the format of Rowan and Martin's `` LAUGH - IN.'' ANNA That could be cool. KIRK What about something like `` The Jeffersons?'' I grew up in Idaho so that's how I got my understanding of black people. Through Sherman Helmsley, LOUISSEE! DAVID `` Good Times'' was better. Kid Dy - no mite! AARON You pole are going to far back for me. I think we have to go after a hipper feel. Like the stuff Eddie Murphy used to do on `` Saturday Night Live.'' PETER Or Martin. You go girl. JEFF What about the black exploitation films? No one has ever tried making that work on TV. DAVID And for reason. Have you ever seen `` Scream Blacula, Scream?'' MONA I think, and Delacroix will agree with me, the politics of this show have to be right. We should always be laughing with our characters, not at them. CLOSE ON Delacroix, as the writers continue to ramble on, he lets them jerk off. DELACROIX -LRB- V.O. -RRB- The mission was accomplished. All of these people left the room thinking they would have real input. I was writing this pilot alone, myself, me.", "EXT. STREET - DAY A long line reaches down the block and around the corner. It's a `` cattle call,'' open auditions for `` Mantan.'' DELACROIX -LRB- V.O. -RRB- Now came the fun part, finding the talented performers to cast in the show. WE DOLLY past the hundreds and hundreds of unemployed African American actors, many of them dressed in various costumes. DELACROIX -LRB- V.O. ; CONT'D. -RRB- Everybody and their mother was trying to get in, trying to be seen. Trying to get their piece of the rock.", "INT. REHEARSAL SPACE - DAY Delacroix sits in the first row with Sloan, RUTH, an African American casting director. LEVI, the musical director, also black, is on the stage at the piano. AUDITION MONTAGE WE SEE singers, magicians, dancers, acrobats, comedians, rappers. Some good, most are terrible. Many come out on stage dressed like mammies, Stepin' Fetchit, slaves, pimps, ho's, hustlers, and basketball players. It is a cavalcade of all the stereotypical roles one has seen. ANGLE ON Space. LULU, a spoken word artist, goes her rendition of `` WAY DOWN ON THE SWANEE RIVER.'' DELACROIX -LRB- V.O. -RRB- This was amazing. Who had told these Negroes that this was what we were looking for? The same old image, it damn for sure was n't me. CLOSE ON Lulu. DELACROIX -LRB- V.O. ; CONT'D. -RRB- Were people this desperate to get work? CLOSE ON Delacroix. He interrupts Lulu. DELACROIX -LRB- CONT'D. -RRB- Thanks, Ms. Lulu. LULU But I had several more poems. DELACROIX That's good. We've seen enough. We'll get back to you. Lulu scurries off stage. RUTH -LRB- O.S. -RRB- Next. The Mau - Mau's run onto the stage, yelling and screaming. They are all fired up, in fact several fire their 9mm's into the ceiling. ANGLE - TWO SHOT Delacroix and Sloan. SLOAN This is the group I was telling you about. DELACROIX Which one is your brother? SLOAN The big one. CLOSE ON Ruth. RUTH Let's get started here. ANGLE ON STAGE Big Black preens around on the stage. BIG BLACK The Mau - Mau's are up in dis place. That's right, the Mau - Mau's. DELACROIX -LRB- O.S. -RRB- What's your name? BIG BLACK My righteous name is BIG BLACK. DELACROIX -LRB- O.S. -RRB- And what are the Mau - Mau's going to do for us today? BIG BLACK We gon na drop some knowledge, wisdom and understanding. The Mau - Mau's, we be scientists. We drop science. CLOSE ON Sloan, who's trying to disappear. If she sits any lower she'll be under her seat. ON DELACROIX DELACROIX We're ready when you are. ON STAGE BIG BLACK Microphone check. One. Two. One. Two. One. Two. Hold up. I gots to give my peeps some props. Brothers introduce yourself. DOUBLE BLACK Yo, I'm Double Black. BLACK BLACK Check it, Black Black. SMOOTH BLACK I'm Smooth Black, the lover in dis' piece. HARD BLACK Hard Black. MO BLACK He's Jo Black. JO BLACK And he's Mo Black. 1/16TH BLACK I'm last but not least, you can call me 1/16th Black. ON DELACROIX DELACROIX Good. We're really blacked - oops, backed up, so shall we begin? ON STAGE BIG BLACK Microphone check. One. Two. One. Two. Yo, the name of this joint is BLAK IZ BLAK. Hit it. The booming track starts and the Mau - Mau's do their thing, bouncing all over the stage. The lyrics about everything that is BLAK! ON DELACROIX A look of disbelief is on his face. DELACROIX -LRB- V.O. -RRB- Needless to say, the Mau - Mau's did not fit into our plans. ON SLOAN She's in shock, horrified. DELACROIX -LRB- V.O. ; CONT'D. -RRB- As I told Sloan, there's a black sheep in every family. BACKSTAGE - LATER THAT DAY Delacroix is screaming at the top of his lungs. DELACROIX -LRB- CONT'D. -RRB- Finland. This is a travesty. A debacle. A mockery.", "INT. LOBBY Dunwitty approaches Delacroix in the lobby of the rehearsal space. He is with JUKKA, a young, very young blonde kid. DUNWITTY Delacroix. This is the director I was telling you about. Jukka Laks. JUKKA So nice to meet you. DELACROIX Nice to meet you. If you do n't mind me asking you - how old are you? JUKKA I just turned twenty. DUNWITTY I'm gon na leave you two creative geniuses alone. DELACROIX Dunwitty, do n't leave. Dunwitty is out. DELACROIX -LRB- CONT'D. -RRB- Where are you from? JUKKA Helsinki, which is the capital of Finland. DELACROIX Finland. JUKKA You know, Finlandia vodka? Yes? DELACROIX Yes, I know. Jukka, have you ever seen a Negro person before? Even had a real conversation with a real Negro before? JUKKA What's a Negro.", "INT. BACKSTAGE Delacroix continues to rant and rave. Sloan is unsuccessful in attempting to make him be quiet. DELACROIX A fiasco. A disaster. A boondoggle. An abomination.", "INT. LOBBY DELACROIX Did you just ask me what's a Negro? I'M A NEGRO! JUKKA Ahhh! I never heard of that term before. I thought you were BLACK of African - American. No? DELACROIX Well before there was BLACK or AFRICAN AMERICAN, there were NEGROES. I'M A NEGRO. JUKKA Thank you for correcting my ignorance. I'm looking forward to working side by side with you. I feel we make a good team. DELACROIX How did you get this gig? JUKKA My visual style is very erotic, sexy, how do you say - hot? DELACROIX This is a TV show, not a music video. JUKKA Then will you teach me what I need to know. Maybe we learn from each other, if that's possible, no?", "INT. BACKSTAGE - MOMENTS LATER DELACROIX This is a travesty. A debacle. SLOAN You've said that already. DELACROIX I'm gon na slit my wrists. Cut my throat. For the love of Joseph.", "INT. DELACROIX'S OFFICE - NEW DAY He's sitting behind his desk, reading new `` pink'' revisions of the `` MANTAN'' pilot. He screams. DELACROIX For the love of Joseph and Mary. Delacroix bolts out from his office.", "INT. DUNWITTY'S OFFICE - DAY Delacroix charges in as Dunwitty and Jukka go over the same `` pink'' revisions. DELACROIX I will not be held responsible for these revisions. These changes are not the way I want to go. This is an outrage. This is a sham. A violation! DUNWITTY Calm down, please. JUKKA In Finland, when we get upset. DELACROIX I do n't give a good goddamn about Finland, Norway, Sweden or wherever ya blond ass came from. DUNWITTY We just punched it up a bit. Made it funnier. DELACROIX Funnier to who and at who's expense? Dunwitty, when Negroes start to run amok, the boycotts, when the demostrations commence, I'm giving them your home address. Let's see how you like it when they picket your lawn in Greenwich, Connecticut. DUNWITTY I seriously doubt that will ever happen. Did n't I tell you I know your people better than you do. But if by some miracle you're correct, I'm gon na invite them inside my house and we'll have a sit down, discuss it like civil human beings.", "INT. STUDIO - NIGHT Much activity is going on. People are moving to and fro. WE FOLLOW Delacroix and Sloan.", "EXT. MANTAN'S DRESSING ROOM - CONTINUOUS Delacroix knocks and they enter.", "INT. MANTAN'S DRESSING ROOM Mantan sits in front of his mirror. DELACROIX Just want to say good luck. SLOAN Break a leg. She gives Mantan a kiss on his cheek. DELACROIX Wait a minute. Hold up. They all laugh. DELACROIX -LRB- CONT'D. -RRB- Can I kiss you too? MANTAN Naw. I'll take the zero. DELACROIX You feel good, not nervous? MANTAN I feel fine. DELACROIX Not nervous? Relaxed? MANTAN Sloan, will you take your boss out of here so I can get ready.", "EXT. SLEEP'N EAT'S DRESSING ROOM - NIGHT Sloan and Delacroix enter the dressing room.", "INT. SLEEP'N EAT'S DRESSING ROOM SLEEP'N EAT How's the audience? DELACROIX Fired up. SLOAN How you feelin'? SLEEP'N EAT Good. I'm not sure about this material. DELACROIX The material is fine. Sloan cuts a look at this liar. SLEEP'N EAT You really think so? DELACROIX We're trying to do something new here, some groundbreaking stuff. SLEEP'N EAT It's the bone breaking stuff I'm worried about. SLOAN Everything's gon na be alright. You and Mantan will be huge stars after tonight. SLEEP'N EAT You really think so? DELACROIX Your life will never be the same. SLOAN Let's leave the man in peace so he can get ready.", "INT. BACKSTAGE SLOAN We both lied to him. DELACROIX What do you want me to say? SLOAN Just do n't lie to me.", "INT. STAGE - NIGHT HONEYCUTT, a rotund, elder black man who is one of cast members, is warming the audience up. ON AUDIENCE It's very young and diverse. They are laughing at the comic stylings of Honeycutt.", "INT. CONTROL BOOTH - NIGHT Delacroix and Sloan take their seats. DELACROIX Good luck, Jukka. Do a good show. JUKKA Thank you very much. I always try my best.", "INT. MANTAN'S DRESSING ROOM Mantan is slowly getting dressed. He puts on an old, tattered tails -LRB- tuxedo -RRB-.", "INT. SLEEP'N EAT'S DRESSING ROOM Sleep'N Eat is also getting dressed. He wears a worn Pullman Porter uniform with red hat to match.", "INT. CONTROL ROOM - NIGHT Dunwitty with his black wife in hand, VERNA moves toward Delacroix and Sloan. DUNWITTY I want you to meet my lovely wife Verna. Honey, this is Pierre Delacroix and Sloan Hopkins. VERNA Nice to meet you. DELACROIX Same here. SLOAN The pleasure is mine. VERNA My husband has been raving about the awesome work you've done. How did you ever think of something like this? It's absolutely brilliant. Pure genius. DELACROIX I guess it was divine inspiration. VERNA Hope to see you both after the taping. Congrats in advance. ON CONTROL BOOTH Verna and Dunwitty go to the front of the control booth. TWO SHOT Delacroix and Sloan. SLOAN Divine inspiration? She laughs. DELACROIX I was trying to be nice. SLOAN I want to apologize about my brother and the Mau - Mau's. I should not have imposed them on you. DELACROIX C'mon. You were only doing what family is supposed to be doing for family. You gave your brother a shot. That's all anybody can ask for, an opportunity, a chance, a shot. He got his.", "INT. MANTAN'S DRESSING ROOM Mantan is in front of his dressing room mirror. ON MIRROR Mantan looks, stares at his reflection.", "INT. SLEEP'N EAT'S DRESSING ROOM Sleep'N Eat is staring at himself also.", "INT. MANTAN'S DRESSING ROOM CLOSE ON MANTAN SLOAN -LRB- V.O. -RRB- We should blacken up like they did it back in the day. Keep the ritual the same. Mantan puts some corks in a dish. SLOAN -LRB- V.O. ; CONT'D. -RRB- Pour some alcohol on the corks, then light it.", "INT. SLEEP'N EAT'S DRESSING ROOM Sleep'N Eat strikes a match to his corks in a dish. CLOSE ON SLEEP'N EAT He watches the cork burn. SLOAN -LRB- V.O. -RRB- Let them burnt to a crisp, and when burnt out, mash them to a powder.", "INT. MANTAN'S DRESSING ROOM Mantan is mashing the corks. SLOAN -LRB- V.O. -RRB- Add water, mix to a thick paste.", "INT. SLEEP'N EAT'S DRESSING ROOM Sleep'N Eat is mixing it all together. SLOAN -LRB- V.O. -RRB- And voila! You have your blackface.", "INT. STAGE - NIGHT The audience, which has become restless, starts a rhythmic clap. SLOAN -LRB- V.O. -RRB- Please put cocoa butter on your face and hands.", "INT. MANTAN'S DRESSING ROOM ON MANTAN'S HANDS SLOAN -LRB- V.O. -RRB- To protect your skin. He applies cocoa butter to his hands.", "INT. SLEEP'N EAT'S DRESSING ROOM ON SLEEP'N EAT'S FACE He rubs cocoa butter all over his face.", "INT. STAGE - NIGHT CLOSE ON HANDS Audience hands are clapping faster. ON FEET They're stomping.", "INT. MANTAN'S DRESSING ROOM ON MIRROR Mantan blacks up his face. WE HEAR THE POUNDING OF THE FEET STOMPING AND THE HANDS CLAPPING.", "INT. SLEEP'N EAT'S DRESSING ROOM ON MIRROR Sleep'N Eat blacks up also. SLOAN -LRB- V.O. -RRB- The final detail.", "INT. MANTAN'S DRESSING ROOM ON LIPS SLOAN -LRB- V.O. -RRB- are the lips. Mantan is applying lipstick.", "INT. SLEEP'N EAT'S DRESSING ROOM ON LIPS Sleep'N Eat is puckering his lips as he too puts on the lipstick. SLOAN -LRB- V.O. -RRB- The redder the lipstick the better. I suggest firetruck red. ON MIRROR For the first time WE SEE SLEEP'N EAT in FULL BLACK FACE. SLEEP'N EAT Show.", "INT. MANTAN'S DRESSING ROOM ON MIRROR Mantan in FULL BLACK FACE. MANTAN TIME!", "INT. STAGE - NIGHT The audience is in an uproar when the lights go down. They applaud and they quiet as the CURTAIN GOES UP on a bucolic setting. It is a combination of WATERMELON PATCH and COTTON FIELD. ON STAGE First Sleep'N Eat then Mantan shuffles onto the stage. MANTAN This is my best friend Sleep'N Eat. SLEEP'N EAT And this is my very best friend Mantan. BOTH We're two real COONS! The audience lets out nervous laughter. They do n't know what to think. MANTAN We both left the hustle and bustle of Uptown, Harlem. SLEEP'N EAT the big apple, New York, New York. MANTAN To come back to our roots. SLEEP'N EAT Our Alabamy Home. Now we're getting countrified. We is Bama's. MANTAN No mo' `` city slickers.'' Ahh, ca n't you smell the sweet aroma of the ripe watermelons and high cotton? SLEEP'N EAT Tell'em what you mean Mistuh Mantan. MANTAN Well, thank you Mistuh Sleep'N Eat. SLEEP'N EAT Give or cousins some of dem educated feets. Mantan begins to do a slow, steady step. SLEEP'N EAT -LRB- CONT'D. -RRB- Cousins, first, second, third and distant, let's have Mantan take us all the way back to a much more simpler time. A time wen men were men, women were women, and Neggras knew their place. The AUDIENCE is aghast. Mantan has picked up the pace. He's tapping fast and furious. MANTAN Cousins, I want all of you to go to your windows. Go to your windows and yell. Yell, I'm tired of the drugs, the crack babies born out of wedlock to crackhead aids infested parents. I'm tired of the inflated welfare rolls while good wholesome Americans bring less and less of their paycheck home every two weeks. I'm tired, you're tired, we're all tired of these so - called bible - thumping God fearing, whore mongling Professional athletes. Are n't you tired of these basketball - dunking, football - running, hop - hip rapping ebonic - speaking sex offenders who got ten kids from ten different Ho's? I know I am and so is Sleep'N Eat. SLEEP'N EAT You tellin' the truth. MANTAN Go to your windows and yell out, scream with all the life you can muster up inside your assaulted, bruised and battered bodies. I'M SICK AND TIRED OF NIGGERS AND I'M NOT GON NA TAKE IT ANYMORE! Mantan stops dancing and collapses. ON AUDIENCE They're stunned. They ca n't believe what they've heard, what they've seen. What they've been witness to. ON YOUNG WHITE COUPLE They look at the black people in the audience. ON YOUNG HIP - HOP BLACK MALE He starts to clap slowly. ON AUDIENCE Slowly more black people begin to applaud. Slowly it sweeps up into the black people. The WHITE AUDIENCE, of course, has been waiting to see how their black brothers and sisters would react. Now feeling comfortable and safe, they too being to join the applause. ON AUDIENCE The applause changes into laughter. It is not nervous laughter we hear, but straight out RIOTOUS LAUGHTER. ON BLACK AND WHITE FACES The laughter is contagious. ON STAGE Mantan starts to move, he's coming back from the dead. He slowly gets up from his prostate position as he HEARS : A WAYBACK ALABAMA JIG played by the house band, THE PORCH MONKEYS, led by musical director Levi. Mantan is joined on stage by the other hoofers in the show : JUNGLE BUNNY, SNOWFLAKE, SAMBO, AUNT JEMIMA, RASTUS, NIGGER JIM, plus SLEEP'N EAT. Each take turn as it evolves into an elaborate DANCE NUMBER. The hoofers and the band are also in black face. ON AUDIENCE They are rolling down the aisles.", "INT. CONTROL ROOM - NIGHT ON DELACROIX Delacroix looks like he has seen a ghost. CLOSER He buries his face in his hands.", "INT. DELACROIX'S APARTMENT - NEXT NIGHT Delacroix is in the same position as the scene before. Face buried in his hands. ON PHONE It rings and he picks it up. DELACROIX Hello?", "EXT. STREETS - NIGHT Dunwitty drives his Mercedes Benz CL 600 Coupe. DUNWITTY Yo, DeLa, I just got the news from the CNS brass. They saw some clips from the pilot and they're rushing it onto the air. Yo, we're a midseason replacement, ordered 12 shows. We're on in 3 weeks. Didya hear what I just said, Yo? ON DUNWITTY DUNWITTY -LRB- CONT'D. -RRB- They did n't even view a rough cut, just some scenes we quickly cut together. ON DELACROIX DELACROIX This has to be a big mistake. DUNWITTY -LRB- O.S. -RRB- The big mistake was my not believing in your genius earlier. From the gitgo, from jump street. DELACROIX Hold on a sec, I got a call. HE CLICKS OVER. DELACROIX -LRB- CONT'D. -RRB- Hello, Mommy, let me get rid of this other call.", "INT. BENZ - CONTINUOUS DELACROIX -LRB- O.S. -RRB- I gots to go, it's my Moms. DUNWITTY I want to meet her one day, please tell her the great news. I'm OUT like Vanilla Ice.", "INT. ORCHID'S HOUSE - NIGHT She is on the phone with her son. ORCHID Peerless, your father called.", "INT. DELACROIX'S APARTMENT DELACROIX I'll be right over.", "INT. STREET - NIGHT It's a warm summer night. MANTAN So what's up with you? SLOAN What do you want to know? MANTAN The good stuff. SLOAN I'm an asthmatic. Been one all my life. Ca n't go anywhere without an inhaler. MANTAN What else? SLOAN Are you trying to rap to me?", "INT. ORCHID'S HOUSE Delacroix sits at the kitchen table. ORCHID He wants you to come and see him. DELACROIX He said that? ORCHID Yes he did. DELACROIX Where is he? ORCHID He's performing at some place outside of Richmond, Virginia. DELACROIX I ca n't go all the way down south. ORCHID Richmond is not all the way down south. DELACROIX I do n't even know why you're still concerned over him. Daddy's not with you. ORCHID Regardless, he still is your father. DELACROIX It's gon na be hard for me to get away with the show taking off. ORCHID Even more reason to see him. He'll be overjoyed with your success. DELACROIX C'mon, Mommy. Daddy has n't been impressed with anything I've ever done. From winning my fifth grade Spelling Bee to the present. ORCHID Peerless, last time, go see your father.", "EXT. PARK - NIGHT Mantan and Sloan are sitting on a park bench, nothing is being said. He sits up and starts to do a dance for her. To her. ON BENCH Mantan is doing that `` Mating'' tap dance. SLOAN Are you trying to seduce me? He puts his index finger over his mouth - `` Quiet.'' SLOAN -LRB- CONT'D. -RRB- You think that's gon na work, huh? He quickly jumps up on the bench, does some intricate steps then pulls Sloan up from her sitting position. ON MANTAN AND SLOAN They kiss.", "EXT. I-95 SOUTH - MORNING Delacroix is driving `` down south.''", "INT. CAR - CONTINUOUS Delacroix adjusts the mirror so he can see himself. HE SPEAKS TO US through the MIRROR DELACROIX I figured this was a good time to get away. Just jump in my ride and go. I always did my best thinking when I was driving alone. I needed to think out clearly what I was going to do with this MANTAN - THE NEW MILLENNIUM MINSTREL SHOW.", "EXT. I-95 SOUTH Delacroix is driving on his way to `` Ole Virginny.''", "EXT. MAMA'S SUGAR SHAK - NIGHT Delacroix pulls up in the parking lot of a rinky - kink, funky, greasy BAR/CLUB/BAR - B - Q joint. CLOSE ON NEON SIGN `` MAMA'S SUGAR SHAK'' - most the letters do not light up, underneath it, `` 2 - NITE - JUNEBUG.''", "INT. MAMA'S SUGAR SHAK It's loud as hell as Delacroix enters this smoky, dark establishment. P.O.V. DELACROIX This must be a big night in here because the PATRONS are dressed to the nines. What's in style down here is a lot different from what's happening en Nueva York. Many of the men are dressed like PIMPS from 70's BLAXPLOITATION FILM, the ladies like HOOTCHIE MAMAS from `` Luke'' video. ON SUGAR SHAK Delacroix works himself through the crowded BAR/DISCO into another small room. ON COMEDY ROOM He walks into a small space where his father JUNEBUG is on the stage. ON JUNEBUG He is a good - looking man, the only speckle of gray in his hair betrays his age. As he walks around the small stage doing his comedy stylings, he keeps a drink in one hand and sips it often. ON COMEDY ROOM Delacroix sits in the back so his father ca n't see him. ON DELACROIX He looks around. P.O.V. DELACROIX It's dead in here. The room is nearly empty. ON TABLE A couple gets loud, arguing over something. ON JUNEBUG JUNEBUG ` Cuse me. Please. Can you please show me some respect. I'm up here trying to make a living. MAN Mind yo' business. JUNEBUG Do n't make me have to come over there and whoop you upside ya head. The sparse AUDIENCE laughs. JUNEBUG -LRB- CONT'D. -RRB- Just messin' with ya. But please if you and your lady need to discuss something, take it outside. Thank you. He continues on with his show. ON TABLE Delacroix walks over to the fighting couple. DELACROIX Brother man, that's my father up there and I drove a long way to see him perform. Please take this fifty, go buy you and the young lady some drinks in the club. The guy looks him up and down. MAN That's yo' Daddy? Delacroix nods. MAN -LRB- CONT'D. -RRB- Do n't need yo money for drinks. Besides, she's drunk already. C'mon, let's go. The guy grabs his friend by the wrist and drags her kicking and screaming out the room. CLOSE ON JUNEBUG JUNEBUG Do n't bring your woman out if you ca n't keep her in deep check. If my woman ever did something crazy like that I'd put my size 12 dead up in her ass. This gets the biggest laugh of the night.", "EXT. DRESSING ROOM - NIGHT Delacroix knocks. JUNEBUG -LRB- O.S. -RRB- What do you want? DELACROIX I want to speak with you. JUNEBUG -LRB- O.S. -RRB- Go away, unless you got my money. DELACROIX It's me, Peerless.", "INT. DRESSING ROOM He enters into a closet, it's a makeshift dressing room. A younger lady, much younger than Junebug - DOT - stands behind him as she massages his neck. Junebug gets up from his chair, rushes to his son and they embrace. JUNEBUG Son. Good to seeya. Good to seeya. DELACROIX It's been a long time. JUNEBUG Pull up a chair. Oh, excuse me, this is my lady DOT. DELACROIX Pleased to meet you. DOT Glad to meet you, too. You are all your father talks about. DELACROIX Is that so? JUNEBUG Honey, pour me and my son a drink. They both sit down as drinks are poured. DOT I'll leave you two alone. She kisses Junebug on the forehead before leaving. JUNEBUG Good woman. I trained her right. DELACROIX Daddy, she's younger than me. JUNEBUG My game is still strong. No Viagra for me, do n't need no chemicals. Just my tonic. He holds up his drink and kills it in one gulp. JUNEBUG -LRB- CONT'D. -RRB- Purely for medicinal purposes. DELACROIX I thought you had promised Mommy you stopped. JUNEBUG I did. I'm not an alcoholic. I just like to drink. DELACROIX How did you end up here? JUNEBUG How did I end up at the third rate chittlin' circuit greasy hole in the wall in West Hell, Virginny? Is that what you're asking ya Daddy? Delacroix takes a sip of his drink. DELACROIX That's what I'm askin'. JUNEBUG Because I had too much pride. Too much integrity. I would n't lick nobody's butt. Some material I refused to do. DELACROIX Daddy, it ca n't be just because of that. There had to be other factors. Junebug pours himself another stiff one. JUNEBUG That's the only reason, period. They only want one certain kind of black comic. DELACROIX Another one of your conspiracies to hold ya career back? JUNEBUG All I know is what happened to me. All that other mess I just file into the `` life's too short'' category. He downs another one. Junebug drinks like a fish. JUNEBUG -LRB- CONT'D. -RRB- Enough about me, what's happening with you? DELACROIX The same old, same old. Trying to get my stuff through. JUNEBUG Dem white boys giving you a hard time? DELACROIX Nuthin' I ca n't handle. JUNEBUG The truth is never let them seeya sweat. You do that, that's half the battle. DELACROIX Where do you go from here? JUNEBUG Three nights Charleston, South Carolina. DELACROIX I did n't mean that, in life. JUNEBUG In life? I ` ma keep on living, having a good drink, got me a good young woman, make a couple of dollars and make people laugh. Have n't I always tol' you all nigga's are entertainers? The question is what are you gon na do, Peerless?", "INT. HOTEL HALLWAY - NIGHT Delacroix and Dot are on either side of Junebug as they hold him up. ON DOOR Delacroix struggles to put the key in the door.", "INT. HOTEL ROOM The door is kicked open as the trio comes in. Junebug is drunk as a skunk. JUNEBUG I'm not an alcoholic. I just like to drink. DOT We know that baby. DELACROIX Let's get him over to the bed. JUNEBUG Baby, you treat me so good. Peerless, you're a good son, I love you. You never gave me no trouble. They lay him down on the bed. DELACROIX I love you too, Daddy. JUNEBUG Always keep'em laughing. Dot takes off his shoes. He's out like a light. Gone. DELACROIX How long has my father been like this? DOT Not that often. He was excited to see you. DELACROIX So he drank himself into a stuper? DOT The drinking is for the pain. It does n't kill it, just dulls it. DELACROIX So what's up with you? DOT I was a hostess at this club, your Daddy was performing and I had never laughed so hard in my life. He asked me to come with him. I quit my job and we've been together ever since. Delacroix pulls out his billfold and gives Dot five crisp new model hundred dollar bills. DELACROIX Do n't tell him it's from me or he wo n't take it. DOT Your father is proud of you. DELACROIX He never showed it. DOT He did the best way he knew how, Junebug is stubborn just like you. Delacroix kisses his sleeping father of the forehead. DOT -LRB- CONT'D. -RRB- I'll take care of him.", "EXT. I-95 NORTH - NIGHT Delacroix is driving back home - up North.", "INT. CAR - CONTINUOUS DELACROIX -LRB- V.O. -RRB- My Daddy. I'm not mad at him. Not at all. Junebug was the reason I got into this business in the first place. CLOSER DELACROIX -LRB- V.O. ; CONT'D. -RRB- And I thank him for that. However, it did me no good seeing him in that state. Daddy was a broken man. He had been a strong man, with conviction, integrity, principles and look where it had gotten him. I had to ask myself did I want to end up where he was? OVERHEAD REAR VIEW MIRROR Delacroix adjusts the mirror so he can see himself, and SPEAK TO US. DELACROIX -LRB- CONT'D. -RRB- That was the last time I ever saw my father.", "EXT. I-95 NORTH Delacroix's car flies past us.", "INT. MANTAN'S DRESSING ROOM - NIGHT ON MIRROR Mantan starts to black up.", "INT. SLEEP'N EAT'S DRESSING ROOM Sleep'N Eat also begins to black up.", "INT. STAGE - NIGHT Honeycutt stands in front of the festive young, mixed audience. HONEYCUTT Everybody say Ho! AUDIENCE Ho! HONEYCUTT That ` swhatI ` mtalkin ` bout! That ` swhatI ` mtalkin ` bout! I want to be the first to welcome you to the second taping of Mantan - The New Millennium Minstrel Show. Audience applauds. HONEYCUTT -LRB- CONT'D. -RRB- My name is Honeycutt and I want to try something different. Can you do this for me? ON AUDIENCE AUDIENCE Yeah! BACK ON HONEYCUTT HONEYCUTT I'm gon na start a chant and I want y' all to follow me. Let's make our own 2 real coons know you're ready to start the show. CLOSER HONEYCUTT -LRB- CONT'D. -RRB- Let's go Niggers. Then clap five times like this. Honeycutt claps the cadence. HONEYCUTT -LRB- CONT'D. -RRB- C'mon. It's easy. It's the same thing y' all do out at the Yankee game, no different ` cept we changing one word. Everybody go it? ON AUDIENCE AUDIENCE YEAH! CLOSER ON HONEYCUTT HONEYCUTT Alright. Here we go. Let's go NIGGERS! LET'S GO NIGGERS! CLOSE ON AUDIENCE AUDIENCE Let's go NIGGERS.", "INT. MANTAN'S DRESSING ROOM ON MIRROR Mantan is finishing the black. AUDIENCE -LRB- O.S. -RRB- Let's go niggers!", "INT. SLEEP'N EAT'S DRESSING ROOM Sleep'N Eat is finishing his Black. AUDIENCE -LRB- O.S. -RRB- Let's go niggers!", "INT. STAGE - CONTINUOUS HONEYCUTT Louder. They ca n't hear you. CLOSE ON YOUNG BLACK WOMAN YOUNG BLACK WOMAN LET'S GO NIGGERS! CLOSE ON YOUNG WHITE MALE YOUNG WHITE MALE LET'S GO NIGGERS!", "INT. MANTAN'S DRESSING ROOM Mantan is applying his FIRETRUCK RED lipstick. AUDIENCE -LRB- O.S. -RRB- LET'S GO NIGGERS!", "INT. SLEEP'N EAT'S DRESSING ROOM Sleep'N Eat's also applying lipstick. AUDIENCE -LRB- O.S. -RRB- LET'S GO NIGGERS!", "INT. STAGE - CONTINUOUS Their CHANT is deafening. The audience's hyped. HONEYCUTT You sound so good to me. Ladies and gentlemen, boys and girls, without further adieu, let's welcome youknowwhoI ` mtalkin ` about, your two favorite coons, Da Dusky Duo, our stars Mantan and Sleep'N Eat. The audience goes crazy as the curtain goes up and the house band kicks in with the Mantan theme. ON STAGE The setting is a chicken coop, live roosters and chickens move freely about Mantan and Sleep'N Eat. They start right into their routine at a furious pace. MANTAN Y' know my lady Lucindy? SLEEP'N EAT The one with da big. MANTAN Not her, the one with the little. SLEEP'N EAT Oh her. MANTAN Tomorrow is her birthday and I want to get her something really nice, like a. SLEEP'N EAT No, not that. How ` bout. MANTAN She hates dem. SLEEP'N EAT Too bad. How ` bout a dress? MANTAN Sleep'N Eat, one of dem slinky, sexy, little foxy. SLEEP'N EAT Mantan, way too short, too tight. Get her one of dose. MANTAN to big. The in - between one, not too tight, not too lose. SLEEP'N EAT That'll work. I just bought one for myself. Mantan cocks his limp wrist. The audience ROARS. SLEEP'N EAT -LRB- CONT'D. -RRB- Not for me, my woolly headed cotton pickin' friend for. MANTAN I thought you got rid of. SLEEP'N EAT that was Vicki, her best friend. Dat dress will cast ya round. MANTAN dat's too much money. I ca n't ` ford it. I needs me a dress that cost no mo' than. SLEEP'N EAT aconite get it dat cheap. MANTAN I'll buy her a less expensive dress, so I can have some money left over to take her out to dinner. SLEEP'N EAT We should go out on a double date. MANTAN I heard ya lady is wild. SLEEP'N EAT No. That's her second cousin. Who's married to Li'l Bit. MANTAN Oh, because on our first date, she let me. SLEEP'N EAT no, she did n't. MANTAN yes she did. SLEEP'N EAT I heard different, thought that was. MANTAN not that time. SLEEP'N EAT So when are you comin' to pick us up? MANTAN Around. SLEEP'N EAT too early. MANTAN then what about. SLEEP'N EAT too late, maybe around. MANTAN perfect. SLEEP'N EAT That's what I like about you and me. We git along. MANTAN like macaroni and cheese. SLEEP'N EAT like grits and butter. MANTAN like fried and chicken. SLEEP'N EAT like sleep and eat. OFF - SCREEN we HEAR the VOICE of MASSA CHARLIE, he's the overseer of this plantation. MASSA CHARLIE -LRB- O.S. -RRB- Who goes in there? SLEEP'N EAT We'd better hide. MANTAN It's dat mean, evil overseer Massa Charlie. They hide behind some boxes. MASSA CHARLIE I say who goes in there? BOTH There's nobody in here ` cept us chickens. Massa Charlie enters the chicken coops with a SHOTGUN blazing. Sleep'N Eat and Mantan do a jig as they try to escape the buckshot. ON AUDIENCE They're rolling down the aisles in hysterics.", "INT. CONTROL BOOTH Everyone in the booth is laughing uncontrollably. Except Delacroix. Even Sloan is dying. DELACROIX Who's side are you on? SLOAN I'm sorry, I ca n't help it. It's too funny. Delacroix starts to crack a smile. He is definitely trying to hold it in.", "INT. DELACROIX'S APARTMENT - NIGHT He sits in front of the television, which is off. DELACROIX -LRB- V.O. -RRB- It was the Day of Reckoning. After a massive advertising and publicity campaign. CLOSER Delacroix stares at the blank screen. DELACROIX -LRB- V.O. ; CONT'D. -RRB- the public would finally get a chance to view Mantan. I was feelin' a little bit like Dr. Frankenstein.", "INT. SLOAN'S STUDIO APARTMENT - NIGHT Sloan, Jessica, Mantan and Cheeba are gathered around the television in the small studio apartment, jabbering away. DELACROIX -LRB- V.O. -RRB- What would their reaction be? I had n't the foggiest. SLOAN Everybody shut up. ON TV SCREEN We see the OPENING of MANTAN - THE NEW MILLENNIUM MINSTREL SHOW. It is in CLAYMATION. Mantan and Sleep'N Eat are doing a `` jig.'' Their noses and lips are done in a grotesque characterization, BIG WIDE BEGROIDAL NOSES and JUICY RED SAUCER SOUP COOLING LIPS. HONEYCUTT -LRB- V.O. -RRB- Calling all my cousins, you're about to take a trip down to Hang'Em High Plantation, home of your two favorite coons, Mantan and Sleep'N Eat. ON SLOAN, JESSICA, MANTAN, AND CHEEBA Mantan is n't happy. MANTAN Why they got ta make my nose so big? CHEEBA Look at my lips. JESSICA I think it looks cute. ON SLOAN She ca n't believe her eyes. HONEYCUTT -LRB- V.O. -RRB- Mantan - The New Millennium Minstrel Show is proudly sponsored by. ON TV SCREEN DA BOMB PRODUCT SHOT AND LOGO HONEYCUTT -LRB- V.O. ; CONT'D. -RRB- Da Bomb. We'll take you there. And. CLOSER ON TV SCREEN TIMMI HILLNIGGER PRODUCT SHOT AND LOGO HONEYCUTT -LRB- V.O. ; CONT'D. -RRB- Timmi Hillnigger. Keep it really real. ON HONEYCUTT HONEYCUTT -LRB- CONT'D. -RRB- We will be right back with the start of our show, but first, a word from our proud sponsors. CUT TO COMMERCIAL # 1", "EXT. STREET CORNER - ANY GHETTO, U.S.A. - DAY The TRACK is BOOMING. The fire hydrant is open on this sizzling day and practically butt naked `` Playaz'' and `` Hoes'' dance in the water. Each one is guzzling from 64 ounce JUGULARS of DA BOMB which are in the shape of a bomb. ON HONEYCUTT AND CROWD He's in the spot, he's the spokesperson. HONEYCUTT DA BOMB. Yo. It's 125 % pure pleasure MALT LIQUOR. HOOCHIE #1 It's Da Bomb, Baby. PLAYA #1 It's Da Bomb, Baby. ON CROWD Nothing but butts and breasts gyrating. HONEYCUTT -LRB- V.O. -RRB- Clinical testing has found that Viagra does n't work on black `` johnson's.'' That's why our scientists developed Da Bomb for you. It makes you feel like a MAN and it makes dem bitches feel like Natural Women - I mean Ho's. PLAYA #2 It makes my nature rise. HOOCHIE #2 I want to get funked up. HONEYCUTT DA BOMB - 125 % pure pleasure malt liquor. Honeycutt takes a big swallow from his 64 oz. Jugular. Two statuesque ladies sandwich him, grinding up on Honeycutt. He takes the jugular from his lips. As he speaks, flames come out of his mouth. HONEYCUTT -LRB- CONT'D. -RRB- Oooooo - weeee! Da Bomb makes me wan na get my freak on. TWO MO' HOOCHIES Honeycutt, let's get our swerve on @ CUT TO COMMERCIAL # 2", "EXT. STREET CORNER - ANY GHETTO, U.S.A. - DAY A middled - aged Caucasian male, TIMMI HILLNIGGER, is surrounded by a mob deep of hard - looking PLAYAZ. TIMMY HILLNIGGER Yo, my name be Timmi Hillnigger. I was born and raised up in Strong Island so you know I know about my peeps, my niggaz in the git - toe. I design and own TIMMI HILLNIGGER 125 % Authentic Git - Toe active wear. DAWG # 1 steps forward. DAWG #1 Hillnigger keeps it real. DAWG # 2 steps forward also. DAWG #2 Timmi's gots all da latest gear. TIMMY HILLNIGGER If you want to keep it really real, never get out of the git - toe, stay broke and continue to add to my multibillion dollar corporation, keep buyin' all my gear. The Timmi Hillnigger collection. We keep it so real we give you the bullet holes. Hoe # 1 laying in a white thong on top of a white Rolls - Royce. HOE #1 All my niggaz wear Hillnigger or they do n't wear a damn thing at all. It's Git - toe Fabulous.", "EXT. THE WHITE HOUSE - NIGHT The lights are on in the White House. DELACROIX -LRB- V.O. -RRB- I was sunk, dead. My goose was cooked. The cat was in the bag and the bag was in the river.", "INT. THE WHITE HOUSE President Clinton is seen behind a TV set laughing his head off.", "INT. THE WHITE HOUSE - PRESS CONFERENCE - DAY The President of the U.S. stands behind a podium and takes questions from the press. REPORTER Did you watch MANTAN - THE NEW MILLENNIUM MINSTREL SHOW last night? PRESIDENT CLINTON Yes I did and I can honestly say I feel it promotes racial healing.", "INT. DUNWITTY'S OFFICE - MORNING Dunwitty, Delacroix and Sloan are joined by a young Caucasian woman, MYRNA GOLDFARB. DUNWITTY I know all of you have seen the overnight ratings. Through the roof. But in this game you got ta be one, two, three steps ahead. I introduce you to Myrna Goldfarb. She's the best media consultant in the biz. MYRNA First, I would like to say I love the show. It's very courageous. My parents marched in Selma, Alabama with Dr. King. DELACROIX Why are you here? MYRNA Good question, straight to the point. I like your style. Because of the content of the show we can expect some spirited reactions. DUNWITTY Myrna is here to help us plan our strategy. MYRNA The best defense is offense. DELACROIX I thought it was the other way around. MYRNA You get my point. I've mapped out some strategies to help bolster our position. SLOAN Which is? MYRNA That this is fun. Nice wholesome fun. DUNWITTY Goldfarb, run it down for them. MYRNA The Mantan Manifesto. Catchy ai n't it? Number One. We gainfully employ African Americans, in front of and behind the cameras. Two. Let the audience decide. Three. Who put these critics in charge? These so - called cultural police? Four. Who determines what is black? Five. Mantan is a satire. Six. If they ca n't take a joke, `` F'''em. DUNWITTY We all stick to this, it's smooth sailing. SLOAN It sounds kinda simplistic to me. MYRNA I've done my research. DELACROIX These are black folks we're talkin' about, not some lab mice in a cage. MYRNA Monsieur Delacroix, I got my PhD in African - American studies from Yale, so I do feel I'm qualified. DUNWITTY Let Myrna finish. MYRNA Thank you. And always smile. DELACROIX Yeah, show dem pearly whites. She ignores him. MYRNA Wear Kente cloth, invoke the name of Dr. Martin Luther King, use the word `` community'' often when talking about Mantan. And finally our biggest plus is you, Pierre Delacroix. DELACROIX Me? DUNWITTY Yes you! MYRNA This show was created, conceived by you, a non - threatening African - American male. Voila. End of argument. It ca n't be racist because you're black. DELACROIX I'm not black. I'm a NEGRO!", "INT. CNS HALLWAY - POST MEETING Sloan and Delacroix are walking in the hallway. They keep getting interrupted by people who congratulate Delacroix on the success of the show. SLOAN So you have your small victory, now what? DELACROIX A small victory is n't that small when you've been use to losing.", "INT. DELACROIX'S OFFICE - MORNING Sloan hands Delacroix a wrapped gift. DELACROIX What is this? SLOAN A gift. DELACROIX For what? SLOAN No matter what you think, you did come up with something unique. Open it. Delacroix opens his gift. It is one of those old cast iron Black Collectibles. This one is called `` THE JOLLY NIGGER BANK,'' a head of a Negro, big lips, big nose, wide eyes. SLOAN -LRB- CONT'D. -RRB- Put a coin in the hand. He puts a quarter in the hand. SLOAN -LRB- CONT'D. -RRB- Watch this. She pushes the lever and the mouth opens, the quarter flies in and his eyes go to the top of his head. SLOAN -LRB- CONT'D. -RRB- Read it on the back. Delacroix reads. DELACROIX The Jolly Nigger Bank. SLOAN This is authentic, not a repro, circa turn of the century. DELACROIX Thanks. SLOAN I thought it was appropiate. DELACROIX Is that good or bad? SLOAN It's all good. You got a hit show, you're gon na need a bank. Plus, I love these old black collectibles. DELACROIX How so? SLOAN To me, it shows part of our history in this country, a time when we were considered inferior, sub - human. CLOSE ON JOLLY NIGGER BANK Delacroix puts another quarter in the hand and flips the lever. The quarter flies into his mouth as his eyes roll to the top of his head.", "INT. WLIB - DAY Delacroix is a guest on the GARY BYRD show. WLIB is the number one black talk radio station in the nation. GARY BYRD Our guest today is Pierre Delacroix. He is the creator of the highly controversial TV show MANTAN. Let's get right into it. You have been called by some in the community a traitor, a sellout, an Uncle Tom. Why does your show generate such feelings? DELACROIX Because race has always been a sensitive issue in this country. Gary, I have no problem with people disagreeing with the show, it's when folks start trying to mess with my inherent right as an artist, that's when I get mad. No one, in any way, shape or form should be censored. GARY BYRD No matter how sexist or racist the material may be? DELACROIX Yes. And I say yes because who is to judge? Who is to stand before us and say this is righteous and this is not? Who? Who can play God? GARY BYRD But the line has to be drawn. DELACROIX Do n't you people get it? We're in the 21st Century. Slavery was over four hundred years ago. All that stuff people talked in the old days, it's over. Folks always crying, white man this, white man that. Let's all grow up. GARY BYRD Are you trying to excuse our Holocaust? DELACROIX Can I finish? Thank you. I had a great Aunt, we called her Sister. She went to her grave not believing man had walked on the Moon. When I was a little kid, I would argue with her, `` it's on TV.'' She would answer `` I do n't care what's on that idiot box. No MAN is on the MOON.'' Well, there are a lot of your Negroes just like my Aunt Sister. Face up to it. The world has changed and if you do n't adapt, change with it, you will be left behind. This show is a parody. Are you telling me that nobody can use some humor, have some laughs in their lives? Is that what you're telling me?", "EXT. TIMES SQUARE - NIGHT Mantan and Cheeba gaze skyward at a behemoth billboard for their show. Some people recognize them and start asking for autographs and a crowd forms. ON MANTAN AND CHEEBA They're enjoying the adulation. ANOTHER CORNER Big Black and the Mau - Mau's also look up at the 2 REAL COONS billboard. Their faces say they are not happy. CLOSE ON 2 REAL COONS BILLBOARD CLOSE ON AMERICAN FLAG It blows majestically in the wind. DELACROIX -LRB- V.O. -RRB- When American people want something, they want it now, they want it big. NEWSREEL FOOTAGE Kids swinging in their hula hoops. DELACROIX -LRB- V.O. ; CONT'D. -RRB- They wanted the hula hoop. NEWSREEL FOOTAGE Kids playing with their yo - yo's. DELACROIX -LRB- V.O. ; CONT'D. -RRB- They wanted their yo - yo's. NEWSREEL FOOTAGE A young girl petting her Pet Rock. DELACROIX -LRB- V.O. ; CONT'D. -RRB- Who could ever forget those lovable pet rocks.", "INT. TOYS \"R\" US Parents are fighting over Beanie Babies. It's a RUCKUS. DELACROIX -LRB- V.O. -RRB- Beanie Babies.", "EXT. TIMES SQUARE - NIGHT Mantan and Sleep'N Eat are doing a tap dance on the GIANT DIAMONDVISION SCREEN. DELACROIX -LRB- V.O. -RRB- Now the latest, hottest, newest sensation across the nation was. CLOSE ON MANTAN AND SLEEP'N EAT DELACROIX -LRB- V.O. ; CONT'D. -RRB- BLACKFACE! BLACKFACE MONTAGE We SEE AMERICANS - young, old, black and white in BLACKFACE. MANTAN and SLEEP'N EAT are # 1 and # 2 in the best - selling Halloween masks. They fly out of the stores. We SEE Mantan and Sleep'N Eat THE DUSKY DUO Action Dolls, backpacks, lunch boxes, T - shirts, jackets, board games, watches, and CD - Rom video games. Football players, wrestlers in black face also. DELACROIX -LRB- V.O. ; CONT'D. -RRB- It was the rage.", "INT. RECORDING STUDIO Big Black stands behind 1/16th Black who sits in front of a laptop computer. 1/16TH BLACK Big Black, I ca n't log on the Mantan Website now, it's overloaded. DELACROIX -LRB- V.O. -RRB- The Mantan - The New Millennium Minstrel Show at www.nigger.com was getting 500,000 hits a day. BIG BLACK Keep trying. 1/16TH BLACK I'm on it.", "INT. CAR DEALER - DAY A Mercedes - Benz salesman is showing Mantan all the newest, latest models.", "INT. JUSTINE'S RESTAURANT - NIGHT Mantan and Cheeba sit at a big table with Puff Daddy, Andre Harrell, Russell Simmons and other assorted RAPPERS. Everyone is drinking that DOM P. Buxom Hotties sit in between the BIG WILLIES.", "EXT. CNS BUILDING - DAY A group of protesters led by the REVEREND JESSE JACKSON and AL SHARPTON carry signs and banners objecting to Mantan. They're calling upon the FCC to pull the show off the air and for the boycotting of the show's two sponsors : TIMMI HILLNIGGER and DA BOMB MALT LIQUOR. ON PROTESTERS The press is watching.", "INT. DELACROIX'S OFFICE - DAY Delacroix has now decorated his entire office with Black Collectibles Art. WE SEE black jockey lawn pieces, banks, mammies, signs for products, etc.. ON WINDOW Delacroix and Mantan are looking out the office window down on the protesters. MANTAN Why is Jess and Reverend Al down there? DELACROIX So they can be on TV. MANTAN You sound like the media. DELACROIX This is nothing. It will blow over by tomorrow. MANTAN Same thing Giuliani said. DELACROIX Tomorrow it will be all about cruelty to animals or some sex scandal. Besides, there is no such thing as bad publicity. He hands Mantan a wrapped gift. DELACROIX -LRB- CONT'D. -RRB- Rest your mind. It's a little somethin' something. Mantan opens it. He pulls out an old pair of tap shoes. DELACROIX -LRB- CONT'D. -RRB- Those were the last pair of tap shoes worn by Bill `` Bojangles'' Robinson. In fact, he died with them on. Mantan starts to laugh. DELACROIX -LRB- CONT'D. -RRB- No joke. Serious. MANTAN Hope the same thing does n't happen to me. That's some big shoes to fill. DELACROIX In time.", "INT. RECORDING STUDIO - NIGHT The Mau - Mau's are in meeting. They all drink 64 ounce jugulars of Da Bomb, are all attired from head to toe in TIMMI HILLNIGGER Active Ghetto Wear and brandish their 9's. BIG BLACK That Tom, That Negro. DOUBLE BLACK that handkerchief head. BLACK BLACK dancing monkey. 1/16TH BLACK Benedict Arnold. BIG BLACK that simpleton is holding back the race. They got rid of us and keep those two buffoons, Mantan and Sleep'N Eat, y' knowwhatI ` msayin'? HARD BLACK Yo, Big Black, Sleep'N Eat ai n't even a nigger, y' knowwhatI ` msayin'? SMOOTH BLACK He's Mexican, y' knowwhatI ` msayin'? MO BLACK He's Dominican, y' knowwhatI ` msayin'? JO BLACK He's Peter Rican, y' knowwhatI ` msayin'? BIG BLACK Same thing, y' knowwhatI ` msayin', y' knowwhatI ` msayin'! 1/16TH BLACK We know. We know. Yo, check it, my black brothers, we ca n't let this slide. Not this injustice. Nah, no way. Dem' two real coons iz ill. BIG BLACK 1/16, tru' ` dat. True ` dat. DOUBLE BLACK Let me gat him. BIG BLACK Nah, too easy, this has to be symbolic, has to be on the world stage.", "INT. MANTAN'S APARTMENT - CENTRAL PARK WEST - DAY Mantan is showing Sloan his new residence. SLOAN This is a nice place. It must have cost a pretty penny. MANTAN Sloan, I got it like ` dat. SLOAN Oh you do, huh? MANTAN Just a little something' somethin'. SLOAN I hope you save a little somethin' somethin'. MANTAN Gots no intention of ending up broke. SLOAN Y' know, at the beginnin' of the century, African - American had to perform in blackface. You ever heard of Bert Williams? He was a great artist. MANTAN No, before my time. SLOAN You do n't read, do you? MANTAN Never read a book in my whole life. SLOAN Maybe you need to start. MANTAN Maybe I need to do a lot of things. SLOAN Bert Williams and the rest, they had to black up. They had no choice. They were considered 3/5ths of a human being. Did you know that's written in the Constitution of the United States? MANTAN Why all of a sudden are you flippin' on me? This blackface thing was part of the deal from the git - go. Do n't even try to play it like you ai n't a part of all this. You down with Delacroix. SLOAN I just do n't want you and Cheeba to get hurt. MANTAN We can look out for ourselves.", "INT. SLEEP'N EAT'S DRESSING ROOM - NIGHT Sleep'N Eat is applying his black face.", "INT. MANTAN'S DRESSING ROOM Mantan also puts on his mask.", "INT. STAGE CLOSE ON HONEYCUTT HONEYCUTT Let's have a warm nigger applause for our two favorite coons, Mantan and Sleep'N Eat. TWO REAL COONS! ON AUDIENCE The entire audience is in BLACK FACE. They applaud, yell, cheer wildly. This is becoming a religious cult. ON STAGE The curtain rises on Mantan and Sleep'N Eat. They are in a cotton field. MANTAN I fell out of my bed last night. SLEEP'N EAT You slept too near where you got in? MANTAN I slept too near where I fell out. SLEEP'N EAT You expect the unexpected in circumstances of that peculiarity. MANTAN Sleep'N Eat, what's the matter with you? Using all dose ten dollar words? SLEEP'N EAT Mantan, it is possible that my hyphenated sentences are entirely too complex for all the intellect contained in that diminutive coconut? MANTAN Hold on, you allegorical hypothesis. Do n't cross words with me. SLEEP'N EAT Ai n't Jemima on the pancake box? MANTAN Dat's yo Uncle Ben. That reminds me, I've seen a lot of troubles lately. SLEEP'N EAT How be dat? MANTAN I do n't know who I am. SLEEP'N EAT Well, I'll be an Alabama porch monkey's uncle. MANTAN Years ago I married a widow who had a grown - up daughter. My daddy visited us often, fell in love with my stepdaughter and married her. Thusly he became my son - in - law and my stepdaughter became my mother because she was my father's wife. Soon after dis my wife gave birth to a son, which of course was my father's brother in - law and my uncle, for he was the brother of my step - mother. My father's wife also became the mother of a son. He was of course my brother and also my grandchild for he was the son of my daughter. Accordingly, my wife was my grandmother because she was my mother's mother. Sleep'N Eat, I was my wife's husband and grandchild at one and the same time. And lo' and behold, as the husband of a person's grandmother is his grandfather, I Mantan, became my own grandfather. SLEEP'N EAT Mantan, dat sho' is a whopper. They both start to do the jig.", "INT. CONTROL BOOTH Delacroix is dying laughing. DUNWITTY You could n't hold out any longer, huh? ON SLOAN She looks at Delacroix, her face tells us she's not amused at all. ON TV SCREEN The Dusky Duo is joined on the cotton patch by Snowflake, Rastus, Sambo, Nigga Jim, Jungle Bunny, Aunt Jemima, And the Porch Monkeys Band. MANTAN I feel a song a comin' on. SLEEP'N EAT A song a comin' I feel. The Porch Monkeys kick in and Mantan sings. MANTAN I fell right dead in love/wid da sweetest little dove/little LuLu Snow from Tennessee/she made a slave of me/an' from her I ` se never free/I'd do anything she'd ask me to. Sleep'N Eat takes over. SLEEP'N EAT De money I did save/to dat yeller gal I gave/for to keep till we was wed/she told me dat nobody'd get away dat cash/I'll take good care of date, she said. Everybody joins in for the chorus. PIKCANINNINIES She's de cutest gal in all dis world I know/If you met her you would say it so/Oh, Lulu, Lulu, ev'ry day I pines for you/no other gal will do/All I've got is yours for life, my little, my little yaller Lou/A week ago dat Lou wid anudder nigger flew/took ma money too, all I had/She broke ma heart in two/when I heard dat she had flew/Do you wonder dat I feel so bad? / She told me not to cry ` case she did n't say good bye/but she'd take care of dat red/and nobody would get de cash away from her/She'd keep her word to me she said.", "INT. RECORDING STUDIO - NIGHT The Mau - Mau clan surrounds the television monitor, howling in disgust. BIG BLACK He gots to be did. 1/16TH BLACK Did he gots to be.", "INT. CONFERENCE ROOM - DAY Delacroix is leading the meeting of the staff writers on Mantan. DELACROIX -LRB- V.O. -RRB- To my astonishment, not only did the people in TV land love us, but also the critics. _ CLOSE ON DELACROIX DELACROIX -LRB- V.O. ; CONT'D. -RRB- Mantan was being hailed as groundbreaking, barrier breaking, also earth shaking. I looked forward to my awards. Just vindication for all my hard work, all my talent that had been previously overlooked.", "INT. THEATER - NIGHT Delacroix sits in tux amongst many stars. ALEC BALDWIN The winner for Best New Sitcom is. The envelope please. A starlet hands him the envelope. ALEC BALDWIN -LRB- CONT'D. -RRB- The winner is. Pierre Delacroix for Mantan - The New Millennium Minstrel Show! Delacroix jumps out og his chair and starts sobbing. Two ushers have to help him to the stage. He is overcome with emotion. The audience is on their feet with a standing ovation. He hugs Alec Baldwin. DELACROIX Alec Baldwin, this is the very first time we've ever met, you do n't know this, I'm your biggest fan and I want you to have my Emmy. It's for you, out of the deep bowels of my heart - I do n't deserve this. You take it. Alec Baldwin is shocked. He grabs Delacroix in a bear hug and they both cry like babies. DELACROIX -LRB- V.O. ; CONT'D. -RRB- If I did that I'd be assured to work forever. Delacroix the grateful Negro.", "INT. HOTEL BALLROOM - NIGHT Delacroix sits at a table in his lucky tux. WOODY HARRELSON The winner for Best Sit - Com is. Woody opens the envelope. WOODY HARRELSON -LRB- CONT'D. -RRB- Pierre Delacroix for Mantan. Come on up and get your Golden Globe. Delacroix jumps out of his seat and sprints. He gets down on the stage and starts to breakdance, even spinning on his head. DELACROIX -LRB- V.O. -RRB- That routine would go over like gangbusters. I would be a dancing fool, Hollywood's new favorite Negro, move over Danny, Morgan, Samuel L., move over Whoopi.", "INT. CONFERENCE ROOM - DAY Delacroix is finishing up the meeting. DELACROIX I had it all planned. To the T.", "INT. DANCE STUDIO - DAY Mantan is running rigorous rehearsal of The Pikaninnies. Over and over, repetition after repetition, Snowflake, Rastus, Sambo, Nigger Jim, Jungle Bunny and Aunt Jemima try to do an intricate dance step. MANTAN I'm tired of you pickaninnies messing up my choreography. It goes like this. Mantan does the step with ease. MANTAN -LRB- CONT'D. -RRB- Try it again. The dancers do it once more. MANTAN -LRB- CONT'D. -RRB- Better. Cheeba walks in. Mantan checks him out. MANTAN -LRB- CONT'D. -RRB- Let's take a ten minute break. They quickly file past Cheeba without saying a word. The rehearsal space is just the two. CHEEBA I'm not drinking the Kool - Aid. MANTAN What are you talkin' about? CHEEBA Jim Jones, y' know. I'm not drinking the Kool - Aid. MANTAN Meaning? CHEEBA I'm out. MANTAN Good. I've got a broken back from carrying you all these years anyway. CHEEBA So that's what you been doing? MANTAN Damn skippy. CHEEBA You're in this up till ya neck. MANTAN Do n't shoot me, I'm just the piano players. CHEEBA You can walk away. We both can. MANTAN Yeah, that's easy for you to do. You never had any talent. CHEEBA I'm so tired of you running that. I always worked hard for you. You think I'm a leech, a kling - on, I quit. Cheeba walks out. MANTAN I'm the star of Mantan, so you do that. Quit, walk away. And do n't come crawling back, either.", "INT. LIMOUSINE - NIGHT Mantan and Sloan ride in back. He's still thinking about Cheeba. SLOAN Why do n't you call him? MANTAN For what? He left. Not me.", "EXT. APOLLO THEATRE - NIGHT The limo drives past the World Famous Apollo Theatre in Harlem, a big crowd is in front. TIGHT ON THEATRE It READS : MANTAN THE MARVELOUS", "INT. DRESSING ROOM - NIGHT It's an unruly, fired up crowd that can be heard all the way back here. SLOAN You're sure this is a good idea. MANTAN My people love me. He kisses her, she does n't resist. SLOAN I love you. After a long, deep kiss she gently pulls back. SLOAN -LRB- CONT'D. -RRB- I'll be down front. You better start putting your face on. MANTAN Y' know what? SLOAN What? MANTAN You look beautiful like that.", "INT. APOLLO THEATRE - NIGHT Sloan takes a seat down front.", "INT. DRESSING ROOM Mantan, face already done, puts on the firetruck red lipstick.", "INT. APOLLO THEATRE Sloan is looking around this boisterous crowd when she sees ON THE MAU - MAU'S In one of the side boxes. ON BIG BLACK He waves to his sister. ON SLOAN She knows her brother and his clan are up to no good as the house lights go black. ANGLE ON STAGE Honeycutt walks out on stage. The audience goes crazy. HONEYCUTT Thank you so very much. Show me some love. He laughs. HONEYCUTT -LRB- CONT'D. -RRB- Thank you. My name is Honeycutt and I want to welcome you to a very special evening. It's always great coming back to the World Famous Apollo Theatre. The audience applauds. HONEYCUTT -LRB- CONT'D. -RRB- As everybody knows if you can make it here on this stage in front of the most discriminating audience in the world you can make it anywhere. Ladies and gentlemen, let's show some real Uptown love for Mantan The Marvelous! The curtain goes up and Mantan the Marvelous stands there, arms raised. He starts to do his thing. ON MAU - MAU BOX Led by Big Black, they start shouting insults at Mantan. ON STAGE Mantan is a pro, he does n't stop. In fact, this makes him dance harder and harder. ON SLOAN She leaves her seat and goes to stop her brother. ON STAGE Mantan is moving and grooving. The unrest in the audience has picked up. ON AUDIENCE They start to `` boo.'' The tide has turned. Encouraged, the Mau - Mau's pick it up another notch. ON MANTAN He's human after all, and he does hear the boos. Do n't let those athletes in the papers fool you. You hear the boos and nobody, nobody except Dennis Rodman likes to be booed. Mantan is getting rattled. ON MAU - MAU'S BOX Sloan rushes into the box and they are quiet. They do n't have to say or shout a thing. The rough Apollo crowd is doing it all themselves. TWO SHOT ON SLOAN AND BIG BLACK The sister and big brother look at each other. There is no love between them. SLOAN This does n't change a thing. I will still love him. Big Black ca n't believe what he has just heard. ON STAGE Now projectiles are raining down upon Mantan. This has turned into a RUCKUS, a BROUHAHA, a DONNYBROOK. Honeycutt races onto the stage to pull off the still tap dancing Mantan as the Harlem natives BUMRUSH the stage. THE WORM HAS TURNED. ON MAU - MAU'S BOX Mantan, led by Honeycutt, runs for his life. ON MOB They chase him. ON BACKSTAGE DOOR Mantan is hauling ass.", "EXT. BACKSTAGE The door crashes open, Mantan rockets out into an open car door. ON CAR DOOR The door slams.", "EXT. STREET - NIGHT The car spins away.", "INT. CAR - NIGHT Delacroix is behind the wheel. This is the most shaken we've seen Mantan to date. DELACROIX Pull ya self together. Mantan is distraught. DELACROIX -LRB- CONT'D. -RRB- What are you? A man or a mouse? Are you a punk? Punking out on me? MANTAN No. DELACROIX You getting scared because some people do n't like what you are doing? MANTAN Yo, DeLa, they tried to lynch my black ass up in dat piece. DELACROIX You've made it from the guttermost to the uppermost. Do n't you know you should never let them see you sweat. Y' knowwhatI ` msayin'? MANTAN Yeah. DELACROIX And now is definitely not the time to bitch up.", "EXT. HARLEM STREET - NIGHT Delacroix speeds away.", "INT. BET STUDIO - NIGHT Mantan is on the BET show with host TAVIS SMILEY. TAVIS SMILEY Our guest tonight is the extraordinary, talented performer, Mantan. Thanks for coming in. MANTAN Tavis, thank you for having me. TAVIS SMILEY Before we begin, I want to thank you for coming on my show for your first television interview. You could have chosen Mike Wallace, Barbara Walters, Jane Pauley, whatnot but you're here. MANTAN I'm more comfortable around my people. TAVIS SMILEY Let's jump right into it. Your show has sparked a world of controversy, provoked a tone of dialogue. How do you see all of this? MANTAN Yo, Tavis, check it out. This is the two - one, the 21st century and it's all about the money. Like my man Mase says, `` it's all about the Benjamins.'' TAVIS SMILEY Money and nothing else? MANTAN Money makes the world go round. It ai n't no joke being poor. I know whatI ` mtalkin'' bout. Y' knowwhatI ` msayin'? I've lived on the street. I've been homeless. I've learned how to play the game, work the game, be in the game. TAVIS SMILEY Is it inevitable that the game plays you? MANTAN No if you go with the flow, Tavis. That's what a lot of Negroes do n't understand. Protesting is n't gon na do a damn thing. If people do n't like our satire in our number one hit show then do n't watch it. Or better yet write your own show. Do it better. TAVIS SMILEY Do n't you feel that is a simplistic retort? MANTAN I do n't know what a retort is, but it's simple. Mantan - The New Millennium Minstrel Show is UNIVERSAL. It's not just for Negroes in Compton or 125th in Harlem. This is America. Our ancestors helped build this country, we got a right, just like everybody else. I'm not gon na box myself in. This show makes people think, and they're laughing at the same time. TAVIS SMILEY I admit, that's a very hard thing to do. Quickly let's go to the phones before we pay the bills and hear from our proud sponsors, DA BOMB. 125 % PURE PLEASURE MALT LIQUOR. IT MAKES YOU WAN NA GET YA FREAK ON AND TIMMI HILLNIGGER. 125 % AUTHENTIC GIT - TOE GEAR WHEN YOU WANT TO BE GIT - TOED FABULOUS. Our first caller is Big Black from Brooklyn. Go ` head. ON MANTAN BIG BLACK -LRB- O.S. -RRB- Microphone check, one, two. One, two. Yo Tavis, I be lovin' yo show but Mantan you is foul. Why you perpetrating? You a sellout. MANTAN That's our opinion. BIG BLACK -LRB- O.S. -RRB- You're a traitor to the race. A tool for the Caucasoids. MANTAN Why? Because I'm successful? Because I do n't use `` Causcasoids'' as an excuse for not fulfilling my dreams? BIG BLACK -LRB- O.S. -RRB- I ai n't hearing all dat noise. You getting played and you do n't even know it. TAVIS SMILEY And Big Black from Brooklyn, what do you do? BIG BLACK -LRB- O.S. -RRB- What do I do? TAVIS SMILEY What do you do? BIG BLACK -LRB- O.S. -RRB- I'm a revolutionary. MANTAN That's a job? BIG BLACK -LRB- O.S. -RRB- That's a full time job, especially when sellouts like you are running around, acting insane. TAVIS SMILEY That's enough. BIG BLACK -LRB- O.S. -RRB- And another thing, you better stay away from my sister or you better. CLICK! TAVIS SMILEY Ladies and gentlemen, there is no need to go there. We can all agree to disagree without making threats.", "INT. DELACROIX'S OFFICE - NIGHT Sloan turns off the TV. DELACROIX Why'd you do that? SLOAN I do n't want to hear it. DELACROIX How long have you and Hambone been hangin' out? SLOAN You're the one that put us together. We're friends. DELACROIX That crazy brother of yours does n't think so. SLOAN He's just playing big brother. DELACROIX Oh, is he? You getting jiggy with Mantan? SLOAN Please do n't go there. DELACROIX Dunwitty and I feel you've been getting too close to him, getting his mind all messed up. SLOAN I ca n't lie to him. If he asks me something, I tell him what I think. DELACROIX Do you have to be so damn forthright? SLOAN DeLa, you should try it sometime. Come into the light. DELACROIX Light? SLOAN That which has been hidden in darkness is now in the light. This bucket of blood. DELACROIX You can talk all that mumbo jumbo if you want to but your hands are much bloody. I know where I made my big mistake. I have a general rule, never get involved romantically with somebody crazier than you. CUT TO FLASHBACK", "INT. MIDTOWN HOTEL ROOM - DAY Delacroix and Sloan are taking off their clothes. DELACROIX This is crazy. SLOAN That's why it will be so much fun. They kiss, fall half undressed upon the motel bed.", "INT. DELACROIX'S OFFICE - NIGHT SLOAN That was a mistake, but I do n't regret it. DELACROIX The first and only time. A big mistake. I'm gon na have to ask you not to see Mantan anymore. SLOAN Work related or otherwise? DELACROIX Otherwise. I trust you know the difference. You're an intelligent woman, finished at NYU. SLOAN DeLa, kiss my big black ass. DELACROIX And that's how you got me in the first place. Sloan pulls a 3/4 inch cassette out of her bag and hands it to him. SLOAN I want you to please view this. It may save your Life.", "INT. MANTAN'S APARTMENT - DAY Mantan and Delacroix are in the middle of a heated discussion. DELACROIX You should n't even be mad at me over Sloan. MANTAN What you did is dead wrong. DELACROIX Oh, is it? Buddy boy, in this business if people do n't produce, they get fired. MANTAN Sloan is the hardest working person I've ever met. DELACROIX Let me ask you a question, if I may. How do you think she got the job in the first place? I do n't mean to burst your bubble, Mantan the Marvelous, but Sloan is an opportunity. MANTAN I do n't believe it. DELACROIX Do I have to spell it out for you? In fact, go ask Sloan yourself.", "INT. SLOAN'S STUDIO APARTMENT - DAY Mantan is grilling Sloan. MANTAN How did you get this gig? SLOAN Worked my black ass off, first as an intern, then worked my way up to this position. MANTAN You leave something out? SLOAN After my internship expired, Dela was impressed and offered me a position as his assistant. MANTAN And? SLOAN And what? MANTAN Stop playing me Sloan. SLOAN Just ask me what you want to know. MANTAN Oh, you gon na make me say it. SLOAN Say what, Manray? MANTAN Did you ever sleep with DeLa? SLOAN We did it one time, only once. It had nothing to do with the job, it was stupid. Everything I've got I've earned. MANTAN Aw, c'mon. SLOAN That's ancient history. That has nothing to do with you and I. MANTAN So you say. Sloan, you wuz gon na use me up just like you used Dela? Work it to the top. I never imagined people in this biz could flip on you like `` IHOP.'' I'm damn happy DeLa fired ya ass. SLOAN Forget about me, are you a puppet for DeLa? MANTAN Do n't try to change to the subject. SLOAN Why do n't you answer? MANTAN I know I wo n't be your puppet. SLOAN You can go now. MANTAN I wuz leaving anyway, for good.", "INT. RECORDING STUDIO - NIGHT As usual, the clan is smoking and drinking DA BOMB, a thick marijuana haze hangs over the studio. 1/16TH BLACK Yo, I got da bomb plan. We gon na hook homeslice Mantan up nicely. He holds up a floppy disk.", "INT. DELACROIX'S OFFICE - NIGHT Delacroix sits behind the desk. He's bought even more Black Collectibles, he's surrounded by them. ON DELACROIX He dials the phone. DELACROIX Hello, Mommy, how are you? ORCHID -LRB- O.S. -RRB- I'm doing okay. Been reading about your show, it's all over everywhere. I watched it's all over everywhere. I watched it once. I thought you said there would be no buffoonery. DELACROIX You going to attack me too. The show is a hit. Are n't you happy for me?", "INT. ORCHID'S HOUSE ORCHID Of course I'm happy for you. You've worked very hard for your success. DELACROIX -LRB- O.S. -RRB- Yes I have, very hard. Has Daddy called? ORCHID No. ON DELACROIX DELACROIX Not at all? ORCHID -LRB- O.S. -RRB- You know how your Daddy is. DELACROIX If and when he calls, please do n't forget to ask him if he's seen Mantan. ORCHID -LRB- O.S. -RRB- I wo n't forget. When are you coming up here to see your mother? DELACROIX Soon. Delacroix hangs up the phone. He takes out some change from his pocket and puts a quarter in the hand of his Jolly Nigger Bank. TIGHT ON JNB Delacroix flips the lever and the quarter flies into the MOUTH as the EYES roll to the top of its HEAD. Delacroix does this several times. CLOSEUPS of the BLACK COLLECTIBLES in the office. CLOSER ON JNB Delacroix is staring at the JNB when its MOUTH OPENS, a quarter flies in and its EYES roll to the top of its HEAD. ON DELACROIX He is incredulous. DELACROIX -LRB- V.O. ; CONT'D. -RRB- When I thought or imagined that my favorite Jolly Nigger Bank, an inanimate object, a piece of cold, cast iron, was moving by itself. Delacroix slowly, carefully approaches the bank and picks it off the table. DELACROIX -LRB- V.O. ; CONT'D. -RRB- I knew I was getting paranoid. Did I really see what I saw or was I buggin'? ON JNB It's stopped moving.", "INT. STAGE - NIGHT Honeycutt is warming up the crazed `` Black Face'' - wearing audience. He points to a YOUNG WHITE MALE, BOBBY HONEYCUTT Is you a nigga? BOBBY Hell yeah, I'm a nigga. The AUDIENCE CHEERS WILDLY. Honeycutt points to an old WHITE LADY, LOUISE, a senior citizen. HONEYCUTT Ma'am, is you a nigga? LOUISE Yesiree Bob, you darn tootin' I'm a nigger. The AUDIENCE loses it as Honeycutt hugs Louise as if she's a grandmother.", "INT. MANTAN'S DRESSING ROOM - NIGHT Mantan looks up at his makeup laid out before him on the counter. TIGHT ON MANTAN He stares at himself in the dressing room mirror. Mantan ca n't stand to BLACK UP anymore.", "INT. STAGE - NIGHT Honeycutt stands next to a young black couple TRE and STACY. HONEYCUTT Are you a nigger? TRE Yo! HONEYCUTT Are you a nigga? STACY Honeycutt, I'm a really real niggress. Stacy gets a standing ovation. HONEYCUTT You. You. Him. Her. We're all God's niggas. Even the lost souls who do n't know it are niggas cuz niggas is a beautiful thing.", "INT. BACKSTAGE - NIGHT As Mantan walks down the hallway WE NOTICE he is not dressed in his costume and he has no BLACK FACE on.", "EXT. SLEEP'N EAT'S DRESSING ROOM - NIGHT A Worker is painting over Sleep'N Eat's name on the door and replacing it with HONEYCUTT MANTAN They do n't waste any time, do they?", "INT. CONTROL BOOTH - NIGHT The phone rings next to Delacroix and he answers. DELACROIX Delacroix. What?! I'll be right down. Dunwitty looks at him.", "INT. BACKSTAGE - NIGHT Delacroix is met by BUNNING, the STAGE MANAGER. BUNNING You better talk to him. He wo n't listen to me. Delacroix walks over to Mantan who stands in a corner. DELACROIX Mantan, we got a show to tape. MANTAN My name is Manray, goddamnit. DELACROIX Kook and the Gang, it's Manray. Let's do the taping. You go back to your dressing room, get dressed and blacken up. MANRAY I'm not playin' myself no mo'. DELACROIX How you sound? MANRAY I wo n't do it anymore. DELACROIX Manray, I'm very sorry about ya boy Cheeba and Sloan. Believe me, it gave me no joy pulling ya coattail about her, just lookin' out for a brother. I feel you, all this stuff happenin' at once but you ca n't let if affect your work. You got ta be professional. MANRAY I'm always gon na be that. But I ai n't doing no more buck dancing. DELACROIX No costume. No blackface. MANRAY No. No. Manray leads the way to the stage. BUNNING I should notify Dunwitty. DELACROIX And I should put my foot dead up in yo' ass. BUNNING I wo n't be held responsible.", "INT. STAGE - NIGHT Honeycutt stands in front of the drawn curtain. HONEYCUTT We apologize for the holdup but without further delay, ladies and gentlemen, boys and girls, let's give it up for Mantan. A THUNDEROUS ROAR FROM THE STUDIO AUDIENCE. HONEYCUTT -LRB- CONT'D. -RRB- C'mon, do n't be niggardly, give it up. Show Mantan some love. The CURTAIN RISES and MANRAY stands before them in his regular street clothes and NO BLACK FACE. ON AUDIENCE The THUNDEROUS ROAR is CUT OFF LIKE the LIGHTS, LIKE CON EDISON PULLS THE PLUG WHEN YOU DO N'T PAY THE BILL.", "INT. CONTROL BOOTH - NIGHT Dunwitty is HYSTERICAL. DUNWITTY Stop the tape. Stop the tape. Delacroix. Get me Delacroix.", "INT. STAGE - NIGHT Manray speaks to the silence. _ MANRAY Cousins, I want all of you to go to your windows. Go to your windows and yell, scream with all the life you can muster up inside your assaulted, bruised amd battered bodies. ON MANRAY MANRAY I'm sick and tired of being a nigger and I'm not gon na take it anymore. ON VARIOUS AUDIENCE MEMBERS Black and white. Male and female. Young and old. All in black face. ON MANRAY He collapses onto the stage and the AUDIENCE sits on their hands. Manray gets up and begins to dance. ON STAGE Dunwitty runs to Bunning. DUNWITTY Drop the curtain. Drop the curtain. Bunning drops the curtain. Security rushes onto the stage and grabs Manray. DUNWITTY -LRB- CONT'D. -RRB- Escort him out the building now! MANRAY I was n't finished doing my dance. DUNWITTY But you are finished. Done. Nigga's like you are a dime a dozen. I'm gon na slide Honeycutt right into ya spot. We wo n't miss a step. Get him outta here. The security guards move Manray as Dunitty glares at Delacroix. Honeycutt is all smiles, he's being bumped to the top. DUNWITTY -LRB- CONT'D. -RRB- DeLa, I'll deal with you next.", "EXT. BACKSTAGE The security guards toss Manray out the stage door. Manray looks down the alley and it's empty except for a parked SUV. He picks himself up and does a joyous dance. This is Manray's dance of Freedom. ON STREET The Big Black Chevy Suburban creeps down the alley to a dancing Manray and comes to rest right in front of him. Manray tries to shield his eyes from the hi - beam headlights. MANRAY Whaddup? No one comes out. MANRAY -LRB- CONT'D. -RRB- Whaddup? The doors open and the Mau - Mau's file out. BIG BLACK You truly are a dancing fool. 1/16TH BLACK Yo Black, you looking for trouble. MANRAY Do n't start none, wo n't be none. The Mau - Mau's are dying laughing. Manray tries to walk through them. They block him. Manray attempts to climb over the suburban. He's quickly nabbed, give a good ole Brooklyn Beatdown, then thrown into the rear of the vehicle.", "EXT. EMPTY BROOKLYN STREET - NIGHT The Mau - Mau Mobile rolls up to an abandoned factory. ON CHEVY SUBURBAN The Mau - Mau's quickly carry Manray out from the back of the vehicle into the factory.", "INT. FACTORY - NIGHT Manray sits, feet and hands tied, in the middle of a cavernous space. A digital video camera stands on a tripod in front of him. BIG BLACK You is one dead nigger. MANRAY What did I do? BIG BLACK What did you do? The Mau - Mau's laugh. BIG BLACK -LRB- CONT'D. -RRB- Brothers, he asks what did he do? DOUBLE BLACK If you do n't know there is nuthin' we can do for you. BIG BLACK Nigga, you will be executed. ON MANRAY His face says he ca n't believe this is happening. MANRAY For singing and dancing? 1/16TH BLACK You will be done in front of the world. MO BLACK The whole world will be watching. 1/16TH BLACK Via the internet. DELACROIX -LRB- V.O. -RRB- The Mau - Mau's had come up with a brilliant, sadistic plan to broadcast Mantan's execution LIVE over the internet. 1/16TH BLACK We have pirated broadcasting facilities. No way we can be found out. We're in cyberspace. JO BLACK Nobody will find you till it's too late. MONTAGE Various newsrooms, computer screens, people running, shouting, yelling over phones. DELACROIX -LRB- V.O. -RRB- The Mau - Mau's sent anonymous e - mail proclamations to the websites of CNN, ABC, MSNBC and CBS. It was an invite to witness the Dance of Death, 9 PM, prime time, tomorrow night on a site to be designated at a later date.", "INT. FBI HEADQUARTERS - NIGHT Delacroix and Cheeba are being interrogated in two adjoining spaces. WE ARE seeing them through the two - way mirrors. DELACROIX -LRB- V.O. -RRB- It's no joke getting grilled by the FBI for five houts. Delacroix SCREAMS. DELACROIX -LRB- CONT'D. -RRB- I do n't know anything. FBI AGENT We know you're involved in this abduction.", "INT. INTERROGATION ROOM - NIGHT CHEEBA You know more than me. Why would I do something like that to my best friend? Why? FBI AGENT #2 You tell us.", "EXT. FBI HEADQUARTERS - NIGHT It's a mob scene as the media frenzy heightens. Delacroix and Cheeba try to fight their way through the print and broadcast journalists trying to question them as they leave FBI headquarters. DELACROIX -LRB- V.O. -RRB- Somehow, someway, somebody had tipped the sharks off. It was a feeding frenzy. Delacroix and Cheeba start pushing people out of the way as they get in to their waiting car.", "INT. X-FORCE WAR ROOM - NIGHT There is a flurry of activity - people man phones, computers all HI - TECH. DELACROIX -LRB- V.O. -RRB- The X - Force was brought onto the case. When something involves the internet, these are the people IBM, XEROX, the CIA, FBI, even the US Government go to. ON CLOCK It reads `` T - minus 19 HOURS 22 MINUTES.'' DELACROIX -LRB- V.O. ; CONT'D. -RRB- It was a race against time. The Dance of Death.", "INT. CNS STUDIO - NIGHT Dunwitty is taping a spot. DUNWITTY Hello, my name is Thomas Dunwitty. I'm the Senior V.P. of the entertainment division here at CNS. I come to you with a heavy heart.", "INT. SLOAN'S APARTMENT - CONTINUOUS She's watching Dunwitty on TV. DUNWITTY This abduction is a cowardly, vile, sinful and dastardly act and I promise these creeps will be prosecuted to the fullest extent of the law. This is an attack on your American way of life.", "INT. DELACROIX'S APARTMENT He's watching the same. DUNWITTY We here at CNS are offering a $ 100,000 cash award to any information that leads to the safe return home of our dear friend, Mantan.", "INT. CNS STUDIO ON DUNWITTY DUNWITTY Help us and in addition you will get a guest - starring speaking role on the next Mantan - The New Millennium Minstrel Show, plus an added bonus : a lifetime of Da Bomb 125 % Malt Liquor. Let's you get ya `` freak on'', as well as a full wardrobe of Timmi Hillnigger Active Git Toe Wear. Mantan, may God bless you.", "INT. X-FORCE HEADQUARTERS - DAY Delacroix and Sloan hurry to stay with BARNETT, he's the commander of the X - Force. BARNETT Let's go, time's wasting.", "INT. X-FORCE WAR ROOM They follow Barnett into the war room. BARNETT They sent the notice out on an anonymous remailer. SLOAN A what? BARNETT It's used to mask the origin of an email, also the computer from which it's sent. DELACROIX There oughta be a law. BARNETT Not yet, anyway, it's legal. We will find the source where it's being broadcasted and hosted. We'll get the people that bushwhacked Mantan. SLOAN Before Manray is dead? BARNETT I ca n't answer that. ON CLOCK It reads `` 6 HOURS 16 MINUTES.'' MONTAGE Police squads, SWAT Teams are busting into the wrong homes, apartments, projects, hi - tech computer labs looking for the Mau - Mau's. DELACROIX -LRB- V.O. -RRB- SWAT teams all up and down the East Coast busted in on known dissidents looking for Manray. All the tips called in, info gathered through surveillance proved for naught.", "INT. X-FORCE WAR ROOM BARNETT The both of you should go home. We will keep you abreast. SLOAN This is looking like a needle in a haystack. It's hopeless. Delacroix holds Sloan as he leads her out. She is having difficulty breathing with her asthma. DELACROIX Thank you for your help. BARNETT The X - Force always gets their man.", "INT. DELACROIX'S APARTMENT - NIGHT He sits in front of his GIANT SCREEN, on the desk in front of him is the 3/4 inch cassette Sloan gave him. He picks it up and turns it on. DELACROIX -LRB- V.O. -RRB- It was ten o'clock and the Dance of Death was about to commence. ON MONITOR DELACROIX -LRB- V.O. ; CONT'D. -RRB- Since a lot of people still did n't have computers, the networks sought a court order to carry it live, taking the feed off the internet. It was granted. A life snuff broadcast right into your living room. ON DELACROIX DELACROIX -LRB- V.O. ; CONT'D. -RRB- I had to give it to the Mau - Mau', they definitely had a sense of irony. They chose www.nigger.com as the website to pirate.", "INT. FACTORY - NIGHT The Mau - Mau's ironically wear WHITE MASKS, they stand behind the tied - up Mantan. A device alters their voices. BIG BLACK We are LIVE on the cyberspace. Whereas Mantan is a TOM. BLACK BLACK Whereas Mantan is a disgrace. SMOOTH BLACK Whereas Mantan is a head - scratching, foot - shuffling Negro. 1/16TH BLACK Whereas, whereas, where's the ass? The Mau - Mau's laugh. BIG BLACK Whereas Mantan the dancing fool, you are condemned to death. JO BLACK The Dance of Death. 1/16th Black unties Manray. MONTAGE WE SEE DELACROIX, SLOAN, CHEEBA WITH LOURDESE, DUNWITTY, JUNEBUG AND DOT, ORCHID, THE X - FORCE WATCHING THIS SPECTACLE ON COMPUTERS OR TV SCREENS. ON COMPUTER SCREEN We see a CARTOON, Yosemite Sam is shooting at the feet of Bugs Bunny with his six - shooter in each hand. Bugs Bunny is doing a fast dance, dodging bullets. ON MONITOR The Mau - Mau's shoot at the feet of Manray. BIG BLACK Dance nigger. Manray taps. SMOOTH BLACK You got anything to say for yourself? MANRAY If you're gon na kill me, kill me. SMOOTH BLACK Do n't worry.", "INT. SLOAN'S APARTMENT - CONTINUOUS She is having an asthma attack, it was brought on by the proceedings. Sloan uses her inhaler.", "INT. FACTORY - NIGHT Each Mau - Mau has a 9mm and is firing it at the feet of Manray. They scream `` Faster!'' and `` Dance!'' Manray is hoofing. He's never tapped this fast, at this breakneck pace, ever. But it's evident his dance is one of defiance. He's not dancing to stay alive.", "INT. DELACROIX'S OFFICE - CONTINUOUS He screams at the monitor. DELACROIX Do n't dance. Do n't do it.", "INT. FACTORY The Mau - Mau's have noticed Manray's strong will, his pride and they do n't like it. They shoot even more at his feet. BIG BLACK You ai n't Blak. DOUBLE BLACK Blak you ai n't. SMOOTH BLACK You a Oreo. Not Blak. Not BLAK. The Mau - Mau's start to chant, `` Blak, blak, blak.''", "INT. SLOAN'S APARTMENT She hears this and quickly picks up the phone to call the authorities.", "INT. FACTORY MANRAY There is nothing you can do to me. I'm wearing the taps of Bill `` Bojangles'' Robinson. Manray is shot in one foot. Then the other. BIG BLACK Let's seeya dance now, Mr. Bojangles. Manray somehow manages to right himself and starts to dance again. The Mau - Mau's ca n't believe it. ON MANRAY He dances like his life depends on it. Despite the fact his feet are a bloody mess. BIG BLACK -LRB- CONT'D. -RRB- You ain' BLAK. He shoots Manray in the chest, the Mau - Mau's follow him and he does a spastic last jig as the 9mm bullets riddle his twitching body. ON TV SCREEN It goes black. MONTAGE Helicopters fly through the night sky. Cop cars and trucks, SWAT team vehicles are on the move. SIRENS BLARE.", "INT. DELACROIX'S OFFICE Delacroix's head is on his desk. He has been crying. On cue the Black Collectibles start to move. The Jolly Nigger Bank, Aunt Jemima's, Mammies, etc., they are animated for REAL. ON DELACROIX His head pops up as he sees the objects. He too is in BLACKFACE. In a rage, he starts to throw them against the wall. DELACROIX Leave me alone. Get away from me. You spearchucker. You black sambo. You nigger pickaninny. Fat Mammie. Delacroix has finally lost it. He looks at the shambles he's made of his office.", "EXT. FACTORY - CONTINUOUS The Mau - Mau's come out of the factory high as a kite. Each has a big fat joint or a 64 oz. of DA BOMB. They're also doing a free - style rap about their execution. ON CHEVY SUBURBAN They get in when the squak of police walkie - talkie's clicks. BIG BLACK It's the man! What follows is a horrifying display of firepower. All the Mau - Mau's bodies are doing the Bonnie and Clyde Sonny Corleone Dance of Death as bullets tear into them and the Suburban. Not one of them is able to get a shot off. The shooting stops. The twitching stops. All's quiet. 1/16th Black comes out with his hands up. 1/16TH BLACK Do n't shoot! Do n't shoot! I've been held hostage. They made me part of them against my own free will. Do n't shoot! The cops quickly pounce on 1/16th Black. 1/16TH BLACK -LRB- CONT'D. -RRB- I'm WHITE. I'm WHITE! Look at me, I'm white!", "INT. DELACROIX'S OFFICE Delacroix is on the floor when the doorknob turns. It's Sloan and she has a gun in one hand and her inhaler in the other. She's wheezing like mad. SLOAN Get up and put that tape in. She points the gun at his head. SLOAN -LRB- CONT'D. -RRB- Do what I say. Delacroix takes the cassette tape off his desk and puts it in the 3/4 inch desk. SLOAN -LRB- CONT'D. -RRB- Do n't make me have to use this. DELACROIX I did n't think this was in your studies at NYU. Delacroix hits the PLAY button. ON SCREEN IMAGES. HISTORY. VISUALS. Sloan has put together a tape of the worst, most racist, stereotypical images from cinema and TV over the last 100 years. With these images there's also a laugh - track. SLOAN Watch this. This is what you contributed to. Because of you, Manray is dead. Mu brother's dead. It's all because of you. Delacroix ca n't watch the monitor. DELACROIX I'm sorry. I did n't know anyone would get hurt. I'm sorry, please give me that gun before you hurt yourself. Give me the gun. He reaches for it. BOOM! Sloan screams. SLOAN I told you but you would n't listen. You never listened to me. DELACROIX Give me the gun. She reluctantly hands it to him. DELACROIX -LRB- CONT'D. -RRB- Go, get out of here. Go home. Sloan runs out. Delacroix slumps to the floor, WIPES HER FINGERPRINTS off the revolver. ON DELACROIX He looks at the monitor, the tape still playing. DELACROIX -LRB- V.O. ; CONT'D. -RRB- As I bled to death, as my very precious life oozed out of me all I could think of was that I never made my father proud. My mother did n't count. ON SCREEN We see STEP'N FETCHIT, MANTAN MORELAND and WILLIE BEST. DELACROIX -LRB- V.O. ; CONT'D. -RRB- Everything I did, no matter how great or small, was always extraordinary to her. With Daddy it was a different ball game. He never saw me. Pierre Delacroix. ON DELACROIX A pool of blood has formed around his dying body. DELACROIX -LRB- V.O. ; CONT'D. -RRB- Now it was time to buy the farm, for me to meet my maker. Goodbye cousins, and please tune in next week for the Best of Mantan - The New Millennium Minstrel Show. ON SCREEN We see MANTAN in BLACKFACE doing his BUCKDANCE CLOSE ON DELACROIX He looks at Mantan. DELACROIX -LRB- CONT'D. -RRB- For the love of Joseph and Mary, what have I done? My God, what have I done?! Delacroix slumps over dead. ARCHIVAL FOOTAGE OF MALCOLM X MALCOLM X You've been had. You've been took. You've been led astray. Run amok. You've been bamboozled. THE END. END CREDITS."], "labels": [0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0], "summary": "Pierre Delacroix (real name Peerless Dothan) is an uptight, Harvard-educated African-American man in the employment of television network CNS. At work, he endures torment from his boss Thomas Dunwitty, a tactless, boorish white man. Not only does Dunwitty use African-American Vernacular English (AAVE) and the word \"nigger\" repeatedly in conversations, he also proudly proclaims that he is more black than Delacroix and that he can use \"nigger\" since he is married to a black woman and has two mixed-race children. Dunwitty frequently rejects Delacroix's scripts for series that portray black people in positive, intelligent scenarios, dismissing them as \"Cosby clones\". In an effort to escape his contract through being fired, Delacroix develops a minstrel show with the help of his personal assistant Sloane Hopkins. Mantan: The New Millennium Minstrel Show features black actors in blackface, extremely racist jokes and puns, and offensively stereotyped CGI-animated cartoons. Delacroix and Hopkins recruit two impoverished homeless street performers, Manray and Womack, to star in the show. While Womack is horrified when Delacroix tells him details about the show, Manray sees it as his big chance to become rich and famous for his tap-dancing skills. To Delacroix's horror, not only does Dunwitty enthusiastically endorse the show, it also becomes hugely successful. As soon as it premieres, Manray and Womack become big stars, while Delacroix, contrary to his original stated intent, defends the show as satire. Delacroix quickly embraces the fame and recognition he receives while Hopkins becomes ashamed of her association with it. Meanwhile, an underground, militant rap group called the Mau Maus, led by Hopkins' older brother Julius, becomes increasingly angry at the show's content. Though they had earlier unsuccessfully auditioned for the program's live band position, the group plans to end the show using violence. Womack quits, fed up with the show and Manray's increasing ego. Manray and Hopkins grow closer, despite Delacroix's attempts to sabotage their relationship. Delacroix confronts Hopkins, and when she lashes back at him, he fires her. She then shows him a videotaped montage she created of racist footage culled from assorted media to shame Delacroix into stopping production of the show, but he refuses to watch it. After an argument with Delacroix, Manray realizes he is being exploited and defiantly announces that he will no longer wear blackface. He appears in front of the studio audience, who are all in blackface, and does his dance number in his regular clothing. The network executives immediately turn against Manray, and Dunwitty fires him. The Mau Maus kidnap Manray and announce his public execution via live webcast. The authorities work feverishly to track down the source of the internet feed, but Manray is nevertheless assassinated while doing his famous tap dancing. At his office, Delacroix (now in blackface himself, mourning Manray's death) fantasizes that the various black-themed antique collectibles in his office are staring him down and coming to life; in a rage, he destroys many of the items. The police kill all the members of the Mau Maus except for One-Sixteenth Blak, a white member who demands to die with the others. Furious, Hopkins confronts Delacroix at gunpoint and demands that he play her tape. As he does so, Hopkins reminds him of the lives that were ruined because of his actions. During a struggle over the gun, Delacroix is shot in the stomach. Hopkins flees while proclaiming that it was Delacroix's own fault that he got shot. Delacroix, holding the gun in his hands to make his wound appear self-inflicted, watches the tape as he lies dying on the floor. The film concludes with a full reveal of the tape's contents; a long montage of racially insensitive and demeaning clips of African-American characters from Hollywood films of the first half of the 20th century. Afterwards, Manray is shown doing his last Mantan sequence on stage.", "name": "Bamboozled"}
{"scenes": ["CREDITS Still - life tableaus. Lawford, N.H., a town of fifty buildings on a glacial ridge, neither mountain nor plateau. Developed as 1880's forestland, discarded in the Depression. Winter has set in. Halloween day. Snowy fields yield to overcast skies : oppressive, horizonless, flourescent. - Wickham's Restaurant. Where Route 29 bends. 24 - hour diner. Margie Fogg works here. - Trailer park in shadow of Parker Mountain. Home of Wade Whitehouse. - Toby's Inn. Roadhouse three miles from town on the river side of Route 29. Everything not tied down ends up here. - Glen Whitehouse farm. White clapboard. - First Congregational Church. North on the Common from City Hall. - LaRiviere Co.. Ramshackle well - digging firm embarrassingly near the town center. Wade works here. - Merritt's Shell Station. Cinder - block. - Alma Pittman's house. Like so many others. - Town Hall. ROLFE WHITEHOUSE'S VOICE, thirtiesh, articulate, speaks over credit tableaus : ROLFE -LRB- V.O. -RRB- This is the story of my older brother's strange criminal behavior and disappearance. We who loved him no longer speak of Wade. It's as if he never existed. By telling his story like this, as his brother, I separate myself from his family and those who loved him. Everything of importance - that is, everything that gives rise to the telling of this story - occurred during a single deer - hunting season in a small town in upstate New Hampshire where Wade was raised and so was I. One night something changed and my relation to Wade's story was different from what it had been since childhood. I mark this change by Wade's tone of voice during a phone call two nights after Halloween. Something I had not heard before. Let us imagine that around eight o'clock on Halloween Eve, speeding past Toby's, Route 29, comes a pale green eight - year - old Ford Fairlane with a police bubble on top. A square - faced man wearing a trooper's cap is driving the vehicle. Beside him sits a child, a little girl with a plastic tiger mask covering her face. The man is driving fast - - Route 29 tableau dissolves to night. A pale green police Ford Fairlane drives past. END CREDITS", "INT./EXT. POLICE CAR - NIGHT WADE WHITEHOUSE, driving, sits beside JILL, his daughter, ten years - old, wearing a black - and - yellow tiger plastic mask. WADE I'm sorry for the screw - up. But I could n't help it it's too late to go trick - or - treating now. I could n't help it I had to stop at Penny's for the costume. And you were hungry, remember. JILL Who's fault is it then if it's not yours? You're the one in charge, Daddy. WADE -LRB- shakes cigarette from pack. -RRB- Yeah. JILL Look. Those kids are still trick - or - treating. They're still out. Wade watches boys in the headlights, lights cigarette. WADE Those are the Hoyts. JILL I do n't care. They're out. WADE Ca n't you see. look out there. Nobody's got their porch lights on anymore. It's too late. Those Hoyt kids are just out to get in trouble. See, they put shaving cream all over that mailbox there. They chopped down Herb Crane's new bushes. Little bastards. Jesus H. Christ. Wade grimaces, holds his jaw. The Fairlane swerves around broken pumpkins under a caution light. JILL Why do they do that? WADE Do what? JILL You know. WADE Break stuff? JILL Yeah. It's stupid. WADE I guess they're stupid. JILL Did you do that when you were a kid? WADE Well, yeah. Sort of. Nothing really mean. Me and my pals, me and my brothers. It was kind of funny then. Stealing pumpkins, soaping windows. Stuff like that. JILL Was it funny? WADE To us it was. JILL But it's not funny now. WADE It's not funny now. I'm a cop and I got ta listen to all the complaints people make. I'm not a kid anymore. You change. JILL I bet you did lots of bad things. WADE What are you talking about? JILL I just think you used to be bad. WADE No. I did n't used to be bad. No sir. Where do you get this stuff? From your mother? JILL No. She does n't talk about you anymore. Wade looks at her, wanting to lift her mask, see her face.", "EXT. TOWN HALL - NIGHT The Fairlane approaches Town Hall, a square two - story building on the north side of the Common. Exhaust billows from idling cars as parents and children come and go.", "INT. TOWN HALL - NIGHT Clowns, tramps, angels and vampires fill the brightly lit room. Parents watch from the walls as GORDON LARIVIERE, a beefy fiftiesh man with a silver flat - top, announces the costume contest. Wade nods to various townspeople. LARIVIERE We're looking for the funniest costume! And the scariest! And the most imaginative! And the best costume of all! WADE -LRB- nudges Jill. -RRB- Got here just in time. Go ahead. Jump in line. Maybe you'll win a prize. Jill steps forward, retreats. Wade looks at her flaxen hair, her blue sneakers protruding from her pathetic costume. His heart aches he loves her so. WADE Go on, Jill. Some of those kids you still know. JILL I do n't want to. WADE Why? Why not? You know these kids from when you went to school here. It has n't been that long. JILL It's not that. WADE What then? JILL It's stupid. WADE It's fun. JILL -LRB- voice breaking. -RRB- I want to go home. -LRB- Wade kneels down. -RRB- I do n't like it here. WADE Oh, Jesus, come on, will you? Do n't mess this up anymore than it's already been messed up. Join the other kids. Do that and before you know it you'll be as happy as a goddamned clam. Wade inches her toward the circle of children. Gordon spots them : LARIVIERE Wade! And who's that tiger? Is that Jill? Come and join us. Jill in the spotlight, joins the costumed children. A former classmate calls her name. Wade, relieved, watches, then steps outside for a smoke.", "EXT. TOWN HALL - NIGHT Wade steps outside, lights a cigarette. JACK HEWITT, 23, clean - cut, handsome, cocky, stands with CHICK WARD and FRANKIE LACOY, local boys. WADE What are you boys up to? CHICK Same old shit. FRANKIE You see the damage these little sons - of bitches been raising tonight? WADE -LRB- to Jack. -RRB- You're going to have to move your pickup. JACK I know. CHICK -LRB- offers whiskey pint. -RRB- Take a bite. WADE Do n't mind if I do. JACK LaRiviere's having a hell of a time in there. Master of fucking ceremonies. WADE Where's that gun you were bragging on today? Jack stops over to his double - parked burgandy pickup, removes a Browning BAR.30 / 06 with a scope, hands it to Wade. JACK No brag. Just fact. WADE -LRB- admires gun. -RRB- Got you for - 450, 500 bucks? -LRB- passes it to Frankie. -RRB- FRANKIE Nice. JACK -LRB- to Wade. -RRB- See you got Jill tonight. How'd you manage that? WADE -LRB- turns. -RRB- Do n't forget to move your truck. -LRB- walks inside. -RRB-", "INT. TOWN HALL - NIGHT On stage, LaRiviere arranges the contest winners. A fairy godmother with a wand beams while, nearby, a hobo writhes in his mother's grip - a hard loser. Wade looks for Jill, first among the winners, then among the losers ; she's nowhere to be found. He heads toward a hall leading to the restrooms. Jill stands alone in the corner next to the pay phone, tiny, forlorn. Wade realizes at once he was wrong to leave her before she had found a friend. WADE Some party, huh? Sorry I lost sight of you. I had to step outside for a smoke. You find anybody you know here? There must be some kids you used to know from school. You want to go tomorrow? See your old teachers? Be more fun than hanging out with me all day. JILL No. WADE No what? JILL -LRB- lifts mask atop head. -RRB- No I did n't see anybody I know. No I do n't want to go to school here tomorrow. I want to go home. WADE You are home. There are lots of kids you still know here. JILL I do n't want to be here. Do n't worry, I love you, Daddy, I do. But I want to go home. WADE -LRB- sighs. -RRB- Jesus. Listen, Jill, tell you what. Tomorrow morning, you still want to go home, I'll drive you down. I'll get off work or something. JILL -LRB- pause. -RRB- I called Mommy. WADE What? You called Mommy? Just now? JILL Yes. WADE Jesus, why? JILL I. because I want to go home. She said she'd come and get me. WADE Come and get you! Shit! It's a damn half hour drive each way. Why did n't you talk to me about it first? JILL See, I knew you'd be mad. WADE Yeah. Yeah, right, I'm mad. What'd you tell her, for Christ sake? JILL I told her I wanted to come home. Daddy, do n't be mad at me. WADE Well, I guess I am. I planned this, I planned all this, you know. I mean, it's sort of pathetic, but I planned it. You should n't have called your mother. -LRB- takes her arm. -RRB- C'mon, we're gon na call her before she leaves.", "EXT. POLICE OFFICE - NIGHT Wade leads her to a frosted - glass door reading `` POLICE'', enters. Inside, he flips on flourescent light, dials the desk phone. More utility room than office. He waits. There's no answer. Jill looks down. WADE She's gone already! -LRB- hangs up. -RRB- Gone already! Could n't wait. JILL Yes. WADE That's all you got to say? `` Yes''. JILL Yes. WADE She wo n't be here for a half hour. Think you can stand it that long? JILL Yes. WADE Where do you expect to wait for her? Obviously downstairs with the other kids is n't good enough. Jill sits in a chair facing the dark window pane. WADE Sit right there by yourself if you want. Wait for her by yourself. That's fine with me. Just dandy. I'm going downstairs. JILL That's fine with me too. When Mommy comes, tell her I'm up here. Wade Whitehouse stalks out.", "EXT. TOWN HALL - NIGHT Wade steps outside, notices Jack Hewitt and his kewpie - doll girlfriend HETTIE, 20, sitting in the cab of his double - parked pickup, sharing a joint, talking to LaCoy alongside. WADE I thought I told you to move that truck! JACK Relax, Chief. We're leaving. You wan na toke? WADE -LRB- steps over. -RRB- You got ta be more careful about that shit. Gordon or one of those guys sees you smoking that wacky tabacky around me they'll expect me to bust you. And I'll be outta a job. JACK Some job. Here, have a hit. Do n't be such a hardass. I know you got problems, but everybody's got problems. -LRB- offers joint. -RRB- WADE Not here. LaCoy laughs : that Jack Hewitt, some guy. Wade holds his aching jaw. He looks at Jack's young athletic body, his pretty girlfriend, envies him. JACK Well, c'mon, then. Get in and we'll take a little ride, my man. Wade looks up to the window where Jill waits, walks around the front of the truck, gets in.", "INT./EXT. JACK'S TRUCK - NIGHT Jack's high - bodied pickup growls in low gear as it drives past Merritt's Shell station toward Saddleback Ridge. Jack lowers the radio as Wade asks him about deer season ; Hettie leans forward to hear the music. JACK Got a job first thing in the morning, first day of season. Saturday I'll hunt for myself. Twombley something. - Er - WADE Evan. He's a mucky - muck union official from Massachusetts. You're lucky. JACK Do n't know about lucky. The guy's a full - blown asshole. Pay's good, though. $ 100 a day. I got to guarantee a kill, of course. Which I can do. There's some monster bucks hiding out up there. WADE How'd you get the job? JACK Gordon, he's always got some angle working. He wants to keep Twombley happy, I'm his boy. Wade grimaces as he passes the joint back. HETTIE What's wrong with you? WADE Toothache. -LRB- to Jack. -RRB- You should get close to him. Make yourself irreplaceable. Guy's loaded. JACK Like you and Gordon? WADE Right. The sonofabitch could n't get along without me. JACK -LRB- laughs. -RRB- Yeah, he'd go broke tomorrow if you quit him. WADE -LRB- laughs. -RRB- Right! A car flashes past. JACK Bastard's got his high beams on. WADE -LRB- watching. -RRB- Shit. HETTIE What? WADE My ex - wife Lillian and her husband. That was them in the Audi that just passed us. JACK Audi's a good car. HETTIE What's she up here for? WADE Aw, shit, she's here to get Jill. Me and Jill had a little argument. Jack, I got to get back, get back to town. Move this thing, will you? See if you can get back to the Town Hall before they get there, okay? JACK Piece of fucking cake. Jack brakes, wheels the 4x4 around, heads back to town.", "EXT. TOWN HALL - NIGHT Most parents have left or are leaving with their costumed children. Hewitt's burgundy pickup breaks alongside the Audi. Wade swings open the passenger door, jumps to the ground : WADE Lillian! LILLIAN Where's Jill? LILLIAN, 40, attractive in an ankle - length hooded coat. Whatever pose Wade strikes, she strikes the opposite. Her dress and demeanor set her apart. WADE Me and Jill, we just had a little spat. She felt kind of left out, I guess, from not knowing some of the new kids - LILLIAN Where is she now? Is she in the truck with your friends? Jack and Hettie neck inside the cab. WADE She told me she wanted to wait for you. Inside. Jill at the window in her tiger mask. Lillian waves ; Jill motions she'll be down. LILLIAN While you went off for a few beers with your friends? Is that Hettie Rodgers there, with whatzizname? WADE Yeah. LILLIAN She's grown up some, has n't she? WADE Oh, Jesus, lay off, will you? It looks like you've won this fucking round already, so lay off a little, for Christ's sake. HORNER, 45, Lillian's new husband, thin with thinning hair and a Tyrolean hat, sees Jill at the entrance and heads toward her. WADE Horner! Leave her be. This's got nothing to do with you, so just act like the chauffeur. Got it? HORNER Wade. Nobody wants any trouble. Horner greets Jill, walks her to the silver Audi. Passing parents, listening, give Wade a wide berth. WADE I do n't want her to go, Lillian. LILLIAN Do n't cause a scene. No one's trying to win any ` rounds'. Do n't make it any worse. WADE I'm not making it any worse. You are. Me and Jill could've worked this thing out. It's normal, it's even normal for me to get a little touchy about it. Believe it or not. How do you think this makes me look, treating her like some tragic victim or something? Horner opens the car door for Jill, shuts it. Wade shoves him : WADE Just wait till we're through, goddamnit! Horner's hat falls. Lillian, icy, stares at Wade. He backs off. Wade sometimes wonders : how'd Lillian Pittman of Lawford, N.H., get so much class? WADE Do n't you say a word. I did n't hit him. I'm not going to hit anybody. Horner sits behind the wheel. Lillian silently stares Wade up and down, gets in the car beside Jill. The automatic locks latch as the Audi drives away. Its taillights merge with vanishing traffic. Wade looks down, picks up Horner's dark green Tyrolean hat, examines it, as if unsure of its function. Wade walks toward Town Hall. MARGIE FOGG, exiting, greets him : MARGIE New hat? -LRB- no answer. -RRB- Jill's up, I see. WADE -LRB- vague. -RRB- For a while. MARGIE How's she doing? WADE Okay. She's fine. MARGIE You two want to do anything tomorrow and need a third party, give me a call, okay? I'm off. NICK WICKHAM, 45, Marg's boss, passes by : WICKHAM Like hell you are. Tomorrow's first day of deer season. I'll need you at least in the morning. MARGIE -LRB- shrugs. -RRB- Well, that's that. NICK -LRB- walks off. -RRB- Take care, Wade. WADE You be careful of that little bastard. He's dying to get in your pants, you know. MARGIE -LRB- laughs. -RRB- Do n't worry. I can protect my virtue. I mean, c'mon, Wade, give me a break. WADE See you tomorrow, maybe. MARGIE You okay? WADE Yeah. Wade, lost in thought, continues toward Town Hall. At the door, LaRiviere, one of the last to leave, eyes him. Wade tosses Horner's hat inside. WADE Tomorrow, Gordon. LARIVIERE Watch this snow. It's coming down tonight. Wade nods as he lights a cigarette. Alone, he watches the last cars pull out. He holds his jaw.", "EXT. WADE'S TRAILER HOME - DAWN Pre - dawn light silhouettes a dozen weather - beaten mobile homes set off Route 29. Snow continues to fall. A sheet of white stretches down Parker mountain.", "INT. WADE'S TRAILER - DAWN 6:40. A clock radio pierces the silence with classic rock. Wade Whitehouse rolls over, runs his tongue across mossy teeth, shuts off the music. He looks out the window, grunts : `` Shit!'' He steps over to the phone by the frayed plaid couch, dials. Wade's trailer is surprisingly neat, considering its owner smokes too much, drinks too much, eats take - out and rarely cleans up. WADE -LRB- on phone. -RRB- Lugene? Wade. Hoya doin? -LRB- fumbles for cigarette. -RRB- Look, I was wondering, with the snow and all, if you got school today? -LRB- lights cigarette. -RRB- How the hell do I know? You're the principal. All I'm supposed to do is direct traffic from 7:30 to 8:30. -LRB- listens. -RRB- Yeah, okay, I'm sorry - I only just now saw it was snowing, that's all. My whole day is fucked. I got ta plow all day. If I do n't get over to LaRiviere's early enough, I'm stuck with the grader. I was just hoping you'd have called school off. -LRB- beat. -RRB- You check the weather bureau? -LRB- acquiesces. -RRB- Okay, I hear you. I'll be over in a bit. -LRB- hangs up. -RRB-", "EXT. WADE'S TRAILER HOME EARLY - MORNING Jack Hewitt's 4x4 passes Wade's trailer, continues up 29. Tire chains splice the path.", "EXT. JACK'S TRUCK EARLY - MORNING Jack behind the wheel. Beside him EVAN TWOMBLEY, 60, fleshy, Irish, wearing brand new scarlet wool pants, jacket and cap. He feeds on the misfortunes of others. TWOMBLEY It's not enough snow, not for tracking the bastards. No advantage there, kid. JACK Do n't worry, Mr. Twombley, I know where those suckers are. Rain or shine, snow or no snow. I know deer. We'll kill us a buck today. Guaranteed. Before ten. TWOMBLEY Guaranteed, eh? JACK Yep. Right about now the does are holing up in the brush piles. The bucks are right behind them and we're right behind the bucks. -LRB- gestures to gun rack. -RRB- This gun gets fired before ten o'clock. Whether it kills a deer or not is more less up to you. I'll put you inside 30, 35 yards of a buck the first four hours of the season. That's what you're paying me for, ai n't it? TWOMBLEY Damn straight! Hewitt looks at Twombley's rifle : a Winchester M - 94 pump - action, custom carved stock and not a scratch on it. Never fired, at least not by Twombley. JACK Done much shooting with that rifle yet? TWOMBLEY -LRB- eyes him. -RRB- Tell you what. You get me close to a big buck by ten, kid, there's another hundred bucks in it. JACK If you get it? TWOMBLEY Yeah. JACK You might not kill it. TWOMBLEY You think so. JACK You might gut - shoot it or cripple it for somebody else to find and tag. Ca n't guarantee that wo n't happen, especially with a new gun. I may have to shoot it. TWOMBLEY You take care of your end, kid, I'll take care of mine. JACK Mmm. TWOMBLEY You understand what I'm saying? I want a deer, a dead one, not a cripple or whatthefuck. JACK I get it. -LRB- disdain. -RRB- No sweat. You'll get yourself a deer and you'll get him dead. And you'll have him by coffee time. TWOMBLEY And you'll get your extra hundred bucks. JACK -LRB- smiles. -RRB- Wonderful! The pickup disappears behind a curve of pine and spruce trees.", "EXT. SCHOOL - MORNING Wade Whitehouse, wearing a reflective vest, waves a district school bus into the parking lot. Noisy, jostling grade schoolers emerge from the bus. Jill's former classmates. Straight as a statue, Wade holds back traffic. Cars and trucks are backed up on the unplowed road. Horns honk and bleat ; a woman's voice yells, `` Whitehouse, we ` ai n't got all day!'' Wade, daydreaming, seems oblivious to the commotion. Oblivious - or just plum contrary. A shiny black BMW approaches, speeding, passing traffic on the shoulder. A man and a woman in a fur coat sit in front, two children in back. Whitehouse waves for it to stop. The BMW accelerates through the intersection, ignoring Wade and the traffic. It whizzes past, spinning Wade, and is quickly up the road, spewing ice and exhaust. Wade slips to one knee. Honking ensues ; every car goes where it wishes. Wade, brushing off snow, follows the last bus as it pulls in. LUGENE BROOKS, 60, school principal, rushes over : LUGENE Are you okay, Wade? What was wrong? Why were you holding everyone up? WADE Did you see that sonofabitch in the BMW? He could've killed somebody. LUGENE Did you get his number? WADE I know who it is. LUGENE Good. Who? WADE Mel Gordon. LUGENE I still do n't understand - WADE From Boston. Evan Twombley's son - in - law - he was driving. I know where they're headed. Up the lake, Agaway. The old man's out deer hunting with Jack Hewitt, so they probably got some big weekend party planned. Wade sets his face, thinking.", "EXT. WOODS - DAY Snowprints lead from Jack's pickup to where he and Twombley walk, guns pointed skyward. They enter a line of trees. Jack watches Twombley walk ahead of him, wrapped like a huge infant in red bunting, crunching twigs underfoot. He looks from side to side, checks his gun, returns to watching Twombley. They're alone. JACK Safety on? Twombley nods, slips, thumps to the ground. His rifle lands silently. Jack sprints over, helps him up, safety latches the Winchester. Hands it back. TWOMBLEY I'm okay. JACK Follow close. We'll cross the next meadow. Jack finds a path, one eye on Twombley : JACK I used to play ball. TWOMBLEY Yeah? JACK Drafted by the Red Sox. TWOMBLEY You played for the Sox? JACK Double A. New Britain. TWOMBLEY Oh. JACK Pitcher. `` Best ballplayer to come out of New Hampshire since Carlton Fisk.'' TWOMBLEY Really. JACK They said. TWOMBLEY Hmm. JACK The only difference between me and that Clemens on TV is luck, shit luck. TWOMBLEY What happened? JACK Ruined my arm. Brought me along too fast. Why'd it have to be my fucking arm, I used to think. Then I realized it had to be somebody's fucking arm. Jack waits for Twombley as they enter a meadow. Jack aims his rifle at Twombley as he approaches. TWOMBLEY Hey, Hewitt! Slow the fuck down! Jack aims away, following an imaginary bird. Twombley steps alongside. JACK Safety on? TWOMBLEY Yeah. JACK This way. TWOMBLEY -LRB- walking loudly. -RRB- Sun's gettin high. JACK -LRB- fingers to lips. -RRB- Deers have ears too.", "EXT. LARIVIERE CO. - DAY Milky sky flatters LaRiviere Co., a sprawl of well - digging, septic and snow plow equipment. Billboard declaimes : `` LARIVIERE CO.. - OUR BUSINESS IS GOING IN THE HOLE!'' a motto repeated on every truck and piece of equipment. Wade's green Fairlane is parked outside the office.", "INT. LARIVIERE CO. - DAY Wade, puffing a cigarette, passes ELAINE'S -LRB- LaRiviere secretary -RRB- desk, her large red `` No Smoking'' sign, eases into an office modum chair. He unzips his jacket, slaps his cap against his thigh, spraying drops of melted snow. Gordon LaRiviere, speaking on the phone past a glass partition, calls to Wade : LARIVIERE Told you the snow was coming down. Take the grader. WADE Where's the plow? LARIVIERE Jimmy took it. Jack's out hunting with Evan Twombley. WADE His son - in - law damn near killed me. LARIVIERE -LRB- hangs up. -RRB- Huh? WADE At the school crossing. In his BMW. Coulda hurt some kids. I'm gon na bust his ass. LARIVIERE Do n't go playing policeman. WADE What am I - a security guard? You hired me, you and your Selectman friends. LARIVIERE You do n't want the extra police pay? WADE I'm not saying that. LARIVIERE Get the grader. Go out 29 past Toby's. Do n't let Lillian get to you. She did n't belong here. That's why she left. WADE Fuck you. LARIVIERE That's what I love about a small town. You know everybody. Wade exits toward the blue grader.", "EXT. WOODS - DAY Jack and Twombley walk through fresh snow. The hillside's thick with pine trees. Twombley, red - faced, puffing, leans to speak to Hewitt. Jack lifts a finger to his lips : JACK Stay here, stand where I am. Twombley peers over a slight cliff at a lumber trail twenty feet below. Jack points : JACK Fresh tracks. -LRB- sniffs. -RRB- Deer shit. Big one. Here's your buck, Mr. Twombley. I'll circle around. TWOMBLEY You only got a little while if you want your hundred bucks. Jack zig - zags down the incline, while Twombley, gun poised, waddles along the edge. Jack stops fifty feet away, watches Twombley, a cartoon character. A stag pokes his nose through the pines, steps into a clearing. Jack aims his rifle, looks at Twombley. Twombley turns to see the buck, loses his footing, TUMBLES down the twenty - foot cliff.", "EXT. TOBY'S INN - DAY An open cab grader -LRB- `` Our Business Is Going In The Hole'' -RRB- sits in the rutted lot outside Toby's, a beer joint with fake wood siding and 24 - hour neon sign. A four - wheel drive plow with the LaRiviere motto pulls in, parks beside the blue grader. JIMMY DAME, 40, gets out, glances at the grader as he enters.", "INT. TOBY'S INN - DAY Jimmy joins Wade at the bar, calls for a beer. Frankie LaCoy bullshits with two long - haired locals at a nearby table ; their conversation drifts in and out. Country music plays through a broken juke box speaker. Wade touches his tooth, grimaces. JIMMY How's it goin? WADE Cold. How you think? JIMMY Sorry about that. Why's it every year, come first snow, you get stuck with the grader? WADE School. Traffic crossing. -LRB- lights cigarette. -RRB- I got ta quit these things. JIMMY What we doing after? Wells? -LRB- Wade nods. -RRB- Do n't work too fast. Business the way it is, Gordon's probably looking to lay me off earlier than usual this year. He's got too much money as it is. Why's it always the little guy that gets kicked in the butt in hard times? Wade shrugs. LaCoy's conversation has caught his ear. He turns to watch. LACOY That was no pisser. I'll tell you who was a pisser. Glen Whitehouse. There was a real pisser. He was mean normal, but when he drank it was like he burst on fire. Canadian Club. Always drank CC. One Christmas there's this cord of wood out back he forgot about and he decides to have his two boys stack it. Except it's been out back two months and it's snowed and rained and froze so now the wood's all iced in. He takes the boys. He was drunk, of course. Wade's face as the story comes to life :", "EXT. WHITEHOUSE FARM - DAY (1964) Thirty years before. GLEN WHITEHOUSE -LRB- `` POP'' -RRB-, 42, pushes his boys, Wade -LRB- 13 -RRB- and Rolfe -LRB- 10 -RRB-, toward snow - covered lumps of firewood behind the barn. He's drunk. The boys carry shovels and a pickaxe. POP Move it! Daylight in the swamps! ROLFE Pop, the kids are waiting for us. WADE -LRB- reproving. -RRB- Rolfe. POP A lesson in work and its rewards. You'll thank me for this one day. -LRB- to house. -RRB- Sally, turn off that TV! His sons chip at the wood. Hopeless. Frozen solid. WADE -LRB- to Rolfe. -RRB- Just do it. POP Atta - go. ROLFE Please, Pop. Let's go back. Wade notices his mother, SALLY, watching from the window. POP What are you, a quitter?", "INT. TOBY'S INN - DAY LaCoy roars with laughter. LONG-HAIRED LOCAL -LRB- puzzled. -RRB- So what happened? LACOY Beats me. That's all I heard. Wade would know more about it. -LRB- calls. -RRB- Wade! We were just talking about your Old Man. `` What are you, a quitter!'' Wade grabs his keys, walks over. Jimmy follows. WADE Jesus, LaCoy, you got nothing better to do than sit around and tell stories. Pity is, some college student will come some day and believe this shit cause you're the only one dumb enough to talk to him. Take care. Wade and Jimmy head out.", "EXT. BACKROAD - DAY Wade, shivering in the open grader, plows a narrow winding road. He lights a cigarette, exhales steamy smoke. LaCoy's laugh triggers a memory :", "INT. WHITEHOUSE FARM - DAY (1964) The flashback continues : Glen Whitehouse pushes his sons inside. Sally steps from sight. Out back, the firewood lies frozen amid futile shovel marks. POP That was some job. ROLFE We'll work at it everyday, promise. POP I think we made the point. WADE -LRB- mumbles. -RRB- You just needed a drink. Pop, swigging Canadian Club, turns : POP What was that? -LRB- no answer. -RRB- You got something to say, say it! Say it! WADE -LRB- soft. -RRB- Nothing. POP You no - good pup! Rolfe runs from the room screaming, `` Mom!''", "EXT. WICKHAM'S - DAY The town's 24 - hour restaurant. A bright new sign reads : `` Home Made Cooking.'' Wade's grader out front.", "INT. WICKHAM'S - DAY Wade, eating lunch at the counter, talks with Nick Wickham : WADE It do n't look right. NICK What? WADE The sign. It looks like it's spelled wrong or something. NICK Fuck. Wade Whitehouse. It's people like you that keep this fucking town from prospering. Whatever somebody does to improve things around here, you got ta find fault with it. WADE I'm not finding fault. It's a good idea, good for you, good for the town. Real modern too. NICK This town sucks. WADE Aw, c'mon, I was only saying there's something wrong with `` Home Made Cooking'', that's all. The sign's fine. What it says is wrong. Margie Fogg heads over, sits : MARGIE Who needs it? Everybody who comes here has been coming for years so what they need a sign for? Nick goes back to work. MARGIE You okay? WADE Yeah. MARGIE I'm sorry about what I said. WADE Said what? MARGIE About you and Jill and needing a third person. She went back to Lillian? WADE Forget it. MARGIE -LRB- touches his arm. -RRB- I'm sorry. WADE I'm going to start one of those custody suits. I do n't give a fucking shit. You know? Wade's eyes well up. MARGIE You do n't mean that. WADE Yeah. I mean that. MARGIE -LRB- arm around his shoulders. -RRB- No you do n't. You're pissed, that's all. You ought to cool off for a few days then have a long talk with Lillian. You know? Work it out with her, tell her how you feel. Lillian's not out to get you. WADE The hell she is n't. Lillian's been trying to nail me to a cross since the day I met her. I'm gon na hire me a fucking lawyer from Concord and get this thing, this divorce thing, rearranged. I've been thinking about it a lot. It's like she owns Jill or something. Nobody owns nobody, especially not kids. And I pay her. NICK -LRB- calls. -RRB- Marg! WADE That goddamned woman. Thinks she can cart Jill off and leave me alone like this. I'm more than pissed, Margie. I'm a whole lot more than pissed. I been that plenty and I know the difference. This is different. NICK Marg! You got orders! Wade and Margie stand. She wants to kiss him. MARGIE Call me. WADE -LRB- genuine. -RRB- Tonight. Let's get together. MARGIE Okay. Wade meets Nick halfway to the door. NICK You talked to Jack? WADE Not since last night. He took a guy hunting. NICK The fucker shot himself. Ker - bang! That's what it sounds like. Not on purpose. I assume accidental. WADE -LRB- shocked. -RRB- Jack? NICK The other guy. WADE Where. how'd you hear that? NICK CB. Little while ago. One of the boys on the way in picked up Jack on the CB calling for state troopers. I figured you'd know what really happened. The fucking guy kill himself? This Twombley, who the fuck is he, anyhow? WADE No, I. I've been out on the grader all morning. Twombley's summer people. Massachusetts. Friend of Gordon's. It was his idea for Jack to take him hunting. -LRB- suddenly engaged. -RRB- I got ta go. Margie steps over as Wade exits. NICK He do n't care for you. MARGIE Stop being jealous.", "EXT. LARIVIERE CO. - DAY Elaine looks up from her desk as Wade pulls the grader into the lot, jumps out, heads for his car. Laviviere stands outside. LARIVIERE What's the hurry? WADE A hunting accident. Jack and Twombley. LARIVIERE Huh? WADE I figured you already heard. LARIVIERE -LRB- urgent. -RRB- Twombley, Jesus. We got to get moving : I got to get up there. How would I know? C'mon, you drive. We'll take my truck. They head for LaRiviere's blue 4x4 Dodge.", "INT./EXT. LARIVIERE'S PICKUP - DAY Gordon and Wade drive up the same road Jack took Twombley. Wade fiddles with the CB. No use : static. LARIVIERE Fuck. Turn it off. -LRB- Wade does. -RRB- All you heard was there was some kinda accident? WADE Twombley's shot. I heard that. Not Jack. He's okay, I assume. LARIVIERE Fuck. You do n't know how bad or anything? WADE You mean Twombley? LARIVIERE Yes, Wade, I mean Twombley. Put out that cigarette. Fuck. Fuck. Fuck. LaRiviere grunts disapproval as Wade slips the butt out his window. WADE He more than likely just shot himself in the foot or something. That's what usually happens. LARIVIERE I shoulda sent you instead of Jack. WADE I wish you had. I'd rather be deer hunting instead of freezing my ass on that fucking grader. LARIVIERE You ai n't the hunter Jack is. And he ca n't drive the grader worth shit. WADE Like hell. Ahead, they see flashing lights and cars. A white emergency vehicle passes, jolting the pickup. LARIVIERE -LRB- frightened. -RRB- That must've been Twombley. Jesus. I bet that was Twombley. WADE You want me to follow them to Littleton? LARIVIERE Let's get to the top and talk to Jack first. He'll know what happened. He fucking better. If this coulda been avoided, I'll put that kid's ass in a sling.", "EXT. ACCIDENT SCENE - DAY Wade pulls behind three state trooper cars. Jack stands joking with the TROOPERS, one of whom holds a German shepherd on a leash. LaRiviere and Wade jump out. Jack, suddenly serious, turns to LaRiviere : JACK You heard the news. LARIVIERE I hear Twombley got shot. JACK Yeah. Wade walks over to trooper ASA BROWN, pets the shepherd. BROWN Watch the dog, Wade. Takes a mind to, he'll tear your fucking head off. LARIVIERE -LRB- to Jack. -RRB- Bad? BROWN Thirty - thirty at close range. LARIVIERE Jesus. WADE Will he make it? BROWN -LRB- shakes head. -RRB- D.O.A. Blew the bastard wide open. Had a hole in back you could put your head into. Pretty big hole in front too. You could've put your fist into that one. LARIVIERE -LRB- to Jack. -RRB- You see it? JACK Nope. Heard it. We was n't far apart. I spotted this buck, then I heard the gun go off and Twombley was gone. I looked over the little cliff we was using for a stand and there the fucker was, deader'n shit. Called it right in. LARIVIERE This is gon na be one fucking mess to clean up. Twombley's son - in - law and daughter are up the weekend. Did n't you say you'd seen him, Wade? WADE I seen'em. Near ran me over. BROWN You wan na tell'em, Gordon? You knew the old man. LARIVIERE What the fuck. My day's already ruined. -LRB- to Wade. -RRB- Give me the keys. You can go back with Jack. You still got a shitload of plowing to do. WADE It ai n't done, if that's what you mean. LARIVIERE Something bugging you? WADE Yeah. A few things. LARIVIERE Well, right now we're not too interested. Finish up what you got ta do, then you can get bugged on your own time. Brown walks off with shepherd. LARIVIERE -LRB- to Jack. -RRB- Might as well take the rest of the day off. You look sort of fucked up. You've been paid for the day, anyhow, right? JACK Not exactly. I mean, he never paid me. LARIVIERE You'll get your money. Do n't talk to any newspapers about this. Twombley's a big deal down in Massachusetts, you know. Tell them your lawyer says you should n't comment. JACK Lawyer? I do n't need no lawyer, do I? LARIVIERE No, of course not. Just say it, that's all. Wade watches LaRiviere get into his pickup, drive off. WADE Where'd Twombley get shot? JACK In the chest. WADE -LRB- offers cigarette. -RRB- No, I mean whereabouts. JACK -LRB- points. -RRB- A half mile in, along the old lumber road. WADE You bring him up yourself? That's a steep climb. JACK The ambulance guys lugged him up. WADE You stayed away? JACK Yeah. WADE Where'd you get the blood? JACK What blood? WADE On your sleeve. JACK Musta. How'd I know? What're you doing, playing cop? WADE I got ta make a report to Fish and Game. I was just wondering, that's all. What'd he do, to shoot himself, I mean? JACK Who the fuck knows? Musta slipped or something. I just heard the gun go off. WADE I never seen a man shot before. Not even in the service. Must be something. JACK Well, I did n't actually see him do it. Like I said. WADE Sure you did. JACK What? WADE Saw him do it? JACK What the fuck you telling me, Wade? I never seen the guy get shot, I told you that. WADE You musta seen him get shot. I know you did. JACK Let's get the fuck outta here. You're not making any sense, man. They walk over to Jack's burgundy pickup. Wade eyes the rifles in the gun rack. WADE There's your old twenty - gauge, and that there's the new Browning you was showing me last night. This must be Twombley's gun. Brand new. Very fancy tooling. Probably fired one time. It's a beautiful piece of work. -LRB- touches it. -RRB- But what the hell, Jack, I guess you deserve it. Right's right. JACK -LRB- starts engine. -RRB- Yeah. WADE Twombley sure as hell wo n't be shooting it again. JACK He sure as hell wo n't.", "INT. WADE'S TRAILER - NIGHT Late. Wade Whitehouse, lying in bed with an icepack on his cheek, talks on the phone : WADE Rolfe. ROLFE -LRB- O.S. -RRB- Wade? WADE Yeah, brother, look, I was calling cause - has there been anything on TV in Boston about a hunting accident with a guy named Twombley, Evan Twombley? ROLFE -LRB- O.S. -RRB- There was something. It happened up your way. WADE Yeah, I know him - the kid that was with him. Maybe you do too. Jack Hewitt. He works for LaRiviere with me. He's my best friend. ROLFE -LRB- O.S. -RRB- Wade, it's late. I know you're probably at Toby's, but I'm in bed reading. We got different habits. WADE No, not tonight. I'm in bed too. I'm calling because I need you to listen. You're supposed to be a smart guy. You're a professor. I got this theory. Jack says he did n't see Twombley shot but he did.", "EXT. ACCIDENT SCENE - DAY Wade's theory - in black - and - white : Twombley's footing slips. Jack turns to watch. Twombley's gun hits frozen rocks, fires, blows a hole through his chest.", "INT. WADE'S TRAILER - NIGHT WADE It'll come out Jack lied and the kid'll get hung for it. ROLFE -LRB- O.S. -RRB- He was scheduled to testify for a committee investigating organized crime in New England and the construction business. WADE Who? ROLFE -LRB- O.S. -RRB- Twombley. WADE No shit. ROLFE -LRB- O.S. -RRB- You think Jack shot him? WADE Well, it was an accident. ROLFE -LRB- O.S. -RRB- They were out deer hunting, right? Jack probably heard the gun go off, then came back and found the body.", "EXT. ACCIDENT SCENE - DAY Another theory : Black - and - white. Jack sees a figure run from Twombley's body.", "INT. WADE'S TRAILER - NIGHT Wade shifts the phone from ear to ear : WADE Lillian was here. In Lawford. ROLFE -LRB- O.S. -RRB- Huh? WADE The night before the shooting. ROLFE -LRB- O.S. -RRB- How was she? WADE Picked up Jill. She was supposed to visit for the weekend for Halloween. She wanted to go home. ROLFE -LRB- O.S. -RRB- Who? WADE Jill. I was thinking of getting a lawyer. Maybe you can help me. ROLFE -LRB- O.S. -RRB- What happened? WADE A divorce lawyer. A custody lawyer. You know,'cause of Jill.", "EXT. WADE'S TRAILER - NIGHT TIMECUT : mobile homes.", "INT. WADE'S TRAILER - NIGHT ROLFE -LRB- O.S. -RRB- Do n't think about it. You're exhausted. WADE Yeah, I guess. ROLFE -LRB- O.S. -RRB- Get some sleep. WADE I get to feeling like a whipped dog some days, Rolfe, and some night I'm going to bite back. I swear it. ROLFE -LRB- O.S. -RRB- Have n't you already done a bit of that? WADE No, no, I have n't. Not really. I've growled a little, but I have n't bit. Sound of GUNSHOT.", "EXT. MOUNTAINS - DAY Wade's bubble - top Fairlane drives through snow covered hills.", "EXT. MEL GORDON'S HOUSE - DAY The Fairlane is parked outside a substantial summer house with a wide porch and frozen pond. The `` speeding'' BMW in the drive. Wade knocks on the front door. An 8 year - old boy answers the door. Wade speaks ; the boy goes back inside. MRS. GORDON, 30, delicate, beautiful, wearing a dark green robe, comes to the door. Her eyes are red - rimmed. Wade has seen her before, but not this close. He feels awkward. MRS. GORDON Who are you? WADE I was. I'm Wade Whitehouse. I was wondering, is your husband here? MRS. GORDON He's asleep. We were up very late. WADE Well, yes, I'm. I want to say that I'm real sorry about your father, Mrs. Twombley. MRS. GORDON Mrs. Gordon. Thank you. WADE Well, yeah, I suppose. Sure. I just had a little business to settle with Mr. Gordon. I'm the local police officer. MRS. GORDON Something about my father? WADE Oh, no. No, it's a. it's a traffic thing. No big deal. MRS. GORDON Ca n't it wait, then? MEL GORDON, 40, dark - eyed, wearing a tartan robe, steps behind his wife. MEL GORDON Whitehouse. Next time, phone ahead. WADE How's that? Mel folds his arms. His wife goes inside. MEL GORDON I said, ` Next time, phone ahead.' WADE Jesus Christ. Mr. Gordon, when I come all the way to serve somebody a summons, I do n't call ahead for an appointment. MEL GORDON What the hell are you talking about? WADE I'm issuing you a ticket. Moving violation. MEL GORDON Moving violation! I just got out of bed and you're telling me you're giving me a goddamn speeding ticket? Now? Are you nuts? Is that it, Whitehouse? You're nuts? WADE -LRB- writing. -RRB- Yesterday morning, you passed a stopped school bus, which was flashing its lights, then you - MEL GORDON -LRB- stops Wade's arm. -RRB- Hold on! WADE -LRB- wrenches hand free. -RRB- Do n't ever put your hands on me, Mr. Gordon. MEL GORDON You're talking about a goddamned ticket, from when I passed you at the school where you were deciding to hold up traffic while dreaming of becoming a traffic cop or something? WADE Do n't give me a hard time, Mr. Gordon. I'm just - MEL GORDON Doing your fucking job. I know. I watch television too. WADE Yes. Here's your ticket. MEL GORDON -LRB- refusing ticket. -RRB- You get the hell out of my house now, asshole. And know this - you are going to be a lucky asshole if I have n't got you fired before the day is out. I can do it with one phone call, and I'm pissed enough to do it now! Mel Gordon moves Wade out of the door, slams it. Wade steps away, looks back at the house. Mrs. Gordon watches him from the window.", "EXT. MARGIE FOGG'S HOUSE - NIGHT A wood frame house off the main drag. Snowing.", "INT. MARGIE'S BEDROOM - NIGHT Wade and Margie, post - coital : MARGIE Jack's sort of sensitive, I guess. More than most. But he'll be okay in a few weeks. WADE There's something funny about that shooting. There's lots funny about it, actually. MARGIE I heard he was drunk at Toby's last night and got in a fight with Hettie. He drove off without her. WADE I'm sure, I'm positive it did n't happen the way Jack says it did. MARGIE Jack's turned into one of those men who are permanently angry. He used to be a sweet kid, but it's like, when he found out he could n't play ball anymore, he changed. Now he's like everyone else. WADE I've been wondering if maybe Jack shot Twombley, instead of Twombley shooting himself. I've been wondering maybe Jack shot him on purpose. MARGIE Wade! How can you even think such a thing? Why would Jack Hewitt do that, shoot Twombley on purpose?", "EXT. ACCIDENT SCENE - DAY Black - and - white. A further theory : Jack bends over the fallen Twombley, holds a tarp to protect his chest from blood spray. He shoots Twombley with his own gun.", "INT. MARGIE'S BEDROOM - NIGHT WADE Money. MARGIE Jack does n't need money. WADE Everybody needs money. Except guys like Twombley and that sonofabitch son - in - law of his. People like that. MARGIE Jack would n't kill for it. Besides, who would pay him? WADE Lots of people. Guy like Evan Twombley, Boston union official, probably got lots of people want to see him dead. The Government's been investigating his links with the Mafia. MARGIE -LRB- laughs. -RRB- The Mafia hire Jack Hewitt? WADE No, I just know Jack's lying about what happened. He just seemed - I know that kid, what he's like inside. He's a lot like I was at his age. MARGIE You would n't have done anything like that, shot someone for money. WADE No. Not for money. But, if somebody'd given me half a damned excuse - I was pretty fucked up, you know. MARGIE -LRB- smiles. -RRB- But not now. Wade sits on the edge of the bed, sighs. Lapses into thought. Margie caresses his back, kisses it. He winces. MARGIE When you gon na get that tooth fixed? Wade looks at her, brushes the hair off her face : WADE I can see what you looked like as a kid. MARGIE You knew me as a kid. WADE Yeah, but never what you looked like. Not really. Never really studied your face, like now. I was never able to see you as a kid when you were a kid until now, this way. MARGIE What way? WADE After making love. I like it. It's nice to see that in a grown - up person. MARGIE It's nice. Wade walks naked to the kitchen, returns with two beers, one for Marg. He gets in bed. She, thinking, sips : MARGIE Do n't you think, do you still think it's a good idea to press this custody thing - just now? WADE I'm her father - supposed to be, but I'm not able to. Yes. Yes, I am. It may be the only thing in my life I've been so clear about wanting. Even if it takes a big fight. MARGIE Then. I guess you have to. WADE -LRB- silence. -RRB- There's another thing I've been thinking about. I do n't know how you feel about the idea, Margie, because we've never talked about it. But I've been thinking lately, I've been thinking we should get married sometime. You and me. MARGIE -LRB- uncertain. -RRB- Oh, Wade. WADE I've been thinking about it, that's all. MARGIE You've been married twice - WADE It was to the same woman. I was just a kid. -LRB- Marg looks. -RRB- It's not like a marriage proposal or anything, just a thought. Something for you and me to talk about and think about. You know? MARGIE Alright. I'll think about it. WADE Good. He kisses her. His jaw winces in pain.", "INT. WHITEHOUSE FARM - DAYBREAK (1964) Glen Whitehouse, plastered, yells at Wade, age 13 : POP I've got sons, Goddamnit, oh my God, have I got sons! Wade? Rolfe? Elbourne? You love me boys? Do you love your Pop? Of course you do! Wade, frightened, retreats as Sally enters in her housecoat. SALLY Glen, stop - POP Oh, Jesus, Sally, you are such a Goddamned good person! Capital G. You are so much better than I am, I who am no good at all, you who are a truly good person, like a fucking saint! Beyond fucking com - pare. Glen reaches for the Canadian Club ; Sally tries to block his hand. Glen pulls his arm from hers, clipping her cheek with the bottle. Sally gasps, grabs her cheek. Wade pushes between them, protecting his mother. POP My big boy bursting out of the seams of his jeans! Pop clenches his fist. Wade vainly looks Rolfe's direction for help. SALLY Do n't! POP You little prick! Pop's fist comes crashing down. Wade raises his arms to protect himself. Wade's arm bone CRACKS with the blow. Wade grimaces in pain. SALLY Glen, stop!", "EXT. MARGIE FOGG'S HOUSE - DAY Margie gets into Wade's idling Ford.", "INT./EXT. WADE'S CAR - DAY Wade, washed and changed, drives ; Marg sits beside him. They head north. Deer rifles echo from the woods. MARGIE Did you tell them? -LRB- no answer. -RRB- That we were coming? WADE Do n't you think it's proper for a fella to introduce his girl to his parents? MARGIE I know your parents. WADE I just want to pick up my divorce papers. For the lawyer. It wo n't take long.", "EXT. WHITEHOUSE FARM - DAY Sun slants over Parker Mountain ; they pull up. The house, once white, is peeling. Polyurethane flaps over dark windows. The 1960 red Ford pickup sits long frozen in the open barn. MARGIE -LRB- getting out. -RRB- Are you sure they're home? Did you call? WADE The truck's here. Looks like they've stayed inside since the snow started. They stamp their feet on the porch ; Wade turns the knob. Locked. It seems abandoned. WADE Strange. MARGIE Think they're alright? WADE Of course! I would've heard. MARGIE How? WADE I do n't know for Christ's sake! They round the house, try the back door. Wade knocks loudly. GLEN WHITEHOUSE, 70, opens the door, stands inside. He wears long underwear, stained woolen trousers, slippers.", "INT. WHITEHOUSE FARM - DAY WADE Pop, Pop, you okay? Glen shuffles toward the stove ; they follow. He starts a fire. WADE Jesus, Pop, how can you stand the cold, dressed like that? Where's Ma? POP Sleeping. WADE You remember Margie Fogg? POP From Wickham's. Been a while. Like some coffee? WADE How you and Ma doing? Have n't seen you in town for a while. POP We're alright. Your Ma's sleeping. You want me to get her? WADE Yeah. Pop goes to the bedroom. WADE -LRB- to Marg. -RRB- Jesus. Nothing's changed around here. Pop returns. WADE Where's Ma? POP She's coming. MARGIE Have you been heating the house? Not just with the stove. POP There's a furnace. MARGIE You're not using it today? POP It's broke I guess. There's an electric in the bedroom. MARGIE Maybe Wade should take a look at it. Your pipes'll freeze. -LRB- Pop nods. -RRB- Wade, would you do that? Wade, concerned, pushes open the BEDROOM door : WADE Ma? It's Wade. Can I come in? He steps inside. On the bed, Sally Whitehouse, wrapped in blankets, lies dead. He walks over, beside the small electric heater, touches her forehead. Her skin is chalk white. WADE Oh, Lord. Margie steps into the doorway. Pop joins : POP Coffee's perked. MARGIE When did she die? POP Is? She's dead then? WADE Yeah. POP I checked on her. She had the electric heater. Cold do n't bother her as much as me. Which is why I give her the heater. WADE -LRB- kneels over mother. -RRB- Is there something wrong with the phone? POP In the living room. WADE Why did n't you call and have the furnace fixed? POP Wade. I thought she was alright. Till this morning she was. Pop goes to the dresser, pours himself Canadian Club. Wade opens his mother's mouth, attempts respiration. POP It makes me sad. MARGIE Can -? POP -LRB- sits. -RRB- Makes me sad it was her. Instead of me. I shoulda froze.", "EXT. ROLFE'S CAR - DAY ROLFE WHITEHOUSE, 38, drives his four - door Toyota west : through Massachusetts, toward New Hampshire. His face bespeaks tolerance, objectivity - in short, education. It's also Wade's face. ROLFE -LRB- V.O. -RRB- Wade called me, as usual, late at night. I knew it was Wade - no one else calls me at that hour - and I was ready to listen to another chapter in one of his ongoing sagas. There was the detective story concerning the shooting of Evan Twombley and the family melodrama about Wade's custody fight with Lillian. But not this time.", "EXT. WHITEHOUSE FARM - DAY Rolfe's Toyota sits with other cars. ROLFE -LRB- V.O. -RRB- Wade was telling a different story, or so it seemed then, one in which I myself was a character. He had called to tell me that sometime the previous night our mother had died, and he had discovered the body when he'd gone over to visit her and our father with Margie Fogg. Pop was okay, but kind of out of it. Worse than usual, maybe, though no drunker than usual.", "INT. LIVING ROOM - DAY Friends and relatives gather in the living room : Wade, Rolfe, Glen, LaRiviere, Margie, an aging couple, REVEREND DOUGHTY, 30, thin, wearing glasses and an avocado - green suit. WADE -LRB- finishing a beer. -RRB- Should n't we get this show on the road, now that Rolfe's here? No one moves. LaRiviere checks his watch. Wade shrugs : WADE Pointless to stand around in church with nothing to do, I guess. ROLFE What about Jill? Is Lillian bringing her? Margie's face tells Rolfe he's touched on a sensitive subject. MARGIE They'll be at the church and the cemetery. Wade opens the frig, takes out another beer : WADE Anyone else want one? Rolfe? ROLFE No thanks. I do n't drink. WADE Yeah. I forgot. LARIVIERE How you holding up, Wade? WADE I'm fine, fine. LARIVIERE You Rolfe? -LRB- Rolfe nods. -RRB- I remember you from high school. You're a teacher now? Harvard? ROLFE B.U. LARIVIERE I have n't seen you around. I do n't suppose there's much reason for you to come this way. Rev. Doughty calls for Glen Whitehouse, who has been sitting, silent, drinking, to join the others : REV. DOUGHTY Come, Glen, join us. Let's kneel for a moment of prayer before the service. Wade? Rolfe? ROLFE Well. Wade, expressionless, looks at Rolfe. Rolfe, embarrassed, trying to do the right thing, helps his father kneel beside Rev. Doughty. The others join the circle. WADE This is nuts. MARGIE -LRB- reproving. -RRB- Wade. REV. DOUGHTY Dear Heavenly Father, Lord of Hosts, we come to Thee to beseech Thy blessings and commend to You the soul of our beloved wife and mother, Sally Whitehouse, to be one with You and walk with You - Pop mutters something. Wade, Rolfe and Marg exchange glances. He mutters louder : POP goddamned hair on her head. He rises over LaRiviere, turns, exclaims : POP Not a one of you is worth a goddamned hair on that good woman's head! Doughty freezes. WADE Pop! Do n't do this now, Pop. Pop knocks back a drink as the others stand. LARIVIERE Maybe I'll head on over to the church. REV. DOUGHTY This is a difficult time. Gordon and the couple file out. Doughty, Glen, Rolfe, Wade and Margie remain. WADE Listen, it's no big deal, Pop. POP -LRB- raising fists. -RRB- Come on, smart guy. Tell how it's no big deal. Tell me how a single one of you is worth a single hair on that woman's head. REV. DOUGHTY Give up this demon. POP Go fuck yourself! Wade, eyes blazing, squares off. Son to father. ROLFE Wade, just leave it. POP -LRB- mocking. -RRB- Listen to your little brother. ` Wade, just leave it.' Candy - asses. All of you. That's what I've got for children. Candyasses. ` Wade, just leave it.' Praise the Lord! ` Just leave it!' Wade stiffens. Pop cocks his fist. Marg, screaming, jumps between them as Pop swings. The old man bounces blows off Margie's arms and shoulders. Wade pushes Marg aside, grabs his father in a bear hug and walks him backwards, flat against the wall. Wade releases him. Pop, frail, collapses to the floor. Wade kneels over him : WADE If you ever touch her again, I'll kill you. I swear it.", "EXT. CEMETERY - DAY Townspeople and friends cluster around the gravesite : Pop, LaRiviere, Jack and Hettie, LaCoy, Chub Merritt, Nick, Jimmy, Lillian, Jill and Horner, Rolfe, Wade and Margie. ROLFE -LRB- V.O. -RRB- The day of the funeral was almost springlike. The snowline crossed New Hampshire west to east, retreating northward to Concord where it melted by midmorning. Rev. Doughty finishes. The mourners exchange farewells. Wade looks at Lillian. Margie and Rolfe, escorting Wade's father, let him be. He walks over, hugs Jill. JILL Dad. WADE -LRB- to Lillian. -RRB- I'm glad you're here. Can you stay for a while? Lillian hesitates, shakes her head ` no.' WADE You ever come to your father's grave anymore? LILLIAN No, not anymore. It's too. it's too far. WADE We should talk. LILLIAN We've done all our talking, Wade. WADE It's just. LILLIAN Let the past be. -LRB- beat. -RRB- I'm sorry about your mother. I liked her. You never know how much women like that suffer. It's like they live their lives with the sound turned off - and then they're gone. JILL -LRB- tugging at Lillian. -RRB- Mom. LILLIAN She has an ice - skating lesson at four. JILL I'm taking ice - skating, Daddy! He kisses Jill, says goodbyes, walks back to Rolfe and Margie. Ahead, LaRiviere walks with Jack.", "EXT. WHITEHOUSE FARM - DAY Wade and Rolfe leave Margie and Pop in the kitchen as they step out back. WADE Let's dig out Pop's truck before the skin of the snow freezes up. They grab snow shovels propped against the porch, walk to the barn. Firewood's stacked alongside.", "INT. BARN - DAY Shafts of light filter through the ramshackle structure. A snow drift nearly buries Glen's red truck. Wade and Rolfe break away the packed snow. ROLFE What about Margie? WADE What about her? ROLFE Well, do you still plan to get married? WADE Yeah. She'll probably quit her job and stay out here with Pop. We ca n't leave him alone here, he'll set the damn place on fire. With Jill here a lot, it'll be good to have Margie around. Things are going to change in that department, by the way. I got a custody lawyer in Concord. I'm gon na see him tomorrow. All hell's gon na break loose, but it's worth it. They finish clearing the snow. Wade gets in the truck, starts the engine. Rolfe waits for Wade. WADE I want to let the gas run out. I do n't want the bastard driving drunk, and he's always drunk now. After, we'll hide the keys. ROLFE Anything new about the shooting? Twombley? WADE -LRB- reluctant. -RRB- I guess it was an accident, like everybody thinks. ROLFE Want to know what I think happened? Wade opens the glove compartment, finds a bottle of Canadian Club. He unscrews the cap. WADE Find them everywhere. -LRB- swigs. -RRB- ROLFE I think your first response to the Twombley shooting was the correct one. WADE Which is? ROLFE That it was n't an accident. WADE Then who shot him? ROLFE Well, your friend, I think. Jack Hewitt. WADE Motive. You got ta have a motive. ROLFE Money. WADE Who'd pay him that kind of money? Not the mob. They got their own guys. Specialists. ROLFE -LRB- agreeing. -RRB- They would n't deal with a guy like Jack. Who else benefits if Twombley is suddenly dead? WADE -LRB- swigs. -RRB- I do n't know. You tell me. ROLFE Okay. It's likely there are people in the union who do n't want Twombley to testify. They probably include his son - in - law who's vice - president and will probably be the next president. I read that in the papers. What's his name, Mel Gordon? WADE Yeah, the guy with the BMW I told you about. I did, did n't I? ROLFE Here's my theory. Twombley, unaware of illegal union loans or whatever, starts nosing around cause of the investigation and finds out. Finds out his son - in - law is involved. WADE So Mel Gordon would n't want a professional hit. That'd make the feds dig deeper. He wants an accident. ROLFE A hunting accident is perfect. WADE Shit, around here, you shoot somebody in the woods, you say it was an accident, you get fined fifty bucks and your hunting license lifted. Jack's probably saying the guy shot himself cause he ai n't got his deer yet and do n't want his license pulled. The truck sputters, stops. Wade pulls the keys. WADE It's too neat. Things ai n't that neat. It makes me mad. That somebody can pay to kill somebody, his own father - in - law, and not be punished for it. Do n't that piss you off? ROLFE Not particularly. WADE Right's right, goddamnit! Do n't you care what's right? ROLFE I care about what happened. The truth. I'm a student of history, remember? The sun is down. Wade tucks the keys in a knotted board. ROLFE I was thinking about that story you told me, about Pop and chopping the firewood out of the ice and after. WADE Yeah. ROLFE I hate to disappoint you, but I do n't think it happened. WADE Of course it happened. Why would I lie about it? ROLFE It may have happened, but not the way you said. WADE You think I would n't remember a thing like that? ROLFE It was n't me. I was n't there, but I heard about it. When I heard about it, it was about Elbourne. WADE We'd have to go digging in Vietnam to ask him. ROLFE And Elbourne and Mom took you to the doctor and told him you fell from the hay loft. WADE -LRB- laughs. -RRB- Well, I never heard that one. ROLFE I remember clearly cause when I heard I became real careful around Pop. I was a careful child and I became a careful adult, but at least I was n't afflicted by that man's violence. WADE -LRB- laughs again. -RRB- That's what you think. Rolfe looks out : the cobalt sky has turned black. ROLFE I got ta head back. It's a long drive. They walk toward the house.", "EXT. LARIVIERE CO. GARAGE - DAY Wade walks in as Jack and Jimmy prepare to head out, their drilling rig loaded with pipe. Gordon yells at Jack : LARIVIERE Put out that fucking cigarette! Jack opens the truck ashtray. LARIVIERE Not there, asshole. Flush it! Hewitt trudges to the john. WADE Morning, Gordon. LaRiviere smiles, goes to his office as Wade hangs his coat in his locker. Jack cruises over. JACK I'm fucking out of here. WADE Lawford? JACK Out of this fucking job. This job sucks. Working outside in the winter sucks. Jack gets in the cab of the drilling truck. Wade follows. JACK Open the door, will ya? WADE Why do n't you quit now, you want out so bad? JACK Open the door. We're late. WADE I mean it - you got enough money now. Head out for California. Surf's up, Jack, and you're digging wells in the snow. JACK What do you mean I got money? I'm as broke as you. Wade grins, goes to activate the door. WADE Looney Tunes, Jack. Fucking Looney Tunes! The drilling truck pulls out the garage, onto the road. From the opposite direction a black BMW slows, enters. Mel Gordon. Wade, all eyes and ears, watches. Mel Gordon parks in front of the office, gets out. Elaine calls : ELAINE -LRB- O.S. -RRB- Mr. Gordon! MEL GORDON The boss in? ELAINE -LRB- O.S. -RRB- Yes indeedy! Wade flips the door switch. Mel Gordon and LaRiviere talk. Yeah.", "EXT. CONCORD - DAY The South Main Street office of J. Battle Hand, lawyer. Concord is a real town, with traffic, stores, people with places to go.", "INT. LAWYER'S OFFICE - DAY J. BATTLE HAND, 60, sits in a wheel chair behind his desk. Wade, uncomfortable in work clothes, tries not to show it. WADE I screwed up the divorce. I agreed with everything she said. I wanted her to like me. I just want to be a good father. HAND It would help if you were married, if there was someone at home while you work. WADE I plan to. Soon. HAND How soon? WADE This spring. HAND Good. It would help if there were some drug or alcohol abuse on the part of your ex - wife. Sexual problems upsetting to the child. WADE It looks pretty hopeless, do n't it? HAND No, not exactly. I'll look at the divorce decree, see if we can get it redrawn. Interview your daughter. Jill, right? WADE Yes. HAND Fine. I'll need a $ 500 retainer. You can mail it. WADE Jesus. How much. how much will the whole thing cost? HAND Hard to say. If we go for custody, depositions, psychiatric evaluations, it could drag on. Ten or twelve thousand dollars. She could win on appeal. If we just want to get the visitation rights redrawn, assuming they're unduly restrictive, it would n't be more than twenty - five hundred. WADE Oh. HAND -LRB- sensing situation. -RRB- You might be better off legally as well as financially to just go for the - WADE Yeah. I know. The custody suit thing was just my getting back at her. I'm not as dumb as I look. Whatever you say. I love my daughter. -LRB- Hand nods. -RRB- I'll send you the five hundred. Wade stands ; Hand motors to the door. Wade puts his fingers in his mouth. His tooth throbs.", "EXT. LARIVIERE CO. - DAY Fairlane squad car in its customary spot.", "INT. LARIVIERE'S OFFICE - DAY Wade and Gordon speak. LaRiviere is relaxed, open : a `` new Gordon.'' WADE Sorry about the long lunch. My clutch is going out again. LARIVIERE You ever think of getting a new car, Wade? WADE On what you pay me? LARIVIERE Elaine! Call Chub Meritt and have him pick up Wade's car, fix the clutch. ELAINE -LRB- O.S. -RRB- What! LARIVIERE -LRB- to Wade. -RRB- Use the pickup. I'll bill it to the town. You're the town police officer and the town police officer should have a decent car. You want a new car or not? WADE What do I have to do for it? LARIVIERE Nothing, Wade, I've been thinking. You do n't get enough appreciation around here and it's time we changed things a little. WADE I saw Mel Gordon in here this morning. LARIVIERE So? WADE He say anything about the summons I tried to give him? Sonofabitch would n't accept it. LARIVIERE Wade, that was n't smart. Going out right after the man's father - in - law shot himself. Let it go. Call it a favor to me. WADE You? Why? LARIVIERE Mel's doing some business with me. It's nice to do favors for people you do business with. He was in a hurry. No big deal. WADE That was before Twombley was shot. Before he knew. LARIVIERE What's the difference? Take my truck, take a rest - stop worrying about Mel Gordon. Have you decided what to do with your old man's place - he going to stay there? WADE -LRB- takes out cigarette. -RRB- Want to buy? LARIVIERE Do n't light that in here. I'm allergic. WADE I wo n't. You interested? LARIVIERE Maybe. WADE You and Mel Gordon? LARIVIERE Could be. WADE -LRB- voice rising. -RRB- Always count on old Wade for a good screwing. Why should I always pay more, sell cheap? Why should you guys make all the money. You and Mel and Jack. Right's right. Wade pulls out Bic, lights cigarette. LARIVIERE -LRB- waving arms. -RRB- Out! Out! Wade smiles, exits.", "EXT. RT. 29 - NIGHT Wade, driving Gordon's 4x4 with running lights and roll bar, takes 29 toward Pop's farm. A pickup passes him : Jack Hewitt's burgundy Ford. Wade stops. Jack turns up Parker Mountain - the road to the accident scene. Something's up. Wade turns and follows. Jack's fresh tracks lead the way. Hewitt is driving fast. Wade keeps up. Jack, far ahead, approaches the accident scene. Stops. Night has fallen. Wade comes over a low rise, spots Jack's pickup. He kills the lights, parks to block Jack's exit. Silence. Footsteps in the snow. Wade watches, listens. What's he doing? Looking for evidence? The burgundy pickup engine suddenly ROARS - Jack's back and at the wheel - the tires squeal, spit snow as he spins past Wade. Wade starts his engine, gives pursuit. The pickups gun their engines, bumper to bumper, down mountain roads, lumber roads, rocky trails. Wild headlamps their only guide.", "EXT. POND - NIGHT A trail turns sharply past a shallow beaver pond - too sharply for Jack. He crashes through a stand of skinny birches straight out onto the pond. The pickup's momentum carries it across the pond. Wade drops into first gear, follows, his headlights reflecting ice. He drives directly to Jack, bumper to bumper, headlight to headlight. Jack sticks his head out : JACK You crazy sonofabitch! You'll sink us both! Get off the fucking ice! Get off! Wade does n't budge. Jack backs away ; Wade inches forward. Hewitt's trapped. Trees behind him. Neither truck has traction on ice. Jack steps out, swinging his fists wildly. Wade gets out. Jacks grabs his rifle, points it : JACK I'll shoot you, Wade, I swear it! I'll fucking shoot you dead if you do n't move away from that truck! Wade backs off. JACK Do n't move! I'll shoot you dead if you move! Jack gets back in his pickup, maneuvers it slowly around the Dodge, crosses the ice and is gone. Wade stands in darkness. The only sound his idling truck, the wind. Then a third sound - the snap of ice. Ice cracks ripple from the middle of the pond. Ice planes tip around the truck. LaRiviere's snazzy Dodge slips, descends, disappears. Headlights glow under water, then go out. `` Our Business Is Going In The Hole.'' Wade, alone in darkness, plops into the water, paddles to shore. Freezing, he finds Jack's tire tracks in the snow. He bangs his jaw.", "EXT. WICKHAM'S - NIGHT A car drops Wade off. `` Home Made Cooking.''", "INT. WICKHAM'S - NIGHT Wade enters the empty diner. His clothes frozen. NICK Your father's in back, Wade. Marg had to babysit him. She moved in with you, huh? -LRB- looking closer. -RRB- What happened? Wade goes to the kitchen. Glen Whitehouse, washing dishes with Margie, looks up : POP Ah, the prodigal son. NICK About fucking time. POP Look, got me a new job, second cook and bottle washer! MARGIE What happened? WADE Jesus Christ, Pop, let's go home. I got waylaid. Sorry. POP The fuck you got waylaid. You follow your prick around like it was your nose. NICK -LRB- enters. -RRB- Can it, Whitehouse. -LRB- to Wade. -RRB- Get him out of here. It was funny at first, but I'm tired. MARGIE There's clothes in the back. Wade's old man talks as he dresses : POP Let's go home? What home is that? Your home? My home? Let's have a talk about that. You're fucking sly, Wade. Your mother's dead so she ca n't make any excuses for you anymore! You got ta deal with me! No more sugar tit, asshole. Wade, redressed, enters : WADE Pop, for Christ's sake! POP You think you can take me now? Come on, try. Margie and Nick guide pere et fils to MARG'S CAR. Nick speaks to her : NICK Marg, get out of this. Fast. MARGIE I ca n't. Marg drives off.", "INT. MARGIE'S CAR - NIGHT Wade leans close to his father, his breath on his : WADE I wish you would die. Pop spits directly into Wade's face, raises his arm. Wade catches it, twists it. Margie shrieks : MARGIE Stop it! Stop it! Just stop it! They do, glaring as they approach the farmhouse.", "INT. BATHROOM - NIGHT Wade looks in the bedroom, sees Margie sleeping, goes to the bathroom. He peers, stands before the sink, washes his hands slowly. Drying his hands, he looks into the mirror, startled by the image of his own face. A phone conversation plays over : WADE -LRB- O.S. -RRB- No shit, Rolfe, I glanced up and there he was, only it was me. But it was like I had never seen myself before. It was a stranger's face. Hard to explain. You fly on automatic pilot, like I was doing all night, and you disappear.", "INT. LIVING ROOM - NIGHT Wade sits alone in the darkened room, speaking on the phone. His cigarette glows. WADE Then you accidentally see your body, or your face, or whatever, and you do n't know who the hell it belongs to. Strange. It's the business with the old man, I know, and how incredibly pissed I was at him, and also chasing Jack Hewitt like that, and the Goddamned truck going through the ice, not to mention Margie's being so upset - one thing on top of another. ROLFE -LRB- O.S. -RRB- Wade, are you alright? WADE But you got ta hear this. You wo n't believe it. Mel Gordon had come by to visit LaRiviere and so now I'm in his office.", "INT. LARIVIERE'S OFFICE - DAY Wade's theory expanded : Jack and Gordon argue in the office. An extension of Scene 55. Like Wade's other theories, in black - and - white : LARIVIERE He's on to us! JACK Shit! What are we gon na do? LARIVIERE Maybe I can buy him off. I got ta talk to Mel. JACK You ca n't buy Wade off. LARIVIERE We bought you. JACK That was me.", "EXT. ALMA PITTMAN'S HOUSE - DAY Wade drives Margie's car toward LaRiviere's. In his rear view window he spots Chick Ward driving Chub Merritt's tow truck, lights blinking, pulling LaRiviere's pickup like a dead fish. He pulls over, lets it pass. He's parked in front of Alma Pittman's house. A sign on the lawn reads, `` Alma Pittman, Town Clerk.'' He looks at the house, decides to go in. Wade walks up the shoveled steps, knocks on the door. ALMA, 60, wearing plaid shirt and slacks, greets him with a smile : ALMA Wade! Come in! Have a cup of coffee.", "INT. ALMA PITTMAN'S HOUSE - DAY They step into Alma's living room/office. She's been keeping the town secrets for as long as anyone can remember. WADE You got yourself a computer, Alma. ALMA Been putting my files into it. You take sugar and milk? WADE No. Black. They sit by her desk at the bay window. She studies him. ALMA Are you alright, Wade? WADE Yeah, sure. Why? I got this damned tooth, I got a few things bugging me, like everybody else. But I'm okay. ALMA Well, you look. sad. Upset. I do n't mean to pry. I'm sorry about your mother. It was a nice funeral. WADE Alma, I think there's some dirty business going on in this town. ALMA Always has been. WADE This is maybe worse than you and I are used to. -LRB- beat. -RRB- What I'm talking about, I'm talking about murder. Among other things. ALMA Who? WADE Evan Twombley, the union boss who got shot. Somebody murdered him. ALMA Who? WADE You know Jack Hewitt, the kid I work with?", "EXT. MERRITT'S STATION - DAY Gordon LaRiviere examines his damaged pickup outside the Shell station.", "INT. ALMA PITTMAN'S HOUSE - DAY Wade finishes : WADE if Jack told the truth, he could be free by the time he's my age. ALMA Sometimes things are simpler than you think. Let me ask you a question. WADE You do n't believe me? ALMA -LRB- crosses to her desk. -RRB- About Jack? No. Have you checked out the tax bill on your father's farm lately? WADE I know he's due for the last two years. I was thinking of paying it when the insurance comes in. ALMA Has anybody offered to buy it? WADE As a mater of fact, yes. LaRiviere. Alma punches her computer. Dozens of items flash up. ALMA This is all the real estate transactions in this town the last year. Most of it unused land. Most of it for little more than the back taxes owed. She punches again : only three items. ALMA This is from three years ago. Some difference, huh? WADE -LRB- looking. -RRB- What is the Northcountry Development Association? ALMA I went down to Concord to check it out. The president is Mel Gordon. The vice - president and treasurer is Gordon LaRiviere. Those boys are buying up the mountain, Wade. $ 364,000 this year. I believe that's out of LaRiviere's league. WADE Twombley involved? ALMA No. WADE He musta found out. They had to get rid of him. And Jack'll get blamed. ALMA All the figures show is that Gordon LaRiviere is going to be a very rich man using his position as Selectman. In a year or two, you wo n't recognize this town.", "INT. LARIVIERE'S OFFICE - DAY Wade storms in, shouting. Jack and Jimmy choose donuts by the file cabinet. LaRiviere's behind his desk. Wade's tooth makes it hard for him to talk without pain : WADE You sneaky sonofabitch! I've got your number now, Gordon! All these years I actually thought you were a decent man. -LRB- pounds fists on desk. -RRB- Can you believe that? Jack, combative, looks at Wade. Gordon stands before Jack can speak : LARIVIERE Wade, you're done. -LRB- extends hand. -RRB- Let me have the shop keys. WADE -LRB- to Jack and Jimmy. -RRB- You two, do n't you get it? He's using you. You're his slaves. -LRB- soft. -RRB- Jesus Christ, Jack, do n't you see that? LARIVIERE The key, Wade. WADE Yeah, you can have the key. It's the key that's kept me locked to you all these years. I give it to you with pleasure. -LRB- passes key. -RRB- Now I'm free. See how easy it is, Jack? All you got to do is give back what the man gave you, and you're free of him. -LRB- turns to leave. -RRB- I've got to call my brother. Wade's phone conversation plays OVER as he goes to Margie's car. WADE -LRB- O.S. -RRB- I know what it means. I'm just running out of ways to use it. ROLFE -LRB- O.S. -RRB- For what?", "EXT. ROUTE 29/MERRITT'S - DAY Phone conversation continues as Wade drives to Merritt's Shell station. WADE -LRB- O.S. -RRB- To help, Jack, of course - and to nail those sonsofbitches, the Two Gordons. That's what Alma calls them. Jesus, Rolfe, whose side are you on? ROLFE -LRB- O.S. -RRB- Take care of the little things first, the things that are distracting you from taking care of the big things. Call Chub Merritt, get your car back, call a dentist, for God's sake, and get your tooth pulled, do n't trust the locals, get your facts straight and go straight to the state police. Let them work on this. CHICK WARD, 30, Chub Merritt's mechanic, greets Wade outside the station. We join their conversation : CHICK The good news is we have n't got to your car yet. The bad news - WADE Just tell me when you'll have it fixed. CHICK - the bad news is there's a problem with Gordon's truck what somebody drove through the ice last night. Figured you'd know something about that, Wade. WADE -LRB- beat. -RRB- Yeah. I know about that. CHICK LaRiviere says he ai n't gon na pay for the fixin' of your car. A couple hundred for the clutch. I got some more bad news. Wan na hear it? WADE Tell me. CHICK Chub says you're fired. WADE He ca n't fire me. LaRiviere already did that this morning. CHICK He's a Selectman. The town. He said to tell you to turn your badge in and clean out your office. I'm supposed to pull the CB and police light out of your car. They're town property.", "INT. WHITEHOUSE FARM - DAY Wade, open phone book in hand, walks back and forth speaking into the receiver. Margie looks up from the KITCHEN table, an old newspaper in front of her. WADE What do you mean, you ca n't take me today? I told you - The other party has hung up. Margie stands, upset. Wade slams the phone down. MARGIE What on earth is happening to you? Why are you acting this way? WADE It's my tooth! My fucking tooth! I ca n't even think anymore because of it. MARGIE I heard you talking. You got fired this morning, did n't you? WADE Look, that's temporary, believe me. There's so much shit gon na hit the fan the next few days, my getting fired by LaRiviere and Merritt wo n't matter a bit. Pop enters from outside with firewood, passes. WADE I'll get another job. People are going to need me. After this is over, they'll make me into a Goddamned hero. You wait : you'll see, I'll deliver. I'll be the best father who ever lived. You need me, even Pop, for Christ's sake, he needs me. This town needs me. Maybe now they think they can send me howling into a corner like a kicked dog, but my God, it'll be different soon. Margie's face falls. She retreats from the room as he speaks, taking her coat and pocketbook. Wade and his old man, she thinks : just the same. Wade looks out the window and she gets in her car, drives off. Wade holds his inflamed jaw ; he can hardly see straight. Pop turns on the TV in the living room, boosts the volume. Pop comes back in the room, gets the Canadian Club, pours himself a drink. WADE Leave the bottle out! Pop growls, goes back to wrestling on the TV. Wade walks to the cabinet, removes a pair of pliers from the tool drawer, goes toward the bathroom. In the BATHROOM, Wade opens his mouth - it hurts - takes a bite of whisky, sets the bottle on the toilet tank. He looks at the stranger in the mirror, reaches inside his mouth with the pliers. Prying his mouth open, Wade Whitehouse locks the pliers onto a large molar in the back, squeezes and pulls. He steadies himself, pulls again, yanking the pliers from his mouth. The bloody rotted tooth clatters in the sink. He takes another bite of whisky. Rolfe's voice plays over : ROLFE -LRB- V.O. -RRB- You will say I should have known terrible things were about to happen, and perhaps I should have. But even so, what could I have done by then? Wade never went inside. He lived almost wholly out there on his skin, with no interior space to retreat to, even in a crisis. Wade takes another swig, sets the whisky bottle in the LIVING ROOM beside the TV set. Wade and Pop exchange looks. Wade exits through the KITCHEN, snatching his coat.", "EXT. BARN - DAY Wade spits blood into the snow as he grabs a gallon can of gasoline from under the porch. He crosses to the barn, prepares to pour the gas into the beat - up red truck.", "EXT. CONCORD - DAY Wade's Ford pickup passes J. Battle Hand's office, keeps going. Grass peeks through the snow at this lower altitude.", "EXT. LILLIAN'S HOUSE - DAY Wade parks the truck, walks past leafless bushes to a charcoal - gray split - level with pink shutters. He pushes the door bell ; the first notes of `` Frere Jacques'' play. Lillian opens the door ; Jill's footsteps approach. LILLIAN Wait there. She'll be right out. -LRB- looks back. -RRB- Is there snow on the ground up in Lawford? WADE Yeah, lots. LILLIAN -LRB- to Jill. -RRB- See. Get your boots. WADE Hi honey. JILL -LRB- going back inside. -RRB- Hi. LILLIAN Have her back tomorrow night by six. WADE No problem. Look, I. LILLIAN You make me sick. I ca n't believe you've sunk so low. WADE Low as what? What have I done? It's bad to want to see your own daughter? LILLIAN You know what I'm talking about. For what you're doing to me and to the child you say you love so much. Love. You wo n't get away with it. Jill returns, wearing parka and boots, heads out with her father. LILLIAN Bye, honey! Call me tonight if you want. Wade and Jill approach the truck. JILL Are we going in this? WADE Yeah. My car's in the shop. This'll be fine. JILL It's pretty old. WADE It belongs to Pop. JILL Pop? WADE Grandpa. My father. It's his. JILL Oh. Wade opens the truck door. Jill climbs in with her overnight bag, looks back to the door where Lillian watches.", "INT./EXT. WADE'S TRUCK - DAY The Ford heads north. WADE -LRB- winking. -RRB- How about a Big Mac? JILL Mommy wo n't let me eat fast food. You know that. It's bad for you. WADE C'mon, we can always sneak a Big Mac. And a cherry turnover. Your favorite. What do you say? JILL No. WADE What do you want, then? JILL Nothing. WADE You ca n't have nothing, Jill. We need lunch. Mr. Pizza? JILL Same thing, Daddy. Mommy says - WADE I know what Mommy says. I'm in charge today, though. JILL Okay. So we'll get what you want. What do you want? They stop for a light. Silence. WADE Nothing, I guess. I guess I can wait till we get home. Maybe we'll stop by Wickham's for a hamburger when we get to Lawford. That suit you? You always like Wickham's. JILL -LRB- looking ahead. -RRB- Okay. WADE Fine. Pause. Wade looks over at Jill and realizes she is crying. WADE Oh, Jesus, Jill, I'm sorry. What's the matter, honey? She shoves her clenched fists hard against her legs. WADE Please do n't cry. Please, honey. JILL -LRB- regains composure. -RRB- What are you sorry for? WADE I do n't know. For the food business. I guess. I just thought, you know, we'd sneak a Big Mac on Mommy, like we used to. JILL I want to go home. WADE -LRB- quick. -RRB- You ca n't. Jill looks away. Wade pulls a six - pack from under the seat, pulls off a beer, takes a swig. JILL -LRB- quiet. -RRB- That's illegal, you know. WADE I know. JILL You're a policeman. WADE Nope. Not anymore. I'm nothing anymore. JILL Oh.", "INT. WICKHAM'S - DAY Wade and Jill enter Wickham's, crowded with out - of - state hunters at the end of the deer season. WADE Jillie, you want a cheese grilled sandwich? NICK It's called a grilled cheese sandwich, you dub. Wade, flaring, reaches across the counter and grabs Nick by the shirtfront! Nick's arm knocks over a cup of coffee. The diner goes silent. Hunters look up. Jill's face is white ; she starts to cry. Wade looks over - it takes him a moment to react - bends down, comforting her. He wipes her nose with a napkin. WADE Jill, please, it's alright. Nothing happened. JILL I want to go home. WADE -LRB- rigid. -RRB- Okay, let's go home, then. They head for the door. Nick eases over : NICK -LRB- delicate. -RRB- Wade, I got a message for you. -LRB- Wade turns. -RRB- Jack Hewitt, he's looking for you. Wants you to clear your stuff out of his office in Town Hall. WADE His office. You mean my old office. NICK Well, I guess - that's what he said. WADE He got his deer yet? NICK No, he's out now. Somewhere on the mountain. I'd stay away from him if I were you. He's real pissed. Wade takes Jill's hand, exits.", "EXT. TOWN HALL - DAY Jill waits in the old red truck parked outside. Wade emerges with cardboard boxes of office miscellany, rifles laid across top. He shoves the boxes and guns into the back of the pickup, gets in and drives off.", "EXT. WHITEHOUSE FARM - DAY Wade and Jill pull up the drive, past Margie's car, into the barn. Her trunk and two side doors are open. Margie comes out back with a battered suitcase, goes to her car. She's leaving. A plastic bag of clothes sits in the trunk. Wade and Jill get out, approach : WADE Going somewhere, Margie? MARGIE I'm just cleaning out some of this stuff that's built up. For the rummage sale. And some things for the cleaners. And the laundromat. WADE Do n't lie to me. You're leaving me, I can see that. MARGIE Do n't be silly. Hi, Jill. Jill, suitcase in hand, looking pathetic, tries to smile. A sadness passes over Wade's face. WADE -LRB- hurt. -RRB- Marg. Margie, watching him, quivers, starts to cry. She drops her suitcase, out of nowhere bawling like a baby. Wade goes over, puts his arms around her, pats her back. His face is racked. He, too, seems about to cry - if he could. In his arms Margie feels trapped, overwhelmed by Wade's circumstances and terrible sadness. She pushes : MARGIE -LRB- crying. -RRB- Leave me alone! Leave me alone! She struggles in Wade's grasp. Jill, frightened, wildly hits him from behind : JILL Leave her alone! Leave her alone! Wade moves back like a bear, covering his face and arms. Jill, near hysterical, keeps after him, arms and fists flying. Wade stumbles backwards into the snow. Jill still swings. Margie dashes to intervene as Wade swings his arms wide. Jill flies into Marg. Her nose is bleeding. Wade's caught her across the mouth and nose. She takes cover behind Margie, crying. Margie and Jill stand side by side, saying nothing. Wade looks up stunned, as if hit by a rock. Marg slowly backs away, her arms behind her holding Jill. MARGIE -LRB- to Jill. -RRB- Get in. Marg eases Jill into the front seat, closes the door, edges around the car slamming the trunk and gets into the driver's seat. Wade stands. JILL I want to go home. Will you take me home? MARGIE Yes. She closes the front door, starts the car. She backs out the drive. In her rear view mirror she sees the image of Wade receding, standing frozen, staring down at the snow. Pop emerges from the house, looks at his son, grinning. Wade looks at his old man, that dumb devilish grin plastered on his father's face. Glen Whitehouse holds an empty whiskey bottle like a pistol. Hunters' gunshots echo in the distance. POP -LRB- Satanic delight. -RRB- You! By Christ, you - I know you. -LRB- points bottle. -RRB- Yeah, you goddamn sonofabitch, I know you. You're a goddamn fucking piece of my heart! WADE -LRB- dead. -RRB- You do n't know me. You do n't know me! -LRB- beat. -RRB- So fuck you. Fuck you. POP Nah - nah - naw! You done done finally done it! Like a man done it. Done it right. I love you, you mean sonofabitch! Pop holds up the bottle, pretends to fire it at Wade. WADE Love! What the fuck do you know about love? POP Love! I'm made of love! WADE Call it what you want. POP Everything you know is from me. WADE Yeah. POP Bang! WADE You and me. Wade waves his old man off, trudges toward the barn. POP Where the Christ you going? You sonofabitch, you leave my fucking truck where it is! I need. Give me the Goddamn keys! I need to get me to town! WADE Crawl! POP Nothing in the fucking house to drink. Not a fucking thing. My house, my money, my truck - stolen! WADE I do n't know you. My goddamn father and I do n't know you. Wade walks from the glistening snow into the dark barn.", "INT. BARN - DAY Wade unloads the cardboard boxes filled with his office belongings from the back of the truck and sets them on the ground. He gathers up his rifles. Suddenly! A whiskey bottle SLAMS against the back of his head. He drops to his knees, the guns scatter. He looks up with child's fear and guilt at his father. Glen Whitehouse hovers over him, huge and ferocious : a colossus, lifting the bottle like a jawbone. Wade cringes, scrambles for the dropped rifle. He grabs it by the barrel and, twisting around, swings it in a slow motion arc, smashing the edge of the wood stock against his father's head. A cold hard CRACK of bone. Glen Whitehouse - shriveled again, no longer mythic - flies back like a stuffed dummy. He collapses beside the empty C.C. bottle. Wade, bleeding from the head, stands, staggers off Pop's inert body, aims his rifle at the old man's face. WADE I know you now. I love you too. Wade bolts the rifle, flicks off the safety, fires - a loud CLICK. The gun's empty. WADE -LRB- smiles. -RRB- Joke. You scared me. He kneels down, lovingly touches the old man's face, caresses his lips, cheeks, nose, brows, smoothes back his stiff gray hair. Pop's eyes are clouded. Blood suddenly drips from his ear to the ground. Wade rests the rifle against the truck. He bends over, slips his hands under his father's body, lifts him up. He carries Pop over to the workbench, lays him out. Groping beneath the bench, Wade finds the kerosene lamp. He unscrews it, pours kerosene the length of Pop's body. Wade takes out his cigarette lighter, ignites it, holds it for a moment, places it to Glen Whitehouse. Fire spreads the length of Pop's body, bursting like a shroud of yellow flame. The oil - stained bench crackles ; flames shoot up the old weathered wall. Burning flesh and heat drive Wade backwards.", "EXT. WHITEHOUSE FARM - DAY Wade stands in snow and sunlight. The entire barn is engulfed in flames. Black smoke billows through the clear winter sky. Inside Glen Whitehouse, a pyre, burns. ROLFE -LRB- V.O. -RRB- The historical facts are known by everyone - all of Lawford, all of New Hampshire, some of Massachusetts. Facts do not make history. Our stories, Wade's and mine, describe the lives of boys and men for thousands of years, boys who were beaten by their fathers, whose capacity for love and trust was crippled almost at birth and whose best hope, if any, for connection with other human beings lay in an elegiac detachment, as if life were over.", "EXT. PARKER MOUNTAIN - DAY Pop's red truck is parked behind Jack Hewitt's 4x4 on a snow - banked road. Wade, hunting rifle pointed up, traces Jack's footsteps down the slope of the mountain. ROLFE -LRB- V.O. -RRB- It's how we keep from destroying in turn our own children and terrorizing the women who have the misfortune to love us ; how we absent ourselves from the tradition of male violence ; how we decline the seduction of revenge. Wade spots Jack poised in a spruce grove, watching for deer. Wade bolts his rifle, releases the safety, aims and FIRES. Jack, hit in the chest, falls bleeding between trees. Blood stains the snow. ROLFE -LRB- V.O. -RRB- Jack's truck turned up three days later in a shopping mall in Toronto. Even without the footprints, the bullet, Wade's utter disappearance seemed evidence enough of his guilt.", "INT. WHITEHOUSE FARM - DAY Camera glides from room to room, glimpsing details, fragments of former times, as if this were an historical site or memorial. The walls resonate : lives were molded here. ROLFE -LRB- V.O. -RRB- LaRiviere and Mel Gordon were indeed in business. The Parker Mountain Ski Resort is now advertised all across the country. Jimmy Dame tends bar at the lodge. Chub Merritt opened a snowmobile dealership, Nick Wickham runs the new Burger King. Margie Fogg moved to Littleton, nearer her mother ; Lillian and Jill went with Bob Horner to a new job in Seattle. Out a window, workers gather charred timbers from the barn, throw them on a truck. ROLFE -LRB- V.O. -RRB- We want to believe Wade died, died that same November, froze to death on a bench or a sidewalk. You can not understand how a man, a normal man, a man like you and me, could do such a terrible thing. Unless the police happen to arrest a vagrant who turns out to be Wade Whitehouse - or maybe he wo n't be a vagrant ; maybe he will have turned himself into one of those faceless fellows working at the video store and lives in a town - house apartment at the edge of town until his mailman recognizes him from the picture at the post office - unless that happens, there will be no more mention of him and his friend Jack Hewitt and our father. The story will be over. Except that I continue. THE END"], "labels": [1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0], "summary": "The film begins with a voice-over narration by Rolfe Whitehouse, announcing the story of his brother Wade's \"strange criminal behavior\" and subsequent disappearance. Wade Whitehouse is a small-town policeman in New Hampshire. On Halloween night, Wade meets his daughter Jill from his divorced marriage, but he is late and the evening is overshadowed by disharmony. Jill eventually calls her mother to come and pick her up. When his ex-wife finally arrives, Wade shoves her lover against their car and watches them drive away with Jill. Wade vows to get a lawyer to help gain custody of his daughter. The next day, Wade rushes to the scene of a crime. Jack Hewitt, hunting guide claims that Evan Twombley, with whom he was hunting, accidentally shot and killed himself. The police believe Jack, but Wade grows suspicious, believing that the man's death was no accident. When he is informed that the victim was scheduled to testify in a lawsuit, his suspicion slowly turns into conviction. A while later, Wade and his girlfriend Margie Fogg arrive at the house of Wade's father, Glen Whitehouse, whose abusive treatment of Wade and Rolfe as children is seen in flashbacks throughout the film. Wade finds his mother lying dead in her bed from hypothermia. Glen Whitehouse reacts to her death with little surprise. At the funeral wake, the father gets drunk and loudly exclaims, \"Not one of you is worth one hair on that woman's head!\", resulting in a confrontation between himself and Wade. Rolfe, who has come home for the funeral, suggests at first that Wade's murder theory could be correct, but later renounces himself of this presumption. Nonetheless, Wade becomes obsessed with his conviction. When Wade learns that town Selectman Gordon Lariviere is buying up property all over town with the help from a wealthy land developer, he makes the solving of these incidents his personal mission. Suffering from a painful toothache and becoming increasingly socially detached, he behaves more and more unpredictably. He follows Jack, convinced that Jack is running away from something and is involved in a conspiracy. After a car chase, a nervous Jack finally pulls over, threatens Wade with a rifle, shoots out his tires, and drives off. Finally, Wade is fired from his police job both for his constant harassment of Jack and his trashing of Lariviere's office. He collects Jill from her mother's house, where his ex-wife furiously castigates his plans to sue for full custody. At the local restaurant, he attacks the bartender in front of his daughter after he jokingly insults Wade. Then Wade takes Jill home to find Margie leaving him. Wade grabs Margie and begs her to stay with him, but Jill rushes up and tries to push Wade away. In response, Wade pushes Jill, causing her nose to bleed. She and Margie drive off. Wade is then approached by his father Glen, who congratulates him for finally acting as a \"real man\". The latent aggression between the men culminates in a fight in which Wade accidentally kills his father. He burns the corpse in the barn, sits down at the kitchen table and starts drinking, while the barn can be seen burning down through a window. Rolfe's narration reveals that Wade eventually murdered Jack and left town (possibly to Canada, where Jack's truck was found three days later), never to return. Rolfe relates that the town later became part of a huge ski resort partly organized by Gordon Lariviere, but having nothing to do with either Jack or Twombley. Rolfe concludes that someday a vagrant resembling Wade might be found frozen to death, and that will be the end of the story.", "name": "Affliction_(film)"}
{"scenes": ["IN DARKNESS: OLIVE -LRB- V.O. -RRB- The rumors of my promiscuity have been greatly exaggerated.", "INT. OLIVE'S BEDROOM - PRESENT DAY OLIVE PENDERGHAST -LRB- 17 -RRB-, a cute teenager, speaks directly into the WEBCAM atop her computer. OLIVE Let the record show that I, Olive Penderghast, being of sound mind, ample breast size and the occasional corny knock knock joke, do enter this video blog into evidence in the case against me. Because I'm being judged by a jury of my peers, I will attempt to insert ` like' and ` totally' into my confession as much as possible. So here it goes. I confess I'm, in no small part, to blame for the vociferous gossip that has turned my Varsity letter scarlet, but - for anyone hoping that the sizzling details of my sordid past will provide you with a reason to lock the door and make love to a dollop of your sister's moisturizing lotion - you'll be gravely disappointed. -LRB- Beat. -RRB- Look, I just need to set the record straight and what better way to do that, than to broadcast it on the Internet. So, here it is - Part One : The Shudder - Inducing and Cliched, However Totally False Account Of How I Lost My Virginity To A Guy At A Community College In A Neighboring Town. -LRB- Beat. -RRB- Let me just begin by saying that there are two sides to every story. This is my side, the right one. -LRB- Beat. -RRB- Like, totally.", "INT. CAFETERIA - DAY Olive sits with her best friend, RHIANNON ABERNATHY -LRB- 17 -RRB-, a brash teenager. It would be safe to say that these girls are definitely on the `` B List'' at their school. RHIANNON Fuck off! George is not a ` sexy' name. George is like what you name your teddy bear, not the name you wan na scream out during an orgasm. OLIVE That's bullshit. There are lots of sexy Georges. RHIANNON Name three. Olive starts to say something, but Rhiannon interrupts her. RHIANNON -LRB- CONT'D. -RRB- Besides Clooney. Too easy. OLIVE Should n't that alone be enough? RHIANNON Fine. That's one. Number two? OLIVE -LRB- THINKING. -RRB- Okay. George. Ummmm. Reeves! RHIANNON Who's that? OLIVE Superman. From way back. He was hot. RHIANNON No way. Teddy bear. OLIVE Bullshit. Ben Affleck played him in that movie! RHIANNON So what? Charlize Theron played that butt - fucking - ugly lesbo serial killer. Besides he's from another century. We're speaking present day. I mean, Jesus, Mortimer was probably a sexy name in some era. OLIVE George Stephanopolous. RHIANNON What are you? Fifty? OLIVE -LRB- THINKING HARD. -RRB- George. RHIANNON Bush? Yeah. He's one hot mutherfucker. Just face it. There's no such thing as a sexy George. OLIVE Well, mine is. So, I think we should just put this conversation to bed. RHIANNON Fine. Do n't come. I hate you. Rhiannon folds her arms and pouts.", "INT. OLIVE'S BEDROOM - PRESENT DAY Olive continues to narrate into her webcam. OLIVE Let me back up. I do n't know if any of you have ever met them, but Rhiannon's parents are quite possibly the creepiest people in a four county radius.", "INT. THE ABERNATHY LIVING ROOM MR. and MRS. ABERNATHY -LRB- 50's -RRB- sit on their couch, smiling at the television, in their horrifically rustic home. MR. ABERNATHY bares a striking resemblance to ukelele player, Tiny Tim. -LRB- Although the man we're looking at has an even more frightening smile. -RRB- MRS. ABERNATHY has hair to her ankles and dresses like a Mormon. OLIVE -LRB- V.O. -RRB- I've always felt sort of sorry for Rhiannon, but not enough to do what she was asking me to do. We float upwards to -", "INT. RHIANNON'S ROOM - CONTINUOUS Rhiannon is on the phone, agitated. RHIANNON -LRB- Into the phone. -RRB- PLEASE. Please. I'm begging you. I'll pay you.", "INT. OLIVE'S BEDROOM - CONTINUOUS Olive is on the other end of the phone conversation. We INTERCUT between the two sides. OLIVE Rhi, I ca n't. I told you I have plans. RHIANNON You're lying. You're a lying bitch and I hate you so much right now. OLIVE -LRB- LYING. -RRB- I'm not lying. I promise I'm not. I really would love to go camping with your family this weekend. I had fun with your family last year.", "EXT. WOODS - LAST YEAR - NIGHT Olive, uncomfortable, and Rhiannon, bored, sit around a campfire with the Abernathys. The couple stare at the fire with the same creepy smile plastered on their faces. There is an excruciatingly long and painful silence. MR. ABERNATHY Would you like a marshmallow, Olive Oil? Mrs. Abernathy squeaks out a meek titter that is annoyingly high - pitched. MRS. ABERNATHY Olive oil. That's funny. Very, very funny. OLIVE -LRB- POLITELY. -RRB- No thank you, Mr. Abernathy. MR. ABERNATHY You can call me Mortimer, Olive Branch. Mrs. Abernathy titters again. Rhiannon rolls her eyes. There is another awkwardly long silence, while the Abernathys grin away at their fire.", "INT. RHIANNON'S ROOM - MOMENTS LATER Rhiannon is getting increasingly angrier at her friend. RHIANNON -LRB- Into the phone. -RRB- Why do n't you just say it? You do n't like my parents. You think they're hopelessly pathetic and devoid of souls and wish that you could live with normal people who did n't meet at a Star Trek convention! She quickly catches her faux pas and stops talking. OLIVE -LRB- Sympathetic to her FRIEND. -RRB- Rhi, I like your parents. They're sweet. But I ca n't go camping this weekend. RHIANNON Quick. Hurry and make up a lie. OLIVE I have a date. RHIANNON Liar. OLIVE -LRB- LYING. -RRB- No. I do. RHIANNON With who? OLIVE You do n't know him. RHIANNON And neither do you, you selfish bitch! OLIVE I'm serious. He goes to the community college with my brother in Denton. RHIANNON What's his name then? OLIVE -LRB- WAXING CUTE. -RRB- Who? My brother? RHIANNON Stop stalling. You're totally trying to come up with a name. Just say it.", "INT. OLIVE'S BEDROOM - PRESENT DAY Into the webcam - OLIVE I'm not proud of this. Less about the lie and more about the unoriginality of it. Okay, have you guys ever watched ` The Brady Bunch'? Of course you have n't. You're busy watching fake people pretend to be real on MTV. That's why I knew I could get away with it. See, there was this episode where Jan - the awkward middle child - made up a boyfriend to assuage the ridicule of her snatchy sister who had just stolen the heart of the boy that Jan loved. The name of her imaginary boyfriend WAS -", "INT. OLIVE'S BEDROOM - DAY OLIVE -LRB- Into the phone. -RRB- George Glass. RHIANNON George? What kind of a fucking name is George? OLIVE He's pretty hot and he asked me out this weekend, so I said yes. Although still skeptical, she seems a tad more mollified. RHIANNON If you're choosing him over helping me cope with two days in the wilderness with these people who even I'm not convinced are n't serial killers, he had better be the one. You had better fucking marry him, have fucking babies with him and then take him for fucking everything he's worth. OLIVE Deal.", "INT. CAFETERIA - CONTINUOUS Rhi and Olive continue their conversation, as Rhi pops a tater tot into her mouth. RHIANNON -LRB- With her mouth full. -RRB- You're not off the hook, you know. I want lurid details. This had better be the best date of your life to counterbalance the worst weekend of mine. OLIVE I'm sure you'll have a good time.", "EXT. WOODS - NIGHT Rhi sits, bored and uncomfortable, while her parents smile at the campfire for an, again, awkwardly long moment.", "INT. OLIVE'S BEDROOM - PRESENT DAY To her webcam - OLIVE -LRB- Through the proverbial CLENCHED TEETH. -RRB- Even though we now hate each other, Rhi, I really hope you're watching this. Because this part's for you. The lurid details of my weekend en flagrante delicto with the all - too - imaginary, yet surprisingly satisfying George Glass : Ken Nordine's beat poem ` OLIVE,' -LRB- from the late 60's album ` Colors' -RRB-, underscored to jazz, plays as we see a montage of OLIVE'S WEEKEND : In her bedroom, Olive - - watches ` The Notebook,' pining over Ryan Gosling. KEN NORDINE -LRB- V.O. -RRB- Olive. Poor thing. - paints her toenails Jungle Red. KEN NORDINE -LRB- V.O. ; CONT'D. -RRB- Sits and thinks that it's drab. Sure does. Sits and sits and sits and sits and THINKS about it's olive drab drab. - dances to the jazz music, but alone, in her underwear and a t - shirt that declares : ` Hands off.' KEN NORDINE -LRB- V.O. ; CONT'D. -RRB- DOES N'T KNOW that it is about to be named ` Color of the Year,' by those with the nose for the new. By the passionate few. Yeah. - reads TEEN PEOPLE magazine. KEN NORDINE -LRB- CONT'D. -RRB- Olive is definitely in. EVERYTHING that can possibly mean anything! Anywhere! At least for a year. - dances some more. KEN NORDINE -LRB- V.O. ; CONT'D. -RRB- Has got to be Olive! Did you hear that Olive? Did ya? Know what it means? Oh Olive! There'll be olive cars and olive trucks and olive chickens and olive ducks and olive socks and olive garters And olive brakes and olive starters! Olive, sorry! Olive, please! OLIVE WHATNOTS and olive trees! Olive trees? What a quaint notion. Olive trees. -LRB- CHUCKLING. -RRB- Olive. Out of breath from dancing, she walks over and displaces the NEEDLE from the KEN NORDINE ALBUM she's playing.", "INT. OLIVE'S BEDROOM - PRESENT DAY To the webcam - OLIVE But on Monday, when Rhi asked me how my weekend was.", "INT. HALLS OF BARBARA BUSH HIGH SCHOOL - DAY Olive and Rhi walk, with books in hand, to class - weaving in and out of people. OLIVE It was nothing short of perfection. RHIANNON Details, bitch. Wait, first I need a scope of reference. Who would play him in the movie of your life? OLIVE Ryan Gosling, definitely. RHIANNON That works. Spill. OLIVE He was charming. A real gentleman. RHIANNON Are you going to see him again? OLIVE Probably not. It was just one of those weekends. RHIANNON The whole weekend? OLIVE Yeah. Rhiannon suddenly stops and twirls Olive to face her. RHIANNON Wait a minute. You did n't. OLIVE No, of course not. RHIANNON -LRB- VERY LOUDLY. -RRB- You fucking liar! You totally lost your virginity to him. Pedestrian students stop in their tracks to stare at them. OLIVE I did not. RHIANNON YES YOU DID, YOU LYING FUCKING WHORE! Olive grabs her and drags her forward, interrupting the show. RHIANNON -LRB- CONT'D. -RRB- Tell me everything and spare me the coquettish ` just - the - tip' bullshit. I know you did it! I know you let him put it inside you, so just TELL ME! OLIVE I'm not that kind of girl. RHIANNON The kind that does it or the kind that does it like a fucking porn star and then does n't have the balls to talk about it? Rhi drags her into the -", "INT. GIRLS' ROOM - CONTINUOUS - and abrasively, gets up in Olive's face. RHIANNON I want every perverted detail. NOW, bitch. Pressured, Olive lies. OLIVE Okay. Fine. We did it. RHIANNON You lost your virginity! Fucking finally! Now, you're a super - slut like me! OLIVE Rhi. Blowing Peter Tolliver once behind the Pizza Hut does n't make you a super - slut. RHIANNON There were people walking past. Whatever, this is n't about me. This is about YOU. What did you let him do? OLIVE -LRB- V.O. -RRB- I started piling on lie after lie. It was like setting up Jenga. A well - manicured FEMALE HAND stacks WOODEN JENGA BLOCKS onto a table. OLIVE -LRB- CONT'D. -RRB- It was. Normal. Nothing freaky. It was sweet. HE was sweet. RHIANNON Was he big? Did it hurt? OLIVE No. It was great. Like I said. Okay, that's enough. The toilet flushes and MARIANNE BRYANT -LRB- 16 -RRB-, an Aryanesque, cardigan - wearing Christian - girl exits from a stall and walks to the sink, where she vigorously washes her hands - while staring at Rhi and Olive with disgust. RHIANNON What the fuck are you looking at, Marianne? MARIANNE Nothing. Just a couple of admitted whores. Marianne wipes her hands and leaves the restroom. Olive's stomach revolves at her now - turned - public admission. OLIVE So, how was your weekend? -LRB- I promise it's the last time. -RRB-", "EXT. WOODS - NIGHT The Abernathys smile at the campfire, roasting WEINERS. Rhiannon would rather be anywhere other than there. MR. ABERNATHY Wienie, Rhi? Rhi snorts in contempt of her father and his wienie.", "INT. OLIVE'S BEDROOM - PRESENT DAY Into the webcam - OLIVE Marianne Bryant, as we all know, is the President of the Christian Student Coalition and is that rare breed of human born with a stick the size of a baseball bat implanted up her anus. God's honest. I'm sure it's in some medical dictionary somewhere.", "INT. HALLS OF BARBARA BUSH HIGH SCHOOL - LAST YEAR Marianne and her lackey, NINA HOWELL -LRB- 16 -RRB-, who's just as awful as she is, pass out flyers. OLIVE -LRB- V.O. -RRB- Last year's cause celebre was the changing of the school mascot, which she spearheaded. Marianne aggressively shoves her literature into passing students faces.", "INT. GYM - LAST YEAR The school's MASCOT -LRB- 17 -RRB-, a SHIRTLESS MUSCULAR KID painted BLUE and costumed as a DEVIL, bursts into the auditorium and begins to rile students up by thrusting his PITCHFORK in the air. MASCOT Blue Devils! Blue Devils! Blue Devils! The crowd goes wild.", "INT. HALLS OF BARBARA BUSH HIGH SCHOOL - LAST YEAR  CONTINUOUS Marianne, melodramatically, grabs a PASSING STUDENT by the arm. MARIANNE How can we exhibit school pride when we're conveyed to others as satan worshippers? The scared student takes her pamphlet and runs away. OLIVE -LRB- V.O. -RRB- Now, thankfully, we're the much less intimidating -", "INT. GYM - LAST YEAR - MONTHS LATER The mascot, unenthusiastic and feeling ridiculous, walks into the gym dressed as a - OLIVE -LRB- V.O. -RRB- Meerkat. MASCOT Go meerkats! Go meerkats! He ca n't seem to get himself or the student body as excited - with the exception of Marianne and Nina, in the stands applauding proudly. The school band is playing ` GOLDFINGER.' Across the gym, Olive sits with Rhiannon. RHIANNON What the fuck is a meerkat anyway? OLIVE Beats the hell out of me. But can we just take a moment to applaud the Barbara Bush High School Marching Band for their very ambitious effort to learn all of the James Bond theme music in a single year? I personally wish them all the best in their endeavor. Ku - dos! RHIANNON I think I speak for all of the female students and faculty - and maybe a couple of males - when I say that I liked Todd much better when he was shirtless. I actually looked forward to these disturbing displays of - what do they call it? OLIVE School spirit. RHIANNON Yeah. That's it. OLIVE Even dressed as a meerkat, I still fantasize about him. RHIANNON Ha! What are those people called again? The ones that dress up like stuffed animals when they do it? OLIVE Communists. Rhiannon laughs. RHIANNON Shhh. Do n't let Marianne hear you say that word. The last thing we need is McCarthyism at Barbara Bush. OLIVE Is n't high school already a hotbed of just that? RHIANNON True. -LRB- Beat. -RRB- Yeah, I'd totally fuck Meerkat Todd. They both get lost in the thought.", "INT. OLIVE'S BEDROOM - PRESENT DAY Into the webcam - OLIVE So, of course, immediately I knew that the little white lie I told to my then - best - friend in the ladies room would come back to bite me on the ass. However, even I - who my fourth grade teacher stated on my report card ` has an imagination that should be quickly expunged' - had no idea how quickly this article of fiction would spread. So, now we move on to Part Two : The Accelerated Velocity of Terminological Inexactitude.", "INT. HALLS OF BARBARA BUSH HIGH SCHOOL - DAY Olive loads books into her locker. She sees Marianne walk past with Nina. They give her a repulsed look. Olive decides to nip this in the bud. She catches up to them. OLIVE Hey Marianne, can I talk to you for a second? Nina, reluctantly, gives them a moment alone. MARIANNE -LRB- EXASPERATED. -RRB- What? OLIVE Listen, what you heard in the bathroom, that was n't true. It's actually a funny story. Do you ever watch ` The Brady Bunch'? MARIANNE Olive - that's your name, right? Olive knows that Marianne knows her name, but obligingly nods. MARIANNE -LRB- CONT'D. -RRB- I'm not the one you have to answer to for your depraved behavior. There is a higher power to judge your indecency. OLIVE -LRB- JOKINGLY. -RRB- Who? The guidance counselor? MARIANNE -LRB- ICILY. -RRB- I hope for your sake, God has a sense of humor. OLIVE Oh, I have sixteen years worth of anecdotal proof that He does. Olive looks over and sees that Nina is talking to a group of GUYS, who are looking at Olive, intrigued. OLIVE -LRB- CONT'D. -RRB- -LRB- SOTTO VOCE. -RRB- Damn it. Marianne sees what her friend is doing and smiles at Olive, coldly. MARIANNE Look. You've made your bed. I just hope for your sake, you cleaned the sheets. She turns on her heels and leaves Olive behind. OLIVE -LRB- TO HERSELF. -RRB- Did I just get saved? She shakes off her attempt and continues on her way, walking past the guys who smile at her. This alarms her. GUY IN HALL Hey Olive. How's it going? Without stopping - OLIVE I'm swell, guy - I've - never - laid - eyes - on - before. Thanks for asking. OLIVE -LRB- V.O. ; CONT'D. -RRB- All I could think to myself was ` Great, now I'm going to have to start wearing red lipstick and stiletto heels.' Battling her frustration, she goes to class.", "INT. DINING ROOM - NIGHT Olive eats dinner with her family. Her father, DILL -LRB- 40's -RRB-, is a regular dad - kinda - guy. Her mother, ROSEMARY -LRB- 40's -RRB- is heavyset with a fun disposition. Also in attendance is her ` a - little - too - precious' sister, GINGER -LRB- 12 -RRB-. Olive and her folks get along really well. OLIVE Hey, you guys know that I was here all weekend, right? They all nod at her. OLIVE -LRB- CONT'D. -RRB- And you would testify to that? DILL -LRB- SLIGHTLY CONCERNED. -RRB- What's up, sweet pea? OLIVE It's nothing. Just the rumor mill. ROSEMARY What's the rumor mill turning out these days? OLIVE Seriously, it's nothing. They continue to eat. ROSEMARY Do n't forget your brother's staying here next weekend. OLIVE Why? He never comes home. ROSEMARY They're fumigating the dorms. And thank God for that. Last time I was there, I saw three cockroaches. GINGER -LRB- WHINY. -RRB- Mom, can you please not say that word while I'm eating? ROSEMARY Sorry, hon.", "INT. OLIVE'S BEDROOM - PRESENT DAY Into the webcam - OLIVE Like all families, mine has a deep dark secret. And since I'm spilling all this dirt, I might as well go ahead and confess it. She takes a deep breath. OLIVE -LRB- CONT'D. -RRB- I'm trusting that this nugget of information is n't going to be spread around, but - okay, here it goes : My dad's name is Dill and my mother's name is Rosemary. They were so amused by this that they decided to name all of their children after -. -LRB- FEIGNING DISCOMFORT. -RRB- - edible items. -LRB- With mock emotion. -RRB- My brother's name is Sage and my sister's name is Ginger. It's shocking, I know. We're like a fucking pantry, us Penderghasts! -LRB- SNAPPING BACK. -RRB- But at least my parents did n't meet at a ` Star Trek' convention, BITCH! Sorry. Now, I'm just being mean. Okay. Back to the story.", "INT. HALLS OF BARBARA BUSH HIGH SCHOOL - DAY As Olive walks through school, she is met with a totally different energy. She no longer blends in. Guys are checking her out. Girls are glaring at her, scornfully. She's kind of digging it. OLIVE -LRB- V.O. -RRB- So, while I would never have classified myself as a wallflower, I was now the center of attention and who does n't love that? Jeez, if I'd known that losing my virginity would create such a new persona for myself, I'd have lied about it back in eighth grade. Eighth grade sucked. I did get my first kiss back then, however. It was gross and kind of turned me off to the whole my - tongue - in - other - people's - mouths thing. Not to mention, the even - worse other - people's - tongues - in - MY - mouth thing. Seriously, folks. Who invented kissing? Why is everyone so dead - set on sticking their body parts in other people's orifices? If there's a hole on a person, rest assured, somebody wants to stick something of theirs in it.", "INT. CLOSET In almost complete darkness, a very nervous EIGHTH GRADE OLIVE -LRB- 13 -RRB- sits with a scared shitless EIGHTH GRADE KID -LRB- 13 -RRB-. You can hear other PRE - TEENS snickering and whispering outside the door. EIGHTH GRADE OLIVE So, I think this is the part where you're supposed to stick your tongue in my mouth. It's just what I've heard. EIGHTH GRADE KID Just give me a second, okay? Olive presses a button and her watch illuminates. EIGHTH GRADE OLIVE According to my watch, you have 382 of them. EIGHTH GRADE KID How do you do that? EIGHTH GRADE OLIVE What? EIGHTH GRADE KID Add so fast. And you also talk like a grown up. EIGHTH GRADE OLIVE Do n't worry. I'm not nearly as smart as I think I am. The kid snickers. He feels a little more at ease. EIGHTH GRADE OLIVE -LRB- CONT'D. -RRB- I think it's just practice. For when I do grow up. Plus, do n't sweat it. Girls mature faster than boys. EIGHTH GRADE KID That's what they say. EIGHTH GRADE OLIVE And it's probably the reason I'm ready to do this and you're not. EIGHTH GRADE KID Is it that obvious? EIGHTH GRADE OLIVE Painfully so. EIGHTH GRADE KID So, if we did n't do anything, would you tell everybody? EIGHTH GRADE OLIVE Absolutely. I will tell everyone you pussied out and the whole school will make fun of you and you'll most likely spend the rest of your teen years as a joke - no, even worse - a cautionary tale. They both laugh. EIGHTH GRADE KID The Kid Who Opted Not To Kiss The Girl. EIGHTH GRADE OLIVE They'll tell it for years. It'll be a suburban legend. The kid smiles warmly and gratefully at her. EIGHTH GRADE KID Thanks, Olive. EIGHTH GRADE OLIVE Do n't mention it. EIGHTH GRADE KID No. YOU do n't mention it. She extends her pinky to him. They link pinkies and they swear on it. EIGHTH GRADE OLIVE We still have five minutes and thirty six seconds. There's a long silence. EIGHTH GRADE KID I'm really interested in politics. EIGHTH GRADE OLIVE Oh yeah? EIGHTH GRADE KID Totally. EIGHTH GRADE OLIVE Well,. Uh. Cool. There's another long silence. Finally, from outside the door - PRETEEN KID -LRB- O.S. -RRB- Ewwwww. Hunter Neblett just puked all over the dining room. Olive and the kid listen as people scurry from outside the closet. EIGHTH GRADE KID Thank God. EIGHTH GRADE OLIVE Hey, we're in Junior High. Vomit - viewing will always trump spit - swapping. The kid starts to make his grand escape, but Olive stops him. EIGHTH GRADE OLIVE -LRB- CONT'D. -RRB- Real fast - and you can tell me the truth. It's not because I'm - The kid smiles. EIGHTH GRADE KID No. You're very pretty. He extends his pinky and she links it to hers. He kisses her quickly on the cheek and darts from the closet. Olive sits in the closet for a moment, contemplating what just happened, wondering if he was telling the truth, then she opens the door. The coast is clear, except for ANOTHER PRETEEN KID walking past. She aggressively grabs him and pulls him into the closet with her and, promptly, thrusts her tongue into his mouth. They make out.", "INT. OLIVE'S BEDROOM - PRESENT DAY Olive seems lost in thought. She snaps back to reality and the task at hand. OLIVE If I'd known that Meerkat Todd was going to turn out so hot, I probably would have cherished the moment more. I suppose just that I'm sitting here reminiscing about it means that it must have meant something. -LRB- Beat. -RRB- Yeah, so anyway - kissing's not really my thing. That's what I learned in Natalie Giblin's closet. I digress.", "INT. CLASSROOM - DAY Olive half - listens in class, while her English teacher MR. GRIFFIN -LRB- early 30's -RRB-, a handsome guy, lectures on ` THE SCARLET LETTER.' OLIVE -LRB- V.O. -RRB- So, I'm feeling like the cat's ass, because everyone thinks I've been deflowered. I'm surprised at how empowered I felt by this prevarication. I wonder to myself, would I feel this invigorated if I had actually let some college kid violate me in his cockroach - infested dorm room? Probably not. -LRB- Beat. -RRB- Ironically, we were studying ` The Scarlet Letter,' but is n't that always the way with these teenage tales? The literature you read in class always seems to have a strong connection with whatever angsty adolescent drama is being recounted. I consider this. -LRB- Pause. -RRB- Then I think : Except for ` Huckleberry Finn.' I do n't know any teenage boys who have ever run away with a big, hulking black guy. MR. GRIFFIN Alright, so thoughts? Nina raises her hand. Mr. Griffin points to her. NINA I think Hester Prynne was - excuse my language - a whore. MR. GRIFFIN You do n't see her as a victim? NINA Why should I? She brought it on herself. Nina whips around and gives Olive a look, surprising her. OLIVE Excuse me? NINA Perhaps you should embroider a red A on your wardrobe? OLIVE Perhaps you should GET a wardrobe, you twat! The class bursts into surprised laughter. Even Mr. Griffin tries hard to suppress a congratulatory glance in her direction. OLIVE -LRB- V.O. ; CONT'D. -RRB- Admittedly, not my best line. But it was provocative enough to land me in the Principal's office. Mr. Griffin, begrudgingly, calls her to his desk. He starts writing something on a piece of paper.", "INT. FRONT OFFICE - BARBARA BUSH HIGH SCHOOL - DAY Olive sits with her arms crossed outside of the Principal's office. She clenches a note in her fist. Marianne, who's an office aid, has a smirk on her face as she watches Olive squirm. She slams her fist down on the stapler, repetitively. FINALLY - MARIANNE Seems as if someone's on a downward spiral. OLIVE Seems as if someone's practicing the mundane activities she'll be saddled with the rest of her pathetic life. MARIANNE You have a chip on your shoulder the size of Texas. OLIVE Wow, that's even bigger than your ass. MARIANNE -LRB- COLDLY. -RRB- You're going to hell. OLIVE -LRB- Growing weary of this BANTER. -RRB- As long as you wo n't be there. MARIANNE Oh, I can assure you I wo n't. Neither says anything for a few moments. MARIANNE -LRB- CONT'D. -RRB- I hope you at least had the good sense to wear a condom. OLIVE Why? Your parents did n't. MARIANNE You know, you're just like - The principal's door opens and Marianne quickly shuts up and continues her work. TWO KIDS emerge. One, obviously, a bully ; the other, obviously, the bullied. The BULLIED kid is holding a BLOODIED TISSUE up to his nose. He and Olive exchange meaningful glances. PRINCIPAL GIBBONS -LRB- 60's -RRB-, a colossal prick disguised as a man, gestures for her to come in. Olive gets up and enters -", "INT. PRINCIPAL GIBBONS'S OFFICE - CONTINUOUS He closes the door behind them. He holds his hand out and she gives him the note that Mr. Griffin wrote. Gibbons studies it. PRINCIPAL GIBBONS I do n't know you. She thrusts her hand out. OLIVE Olive Penderghast. He eyes her hand, not amused, and she quickly withdraws it. PRINCIPAL GIBBONS Why are we just now meeting? Using language like this should have warranted a visit to me years ago. OLIVE Well, to be perfectly honest - I've never used an epithet like this in an educational arena before. Sir. PRINCIPAL GIBBONS This is foul. OLIVE In my defense, I think I meant to say ` twit.' It just came out more - what's the word I'm looking for? Veracious. PRINCIPAL GIBBONS A young lady with such an extensive vocabulary should n't be stooping to such vituperations. OLIVE -LRB- SMILING. -RRB- Touch\u00e9. As serious as a heart attack. PRINCIPAL GIBBONS Wipe that smile off your face -. -LRB- Consulting the note. -RRB- Olive. I do n't tolerate this kind of language. Ever. Consider this your first warning. If I find out you've used a word like this in my school again, I will make sure that it's your last. I do n't operate on a ` three strikes you're out system'. You get one warning from me. She starts to say something - PRINCIPAL GIBBONS -LRB- CONT'D. -RRB- Think very carefully before you speak. She relents, but stares him squarely in the eyes. OLIVE I always do. Are we finished? He gestures to the door. PRINCIPAL GIBBONS Detention tomorrow after school in Room 704. And, young lady, I do n't want to see you again. OLIVE Not even in a more positive capacity? Maybe I could win a ribbon or a medal or something. I could conceivably be valedictorian. Or something. PRINCIPAL GIBBONS -LRB- FRIGHTENINGLY SERIOUS. -RRB- Get out of my office now. She quickly runs out of his office.", "EXT. BARBARA BUSH HIGH SCHOOL - PARKING LOT - DAY Rhiannon, excitedly, approaches Olive - dying to talk to her. RHIANNON Please tell me the rumors are true. OLIVE Yes, I'm a big whore. RHIANNON Not that one. The one where you called Nina Howell a cunt and then socked her in the nose. OLIVE It's not entirely true. -LRB- Beat. -RRB- Look, there's something I need to tell you. Rhiannon ignores her sincere attempt to confess. RHIANNON Yeah. Like the exact moment you turned into such a BAD ASS? I think I'm in LOVE with you. Please tell me you at least left a mark on that scrunched - up face of hers. POW! The cunt goes down for the count! OLIVE -LRB- FRUSTRATED. -RRB- Never mind. Rhiannon pulls her keys from her purse and they walk to her car. OLIVE -LRB- CONT'D. -RRB- I want a car. RHIANNON Please. It's my only perk. Trust me. They get into her car.", "INT. DINING ROOM - NIGHT The scene looks the same. Olive sits with her family, having family dinner. OLIVE I got sent to the Principal today. Her parents seem more impressed than upset. This is definitely a first. DILL What did you do? OLIVE I used inappropriate language in English class. But we're reading a book that I, personally, deem wildly inappropriate for my age group, so I felt that it was actually quite apropos. ROSEMARY -LRB- More curious than angry. -RRB- What did you say? Olive looks to her little sister and thinks better of saying the word out loud. OLIVE Let's just say it was an inappropriate word. DILL What did it start with? OLIVE A snide comment from a snotty - ass girl in my class. DILL I meant what letter did it start with? OLIVE Oh. Yeah. T. ROSEMARY T? That's an odd one. Is this one of those new curse words? Both her parents wheels are going. They're both seeking the answer in their heads, but are coming up with nothing. ROSEMARY -LRB- CONT'D. -RRB- Was it -? She leans over and whispers something in her daughter's ear. OLIVE I do n't even know what that means. ROSEMARY Yeah. Neither do I. Her parents search their brains, but nothing is coming to them. DILL Okay. Noun, adjective or verb? OLIVE Noun. Definitely slang. Think British, although they pronounce it differently. ROSEMARY Well, I'm stumped. Whisper it in my ear. OLIVE I ca n't. Too weird. Excited by the prospect - ROSEMARY Oo! Oo! Spell it with your peas! OLIVE Now, THAT'S a challenge. She begins maneuvering her peas around the plate. DILL Does this have something to do with this rumor you were talking about the other night? Olive touches her index finger to her nose, as she continues to manipulate her food. DILL -LRB- CONT'D. -RRB- Is there something you want to tell us, kiddo? OLIVE I'm spelling it out for you as quickly as I can. GINGER -LRB- Desperate for attention. -RRB- I got a B plus on my spelling test today. Too intrigued by Olive's admission to really care - ROSEMARY Good, sweetheart. Rosemary figures it out as Olive is assembling the A. ROSEMARY -LRB- CONT'D. -RRB- Oh, I know what it is! She leans over and whispers it in Dill's ear. He nods in understanding. GINGER -LRB- Glancing at Olive's PLATE. -RRB- What's a twat? Olive quickly scrapes the peas into a pile. DILL It's a word that will get you sent to the principal's office. ROSEMARY -LRB- Whispering into Ginger's EAR. -RRB- It's not a good word. -LRB- TO OLIVE. -RRB- So, what was the principal like? OLIVE The male equivalent. ROSEMARY Of what? Now, it's Dill's turn to whisper in Rosemary's ear. She nods in understanding. DILL Well, it's the first time since second grade, so I guess we ca n't be too hard on you. OLIVE -LRB- GENUINELY CURIOUS. -RRB- What would my punishment have been otherwise? DILL I dunno. To bed without supper? OLIVE But I'm already finished. Except for my helpful and profane peas. DILL -LRB- THINKING HARD. -RRB- Uhhhh. This grounding thing seems to be taking the country by storm. No phone, TV or. Or. OLIVE I'll help you out. I do n't have anyone to call. I have n't watched TV since they cancelled ` The Illegitimate Children of the Real Housewives of Laguna Beach' and I really only watched that as a joke. DILL Fine. I'd take away your - OLIVE Books? Computer? DILL Yes! You're computer! OLIVE All my homework's on there. Sorry. You lose. But thanks for playing. DILL -LRB- SMILING WARMLY. -RRB- I guess then I'm lucky this is n't a regular occurrence. Olive gets up from the table and kisses her dad on the cheek. OLIVE I think we both are. I would n't know how to be grounded any more than you know how to ground. DILL I love you. -LRB- Whispering in her ear. -RRB- And I'm sure that girl was acting like exactly what you called her. OLIVE -LRB- WHISPERING BACK. -RRB- You have no idea. She goes over and kisses her mom on the cheek, as well. Leaving the dining room - OLIVE -LRB- CONT'D. -RRB- How's about I go and punish myself? Mea culpa, mea culpa. She retreats upstairs. GINGER How come you guys never get mad at her? ROSEMARY Because, pumpkin, of our three darling children, we love her best. -LRB- Erupting into laughter. -RRB- Just kidding! Now eat your dinner. Dill chuckles, but Ginger is not amused.", "INT. OLIVE'S BEDROOM - PRESENT DAY Into the webcam - OLIVE The next day, things took a turn for the scandalous. Which brings us to Part Three : A Lady's Choice and a Gentleman's Agreement. She smiles slyly into her camera.", "INT. ROOM 704 - DAY Bored, Olive sits at a desk in a classroom, reading a tattered copy of ` The Scarlet Letter.' She's dressed much racier and is starting to look pretty hot. There's only one other person in the room. The BULLIED KID seen by Olive leaving Gibbons's office the day before. The bullied kid is thin as a rail, pale as a ghost and slightly effeminate. He looks miserable. Not just by this detention, but from life in general. OLIVE Are these detention sessions often unchaperoned? BULLIED KID I do n't think we pose a flight risk. OLIVE I see. Olive laughs to herself. BULLIED KID What? OLIVE I was just thinking it's kind of funny. We have n't really talked since that closet incident back in eighth grade. BULLIED KID I was afraid you were going to bring that up. OLIVE So, how have you been, Brandon? BRANDON -LRB- DRYLY. -RRB- I have been fantastic. Really, really amazing. Do n't know if you heard, but according to my locker, I'm a ` power bottom.' OLIVE Yikes. BRANDON Yeah, only two days after the custodians had finally gotten around to scrubbing ` turd burglar' off. Which, if you think about it, really contradicts the previous label. OLIVE Maybe your vandal is marvelling at your versatility? Brandon shoots her a ` that's not funny' look. BRANDON But, of course, I'm in detention. OLIVE Why? BRANDON Because Gibbons is a homophobe. -LRB- Beat. -RRB- And I called him a facist. OLIVE So, the rumors are true, huh? BRANDON -LRB- INCREDULOUS. -RRB- Have you ever met me? OLIVE No. I meant about Gibbons being a facist. He laughs. OLIVE -LRB- CONT'D. -RRB- I kind of guessed it that night with the whole kissing thing. The way you ran away. I remember thinking to myself, ` this is n't the first time this kid's going to go bursting out of the closet.' BRANDON Gold star for you, Nancy Drew. There's a brief silence between them. OLIVE You know, I read this article that said with this whole EMO movement, it looks like - that in a few years - the gay kids are going to be the most popular ones in school. BRANDON Oh good. I'll come back when I'm twenty seven for my redo. Ignoring his cynicism - OLIVE Can you imagine the dance squad full of shirtless guys in tight pants rocking out to Britney, while the football players sit on the sidelines wishing they were that cool? BRANDON That'll be the day. -LRB- Beat. -RRB- Judging from the new look you're sporting, I'm not the only one in a transformative stage. ` Sup with the whore couture? OLIVE -LRB- PROUDLY. -RRB- Have n't you heard? I'm the new school slut! BRANDON As a matter of fact I did hear that. I heard you banged a guy twice your age. OLIVE No way. He's a freshman in college. BRANDON Also heard he gave you crabs. OLIVE Ewwww. People suck. BRANDON Tell me about it. OLIVE He's not real. The guy I slept with. I made him up. BRANDON So, you started the rumor? OLIVE Indirectly? Sort of. Well, not really. No. No, I did n't. BRANDON But you're perpetuating it. That's fucked up. OLIVE -LRB- OFFENDED. -RRB- Excuse me? BRANDON It's true. There's only one thing worse than these tabloid - chasing celebutantes with their vapid minds and their immoral souls and that's the people who want to be like them. OLIVE Did I say I wanted to be like them? BRANDON No, you just want everyone else to think you are. OLIVE Why does it matter if it's not who I really am? No offense, Brando, but maybe you could learn something from me. BRANDON You're saying I should pretend to be straight, so people will like me? What a novel idea. You should do seminars. Oh, wait a minute, I forgot. In high school, EVERYBODY PRETENDS TO BE SOMETHING THEY'RE NOT! OLIVE Calm down, Adolph. There's a vein popping out of your neck. I'm simply suggesting that maybe these kids we call peers have got the right idea. Maybe Bridget Schumacher is n't as hippy - dippy as she pretends to be. Maybe that's just the label she's put on herself to avoid having to bathe as often as society deems necessary. Or take Marianne Bryant. It's convenient for her to act like a stuck - up Jesus - freak. -LRB- Thinking about this. -RRB- No. I'm wrong. I think she's actually just a stuck - up Jesus - freak. But do you think she cares that that's the way she's perceived? No. Maybe she was just sick of being just another nameless, faceless entity in a place and a time that reveres people for extremity? Brandon realizes why she's chosen this path and feels for her. BRANDON There are some of us, though, that want to just blend in to the crowd. OLIVE Then maybe you need to go to that extreme. Or make the steadfast decision not to care. Even better if you can manage to do both. -LRB- Beat. -RRB- I've discovered an infallible remedy for teen angst : apathy. BRANDON I ca n't decide if you're a genius or a lunatic. OLIVE Do n't they sort of go hand - in - hand? She smiles sinisterly at him. BRANDON Funny. I always thought teen angst and apathy went hand in hand. There is an electricity in the air and it seems as if at any moment, they might fling off their clothes and screw right there. OLIVE How am I doing? BRANDON What? Pretending to be a whore? For a virgin, I'm impressed. How about me? Could I pass as straight? OLIVE Not bad. For a fag. BRANDON I prefer the term ` turd burglar.' They both break character and return to being themselves. OLIVE If we really wanted to shock the world, we'd get up and leave detention. BRANDON But you know that we would never do that. OLIVE Is n't going to stop me from telling everybody we did. Brandon thinks hard about everything that's just been said. His brain is going a - mile - a - minute. In that noggin, an idea has been planted. Olive, not oblivious to this, returns to her novel.", "INT. OLIVE'S BEDROOM - NIGHT Olive lounges on her bed, flipping through a magazine and talking to Rhiannon on the phone. RHIANNON -LRB- O.S. -RRB- Brandy Carter was telling Vanessa Hodges that you lost your virginity to three guys in a jacuzzi. OLIVE Well, I guess that's better than me getting crabs from a guy twice my age. RHIANNON -LRB- O.S. -RRB- Ewww. Who said that? OLIVE You know that Brandon kid? RHIANNON -LRB- O.S. -RRB- From your seedy pre - pubescent closet romp? OLIVE The one and only. It's what somebody told him. RHIANNON -LRB- O.S. -RRB- Nobody talks to him. OLIVE Is n't that sad? He's actually quite the conversationalist. RHIANNON -LRB- O.S. -RRB- He's gay. OLIVE Since when are straight guys under the age of eighteen able to converse? A call beeps in on the other line. OLIVE -LRB- CONT'D. -RRB- Shit. Hold on. She clicks over. OLIVE -LRB- CONT'D. -RRB- Hello? BRANDON -LRB- O.S. -RRB- Olive? OLIVE -LRB- SINGSONG. -RRB- Unfortunately so. BRANDON It's Brandon. OLIVE Speak of the devil. BRANDON -LRB- O.S. -RRB- Hey, can I come over? I wanted to talk to you about something. OLIVE -LRB- INTRIGUED. -RRB- Okay. Yeah. Sure. BRANDON -LRB- O.S. -RRB- Okay. See you soon. Olive clicks over to Rhiannon. OLIVE Dude, that was Brandon. He wants to talk to me about something. RHIANNON -LRB- O.S. -RRB- Probably wants to borrow an outfit. OLIVE That's so mean. RHIANNON -LRB- O.S. -RRB- Any word from George? OLIVE Rhi, I told you. It was a one night stand. Which is now a DONE night stand. RHIANNON -LRB- O.S. -RRB- You're being awfully cavalier about this. I mean, he popped your cherry. Are n't you supposed to be eternally in love with him and shit? OLIVE If I was a character on a CW show, then, absolutely, I'd be blubbering all over my Teen Vogue. Hey, we should start a rumor that I'm having a pregnancy scare! Olive is stoked by her idea.", "INT. FOYER - PENDERGHAST HOME - NIGHT Rosemary opens the door to see Brandon. She has no idea who he is. BRANDON Hi. Is there an Olive here? ROSEMARY -LRB- FEIGNING CONFUSION. -RRB- There's a whole jar of them in the fridge. BRANDON Sorry, I must have gotten the address wrong. ROSEMARY Just kidding! Come on in. Brandon walks in and Rosemary shouts - ROSEMARY -LRB- CONT'D. -RRB- Olive, sweetie, there's a young man here to see you. He said something about asking for your hand in marriage. Brandon's eyes bulge and Olive descends the staircase. OLIVE Oh happy day, Mama! I thought I was going to have to spend my dowry on booze and pills to numb the loneliness. Olive grabs Brandon by the hand and leads him upstairs to -", "INT. OLIVE'S BEDROOM - CONTINUOUS She closes the door behind them. OLIVE My mom's an acquired taste. I know this because I've only just recently begun to appreciate her myself. She gestures for him to sit down. OLIVE -LRB- CONT'D. -RRB- Welcome to my boudoir! This is where the magic happens. BRANDON -LRB- BLURTING OUT. -RRB- Do you wan na go out with me? She looks at him, strangely. BRANDON -LRB- CONT'D. -RRB- I mean, like - Do you want to be my girlfriend? OLIVE Brandon, just a few hours ago, you told me you were Kinsey Six gay. BRANDON True. But you said I should pretend to be straight. OLIVE Well, I did n't mean with me. You're a sweet guy and all, but you're not really my type. BRANDON You're not really my type either. OLIVE I should say not. BRANDON Okay. Well, do you wan na have sex with me? OLIVE You're serious. He nervously nods. OLIVE -LRB- CONT'D. -RRB- Oh my God, dude. You totally missed my point. All I was saying was that - BRANDON No, I know what you were saying. I should play it straight until I get out of this hell and then I can be whoever I want to be. No, I got that. OLIVE Brandon, I did n't REALLY have sex with a college guy. I just told people I did. -LRB- CONSIDERS THIS. -RRB- Well, actually, I just told one person and - well - you know how these things work. BRANDON So, you're saying I should n't really have sex. I should just say I had sex with someone. A girl. OLIVE Now, you're cooking with gas. It's his turn to smile slyly at her. She sees where he's going with this and instantly gets defensive. OLIVE -LRB- CONT'D. -RRB- Oh no. Oh no no no no no no no no. No. Really. No. No way. No. No. BRANDON Think about it. We could help each other out. You want to maintain this floozy facade. I want to not get my face pummelled weekly. OLIVE You are on crack. BRANDON All it would take is one good imaginary fuck and you'd be saving the bone structure of my face. Think of how happy my parents would be! OLIVE This is not the answer. Why do n't you just do what I did and make someone up? BRANDON Who would believe me? -LRB- GROWING INCREASINGLY DESPERATE. -RRB- Listen, Olive, I do n't want to do this. I want to live in that not - too - distant EMO world, but I still have another year of this bullshit place and I ca n't do it. I just ca n't do it. -LRB- Beat. -RRB- I'll pay you. I can pay you whatever you want. OLIVE -LRB- GENTLY. -RRB- I just do n't think it would work. BRANDON Whores are n't discerning, Olive. And just think - you'll OFFICIALLY be a hooker with a heart of gold! OLIVE I do n't want your money. BRANDON I insist. OLIVE So, if I say yes, you're going to tell a couple of people at school and I just have to go with it? I really do n't think it will work. BRANDON -LRB- His voice cracking with EMOTION. -RRB- I can make it work. I promise. She sees tears forming in his eyes. She walks away from him and is silent for a long few moments. OLIVE I do n't do anything half - assed. -LRB- Spinning around to face HIM. -RRB- It'll have to be a public event. Melanie Bostic is having a party tomorrow night. All of your tormentors will be there. You and I are going together. You have to do everything I say AND you have to tell people that I was sensational. Brandon wipes his tears away and is the happiest gay you've ever seen. He throws his arms around her and wo n't let go. BRANDON I ca n't believe you're doing this. OLIVE Afterwards, it's up to you. You're committing to something. Just make sure you're ready to live with the consequences. It seems as if that last statement was more for herself than it was for him.", "INT. OLIVE'S BEDROOM - PRESENT DAY Into the webcam - OLIVE I'm sure you all remember the party.", "INT. BOSTIC HOUSE - NIGHT A TEEN PARTY rages. DRUNK KIDS abound. Olive, looking like a million - fuckin' - bucks, prances into the party with Brandon, who's looking pretty snazzy himself. They appear drunk and are falling all over each other. People stare in complete amazement at a. -RRB- Their appearance and b. -RRB- That they're even together in the first place. You'd never guess that this was anything less than an A - LIST TEEN COUPLE, ripped from the pages of Teen People. Olive falls against Brandon laughing. He hoists her up, as their host, MELANIE BOSTIC -LRB- 17 -RRB-, a fairly pretty girl, approaches. MELANIE Hey Olive! -LRB- WEIRDED OUT. -RRB- Hi Brandon. OLIVE OhmiGod, Melly. I hope you do n't mind, but we had a few pre - cocktail party cocktails. -LRB- DISORIENTED. -RRB- Party. Cocktails. MELANIE Well, glad you could make it. OLIVE -LRB- Whispering and slurring in her ear. -RRB- Soooo, here's the thing. Brandon was in the middle of telling me this funny thing. Is there a quiet room we can go to where he can finish telling me -. -LRB- HICCUP. -RRB- - About his thing? That's funny? She stares glassy - eyed at Melanie. Brandon just smiles. MELANIE Sure. You can use the guest room. Down the hall. OLIVE I love you. I love you so much. You are - Just, yeah. She gives her a drunken punch on the shoulder. She spins around to the entire party, who is looking at them with complete interest. OLIVE -LRB- CONT'D. -RRB- -LRB- Loudly ; to all. -RRB- Hey everybody! They raise a glass to them and Brandon and Olive stumble down the hallway, laughing. MELANIE -LRB- Shocked ; Mouthing to a GUEST. -RRB- What the fuck?! The bully who emerged from Gibbons's office with Brandon, goes up to Melanie. BULLY Was that Olive with Brandon? MELANIE I know! Right? They, with a big group, race down the hall where Brandon and Olive have just retreated to.", "INT. GUEST ROOM - NIGHT Olive locks the door and drops the drunk act. She's completely sober and so is Brandon. OLIVE -LRB- WHISPERING. -RRB- Draw the shades. Brandon runs over and pulls the blinds down. They giggle, conspiratorially. Olive plops down on the bed and stretches out. Brandon lays beside her. She moans for the benefit of the audience she knows has assembled outside. She moans again and it's very convincing. She leans over and whispers in his ear - OLIVE -LRB- CONT'D. -RRB- Grunt. Make it really convincing. And manly. He does so. She extends her palm, impressed. He slaps it with his.", "INT. HALLWAY - CONTINUOUS Sure enough, it seems as if most of the party is listening at the door - falling all over each other to hear. Nearest to the door is the bully, who is pleasantly surprised by the noise inside.", "INT. GUEST ROOM - CONTINUOUS Olive reaches into her handbag and pulls out her copy of ` The Scarlet Letter' and reads it while she makes sex noises. Brandon laughs at this and Olive smacks him with it, prompting him to stop. She puts her finger over her lips, giving him the ` Shhhh' sign. She continues to read as she thrusts her hips, making the bed squeak ever so slightly. BRANDON -LRB- WHISPERING. -RRB- How long do we have to do this? OLIVE -LRB- WHISPERING. -RRB- Depends. Do you wan na be a normal adolescent boy or do you wan na be a stud? He moans in his deepest voice. She continues to read, crescendoing her moaning like a pro. OLIVE -LRB- CONT'D. -RRB- Oh God, Brandon. Do n't stop. Do n't stop. Do n't stop, do n't stop, do n't stop. She takes the top of the headboard and lightly taps it against the wall, over and over. OLIVE -LRB- CONT'D. -RRB- -LRB- WHISPERING. -RRB- Now that I think about it, we probably do n't want to do this for too long. It'll give the impression that you're having difficulty finishing. That's not the desired effect. BRANDON -LRB- WHISPERING. -RRB- Are you sure you're a virgin? OLIVE -LRB- WHISPERING STERNLY. -RRB- Of course I am! -LRB- LOUDLY. -RRB- Oh, fuck me! Fuck me! Do n't stop fucking me! Brandon suppresses a laugh.", "INT. GUEST ROOM - MOMENTS LATER Olive is disheveling herself. Brandon musses up his hair. OLIVE Hold on. She unbuttons Brandon's shirt and rebuttons it incorrectly. OLIVE -LRB- CONT'D. -RRB- Go forth, my son. You're a man now. BRANDON Thanks Olive. He kisses her on the cheek and she smiles.", "INT. HALLWAY - CONTINUOUS The whole crowd, leaning against the wall, quickly disperses when the door opens. The bully immediately hands Brandon a beer and throws his arm around him, leading him drunkenly down the hallway, with a crew of guys after the dirty details. Olive looks at this and smiles, satisfied. Then she realizes that, though the guys have gone, there are a whole slew of girls looking at her completely differently. They avoid her eye contact, as one would ward off Medusa. Olive finds Melanie pretending not to be interested in her. OLIVE Is there a -? MELANIE Back entrance is through the kitchen. OLIVE Thanks. She begins her walk of shame down the corridor into the -", "INT. KITCHEN - Where she runs smack - dab into the well - developed chest of MEERKAT TODD. MEERKAT TODD -LRB- POLITELY. -RRB- Sorry. They make eye contact. Olive is a sick shade of regret. MEERKAT TODD -LRB- CONT'D. -RRB- Oh, hey Olive. OLIVE Hi Todd. Obviously oblivious to the demonstration that just occurred - MEERKAT TODD How's it going? OLIVE I'M -. -LRB- She does n't know how she IS. -RRB- I'm here. MEERKAT TODD Can I get you a beer? OLIVE That rhymed. Olive catches the reflection behind her of a group of guys leaning against the counter, signalling ` NO, DO N'T DO IT' to him behind her back. She spins around and they instantly pretend to not be paying attention. She glares at them. OLIVE -LRB- CONT'D. -RRB- -LRB- Ashamed of herself. -RRB- I should probably go. She rushes off.", "INT. OLIVE'S BEDROOM - PRESENT DAY Into the webcam - OLIVE It was truly my Cindy Mancini moment. -LRB- MELODRAMATICALLY REENACTING. -RRB- ` You! Even Bobby thinks we went out. Great, huh? Ha! All of you thought we were a couple. What a joke! Ronald Miller paid me 1,000 bucks to pretend I liked him. What a deal, huh? $ 1,000 to go out with him for a month. This guy. Oh, God. He bought me. And he bought all of you. He was sick and tired of being a nobody. Yeah, and he said that all of you guys would worship him if we went out. And I did n't believe that. I was, like, no way! And he was right! No, leave me alone. He was right. Our little plan worked, did n't it, Ronald? The dance. That stupid dance! What a bunch of followers you guys are. I mean, at least I got. At least I got paid.'. -LRB- Sincerely ; as herself. -RRB- ` Ca n't Buy Me Love' is one of the best movies ever made. Hands down. You guys should totally watch it if you have n't already. Or even if you have. Seriously fine filmmaking.", "INT. OLIVE'S BEDROOM - DAY Olive lays on her bed watching the scene from ` Ca n't Buy Me Love' that she just performed. She eats a candy bar and wallows in her self - pity. OLIVE -LRB- To the television. -RRB- Oh, Cindy Mancini. It could have been a lot worse. Trust me. Her mom comes in with a nicely - wrapped gift. ROSEMARY That kid from the other night just dropped this off for you. Indicating an empty space on the floor - OLIVE Put it on the pile of gifts from my other suitors. ROSEMARY He seems like a nice boy. Gay. OLIVE A dyed - in - the - wool homosexual that boy is. Rosemary puts the gift on the floor. ROSEMARY I dated a homosexual in high school. OLIVE We're not dating, Mom. ROSEMARY I just wanted to tell you that if you want to date a gay boy, it might be hard on your father and I, at first. But we love you no matter what the sexual orientation of your opposite - sex partner. Rosemary leaves, chuckling at her own joke. Too curious, Olive opens the gift. She withdraws a PHOTO of the BULLY holding BRANDON'S LEGS while he does a KEG STAND. She smiles, pleasantly. She pulls out a PINK VIBRATOR and looks at it quizically. There's an envelope inside. She opens it and pulls out a $ 200 Gift Card to TARGET. OLIVE -LRB- V.O. -RRB- Cindy Mancini gets $ 1,000. I get a vibrator and a $ 200 Gift Card to Target. There's a note, which she reads aloud to herself. OLIVE -LRB- CONT'D. -RRB- Dear Olive, The dildo is just in case you do n't shop at Target. Then you can fuck yourself. Olive breaks out into riotous laughter. She's genuinely touched by this gift. The phone rings. Thinking it's Brandon, Olive snatches it up. OLIVE -LRB- CONT'D. -RRB- -LRB- EXCITEDLY. -RRB- Your package was perfection! RHIANNON -LRB- O.S. -RRB- So, it's TRUE! OLIVE Rhi? RHIANNON -LRB- O.S. -RRB- Well, it's not last night's conquest! OLIVE You know, I always think it's so ridiculous on TV, when someone picks up the phone and magically seems to know who's going to be on the other end. I usually preface a conversation with ` hello' to avoid such banalities. The one time I decide to step outside this convention. How are you?", "INT. MALL - DAY Rhiannon, clutching an enormous Diet Coke, plods through the mall with an intensity reserved for girls who just found out their best friend had her sophomore sexual exploit and did n't bother to tell them. RHIANNON I have many questions, obviously. OLIVE -LRB- PLAYFULLY. -RRB- Yes, Virginia, there is a Santa Claus. No, in fact, I do NOT know the way to San Jose. And - little known fact - contrary to popular belief, panama hats are not from Panama at all! They're from Ecuador! Who knew? RHIANNON Now is not the time to be cute. OLIVE You're putting me in a precarious position, because -. -LRB- With her best Jackie - O VOICE. -RRB- - ` according to last month's Cosmopolitan Magazine, we should always look cute. Even when we're doing mundane activities such as choosing vegetables from the produce section of our local grocery store.' RHIANNON Olive, stop it. This is serious. Did you really bang Brandon last night at Melanie Dipshit's party? Olive sighs as she slumps into her pillows. OLIVE Is that what people are saying happened? RHIANNON That's what EVERYONE is saying. OLIVE Then I guess it's true. RHIANNON Does this mean you guys are dating? OLIVE God no. Rhiannon screams in frustration, attracting the attention of passing shoppers. RHIANNON Just because you lost your virginity does n't mean you can go around screwing everybody! OLIVE -LRB- OFF - PUT. -RRB- Uh, thanks Mom. Good talk. RHIANNON You're getting a reputation. OLIVE Y' know, you're really coming off as a little pious right now and you're kind of pissing me off. RHIANNON Please forgive my rectitude, but I think that a best friend's duty is to let her know that everyone - and I do mean everyone - is calling her a cum dumpster. OLIVE Well, do YOU think I'm a cum dumpster? RHIANNON Look, baby, I call a spade a spade. Entering the red zone - OLIVE First off, that's racist. Secondly, fuck you! How dare you? I was Laura Ingalls to your Lady Chatterly and, now all of a sudden, YOU feel the need to warn ME that I'M making a fool of myself? There are a lot of children who will never again experience Family Pizza Night because of you. So, why do n't you jump off your high horse and splash around in the gutter where you belong. RHIANNON I did n't want to believe it, but I guess it's true. You're a fucktart. OLIVE And you're a jealous virgin. RHIANNON Oh yeah. I totally want to lose my virginity to one of -. -LRB- As if it was a disease. -RRB- - your brother's friends and then be the first for a fairy, while everyone listens outside! What is wrong with you? Does sex mean anything to you? OLIVE Yes! It's a period of time, how ever short, that I do n't have to talk to you! She slams the phone down into the cradle and seethes. Berlin's ` SEX -LRB- I'm A. -RRB-' plays loudly as. She goes into her closet and starts, wildly, pulling down clothes. She throws them into a big pile in the middle of her floor.", "INT. OLIVE'S BEDROOM - PRESENT DAY Into her webcam - OLIVE Rhiannon Abernathy only wishes that somebody wanted to pretend to sleep with her!", "INT. OLIVE'S BEDROOM - CONTINUOUS Olive - visibly upset - is cutting something, meticulously, out of RED FABRIC. In fact, she has yards of red fabric draped across her lap. When she finishes the shape, she tosses it behind her and begins another one.", "INT. OLIVE'S BEDROOM - LATER Olive sews these red scraps to her clothes. When she finishes one piece, as before, she tosses it behind her and grabs another item from the crumpled wardrobe on her floor. Time flies and we see the clothing pile rapidly decreasing, until there are none left. The song morphs into - Tommy James and the Shondell's ` CRIMSON & CLOVER' as we fade into -", "INT. HALLS OF BARBARA BUSH HIGH SCHOOL - DAY Clad in sunglasses, fuck - me - boots and looking like a bona fide porn star, Olive struts down the halls of her school. Sewn across her larger and pushed up breasts is A FIERY RED ` A' -LRB- NOTE : For the rest of the film, every piece of Olive's clothing will be emblazoned with a RED A. -RRB- Erections are popping up all along the halls, as well as looks of total disbelief from the girls. She works it like a Debbie Who Just Did Dallas, D\u00fcsseldorf, Des Moines, Daytona, Detroit and Darfur. Up ahead, Rhiannon is yakking with a semi - attractive guy named ANSON -LRB- 17 -RRB-. She catches sight of Olive and her jaw drops. Olive sidles up to Anson, much to Rhiannon's chagrin. OLIVE Hey, Anson. ANSON -LRB- NERVOUS. -RRB- Hi. OLIVE -LRB- Breathy and aping Marilyn MONROE. -RRB- I just realized the funniest thing. My name is an anagram for ` I love.' ANSON -LRB- STUTTERING. -RRB- What's an anagram? OLIVE Look it up, big boy. She rubs her knee, seductively, along his inner thigh, turns and licks her lips at a repulsed Rhiannon and continues on her way.", "INT. CAFETERIA - LUNCH LINE - LATER Anything sexually suggestive you can do with school cafeteria food, Olive does as she makes her way through the lunch line, as guys ogle her. Marianne, also present in the line, watches her in repugnance.", "INT. GYMNASIUM - DAY Olive emerges from the GIRLS' LOCKER ROOM, dressed for gym class. A TERRIFIED FAT KID named EVAN nervously approaches her. EVAN Hey Olive. OLIVE Hi Evan. EVAN Can I talk to you for a second? He gestures for her to follow him underneath the bleachers. She reluctantly does so. EVAN -LRB- CONT'D. -RRB- -LRB- WHISPERING. -RRB- Do n't get mad, but Brandon told me what you did for him. OLIVE Well, rest assured, it was equally as thrilling for me. EVAN No, he told me the truth. She's pissed. She silently seethes. EVAN -LRB- CONT'D. -RRB- And I was just hoping that maybe you could do the same for me? OLIVE -LRB- Through clenched teeth. -RRB- Walk away, Evan. Evan starts to talk, but she raises her hand to silence him. OLIVE -LRB- CONT'D. -RRB- RUN away, Evan. EVAN I can pay you, too. OLIVE I'm about six seconds away from slapping you so hard that your unborn grandchildren will feel it. EVAN -LRB- Excited at the prospect. -RRB- Can you do it in front of everyone? Olive turns and starts to leave. Evan summons up his courage and meekly states to her back. EVAN -LRB- CONT'D. -RRB- I do n't need your permission, you know. She turns around and gives him a look of death. He ca n't look at her. EVAN -LRB- CONT'D. -RRB- I mean, at the rate you're going, I'm just saying I do n't think anyone would not believe it. OLIVE Are you threatening me? EVAN I'll give you $ 500. OLIVE You're repugnant. EVAN -LRB- Indicating his body. -RRB- That's the problem. And once again Olive feels too sorry for him to say no. OLIVE I want five hundred dollars in gift certificate form deposited in my locker before noon tomorrow. Preferably ` The Gap,' but I'll also take Amazon.com. We did NOT have sex. I was piss - ass drunk and I let you fondle my chest and it was a glorious moment for you, unmatched by anything you've heretofore experienced, including cake. Got it? EVAN Five hundred bucks for just feeling you up? Does n't that seem a little steep to you? Can you throw in SOME -LRB- Mispronouncing it ; as if it rhymed with ` cottage'. -RRB- frottage? OLIVE -LRB- CORRECTING HIM. -RRB- It's fraw - TAHZH, dumbass. -LRB- BUCKLING. -RRB- Fine. But it was so good, you lasted only twelve seconds and I better not find out that little pecker of yours EVER came out of your pants. Take it or leave it. EVAN Little pecker? Nuh - uh. For five hundred dollars, it was ungodly huge. You even commented on the unusual girth for a guy my age. OLIVE I was too drunk to remember. EVAN Three minutes. OLIVE Two. He extends his hand. EVAN Deal. She, repulsed by it, shakes his hand. Evan's ecstatic. OLIVE The sad thing is, Evan, if you had been a gentleman and asked me out on a date, I probably would have said yes. EVAN Really? Do you want to go on a date? With zero vitriol - OLIVE Not now, I do n't. Sad for him, she walks away.", "INT. OLIVE'S BEDROOM - PRESENT DAY Into the webcam - OLIVE Evan, if you're watching this - shame on you. I hope you never treat another girl the way you treated me or you will die alone, wishing it was because you're fat. And since we're playing the shame game. While I appreciate the sentiment, Lewis, a pretend hand job should have warranted a little more than a hundred dollars worth of AMC Movie Passes. They had an expiration date AND were only able to be used for movies that had been running for two weeks. But even that's better than Tyler Jennings, who gave me a ten percent off coupon to Bath and Body Works. Seriously. A fucking coupon. Is that how good my imaginary blow job was to you? Huh? Is chivalry dead? I want John Cusack holding a boombox outside my window. I want Richard Gere climbing up my fire escape with the limo waiting downstairs. I want to ride off on a lawnmower with Patrick Dempsey. Although, I'm ashamed to admit I'd prefer him to look like he looks now. What woman would n't? But no. I get to save two fifty on a bottle of Juniper Breeze Hand Lotion. Maybe chivalry is n't dead, but it's in a coma and the prognosis is n't good. -LRB- Beat. -RRB- So, if you're still with me - and I'm guessing that most of you are - I now present to you Part Four : How I, Olive Penderghast, Went From Assumed Trollop To an Actual Home - wrecker.", "INT. CLASSROOM - DAY Mr. Griffin is alone grading papers. Olive pokes her head in. OLIVE You wanted to see me? MR. GRIFFIN Yeah, Olive. Come cop a squat. She takes a seat opposite his desk. He points to the RED `` A'' on her chest. MR. GRIFFIN -LRB- CONT'D. -RRB- What are you doing? OLIVE Accessorizing? MR. GRIFFIN Olive, Olive, Olive. Do you think that maybe you're reading a little too much into this assignment? OLIVE Well, I'm really hoping to get an A. -LRB- She points to her chest. -RRB- Get it? Get it? MR. GRIFFIN I'm hearing things. She takes a deep breath. OLIVE The rumors are true. I am, in fact, considering becoming an existentialist. MR. GRIFFIN You know what I'm talking about. OLIVE Geez, since when did teachers become privy to idle, adolescent gossip? MR. GRIFFIN I guess it would n't matter so much if I did n't like you. You're a great girl and I happen to think that all of. -LRB- Indicating her outfit. -RRB- ` this' is just an act. I'm just curious why you're doing it. Olive drops her defenses and gets real. OLIVE Have you ever decided just to play along? Because it's maybe easier than fighting tooth - and - nail to defend it? MR. GRIFFIN I just do n't want to see this. -LRB- He searches for the word. -RRB- damage you. OLIVE You know, I think you should give me extra credit for going the extra mile. I'm really attempting to understand this puritanical ostracism. Mr. Griffin smiles at her. MR. GRIFFIN Hey, I'm really sorry I had to send you to the Principal. If you tell anybody, I'll deny it, but I really wanted to cheer with the rest of the class. OLIVE -LRB- SMILING ; INNOCENTLY. -RRB- You know I wo n't tell. She gets up and leaves, but passes in the doorway, a BEAUTIFUL WOMAN. OLIVE -LRB- CONT'D. -RRB- -LRB- To the woman. -RRB- Hey Mrs. Griffin. Pretending to know who she is - MRS. GRIFFIN Hi! How are you? OLIVE -LRB- Pointing to the ` A'. -RRB- A is for Awesome. Olive disappears into the empty halls. MRS. GRIFFIN I've never seen that girl before in my life. MR. GRIFFIN That does n't surprise me. MRS. GRIFFIN I'm the guidance counselor. I should know all of the students. Especially the ones dressed like that. He kisses her. MR. GRIFFIN She's just going through a phase. -LRB- He gets an idea. -RRB- Hey, do you think you could talk to her? Maybe you could get her to - I dunno - MRS. GRIFFIN Sure. Yeah, whatever. Oh wait! That's not the girl that everyone's talking about, is it? MR. GRIFFIN ` Fraid so. MRS. GRIFFIN Oh, this'll be good. That snotty office aid has been bitching about her incessantly. MR. GRIFFIN It's all lies. Talk to her. Maybe that's all she needs. MRS. GRIFFIN What are you making for dinner tonight? MR. GRIFFIN Is it my turn? MRS. GRIFFIN Sure is. I'm meeting up with the girls at happy hour. MR. GRIFFIN Do n't have too much fun. MRS. GRIFFIN I never do. He kisses her.", "INT. CLASSROOM - DAY Assembled in a semi - circle, a handful of WELL - DRESSED CHRISTIAN KIDS open their meeting of the CROSS YOUR HEART CLUB with prayer. Marianne, of course, leads them in this ritual. Nina is also present. MARIANNE Heavenly Father, watch over us with Your all - encompassing love. Keep us on the path toward Your righteousness and eternal salvation. They all smile, say ` AMEN' and open their eyes. MARIANNE -LRB- CONT'D. -RRB- Guys. We have a problem. NINA Amen to THAT. MARIANNE Olive Penderghast. We need to pray for her, but we also need to get rid of her. I'm sure, by now, you've all heard about what happened at Melanie Bostic's party. CHRISTIAN KID #1 I was there. I heard the whole thing. Marianne eyes him, suspiciously. MARIANNE That's not something you need to advertise, Kurt. KURT -LRB- SHEEPISHLY. -RRB- Sorry. MARIANNE See, herein lies the problem : She's doing these tasteless, immoral acts in plain view of the entire student body. She's in direct opposition to everything we're trying to do for this school, which is make it a wholesome learning environment and a place where our children will one day flourish the way that we are. -LRB- Beat. -RRB- She was sent to the Principal's office last week - NINA -LRB- INTERRUPTING. -RRB- She called me a really hurtful name. MARIANNE - and I tried to witness to her, but she's defiant to any sort of help. She tears up. MARIANNE -LRB- CONT'D. -RRB- I do n't know what to do, but something's got to be done. Her boyfriend, MICAH -LRB- 17 -RRB- takes her hand and holds it. She leans against his shoulder, wiping away tears. Nina, on the other side of her, begins rubbing her shoulder, sympathetically. MARIANNE -LRB- CONT'D. -RRB- Does anybody here think that they can talk to her in a way that might get her to see that what she's doing is wrong? She suddenly bursts into sobs. -LRB- And these are n't crocodile tears. She is flooded with emotion. -RRB- MARIANNE -LRB- CONT'D. -RRB- I'm sorry. This is so stupid. MICAH No, it's not, Marianne. She wipes her tears away. MARIANNE Jesus tells us to love everyone. Even the whores and the homosexuals, but it's so hard. It's so hard, because they just keep doing ` it' over and over again. She takes Micah and Nina's hands, the rest of the group follows suit. MARIANNE -LRB- CONT'D. -RRB- Make me a promise. Make GOD a promise right here and now that we will remain pure and chaste until marriage. -LRB- Looking to Micah. -RRB- Until our love is proven holy in His eyes. ALL We promise. MARIANNE Let's continue to pray for Olive Penderghast. That either she sees that what she's doing is a sin and changes her behavior or that she gets the hell out of our school. They all squeeze hands and Marianne manages a smile. MARIANNE -LRB- CONT'D. -RRB- Awww, I love you guys. God loves you guys.", "EXT. PARKING LOT - BARBARA BUSH HIGH - DAY Marianne gives Micah a strictly PG - rated kiss against his car. They're nauseatingly wholesome.", "INT. FRONT OFFICE - NEXT DAY Olive is sitting in the office, dressed just as slutty as the day before. A RED `` A'' sewn onto her top. Marianne is behind the desk, sharpening pencils. After each one, she observes the point with a scary satisfaction. They exchange a few hateful glances at each other. Mrs. Griffin pokes her head out of her office. MRS. GRIFFIN Hey Olive. Wan na come in? Olive, in no mood for this, drags herself up dramatically and follows Mrs. Griffin into -", "INT. GUIDANCE OFFICE - CONTINUOUS Mrs. Griffin sits behind her desk and Olive sits opposite her. MRS. GRIFFIN So, the reason I called you down here is just so that we could - sort of, y' know - chat about what's going on. -LRB- Beat. -RRB- There's been some concern from faculty members. OLIVE -LRB- CORRECTING HER. -RRB- Your husband. Mrs. Griffin shifts uncomfortably in her chair. There's something a little unnerving about this kid's awareness. MRS. GRIFFIN Olive, you're attempting to make a statement. We get that. I'm just confused as to what exactly it is. OLIVE Am I in trouble? I promise the hem of my dress is n't higher than my fingertips. MRS. GRIFFIN You're not in trouble, Olive. I just wanted you to know that if there was something you maybe needed to talk about, that you could trust me. OLIVE If I open up to you, do you promise this stays in confidence? MRS. GRIFFIN Yes. OLIVE -LRB- CONFESSIONAL. -RRB- I watch ` American Idol.' Do NOT tell anyone. Mrs. Griffin rolls her eyes. OLIVE -LRB- CONT'D. -RRB- I have a reputation to uphold. MRS. GRIFFIN Do n't you, though? Olive assesses this statement from her. OLIVE We done? If I can think of any angsty things to report, you'll be the first to know. She winks at her. OLIVE -LRB- CONT'D. -RRB- This has been so much fun that I'm actually - at this very moment - considering meth addiction, just so I can come back and we can jaw some more. MRS. GRIFFIN -LRB- BITINGLY. -RRB- Or you could always get pregnant? OLIVE I'm probably closer than either of us thinks. Mrs. Griffin digs in her purse and pulls out a handful of CONDOMS. Feigning excitement - OLIVE -LRB- CONT'D. -RRB- Propho - tastic! MRS. GRIFFIN Please do n't tell anyone I gave you these. The school board is - OLIVE Puritanical and oppressive? MRS. GRIFFIN Conservative. Olive sees that Mrs. Griffin is genuinely concerned. OLIVE I do n't need those. MRS. GRIFFIN -LRB- STERNLY. -RRB- But you do. Olive starts to confess, but then just takes the rubbers and puts them in her own purse. OLIVE Thank you. MRS. GRIFFIN Remember : our little secret. And, hey, would you send in the next person? Mrs. Griffin smiles at Olive as she leaves.", "INT. FRONT OFFICE - BARBARA BUSH HIGH SCHOOL - CONTINUOUS Marianne is talking to Micah, who seems distressed. He rubs his eyes, like he's been crying. Olive is surprised to see him there. OLIVE You're up, hoss. MARIANNE -LRB- Concerned ; To Micah. -RRB- It's going to be okay. She gives him a reassuring smile and he walks into her office. OLIVE -LRB- TO MARIANNE. -RRB- Let me guess : drugs. Marianne gives her a ` go away' look. OLIVE -LRB- CONT'D. -RRB- I did n't know Christians believed in guidance counsellors. -LRB- Beat. -RRB- Ooo! Ooo! Is your boyfriend struggling with his sexuality? Marianne begins crying. MARIANNE No, you insensitive rhymes - with - witch! His parents are going THROUGH A. -LRB- WHISPERED. -RRB- divorce! She begins sobbing uncontrollably. Olive, not sure what to do, goes around the counter and hugs her. Marianne just cries on her shoulder. OLIVE It's okay, Marianne. -LRB- Not sure what to say. -RRB- Sometimes our boyfriend's parents get divorced. It's just important to know that it's not your fault. MARIANNE -LRB- Through her tears. -RRB- They go to our church! Imagine what people will say! Olive did n't expect this embrace to last this long. OLIVE I have to go now. Are you going to be okay? Into Olive's shoulder - MARIANNE Mrs. Griffin is going to fix everything. She's amazing. I know that she's going to help Micah through this time and everything's going to be okay. OLIVE Yeah. Everything's going to be okay. Marianne pulls away and wipes tears from her eyes. MARIANNE Why are you being so nice to me? OLIVE Is n't that what we're supposed to do? Hey, it's your boss's rules. This triggers even more wails from Marianne, who grabs Olive and squeezes her tightly. MARIANNE I'm sorry, okay? I'm sorry for everything I said. I want to be friends. PLEASE. PLEASE be my friend. Olive is really confused by this display and is about to say something snide, but thinks better of it and replies with a very heartfelt - OLIVE Absolutely. Marianne pulls away again and manages to smile at her, warmly. OLIVE -LRB- V.O. ; CONT'D. -RRB- And for a day, we were actually really good friends. I was really starting to think that things were going to turn around.", "INT. HALLS OF BARBARA BUSH HIGH SCHOOL - DAY Marianne, angry as hell, stomps through the hall with hatred burning in her eyes and coursing through her veins. OLIVE -LRB- V.O. -RRB- But then I unwittingly gave her boyfriend a venerial disease. Marianne stops in front of Olive and slaps her so hard that people in the hallways stop, dead in their tracks. It's the slap heard ` round the school.", "INT. GUIDANCE OFFICE - DAY Olive bursts into Mrs. Griffin's office. Tear - streaked, Mrs. Griffin is packing her things into a cardboard box. It's as if her world has just collapsed. OLIVE -LRB- V.O. -RRB- And caused the break - up of Mr. and Mrs. Griffin. MRS. GRIFFIN -LRB- SNAPPING. -RRB- What?! What do you want? Olive starts to say something, but Mrs. Griffin ca n't even look at her. MRS. GRIFFIN -LRB- CONT'D. -RRB- Just go! She throws a framed photo of her and Mr. Griffin into the box. It shatters. Mrs. Griffin falls apart. Olive starts to say something again, but she does n't know what to say, so she sheepishly turns to leave.", "EXT. BARBARA BUSH HIGH SCHOOL - DAY The Cross Your Heart Club is assembled outside of the school, with a lot of other kids -LRB- and some parents -RRB-, waving signs on wooden stakes that say things like : EXPEL OLIVE! EXODUS 20:14 SCHOOLS ARE FOR LEARNING, NOT FOR WHORING OLIVE PENDERGHAST IS A WHORE Rhi is among them, as riled up as any. OLIVE -LRB- V.O. -RRB- So, I guess I should n't be too shocked that these people wanted my diseased, home - wrecking ass out of there. The scene is a maelstrom of anger and piety.", "INT. OLIVE'S BEDROOM - PRESENT DAY Olive laughs. OLIVE The funny thing is : the whole time this shit was going down - people calling me something I knew was n't true, my best friend included - I could n't help but think how I could have come up with better signs. No one even bothered to use alliteration or, God forbid, irony - not even a single acronym - and that seems a lot more unforgivable than my sins.", "INT. CATHEDRAL - DAY Olive enters a Catholic Church. It's empty, but there are a few CANDLES burning. She sees the CONFESSIONAL BOOTH and makes a beeline toward it. She takes a deep breath and enters.", "INT. CONFESSIONAL BOOTH - CONTINUOUS She sits down and begins to talk to the screen. OLIVE Forgive me, father, for I have sinned. I think that's how you're supposed to start these things. I'm only going on what I've seen in the movies. Then, I think I'm supposed to tell you how long it's been since my last confession, but that's kind of my first confession. I'm not Catholic. I really do n't know what I'm supposed to do, except sit here in this booth and tell you what I've done wrong. Where do I even start? -LRB- Beat. -RRB- I've been pretending to be a - how would one phrase it in Catholic words? A harlot. It's not like I've actually been doing the things that people are saying I'm doing, but - then again - I'm not denying them, so I've just been wondering : is that wrong? There's a lot of shi - ` crap' going down at my school which may or may not be indirectly because of this masquerade. -LRB- Beat. -RRB- I'm lying. I may have caused the end of a marriage. I thought, in my own perverse way, that I could help it. I mean, in my defense, I am merely an adolescent. I should never have been propositioned in the way I was propositioned by an adult. But then again, I should never have consented. It was just that a lot of people had been asking me to do things and I thought it was okay, because it was n't real. It was make - believe and no one was getting hurt. But a lot of people hate me now. I kind of hate me, too. There's a long silence. Olive tears up and wipes them away. OLIVE -LRB- CONT'D. -RRB- I could be wrong, but are n't you supposed to say something or ask me questions. Tell me to say ` Hail Marys'? Hello? She looks through the screen. There's no one there. OLIVE -LRB- CONT'D. -RRB- Oh, come on! She throws the curtain to the booth open and stomps out.", "EXT. CATHEDRAL PARKING LOT - DAY Olive, upset at herself, gets into her car and drives off. But just a few blocks down the street to -", "EXT. PRESBYTERIAN CHURCH PARKING LOT - CONTINUOUS She parks her car and gets out to try a different denomination.", "INT. CHURCH OFFICE - MOMENTS LATER Olive enters to find a SWEET, PORTLY RECEPTIONIST -LRB- 50's -RRB- searching through RELIGIOUS CLIP - ART on her COMPUTER, attempting to find the perfect image for the church newsletter. The lady smiles, acknowledging Olive. OLIVE Hi. I was wondering if the minister was around. RECEPTIONIST Pastor McGreevey is on vacation this week. But our associate pastor is in. Would you like to speak to him? For her own entertainment, Olive matches the receptionist's enthusiasm level. OLIVE Actually, that would be fantastic! RECEPTIONIST Can I tell him what this is regarding? OLIVE Absolutely. I'm looking for a church to join and I thought he might be able to sell me on this fine establishment. The receptionist joyfully snatches up the phone. RECEPTIONIST Don, there's a young lady here who would like to speak with you about joining. She listens and then hangs up. RECEPTIONIST -LRB- CONT'D. -RRB- -LRB- Pointing to an office. -RRB- You can go right in. OLIVE If everyone here is as friendly as you, I think we might be in business. She winks at the receptionist and enters -", "INT. ASSOCIATE PASTOR'S OFFICE - CONTINUOUS ASSOCIATE PASTOR DON -LRB- 40's -RRB- is a gangly, unattractive - borderline creepy - man. He invites Olive to have a seat. ASSOCIATE PASTOR DON Hello there, young lady. My name is Don. He extends his hand, which she shakes politely. ASSOCIATE PASTOR DON -LRB- CONT'D. -RRB- How can I help you today? OLIVE I'm new to the area. Looking for a church - hopefully something with a strong fellowship, a firm foot in the soil of. divinity and was wondering what your church's stance on lying and adultery was? Don seems taken aback by the question. ASSOCIATE PASTOR DON Well. It's not a good thing. OLIVE Oh, I agree. Wholeheartedly. But tell me : assuming there is a hell - ASSOCIATE PASTOR DON Ma'am, the Presbyterian Church recognizes the existence of hell. OLIVE Right. Okay. Let's say hell exists. Which is worse - lying or adultery? Or is lying about adultery like a double whammy? ASSOCIATE PASTOR DON I'm sorry, ma'am, I - What did you say your name was? At that moment, Olive looks at his desk and sees a FRAMED FAMILY PHOTO. Smiling big are Associate Pastor Don, his wife, A WOMAN WITH A SMILE THE SIZE OF MONTANA and his lovely DAUGHTER - MARIANNE BRYANT. She jumps up from her chair and recoils at the sight of the picture and the stupid mistake she made by coming there. OLIVE You know what. I think I'm just going to go and check out Judaism. Backing up toward the door. OLIVE -LRB- CONT'D. -RRB- The Jews and I have a lot in common. Fashion - wise. And stuff. So, thank you for your time. She bolts from his office.", "INT. OLIVE'S BEDROOM - PRESENT DAY Olive speaks into her webcam - OLIVE Yes. I had unwittingly sought advice from the father of the leader of my lynch mob. Who else can say that's happened to them? -LRB- Beat. -RRB- As much as I want to say I hate Marianne. I do n't. I get her. Well, I get certain things about her. She's passionate. Like myself. She always thinks she's right. Like myself. And, yeah, I can kind of understand why she slapped me that day. Here's what happened.", "INT. BARBARA BUSH HIGH SCHOOL - PARKING LOT - DAY Marianne, excitedly, runs over to Olive who is just getting to school and throws her arms around her. OLIVE -LRB- V.O. -RRB- Remember how I said that we were BFFs for, like, a day. Well, that's true. It was like we were sisters all of a sudden. Marianne ca n't seem to break the embrace and Olive just goes with it.", "INT. CLASSROOM - DAY Olive sits in class. Marianne passes a note back to her. OLIVE -LRB- V.O. -RRB- She wrote me a note in first period. Olive reads it. It says : Hey girlie! You wan na hang out after school today? Kisses! Marianne Marianne looks back and Olive gives her the thumbs up. Across the room, Rhi sees this exchange and sneers.", "INT. CHEMISTRY LAB - LATER Marianne is working with her partner, Evan. She turns to Olive behind them and makes a gagging signal behind his back and laughs silently. OLIVE -LRB- V.O. -RRB- By second period, it was like we had private jokes. Olive, unaware of how to respond, gives another thumbs up.", "INT. HOME EC CLASSROOM - LATER Olive sees Marianne come into class, tear - streaked. She runs over to Olive and again throws her arms around her. OLIVE -LRB- V.O. -RRB- Tragedy struck in third period. MARIANNE Micah's in the hospital. He's in so much pain! The nurse did n't know what was wrong. Olive just holds her new friend, as she had the day before. OLIVE He'll be okay. MARIANNE -LRB- Tears glistening in her EYES. -RRB- Really? Olive guides Marianne's head back to her shoulder.", "INT. HOSPITAL ROOM - DAY Marianne's boyfriend, Micah, writhes in pain on a hospital bed, clutching his crotch. His worried MOTHER -LRB- 40's -RRB- is beside him, clutching her chest with one hand and trying to soothe him with the other. MICAH It hurts so bad. A DOCTOR enters, with a satisfied smile and a diagnosis. DOCTOR Chlamydia. Micah and his mother both look up in shock. His mother takes both of her hands and begins slapping him, uncontrollably. MICAH'S MOTHER How did you get chlamydia? Who have you been sleeping with? Tell me! TELL ME! Micah, in pain from the burning sensation and his mother's hands flying at astonishing speed shouts out : MICAH Olive! Olive Penderghast! His mother's face fills with satisfaction.", "INT. HOSPITAL LOBBY - MOMENTS LATER Micah's mother is on her cell phone. MICAH'S MOTHER -LRB- ANGRILY. -RRB- Olive Penderghast. She folds her phone up and slips it into her purse.", "INT. KITCHEN - CONTINUOUS The woman on the other end of the phone - A WOMAN WITH A SMILE THE SIZE OF MONTANA - who we've seen in the Bryant family photo, hangs up. Only this time, her smile is a disgusted grimace. She picks up the phone and dials a number. She is, animatedly, talking to the person on the other end of the line, while Olive narrates. OLIVE -LRB- V.O. -RRB- Fourth period was when Marianne had office duty. Her duties included typing, stapling, filing and -", "INT. FRONT OFFICE - DAY Marianne is on the phone, listening, with mouth agape. Undoubtedly, she's just heard from her mother that her boyfriend has chlamydia. OLIVE -LRB- V.O. -RRB- - answering the phones. MARIANNE CHLAMYDIA! She screams so loud that Mrs. Griffin comes out of her office, a panicked expression on her face.", "INT. KITCHEN - CONTINUOUS Seething, Marianne's mother says into the phone - A WOMAN WITH A SMILE THE SIZE OF MONTANA Olive Penderghast. She hears a slam and then a dial tone.", "INT. FRONT OFFICE - CONTINUOUS Marianne clutches the phone in the cradle with enough force that it looks like the receiver will shatter in her hands. Mrs. Griffin looks worried. MRS. GRIFFIN Are you okay, hon? Like a teapot about to start expelling steam, Marianne quivers in rage. Finally, at boiling point, she shouts - MARIANNE THAT - But her long string of profanities is muffled by the long ringing of the school bell. Mrs. Griffin is taken aback by Marianne's umbrage. As we saw before -", "INT. HALLS OF BARBARA BUSH HIGH SCHOOL - DAY Marianne, angry as hell, stomps through the hall with hatred burning in her eyes and coursing through her veins. OLIVE -LRB- V.O. -RRB- Okay, I exaggerated. We were just BFFs for, like, a half - a - day. Marianne stops in front of Olive and slaps her so hard that people in the hallways stop, dead in their tracks. OLIVE -LRB- CONT'D. -RRB- -LRB- Clutching her face. -RRB- MutherFUCKer! Rhi, who was loading books in her locker, sees this and happily slams her locker shut. Breezing past her - RHIANNON My sentiments exactly. OLIVE -LRB- SNIDELY. -RRB- Oh, grow up! But Rhi keeps on walking.", "EXT. HOSPITAL PARKING LOT - DAY Micah's on his cell phone, anxiously talking to someone - checking every few seconds to see if his mom is on her way out. MICAH -LRB- Into the cell phone. -RRB- I did n't know what to say! I panicked! I said I got it from Olive Penderghast. -LRB- Pause. -RRB- I know, but what was I supposed to say?! And then my mom called her mom. -LRB- Pause. -RRB- No, not Olive's. Marianne's! -LRB- Pause. -RRB- I already tried to blame it on their divorce, but my mom's not buying it. I have to tell them. -LRB- Pause. -RRB- Okay. But I love you. I do n't care if you gave me chlamydia. I LOVE YOU and I want to be with you and no one can stop us. Not my mother, not Marianne, not - There's a dial tone.", "INT. GUIDANCE OFFICE - CONTINUOUS Mrs. Griffin has just hung up on her teenage lover and begins freaking out. She grabs a cardboard box and begins throwing items into it. Olive bursts into Mrs. Griffin's office and sees Mrs. Griffin packing her things. As we saw before - MRS. GRIFFIN -LRB- SNAPPING. -RRB- What?! What do you want? Olive starts to say something, but Mrs. Griffin ca n't even look at her. MRS. GRIFFIN -LRB- CONT'D. -RRB- Just go! She throws a framed photo of her and Mr. Griffin into the box. It shatters. Mrs. Griffin falls apart. Olive starts to say something again, but she does n't know what to say, so she sheepishly turns to leave - - and then feels awkward. OLIVE I'm sorry, I was just looking for Marianne. Did she say something about being mad at me? She just smacked the shi - ` crap' out of me. This makes Mrs. Griffin cry even harder. She attempts to pull herself together. MRS. GRIFFIN It's my fault. I'm so sorry, Olive. Olive looks at her, quizzically. MRS. GRIFFIN -LRB- CONT'D. -RRB- -LRB- SOTTO VOCE. -RRB- I fucked up. I fucking fucked up SO fucking bad. I'm a fucking. Fuck. OLIVE Do n't get me wrong. I love it, but I do n't think you're supposed to use those words around a student. MRS. GRIFFIN Yeah, well, you're not to supposed to fuck them, either. But it did n't stop me. Olive puts two and two together in her head. She gasps a little louder than she planned. OLIVE You and - Oh my God. I'm not judging you or anything, but oh my God. -LRB- SWITCHING GEARS. -RRB- Wait. What does that have to do with me? Mrs. Griffin walks over and locks her office door. She fights back more tears, as she tries to explain to Olive. OLIVE -LRB- V.O. ; CONT'D. -RRB- My guidance counselor, who had only days before armed me with a latex bulletproof vest, told me that she had chlamydia and that she had been screwing around with her office aide's boyfriend under the guise of divorce counseling. She confided in me that she and her husband - my favorite teacher - were having marital problems, that they had n't slept together in months. She assured me that she had never meant for anything to happen with Micah. She confessed to me how when she was a child she always dreamt of being Maria Von Trapp, not Mary Kay Letorneau. Micah had panicked and used me as a scapegoat - to save her job and her marriage. She assured me that she would make sure everyone knew the truth and apologized. Mrs. Griffin stops talking and waits for Olive to speak. OLIVE -LRB- V.O. ; CONT'D. -RRB- And I bought it. Olive gives her a reassuring smile, steps up to the plate and offers up a solution. OLIVE -LRB- CONT'D. -RRB- I could have chlamydia. And I could easily have given it to Micah. That time we slept together. Who knows? Often times women do n't have symptoms and I have been whoring around. MRS. GRIFFIN No you have n't. Olive looks at her, puzzled by her knowledge. MRS. GRIFFIN -LRB- CONT'D. -RRB- -LRB- LOOKING AWAY. -RRB- Because a real whore ca n't admit it to herself, let alone others. She begins to weep. Olive puts her hand on Mrs. Griffin's shoulder. OLIVE Call Micah. Tell him I said he's an asshole and that he owes me SO big for this and also the time I pretended not to see him during a third grade game of hide and seek. Tell him I still remember that. But tell him that I confessed to giving him chlamydia. Mrs. Griffin grabs Olive and cries on her. OLIVE -LRB- CONT'D. -RRB- And it's not really my place to say this, but I figure after the conversation we just had, I can speak candidly. Your husband is HOT and while the male adolescent can fuck like a bunny. who really wants to fuck a bunny? If I was you, I'd go home and seduce him and pretend this never happened. Olive strokes her guidance counselor's hair. MRS. GRIFFIN -LRB- SNIVELING. -RRB- Do you want some more condoms? OLIVE -LRB- MATERNALLY. -RRB- No, you keep them. She strokes her hair.", "INT. OLIVE'S BEDROOM - PRESENT DAY Into the webcam - OLIVE So, really how could I be angry at Marianne? Dude, if some bimbo gave MY boyfriend an STD, I'd have swung, but I'd have balled my fist. -LRB- WHIMSICALLY. -RRB- My boyfriend. -LRB- She gets lost in the THOUGHT. -RRB- With all the mythical play I was getting, it's a wonder - and probably a miracle - that I still had n't actually been asked out on a real date. Guys were clamoring to claim that they'd slept with me, but no one was putting the real moves on me. Until finally.", "EXT. PLAYGROUND - YEARS BEFORE Two LITTLE 5 YEAR OLD GIRLS -LRB- Olive and Rhiannon -RRB- chase a LITTLE BOY all over the playground, desperate to kiss him. They plot and plan to corner him, but he's just too fast. OLIVE -LRB- V.O. -RRB- It was really Rhiannon who had a crush on him. She has since we were kids. Rhiannon finally catches him and kiss him on the cheek. Repulsed, he wipes his face. Rhiannon and Olive high five each other.", "INT. CAFETERIA - DAY Olive eats her lunch and yuks it up with a table full of guys. Rhiannon sits at a different table, mostly comprised of girls, and glares at her from across the room. The bell rings and the students begin getting up and making their way toward the exit. Anson -LRB- who we saw earlier with Rhiannon in the hallways -RRB- approaches Olive. ANSON Hey Olive. Olive smiles sweetly at him. ANSON -LRB- CONT'D. -RRB- I was wondering if you were busy tonight. Maybe wan na go out or something? OLIVE -LRB- SUSPICIOUS. -RRB- What did you have in mind? ANSON I dunno. I was thinking about chartering a hot air balloon, taking along a bottle of champagne and fresh fruit and then trying to impress you with an overzealous reading of Emily Dickinson. OLIVE -LRB- COYLY. -RRB- Why, Anson, are you inviting me to accompany you to a romantic dinner at the Red Lobster? ANSON Unequivocally. OLIVE -LRB- IMPRESSED. -RRB- Nice. Yeah. I'll have dinner with you. Olive walks off", "INT. RED LOBSTER - NIGHT Olive and Anson sit in a booth at a dimly - lit RED LOBSTER. Olive looks beautiful. The ` A' on her shirt is sequined. OLIVE I ca n't believe you brought me to the nicest restaurant in town. This is swank. I was beginning to think that there was no such thing as class. ANSON Yeah. What's better than getting to select your dinner and have nice conversation while they boil it alive in the back? OLIVE I think Anson Jr. does n't mind making the sacrifice. You do n't mind that I named him Anson Jr., do you? ANSON Not at all. I'm actually kind of honored. OLIVE Do you believe this whole thing about lobster being an aphrodisiac? ANSON -LRB- Lying out his ass. -RRB- I did n't know it was. OLIVE Y' know, medical science has not substantiated claims that any particular food increases sexual desire or performance. It's so funny when guys ply women with food that they think is gon na get them laid. I mean, what's really sexy about slurping back oysters? You know, native people believed that you gained the strength of the animal by consuming it. Some people grind up rhinoceros horn, because it's thought to stiffen the male sex organ. It's all bullshit. And spanish fly? It's pulverized beetle that people eat! Although, it's illegal for human consumption in the United States and do you know why? Because if you take just a bit too much, it causes painful urination, fever and bloody discharge. A SERVER appears with their LOBSTER. Anson is an odd shade of green from Olive's little science lesson. OLIVE -LRB- CONT'D. -RRB- Yum! The server leaves them and Olive digs in. Anson is feeling nauseous and ca n't touch his. From across the restaurant, a PARADE OF SERVERS enters from the back, enthusiastically clapping and holding a cupcake. Leading the brigade is Meerkat Todd, who's wearing a RED FOAM LOBSTER HAT. With as much spirit, as he has as a meerkat - MEERKAT TODD I do n't know but I've been told! PARADE OF SERVERS I do n't know but I've been told! He leads them through to another part of the restaurant. OLIVE -LRB- TO ANSON. -RRB- I did n't know Meerkat Todd worked here! And he's a lobster! I wonder if I should start calling him Lobster Todd. MEERKAT TODD Marguerite is getting old! PARADE OF SERVERS Marguerite is getting old! They land at the table of the birthday girl. Olive cranes her neck to see - Rhiannon, miserable of course, sitting with her parents at a table in the next room. Olive immediately becomes uneasy. OLIVE Shit! MEERKAT TODD The best thing is her dessert is free! PARADE OF SERVERS The best thing is her dessert is free! MEERKAT TODD The worst thing is I sing off - key! PARADE OF SERVERS The worst thing is I sing off - key! Olive is visibly squirming in her seat. MEERKAT TODD Sound off! PARADE OF SERVERS Happy! MEERKAT TODD Sound off! PARADE OF SERVERS Birthday! MEERKAT TODD Sound off! PARADE OF SERVERS Happy birthday to you! The whole place applauds, unenthusiastically. Anson sees Olive's discomfort. ANSON What's wrong? OLIVE Rhiannon's over there. ANSON So? OLIVE So? She's been in love with you since the first grade. ANSON So? OLIVE Well, she's my best friend. ANSON I thought you two were n't speaking. OLIVE We're not, but it does n't mean I should be out with you. ANSON Then why are you? OLIVE I do n't know. You asked me out? ANSON Exactly. I have no interest in her. I mean, we're friends, but - OLIVE She ca n't see us. ANSON -LRB- DISAPPOINTED. -RRB- Do you want me to get the check? OLIVE -LRB- TOUCHED. -RRB- Would you mind? He gestures for the server who appears. ANSON Could we get our check? SERVER -LRB- CONFUSED. -RRB- Is everything okay? OLIVE I just remembered I'm allergic to shellfish. I always forget that my respiratory system would collapse and I'd die. It sucks I know. Even more confused, the server obliges and gives them their check. OLIVE -LRB- CONT'D. -RRB- -LRB- Digging in her purse. -RRB- Let me get it. I have a gift certificate. She pulls it out and hands it to the waitress, who leaves. ANSON But I asked you out. OLIVE And I ruined it, so let me bear the financial brunt. -LRB- Beat. -RRB- I'm so sorry about this. But she really likes you. ANSON She and I just do n't have much in common. OLIVE And you and I do? ANSON I think so. For instance, I, too think Nina Howell's a twat. OLIVE Yeah, well, if that's our magical connection, I should date the entire school. ANSON Have n't you? Olive suddenly becomes self - conscious and a little bit pissed. ANSON -LRB- CONT'D. -RRB- Kidding! OLIVE Yeah, about that - The server reappears with the check. SERVER You have a remaining balance of fourteen dollars and thirty six cents. OLIVE Keep it. Tip. The sever smiles and leaves them again. ANSON Let's get out of here. They duck out of the booth trying to keep their heads down, but Olive ca n't resist the urge to look up and see if Rhiannon sees them. She does. Olive and Rhiannon make eye contact. Whereas, Olive looks remorseful, Rhiannon looks like she's just been stabbed in the back - which she has. The Abernathys see her, as well, and wave. It's painfully obvious to Olive that Rhi has n't told her parents about their differences. She starts to go over, but Rhiannon's face is turning vermillion in anger. Olive just waves, sheepishly and leaves with Anson. I/E. ANSON'S CAR - RED LOBSTER PARKING LOT - MOMENTS LATER Olive's face is painted with guilt. She feels like shit, but does n't want to externalize it. Anson puts his hand on her knee. ANSON I have something for you. Olive manages a smile. He reaches into his pocket and pulls out a $ 500 GIFT CERTIFICATE to ANTHROPOLOGIE and hands it to her. Olive is disappointed, but tries not to show it. OLIVE Oh. I did n't realize - Snapping out of her guilt. OLIVE -LRB- CONT'D. -RRB- Okay. So, what did we `` do'' on this date? ANSON Whatever $ 500 gets me. He leans over and kisses her. She pushes him off. OLIVE Wait. This is n't how it works. I do n't actually - But he's kissing her again, a little too forcibly. She pushes him off again. OLIVE -LRB- CONT'D. -RRB- You do n't get it. I'm not technically having sex with people for money. You know that, right? Besides, even if I was, we're in the parking lot of a Red Lobster. ANSON We can go wherever you want, but I think it would be kind of hot here. He takes off his shirt. OLIVE Dude, I got ta go. It's been - sad. She gets out of the car. He rolls down the window. ANSON Olive, you're being stupid. I'll take you home. OLIVE No thanks. He drives off, leaving her outside in the parking lot. OLIVE -LRB- CONT'D. -RRB- Fuck. As luck would have it, Meerkat Todd, is coming out the back exit. He sees her and gives her a surprised, toothy grin. MEERKAT TODD Hey Olive! OLIVE Hey Todd. MEERKAT TODD What are you doing here? OLIVE Oh, I'm just hanging out in the parking lot. I do that sometimes. Not necessarily just here. The one outside of Applebee's is fun, too. MEERKAT TODD -LRB- Laughing at her oddness. -RRB- You want a ride somewhere? OLIVE Nah. I'm fine. MEERKAT TODD Your friend Rhi is inside. It's her Mom's birthday. Tears begin to glisten in Olive's eyes. OLIVE She's not my friend anymore. Todd walks over and puts his arm around her and leads her to his car. He opens the door for her and she sits down. I/E. MEERKAT TODD'S CAR - NIGHT Olive is trying to pull herself together but she ca n't stop crying as Todd drives her home. Todd does n't know what to say to her. Finally - MEERKAT TODD You wan na talk about it? OLIVE What's to say? I'm a horrible person. Everyone thinks I'm a whore and, for the first time, I'm starting to believe it. MEERKAT TODD Huh? OLIVE Oh, do n't act like you do n't know what people are saying about me. MEERKAT TODD I know what people are saying. Does n't mean I believe them. OLIVE Why not? MEERKAT TODD Olive, contrary to popular belief, I'm not an idiot. I know exactly what's going on and I know exactly what you're doing. She stops crying. OLIVE Who told you? MEERKAT TODD No one had to tell me. All I know is once upon a time, there was a scared little kid in a closet at a party who was n't ready for his first kiss and there was this amazing little girl who lied for him. She smiles through her tears. OLIVE You remember that? MEERKAT TODD Yeah and after I ran out, you pulled Brandon in. Yeah, I know about that, by the way. OLIVE And look how he turned out. MEERKAT TODD Sometimes I still pretend you were my first kiss. OLIVE -LRB- LAUGHING. -RRB- Yeah? Who was? MEERKAT TODD Your friend. Rhiannon. Olive's laughter turns to rage. OLIVE What!? MEERKAT TODD Yeah. About a year later. It sucked. OLIVE -LRB- Blurting it out. -RRB- She knew how I felt about you! MEERKAT TODD How do you feel about me? OLIVE -LRB- IGNORING HIM. -RRB- She did it first! And here I am feeling SOOOO bad and THAT BITCH! MEERKAT TODD Wait. How do you feel about me? OLIVE -LRB- AGGRESSIVELY DEFENSIVE. -RRB- Felt! I said FELT! MEERKAT TODD -LRB- DISAPPOINTED. -RRB- Oh. He stops the car. They're at her house. OLIVE -LRB- Off his look. -RRB- I mean, it's not that I do n't still feel that way. There's an awkward moment between them. MEERKAT TODD Olive. If I promise not to tell anyone, could I kiss you? Despite the fact that this is positively the most romantic moment of her young life, Olive looks down. OLIVE No. Not tonight. I do n't want you to kiss me when mascara's running down my cheek or some shithead has forced his tongue down my throat only a half - hour ago. I've wanted to kiss you since the eighth grade, but I want it to be perfect. And right now, my life's a mess. I need to get it under control before I drag you into it. MEERKAT TODD What if I told you I wanted to be dragged into it? Maybe I could help. He holds out his hand and she takes it. OLIVE Now I have a reason to fix this catastrophe I've brought upon myself. And I'm going to. MEERKAT TODD Okay. He smiles his goofy grin and she embraces him. She hops out of the car and goes to her front door.", "INT. OLIVE'S BEDROOM - PRESENT DAY Into her webcam - OLIVE You see, now I had a reason for things to go back to the way that they were. The truth needed to be told and I knew I had to go the one person who could help me. The one person I could count on to set the story straight. Brandon. I'd helped him and, even though it would destroy his new reputation for being a stud, I knew he would help me.", "INT. HALLS OF BARBARA BUSH HIGH SCHOOL - DAY Filling the frame, a GOSSIPY GIRL in braces says - GOSSIPY GIRL Oh my God, did you hear that Brandon ran away from home? Yeah. Totally. He left his parents a note that said : ` Eff you, I'm gay.' And then he skipped town with a big, hulking black guy. We spin around to see Olive's stunned reaction. OLIVE -LRB- TO HERSELF. -RRB- My apologies to Mark Twain. GOSSIPY GIRL Huh? The reality of the situation begins to weigh on her. OLIVE Nothing. Defeated, Olive makes her way through the crowded halls. OLIVE -LRB- V.O. ; CONT'D. -RRB- It gets worse. Due to his ` condition,' Micah was sent on an extended visit to his grandparents in Mississippi.", "INT. STUFFY OLD HOUSE IN MISSISSIPPI - DAY Micah, beyond miserable, sits between his STERN GRANDPARENTS, who read the Bible to him. OLIVE -LRB- V.O. -RRB- No telephone, no television, no computer, no internet and - most importantly - no diseased sexual partners. Micah settles in for a very long visit.", "INT. UNDER THE BLEACHERS - GYM - DAY Where they had previously met, Olive pleads with Evan. OLIVE -LRB- V.O. -RRB- I went to everyone I'd helped and begged them to say it was n't true. EVAN No way. I gave you money. OLIVE Please, Evan. He walks off, leaving her alone.", "INT. GUIDANCE OFFICE - DAY Olive waits for Mrs. Griffin's response. There's a long moment of contemplation on Mrs. Griffin's part. Then - MRS. GRIFFIN Olive, life is full of choices. I made a bad one. But then, so did you. We both acted unwisely, but I do n't see any other alternative than to live with the guilt. My guilt stems from my indiscretion, yours for lying. We've made our choices. Now, we have to ride them out. OLIVE -LRB- Pissed as hell. -RRB- Or I could just tell everyone THE TRUTH. MRS. GRIFFIN Fine, Olive. Let's play the ` who do you believe' game. But, first, ask yourself, if you were an adult, who would you believe? OLIVE With all due respect, Mrs. Griffin, you're a fucking cunt. MRS. GRIFFIN Because you helped me once, I'm not going to report that to Principal Gibbons. Now, we're even. They're locked in a Mexican standoff. MRS. GRIFFIN -LRB- CONT'D. -RRB- You can go now. Furious, Olive throws the door open and exits.", "INT. MR. GRIFFIN'S CLASSROOM - DAY Mr. Griffin is erasing the blackboard, when Olive storms into the room. OLIVE Your wife has chlamydia and she's been sleeping with a student and she gave it to him and now she's trying to blame me. Shocked, Mr. Griffin drops the eraser. MR. GRIFFIN What? The gravity of what she's just done sinks in and she stumbles. OLIVE I - I'm sorry. I - Not knowing what to say, she runs from his classroom.", "INT. OLIVE'S BEDROOM - PRESENT DAY Olive is mirthless, as she proceeds with her story. OLIVE Looking back, that's the thing I regret the most. That's the thing that sent me to the church, er, churches. And that's the thing that made me realize how profoundly I'd fucked up. And that's something I'll have to live with for the rest of my life. With my words, even though they were true, I ended a marriage. No kid should have to be burdened with that. She contemplates this.", "INT. CLASSROOM - DAY As we saw before, Olive sits and plays ` CONNECT FOUR' with Mr. Griffin, at his desk. Both are looking beaten down and very depressed and their minds are on everything but the game. Mr. Griffin puts his hand on Olive's. MR. GRIFFIN It's not your fault. Olive gets a tear in her eyes. She puts a RED CHIP in at the top and loses the game. She reaches over and presses the lever, causing all of the chips to fall on his desk. THE JENGA SET - UP There's a ridiculously tall tower of blocks and they all fall down. He rakes the chips and the game into his own cardboard box, full of his things. He smiles and she hugs him - intensely, tears quickly welling up in her eyes. OLIVE I'm so sorry. MR. GRIFFIN No. It's not your fault. They just hold each other. Finally, Mr. Griffin pulls away and takes his things and starts to leave. But then he turns and says - MR. GRIFFIN -LRB- CONT'D. -RRB- I hope that you and Todd end up okay. OLIVE Me too. Where are you going? MR. GRIFFIN Not sure yet. Away from her. OLIVE Can I come? They share one last, pained smile and he leaves.", "INT. OLIVE'S BEDROOM - PRESENT DAY Hearfelt, into the webcam - OLIVE Mr. Griffin, if you ever see this, just know - I was wrong to tell you that. In that way. At all. I do n't know. I should n't have done it. I do n't feel bad for lying for your wife. But I hate myself for telling you the truth. I'm so sorry. She wipes away a tear, pulls herself together. OLIVE -LRB- CONT'D. -RRB- Part Five : Not With a Whimper But With a Bang.", "EXT. BARBARA BUSH HIGH SCHOOL - DAY As we saw before - The Cross Your Heart Club is assembled outside of the school, with a lot of other kids -LRB- and some parents -RRB-, waving signs on wooden stakes that say things like : EXPEL OLIVE! EXODUS 20:14 SCHOOLS ARE FOR LEARNING, NOT FOR WHORING OLIVE PENDERGHAST IS A WHORE Rhi is among them, as riled up as any. Olive steps out of the school to see the demonstration. her jaw drops. OLIVE Oh fuck me. Things have gotten WAY too out of hand.", "INT. OLIVE'S BEDROOM - NIGHT Olive cries on her bed, clutching her teddy bear. Rosemary listens, as a good mother does. OLIVE So, now everyone who knows the truth is either gone or wo n't fess up. The Cross Your Legs Club is demanding my head. And the messed up thing is that I would n't put it past Gibbons to expel me. ROSEMARY I had a similar situation when I was your age. OLIVE -LRB- IN DISBELIEF. -RRB- Everyone called you a whore? ROSEMARY Yes. I had a horrible reputation and people said awful things about me. But it was true. I was a slut. Olive gives her a suspicious look. OLIVE I'm waiting for you to say. -LRB- Imitating her mother. -RRB- ` Just kidding!' ROSEMARY -LRB- EARNESTLY. -RRB- No, it's true. I slept with a whole bunch of people. OLIVE Mom! ROSEMARY Well! It was a different time. OLIVE Ewwww! ROSEMARY I did. I got around. Before I met your father, I was a garden variety floozy. OLIVE Why are you telling me this? ROSEMARY Because I endured a similar lynching because of a certain dalliance. OLIVE I promise that it was no worse than Marianne Bryant's attack on me. ROSEMARY Wan na bet? It was her mother. OLIVE Wait, what? ROSEMARY Yep. Don Bryant and I got caught in a very compromising position in the locker room during a basketball game. OLIVE That's disgusting! He's disgusting! ROSEMARY He was n't back then. He was actually pretty handsome. All I'm saying is that MAYBE the reason that Bryant girl is going after you is because her mother told her about me. OLIVE So, the sins of the mother are revisited on the daughter. ROSEMARY There's something else you should know. This is hard to say but - Don Bryant is your father. Marianne is your sister. Olive turns white. ROSEMARY -LRB- CONT'D. -RRB- Kidding! Well, about the sister thing, but not about the Don thing. That happened. Actually that happened a couple of times before we got caught. Olive punches her mother on the arm, who's laughing hysterically. OLIVE I hate you so much right now. Ca n't you see I'm a mess! ROSEMARY No, you're not, Olive. You're wonderful. And you're going to handle this the same way that I did. With an incontrovertible sense of humor. They embrace and Olive gets an idea. OLIVE Thanks for the pep talk, Mom. Now get out. I need to make some phone calls. Rosemary looks slightly concerned by the grin on Olive's face.", "INT. GYM - DAY We join a pep rally, already in progress. The DANCE TEAM attempts to rile up the school with a rousing rendition of Michael Jackson's ` BAD.' In the stands, Rhi sits with Marianne and Nina. MARIANNE So, Olive was n't at school today. She extends her palms to Nina and Rhi, who both slap them. Marianne puts her arm around Rhi. MARIANNE -LRB- CONT'D. -RRB- I'm so glad you're with us now. RHIANNON Me too. You guys fucking rock. MARIANNE We do n't say that word, Rhiannon. NINA -LRB- HELPFULLY. -RRB- Just say ` effing' instead. We effing rock. Marianne nods in agreement, however Rhi is confused. RHIANNON But is n't that just implying the same word? MARIANNE Oh, Rhiannon. We have so much to teach you. It's okay to imply things. Rhiannon looks at her new best friends, who just smile at her. The song ends and there's a drum roll. RHIANNON Yay! It's time for Meerkat Todd. -LRB- SEXUALLY. -RRB- I just want to rip that costume off him and - Marianne puts her hand firmly on Rhi's knee. MARIANNE Why do n't you just not talk for a while, okay hon? Rhi puts her head down. The drum roll ends and Meerkat Todd bounces out in costume. He jumps around enthusing the student body - But then he goes out of the gym and reenters pushing a DUMPSTER. The familiar chords of the James Bond theme ` Nobody Does It Better' plays from the band. Meerkat Todd opens the lid of the dumpster and Olive, dressed in a glittery and slinky RED DRESS, with a BOA draped around her bare shoulder, pops up and croons with a handheld mic and slightly different lyrics : OLIVE Nobody does it better. Makes me feel sad for the rest. Nobody does it half as good as me. Baby, I'm the best. Todd lifts Olive out of the dumpster and she sings her ass off - and she's quite good. OLIVE -LRB- CONT'D. -RRB- I was n't lookin,' But somehow they found me. I tried to hide from Your love light. But like heaven above me The guys who loved me Are keepin' all my secrets safe tonight. She winks at the audience. The guys begin to wolf whistle and howl at her sheer brilliance. She begins to rub her hands seductively over Meerkat Todd's furry costume, eventually unzipping it and taking off the head to reveal : BLUE DEVIL TODD! The crowd goes wild. OLIVE -LRB- CONT'D. -RRB- And nobody does it better Though sometimes I wish someone could. Nobody does it quite the way I do. Why'd I have to be so good? She saunters over to Rhi and kisses her on the cheek, leaving a big, red lip mark. OLIVE -LRB- CONT'D. -RRB- The way that they hold me Whenever they hold me There's some kind of magic inside you. That keeps me from runnin', But just keep it comin'! How'd you learn to do the things you do? She sees that Gibbons is not amused, but that does n't stop her. OLIVE -LRB- CONT'D. -RRB- Oh, and nobody does it better. Makes me feel sad for the rest. Nobody does it half as good as me. Baby, baby! Darlin', I'm the best! She walks over to a couple of HORN PLAYERS, and runs her fingers seductively over their -LRB- uh -RRB- instruments. The crowd goes wild - some appalled, but most enthused. Olive sashays through the crowd as the MALE TEENS scream and stuff money down her bodice. OLIVE -LRB- CONT'D. -RRB- Baby you're the best! Darlin', you're the best! Baby, you're the best! The song ends and Olive takes Blue Devil Todd's hand. OLIVE -LRB- CONT'D. -RRB- -LRB- To the student body. -RRB- This is just a free preview. For the main event log on to www.freeolivep.com tonight at 6 p.m. Now, I know this conflicts with tonight's basketball game, but c'mon would you rather be here cheering on the Meerkats. -LRB- Looking at Todd, LASCIVIOUSLY. -RRB- or watch me do one. There are audible gasps, but excitement nonetheless. Gibbons angrily storms over and takes the microphone. PRINCIPAL GIBBONS -LRB- Through gritted teeth. -RRB- Young lady, to my office. NOW. OLIVE Yeah, I ca n't. I'm gon na go bang my boyfriend while the whole school watches. But good luck with the game - thing. Go Meerkats. She plods out, triumphantly.", "INT. OLIVE'S BEDROOM - DUSK The sun is setting as Olive speaks into her webcam. But this time, we're not seeing it through the lens, but from a different point in the room. OLIVE And here you all are. Waiting outside the closet door for me to kiss Todd, listening to me pretend to have sex with Brandon, paying me to lie for you, calling probably the last virgin in school a whore. Guys. Seriously. All of a sudden - from outside and downstairs - James' ` LAID' begins to play. Olive goes over to the window and sees Todd below, holding up a BOOMBOX -LRB- a la John Cusack -RRB- and there's a RIDE - ON LAWN MOWER -LRB- a la Patrick Dempsey -RRB- behind him. Upon seeing this, she bursts into laughter, but it could n't be more romantic. OLIVE -LRB- CONT'D. -RRB- -LRB- SHOUTING DOWN. -RRB- Who told you that I loved this song? MEERKAT TODD -LRB- SHOUTING UP. -RRB- I guessed. OLIVE I see you've been watching my live webcast. It's still going on, you know. MEERKAT TODD Fuck them. They've had enough of you. Well, figuratively speaking. I borrowed my neighbor's John Deere. Come down here. OLIVE That rhymed. MEERKAT TODD Intentionally. OLIVE Be right down. Olive ca n't get the smile off of her face as she goes back to the camera. We see her through the lens. OLIVE -LRB- CONT'D. -RRB- That's Todd. Not that I owe any of you any more confessions, but I'm really in love with him. And I am going to lose my virginity to him. I'm not sure when. It could happen five minutes from now or tonight or six months from now or maybe on our wedding night, but the really amazing thing is that it's nobody's business. -LRB- As an afterthought. -RRB- Like, totally. She turns the camera off.", "EXT. THE PENDERGHAST HOUSE - MOMENTS LATER Olive runs out of the house and tackles him, kissing him - in the front yard, in broad daylight, for the world to see. FADE OUT. OVER THE END CREDITS.", "EXT. GYM - NIGHT The basketball game is going on to an almost empty gymnasium. MONTAGE We see, from the perspective of their computer screens, various reactions to Olive's webcast - - A proud Brandon watches from a hotel room. A MUSCULAR BLACK GUY in a towel comes up behind him and kisses his neck. - The Abernathys watch with the same demented glee they derive from watching anything. - Mrs. Griffin watches with the face of a person who's been found out and who's days are numbered. They are. - Rhi seems contemplative. Maybe it's because she's been in love with Olive since grade school. Duh. - Evan, the fat kid, is doing jumping jacks while watching. - Melanie Bostic -LRB- the host of the party -RRB- watches with a group of girls. MELANIE -LRB- SATISFIED. -RRB- Told you guys. Pay up. - Marianne feels regret. But a little bit impressed. - Mr. Griffin is proud of her. - Micah watches in his dark bedroom. MICAH'S GRANDMOTHER -LRB- O.S. -RRB- Micah? What are you doing in there? -LRB- STERNLY. -RRB- You had better not be on the sin - ternet. - Rosemary and Dill are too busy making out to watch. - Anson has a jar of vaseline and is ready to jerk off, but is upset that she is n't ` exposing herself' in the aforementioned way. ANSON -LRB- TO HIMSELF. -RRB- I thought she was going to take her clothes off.", "EXT. THE PENDERGHAST HOUSE - HOURS LATER Olive and Todd are still kissing on the lawn underneath the stars. FADE OUT."], "labels": [0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0], "summary": "The story is narrated by Olive Penderghast (Emma Stone), a 17-year-old girl living in Ojai, California, speaking into her webcam. Olive lies to her best friend Rhiannon Abernathy (Aly Michalka) about going on a date in order to get out of camping with Rhiannon's hippie parents. Instead, she hangs around the house all weekend listening to Natasha Bedingfield's \"Pocketful of Sunshine\", which is played by a musical greeting card from her grandmother. She becomes addicted to the song so much that she even goes as far as setting it  as her ringtone on her cellphone. The following Monday, pressed by Rhiannon, Olive lies about losing her virginity to a college boy. Marianne Bryant (Amanda Bynes), a girl with a devout Christian faith whom Olive considers to be prissy, overhears her telling the lie and soon it spreads like wildfire. The school's church group run by Marianne decides Olive will be their next project. Olive confides the truth to her friend Brandon (Dan Byrd), and he understands because others bully him because of his homosexuality. He later asks Olive to pretend to sleep with him so that he will be accepted by everyone as a \"straight stud\". Olive agrees to help him and they pretend to have sex at a party. After a fight with Rhiannon over her new identity as a \"dirty skank\", Olive decides to counteract the harassment by embracing her new image as the school tramp. She begins to wear more provocative clothing and, inspired by The Scarlet Letter (which her literature class is currently studying), stitches a red \"A\" onto everything. Boys who usually have had no luck with girls in the past now beg Olive to increase their popularity by saying they have had sex with her, in exchange for gift cards to various stores. This in turn increases her reputation. Things get worse when Micah (Cam Gigandet), Marianne's boyfriend  who has had to repeat several grades, contracts chlamydia from sleeping with Mrs. Griffith (Lisa Kudrow), the school guidance counsellor, and blames it all on Olive. As Mr. Griffith (Thomas Haden Church) is her favorite teacher, Olive agrees to the lie to spare his marriage. Marianne's friends from the church youth group, which now includes Rhiannon, begin harassing Olive in order to get her to leave school. After an ill-fated date with Anson (Jake Sandvig), a boy who wants to pay her to actually sleep with him and not just pretend she did, Olive reconnects with Todd (Penn Badgley), her old love interest, who is also the school's mascot. Todd tells her that he does not believe the rumors because he remembers when she lied for him (portrayed by Braeden Lemasters as younger Todd) when he was not ready for his first kiss years ago. Olive now has a change of heart and begins to ask everyone she lied for to help her out by telling the truth, but Brandon and Micah have abruptly left town, and with their newfound popularity, no one else wants to tell. When Mrs. Griffith also refuses to tell the truth, Olive threatens to expose her affair, but Mrs. Griffith snidely says no one would believe her.  Out of spite, Olive then immediately tells Mr. Griffith, who believes her and separates from his wife. After a friendly talk with her open-minded mother Rosemary (Patricia Clarkson), Olive comes up with a plan to finally get everything out in the open. She does a song-and-dance number at a school pep rally to get people's attention to watch her via webcast\u2014the film. The various boys whose reputations Olive helped improve are watching; Olive texts Rhiannon, apologizing for lying to her. As she is finishing up her webcast, Todd comes by on a riding mower, serenades her by playing a recording of \"Don't You (Forget About Me)\", and asks her to come outside. She signs off by saying that she may lose her virginity to Todd sooner or later, but proudly declaring that \"it is nobody's goddamn business\". She goes outside to meet him, they kiss, and the two are shown riding off on the lawn mower.", "name": "Easy_A"}
{"scenes": ["INT. RESIDENTIAL HOTEL ROOM - NIGHT A MAN recumbent on the bed, playing a TRUMPET, his white dress shirt defaced by a flower of blood. The room is ON FIRE all around him. He is playing Miles Davis' moody, Spanish - influenced SAETA, a haunting and lonely piece. DANNY -LRB- V.O. -RRB- My name is Tom Van Allen. -LRB- beat. -RRB- or Danny Flynne. A DUFFLE BAG FULL OF MONEY ON THE BED. The money burning, tiny flaming pieces floating around the room. DANNY -LRB- cont'd. -RRB- I do n't know anymore. -LRB- beat. -RRB- Maybe I'll let you decide. Maybe you can help me, friend. As you can see, I do n't have a hell of a lot of time left. A PHOTOGRAPH of a woman taped to the inside of a trumpet case. The photo is on fire. Only her smile remains. DANNY -LRB- cont'd. -RRB- Avenging angel. Judas Iscariot. Loving husband. Prodigal Son. The prince of Denmark? A GREETING CARD on the floor, a teddy bear and the word, CONGRATULATIONS! on the front. The wind from the fire blows the card open. Inside, a BLACKENED BLOOD STAIN. DANNY -LRB- cont'd. -RRB- All of these? None of these? You decide, friend. You decide. Trumpet player? Speed freak? -LRB- beat. -RRB- Speed freak. -LRB- beat. -RRB- That's as good a place as any. -LRB- beat. -RRB- But first, a little background on the mad world of the tweaker. FADE OUT. FADE IN.", "INT. LABORATORY - DAY EXTREME CLOSE - UP of a glass pipette dripping a clear liquid into a glass beaker. DANNY -LRB- V.O. -RRB- Methedrene was first distilled by a Japanese scientist before WWII. Hand it to the Japanese, they knew a good thing when they saw it.", "INT. JAPANESE ZERO - DAY A wide - eyed, jaw - grinding KAMIKAZE PILOT with a death - grip on the controls. DANNY -LRB- V.O. -RRB- This guy's so tweaked, he probably thinks he can survive this without a scratch. STOCK BATTLE FOOTAGE - a Japanese Zero crashes into a battleship, bursting into a ball of flames. DANNY -LRB- V.O. -RRB- Maybe not. -LRB- beat. -RRB- By some estimates, 2 % of the Japanese population had a meth problem after the war : factory workers, soldiers, pilots. Maybe that's why it took two bombs to get'em to surrender. A nuclear blast is just a minor nuisance to a determined tweaker.", "INT. HOUSE - DAY A wide - eyed, June Cleaveresque housewife in a picture - perfect white dress vacuums the floor of a picture - perfect house. DANNY -LRB- V.O. -RRB- In the fifties, the housewives got ahold of it. Dexedrine. Benzedrine. Methedrene. She attacks the same spot over and over again, one hand clutching the vacuum, the other stiffly holding a cigarette. DANNY -LRB- cont'd. -RRB- Now that's a classic speed freak for you, skinny and cleaning the house. I'll bet her poor husband never knew what hit him in the sack either.", "INT. BEDROOM - NIGHT THE LEG OF THE BED rattling and bouncing loudly off the floor. STOCK FOOTAGE - J.F.K. pumping the hand of NIKITA KRUSCHEV. DANNY -LRB- V.O. -RRB- There were even rumors that one of our presidents dabbled with mysterious `` energy shots''. Imagine that : a slammer in the White House. Kennedy talking animatedly. DANNY -LRB- cont'd. -RRB- If it's true, I'll bet ol' Krushchev never got a word in edgewise.", "EXT. TRUCK STOP PARKING LOT - NIGHT A sleepy - eyed TRUCKER emerges from his tractor - trailer and approaches a loitering HELL'S ANGELS - type. DANNY -LRB- V.O. -RRB- By the late 60's the government finally cracked down and sent the whole thing underground. Bikers controlled the market for a while.", "INT.  TRACTOR-TRAILER - NIGHT The trucker gripping the wheel with the same death - grip as the Kamikaze. DANNY -LRB- V.O. -RRB- But now anyone with a basic chemistry kit and the right ingredients can cook it up at home.", "INT. PHARMACY - NIGHT A CASHIER scanning container after container of COLD MEDICATION. DANNY -LRB- V.O. -RRB- Ever see a long - haired tattooed freak buying up all the cold medicine he can lay his hands on at three in the morning. The cashier looks up at the aforementioned FREAK, a frozen grin plastered on his face. DANNY -LRB- cont'd. -RRB- Take it from me, he ai n't got no cold. He's a cook. Look in his kitchen and you'll find a whole grocery list of unsavory ingredients.", "INT. KITCHEN - NIGHT TRACK DOWN the kitchen counter on various containers. DANNY -LRB- V.O. -RRB- Drain cleaner, hydrochloric acid, match heads for red phosphorus, ether and of course the cold medicine. that's for Ephedrene, soon to become Methedrene CONTINUE TRACKING to a series of BURNERS, BEAKERS and TUBING DANNY -LRB- cont'd. -RRB- This guy's a regular Julia Child. Problem is, I'll be even Miss Julia fucks up the bouillabaisse from time to time. The freaky cook sees something he does n't like. His eyes widen. DANNY -LRB- cont'd. -RRB- Oh - oh.", "EXT. TRAILER - NIGHT As the structure explodes.", "INT. PARTY HOUSE - UNKNOWN Thick blankets and tinfoil taped over the windows. A huge container of empty beer cans, washed and neatly arranged. Lines of crystal meth on a mirror as precisely arranged as Nails as the Nuremberg rally. A GROUP OF TWEAKERS in the middle of a binge. Two skinny women, NANCY and Teresa bent over a drawer - full of neatly folded socks on the living room floor. They stare at the drawer as if they were pondering a Rembrandt. NANCY It ai n't right TERESA You think? NANCY Something's off. TERESA We can do better. They take the socks out and being rearranging them again. Three guys squeezed onto a couch together : KUJO, JIMMY THE FINN and CREEPER. Kujo is talking a blue - streak. He makes Dennis Leary took mealy - mouthed. Creeper and Jimmy stare straight ahead, clearly bugging. KUJO So the alphabet, I mean look at it, there's 26 letters. Why not 27 or 28 or 106? And the vowels : a, e, i, o, u. What the hell is up with that? CREEPER And sometimes y. KUJO What I'm saying is that I love it! It's great. I could go on all night about it. And he does. KUJO -LRB- cont'd. -RRB- Let's take every letter individually. I mean, let's really break the mother's down. DANNY is sitting in an armchair. He is the only one who looks tired. He sits there, taking the scene in. ALL SOUNDS FADE OUT DANNY -LRB- V.O. -RRB- And so this is where I find myself. No. I should choose my words more wisely : this is the world I sought out. The land of the perpetual night - party. Day swallowing night and night swallowing day. The crank compressing time like some divine piston on its awesome downstroke. DANNY'S P.O.V. - SCANNING THE ROOM. NO SOUND. The girl's folding the socks. Kujo ranting on. Creeper and Jimmy the Finn grinding their jaws. the BLANKETS AND TINFOIL ON THE WINDOWS. DANNY -LRB- cont'd. -RRB- We've been at this for three days. or is it four? Tweakerrs, lokers, slammers coming and going, swearing eternal allegiance and undying love for one another, only to wake up after the binge and realize you would n't walk across the street to piss on one of'em if their head was on fire. -LRB- beat. -RRB- Is it three days or is it four? BACK ON DANNY. He blinks lethargically. DANNY -LRB- cont'd. -RRB- I know what you're thinking. But do n't give up on me just yet. And for God's sake, do n't pity me. Do n't make any judgments until you've seen my whole story. -LRB- beat. -RRB- And keep your eyes open. -LRB- beat. -RRB- Nothing is what it seems. Suddenly. KUJO -LRB- O.S. -RRB- OH SHIT! WE'RE OUT OF DRUGS!", "INT. PARTY HOUSE - NIGHT Danny and Jimmy the Finn walking towards the front door. DANNY How the hell did we get this detail? JIMMY Guess it's our turn. Danny nods. DANNY What time is it? JIMMY Twelve DANNY Midnight?", "EXT. PARTY HOUSE - DAY As the door opens, Danny discovers that it is TWELVE NOON and the sun is blazing. The party house is revealed as a cheap stucco apartment building crammed in the middle of BUSY BUSINESS DISTRICT at a major intersection. Jimmy and Danny slip on sunglasses and brave the light. DANNY Where to? JIMMY I know a guy. DANNY Lead the way. They slink along like two albino rat vampires with sunglasses. JIMMY Nice day DANNY I had n't noticed. -LRB- beat. -RRB- I've seen you around. What's your name? JIMMY Jimmy. Everyone calls me Jimmy the Finn. DANNY Why's that? JIMMY My features. They're Finnish. DANNY You do n't say. JIMMY Finland is a country. DANNY Well, Jimmy the Finn, let's go score some gack.", "INT. CHEAP MOTEL ROOM - DAY Danny and Jimmy standing there looking at something OFF SCREEN. Danny and Jimmy looking at one another, then back at what they were looking at. A GUY sitting on the bed in his underwear, looking down at his left arm and holding a can of BUG SPRAY at the ready in his right hand. He is completely motionless, studying his arm with hypnotic intensity. JIMMY Bobby? BOBBY Shhh. Bobby never takes his eyes off his arm. BOBBY -LRB- cont'd. -RRB- -LRB- whispering. -RRB- They're coming. JIMMY -LRB- likewise whispering. -RRB- What? BOBBY The spiders. Bobby readies the can of bug spray, his eyes widening. BOBBY -LRB- cont'd. -RRB- -LRB- sing - song. -RRB- I'm ready for you this time. Bobby lets loose with the spray, dousing his arm. BOBBY Aha! Yeah! -LRB- super rapid - fire. -RRB- You thought you could fuck with Bobby, you thought you could fuck with Bobby, you thought you could fuck with Bobby! Bobby's mouth wide with stupid joy and continues to cloud the air with bug spray. BOBBY -LRB- cont'd. -RRB- With Bobby you thought you could fuck? Danny and Jimmy wait silently. Bobby finally stops spraying, satisfied he has killed the imaginary spiders. He looks up at Jimmy and Danny, his eyes swimming with stupid, drug - addled confusion. BOBBY -LRB- cont'd. -RRB- Who the fuck are you? JIMMY It's me. Jimmy Bobby squints. BOBBY Jimmy, Jimmy, Jimmy, Jimmy. Rhymes with Simmy. JIMMY Yeah. BOBBY What can I do for you? JIMMY Um, coupla' eight balls oughta do us. Danny and Jimmy notice something simultaneously. There is something under the mattress - A HUGE BULGE. BOBBY Do n't pay her no mind. A MUFFLED MOAN from under Bobby. She is between the mattress and the box springs. BOBBY -LRB- cont'd. -RRB- Shut the hell up, goddamit! Bobby starts slapping the top of the mattress with his hand. New MUFFLED SCREAMS from underneath. BOBBY -LRB- cont'd. -RRB- I got no vocation skills! What the fuck you want from me? -LRB- keeps slapping. -RRB- I got no vocation skills! JIMMY Hey man, take it easy. Bobby immediately stops. Looks at Jimmy with incredulity. BOBBY What? JIMMY Come on. Ease off the girl. Bobby springs from the bed, grabbing something as he rises. Danny and Jimmy suddenly staring at a SPEARGUN which is loaded with two stainless steel spears. Bobby stands there alternately pointing the speargun at Jimmy, then Danny. BOBBY Did you bring the plastic men? Bobby nods towards something behind Danny. Danny and Jimmy do n't move or speak. BOBBY -LRB- cont'd. -RRB- Did you bring the plastic men? -LRB- beat. -RRB- Did you bring the plastic men? Bobby rubs his nose. BOBBY Did. you. bring. the. plastic. men? DANNY Nah, we did n't bring'em. That's just your good crank talking, brother. Bobby tilts his head. DANNY -LRB- cont'd. -RRB- We were hoping to catch a few ourselves if you'll hook us up. BOBBY -LRB- calmer. -RRB- You bring the plastic men? DANNY Like I said. JIMMY Fuck man. Come on, Bobby. BOBBY Bobby, Bobby, Bobby. Rhymes with. -LRB- he draws a blank. -RRB- DANNY Hobby? Bobby twists a smile, revealing speed - blackened teeth. BOBBY That's a good man. I like that. DANNY -LRB- calmly. -RRB- Hey, Bobby, look. What you got going with your old lay, it's none of our business. We're just a couple of dope fiends trying to score. Bobby lowers his speargun. BOBBY Two eight balls? Jimmy breaths a sigh of relief.", "EXT. CHEAP MOTEL ROOM - DAY Danny and Jimmy exit the room, closing the door behind them. Danny looks at Jimmy. DANNY Nice dealer you got there, Jimmy. JIMMY Oh. that. Ah, he was just juiced. He would n't have did nothin' WHAP, WHAP! Two spears plunge through the cheap door, stopping inches from Danny's head. They run like hell.", "EXT. SKY - DAY TIME LAPSE. The sun plunges down. The sky turns black. The moon races up and down. The sky lightens. The sun races up and down. Night comes again.", "INT. PARTY HOUSE - NIGHT Everyone crashing. Jonestown, post Kool - Aid. It looks like they have all simultaneously fallen asleep where they were standing or sitting. Danny stirs awake. Looks around. He stretches. KNOCKING OVER A BOTTLE OF BEER. ALL OTHER SOUND FADES OUT AS the beer SPLATTER to the floor. IT IS UNNATURALLY LOUD. DANNY staring intently at the spilling liquid. The beer pools up on the floor. Danny transfixed by the image. The last few drops of beer LOUDLY splashing down.", "EXT PAYPHONE - NIGHT Danny on the phone. DANNY C.I. number 678 - 43K - 107. -LRB- beat. -RRB- Tanner and Garcetti He hangs up.", "EXT. ALLEY - NIGHT Danny waiting in the shadows. A car, sans headlights, pulls into the alley and stops. Danny emerges from the shadows, opens the back door and lays on the back seat.", "INT. CAR - SAME Two guys in suits in the front, TANNER and GARCETTI. Tanner. blue eyes and SHAVED HEAD, an air of ex - military around him. Garcetti : swarthly and serious, a MIASMA OF BAD - ASS ATTITUDE. DANNY -LRB- lying on the back seat. -RRB- I've got a hot one. TANNER You go, boy. DANNY If it's all the same to you, I'd rather not dish right here in the middle of Crankville. Tanner drives out of the alley. TANNER Feeling the paranoia tonight, are we? DANNY Well, you know what they say, just because you're paranoid, does n't mean everyone's not out to slice your balls off and shove'em down your throat.", "EXT. PART - NIGHT Danny, Tanner and Garcetti outside the car in a deserted park. Danny pacing. TANNER You got a name? DANNY Bobby, rhymes with hobby. TANNER What? DANNY Never mind. Dude had a backfull of jailhouse tatts. QUICK FLASHES OF BOBBY'S TATTOOS. TANNER No last name? DANNY It was all pretty informal. Did n't have a lot of time to exchange pleasantries. Garcetti produces something from the front seat of the car and trudges over. GARCETTI This the guy? DANNY It speaks! The humorless Garcetti hands Danny a `` WANTED POSTER''. Bobby's mug shot glaring. DANNY That's him. He's a lot prettier in person though. GARCETTI Cut to the fucking chase, Flynne. DANNY Dude is bugging. Transparent spiders, plastic men - the whole nine yards. GARCETTI What's he holding? FLASHBACK - INT. CHEAP MOTEL ROOM - DAY Bobby's hand extracting the eightballs from a nylon bag full of meth. DANNY -LRB- O.S. -RRB- Couple of eightballs, maybe more. QUICK SHOT of an open drawer. A GUN can be glimpsed inside. DANNY -LRB- cont'd. -RRB- Cheap ass techno knockoff in the drawer with extra mags. ANOTHER QUICK GLIMPSE of the closet. A shotgun butt visable DANNY -LRB- cont'd. -RRB- 12 gauge in the closet. TANNER -LRB- O.S. -RRB- Any company? The WOMAN'S HAND protruding from underneath the mattress. DANNY -LRB- O.S. -RRB- Alas, the lovely Mrs. Bobby was playing the bologna in a Posturpedic sandwich. -LRB- beat. -RRB- And there was a kid. A SILHOUETTE visible through a crack in the BATHROOM DOOR. TANNER -LRB- O.S. -RRB- A kid? Are you sure? A BEAT - UP ELMO DOLL and SOME COLORING BOOKS on top of the dresser.", "EXT. PARK - NIGHT Back on Danny. DANNY Yeah. Pretty sure. -LRB- beat. -RRB- Oh yeah. he had a spear gun, too. TANNER God damn, Flynne, you are one observant tweaker. DANNY Somebody has to help you lazy bastards. Garcetti looks at Danny with contempt. They head back to the car. DANNY -LRB- cont'd. -RRB- Hey Tanner. you be careful, okay? TANNER Danny, I'm touched. DANNY Do n't be. I'm worried about the kid. GARCETTI Then why did n't you help the kid when you were there? DANNY Hey, you want me to do all your work for you, numbnuts? Garcetti throws Danny up against the car. Nose - to - nose. GARCETTI I'll tell you why you did n't help - because you're a chickenshit tweaking snitch. You're a bottom feader, Flynne. DANNY Garcetti, you're teeth, they're fucking perfect. Garcetti lets Danny go. Stomps off. DANNY You're welcome.", "EXT. CHEAP MOTEL ROOM - DAY A GAGGLE OF ONLOOKERS, including a NEWS CREW, watching from the parking lot. BOBBY'S WOMAN screaming at the top of her lungs as she tries to get a Bobby's sheet - covered body. A SWAT TEAM packing up nearby. One of them suddenly does a graceful little Tai - Chi gesture. A LITTLE GIRL clutches at the screaming woman's legs. REVEAL DANNY, amongst the onlookers. His expression gives nothing away. A ribbon of blood snakes from Bobby's body, over the parking lot curb and runs into a storm drain. As the blood SPLATTERS to the bottom, mixing with a pool of filthy water. THE SOUND IS UNNATURALLY LOUD.", "INT. RESIDENTIAL HOTEL - GARDENA - NIGHT. The place cries out `` YOU HAVE FINALLY HIT THE ABSOLUTE BOTTOM!'' Danny exist the stairwell and approaches his door. A WOMAN ONE DOOR DOWN FROM DANNY'S ROOM struggles with her groceries. When she goes to open the door, one of the bags breaks, spilling its contents onto the floor. Danny walks over. DANNY -LRB- approaching. -RRB- Let me help you with those. She scoops up the groceries and hurries into her room. Slamming the door behind her. DANNY -LRB- cont'd. -RRB- -LRB- loud through the door. -RRB- And to think Miss Manner was living down the hall from me and I did n't even know it! There is a can on the floor. Danny bends down to pick it up. DANNY -LRB- cont'd. -RRB- Hey, you left a can of. He looks at the can. INSERT - CAN The label is in CHINESE. DANNY -LRB- cont'd. -RRB- some Chinese looking shit out here. No reaction. DANNY -LRB- cont'd. -RRB- I'll just leave it by the door here. -LRB- beat. -RRB- I'm going now! After a moment, the door swings open. Danny is holding the can out with a big smile on his face. DANNY -LRB- cont'd. -RRB- You really oughta be more careful. This is not a good neighborhood. The woman smiles. A pretty smile. Sad too. WOMAN I was rude. I'm sorry. I'm kinda new around here. DANNY You did the right thing. -LRB- handing the can over. -RRB- What is this stuff anyway? WOMAN Fermented soybean curd. DANNY Yummy. She smiles again. World - weary. Sweet. Those eyes. Sad. Sexy. Sad and sexy. DANNY -LRB- cont'd. -RRB- My name is Danny Flynne. -LRB- off her silence. -RRB- And you are? WOMAN Colette Aragon. Thank you, Danny. She closes the door abruptly.", "INT. RESIDENTAL HOTEL ROOM - NIGHT The burning room from the opening scene. Danny's dirty clothes on the bed. He emerges from the shower, a towel wrapped around his waist. There is a BIG STAR - SHAPED SCAR on Danny's shoulder. He walks over to the closet, takes a METAL LOCKBOX from the top shelf and puts it on the bed. Pulls a key from his pocket and unlocks the box. He sits there staring at the contents for a moment, then gingerly takes them out. CLOTHES. A white dress shirt, black slacks and wingtips.", "INT. RESIDENTIAL HOTEL ROOM - NIGHT Danny dresses in his clothes, combing his hair. He goes back in the lock box and pulls something else out. A TRUMPET CASE. He walks over to the cheap vanity and sits down in front of the mirror and stars for a very long time. DANNY My name is Tom Van Allen. -LRB- beat. -RRB- I play the trumpet. He slowly opens the trumpet case revealing a GLEAMING HORN inside. Runs his fingers along the length of it and up to. A PHOTO OF A WOMAN taped to the inside of the lid. A self - conscious smile on her face like she's uncomfortable with having her picture taken. DANNY -LRB- cont'd. -RRB- -LRB- distant. -RRB- My name is Tom Van Allen. I play the trumpet. He takes the trumpet from the case - A CHECK from a LIFE INSURANCE COMPANY and a DRIVER'S LICENSE with Danny's picture and the name TOM VAN ALLEN. DANNY -LRB- cont'd. -RRB- My name is Tom Van Allen and I play the trumpet. He starts to play. `` Saeta'' again. AN IMAGE appears on THE BLANK WALL BESIDE HIM. MOVE OFF DANNY AND UP TO THE IMAGE. IN THE IMAGE - A HUGE LAKE in the middle of the DESERT. CONTINUE MOVING IN ON IMAGE AS WE CUT TO.", "EXT. SALTON SEA - SUNSET (FLASHBACK) Danny and THE WOMAN FROM THE PHOTOGRAPH sitting on the shore. Watching the sunset. She is his wife, LIZ. Danny playing `` SAETA'' on his trumpet. Danny and Liz are alone, except for the myriad birds, silhouetted by the falling sun. A gust of wind rushes across the lake, blowing Liz's hair all around her face. A dying fish on the waterline, gills pumping for oxygen. Danny finishes playing. Silence. IMPORTANT : DANNY WILL BE KNOWN AS TOM IN THIS SCENE. LIZ That's so. -LRB- not finishing the word. -RRB- DANNY / TOM Melancholy? LIZ Yes, it hurts my heart. What a beautiful composition. DANNY/TOM And the performance? LIZ -LRB- goofing. -RRB- A virtuoso rendition. TOM VAN ALLEN is nothing short of dazzling in his interpretation of Miles Davis' haunting, moody piece. DANNY/TOM Thank you. Thank you very much. LIZ And he has a really hot ass with hardly any hair on it. DANNY/TOM Again, I thank you. LIZ I was talking about Miles. Danny playfully tackles her to the ground. DANNY/TOM You, madam, are a heartless wench. LIZ And you've got wiener breath. DANNY/TOM Really? LIZ It's that disgusting hot dog you had for lunch. Danny starts kissing her over and over again. LIZ -LRB- laughing. -RRB- Tom! Gross! She finally pushes him off. He rolls off of her and snuggles up next to her, spooning her in the sand. DANNY/TOM You know how I make that song melancholy when I play it? I think of what my life would be like without you. Liz smiles, snuggles closer to Danny. LIZ Tom, let's spend the night here. DANNY/TOM There's no motels around here. LIZ No. Right here on the beach. Come on. Let's do it.", "INT. RESIDENTIAL HOTEL ROOM - NIGHT Danny sitting at the vanity holding the trumpet. THE IMAGE IS STILL PROJECTED ON THE WALL BEHIND HIM. DANNY -LRB- at the vanity, whispering. -RRB- Okay, we'll stay. We'll stay. NOW THE DANNY IN THE IMAGE ANSWERS. DANNY/TOM -LRB- on the beach. -RRB- Come on, Liz. We'll get eaten alive. DANNY -LRB- at the vanity, softly. -RRB- No. We'll stay. BACK ON THE IMAGE as Danny and Liz walk away from the shore. The sun sinks completely below the horizon. A long fish hawk floats on the last of the thermals. The dying fish breaths its last. Danny -LRB- at the vanity -RRB- closes his eyes. SERIES OF QUICK CUTS The trumpet goes back in the case. The lid is closed. The case goes back in the box. The neatly folded clothes are laid on top. The box goes back to the shelf. The light in the closet is turned off. FADE OUT. FADE IN.", "EXT. DESERTED PARK - NIGHT Danny and Tanner sitting across from one another at a picnic table. Tanner writing serial numbers down as he counts out SEVERAL HUNDRED DOLLAR BILLS. Danny watching silently. Tanner puts the bills in an envelope, licks the flap, seals it and slides it over to Danny, who does n't touch it. The envelope lays there between them for the following conversation. DANNY You think I'm a Judas? TANNER Hard to compare the people you're taking down with the Lord. DANNY Garcetti thinks I'm a pile of shit. TANNER Garcetti thinks everything is shit. He does n't even like dolphins. Danny smiles. TANNER -LRB- cont'd. -RRB- I'm serious. He hates'em. You ever hear of anyone who did n't like dolphins? Tanner shakes his head and smiles. DANNY Thanks for not judging me. TANNER It's not my place. DANNY Do n't you wonder why I do it? TANNER The money? The drugs? Keeping yourself out of jail? I know the drill. DANNY You do n't find that repugnant? TANNER Just the way the world works. Look, as far as tweakers go, you are n't a bad guy. You never hurt anyone but yourself as far as I know. DANNY Tell that to Bobby. and his wife and kid. TANNER Bobby laid his own tracks. He could have gone quietly but he played the hard - ass con till the end. And as far as I'm concerned, he wife and kid are a hell of a lot better off without him. -LRB- beat. -RRB- Now take the money. Danny stuffs the money into his jacket. TANNER -LRB- cont'd. -RRB- One think I do want to know is how the hell did you get yourself into this position to start with? You seem like a smart enough guy. DANNY It's a long story. Maybe I'll tell you all about it some day. Garcetti emerges from the men's room, zipping up. DANNY -LRB- cont'd. -RRB- Hey, Garcetti. You ever get confused and try to flush yourself? Garcetti -LRB- all business. -RRB- You tell him? TANNER I was getting to it. DANNY -LRB- to Tanner. -RRB- Tell me what? GARCETTI I'll tell him. DANNY -LRB- worried. -RRB- Tell me what? Garcetti sits down next to Danny. Sighs. GARCETTI -LRB- mock concern. -RRB- Danny, it's really pains me to have to tell you this, but do you remember DOMINGO, that wetback you helped us put away for trafficking a few months back? DANNY Yeah. What about him? GARCETTI Turns out he's connected. DANNY To who? GARCETTI The Mexicali Boys DANNY And what does this have to do with me? Garcetti puts his hand on Danny's shoulder, really playing it up. GARCETTI He knows somebody ratted him. DANNY What?! GARCETTI And he's making a lot of noise about having his homies hang a Colombian necktie on whoever it was. Garcetti leans in close GARCETTI -LRB- cont'd. -RRB- You know that thing where they slit your throat and pull your tongue out of the hole. Danny knocks Garcetti's hand away and stands up. Garcetti stalks him. GARCETTI -LRB- cont'd. -RRB- Apparently they call it a necktie because it hangs down about yay long and looks very similar to a tie. Is n't that weird, Danny? Is n't that weird? DANNY Shut up, Garcetti! Danny turns to Tanner DANNY If he finds out it's me, I'm a dead man. TANNER Danny, he is n't gon na find out it's you. Domingo was a slinger, he must have sold to hundreds of different people. Danny paces back and forth. TANNER -LRB- cont'd. -RRB- And if you're that worried about it, maybe you ought to get out of town. DANNY How the hell am I gon na do that? You guys are still stringing me a long on that possession charge. GARCETTI -LRB- mock surprise. -RRB- You mean that has n't been cleared up yet? Garcetti chuckles at Danny's fear DANNY Fuck you, Garcetti. I been at this for almost a year. I've done everything you guys have asked of me. GARCETTI Anyone ever ask you to be such a disrespectful smart - ass all the time? TANNER Look, we'll talk to the A.D.A. DANNY When? TANNER Soon. I promise. We'll get the charges dropped and you can disappear. In the mean time, trust me, he has no idea that you ratted him out.", "EXT. CEMETERY - NIGHT Danny sitting cross - legged in front of a gravestone. A PICKUP TRUCK slowly winds its way up the access road towards Danny. Danny stands up. Dusts his pants off. The truck stops nearby. The strains of GARTH BROOKS from inside. Danny approaches. The passenger's side window rolls down revealing. A BAD - ASSED ASIAN DUDE behind the wheel. He wears a cowboy hat and a rodeo belt. He looks like the Chinese Marlboro man. This is BUBBA. An AIRBRUSH painting on the door panel - a bad likeness of Bubba astride a horse, dressed as a cowboy with a huge - breasted Pamela Anderson - type on the saddle behind him. DANNY -LRB- checking out the painting. -RRB- Ride'em cowboy. -RRB- BUBBA -LRB- southern twang. -RRB- You like that? DANNY Who would n't? BUBBA First rate, ai n't it? DANNY It's downright classy is what it is. Bubba fires up a cigarette, revealing a pock - marked face. He carries a gun in a tooled leather shoulder holster. DANNY -LRB- cont'd. -RRB- You consider my presentation? BUBBA Get in, hoss. We'll talk it over. Danny climbs in. The window goes back up. As the care pulls away, we. MOVE back over to the gravestone. The stone reads : `` ELIZABETH VAN ALLEN. BELOVED WIFE''", "EXT. THE CINDER BLOCK BAR - NIGHT A non - descript. cinder block bar. No windows. No frills.", "INT. CINDER BLOCK BAR - SAME Danny sitting at the bar, nursing a drink. He looks nervous, eyes darting around for potential assassins. He has nothing to worry about with this crowd, harmless alcoholics all. Jimmy The Finn enters and approaches Danny. Danny signals for Jimmy to go to the back, then gets up and follows him, carrying two beers. DANNY Jimmy, you do n't look so hot. Jimmy has dark circles under his eyes. JIMMY I'm hurting. DANNY You on a roll? JIMMY Was. I'm on the fucking ghost train right now, man. You got anything for me? DANNY Sorry. JIMMY Why does it have to feel so bad? DANNY You're brain is in reverse mode. cutting off your supply of dopamine. Here. Have a beer. Jimmy sighs, scratches his arms. They are all scabbed up. DANNY -LRB- cont'd. -RRB- You see the crank bugs? JIMMY Oh yeah. -LRB- guzzles some beer. -RRB- Man, Danny, how do you keep your shit together so tight? Danny chuckles. DANNY That's a good one. JIMMY I'm serious, dude. You always seem to be on top of things, even when you're tweakin'. DANNY I guess there's just no substitute for good genes. Jimmy finishes his beer. Danny signals to the cocktail waitress for more beer. DANNY -LRB- cont'd. -RRB- You hear about Bobby? JIMMY Yeah, it's a pity. Truly a pity. Danny smiles at Jimmy's choice of words. JIMMY -LRB- cont'd. -RRB- He was a good supplier. -LRB- gets an idea. -RRB- You think maybe there's any drugs left in his room? You know, like hidden? DANNY I kind of doubt it, Jimmy. The beers arrive. Jimmy lays into his, downing it in one long gulp. Danny slides his over. JIMMY So, why'd you want to see me? DANNY Business. I need to leave town and I find myself in dire need of some cash. JIMMY See that? That's just what I'm talking about. DANNY What? JIMMY You. You're smooth. You use words like dire and shit. You got language skills, man. DANNY Do n't get carried away. JIMMY I find myself in dire need of some cash. Jimmy shakes his head in wonder. DANNY You remember that guy you told me about. said he could handle a big hook - up? JIMMY Yeah, Pooh - Bear. Dude is a big - time cook. I'm talking dire. DANNY I know a buyer. Guy's looking for a quarter's worth. Jimmy frowns. JIMMY A quarter? Danny that ai n't even worth. DANNY A quarter of a million, Jimmy. Jimmy's a drug - addled eyes catch a glimmer. JIMMY Fuuuuuck DANNY Can your man handle that? JIMMY I think so. I mean, we'd have to talk to him. DANNY Can you set that up? JIMMY Sure. Jimmy sucks what's left of his beer down. JIMMY -LRB- cont'd. -RRB- What's in it for us? DANNY I'm getting a 10 % finder's fee from my man if I can get the right price. JIMMY 10 %. That's. Jimmy becomes paralyzed by the math. DANNY 25 grand. You introduce me to your boy, I'll cut you five grand out of my take. That's all you got ta do, just get me in the door.", "EXT. STREET - NIGHT Danny walking home. Sparse traffic on the street. He walks with his head down and his hands thrust in his pockets. A RED CAR approaches from the opposite direction. It SLOWS as it passes Danny. Danny looks over. The DRIVER is obscured by the reflected glare of a streetlight, but it is obvious that he is staring right at Danny. Danny plays it cool. Keeps walking. The red car pulls a SLOW U - TURN. Danny hauls ass. The red car catching up. 7Danny runs down a service street which runs through the back of a series of apartment complexes. The red car follows, slowly prowling the street. Danny squeezed behind a dumpster, watching. It is now too dark to see the driver. The car comes to a stop. Danny hugging the dumpster tight. Another car pulls into the tight street, behind the red car. The driver of the other car SOUNDS HIS HORN. The red car speeds off. Danny walks quickly the other way.", "INT. BARE APARTMENT - NIGHT A WAY - TOO - YOUNG BLACK KID stares DIRECTLY AT CAMERA, an ARRAY OF HANDGUNS, KNIVES, RIFLES AND SECURITY EQUIPMENT spread out on the dining room table before him. He is squeezed into a terry - cloth jumpsuit, his body festooned with gold jewelry, his hair all wet jerry - curl. He looks like Barry White, Jr.. KID Mister, I only deal in high - end weapons. All guaranteed stolen and traceable only to their original owners. All sales are final and all prices are negotiable. The kid speaks in a HUSKY MONOTONE, completely FLAT and HUMORLESS. He sounds like one of those kids selling candy door - to - door with a memorized pitch told by rote. KID -LRB- cont'd. -RRB- -LRB- rapid fire delivery. -RRB- Glock semi - automatic 9 mm. Tenifer matte finish, Polymer grip, fixed sights, 4 and 1/2 inch barrel, 22 ounces, double action and a 10 round magazine. Mister, I could hook you up with this gun for the low price of three hundred and `` fitty'' dollars - well below market value. -LRB- next gun, no pause. -RRB- Tangfolio semi - automatic. This a 9mm too - seems to be the weapon of choice - try one and you'll understand why. Rubber grips, adjustable 3 dot sights, 4 and 1/2 inch barrel, 33 ounces. Check out the eye - catching extended beaver tail just above the grip. Got mad - ass double action and a surprising 16 round magazine. Mister, I want to sell you this gun and I can hook you up for the low price of 200 dollars. -LRB- next gun, breakneck pace. -RRB- Maybe you looking for something in a chrome finish. Something to impress the ladies. This right here is a Llama Mini - Max.38 Super Auto. semi - automatic. Fresh satin chrome, black rubber grip, 3 dot fixed sights, 3 and 1/2 inch barrel, skeletonized hammer with an extended slide release, eight capacity magazine and single action. Mister, I wo n't lie to you, this gun is not the bomb - it'll do the job, KID -LRB- cont'd. -RRB- but it ai n't all that. That's why you can walk out of here with this gun for the incredible low price of one hundred and `` fitty'' dollar. -LRB- next one. -RRB- Maybe you looking for power, mister. This gun got mad power, mad kick and mad reputation. That's right, it's the Colt.357 Magnum revolver. Rubber combat - style grip, fixed rear, ramp front sights, 2 inch barrel. Weighs in at a feather - like 21 ounces. 6 shot capacity with double action. Mister, if you're looking for impact, the Magnum will satisfy all of your needs. -LRB- the last gun. -RRB- I do n't know you, mister, but you look like a man of style so maybe you in the market for a custom piece. Mister, it's your lucky day'cause this gun got style to burn. You lookin' at the Les Baer Custom Premier Tactical 45. Fresh blue finish, deluxe grips, 5 inch barrel, 37 ounces, guaranteed to shoot 1\u00a01/2 groups at a distance of 50 yards. Aluminum speed trigger, throated barrel, single action with 12 shot capacity magazine. I could see you with this gun, mister. And I can give it to you for the low price of seven hundred and ninety - five dollars. Mister, these are my guns. All sales are final, and all prices are negotiable. He finishes. staring at. Danny and Jimmy, standing there, wide - eyed and amazed by the incredible sales pitch.", "EXT. BAD NEIGHBORHOOD - NIGHT Rows of decaying stucco apartment buildings. Danny and Jimmy walking away from one of the structures. Danny pockets the GLOCK he just purchased. He also carries a BULLET - PROOF VEST over this shoulder. DANNY Jimmy, where do you find these people? JIMMY The Del Ammo Mall mostly. They walk along. JIMMY You wan na score some go - fast? DANNY Not tonight. They continue on. Jimmy looks at the vest. JIMMY Hey, why do you need a gun and a vest anyway? DANNY Personal protection. It's a dangerous world we live in, Jimmy, a very dangerous world.", "INT. RESIDENTIAL HOTEL - NIGHT A TRASHY LOOKING DUDE banging on Colette's door. Danny at his door, fumbling with his keys, watching the dude. DUDE -LRB- sees Danny eyeballing him. -RRB- You mad dogging me, Bitch? DANNY Heavens no. I was just admiring your boots. The dude looks down at this beat - up motorcycle boots. DANNY Did you purchase them locally? The dude ignores Danny and keeps pounding on the door. DANNY -LRB- cont'd. -RRB- Goodbye now. Nice meeting you.", "INT. RESIDENTIAL HOTEL ROOM - NIGHT Danny enters. AN ARGUMENT ENSUES NEXT DOOR between the dude and Colette. The sounds of a struggle. Colette screams. The dude yelling at the top of his lungs. A LOUD SMACK. SILENCE. Colette sobbing. The dude talking in hushed tones, contrite.", "EXT. FREEWAY - DAY A spray painted rusty Chevy Vega belching black smoke. All of the lights are broken.", "INT. VERA - SAME Jimmy driving. Danny in the passenger's seat, looking down at. the floorboard, or lack thereof. It is completely rusted out. The freeway rushes by underneath. DANNY You know, Jimmy, you might as well put a sign on the back of this thing asking the cops to pull you over. JIMMY You mean, like to throw'em off? DANNY Yeah, that's what I mean. -LRB- beat. -RRB- Where the hell does this guy live anyway? JIMMY Palmdale DANNY Why do they call him Pooh - Bear? JIMMY I think on account of his nose. DANNY You're going to have to explain that one. JIMMY He does n't have one. DANNY You're going to have to give me a little more than that, Jimmy. JIMMY Well, you know how Winnie the Pooh always got his nose stuck in the honey jar? Well, Pooh - Bear snorted so much crank, they had to cut his nose off. He's got a plastic one though. Danny wonders what he's getting himself into. JIMMY -LRB- cont'd. -RRB- You know, they say he has n't slept in over a year. DANNY You ever see Queen Elizabeth sleep? JIMMY No. -LRB- beat. -RRB- You think she's a tweaker?", "EXT. POOH-BEAR'S COMPOUND - DAY A sprawling old ranch house tucked into the remote hills of the desert. A GUY passes out in the front yard. A DOG sniffs at him, then starts pissing on him. He never moves. A PILE OF DEAD PIGEONS near the driveway. CLOSE ON POOH - BEAR - he does indeed have a prosthetic nose. It almost blends in with his face but not quite, making it that much more disconcerting. He takes a huge hit of crystal meth from a pipe, holds it, then blows a long exhale. POOH-BEAR Okay, here we go gentlemen. A REMOTE CONTROLLED CAR trundles out of the garage and along the driveway. Inside the car, FOUR PIEGEONS, their bodies wrapped in tape. Pooh - Bear working the remote control device. POOH-BEAR -LRB- cont'd. -RRB- Zapruder? A GUY filming the whole thing with a super - 8 camera. GRAINY SUPER 8 FOOTAGE : the pigeons continue along, their stupid eyes glazed with confusion. ZAPRUDER Ready. POOH-BEAR Oswald? ANOTHER GUY sighting a scoped pellet gun. OSWALD Roger that. POOH-BEAR Grassy knoll? A THIRD GUY aiming a pellet gun further down and to the right of `` Oswald''. GRASSY KNOLL Ready POOH-BEAR Third shooter? THE THIRD SHOOTER is also armed with a pellet gun THIRD SHOOTER It's a go. Pooh - Bear watches anxiously. POOH-BEAR President Kennedy waving to the crowd, his lovely wife looking radiant beside him as they turn into Dealey Plaza. GRAINY FOOTAGE : the car making a turn, the pigeons oblivious. POOH-BEAR -LRB- cont'd. -RRB- Stand by, gentlemen. Stand by. -LRB- beat, eyes widening. -RRB- Steady. steady. FIRE! The three men open up simultaneously. GRAINY FOOTAGE : a mass of feathers flying as the pigeons are hit. Pooh - Bear pumps his fist. POOH-BEAR -LRB- cont'd. -RRB- Yes! Yes! -LRB- beat. -RRB- Out! That's a wrap. Good job, boys. Good job. The car continues rolling past the feet of. Danny and Jimmy, who have been watching the whole thing from the periphery POOH-BEAR -LRB- cont'd. -RRB- -LRB- to Danny and Jimmy. -RRB- So? What do you think? DANNY/JIMMY -LRB- ad - libbing. -RRB- - Cool. - Yeah. Interesting. Pooh - Bear takes the camera from `` Zapruder''. POOH-BEAR -LRB- holding up the camera. -RRB- I'm gon na get this developed and send it to the Warren Commission. DANNY Um, I think the Warren Commission has been closed for a while. POOH-BEAR No shit? -LRB- thinking. -RRB- Fuck it. I'll send it to Oliver Stone then. He'll get them to reopen the bastard. OSWALD -LRB- O.S. -RRB- Pooh - Bear! We got a problem. Oswald is standing over the car, prodding one of the pigeons with his pellet gun. OSWALD -LRB- cont'd. -RRB- J.F.K.'s still alive. -LRB- beat. -RRB- Should I finish him off?", "INT. POOH-BEARS HOUSE - DAY Pooh - Bear and Danny alone in the kitchen. POOH-BEAR So, Danny, Jimmy tells me you have a proposition for me. Pooh - Bear picks at a plate of SCRAMBLED EGGS on his lap. DANNY Yeah, I uh, have a buyer who's looking for about a quarter's worth. POOH-BEAR Crank or glass? DANNY The good stuff. Can you handle that? Pooh - Bear chews his food and nods. POOH-BEAR I'm sorry. Would you like a taste? DANNY No, I'm good. POOH-BEAR I insist. It's delicious. Just a taste. Not wanting to offend him, Danny concedes. Pooh - Bear shovels some eggs into Danny's mouth. DANNY Not bad. POOH-BEAR Secret recipe. Pooh - Bear winks and shovels some more down. DANNY Can we talk price? POOH-BEAR Make me an offer. DANNY I do n't know, 14,000 a kilo? POOH-BEAR I deal in U.S. pounds, friend. None of that faggot metric crap for me. DANNY Okay. How about um. 6,000 a ounce. POOH-BEAR -LRB- enthusiastic. -RRB- Hey, okay. Danny looks surprised. It was too easy. DANNY You're serious? POOH-BEAR Anything for a dear friend. DANNY But I just met you. POOH-BEAR But you're a friend of Jimmy's. I think of you as a brother already. Pooh - Bear takes another bite of eggs. DANNY So that's 40 lbs. at 6 a pound then? POOH-BEAR If you say so. DANNY Pooh - Bear, I do n't mean to be rude, but I get the feeling you are n't taking me seriously. Pooh - Bear puts the plate down. POOH-BEAR Maybe you're the one who is n't taking me seriously. DANNY Why do you say that? POOH-BEAR I welcome you here with open arms and you got the nerve to low - ball me like some slick used car salesman. DANNY Hey, I was just trying to. POOH-BEAR -LRB- never losing his smile. -RRB- I want to tell you about the last guy who tried to jam me up on a deal. DANNY Hey, I do n't play that. POOH-BEAR I'm sure you do n't. At least I'm sure you think you do n't. Anyway, I want to tell you. It's a good story, guaranteed to break the ice at a party. Pooh - Bear leans back, grinning broadly POOH-BEAR -LRB- cont'd. -RRB- Dude shorted me eleven dollar. thought I would n't count it till I got home. Wrong. -LRB- beat. -RRB- You know what I did? -LRB- beat. -RRB- I clamped his head in a vice. QUICK FLASH BACK : LOW ANGLE SLOW - MOTION CLOSE - UP of Pooh - Bear staring down at something OFFSCREEN, a menacing look on his face. POOH-BEAR -LRB- V.O. -RRB- You should have heard him howling. BACK TO PRESENT : Pooh - Bear lights a cigarette POOH-BEAR Then I took a Saws All and I cut His skull open QUICK FLASH : CONTINUE SLOW MOTION CLOSE UP. Pooh - Bear reaching for something OFFSCREEN. POOH-BEAR -LRB- V.O. -RRB- -LRB- calmly. -RRB- You know, those Saws All really do cut through everything. BACK TO PRESENT : Danny getting nervous. DANNY Look, you do n't have to. POOH-BEAR -LRB- cont'd. -RRB- So I'm standing there looking at this dude's brain and I'm thinking to myself, you know, this guy does n't really need this thing. I mean, anyone stupid enough to jam me up does n't really use their brain to begin with. You know what I'm saying? -LRB- beat, dead serious. -RRB- So I took it. Pooh - Bear makes a POPPING SOUND as he illustrates with his hands. QUICK FLASH BACK : Pooh - Bear looking down at SOMETHING in his hand, his face blossoming into a sick smile. BACK TO PRESENT : Danny listens somberly. POOH-BEAR -LRB- cont'd. -RRB- Hell, I make better use out of it than he ever did. Got it up in my freezer. I take it out from time - to - time, mix a little of it up in my dinner. -LRB- looks at the plate of eggs. -RRB-. of breakfast. ON THE PLATE - little chunks of gray matter mixed in with the eggs. Pooh - Bear smiles knowingly. Danny turns pale. POOH-BEAR 10,000 a pound Danny decides to nerve it out DANNY Now you're insulting me. Nice talking business with you. Danny gets up to leave. One of his hands shaking uncontrollably. He steadies it with the other hand. POOH-BEAR 9,000. Take it or leave it. Danny stops. DANNY I'll leave it. Eight is as high as I'll go. See ya'. Danny goes to leave again. POOH-BEAR All right, all right. Do n't get your knickers in a knot. I can live with eight. Pooh - Bear stands up. POOH-BEAR -LRB- cont'd. -RRB- You got a deal. They shake hands. POOH-BEAR God damn, Danny, you got some nerve. Pooh - Bear respects that. -LRB- beat. -RRB- Oh, by the way. Pooh - Bear takes something from the kitchen counter and tosses it on the table. a store - bought package of COW BRAINS. QUICK FLASH BACK : REVEAL that Pooh - Bear has been standing at the meat section in a GROCERY STORE. He is looking down at the package of COW BRAINS in his hand. POOH-BEAR -LRB- in the grocery store. -RRB- Hmm. Good price. Pooh - Bear tosses the package in his cart and walks away, whistling. POOH-BEAR -LRB- cont'd. -RRB- You want to stay for lunch? Danny has been had. Pooh - Bear laughs uproariously.", "INT. VEGA - DAY Danny slouched in the passenger's seat. Jimmy holds out a bullet dispenser of crank. JIMMY You want a hit? DANNY No. I'm good. Jimmy pockets the drugs. JIMMY Can I ask you something? DANNY Sure, Jimmy. JIMMY What does J.F.K. stand for? DANNY John Fitzgerald Kennedy. JIMMY Was he the president? DANNY Yes, Jimmy Jimmy drives for a while, then. JIMMY Danny? DANNY Yes, Jimmy. JIMMY Thanks for not laughing at me.", "INT. CINDER BLOCK BAR - NIGHT A DAPPER OLD MAN in a wheelchair crooning a Muzak - like version of Lou Reed's WALK ON THE WILD SIDE on a cheapo Karaoke set - up in the back of the bar. OLD MAN -LRB- softly, a la Perry Como. -RRB- Sugar Plum Fairy never once gave it away. Everybody had to pay and pay. Danny, Jimmy, Kujo and Creeper sitting in a booth. Jimmy and Creeper are amped, jaws grinding, eyes bugging. Kujo rambles on but Danny is n't listening. He looks exhausted, his face is pinched, there are bags under his eyes. He scans the bar, stopping on. Colette AND HER TRASHY DUDE BOYFRIEND Colette sees Danny looking. Smiles at him. Danny returns the smile until the trashy dude looks over. Danny looks away. KUJO Danny, listen up. Here's the deal. my wife's pimp knows a guy who works at Cedars Sinai medical lab. They're getting a very special delivery a week from this Friday. JIMMY What is it, drugs? KUJO Better than drugs. Kujo leans in and lowers his voice KUJO Bob Hope's stool specimen. -LRB- beat. -RRB- We're gon na boost it. DANNY Why in God's name would we want to do that? KUJO So we can sell it. DANNY To who? KUJO I do n't know. A collector. Fuck Danny, it's Bob Hope. CREEPER He is a national treasure. Danny shakes his head in amazement, then looks back at Colette again. She sneaks another look at him. ON THE TABLE - Kujo slides a drink glass in front of him. KUJO Check it out. This is the lab.", "INT. HALLWAY - DAY (FLASH FORWARD) A stark hospital hallway. A placard on one of the doors - MEDICAL LAB. A TITLE APPEARS - `` KUJO'S BIG HEIST''", "INT. CINDER BLOCK BAR - NIGHT Creeper points at the glass. CREEPER What is that? KUJO It's the lab. CREEPER I mean what kind of drink? KUJO Cuba Libre JIMMY What is that? Rum and coke? KUJO Do n't worry about it. JIMMY I just want to be straight on the details. Can I taste it? KUJO No, you ca n't taste it. It's the fucking lab! Now shut up. Danny amused by the conversation. He sees something out of the corner of his eye. The boyfriend kissing Colette roughly. She obviously is n't enjoying it. Danny watching intently. KUJO -LRB- cont'd. -RRB- Danny, come on. If I'm gon na let you in on the opportunity of a lifetime, the least you can do is pay attention. Danny turns back to the table. Kujo slides another glass over. KUJO -LRB- cont'd. -RRB- This is the courier CREEPER You should use something smaller. He's the same size as the office. It does n't ring true. Kujo rolls his eyes. He uses a peanut instead. OLD MAN -LRB- O.S. -RRB- And the colored girls sing doot - de - doot.", "INT. HALLWAY - DAY (FLASH FORWARD) A courier exits from the elevator carrying a medical sample case. KUJO -LRB- O.S. -RRB- He delivers at four o'clock on the nose every Friday. Alpha team will be in the elevator with the courier. That'll be Danny and Creeper. MOVE INTO THE ELEVATOR - Creeper standing in the corner alone, asleep on his feet, drool trickling down his mouth. KUJO -LRB- cont'd. -RRB- Every member of the team will be equipped with night vision goggles, a police scanner and two - way radios. The elevator door closes on the dosing Creeper.", "INT. CINDER BLOCK BAR - NIGHT He slides over two peanuts behind the courier peanut. KUJO -LRB- cont'd. -RRB- number two team, which will be me and Jimmy, will be positioned in the stairwell at the other end of the hall. Kujo slides over two more peanuts. The trashy dude heads into the bathroom. Danny sneaks another look at Colette. This time, she gives him a big smile.", "INT. HALLWAY - DAY (FLASH FORWARD) Kujo emerges from the stairwell, also alone, approaching the courier. He is wearing shorts, a tank top and after - ski boots. He has a big powdery crank donut around his nostrils. KUJO -LRB- cont'd. -RRB- With alpha team following from the elevator, number two team will approach from the stairwell, cutting the courier off before he reaches the lab. Creeper still fast asleep inside the elevator. He wakes with a start, breaking down into a karate stance.", "INT. CINDER BLOCK BAR - NIGHT The courier peanut is now surrounded by the other peanuts and the cashew. KUJO -LRB- cont'd. -RRB- Facing superior numbers and an array of high - tech weapons, the courier will have no choice but to comply with our demands.", "INT. HALLWAY - DAY (FLASH FORWARD) Kujo and the courier playing tug - of - war with the case. Kujo points a dustbuster vacuum at the courier like it was a gun.", "INT. CINDER BLOCK BAR - NIGHT Jimmy listening intently, takes some of the peanuts. KUJO Jesus Jimmy, you at the alpha team. JIMMY I thought you were done. Jimmy pulls peanut paste from his mouth and mounds them up on the table. OLD MAN I said hey sugar, take a walk on the wild side. KUJO -LRB- cont'd. -RRB- Now here's the beautiful part. The getaway. Both teams will rappel right down the center of the stairwell, change clothes and walk right out the front door like nothing happened.", "INT. HOSPITAL - DAY (FLASH FORWARD) Kujo tumbling head - over - heals down the metal steps. He gets to his feet, a bloody mess. The kit has sprung open, sending shit samples everywhere. Kujo quickly scrapes as much as he can back into a container and runs off.", "EXT. CEDARS SINAI - DAY (FLASH FORWARD) Kujo bolts out the front door, into the street and directly into the path of. an ONCOMING AMBULANCE, which drags him underneath for a good fifty feet.", "INT. CINDER BLOCK BAR - NIGHT Danny watches as the trashy dude exits the bathroom. KUJO So what's it gon na be, Danny boy? You in or out? Trashy dude goes to Colette. It looks like he wants to leave and she does n't. KUJO -LRB- cont'd. -RRB- Danny! Trashy dude grabs her by the back of the neck, lifts her off the stool and pushes her out the front door. DANNY -LRB- watching Colette. -RRB- I'm afraid I'm gon na have to pass on this one, boys. Danny watches her exit.", "INT. RESIDENTIAL HOTEL - NIGHT (LATER) Danny approaches his door. Stops. Colette is sitting in the hall, head in hands, sobbing. Danny starts to say something. Stops. Goes to this door. Stops again. DANNY You okay? She nods. DANNY -LRB- cont'd. -RRB- Well. good night then. Danny starts to enter again. Stops again. DANNY -LRB- cont'd. -RRB- Why are you out here? COLETTE Quincey, my boyfriend. he kicked me out. Danny is n't quite sure what to do. He takes a half - step towards her. DANNY Look. I'd like to help you out. but I really do n't want to get involved. COLETTE I understand. Thanks anyway. She looks up. That face. Those eyes. Everything about her says `` Get involved.''", "INT. COFFEE SHOP - NIGHT Danny and Colette in a near - deserted retro coffee shop. A LONE WAITRESS AND COOK mull behind the counter. Colette's mascara is running. Danny hands her a napkin. COLETTE Thanks. She dabs at her eyes. COLETTE -LRB- cont'd. -RRB- I'm so embarrassed. DANNY Do n't be. She looks at herself in a compact mirror. COLETTE Jesus, I look like a raccoon. DANNY I was thinking Alice Cooper. She puts her head in her hands. Sighs. COLETTE Oh God. DANNY Come on, cheer up. It could be worse. She looks up. COLETTE How? DANNY I do n't know. you could be staking your financial future on stealing Bob Hope's stool specimen. She laughs DANNY -LRB- cont'd. -RRB- See. No matter how bad things are, there's always someone a little worse off. COLETTE What about the guy on the very bottom? DANNY Leave me out of this. COLETTE That bad, huh? Danny holds up his water glass. DANNY Nevertheless, I still try to see the glass as half - full. He takes a sip. DANNY -LRB- cont'd. -RRB- Problem is, it's usually half - full of something that tastes a lot like urine. He pulls a face. Sets the glass down. COLETTE Could be worse. -LRB- beat. -RRB- Oh sorry, forgot who I was talking to. DANNY Ouch. Colette sips her coffee. Danny looks around nervously. DANNY -LRB- cont'd. -RRB- Hey, did I mention that I was a coward? Colette frowns, not sure what he means. DANNY -LRB- cont'd. -RRB- Quincey. You sure he is n't gon na come looking for you? COLETTE Do n't worry, he's probably passed out with his head in the toilet by now. DANNY This man sounds like a real catch. COLETTE Oh, he's a keeper all right. DANNY Colette. He stops. COLETTE What? DANNY Nothing. COLETTE Go ahead. DANNY Look, it's really none of my business but why do n't you just dump this guy? COLETTE It's not that easy. DANNY Do n't tell me, down deep he's really not a bad person and you do n't want to see him get hurt. COLETTE Who the fuck are you, Dr. Joyce Brothers? -LRB- beat. -RRB- I hate the son - of - a - bitch. DANNY Then leave. COLETTE I ca n't. DANNY Why not? COLETTE You do n't understand. DANNY There's nothing to understand. The guy is a pig. COLETTE I ca n't leave. DANNY You get off on abuse or something? COLETTE Fuck you. DANNY Then why do n't you leave? -LRB- beat. -RRB- Just give me one good reason. COLETTE Because he'll kill me. The waitress and cook look up. COLETTE -LRB- cont'd. -RRB- Is that simple enough for you? DANNY Why do n't you call the cops? COLETTE Why? They do n't hold him for more than a day or two. DANNY That's long enough to get out of town. COLETTE I ca n't. I've got a kid. She lives with my parents. Quincey knows where they live. Danny chews it over for a second then. DANNY Then make sure he gets put away for longer. COLETTE How? Danny hesitates, not sure of how much he wants to get involved. COLETTE -LRB- cont'd. -RRB- Tell me how. DANNY I do n't know. -LRB- beat. -RRB- Let me think about it.", "EXT. STREET - NIGHT Urban blight abounds", "INT. BURNED OUT BUILDING - NIGHT The grafitti - filled, cluttered shell of what used to be some sort of offices. BUBBA THE ASIAN COWBOY sitting on a desk. Danny pacing back and forth in front of him. BUBBA -LRB- Texas drawl. -RRB- I wan na do a small buy first. Ten thousand. We'll see how it goes. DANNY Why? The guys is ready to deal now. BUBBA Because I do n't know him and I do n't really know you, partner. DANNY Now that's down - right insulting. BUBBA I'll have to live with that. My money my risk, my rules. Bubba takes a plastic - wrapped bundle of money from his pocket. Tosses it on the table.", "EXT. ALLEY - SAME Tanner and Garcetti ensconced in an alley diagonally across the street. Garcetti pointing a LONG - RANGE PARABOLIC MICROPHONE at the burned out building. He and Tanner wear earpieces, which are attached to the mike. DANNY -LRB- O.S. -RRB- -LRB- filtered, broken. -RRB- I guess I do n't have a hell of a lot of choice. BUBBA -LRB- O.S. -RRB- -LRB- filtered. -RRB- Get used to it. You're in a very tenuous position on the food chain, hoss. Garcetti removes his earpiece and turns to Tanner. GARCETTI You thinking what I'm thinking? TANNER Yeah. This could be the one we're looking for.", "EXT. BURNED OUT BUILDING - SAME Bubba exits the building and disappears around the corner.", "INT. BURNED OUT BUILDING - SAME Danny now alone. He picks up the bundle of cash. Turns to leave when. Tanner and Garcetti enter the building. Danny turns and runs the other way. TANNER Hold it right there, Flynne. Danny stops. DANNY Jesus, you almost gave me a heart attack! Danny secretly pockets the bundle of cash. DANNY What the hell are you doing here? TANNER Question is, what are you doing here? DANNY I was trying to score some dope. TANNER Cut the shit, Flynne. DANNY Someone want to tell me what the hell is going on here? TANNER Okay, asshole, you wan na play, we'll play. Tanner takes out a pair of black leather gloves. DANNY -LRB- serious. -RRB- What did I do?! Tanner approaches him. Danny backs into a corner. DANNY -LRB- cont'd. -RRB- This is a joke, right? You put him up to this, Garcetti? Garcetti is mum. Tanner raises his fists. Danny covers his face. DANNY -LRB- cont'd. -RRB- Come on Tanner. do n't. Tanner starts swinging but SOMETHING UNEXPECTED. TANNER HITS LIKE A WIMP. The punches have absolutely no effect. Danny ca n't help it. HE STARTS LAUGHING. Tanner throws some more creampuffs. Garcetti shakes his head with shame. TANNER -LRB- shrieking, failing. -RRB- You think this is funny motherfucker? DANNY -LRB- still laughing and covering up. -RRB- I ca n't help it, Tanner, you hit like a fucking girl. This makes Tanner even madder. His punches become wilder and even less effective. DANNY Garcetti, do something. Garcetti tires of the whole show. He pulls a small SHOCK GUN from his pocket, switches it on and sticks Danny behind the neck with it. Danny crumples to the floor. Tanner kicks him in the face. Garecetti squats down next to Danny. GARCETTI We know what's going on. DANNY -LRB- in pain. -RRB- I still do n't know what you're talking about. Garcetti jams the stun - gun into Danny's crotch. DANNY HOWLS. Garcetti lays off. Danny lays there whimpering. GARCETTI Okay, let me help you. You're setting up a deal with a Chinese redneck. Quarter of a million. Garcetti holds up a tap. GARCETTI -LRB- cont'd. -RRB- We just listened to the whole thing. Danny gaped - mouthed. He ca n't believe it. GARCETTI -LRB- cont'd. -RRB- Somebody tipped up, dipshit. DANNY Jimmy? GARCETTI Who the hell is Jimmy? DANNY He's the only one I told. GARCETTI And he probably only told two people and they probably only told four people and on and one. You know better than to tell a secret to a tweaker, Flynne. Might just as well broadcast it on the evening news.", "INT. BURNED OUT BUILDING - NIGHT (LATER) Danny sitting on a crate. He is sporting a BLACK EYE from where Tanner kicked him. Garcetti at the desk dusting the plastic wrapper on the bundle of cash for prints. Tanner paces back and forth in front of Danny. DANNY I met the guy at a party. He said he wanted to do a biggie. He's new in town so I offered my services. TANNER This chink have a name? DANNY Bubba. Tanner rolls his eyes. DANNY -LRB- cont'd. -RRB- I swear. That's all he gave me. Hell, I did n't give him my real name either. -LRB- off their skeptical looks. -RRB- He figured the less we know about each other, the better. TANNER You better not be blowing smoke up My ass, Flynne. DANNY After that ass - whipping you gave me? Garcetti suppresses a smile. GARCETTI -LRB- finishing up with the bundle. -RRB- What's on the other end of this thing? DANNY Now that I can help you with. Nasty boy. goes by the name of Pooh - Bear. He's a chef. Check with Palmdale P.D. I'm sure they're keeping box scores on the guy. GARCETTI Sounds like you hooked up with some fine citizens, Flynne. DANNY Oh they're all that and the proverbial bag of chips. TANNER What're your taking down? DANNY Standard vig. Minus five for a certain blabber - mouth moron by the name of Jimmy the Finn, who's living proof that natural selection is a flawed theory. Tanner looks at Danny quizzically. TANNER Did you really think you were slick enough to pull this off? DANNY Look man, I just wanted to make some dough and disappear. I did n't want to wait around for Domingo to figure out who doubled back on him. Danny holds his hands up DANNY -LRB- cont'd. -RRB- But now I've seen the error of my ways. I'll just walk away. call the whole deal off. GARCETTI Wrong. He tosses the bundle of cash to Danny. DANNY You mean you want me to roll on these guys? Their silence is answer enough. DANNY -LRB- cont'd. -RRB- No. No way. These guys catch a whiff and I'm a fucking bag of Bandini. TANNER You've got no choice. DANNY Whata you mean I've got no choice? TANNER Well, if you'd rather do a stretch in la casa grande. DANNY For that old possession charge? Gim me a break. TANNER No. You just handed us a new one. We can go Federal on your ass right now : ongoing criminal conspiracy. Intent to buy and distribute $ 250,000 worth of crank. What's the mandatory on that, Al? GARCETTI Dime, minimum. MOVE OFF GARCETTI and over to a wall mounted heating vent. MOVE INTO THE VENT, then. OUT OF A VENT in another room. BUBBA lurking in the shadows. Listening to the conversation through the wall vent in the other room. TANNER -LRB- O.S. -RRB- And believe me, word will get out that you're a pro rat. GARCETTI -LRB- O.S. -RRB- That's not good in prison. It's just not good. Bubba listens intently.", "INT. CAR - NIGHT Danny hunkered down in the back sea. Garcetti sniffing the air. GARCETTI What's that smell? DANNY That would be me. GARCETTI What'd you do, piss your pants? DANNY Hell, yes! What the hell do you expect zapping Mr. Johnson with that crackler? Garcetti looks back at Danny with a twisted smile. GARCETTI Who'd have thought it? Danny `` Chickenshit'' Flynne trying to go large right under our noses. DANNY Lay off, Garcetti. I'm not in the mood. GARCETTI No. You've got me all wrong. I mean, in you own pussified way, you actually got some nuts in your little sack. TANNER Bullshit. He's a liar. DANNY News - flash, Tanner. I'm a fucking rat. TANNER You think you're so god damned smart, do n't you? The dynamic has suddenly changed in the trio's relationship. Tanner is now the bad cop. TANNER -LRB- cont'd. -RRB- Well, you played the wrong mark this time, asshole.", "EXT. RESIDENTIAL HOTEL - NIGHT Danny approaching the building, we hear shots. THE RED CAR from earlier, prowling the streets. Danny ducks into a liquor store and watches from the window. The red car cruises slowly past. Danny squinting, trying to make out. THE LICENSE PLATE NUMBER. A street light illuminates the tag momentarily. A VANITY PLATE : IFORGIV. Danny frowns, not sure that to make of it.", "INT. COLETTE'S ROOM - NIGHT Colette and Quincey lying in bed. THE LILTING SOUND of Danny's trumpet wafting in the air. Quincey is fast asleep. Colette lays there, eyes open, listening to the coolly hypnotic strains of Miles Davis' `` Generique.''", "INT. RESIDENTIAL HOTEL ROOM - SAME Danny in his good clothes, sitting in front of the mirror, playing his trumpet, staring at the photos of his wife.", "INT. COLETTE'S ROOM - SAME Colette now sitting on the floor of the adjoining wall with her arms around her knees. She closes her eyes and leans her head against the wall, soaking in the music.", "INT. RESIDENTIAL HOTEL ROOM - SAME Danny continues playing. He sneaks down a look at. A GREETING CARD on the vanity in front of him. The word, `` CONGRATULATIONS'' printed on the front. THE FLASHBACK IMGERY appears on the wall behind him again. MOVE from Danny to the image as we.", "EXT. DIRT ROAD - THE HIGH DESERT (FLASHBACK) The car jolting slowly back and forth over the bumpy road.", "INT. CAR - SAME Danny driving. Liz in the passenger seat looking pissed. The Salton Sea can be seen far below in the distance shimmering under a full moon. AGAIN. REMEMBER, DANNY IS KNOWN AS TOM IN THIS SCENE. LIZ Why did n't you just ask for directions back there? DANNY/TOM Come on, where's your pioneer spirit? LIZ You mean like the Donner Party? DANNY/TOM Hey, do you think you could eat me if you had to? And if so, which part do you think you would find the most delicious? LIZ Tom, quit fucking around. DANNY/TOM Okay, okay. -LRB- peering through the windshield. -RRB- There's a house up there. I'll go ask for directions.", "EXT. ROAD - SAME A dilapidated house further up in the hills, lights glowing.", "INT. CAR - SAME Liz sees the run - down old house. LIZ You think that's a good idea? DANNY/TOM What do you mean? LIZ Look at that place. It's creepy. Danny steers the car onto the narrow dirt approach to the house. DANNY/TOM First you want me to ask for directions, then you do n't. Which is it? LIZ I wanted you to ask back there. You know, before you got us lost. DANNY/TOM Just no pleasing you, is there? LIZ Just admit you're wrong. DANNY/TOM We all know how much you like hearing that. Okay, Liz, I was wrong. There. You happy? LIZ Quit feeling sorry for yourself, Tom. It gets old. DANNY/TOM No. You know what gets old? Being reminded what a loser you are every time you screw up. LIZ Here it comes, poor Tom. DANNY/TOM But that's okay, Liz, you're the one with the steady job, you pay all the bills. I'm just an unemployed musician. You have every right. LIZ That is so unfair. Danny stares straight ahead, steering the car towards the house. DANNY/TOM My sentiments exactly. LIZ Why are you doing this? Danny does n't answer. LIZ -LRB- cont'd. -RRB- I never once asked you to stop playing. I would n't dream of it. So do n't take your low self - esteem out on me. Danny continues to ignore her. LIZ Tom. screw it. Tell me when you're ready to apologize.", "INT. RESIDENTIAL HOTEL ROOM - NIGHT DANNY lying on the bed, reliving the moment. THE IMAGE STILL PROJECTED ON THE WALL. DANNY -LRB- on the bed, whispering. -RRB- I'm sorry, Liz. I love you and I'm sorry. But the DANNY IN THE IMAGE never answers.", "INT. RESIDENTIAL HOTEL ROOM - DAY It is raining buckets outside. Danny sleeping soundly. The roof of Danny's room is leaking, PUDDLING UP ON THE FLOOR NEAR HIS BED. Danny's eyes pop open. He lays there rigidly. LISTENING TO THE WATER. ALL OTHER SOUND FADES OUT AS THE WATER PATTERS AND PUDDLE ON THE FLOOR. IT IS UNNATURALLY LOUD.", "INT. CINDER BLOCK BAR - NIGHT The bar is almost empty. Danny quietly playing chords on a beat - up old upright piano in the back of the room - the through - line of Davis' `` All Blues.'' COLETTE -LRB- O.S. -RRB- This seat taken? Danny looks up. DANNY Oh. Hi. COLETTE What happened to your eye? DANNY Turns out I'm allergic to steel - toed boots. Go figure. -LRB- beat. -RRB- By the way, I'm not looking for a matching set. -LRB- off her puzzled look. -RRB- Where's Quincey? COLETTE Do n't worry. He's out of town. DANNY How far out of town? COLETTE Trust me. We're safe. Colette sits down on the piano bench next to Danny. COLETTE -LRB- cont'd. -RRB- Please keep playing. He continues. She sits there listening for a few moments. COLETTE -LRB- cont'd. -RRB- That's nice. What is it? DANNY Miles Davis. `` All Blues.'' COLETTE Never heard of him. DANNY Just a fucked - up guy who played beautiful music. COLETTE Like you? DANNY Nah. I'm strictly minor league. except for the fucked - up part. Danny continues to play. DANNY Dude played his soul right out the end of the horn. No false notes. Always honest. COLETTE And you admire that? DANNY It's the only way to play. Colette slides closer. COLETTE Is that how you play? DANNY I try. COLETTE No false notes? She pulls even closer. COLETTE No deep dark secrets? She goes to kiss him. Danny stops playing. Pulls away from her. DANNY -LRB- cold and abrupt. -RRB- : What are you up to? COLETTE Nothing. DANNY What do you want from me, Colette? COLETTE I do n't want anything. Why are you so suspicious? DANNY It gets me through the day. COLETTE You really need to lighten up. She puts her hand on his leg. COLETTE -LRB- cont'd. -RRB- Just relax. He moves his leg away. DANNY Look, I ca n't help you with Quincey if that's what you're after. COLETTE This has nothing to do with him. DANNY So you're just attracted to me, is that it? COLETTE Yes. Why do you find that so hard to believe? DANNY How much time do you have? COLETTE What is wrong with you? DANNY How much time do you have? COLETTE You've got a comeback for everything, do n't you, Danny? You use'em like some sort of shield. DANNY Who the fuck are you? Dr. Joyce Brothers? COLETTE There you go again. You're nothing but false notes. DANNY You do n't like the tune, find another station. COLETTE What are you hiding, Danny? DANNY Therapy session is over. He closes the keyboard cover. COLETTE You think you're the only one down here with a sad story? DANNY No. But I'm the only one with my sad story. -LRB- beat. -RRB- And that's how it's gon na stay.", "INT. CAR - DAY Still raining. Tanner negotiates the slow traffic. Danny looking at a MUG SHOT OF POOH - BEAR. Garcetti Harlan Dale Monty a.k.a. Pooh - Bear. Did five years manslaughter for beating a pimp to death with an electric wheelchair. DANNY Excuse me? GARCETTI Several possession charges, but nothing major. DANNY Why does n't Palmdale P.D. just raid the guy? GARCETTI They have. But they never found a lab. TANNER That's because he does n't have one. DANNY Whata you mean? He told me - TANNER Guy scores dope and dollar from ripping off other drug dealers. As least that's what the word is. DANNY What's to stop him from just ripping me off then? TANNER That's probably what he would have done if we had n't found out about your get - rich - quick scheme. GARCETTI You're lucky, Flynne. DANNY Funny, I do n't feel lucky. GARCETTI We're coordinating with Palmdale P.D. We'll have your sorry ass covered. DANNY What if he caps me before you can make a move? TANNER Golly, I had n't thought of that. GARCETTI Do n't we always take good care of you? Danny does n't look reassured. DANNY Speaking of which. you run that license plate for me? GARCETTI You mean the menacing red car? Garcetti and Tanner exchange a smile. DANNY What? Is it bad? TANNER I'm afraid so, Danny. DANNY Who is it? GARCETTI Brace yourself. Danny's eyes dart back and forth between Garcetti and Tanner. DANNY Come on! Who is it? Domingo's boys? GARCETTI Worse. Much worse. -LRB- beat. -RRB- A teacher. Garcetti and Tanner break out laughing. TANNER Car is registered to a Mrs. Nancy Plummer. Danny reacts to the name, not listening to the rest of what Garcetti and Tanner have to say. GARCETTI She's 57 and she's been teaching third grade for the last 33 years. TANNER Now that's scary! Danny lost in thought. GARCETTI You're paranoid, Flynne. I think that crank is finally starting to get the best of you.", "EXT. STREET - NIGHT Danny waiting on the corner. GARCETTI -LRB- V.O. -RRB- When is the deal going down? DANNY -LRB- V.O. -RRB- I'm making the small buy tonight. if I do n't get beaten to death with a wheelchair or something. If everyone is happy, we'll do the big deal later in the week. Jimmy's Vega sputters to a stop in front of Danny. Jimmy gets out and hands Danny the keys. ON THE BUMPTER, a hand - made sign. It reads : PULL ME OVER. I DARE YOU! Danny sighs. Walks to the back, rips the sign off and gets in the car, leaving Jimmy with the sign. JIMMY You sure you do n't want me to go with you? Danny burns rubber.", "EXT. POOH-BEAR'S COMPOUND - NIGHT Danny being led towards a trailer by TWO OF POOH - BEAR'S MEN. LITTLE BILL AND BIG BILL. Little Bill is big and Big Bill is little.", "INT. HOUSE - SAME Pooh - Bear sitting in a recliner, obscured by shadows when Danny and his escorts enter. A WIRE CAGE IN THE CORNER, SOMETHING MOVING AROUND INSIDE. It too is obscured by shadows. Pooh - Bear does n't look up. He is preoccupied with something in his hand which he is cleaning with a toothbrush. DANNY Pooh - Bear, my man. What's up? Pooh - Bear does n't respond. Continues brushing. LITTLE BILL He's blue. BIG BILL Comin' down from a 10 day ride. Danny closes his eyes. Not what he wanted to hear. DANNY You want to do this some other time? POOH-BEAR -LRB- gloomy and tired. -RRB- Pull your pants down. DANNY I'm sorry? POOH-BEAR Pull your motherfucking pants down. Danny looks to the two Bills for help. DANNY -LRB- laughing nervously. -RRB- Come on, guys. POOH-BEAR Big Bill. Big Bill pulls a 19th century double - barreled FLINTLOCK PISTOL from his jacket and points it at Danny's head. BIG BILL Argh, matie. I'm a pirate. POOH-BEAR Little Bill Little Bill drops Danny's trousers. Danny about to object when he is started into silence. The saturnine Pooh - Bear raises his head, illuminating his face. He is n't wearing his prosthetic nose. A GAPING HOLE WHERE HIS NOSE SHOULD BE. He looks like some obscene human bat. Pooh - Bear holds up the plastic nose he has been cleaning, inspecting it under the light. POOH-BEAR -LRB- cont'd. -RRB- Introduce him to Captain Steubing. He pops his nose back into place, but it goes on crooked. The Bills escort Danny over to the cage. There is A GIGANTIC CRAZED WEASEL INSIDE. The cage is divided by a large piece of Plexiglas. POOH-BEAR -LRB- cont'd. -RRB- You'll have to excuse him, he ai n't ate for over a week. The weasel is foaming at the mouth. POOH-BEAR -LRB- cont'd. -RRB- That and the rabies. Do n't make for a happy weasel. DANNY -LRB- trying to stay calm. -RRB- Pooh - Bear. come on, man. What is this? -LRB- off Pooh - Bear's silence. -RRB- It's me, Danny. I thought we had a deal. POOH-BEAR Big Bill Big Bill pushes Danny up to the cage, which comes up to about waist level. POOH-BEAR Captain Steubing thinks you might work for the police. DANNY What?! Pooh - Bear holds up his hand. POOH-BEAR Do n't address me. I did n't make the accusation. DANNY Please. I do n't know what you're. POOH-BEAR Uh - uh - uh. He points to the cage. Danny looks down at the weasel, which is trying to gnaw through the Plexiglas. DANNY Jesus Christ. -LRB- to the weasel. -RRB- Um. I'm not. Captain Steubing. I'm not working for the cops. The weasel continues to gnaw. POOH-BEAR He do n't believe you. Big Bill. BIG BILL Drop your package in the cage. DANNY My what? BIG BILL Put your pee - pee through the hole. There is a hole in the top of the cage on the opposite side of the Plexiglas from Captain Steubing. DANNY This is fucking crazy! Big Bill pulls back the hammer on the gun. BIG BILL Yo - ho - ho and a bottle of rum. DANNY Oh fuck. oh Jesus. Danny's eyes dart quickly over to Little Bill, who like everyone else, is watching the weasel. Little Bill is wearing a big, filthy pea coat with A LARGE TEAR on the side. Danny still has n't complied with Pooh - Bear's order. POOH-BEAR Shoot him. DANNY Okay! Okay! From behind, we see Danny bend slightly, dropping his privates into the cage. DANNY -LRB- cont'd. -RRB- -LRB- eyeing the wild rodent. -RRB- Oh my God. oh - my - fucking - God. Danny tries to stay calm, shoots another look at Little Bill who is standing right next to him. POOH-BEAR Now get talkin' DANNY I did n't fucking do anything! I swear to God! Pooh - Bear leans forward and opens the Plexiglas partition about half an inch. THE WEASEL bolts for the opening, gnashing its teeth, trying to squirm through. POOH-BEAR You got something to tell Captain Steubing, you'd better do it now. The weasel squirms and squeals and bangs against the Plexiglas. Danny uses the diversion. He quickly TAKES SOMETHING from him own jacket pocket and SLIPS IT IN THE HOLE IN LITTLE BILL'S JACKET between the coat and the lining. No one notices. Pooh - Bear opens the Plexiglas even more. The weasel is able to get his head through the hole. He bares his filthy teeth. DANNY -LRB- rapid - fire. -RRB- Captain Steubing, listen to me. You're after the wrong guy. This is the fuck you should be talking to. He nods towards Little Bill. Pooh - Bear cocks his head. DANNY -LRB- cont'd. -RRB- Jimmy told me that Little Bill's been shorting Pooh - Bear. settin' up his own stuff on the side. LITTLE BILL That's a pack of discharge. Danny now makes eye contact with Pooh - Bear, who listens intently. DANNY It's true. Jimmy saw him flashing a pimp role at a bar the other night. said he was dissin' your ass in front of one of your customers. Pooh - Bear rises slowly. Approaches the triumvirate. Danny keeps one eye on. the weasel as it continues its assault on the opening. POOH-BEAR Man'll say a lot of thing when he's sporting weasel food for a pecker. LITTLE BILL Damn straight. POOH-BEAR Least I can do is check it out though. Pooh - Bear pulls a chrome.45 from his waistband. DANNY Can I pull my dick out now? Pooh - Bear limply aims the.45 at Little Bill. POOH-BEAR -LRB- cont'd. -RRB- Big Bill Big Bill pats Little Bill down. LITTLE BILL -LRB- holding up his arms. -RRB- Go ahead. I got nothing to hide. Big Bill checks all of Little Bill's pockets, coming up empty. The weasel has squeezed about a third of the way through the hole. DANNY Can I pull my dick out? Danny, panicked, eyes the hole in the pea coat. BIG BILL He's clean. Danny ca n't believe it. But when Little Bill lowers his arms, a big roll of cash protrudes from the hole. Pooh - Bear and Big Bill see it immediately. LITTLE BILL What? He follows their gaze to the cash. DANNY CAN I PULL MY FUCKING DICK OUT?! POOH-BEAR -LRB- eyes on Little Bill. -RRB- Yeah. Danny extracts himself from the cage just as. the weasel bolts through the opening and springs for the hold in the cage.", "INT. POOH-BEAR'S KITCHEN - NIGHT (LATER) Danny sitting at the kitchen table. THE SCREAMS OF LITTLE BILL AUDIBLE FROM THE OTHER ROOM. Danny is FIDDLING WITH SOMETHING UNDER THE TABLE when he HEARS POOH - BEAR APPROACHING. Danny finishes up, stuffing a roll of DUCT TAPE into his pocket. Pooh - Bear drops a zip - lock bag of METH on the table. DANNY I ought to just call this whole thing off right now. POOH-BEAR Do n't do that. Please. Or I'll kill you. Please, Danny. DANNY What the hell was that? Who told you I was five - 0? POOH-BEAR No one. It was just a test. I need to be sure of who I'm dealing with from time - to - time. Pooh - Bear nudges the baggie towards Danny. POOH-BEAR -LRB- cont'd. -RRB- Take it easy. You passed. Danny hands over the bundle of cash. Pockets the dope. DANNY Did it ever occur to you that someone might cop to something they did n't do rather than have their balls chewed off by a rabid weasel? POOH-BEAR I'll keep that in mind. MOVE UNDER THE TABLE - Danny's Glock taped to the underside, out of sight.", "EXT. DESERTED PARK - NIGHT Danny, Garcetti and Tanner. Tanner doing a chemical test on the meth with a field kit. The tester turns a tell - tale blue. TANNER We're in business. GARCETTI Good work, Flynne. You're a first - rate rat. DANNY That's real sweet, Garcetti. Thanks. TANNER We got the 411 on your good old boy. Tanner produces a print out from an F.B.I criminal computer file. A MUG SHOT OF BUBBA. The name BUFORD `` BUBBA'' NGUYEN underneath. TANNER -LRB- cont'd. -RRB- Nothing local so we ran his prints through the F.B.I. Believed to be a major supplier in Texas. Jumped bail on a murder rap last April. DANNY Murder. Beautiful. TANNER Pumped fifty - seven bullets into a police informant. Danny heaves a sign and plops down on a bench. DANNY You know, I'm starting to think I'd rather take my chances with Domingo than go through any more of this shit. GARCETTI Did n't you hear? Domingo's dead. Danny looks up. TANNER Took a pig - slicker to the heart. DANNY Jesus. TANNER I thought you'd be happy. DANNY Yeah. He does n't look happy.", "INT. PRISON - NIGHT Domingo sprawled face - down on the tile floor of the shower room. Blood leaking from underneath him. WATER PATTERS DOWN FROM THE SHOWER HEAD. DILUTING THE POOL OF BLOOD. THE SOUND IS UNNATURALLY LOUD.", "EXT. PALOS VERDES - NIGHT The red car with `` IFORGIV'' plates parked in the driveway of a modest Spanish - style house.", "INT. PALSO VERDES - NIGHT NANCY AND VERNE PLUMMER watching TV. Photos of Liz on top of a baby grand piano. A SHRINE OF SORTS. CATHOLIC ICONS ABOUND : crucifixes, Virgin Mary's, needle point prayers. A KNOCK ON THE DOOR. Nancy gets up to answer. NANCY Who is it? DANNY -LRB- O.S. -RRB- It's Tom. Nancy and Verne look at one another.", "INT. PALOS VERDES HOUSE - NIGHT Danny and Verne sitting at the dining room table. Nancy brings in a pot of coffee. Verne eyes Danny silently. Danny wo n't look him in the eye. DANNY All right, Nancy, how'd you track me down? NANCY Billy Sutcliffe said he saw you at a bar down in Gardena a few weeks ago. Said you looked so bad, he barely recognized you. Nancy pours the coffee. NANCY -LRB- cont'd. -RRB- Billy's a cop now, you know. VERNE Highway Patrol. NANCY He said you were. the people you Were with. well. VERNE Said you were a drug addict. DANNY Maybe I should just go. Danny pushes away from the table. Nancy grabs Danny's wrist. NANCY No. We want to help you, Tom. Danny stays put. NANCY -LRB- cont'd. -RRB- I know everyone deals with grief in their own way. I know how hard it is to find closure. DANNY Closure? How do you find closure when her killers are still running around out there? NANCY I found forgiveness in my heart for the people who killed my daughter. I gave my grief to Jesus Christ. DANNY Is that what you want me to do? Put it all on Jesus? Let him sort it out in the afterlife? NANCY You've got to deal with this sooner or later, Tom. You ca n't keep hiding. DANNY Maybe I am dealing with it. NANCY I know it's not my place to pass judgement on you but. Danny looks at the shrine to Liz on top of the piano. DANNY Then why do n't I see any pictures Of me up there? VERNE That was my idea. DANNY You never did like me much, did you Verne? -LRB- beat. -RRB- And you ca n't stand it that I walked out of there alive and Liz did n't. You think I'm a coward, do n't you? Verne's silence is answer enough. DANNY -LRB- cont'd. -RRB- I do n't blame you for hating me. At least I understand that. -LRB- back to Nancy. -RRB- But forgiving the butchers who killed Liz well I'm having some trouble with that one. NANCY Love your enemies, bless them that curse you, do good to them that hate you, and pray for them which despitefully use you, a persecute you. Danny touches Nancy's hand tenderly. DANNY I'm genuinely happy that you found some peace, Nancy. But you ca n't forgive for Liz. No one can. And you ca n't forgive for me. NANCY Your hatred makes them stronger and you weaker. DANNY I do n't buy that. There's a place for hatred. -LRB- beat. -RRB- Did you know that Liz and I got into an argument the night she was killed? I acted like an ass and I never had a chance to apologize to her. Do you know what that feels like? NANCY It's not too late to show her you're sorry. DANNY How? Verne slams his hand down on the table. VERNE By not disgracing her memory! DANNY What does that mean? VERNE You might as well be spitting on her grave every time you put drugs up your nose. Or did you just conveniently forget that it was drug dealers who killed my daughter? Verne glares at Danny. No forgiveness in his heart. VERNE -LRB- cont'd. -RRB- You ever think you might be buying drugs from the very people who took her life? DANNY You do n't understand. VERNE Understand what? Danny starts to say something. Stops. DANNY Nothing. It's. it's complicated. I just want you to know. I'm not what you think I am.", "INT. RESIDENTIAL HOTEL ROOM - NIGHT Danny sitting at a table, the lockbox open in front of him. He is endorsing the back of a life insurance check. His Tom Van Allen driver's license laying next to it. A KNOCK AT THE DOOR DANNY Who is it? COLETTE -LRB- O.S. -RRB- It's me. DANNY I'm kind of busy. COLETTE -LRB- O.S. -RRB- Please open the door, Danny. He pockets the check and the license, closes the lockbox and goes over to the door. Colette standing on the other side. Her FACE AND ARMS ARE BLACK AND BLUE WITH BRUISES. DANNY Oh Jesus. He lets her come in. Colette looks away. DANNY -LRB- cont'd. -RRB- Colette. You've got ta leave. COLETTE We been through that. DANNY What about a battered woman's shelter? You can move you kid in with you. COLETTE I need my paycheck. DANNY You can still work. COLETTE He knows where I work. DANNY Find a new job. COLETTE It's not that easy. I just got a raise. I need the money. DANNY You always been this stubborn? Colette cracks a crooked smile. COLETTE From day one. -LRB- beat. -RRB- I was a breach birth. They tried for hours to turn my little butt around. But I would n't let'em. DANNY Ass first into the world. COLETTE I been that way ever since. Danny smiles. He gently touches her eye. Colette reaches up and touches Danny's bruised eye. COLETTE -LRB- cont'd. -RRB- Look at us. What a pair. Colette leans in to kiss him, but they bump bad eyes. COLETTE/DANNY Ouch. They laugh. COLETTE Can we try that again? They kiss again. Deep and long. Danny suddenly pulls back mid - kiss. DANNY I ca n't. Colette goes to touch him. He pulls away. DANNY -LRB- cont'd. -RRB- I ca n't. COLETTE Why not? DANNY I just ca n't. Okay? Danny paces uncomfortably. COLETTE What's wrong, Danny? DANNY Look, maybe you oughta' leave. COLETTE No. I want to know what the hell is going on. DANNY I ca n't tell you. Colette comes to a slow realization. COLETTE There's someone else, is n't there? THE FLASHBACK IMAGERY suddenly FLICKERS TO LIFE on the wall behind Danny - THE MOONLIGH SALTON SEA. Danny freezes. Looks up at Colette. DANNY Yes. Colette waits a beat, then turns to leave. DANNY -LRB- cont'd. -RRB- Do n't go. -LRB- beat. -RRB- Please, Colette. -LRB- she stops. -RRB- Stay and talk to me, please. Something about Danny's voice - a raw vulnerability - which we have n't seen in him before. MOVE OFF of Danny and ONTO THE FLASHBACK IMAGE. DANNY -LRB- O.S. -RRB- I'm so tired of lying.", "EXT. CREPPY HOUSE - SALTON SEA - NIGHT (FLASHBACK) Danny's car parked out front.", "INT. CREEPY HOUSE - SALTON SEA - NIGHT A CHUBBY GUY sitting on the couch in his underwear, watching A MEXICAN WESTERN. He sits there with wide eyes, GRINDING HIS JAWS. Danny, Liz AND BO, the affable owner of the house, looking at a map on the kitchen table. BO What you want to do is go back the way you came and make a left at the bottom. It'll take you right to the highway. DANNY/TOM That's it? BO Are you Australian? DANNY/TOM No. BO Good. I fucking hate Australians. Danny and Liz share a look. DANNY/TOM You got a bathroom I can use before we hit the road? BO Yeah? First door on the right. It ai n't that dirty. Just kinda' filthy is all. DANNY/TOM -LRB- to Liz. -RRB- You mind? BO No, I do n't mind. That's how come I told you about it. DANNY/TOM I was talking to my wife. LIZ Try to make it fast. Danny heads down the hallway, Liz looks a little uncomfortable. LIZ -LRB- cont'd. -RRB- -LRB- trying to make small talk. -RRB- So. What do you do for a living around here? BO You know. This and that. ON THE SHELVES, SUNDRY ITEMS USED TO DISTILL METH. Bo scratching his arms. Liz notices TRACK MARKS ALL OVER BO'S ARMS. He sees her looking. BO Skeeters. They're bad up here.", "INT. BATHROOM - SAME Danny peeing WHEN HE HEARS ANOTHER CAR PULL UP OUTSIDE. CAR DOORS OPEN AND CLOSE. HUSHED VOICES OUTSIDE THE BATHROOM WINDOW. Danny finishes up. He steps up onto the tub and peaks out the bathroom window. THROUGH THE WINDOW - TWO FIGURES CROSS IN FRONT OF THE HEADLIGHTS OF THE CAR. THE ENGINE REMAINS RUNNING. Danny frowns, not sure what to make of it. He steps down from the tub and is just about to exit when THE FRONT DOORS IS KICKED OPEN AND SHOTS ARE FIRED. VOICES SHOUTING. Danny freezes, not sure what to do. His eyes dart around for a weapon. He picks up a large plumber's wrench and goes to the bathroom door. MORE SHOTS. SEMI - AUTOMATIC FIRE. SEVERAL BULLETS slam through the bathroom wall, one striking Danny in the shoulder. He slumps to the floor. THE PANDEMONIUM continues in the front room. There is a BULLET HOLE about the size of a fifty cent piece in the wall next to Danny's head. He puts his eye to the hole and looks out. DANNY'S P.O.V. THROUGH THE HOLE - scanning the room. Stopping on. LIZ. In the confusion, she has managed to hide from the intruders. She is squeezed into a tiny space between the sofa and the wall. She clings tightly to the curtains, her hands shaking violently. ONE THE CURTAIN RINGS - pulled taught by Liz's grip. Danny adjusts his gaze through the hole. THROUGH THE HOLE - scanning to the other side of the room. Bo and the other guy sprawled on the floor. INTRUDER ONE stands over them, only his legs visible. BACK ON LIZ - scared to death, clinging to the curtains. The curtain rings are pulled to the breaking point. INTRUDER ONE Let's go! INTRUDER TWO emerges from the back carrying a small nylon bag. They start to head out the front door when. one of the curtain rings breaks with a METALLIC `` TING''. ON DANNY - freaking. His eyes shooting back to Liz. SILENCE. Listening. Then the CREAKING FOOTSTEPS of Intruder One approaching. It takes an eternity. Liz ca n't possibly see Danny through the hole but it looks like she is staring directly at him, her body rigid with fear. Danny grabs the wrench again. Tries to get to his feet but slips back down, either too weak from loss of blood or just plain scared. His hand is shaking violently. He looks through the hole again. THROUGH THE HOLE - Liz still staring at Danny. THE FOOTSTEPS CONTENCE at a agonizing slow pace, then stop. A GUN, ever so slowly, enters FRAME. EXTREME CLOSE UP on Liz's eyes as they widen. EXTREME CLOSE UP on Danny's eye peering through the hole. A SHOT IS FIRED. His eye closes. ON DANNY - his mouth opens to scream BUT NOTHING COMES OUT. And with that it is all over. Danny tries to get to his feet again. Fails, His eyes flutter. All is silent except for A FAINT LIQUID SPATTERING. LONG SHOT - Back on the Salton Sea, placid and silvered with moonlight.", "INT RESIDENTIAL HOTEL ROOM- NIGHT (LATER) Danny and Colette face - to face - in profile, silhouetted by the IMAGE of the sea. DANNY She died knowing that I was a coward. that I did n't lift a finger to help her. COLLETTE There was nothing you could have done. She is inches closer to him. DANNY No, you're wrong, I tried to tell myself the same thing but I could have gotten up. I could have done something. COLETTE They would have killed you too. DANNY -LRB- finally looks her in the eye. -RRB- Nothing could be worse then this slow death I'm living now. Colette puts her arms around him and hugs him tight. The IMAGE OF THE SEA FLICKERS AND FADES behind them. CLOSE ON DANNY - holding Colette. DANNY -LRB- looking up. -RRB- Colette. I want to help you, with Quincey. Colette pulls back. COLETTE No Danny, Do n't - DANNY -LRB- cont'd. -RRB- But you got ta be serious about it. COLETTE Really, I do n't want to. DANNY I want to do this for you. I want to do something good for a change. Danny goes over to the dresser. Takes out a baggie of meth. DANNY -LRB- cont'd. -RRB- I want you to hide this somewhere where Quincy wo n't find it. COLETTE What is it? DANNY Never mind. Just do what I say. He holds out the baggie. Colette backs away. COLETTE I do n't want to. Danny stalks her. DANNY I'm offering you the chance to take care of your problems. Take it. -LRB- she still hesitates. -RRB- Do n't make the same mistake I did, Colette. Do something while you have a chance. Do it for your daughter before something happens. -LRB- beat. -RRB- Believe me, you do n't want to live with this burden. -LRB- firm. -RRB- He helds the baggie out again. Colette reluctantly takes it from him. DANNY -LRB- cont'd. -RRB- Tommorrow night, when he is asleep. I want you to beep me at this number. He writes the number down on a dollar bill. DANNY Will you do that? -LRB- off her nod. -RRB- Then I want you to get out of the room. COLETTE Why? DANNY Do n't worry about it. Just go across the street and watch. You'll know when it's safe to go back. Colette goes to protest. Danny puts his hand to her mouth the same way she did to him earlier. DANNY Just do it. All your problems with Quincey will be taken care of.", "INT. CINDER BLOCK BAR - DAY Empty except for Danny and Jimmy in a back booth. Danny slides an envelope over to Jimmy. JIMMY What's this? DANNY Tem thousand dollars. Everything I could spare. -LRB- beat. -RRB- It's for you. JIMMY But why? You only owe me five. And that's not till after we close the deal tonight. DANNY You are n't coming with me. Jimmy looks hurt. DANNY -LRB- cont'd. -RRB- I need you to do me a favor instead. JIMMY Okay DANNY Wait till I tell you what it is. JIMMY It do n't matter. I'll do it. And you sure as hell do n't have to pay me. Jimmy slides the money back over. DANNY Why? JIMMY You're my best friend, man. I'd do anything for you. Danny smiles, genuinely touched. DANNY Jimmy, look, there's something I have to tell you. JIMMY Hey, check it out. Jimmy rolls his sleeve up, revealing a tattoo. DANNY What the hell is that? ON THE TATTOO : CRUDLEY DRAWN FACE. JIMMY -LRB- Proudly. -RRB- It's you! I did n't have a picture or nothin' so I had to describe you to the guy. Not bad though, huh? Jimmy sits there, admiring the tattoo. Danny stares at Jimmy with pity. DANNY -LRB- cont'd. -RRB- I really have to tell you something. It's important. JIMMY What? DANNY I'm not a tweaker. -LRB- beat. -RRB- I do n't use drugs. I never had. Danny is deadpan. Jimmy starts laughing DANNY -LRB- cont'd. -RRB- I'm not joking. Jimmy keeps laughing. Danny staring, deadpan, Jimmy slowly stops laughing. JIMMY But. I've seen you. DANNY When? When did you ever see me use? JIMMY This is n't like that Queen Elizabeth question, is it? DANNY You ever notice how I always showed up, in the middle of a binge? Left before it was over? How I sneak away for cap - naps? How when the crank came around to me, I always said I'd just done one? Jimmy slack - jawed. DANNY -LRB- cont'd. -RRB- You asked me how I always keep my shit together. Well, that's how. JIMMY No one ever noticed? DANNY Are you kidding me? A bunch of amped - out tweakers? It was easy. Jimmy is agitated and confused. JIMMY But. why? Why would you pretend? DANNY I ca n't tell you. JIMMY You do n't trust me? DANNY I do n't trust anybody. JIMMY And you want me to do you some big favor? DANNY -LRB- cont'd. -RRB- It's cool. I understand Danny gets up to leave. JIMMY Wait. -LRB- beat. -RRB- If you do n't trust me, why did you tell me that stuff about not using drugs? DANNY Because I do n't want to see you end up like Kujo and those other losers. -LRB- beat. -RRB- I thought that maybe if you knew that I did n't use, you might see it in yourself to go clear.", "EXT. BACK OF CINDERBLOCK BAR- DAY (LATER) Jimmy and Danny squinting in the mid - morning sun. They stand face - to - face. DANNY You mad at me, Jimmy? Jimmy shrugs. JIMMY I do n't know. a little. I wish you would have let me in on it from the beginning. DANNY I'm sorry. I could n't. Danny taps Jimmy's arm. DANNY You know you can get that tattoo removed, do n't you. Jimmy rubs his arm where the tattoo is. JIMMY Nah. I want to keep it. -LRB- beat. -RRB- Maybe I can use it for like, inspiration. you know. like when I detox? DANNY Good for you Jimmy. Danny takes the envelope from his pocket. DANNY I really want you to take this. Danny tries to hive Jimmy the envelope. Jimmy pushes it away. JIMMY Would n't be a favor if you were paying me. I'll just take my five when the deal is done. DANNY You're a good man. Jimmy the Finn.", "EXT. PARK-DAY Tanner and Garcetti's car parked on the periphery.", "INT. CAR-SAME Danny in the back seat dialing a CELL PHONE. A MICRORECEIVER ATTACHED TO THE PHONE. Tanner and Garcetti listening through earpieces.", "INT. UNKNOWN-SAME BUBBA answers a cell phone on the other end. BUBBA Yeah. CONVERSATION WILL INTERCUT BETWEEN TWO LOCATIONS DANNY Everything go? BUBBA Yeah. DANNY Just make sure you come alone. This guy wo n't like any surprises BUBBA I ai n't a idiot, asshole. DANNY I'll see you tonight. Bubba hangs up. Danny turns the phone off. TANNER Man of few words. Danny hands the phone back to Garcetti GARCETTI Nervous? DANNY With you clowns watching my back? What do you think? Danny opens the back door. GARCETTI Just make sure you hit the floor when we come in. It could get ugly in there. TANNER Yeah, I'd hate to shoot you by accident. Danny gets out of the car. Shuts the door.", "EXT. CAR-SAME Danny watches them drive away. When he is sure that they are gone, he looks around. Sees. A PLUMBER'S TRUCK parked on the other side of the park.", "INT. PLUMBER'S TRUCK-SAME AN HISPANIC GUY behind the wheel. HISPANIC GUY He's coming in. As Danny approaches the truck, the door slides open. He piles in. VOICES -LRB- O.S. -RRB- How'd it go? DANNY You tell me. Danny pulls a TINY MICROPHONE AND WIRE from inside his shirt and hands it to. Bubba, who sits in front of a BANK OF LISTENING EQUIPMENT. BUBBA You ready to go meet the team?", "EXT. FEDERAL BUILDING - WESTWOOD - DAY The PLUMBER'S TRUCK enters the underground parking lot.", "INT. F.B.I. OFFICES-DAY TEN F.B.I. AGENTS in a small conference room, looking at. Danny and Bubba, sitting at the head of the table. BUBBA is now wearing his security badge, which reads, SPECIAL AGENT TEX TRAHN. He stands up and addresses the group. And he really does have a SOUTHERN ACCENT. TRAHN For those of you who do n't know this is Tom Van Allen. a.k.a. Danny Flynne. Danny looks self - conscious. TRAHN -LRB- cont'd. -RRB- About a year and half ago, Mr. Van Allen's wife was murdered at a meth lab out near the Salton Sea. No one was ever apprehended for the crime but local authorities have always assumed it was a hit and grab perpetrated by rival drug dealers. That is, until Tom here took it upon himself to conduct a one - man undercover operation at great risk to his own personal safety. One of the agents pipes up. AGENT ONE He's a civilian? -LRB- off Trahn's nod. -RRB- How the hell did you pull this off? Trahn turns to Danny. DANNY I played the long shot. Just got lucky.", "INT. SALTON SEA SHERIFF'S STATION (FLASHBACK) - DAY Danny and DETECTIVE BOOKMAN, a homicide detective, sitting at a table. BOOKMAN How about the car? The model? Danny shakes his head. BOOKMAN -LRB- cont'd. -RRB- Was it a truck? S.U.V? Sedan? DANNY All I saw was the headlights. The high beams were on. BOOKMAN Not even a guess? DANNY -LRB- pissed off0 How many times do we have to go through this? ANOTHER DETECTIVE enters the room, hands something to bookman, then whispers into Bookman's ear. Bookman nods. BOOKMAN -LRB- cont'd. -RRB- You said one of the perpetrators crossed in front of the headlights. DANNY Yeah, but he was in silhouette. BOOKMAN How about in the house? DANNY They were wearing ski masks. I told you all of this. BOOKMAN Did you see his hair color? DANNY No, Why? Bookman holds up a small plastic evidence baggie. BOOKMAN Forensics found this on your wife. Bookman holds it up to the light. Inside, ONE BRIGHT RED HAIR. ON DANNY staring at the hair, remembering something.", "EXT. SALTON SEA GAS STATION - DAY (FLASHBACK WITHIN THE FLASHBACK) Danny putting gas in his car, Liz in the passenger's seat reading. On the other side of the pump, A RED HAIRED MAN with a bad comb - over. The brightest, reddest hair you've ever seen with a BIG STREAK OF WHITE RUNNING THROUGH IT. His back is TURNED. We ca n't see his face. His arm and hands resting on top of the pump. Danny looks at the guy's hand. A GUADY CLASS RING on his finger : EL CAMINO COLLEGE, CLASS OF' 84.", "INT. SALTON SEA SHERIFF'S STATION - DAY Danny staring absently at the red hair in the baggie. BOOKMAN What is it? DANNY Nothing, I'm trying to remember. Danny feigns frustration. DANNY -LRB- cont'd. -RRB- I'm sorry. I did n't see his hair color. I'm sure of it.", "INT. F.B.I. OFFICES-NIGHT AGENT ONE Why did n't you tell him? Danny looks up. DANNY Because I wanted to find them myself. -LRB- beat. -RRB- I wanted to kill them.", "INT. EL CAMINO COLLEGE LIBRARY-DAY Danny sitting at a table, poring over a YEARBOOK for the class of' 84. VARIOUS SHOTS OF REDHEADS along with their majors. Danny continues thumbing through the book. Stops. A LOOK OF RECOGNITION ON HIS FACE. DETAIL OF A PHOTO : a balding red head with a streak of white running through it. Danny staring intently. REVEAL REST OF PHOTO : It is TANNER. Underneath the photo, his major : criminology.", "INT. EL CAMINO COLLEGE LIBRARY - DAY (LATER) Danny at a library computer. ON THE COMPUTER SCREEN. DANNY SCROLLING THROUGH an alumni listing, STOPPING ON. TANNER, GUS, CLASS OF 1984. DETECTIVE, GARDENA police Department.", "EXT. GARDENA POLICE DEPARTMENT-DAY Danny sitting on a bus bench across from the parking lot. TANNER AND GARCETTI exit the building and head over to their car. Danny watches from behind a magazine as they drive past him. DANNY -LRB- V.O. -RRB- I swear to God I would have done'em right then and there. but I had to be positive. And even if Tanner was involved, I had to be sure about Garcetti", "EXT. D.M.V-DAY Danny talking to a MEXICAN DUDE on the corner. Danny slips the guy some money. DANNY -LRB- V.O. -RRB- So I became Danny Flynne.", "EXT. D.M.V.- DAY (LATER) The Mexican dude holds up something for Danny to see. A DRIVER'S LICENSE. It is him on the photo, but the name reads, DANIEL FLYNNE.", "EXT. STREET - NIGHT On Danny's last line, we see TWO CAR BUMPERS COLLIDING AT LOW SPEED. Tanner and Garcetti in the car that has been rear - ended. Danny in the offending car, empty beer cans scattered on the front seat.", "EXT. STREET-NIGHT (LATER) Danny spread - eagle over the hood with Garcetti roughly searching him. DANNY -LRB- V.O. -RRB- I dropped myself right in their laps. Garcetti pulls a baggie of meth from Danny's pocket.", "EXT. DESERTED PARK-NIGHT Danny, Garcetti and Tanner at the picnic table, talking. DANNY -LRB- V.O. -RRB- I gave up whoever they asked for, whenever they wanted. I was a fucking dream rat. But the whole time I was sizing them up, looking for any evidence that they were the guys who killed my wife.", "EXT. APARTMENT BUILDING-NIGHT Danny watching from the shadows as Tanner and Garcetti haul a DOPE DEALER away in cuffs. DANNY -LRB- V.O. -RRB- But they did everything by the book. F.B.I. OFFICES - DAY DANNY I knew that if these were the guys I was looking for, I'd have to set up a deal so sweet, they would n't be able to walk away from it. TRAHN That's when he called me. He told me his story and he pitched me a plan. DANNY These guys are smart. I knew they would n't hit a deal unless they knew all the players. I needed a big buyer.", "EXT. ROOFTOP-NIGHT Tanner and Garcetti watching Battle enter the building. TRAHN -LRB- V.O. -RRB- We had one of our C.I.'s call Tanner and Garcetti with an `` anonymous'' tip about the deal. TANNER -LRB- the line takes on a whole new meaning. -RRB- This could be the one we're looking for.", "INT. POLICE STATION - DAY Garcetti scanning the print he took from the plastic wrapper. A COMPUTER SCREEN - the F.B.I. fingerprinting database. A MATCH IS MADE. BUBBA / TRAHN'S PHOTO appears, along with the pertinent information. BATTLE -LRB- V.O. -RRB-. I dumped a dummy file into the system. They took the bait and we were off to the races.", "INT. F.B.I. OFFICES-DAY Another agent kicks in. AGENT TWO How sure are you that you're not chasing two good cops? I mean all you've really got is one red hair. That's still your only evidence. TRAHN Not anymore. We tapped these guys' phones and computers at Gardena P.D. Tanner and Garcetti did n't report on this deal. Not a peep. They have n't coordinated with Palmdale P.D. They're keeping it off the books. It looks like we've got the right guys. -LRB- beat. -RRB- We'll find out for sure tonight.", "INT. F.B.I. OFFICES-DAY (LATER) The meeting breaking up. Trahn walks Danny away from the conference room. TRAHN How you holding up? DANNY I'm fine. Little nervous. little disappointed that I did n't finish this myself. TRAHN Hey, you did the right thing. You would n't have stood a chance against these boys by yourself. They have eaten your ass alive. Danny's PAGER STARTS BEEPING. He checks the readouts. DANNY Oh shit TRAHN What? DANNY Can you do me a favor? This girl I know, her boyfriend's a real piece of shit - dude's really jamming her up. I promised her I'd try to help. Danny pockets the pager. DANNY -LRB- cont'd. -RRB- Could you call Gardena P.D. tell'em you got a tip that the guy's holding? Maybe have'em send out a patrol car? TRAHN I'll see what I can do.", "INT. BANK-DAY Danny at the counter with a big gym bag. A TELLER COUNTS out stacks of money. THE LIFE INSURANCE CHECK lays on the counter in front of her. We see the amount - $ 250,000.00", "EXT. RESIDENTIAL HOTEL ROOM-NIGHT Colette standing across the street, looking at. TWO COPS exiting a patrol car. Colette is crying her eyes out. She is HOLDING the BAGGIE OF METH that Danny gave her. The cops enter the building just as. Danny drives by in Jimmy's car, followed by. TWO OF THE AGENTS from the conference room. They remain a good half - block behind him.", "INT. JIMMY'S CAR-NIGHT Danny at the wheel. He is wearing a black baseball cap pulled down low on his head. DANNY Hey guys.", "INT. F.B.I. CAR-SAME Danny is wired for sound. The agents monitor him on a receiver. DANNY -LRB- O.S. -RRB- -LRB- filtered. -RRB- I need to stop for some cigarettes.", "EXT. MINI-MARKET-SAME Danny pulls into the market. The agents pull over to the curb, watching. Danny is in and out in no time. He hustles back into his car and drives away.", "EXT. REMOTE LOCATION-SAME Tanner and Garcetti outside of a car we have never seen before. The truck is open. Garcetti putting a phony license plate. Tanner sifting through the trunk. IN THE TRUNK - A sawed off SHOTGUN, TWO SEMI - AUTOMATIC HANGUNS, TWO KNIVES, GLOVES AND SKI - MASKS.", "INT. POOH-BEAR'S COMPOUND - NIGHT Pooh - Bear loading a chrome.45, Big Bill his Flintlock.", "INT. TRAHN'S CAR-SAME Trahn driving on the freeway. he opens a briefcase on the passenger's seat. Inside, his F.B.I. BADGE, TWO BARETTA 9mm and TWO PAIRS OF HANCUFFS.", "EXT. BLUFF-NIGHT Tanner and Garcetti negotiating a washboard dirt road in the hills.", "EXT. DESERT MOTEL - NIGHT The Vega pulls into the lot of a tumbleweed motel in the middle of nowhere.", "INT. F.B.I. CAR - SAME The car passes the motel. AGENT ONE -LRB- into min - mike. -RRB- All right people, heads up. Blue team?", "EXT. DESERT MOTEL - SAME TWO MOTEL MAIDS pushing a cleaning cart. They are wearing small ear piece receivers. Danny in the motel office, checking in. MAID ONE I've got a visual. AGENT ONE -LRB- filtered. -RRB- Red team? TWO WORKMEN, repairing the motel sign out front. WORKMAN ONE He's heading to his room. The workman watch Danny head into a room at the far end of the facility. As he enters the room. AGENT ONE -LRB- filtered. -RRB- Black team?", "INT. ADJACENT ROOM - SAME TWO AGENTS on the other side of the wall from Danny's room. MONITORING WITH A FIBER - OPTIC CAMERA. ON THE MONITOR. DANNY enters and sits on the bed, his back to the camera.", "INT. F.B.I. CAR - SAME They continue down the road, away from the motel. AGENT ONE Okay. It's all yours.", "EXT. BLUFF - NIGHT Tanner pulls the car in behind a rock formation on the bluff.", "INT. CAR - SAME Tanner kills the engine. Garcetti checks his watch. GARCETTI Half an hour to kickoff. Tanner takes a pair of NIGHT VISION BINOCULARS from under the seat.", "EXT. DESERT MOTEL - NIGHT Trahn pulls into the lot. He emerges from the car with his briefcase, looks around, then heads down to the room. Trahn checks his watch, then KNOCKS ON THE DOOR. DANNY -LRB- O.S. -RRB- It's open.", "INT. DESERT MOTEL ROOM - NIGHT Trahn enters. Danny sitting with his back to Trahn. ON THE BLACK AND WHITE SURVEILLANCE MONITOR NEXT DOOR. TRAHN You alone? Danny nods. TRAHN -LRB- cont'd. -RRB- Any word from Pooh - Bear? Danny shakes his head. TRAHN -LRB- cont'd. -RRB- You okay, hoss? BACK INSIDE THE ROOM Trahn walks over to Danny, who sits there with his head down, his face obscured by a baseball cap. Slowly, he looks up. IT IS JIMMY. TRAHN -LRB- cont'd. -RRB- What the hell? JIMMY Danny told me to tell you that he was sorry. -LRB- beat. -RRB- He said he had to take care of this himself.", "EXT. BLUFF - NIGHT Tanner scanning with the night vision glasses. TANNER Here he comes. REVEAL that the car is on a bluff above POOH - BEAR'S COMPOUND. Danny pulls up in a rental car.", "INT. DANNY'S CAR - SAME Danny's hand is shaking uncontrollably. DANNY Easy, boy. He looks at his hand again. It continues to shake. He takes a deep breath. TANNER'S P.O.V.. As Danny gets out of the car and goes to the trunk. Tanner watching. TANNER Where's Bubba? GARCETTI Maybe he is n't showing. Danny takes a gym bag out of the trunk and approaches Pooh - Bear's house. TANNER Looks like Flynne's handling the cash. Let's get into position. They get out of the car and trek down the bluff towards the house.", "INT. POOH-BEAR'S HOUSE - NIGHT Big Bill lets Danny in, then pats him down for weapons. Satisfied, he leads Danny to the kitchen. IN THE KITCHEN - Danny enters and stops. A worried look. Pooh - Bear along with THREE OTHER MEN. The men eye Danny silently. They look like ex - cons. DANNY What the hell is this? POOH-BEAR Just some buddies. DANNY This is bullshit. You did n't say anything about anybody else being here. POOH-BEAR What the fuck are you gon na do about it, dickhead? The other guys snicker, one of them almost spitting his beer out. Danny smiles good - naturedly. Shoots a look over at. one of the guys sitting where he taped his gun earlier. DANNY Come on, man, let's deal. He throws the bag on the table, knocking a beer into the guys lap. The guy springs up, pissed off. POOH-BEAR Cool it. We got business. DANNY Yeah, dickhead. Danny moves over and plops down in the guys seat. UNDER THE TABLE - Danny fumbling with the gun, trying to untape it without being too obvious. Pooh - Bear unzips the bag. Inside, a lot of cash. POOH-BEAR Oh my, oh my. -LRB- beat. -RRB- Big Bill, come take a look at this. Big Bill is behind Danny, over by the sink. He pulls his FLINTLOCK and walks over. Danny continues trying to get the gun loose. Something catches his eye. the MICROWAVE OVEN DOOR is open, casting a reflection of the room behind him. Big Bill approaches Danny, pointing the gun at Danny's head. The other men ease back from the table a little. UNDER THE TABLE - Danny still ca n't get the gun loose. ON THE REFLECTION - Big Bill right behind Danny. He raises the flintlock. Danny bugging. He rips at the gun. Too late. Big Bill goes to fire. Using the reflection, Danny ducks at the last instant. Big Bill FIRES. The guy across the table takes the mini - ball in the chest. ALL IN AN INSTANT - Danny extricates the gun. Turns on Big Bill, who sees the gun and holds his hands up. Danny SHOOTS TWICE, the bullets blowing through Big Bill's hands and thumping into his chest. Big Bill crumples. When Pooh - Bear goes to pull his gun from his waist - band, it discharges, shooting him in the thigh. The muzzle flash ignites his pants leg. POOH - BEAR HITS THE FLOOR, SCREAMING, slapping at the fire on his leg. Danny wheels on the other two guys at the table, who are going for their guns. Danny opens up on them with the Glock, flooring them before they can get a shot off. OUTSIDE - still descending the bluff, Tanner and Garcetti hear the gunfire. INSIDE - Danny turns on Pooh - Bear, who sits there staring at his injured leg. Danny puts the gun to Pooh - Bear's head, closes his eyes and starts to pull the trigger. Pooh - Bear lifts his gun and SHOOTS DANNY IN THE TORSO THREE TIMES. Danny collapses. Pooh - Bear gets to his feet. POOH-BEAR Oh lordy, oh lordy, oh lordy. Pooh - Bear done shot himself. He's in shock. He grabs the duffle bag from the table and staggers down the hallway, into the living room. OUTSIDE - Tanner and Garcetti at the front door, listening. They pull their ski - masks on, take out their guns, then silently enter. INSIDE - gunsmoke abounds. One of the guys MOANS on the floor. Tanner and Garcetti enter the kitchen, guns drawn and ready. They survey the scene. Bodies everywhere. Big Bill lays there dying, staring with confusion at the stigmata in his hands. Danny lying in a heap, next to Big Bill. Suddenly, they hear POOH - BEAR MUMBLING from somewhere in the house. Tanner signals for Garcetti to take point. They head down the long hallway, slowly and silently. When they are gone. Danny stirs on the floor. His eyes open. He opens his shirt and checks his torso REVEALING THAT HE IS WEARING HIS BULLET - PROOF VEST. He struggles to a sitting position, in great pain from the impact bruises left by the bullets. He picks up his gun, gets up on wobbly legs and follows Tanner and Garcetti down the hall. ON DANNY as he creeps down the hall.", "INT. CREEPY HOUSE - SALTON SEA - NIGHT Exiting the bathroom and creeping towards the front room. DANNY Anybody there? ONLY THE SPLATTERING LIQUID SOUND. Danny continues. He stops at the end of the hall. His eyes go wide with fear and revulsion. THE LIQUID SOUND BECOMES LOUDER AND LOUDER UNTIL IT IS ALL THAT CAN BE HEARD. Liz is still in her hiding place behind the end of the couch. Her head is resting comfortably on the arm of the couch. She looks fine. There is even a slight smile on her lips. DANNY -LRB- cont'd. -RRB- Liz? Then he notices it. a widening pool of BLOOD seeps from under the couch like some living thing. More blood patters down from some UNSEEN WOUND on the side of her head. Danny staggers towards her. Her eyes flutter slightly. Danny sits next to her. Holds her hand. There is nothing he can do. Liz tries to speak. Ca n't. DANNY I'm here, Liz. I'm here. She squeezes his hand. Then goes limp.", "INT. POOH-BEAR'S HOUSE - NIGHT Danny continues down the hall, remembering.", "INT. CREEPY HOUSE - SALTON SEA - NIGHT (FLASHBACK) Danny sitting there with Liz in a pool of blood. He notices something on the floor. LIZ'S PURSE, the contents spilled on the floor. A GREETING CAR with a teddy bear and the word `` CONGRATUALTIONS'' on the front. Danny goes over and picks up the card. INSERT - CARD He opens it. `` YOU'RE A DADDY!'' A home pregnancy test taped inside, the reading is POSITIVE. Danny drops the card. Stares down at it as. the blood from the floor pools out and engulfs the card.", "EXT. SALTON SEA - NIGHT On the placid sea as DANNY'S HORRIFIC SCREAM resounds from the house in the distance.", "INT. POOH-BEAR'S HOUSE - NIGHT ON DANNY standing in the hallway, staring, his face a blank. ON POOH - BEAR - cooking up a huge dose of meth with a lighted hundred dollar bill. He draws the meth into a syringe then turns on the stereo with a remote. A YODELING INSTRUCTION TAPE BLASTS FROM THE SPEAKERS. Pooh - Bear prepares to dose, looking for a vein in his neck, never noticing. Garcetti's gun moving to the back of Pooh - Bear's head. Pooh - Bear about to plunge the drugs when GARCETTI FIRES. Pooh - Bear pitches forward, dead. The syringe falls to the floor. Tanner and Garcetti standing over him. They pull their ski masks off. GARCETTI Get the bag. Garcetti holsters his weapon and picks up the bag of money from the floor. GARCETTI -LRB- cont'd. -RRB- Let's get out of here. A GUNSHOT. Garcetti goes down where he stands. He lays there twitching like a rabbit. Tanner staring down the sucker's end of Danny's gun. TANNER Danny? DANNY My name is Tom. Tanner frowns. DANNY -LRB- cont'd. -RRB- Tom Van Allen Danny raises his gun. TANNER Whatever you say, man. Look. can we talk about this? DANNY Yeah. Okay. Listen carefully. -LRB- beat. -RRB- You're in the bathroom. You've been shot in the shoulder. Danny shoots Tanner in the shoulder. He collapses to the floor. ON GARCETTI - his eyes flutter and open. Danny walks over to Tanner and stands above him. DANNY -LRB- cont'd. -RRB- there's two guys with masks and guns in the other room about to kill your wife. Tanner looks at Danny, confused. DANNY -LRB- cont'd. -RRB- But you know if you go out there, they'll kill you, too. You'll both die. What do you do? Tanner realizes what Danny is talking about. DANNY -LRB- cont'd. -RRB- Do you go out there and die like a man or do you live to fight another day? Tanner does n't answer. Danny -LRB- cont'd. -RRB- What do you do? Still no answer. DANNY -LRB- cont'd. -RRB- Answer the question! Tanner is ghost white, loosing blood quickly. Danny -LRB- cont'd. -RRB- What do you do! TANNER Please. do n't do this. DANNY Answer the fucking question! When Danny goes to shoot Tanner again. Tanner pulls a K - BAR KNIFE from the back of his belt and plunges it into the back of Danny's gun hand. The gun discharges, missing Tanner. Danny drops the gun. Tanner snatches it up. Tanner immediately has the gun inches from Danny's head. Danny freezes. TANNER Does that answer your question? -LRB- beat. -RRB- I fight. I fight and I die like a man. -LRB- beat. -RRB- You're a fucking coward, Flynne. You lived like one and now you're gon na die like one. Danny looks up at the gun, his face a blank. DANNY -LRB- mumbling. -RRB- Glock semi - automatic 9 mm. CLOSE ON THE BARREL OF THE GUN. ALL SOUND FADES OUT. MOVE INTO THE BARREL OF THE GUN. THE BLACK KID'S FACE APPEARS INSIDE. KID Tenifer matte finish, Polymer grip, fixed sights, 4 and 1/2 inch barrel, 22 ounces, double action and a. QUICK FLASHES of all the shots Danny fired with the Glock. - TWO at Big Bill - FOUR at the guys at the table - ONE at Garcetti - THREE at Tanner THE KID AGAIN. KID and a TEN ROUND magazine. ON DANNY. Still staring at the gun. He knows the gun is empty. He notices something on the floor. THE LOADED SYRINGE. KID -LRB- cont'd. -RRB- Or did I say ELEVEN? Danny trying to remember. KID -LRB- cont'd. -RRB- Which was it, mister? Was it ten or was it eleven? -LRB- beat. -RRB- Pretty big fucking difference if you ask me. DANNY starts chuckling. Looks up at Tanner. DANNY It does n't matter. Danny looks down at the syringe again. Tanner sees it too. TANNER Too late to be a hero. Danny picks up the syringe. Tanner pulls the trigger. INSIDE THE GUN - MOVING SLOWLY towards the firing pin as it springs forward toward CAMERA with a LOUD CLICK. THE GUN IS EMPTY. DANNY Ten it is. Danny jams the SYRINGE INTO TANNER'S THROAT all the way down to the plunger, dosing him with the meth. Tanner goes down, blood bubbling from his throat around the syringe. His eyes roll back as he convulses from the drugs. Danny struggles to his feet. Tanner quivers from head to toe like some freaked - out Pentecostal in the throws of a holy possession. Danny pulls the syringe from Tanner's throat. A LONG WET WEEZE ESCAPES. Suddenly, A NOISE BEHIND DANNY. Garcetti standing there pointing his gun at Danny, rocking slightly back and forth, a bullet hole in his cheekbone. He looks brain dead. Danny does n't move. TANNER STILL WHEEZING. Garcetti looks like he wants to shoot his gun, but ca n't. He keeps looking down at his hand, trying to get it to obey. Danny calmly walks over and takes the gun from Garcetti. Garcetti puts his hand to his nose and blows out a clot of blood. He looks down at his hand. He has hacked up the bullet he was shot with. Garcetti smiles an embarrassed smile at Danny. TANNER'S WHEEZING CONTINUES. DANNY -LRB- softly. -RRB- You're dead. Garcetti nods slightly. He goes to a kneeling position, then curls up on the floor like he is taking a nap and dies. Danny goes over to the couch and sits down. Danny with his head in his hands, emotionally and physically exhausted. TANNER WHEEZING LOUDER AND LOUDER. CLOSE ON DANNY'S FACE. Blank. Devoid of anything. He stuffs Garcetti's gun into his own mouth, hand shaking. He takes the gun out. Stuffs it back in again, shoving it way down, almost gagging on it. The barrel clatters against his teeth. He takes it out again. THE WHEEZING CONTINUES. Danny starts crying. Lifts the gun halfway again, then drops it. He jumps up. Goes over to the still - wheezing Tanner and empties his clip into him. When the clip is spent, Danny keeps pulling the trigger. over and over again. He stands there pulling the trigger again and again and again and again. FADE OUT.", "INT. RESIDENTIAL HOTEL ROOM - NIGHT Danny dressed in his `` Tom'' clothes. He limps over to the bed and picks up the trumpet case. Carries it over to the mirror. Danny staring at his reflection. He lights a cigarette. DANNY My name is Tom Van Allen. I'm a trumpet player. Danny smiles. VOICE -LRB- O.S. -RRB- Nah, you're Danny Flynne. He turns. COLETTE and QUINCEY standing there. Quincey holds a nine millimeter with a muzzle suppressor. QUINCEY You're a motherfucking rat. He shoots Danny in the stomach. Danny slumps to the floor. His cigarette falls out of his mouth and rolls under the bed. Colette freaks. COLETTE You said you would n't kill him! She tries to go to Danny but Quincey stops her. COLETTE You lied to me! QUINCEY Oops. My bad. Danny looks at them, confused, a blood stain blossoming on his white shirt. DANNY Colette, what happened? Did n't the cops. QUINCEY The cops came. But they did n't find nothing. Turns out their C.I. game'em some bad information. Quincey holds up the baggie of drugs. Danny looks from Quincey to Colette. Colette looks away. QUINCEY -LRB- cont'd. -RRB- You fuck with the Mexicali Boys, this is what you get, homes. UNDER THE BED - the cigarette smoldering on the carpet. QUINCEY -LRB- cont'd. -RRB- Domingo thought you might be the one who went rat on him. Quincey looks at Colette QUINCEY -LRB- cont'd. -RRB- So I brought in a rat of my own. Danny looks at Colette, dumbfounded. DANNY You set me up? QUINCEY Bitch played you like a squeezebox, Romeo. Danny ca n't help from laughing at the irony. Beads of sweat are forming on his blanched face. He looks at Colette with a wry smile. DANNY You're good, princess. I'll give you that. COLETTE Danny, it's not what you think. Danny looks down at his bloody stomach. COLETTE I owed them money. a lot of money. they did n't give me a choice. You know how it works. When I got to know you, I tried to back out. that's when they did this. -LRB- she indicates the bruises. -RRB- But I told them I would n't do it. I did n't want to see you get hurt. Danny stares at her, not sure what to believe. He looks over at Quincey. DANNY She selling me a bill, home boy? Quincey shakes his head. QUINCEY Nah, she ai n't lying. She took a pretty good beating from you, ace. I seen grown men crack after a lot less. But not this bitch. -LRB- beat. -RRB- It was very touching. DANNY Then why are we here? COLETTE They threatened to kill my daughter. -LRB- beat. -RRB- I had no choice. -LRB- beat. -RRB- I'm sorry, Danny. Danny looks at Colette, imagining the awful beating she must have taken. DANNY It's okay. It's okay. -LRB- Danny touches her face. -RRB- -LRB- beat. -RRB- God damn, you're beautiful. UNDER THE BED - THE CARPET IGNITES. The fire spreads quickly. QUINCEY Jesus. Quincey grabs her arm. QUINCEY -LRB- cont'd. -RRB- Let's go. COLETTE No! The drapes go up in flames. Quincey puts the gun to the back of her head. QUINCEY You wan na die here with him or come with me? DANNY Colette, go. COLETTE I do n't want to leave you. DANNY Your daughter needs you. Go. The fire continues to spread. Colette kisses Danny on the lips. Quincey pulls her away. Collette looks back one last time just as the flames reach the door, cutting off any escape. Danny breathing hard. He gets up. Staggers over to the mirror where his trumpet is. He opens the case and takes the trumpet out. He plops down on the bed and BLOWS A FEW NOTES. He stops for a second, a smile on his lips. He starts to play SAETA.", "INT. BURNING ROOM - NIGHT Back to the opening scene. The whole room ablaze. Danny lying on the bed, playing the horn. DANNY -LRB- V.O. -RRB- So what is it? Who am I after it's all said and done? Pieces of the roof start falling in. DANNY -LRB- cont'd. -RRB- Tom Van Allen or Danny Flynne? -LRB- beat. -RRB- Avenging angel or plain old Judas? He stops playing. DANNY -LRB- cont'd. -RRB- -LRB- weakly. -RRB- You decide, friend. You decide. He closes his eyes. DANNY -LRB- cont'd. -RRB- I'm too tired. so you decide. He drops his trumpet and lays his head back. BLACK SCREEN THEN BLURRY, VAGUE SLOW MOTION - moving through the flames. CLOSE ON DANNY'S HEAD - seemingly floating through the fiery room. DANNY -LRB- V.O. -RRB- Oh shit. What is this? Emerging from the flames into a dark hallway. Danny's eyes flutter as he seemingly continues to float. DANNY -LRB- cont'd. -RRB- Am I dead? A linoleum floor rushes underneath. DANNY -LRB- cont'd. -RRB- Linoleum. This must be hell. Danny head sags, finds himself staring at. A TATTOED LIKENESS OF HIMSELF. The tattoo smiles and speaks. TATTO -LRB- warped, distorted. -RRB- Hang in there buddy. Stairs rush by underneath. Then another hallway. DANNY'S P.O.V. - a bright white light at the end of the hall. DANNY -LRB- cont'd. -RRB- Oh no. What a fucking clich\u00e9. On Danny's face, floating through the hall. His eyes fluttering. MOVING TOWARDS the light. Closer. Closer. Danny's eyes close, his head droops. CLOSE ON DANNY as his eyes flutter and open. DANNY'S P.O.V. - an image slowly coming into focus. JIMMY staring down at him with concern. Danny blinks his eyes again. Looks up at. A PARAMEDIC working on him. Danny smiles a weak smile at Jimmy. Jimmy just sits there, nodding his head, a big shit - eating grin on his face. The paramedic continues to work on Danny. His eyes slowly close. FADE OUT.", "EXT. THE CITY - DAY Danny exits a cab and heads towards a coffee shop. He looks like a new man. DANNY -LRB- V.O. -RRB- Well, I've had some time to think about it and it's pretty simple after all. I guess it's like the man said - `` Man is the measure of all things.'' I should know. I ran the gamut. Avenging Angel, Judas, loving husband, prodigal son, prince of Denmark. I was all of those things. -LRB- beat. -RRB- Tom Van Allen got his revenge. Good for Tom. And Danny Flynne? He got gut - shot for being the low - life rat that he was. Sucks for him. -LRB- beat. -RRB- But as far as I'm concerned, they're both dead. Danny looks through the window of the shop. Colette inside, working the counter, pouring coffee. DANNY -LRB- cont'd. -RRB- But what about this guy? Who is he? Danny enters the shop. DANNY -LRB- cont'd. -RRB- To tell you the truth, I do n't know yet.", "INT. COFFE SHOP - SAME Danny takes a seat at the counter. Colette turns and sees him. DANNY -LRB- cont'd. -RRB- But I like his chances. They stare at one another for a beat, then smile. Colette pours him some coffee. DANNY -LRB- cont'd. -RRB- I really like his chances. They strike up a conversation as we. FADE OUT. THE END"], "labels": [1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 1.0, 1.0, 1.0, 0.0, 0.0, 1.0, 1.0, 1.0, 0.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 0.0, 1.0, 0.0, 0.0, 0.0, 0.0, 1.0, 1.0, 1.0, 1.0, 0.0], "summary": "While playing the trumpet in a burning room, the protagonist's voice is heard in narration. His story begins with him posing as \"Danny Parker\", a speed freak addicted to methamphetamine, who hangs out with friends while indulging in drugs. He also moonlights as an informant for two corrupt cops, Gus Morgan and Al Garcetti. He is trying to set up a large meth score with notorious drug dealer Pooh Bear, an eccentric psychopath who lost his nose to excessive snorting of \"Gak\" (meth), while also attempting to set up a sting operation for Morgan and Garcetti. When he returns home, Danny sheds his clothes and his personality, and basks in his past life as trumpet player \"Tom Van Allen\". He reveals to an abused neighbor named Colette that he was once happily married, only to watch as his wife was gunned down by masked thieves during a stopover at the Salton Sea. When meeting with Pooh Bear, Danny becomes fearful of Pooh Bear's displays of bizarre homicidal behavior, so he tapes a gun to the bottom of a table. Danny's parents-in-law track him down, believing he has sunk into depression after his wife's death, but he tells them he doesn't want their help. As the deal approaches, it becomes known that Danny is not only working for the police but FBI agents working to take down Morgan and Garcetti, who have committed multiple murders. It is also revealed that they were the men who killed his wife and wounded him as they robbed a drug dealer. Danny had started his own investigation when he found out who Morgan was and delved into the drug underworld to become a believable junkie. On the night of the deal, Danny, with the help of his best friend Jimmy, leads the FBI to the wrong location. Meanwhile, Danny arrives at Pooh Bear's house. At the dinner table, surrounded by Pooh Bear's armed friends, tensions rise and one of Pooh Bear's men tries to kill Danny, who retrieves the gun he stashed earlier and shoots the rest of the gang. Shot in the chest by Pooh Bear, Danny collapses to the floor. Pooh Bear, wounded in the leg, goes to take a shot of meth while mumbling incoherently. Morgan and Garcetti arrive, find the massacre, and Garcetti kills Pooh Bear, whose drug-filled hypo drops to the floor. Garcetti is then killed by Danny, whose life was saved by a bulletproof vest. Morgan is shot twice by Danny, who reveals to Morgan that he knows he murdered his wife. Morgan manages to snatch Danny's gun away, but finds it empty. Danny finds Pooh Bear's syringe on the floor and plunges it into Morgan's neck, then picks up a pistol and briefly contemplates suicide, but then shoots Morgan several times and flees. Back in his apartment, he dons his Tom Van Allen identity again, but is shot by Colette's \"boyfriend\", who is in fact an agent tasked with exacting vengeance for the Mexicali Boys, a leader of whom Danny turned in to the police before the events of the film's present day timeline. Collette says she was forced to betray Danny because her daughter was being held hostage. The room catches fire, and Danny plays one more tune on his trumpet before passing out. He regains consciousness to find that Jimmy has saved him from the fire and taken him to a hospital. After he recovers, he leaves the city, and the identities of Danny and Tom, behind.", "name": "The_Salton_Sea"}